Reboots

Anyone, including me, that wrote about the downfall of the comic book trend was just proven dead wrong. Warners president  Jeff Robinov just took anyone curious about the future of comic book movies, asked them where the drugs were, and then shoved them face down into the gutter as rain water poured over their nose and mouth. Announcing a Batman reboot before cameras even start to roll on the current Batman film is a bold move. I’m still trying to wrap my cowl-less head around what it fully means, but there are at least four major shifts that just occurred, and they all affect movie goers.

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Remember when X-Men: The Last Stand had to be haphazardly thrown together because Fox and Bryan Singer had some sort of disagreement on the scheduling, so then he left to make Superman Returns instead, and Fox got Brett Ratner to jump in for a quick fix on The Last Stand, and then they both turned out to be pretty lame? Long story, but it happened, swear to God. And even worse, they made another franchise prequel after The Last Stand called X-Men Origins: Wolverine, and it ended up being an even bigger mess, had a bunch of horrible takes on new characters like Deadpool, and seemed sure to be the death knell of the entire X-Men franchise. And this came after they called one of the movies The Last Stand. Remember that? Fox did, because instead of continuing on with that series of films, they totally recast the roles, totally rebooted the story, and have made Matthew Vaughn’s X-Men: First Class. Probably we’ll have to see if audiences are receptive of this new reboot to see if there will be more X-Men movies, right? Right? Nope, the new issue of Empire Magazine, which sports several X-Men: First Class themed covers, has some quotes about the upcoming direction the franchise is going to take. Apparently I was wrong in thinking The Last Stand needed a reboot, or that it was some sort of last stand, because sequels to that film are in the works. Longtime X-Men producer Lauren Shuler Donner is […]

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This week, on a very special episode of Reject Radio, we do what Hollywood finds impossible by creating a successful reboot. The show is getting an upgrade (which is why you can hear both drilling and confetti being tossed constantly in the background), and the new format promises to make everyone who listens to the show three inches taller and wildly, wildly wealthy. As in, so wealthy you’ll have to figure out how to buy off politicians. You can check out the show guide below, but the quick and dirt version involves two beloved Rejects battling it out in a game of wits, a teenage director seeing her first SXSW premiere, a visual effects artist arguing on behalf of post-conversion 3D, and 5 myths about production that ensure movies will be crappy. Loosen up your tie and stay a while. Listen Here: Download This Episode

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Culture Warrior

Somewhere hidden away in the mid-1990s, there’s a young man reading a “Star Log” in his bedroom foaming at the mouth at the words on the glossy magazine page. There they are. The words “Watchmen” and “Terry Gilliam” right next to each other like a pair of star cross’d lovers finally exchanging vows. The iconic comic books that he grew up reading are finally going to be seen on the living, breathing, bloody brilliant big screen. Then it doesn’t happen. There are a lot of reasons why it doesn’t happen (too many to dive into right now), but that young man is eternally disappointed when those words he once reveled in start to fade away. With the announcement that Universal has passed on Guillermo Del Toro’s At The Mountains of Madness, a lot of fans might be finding themselves in a similar position, and it’s not just Lovecraft devotees. It’s movie fans of all stripes who see this as another defeat of the auteur in service of the bottom line. Is it Universal’s fault? Sure. Much in the same way that everyone shares a little blame. It does, however, shine its silver lining as a spotlight on the disease of the studio system that’s been picked at and mulled over and puzzled for the past few years. Luckily, it also exposes the solution: Failure.

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When do they get started? When some poor schmuck volunteers. Fortunately, that schmuck – in the form of Elite Squad director Jose Padilha – has signed up for the job to direct the reboot of Robocop. Is there a better choice out there? Probably not. For one, Padilha is almost completely unknown to US audiences, and if the studios are going to keep forcing us to revisit the icons of our past, they might as well introduce us to the talent of the future while they’re at it. The project could give some great exposure to a worthy director. For two, Elite Squad and its follow-up are incredible movies that use violent action as less of a plot device and more of a calling card. Essentially, the logic of why MGM chose Padilha (even with names like Robert Rodriguez floating around) is a hell of a lot clearer than why, say, the guy who directed that Justin Bieber concert is now directing G.I. Joe 2. This is optimistic news. Although it will be light years different than Darren Aronofsky’s vision, Padilha is a talent that demands to be seen, and this project is a great way to showcase his particular set of directing skills. Let’s see if they can get this monster to work. [Heat Vision]

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Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as ArtHouseParty and Jonesin4Indy in order to discuss some topical topic of interest. This week, the two wander into dangerous, job-threatening territory with the question of whether movie websites are helping the boon of remakes, reboots, and otherwise unoriginal flicks hitting theaters. There’s a story crisis in Hollywood. Are movie websites partially to blame?

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Hollywood should grow a pair and do a startlingly different take on Superman. Instead of the same old origin story, dare to create something new and phenomenal.

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Another 90s video game is being relaunched as a movie franchise following the heels of the 2009 mega-blockbuster “Street Fighter: The Legend of Chun-Li.”

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RobocopREboot

We may have taken for granted that Darren Aronofsky was going to end up being the director for Robocop. It’s likely that he’ll still do it, but a new scheduling problem may make it that much harder to pull off.

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published: 12.19.2014
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published: 12.18.2014
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published: 12.17.2014
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published: 12.15.2014
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