Constantine

Culture Warrior

Editor’s Note: With Landon Palmer busy (read: probably writing a thesis on Sexual Deviancy in John Wayne Films in the Greater Context of Post-WWII America As Seen Through the Work of Southern Filmmakers), the excellent, insightful Adam Charles has stepped in to write this week’s entry. Enjoy. Few things have been as equally discussed and deliberated over the past few weeks than that of who Lionsgate was going to choose to take the reigns from Gary Ross to direct the second installment in The Hunger Games franchise. The first film had one of the biggest opening weekends in history (and it didn’t even require 3D price-hikes to get there), earned a positive majority from critics, and has a dedicated fanbase that defies demographic lines of fandom; and they’re chomping at the bit to see the next adaptation in the series, Catching Fire, as quickly as possible. Neither Lucas, Spielberg, or even Peter Jackson’s franchises could replicate just how much of the domestic populous is waiting for the next picture.

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Francis Lawrence keeps himself busy, and it shows when you look at his untrusty IMDB page. The director’s name has been tied to a lot of projects in the past few years – Survivor, Sgt. Rock, Houdini, and more — but many of those films aren’t ones Lawrence will be making. In my interview with the director, we spent some time discussing what may be next for him, either Houdini or Unbroken, and why certain projects didn’t come together. First off, Lawrence won’t be adapting Survivor, which he backed away from over two years ago. Not because the project died while he was working on it, but over a tonal issue:

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Hell is one of those things that’s up for individual interpretation. Some people believe it’s a real place full of fire and brimstone, or it’s all made up, or it’s a state of mind. Some people think it’s a Shia LaBeouf marathon from which you can never turn away. So, with Hell as a setting, Hollywood basically has a blank slate. They can go the Old Testament route, or they can get more existential with it, or something in-between. (Even Hollywood can’t do the Shia LaBeouf marathon option. No studio would fund that.) As such, here are seven films and their take on the place bad folks go when they die. (Obviously, this contains spoilers for the films listed.)

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Studio logos are an iconography all their own, but nothing puts a grin on my face like a spiffy send-up of a traditional company emblem tailored made to gel with the film I’m about to watch. Don’t get me wrong — nothing’s going to top classics like Alfred Newman’s Fox fanfare, Jerry Goldsmith’s Universal tune or the countless other openings ingrained in our cinematic memories. But when someone takes the recognizable logo and makes it their own…well, that’s when I get giddy. For decades, movie studios have been allowing filmmakers to tinker slightly with the prestigious logos that preface every film they release. Nothing too crazy — maybe a color shift or a throwback to a retired bumper — but nothing that would tarnish their reputations. These days, most movies are free to run wild. Many stick to the time-honored traditions of their studios, but the ones that don’t feel that much more special. Regardless of a film’s quality, a great logo is like the cherry on top for most movie buffs. Here are fourteen modern variants that bring a little extra magic to the pictures they kick off:

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Keanu Reeves Says No to Constantine 2

The whispers of a sequel have been floating around, fueled by director Francis Lawrence claiming in an interview that a second Constantine might be an origin story or a continuation. But Keanu has something different to say.

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