Almost exactly a year ago, tech entrepreneur Sean Parker (better known as the guy who correctly identified a billion dollars as cooler than a million dollars in The Social Network) fronted a proposed business venture called The Screening Room, a potentially game-changing set-top box through which Hollywood studios would offer their biggest new releases to stream at home the same day they premiered in brick-and-mortar theaters. (With an astronomical price tag, naturally.) Though it gained some traction and support from significant voices in the film community, it ultimately sputtered and spun out. But with the rebirth of spring, so comes a rebirth for this impractical, frightening, cineplex-annihilating idea. (Kinda.)
It’s weird — with every new trailer, the upcoming big-screen reboot of beloved ‘90s TV series Baywatch appears to get a little bit better. The first trailer promised a lightly amusing clone of the smart-alecky 21 Jump Street reboot, the second trailer advertised a competently-produced action tentpole with a healthy sprinkling of meta humor, and now, the so-called “official” trailer (does that make the first two unofficial?) teases what appears to be a sincerely funny comedy. At the very least, whoever cut this thing made it abundantly clear that stars Zac Efron and Dwayne “the Rock” Johnson have more chemistry than an eighth-grade science class.
Did you know that they apparently made another Terminator movie in 2015? Despite having seen it in theaters back during its original run, this still strikes me as new, hard-to-believe information. If there was really a new installment of Arnold Schwarzenegger’s popular sci-fi/action franchise as recently as two years ago, wouldn’t someone remember that? Wikipedia claims that the film (subtitled Genisys, which sounds fake but okay) attempted to launch Game of Thrones star Emilia Clarke’s big-screen phase of her career, included a clutch starring role from Ahnuld himself, and earned the second-most of any entry in the series. Call me crazy, but that seems like a pretty major occurrence to have entirely fled the public‘s collective pop-cultural memory. I’m skeptical — does this look like a real movie to you?
Pixar’s 2016 was something of a mixed bag, having landed a true-blue blockbuster with Finding Dory but then missing out on the coveted Oscar nomination. They’ll get back in the saddle in 2017 with Coco, a vibrant fantasy about the power of music, family, and remembrance of those lost to us. In the film, a lonely young boy finds a link to the past through an enchanted stringed instrument and sets off on an incredible journey with an animal companion, encountering all manner of dreamlike wonders (along with a monster or two) on the way. It bears mentioning at this point that this film is, in fact, not Kubo and the Two Strings.
Ever since the now-infamous photo of Pennywise the evil homicidal clown peeking out of a drainpipe surfaced online, fans of Stephen King’s seminal horror novel It have been concerned about Seth Graeme-Smith‘s upcoming film adaptation. There was fair cause for worry, too; it looked as if light was coming from several different sources, like a hasty photoshop job one might find on the box art for some direct-to-DVD cash grab. The only person who could really set the It devotees at ease would be Stephen King, who has seen dozens upon dozens of his works make the jump to the silver screen. And it would appear that he’s now done just that.
L. Frank Baum‘s fantasy novel The Wonderful Wizard of Oz has proven a malleable property over the years. Of course everybody knows and loves Victor Fleming’s 1939 film adaptation, then came the urban-set musical revision The Wiz, the villain’s-eye-view retelling Wicked, Sam Raimi’s limp-noodle Oz the Great and Powerful, NBC’s crazytown new gritty-reboot series Emerald City, not to mention the dozens of films that have paid homage to the timeless scenes of Fleming’s film. (The bit in O Brother, Where Art Thou? when our heroes sneak into a KKK meeting like it’s a Winkie stronghold is a particular standout.) And today brings the news that the merry old land of Oz will get yet another new spin, and this time, there will be blood.
Hope you liked Get Out — and if the near-unanimous critical consensus, robust opening weekend box office receipts, and massive swell of support on social media are any indicator, you probably did — because there’s a whole lot more where that came from. We all rushed to anoint director Jordan Peele as a bold new voice in the horror landscape upon his debut feature’s release, and a new notice today suggests that he’s going to ride this wave as long as he can. In a new interview with Business Insider, Peele stated that in the grand tradition of John Carpenter and Wes Craven before him, he’s getting into the sequel business.
We‘re now a couple days out from the incident itself, and everyone’s still trying to figure out just what in the Sam Hill happened at the Oscars on Sunday night. When Faye Dunaway wrongly named La La Land instead of Moonlight as the recipient of the Best Picture Academy Award, she created a buzzy moment and sparked a full-blown investigation as to how things could have gotten mixed up. Fingers have been pointed every which way, with the show’s producers and vote-tabulating accountants both scrambling to cover their respective hindquarters in the wake of the embarrassing gaffe. Today, however, Dunaway‘s co-presenter Warren Beatty – the man with his hand on the envelope — has offered his official response to the hubbub, and he’s decided to shift blame elsewhere.
[Bonnie and Clyde trailer voice]: They’re old, they kind of hate each other, and they read envelopes.
Since Warren Beatty and Faye Dunaway mistakenly announced La La Land as the recipient of the Academy Award for Best Picture on Sunday night, everyone‘s been looking for an answer as to how such a massive goof could come to pass. Blame has been passed around like a hot potato, with fault assigned to Beatty, Dunaway, some tweeting nitwit from the accounting firm that tabulates the votes, the person who lays down the envelopes, and just for good measure, a cold and uncaring god. But now the trenchant, Spotlightesque journalists at TMZ claim to have the full story behind just what went down.
The big headline from last night was Warren Beatty’s colossal goof during the Best Picture announcement, in which he erroneously named La La Land the winner of the coveted prize, only to be corrected not a minute later with the news that the award would actually go to Moonlight. It was a classic mix-up, a reminder of the high-wire instability of live television, and an instant entry for the Oscar history books. But there was a second, less glaring gaffe in the telecast, so subtle that it went by without most viewers noticing. But the Australian producer who watched herself declared dead in the In Memoriam segment certainly did.
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