by DuongApt at Today, 02:50 AM
John Wick director Chad Stahelski and writer Derek Kolstad are re-teaming for more action. Stahelski will produce and Kolstad will write a remake of The Man from Nowhere, inspired by the 2010 South Korean action film which is.

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The Man From Nowhere

Deadline has the scoop on The Man From Nowhere remake. Which will be produced by Chad Stahelski and written by Derek Kolstad. The project is set-up at New Line Cinema, and a search for a director is in progress. The original film, released in 2010, followed “A quiet pawnshop keeper with a violent past” who “takes on a drug-and-organ trafficking ring in hope of saving the child who is his only friend.” Here’s a longer, more detailed synopsis:

Quote:A retired special agent forges an unlikely bond with his neglected young neighbor. And vows to bring the girl back home safely after she’s kidnapped by violent criminals. When Tae-Shik hung up his guns to open a small pawn shop, he also shut himself off from the world. Tae-Shik prefers to live in solitude, yet he still takes a liking to his precocious neighbor So-mi, whose mother pay her little attention. When So-Mi’s mother crosses a local gang of criminals who respond by kidnapping the desperate mother and daughter. Tae-Shik realizes that he may be their only hope of making it out of the situation alive. After entering into a tenuous agreement with the local mob. Tae-Shik becomes the target of an intense police manhunt and finds himself besieged on all sides. Now the closer Tae-Shik gets to So-Mi and her mother, the more his dark past finally begins coming into focus

The original was the highest-grossing film in South Korea when it was released, making $42 million. It’s currently streaming on Amazon Prime Video in the U.S., which is where I intend to check it out since I’ve yet to see it. Anytime there’s an American remake of a foreign language film. Especially one released so recently. There’s a knee-jerk reaction to declare it unnecessary.

However, after John Wick, I’m willing to give Stahelski and Kolstad the benefit of the doubt. And the people involved with this project are said to be “very high on the script that Kolstad just delivered”. So make of that what you will. Stahelski and his 87Eleven Entertainment are also developing a reboot of Highlander at Lionsgate, with Stahelski set to direct. And the John Wick spin-off Ballerina with Len Wiseman directing. There’s also John Wick 4 in the works. And Stahelski worked on the stunts for the upcoming The Matrix 4.
by clarkkenallstar at Yesterday, 09:27 AM
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The WGA West board of directors sent a letter to its members today that updates writers on the union’s latest efforts in the wake of its new film and TV contract. Read it in full below.

The missive comes less than a week after WGA members voted overwhelmingly to ratify with the new film and TV deal worked out with the Alliance of Motion Picture and Television Producers.

Sent under the header, “How Agency Information Sharing Is Paying Off,” the letter notes that “a key objective of our agency campaign is timely information from the agencies to assist MBA enforcement of late pay and free work violations, and enhance the Guild’s analysis of compensation and other employment trends.”

Here is the letter in full:

Dear Members,
A key objective of our agency campaign is timely information from the agencies to assist MBA enforcement of late pay and free work violations, and enhance the Guild’s analysis of compensation and other employment trends.

Information Sharing: Franchised agencies are now sharing invoices, deal memos, contracts, and writer compensation and commission information with the Guild.  As of July 31, the Guild has received around 700 deal memos and long-form contracts, and 1,100 invoices.
Verve has led the way by working with the Guild to set up a streamlined reporting system. The data stream includes reports on: invoices; payments Verve has received on behalf of writer clients, including the pay date; past due invoices; information on how writer compensation is commissioned; and summaries of the writer deals Verve has negotiated. Similar reporting systems have been developed with other agencies that use the same booking software, such as A3 Artists Agency, Buchwald, Culture Creative Entertainment, and Innovative Artists.  The remaining franchised agencies, including Kaplan Stahler, RBEL, Gersh, APA, Paradigm and Brant Rose Agency, have established their own processes to share information directly with the Guild.  The Guild will now work with the most recently franchised agency, UTA, to establish their system.

All of this data is analyzed by the Guild with the goal of improving terms in individual writer deals and future MBAs.  As the franchised agencies continue to provide the Guild information, members can look forward to a future in which the Guild will provide more comprehensive detailed information on above-scale terms to members and their representatives, all with the purpose of maximizing writer compensation.

Enforcing the MBA – Getting Writers Paid:  The Agency Department is using information provided by franchised agencies-deal memos, invoices and payments- to address late pay MBA violations. When an invoice is received, Agency Department staff contact the writer to find out if they have been paid and if the payment was on time. Any late pay violation is then referred to the Legal Department. So far, staff has referred more than 130 cases to the Legal Department to pursue compensation or interest.

Though the average recovery is in the three-figure range, the Legal Department has made a few notable settlements on agency late-pay cases. The Guild has recovered interest payments for individual feature writers in the amounts of roughly $13,000, $10,500, and $5,500, as well as about $9,000 in interest for a team of pilot writers.  All of the writers in question were employed by major studios.

Agency information-sharing has already resulted in scaled up enforcement efforts, a streamlined claims process, and invaluable perspective on the compensation practices of the studios. Through continued collaboration with our agency partners, we can build on that progress.

In solidarity,

WGAW Board of Directors
David A. Goodman, President
Marjorie David, Vice President
Michele Mulroney, Secretary-Treasurer
Liz Alper
Angelina Burnett
Patti Carr
Robb Chavis
Travis Donnelly
Jonathan Fernandez
Ashley Gable
Dante W. Harper
Deric A. Hughes
Zoe Marshall
Luvh Rakhe
David Slack
Meredith Stiehm
Betsy Thomas
Patric M. Verrone
Nicole Yorkin

by clarkkenallstar at Yesterday, 09:19 AM
‘Mulan’ Madness: With A Potential Disney+ Windfall, Will Studio Still Need Movie Theaters?

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Universal and AMC are looking like saints in the exhibition business right now after taking a kicking in the teeth by rival circuits for their controversial deal last week to crunch the theatrical window to 17 days with an option for PVOD thereafter.

Disney’s announcement Tuesday after the market closed that it is bringing Mulan to its 60.5 million Disney+ subscribers for a rental of $29.99 (and in theaters in those places of the world that don’t have the streaming service) over Labor Day weekend is indeed seismic, unprecedented, and stoking fears in exhibitors about their future livelihoods.

Of those exhibitors we spoke with this afternoon, many were blindsided by Disney’s decision. Some rival distributors already saw the writing on the wall, some believing that Disney’s decision to take Hamilton straight to Disney+ over Independence Day weekend was a punch in the face to exhibition; that movie was originally intended to be a theatrical event.

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“They don’t need exhibition partners anymore! Why would you share your profitability with an outside company?!” cried one owner of a dine-in cinemas chain. “Think about it: if 10% of their subscribers buy into Mulan, that’s $181 million Disney makes. If 50% of their subscribers rent Mulan, that’s $906 million! That’s money that Disney gets to keep all on their own!”
Mulan, just as COVID-19 was setting in back in early March, came on domestic tracking with a forecasted weekend of $80M+.

“This is a death blow to theaters — did we just lose Disney as a provider? Think about this, every exhibitor has to readjust and start over with everything in their rental deals. If all of the studios are going PVOD, we have to negotiate our terms by occupancy rates; R-rated movies will no longer play at 10 a.m., they’ll play at 7 p.m. and 10 p.m. We’ve just become a destination restaurant that has an upper level of entertainment. If you’re a mall 20-plex theater — you’re toast,” continued the exhibition boss.

When reached about the Disney move today, NATO provided no comment. 
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Yifei Liu arrives at the Los Angeles premiere of “Mulan” at the Dolby Theatre on March 9

Essentially, no Mulan means no moola for domestic theaters. While some assume Disney gets the opportunity to cut its marketing costs on a theatrical/Disney+ release of the Niki Caro-directed movie based on the 1998 animated feature, the fact is, like Universal/DreamWorks Animation’s Trolls World Tour, Mulan has already been bolstered by a tentpole marketing campaign with a Super Bowl spot, a Hollywood premiere, and the first teaser dropping in early July 2019 during the Women’s World Cup, the latter stunt yielding 175.1M online global views (52M from China).

Said MKM Partners’ Eric Handler today about the shocking news: “It’s definitely the sign of the times. Disney has been the biggest supporter of the theatrical window over the last several years, and they know how to maximize all windows. We’ll have to see what happens. The more successful it is, the more they have to think about the streaming service as their own PVOD platform. It’s a big test, and some ways it’s a big risk because this has never been done before. It’s a bit of a shock especially since Tenet was dated. They don’t have to wait for the results of Tenet going forward to go ahead with their plan.”

Despite the current ire of mid-level exhibitors, there are some cooler heads prevailing out there about Disney’s Mulan pivot. There are some who believe CEO Bob Chapek when he said during the company’s earnings call where he made the announcement that the Mulan experiment is “a one-off as opposed trying to say that there’s a new business windowing model.” We’re in the middle of a pandemic, Disney released some pretty bad numbers today and Disney+ is the only thing that’s working for them. What’s appeasing Wall Street is when entertainment congloms adapt and make lemonade out of lemons in these currents times, i.e., creating revenue events out of finished movies instead of rolling the dice on a big event movie theatrically, which is risky right now. Also, some who’ve already seen Mulan say it’s OK, not great, which could factor against it at the box office in a marketplace that’s not completely restored.

Just like with Universal and AMC’s news last week to shorten windows — it remains to be seen whether other exhibitors go along with it — we don’t know the financial impact of these decisions until movie theaters open up. Universal swears that it won’t shorten the window on a tentpole, and that the plan is strictly meant for product that doesn’t perform at an enormous global level, or smaller fare. All of this noise is over what many are theorizing right now, but not what’s actually being practiced.
Says one film finance sage who funds feature productions: “Disney has no revenue coming in now, they’re losing money on theme parks, they can’t get TV into production. If 50% of subscribers rent it — well, that’s a lofty projection. It can make between $300M-$400M, but I don’t think it switches anything in the long term in shaking up moviegoing. I don’t think they can do this on a regular basis. There’s still a lot of money to be made in the theatrical windows model. These market conditions are unusual. People would rather have a theatrical experience with their family rather than being cooped up.”

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South Korean hit ‘Peninsula’RedPeter

Case in point: look at the box office numbers coming out of South Korea and China. People are starved for entertainment, and we’re social creatures. Just look at the number of people who have flooded the beaches and bars as local areas have reopened. Movie theaters have outlived their death knell for generations.
In addition, despite the immediate Chicken Little-like response from exhibition, let’s not forget the industry records Disney continually sets at the theatrical box office, with $13.2 billion worldwide alone last year. They, along with Marvel, do build their movies for the big screen, and know the power of its resonance down into the theme parks.

The move to put Mulan on Disney+ is arguably a temporary pandemic case of Disney looking out for Disney.

Says indie Kentucky theater owner Rick Roman, “Disney should give my theatre and all the theatres opened Mulan. I’ll play it even if it’s on PVOD. Watching Mulan on the big screen is a way different experience than watching it on TV.  I bet I will sell the about same number of tickets even though it’s available in homes. People want the experience of seeing movies on the big screen.”
by clarkkenallstar at Yesterday, 09:14 AM
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Actor James D'Arcy is geared up for the release of his directorial debut, and he said he would like to call the shots on a film in the Marvel Cinematic Universe some day.

D'Arcy, who makes his debut as a director in the upcoming comedy drama, 'Made In Italy', starring stars Liam Neeson and D'Arcy's son Micheal Richardson.

In an interview, D'Arcy spoke about his directorial stint and his interest in the Marvel films.

"I'm not going to say no to that. That would be a dream for me, to not be stuck in one genre. I just love the movies. If I can work in a number of different ways, that's great. The bottom line is that you just want to tell stories that touch people, or move people in some way," he said.
by DuongApt at Yesterday, 06:38 AM
The stars and filmmakers behind Coyote Ugly still want to make a sequel happen as the original hit turns 20.

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Tyra Banks and Piper Perabo are ready and waiting to make Coyote Ugly 2. The original Coyote Ugly is celebrating its 20th anniversary. It was a huge hit at the time of its release, with a multi-platinum selling soundtrack. Now, two decades later, the original team is eager to get a sequel going. The question is, can it truly happen?

The cast and filmmakers were recently interviewed in honor of Coyote Ugly's 20th anniversary. During the conversation, Tyra Banks, who played the role of Zoe in the original, revealed her strong desire to make a sequel. Banks has even had brainstorming sessions and reached out to producer Jerry Bruckheimer about it. Here's what she had to say.

Quote:"I've had a passion to do a sequel to 'Coyote Ugly' for some time now. I've even reached out to [producer] Jerry Bruckheimer and the team and the original writer and they've had some jam sessions on what it could possibly be. I feel like we need to do some type of rallying cry to social media, you know, kind of like a petition to get people to sign to make the sequel. I actually really want to produce it. We have really been wanting to do that and even had a form of a treatment with the original writer. And even [Diane] Warren, who did the original music with [LeAnn] Rimes, is super passionate about this."

Coyote Ugly is based around the famed bar of the same name. It centers on Violet Sanford (Piper Perabo) who makes her way to New York City to pursue her career in the music business. Her aspirations are rapidly sidelined due to the notoriety from her job as a barmaid at Coyote Ugly. Perabo also weighed in, saying that the story would need to evolve.

Quote:"When Tyra and I were DMing, I was like, 'We have to really think about it,' because obviously we're all 20 years older and we have to rethink the story. Like, 'Who owns the bar? What are we all doing? Do we all still know each other? And what's it about?' Because that movie in 2000, that was a really different moment, that was the sort of stiletto-feminism and women's rights and we're maybe in the third wave of feminism now and things have evolved and I would want the movie to reflect that evolution."

David McNally directed the original. Whether or not he would be tapped for the proposed Coyote Ugly 2 remains to be seen. Producer Jerry Bruckheimer also weighed in on the possibility. The filmmaker revealed they have been working on it on some level. But because Disney ultimately owns the rights, it's complicated.

Quote:"Yeah, we've been trying to get something going. We'll continue to do that. We haven't had much luck yet but you never know. Disney owns it. They have kind of a different brand. There's no Touchstone Pictures anymore. It's all Disney. So they make different types of films."

Coyote Ugly earned an impressive $113 million at the box office during its original run. Despite middling reviews at the time, it was a mid-budget hit the likes of which we don't see all that often anymore. We'll have to wait and see if the team can find a way to turn the sequel into a reality. This news comes to us via Variety.
by DuongApt at Yesterday, 06:33 AM
Monster Hunter Director shot the movie in real exotic locations to add authenticity to the fictional world.

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Nowadays, most of the special effects work for Hollywood blockbusters is filmed on a soundstage in front of a green screen. But for director Paul W.S. Anderson, who is directing a live-action adaptation of the best-selling gaming series Monster Hunter. Such an approach leads to the world of the movie looking fake. Instead, Anderson told SYFY WIRE how he filmed the movie in real, remote locations for authentic world-building.

Quote:"I felt it was really important to get out on location and shoot if we wanted to do justice to the amazing landscapes from the game, and that's exactly what we did. We shot the movie in Africa and we've got lush jungles. We've got deserts that reflect the Wildspire Waste from the game. And beautiful, stunning locations, some of which have never been shot before. And there's a reason for that because they were just in the middle of nowhere."

Such an approach to shooting a big-budget action movie does not make things easy for the large cast and crew, and Paul W.S. Anderson went on to explain the difficulties his team had to face for the sake of authenticity.

Quote:"For most of the movie the crew were living in tents. In these tent villages that we put up hundreds of miles from the closest town or village. We were shooting in the middle of nowhere capturing these insane landscapes we then put these giant monsters into. And it's really given the movie a fantastic look because the only thing that's CG in the film are the monsters. It's given the animators reality to key into."

"So rather than being in Pinewood Studios and shooting it against a green screen. We're on these epic, real locations with real lens flare, real dust, real foliage, real water. Real environments that the animators can lock the creatures into. It's given the movie a really epic, lush feel that I'm very, very excited about."

The gaming series that Anderson is mining the story for his movie from tells the story of a group of monster hunters who are tasked by the citizens of a distant land to dispatch a series of increasingly larger and more fearsome monsters. Players have to use their tools in imaginative ways to craft new weapons to take on the monsters. Either one-on-one or as teams.

A big part of the appeal of the game series lies in the beautifully rendered monsters and lush landscape that forms the backdrop for all the battles between man and beast, so fans will be happy to learn about the lengths that the movie is going to in making the world of Monster Hunter come alive on the big screen.

The live-action adaptation made with Anderson at the helm stars Milla Jovovich, Ron Perlman, TI, Tony Jaa. And Diego Boneta in the lead roles. Anderson has established himself as a leading voice when it comes to gaming adaptations, with his past movies Mortal Kombat and Resident Evil still considered some of the few bright spots in an otherwise beleaguered genre. Monster Hunter is expected to arrive in theaters April 23, 2021. This story comes to us from Syfy.
by DuongApt at Yesterday, 06:17 AM
The law of film-making states that if a film is a big box-office success. The immediate plan is to make a sequel to recapture the financial benefits of the original. With Benny Chan’s ‘Gen-X Cops’ being said box-office hit. The obvious line for all involved was to follow up with this sequel ‘Gen-Y Cops’. Stephen Fung and Sam Lee return as the characters Match and Alien. But Nicholas Tse is replaced by another young Canto-Pop star turned actor, Edison Chen. Therefore, all is pretty much in place for this flashy big-budget sequel.

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After years of preparation and co-operation with the F.B.I., a U.S. A scientific agency finally completes the eagerly-awaited RSI defence robot – the ultimate in futuristic weapons. Shortly after a successful testing, the robot suffers a strange relapse and destroys a large portion of the laboratory – this is soon traced back to the robot’s young designer Kurt who is unimpressed by the way he has been cut out of the project’s funding. This ‘minor’ glitch is ignored and the RSI robot is sent to Hong Kong to take part in an exhibition highlighting high-tech weaponry from around the world.

In joint charge of the security of the exhibition is the F.B.I. and the Hong Kong police. Foremost among them being Match and Alien alongside their new partner Edison Chen (Tran Quan Hy). The unsteady relationship between these two forces is soon shattered when Kurt uses his old friend Edison to steal the RSI robot and frame him for the crime. With the trigger-happy F.B.I. agents hunting Edison down. The young cop resolves to clear his name by finding Kurt and bringing him to justice before he can close a highly lucrative deal with an Arab buyer. The race is on for the trio of Gen-Y Cops to find their foe before the authorities land the blame upon them.

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As with the original, Gen-Y Cops (Dac Canh Tan Nhan Loai) proved a notable box-office success. And there may not be too long before Hong Kong cinemagoers are treated to ‘Gen-Z Cops’. Watching ‘Gen-Y Cops’, this might not be a bad thing; taken on face value, this is a supremely entertaining popcorn movie. Some have pointed a disparaging finger at the film. But perhaps the value of the film has been missed with this harsh critique.

This is a live-action comic book in its purest form with vibrancy and sheer exuberance spilling out of every frame. Those looking for something meaningful or thoughtful would be better with a Fellini classic. But those wanting a cinematic adrenalin rush will not find many better vehicles to achieve this. Sam Lee and Stephen Fung shine in their comic double act roles. And insure that even when the exciting action has let-up, the film is never dull. Lee has become known as an eccentric screen persona who is always giving value for money on the screen. But Stephen Fung is also beginning to shape an absorbing persona – the happy-go-lucky hero. It’s hoped that future roles will give Fung the continued opportunity to capitalise on this.

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If there is one weakness that stands out it is the focus on Edison Chen and his characters personal battle against Kurt (Sun). Between two more commanding performers this may have worked with more panache, but here the pace flags slightly when they are the centre of attention. Chen’s performance is, however, not as bad as some have claimed and there is not a great difference between his and Nicholas Tse’s ‘Gen-X Cops’ showing. If Chen does need to observe a performer to help his own acting career. He could do far worse than look to Paul Rudd who makes the little material he’s given really come to life here. The interplay between Rudd, Fung and Lee is another of the film’s bonuses.

For all the plot holes and script deficiencies. This is an excellent slice of Hong Kong entertainment (phim hanh dong hong kong) with a return to the edict of fun film-making that made the 80’s stand out. Don’t expect high-art and you’ll be in for a thrilling ride.
by DuongApt at Yesterday, 04:37 AM
Toy Story 3 director Lee Unkrich reveals how the toys can actually die.

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Toy Story is one of the most successful franchises of all time, and is mainly responsible for kickstarting the CGI animation boom back in 1995. The rich mythology of the series has been closely scrutinized and debated upon by fans for decades. One of the most enduring questions regarding the franchise, are the toys immortal or can they die?, was recently answered on Twitter by Lee Unkrich, writer-director of Toy Story 3.

Quote:"They live as long as they exist. But if they were to be utterly destroyed? Say, in an incinerator? Game over."

The question of whether a toy can live or die might seem bizarre to outsiders. But it happens to be the founding conceit of the entire Toy Story franchise. The premise of the series is that, at some point between when a toy is first manufactured in a factory, and when the toy becomes part of a child's collection, the toy gets imbued with a form of sentience that allows it to think, feel and talk like a normal human while continuing to look like a toy in all physical ways.

It has also been established that the toys continue to experience sentience even after passing out of a child's care. But unlike the child, who is allowed to evolve and grow into an adult, the toy remains trapped in the same body, with the same thoughts and motivations, sometimes leading to bitterness and downright malevolence, as happened with many of the antagonists of the series, including Stinky Pete the Prospector and Lotso the Bear.

Since Toy Story fans belong to all age groups, more than a few of the older fans have speculated about the nature of the sentience the toys experience, and whether the fact that characters like Woody and Buzz have unaging plastic bodies means they are technically immortal.

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Unkrich's answer goes some way towards resolving that debate. The toys are indeed immortal, but not indestructible. As such, the time will come when Woody and his crew do finally meet their demise, even if they never physically age.

Of course, such deep philosophical questions were never the reason behind the creation of Toy Story. While adult fans might wonder about the logic behind the franchise, the main themes of the series were always the celebration of the cherished relationship between children and their toys, the emotional pains of growing up, and the friends we are forced to leave behind along the way. It was a feeling that Tom Hanks also remembered experiencing when he spoke about voicing Woody for the final time for Toy Story 4 last year.

Quote:"The last session I thought was just odds and ends. You have to do a little bit of this reel and a little bit of that. But I was in the same studio, with the same microphone, with the same glass. And then they said, 'Okay, great. Thanks!' And just like, twenty or however many years were over."

"And I had to say, 'Wait, wait. Guys, there's gotta be...there's gotta be something else you need.' And they said, 'Nope, we pretty much got it all. And the only thing to do was to get in my car and drive away. I heard the music and the sun was going down and the credits were rolling on my life."
by DuongApt at Yesterday, 04:08 AM
Many Marvel fans are calling for Black Widow to release on Disney+ instead of getting another delay, but not everyone agrees.

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Just moments after the announcement was made that Disney's live-action Mulan remake will be premiering on Disney+. Marvel fans took to social media to discuss whether Black Widow should get the same treatment. As revealed by Disney, the new Mulan will be available for people to watch for about $30 when it releases on Sept. 4, and the news has brought about a wide variety of mixed opinions online. While the $29.99 price tag seems a bit too steep for some fans for Mulan. There seems to be a mixture of concern and support from Marvel fans that the same will happen with Black Widow this winter.

"I hope the Mulan thing goes well and it convinces Marvel to release Black Widow on Disney+". Reads one tweet, echoing many others with their opinions. "If it means new Marvel content I'd pay for it," another says. Other reactions on Twitter share these sentiments, with some fans balking at paying $30 for Mulan but noting they'd have no trouble spending that much or more for Black Widow, with one fan honestly tweeting: "I would watch Black Widow for 30 bucs (sic)... not Mulan. Sorry I guess."

However, it's not hard to find many other Marvel fans not very happy about the prospect of Black Widow coming straight to Disney+. The argument to be made here is that a blockbuster Marvel movie like Black Widow would be best enjoyed on the big screen, so it would be worth pushing the release to 2021 to let Marvel fans watch the movie the way it was meant to be seen when it first premieres. "I'm skipping Mulan until it's reasonably priced. If they do the same with Black Widow. I'm skipping that too," reads one of the more unenthused tweets. With even more Marvel fans having trouble deciding what they would really want.

In any case, the plan as of now is for Black Widow to release theatrically on Nov. 6, 2020. This comes after previous delays due to the national shutdown of movie theaters. Bumping the Marvel movie from its original May 2020 release date. Certainly, another delay is going to make a lot of people upset, especially with the weight of nearly every other major release this year getting pushed back to 2021. Still, it's just as clear that releasing the movie on Disney+ instead of waiting for more theaters to safely open will also leave many fans feeling disappointed. Disney is not going to be able to please everyone here. Putting the House of Mouse in between rock and a hard place.

For the time being, Disney CEO Bob Chapek insists that Mulan is a one-off. And that there are no plans for Black Widow to arrive on PVOD. "We're very pleased to bring Mulan to the consumer base who has been waiting for it. We're fortunate we have the opportunity to bring it to our own direct to consumer platform. But we're looking at Mulan as a one-off. That said, we find it interesting to be able to take a new offering to consumers and learn from it. Seeing the uptake of subscribers plus the number of transactions we get on the platform of that premium VOD offering". A source close to Disney believes otherwise, though. Telling Verge's Julia Alexander somthing completely different.

As for Mulan, those willing to spend $30 to see the highly-anticipated Disney movie at home will be able to do so next month when it becomes available to watch on Disney+ on Sept. 4. The movie will also reportedly be screening in select markets where movie theaters are actually open. But it's not yet been reveal which theaters will be screening the movie. Presumably, however Mulan performs on Disney+ will affect how the company handles their other upcoming releases -- such as Black Widow.
by DuongApt at Yesterday, 03:47 AM
Stunt performers’ contributions to movies are often highlighted in memorable moments from those films. But the nature of the position means that their faces and names fade into the background in service of the story. Rarely does a stunt performer ever become a household name. Especially if they’re a woman.

But now Michelle Rodriguez (Fast & Furious) is here to narrate a new documentary called Stuntwomen, which takes these powerhouse performers out of the shadows and (finally) puts them into the spotlight, giving them some much-needed praise and hopefully giving us some insight into the dangerous work they do to give some of our favorite movies unforgettable thrills and an extra level of realism. So check out the trailer below.

Stuntwomen Trailer

Directed by April Wright (Going Attractions: The Definitive Story of the Movie PalaceLayover). Stuntwomen: The Untold Hollywood Story is based on author Mollie Gregory’s 2015 best-selling book of the same title. Which chronicles the history of stuntwomen in Hollywood. From present day all the way back to when women were essentially forced out of the industry in the early days when men realized how profitable the movie world could be.

[Image: Stuntwomen-trailer.jpg]

According to Deadline. It features interviews with the following stuntwomen: Julie Ann Johnson (Charlie’s Angels), Jadie David (Escape from L.A.); Jeannie Epper (Wonder Woman). Debbie Evans (The Fast and the Furious). Deven McNair (Dawn of the Planet of the Apes). Donna Evans (Total Recall). Donna Keegan (True Lies). Amy Johnston (Suicide Squad). Alyma Dorsey (Captain Marvel). Heidi Moneymaker (Captain America: Civil War). Keisha Tucker (Black Panther). Jessie Graff (Wonder Woman). Angela Meryl (Skyfall). Cheryl Lewis (Luke Cage). Jennifer Caputo (The Amazing Spider-Man). And Kelly Roisin (Venom).

This documentary should considere Exhibit Z in the years-long battle to convince the Academy of Motion Picture Arts and Sciences to introduce a stunt category at the Oscars. Recognizing the incredible contributions of performers just like these. Will this doc meaningfully move the needle in that conversation? Eventually something has to be the proverbial straw that breaks the camel’s back, right? Who knows: maybe this will be it.

Here’s the official synopsis:

Quote:STUNTWOMEN: THE UNTOLD HOLLYWOOD STORY is the inspiring untold story about the unsung professionals. Their struggles on screen to perform at the highest level. And their fight off-screen to be treated fairly and equally. The movie takes us behind-the-scenes and introduces us to the female stunt performers who drive the action and thrills of Hollywood’s biggest blockbuster movies from the silent age of cinema to present day.

So Stuntwomen will be available on digital on September 222020.
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