Is there any character that Disney won’t try to bring under its huge, ever-expanding franchise umbrella? Apparently not. The company is now developing a ‘King Kong’ series to run on streaming service Disney+.
“Hang on,” we hear you asking, “aren’t the rights to Kong stories currently held by Legendary and Warner Bros., with movies and Netflix/Apple TV+ series already in production?” And you’d be right! Legendary in particular holds many of the rights to the giant ape and some other associated monster.
Warner Bros. is still proceeding with its “MonsterVerse” movies – ‘Godzilla Vs. Kong’ director Adam Wingard is at this very moment at work on the sequel to that monster match-up. He has Dan Stevens starring in a story that will see the big beasts once again face off – or more likely team up to battle a worse threat.
Then there is Apple TV+. Chris Black and ‘Hawkeye’ comics writer Matt Fraction have been shooting a new show, which will follow the thunderous battle between Godzilla and the Titans that leveled San Francisco and the shocking new reality that monsters are real. The series explores one family’s journey to uncover its buried secrets and a legacy linking them to the secret organization known as Monarch.
And finally Netflix has a ‘Skull Island’ anime series working its way to the streaming service.
The lesson here, then, is that Kong rights are spread everywhere, like a city block after the super-sized simian has stomped his way through.
‘Aquaman and the Lost Kingdom’ director James Wan at CinemaCon 2022. Photos by Eric Charbonneau.
As for Disney+, it has James Wan producing its show through his Atomic Monster company, while Stephany Folsom, who adapted comic book ‘Paper Girls’ for Prime Video, is writing.
Per Deadline, the new take on Kong “brings the classic monster story into the modern age, with a return to Skull Island and the dawn of a new Kong. The series will explore the mythology of King Kong’s origin story and the supernatural mysteries of his home.” It’s based on the rights to Merian C. Cooper’s original books and more recent ‘King Kong’ novelizations by Joe DeVito.
They’re the same source material that Mar Vista Entertainment and IM Global Television were looking to adapt roughly five years ago without success.
And in case you were still wondering about the rights and how the character is used, it’s worth noting that Warner Bros./Legendary only ever use “Kong” in their titles, since they don’t apparently have the rights to the “King” bit.
Wan, of course, is no stranger to creatures given his horror credentials and his superhero work on ‘Aquaman’, whose sequel ‘Aquaman and the Lost Kingdom‘ is due in theaters on March 17th next year. Folsom has also has experience with big canvases, since she also wrote on Prime Video’s ‘The Lord of the Rings: The Rings of Power’, launching next week.
The funny Instagram video shows Momoa greeting fans who are on a tour tram outside the stage at Warner Bros. where the ‘Lost Kingdom’ team have been shooting additional footage. Parked outside the stage is a trailer with a less-than-subtle ‘B.A.’ on the door.
“Well, it’s not a f*****’ secret any more is it?” chuckles Momoa, before adding, “Sorry children. That’s what happens, Warner Brothers, when you walk out of your set, and there’s your fans.”
He then walks over to the trailer, laughing “Well, we tried to keep it a secret.” There’s a brief glimpse of Affleck in his trailer before Momoa swerves away. He also posted a couple of pictures of the pair larking around in a room at the studio.
Of course, it could all be a put-up, and organized as part of the build-up to the superhero sequel’s arrival next year, but Momoa’s genuine surprise and laughter makes us think it’s real. And who doesn’t love Jason Momoa with a fit of the giggles?
(L to R) Ben Affleck and Jason Momoa. Photo courtesy of Jason Momoa’s Instagram.(L to R) Ben Affleck and Jason Momoa. Photo courtesy of Jason Momoa’s Instagram.
Bruce Wayne and Arthur Curry – Aquaman’s actual name – shared the screen previously in both versions of ‘Justice League’, the 2017 theatrical version and Zack Snyder’s extended cut, which arrived on HBO Max in 2021.
How Bruce factors into the new movie remains to be seen, but we do know that ‘Aquaman and the Lost Kingdom’ will take the sea hero to the titular Lost Kingdom, a part of the Atlantean Empire lost to history after the Atlanteans fell into ruin and became an underwater people.
The cast also includes the returning likes of Amber Heard as Mera, Dolph Lundgren as King Nereus, Patrick Wilson as the villainous Ocean Master (though he and Arthur appear to be working together this time, however unwillingly) and Temuera Morrison as Aquaman’s father, Tom Curry.
Yahya Abdul Mateen-II is also back as Black Manta, while ‘Game of Thrones’ Pilou Asbæk also joined the cast in an undisclosed part.
James Wan, who guided the first film to more than $1 billion at the box office, is back directing again, working from a script by David Leslie Johnson-McGoldrick.
‘Aquaman and the Lost Kingdom’ will swim into theaters on March 17th next year.
In addition to his return to the undersea realms, Momoa has been busy finishing the final season of dystopian Apple TV+ series ‘See’ and joining the latest ‘Fast & Furious’ installment, ‘Fast X’, itself due in theaters on May 19th, 2023.
Julian Sands in 1990’s ‘Arachnophobia’ directed by Frank Marshall.
Do you hate spiders? Does the very idea of the wriggling creepy crawlies fill you with an endless feeling of dread? Are you concerned that one is walking up behind you EVEN AS YOU READ THIS? Then you might not be thrilled to learn that a new version of 1990 horror comedy ‘Arachnophobia’ is in the works.
But stick with us, because the news would seem to be on the positive side of things – and spiders will be staying on the screen. Christopher Landon, the writer and director behind the likes of ‘Freaky’ and ‘Happy Death Day’ is developing the new movie.
The original was directed by Frank Marshall (who still makes movies himself, but is these days better known as a producer on the giant likes of the ‘Indiana Jones’ and ‘Jurassic World’ franchises. He’ll be an executive producer here).
1990’s ‘Arachnophobia’ directed by Frank Marshall.
It was a hit on its release, but while it certainly has its fans, it isn’t an untouchable masterpiece that resists any attempt to remake it. James Wan, who along with his own directorial career is a prolific producer via his Atomic Monster company, is among the backers here.
Yet it was with the two ‘Happy Death Day’ movies that he really made the leap into more public awareness, the time loop comedy thrillers featuring Jessica Rothe’s snark-tastic Tree Gellman caught in a repeating nightmare of stalk-slashing (and the sequel going even further into the genre) proving to be popular.
Landon followed that up with 2020’s ‘Freaky’ which, while it became a box office victim of the pandemic, still managed to entertain with the story of a serial killer (played by Vince Vaughn) who swaps bodies with a cheerleader (Kathryn Newton) and all the violent, funny chaos unleashed along the way.
Given his body of work, we’re confident that Landon will be able to walk the line between terrifying and funny. And with the advances in effects technology, we can only imagine the spidery set-pieces he can dream up.
While the Super Bowl, traditionally a place where movie studios look to hype their new releases with teasing trailers and TV spots, is just around the corner, Warner Bros. and DC got a head start by releasing a combo video featuring their upcoming slate of superhero movies.
‘Black Adam’, which stars Dwayne Johnson as the titular hero was perhaps the most intriguing, because this is the largest amount of footage we’ve seen to date.
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Included in that were first looks at Pierce Brosnan as Dr. Fate and Aldis Hodge as Hawkman (both in full costume), plus a small moment between Quintessa Swindell as Cyclone and Noah Centineo as Atom Smasher, though those two were in more civilian clothing until a couple of small closing shots.
Directed by Jaume Collet-Serra, (who worked with The Rock on last year’s ‘Jungle Cruise’), ‘Black Adam’ is the story of Johnson’s character Teth Adam, who was bestowed with the powers of the Egyptian gods nearly 5,000 years ago — and imprisoned just as quickly. He’s freed from his earthly tomb, ready to unleash his unique form of justice on the modern world. Traditionally, he shares similar powers with Shazam (played in his own film by Zachary Levi) and has been a villain for that hero. More recently, though, he’s evolved into more of an antihero, and that appears to be the conflicted character Johnson’s bringing to life.
Dr. Fate (who is best described as a sort of DC Doctor Strange, albeit introduced 20 years before the Marvel magician) and the others, meanwhile, are part of the Justice Society (which pre-dates the League, fact fans) and will likely both clash with and work together with Adam, since their attitudes to the word “justice” differ from his punch-first-ask-questions-maybe style.
There’s also a small mention of Black Adams’ son “saving” him and given the presence of Uli Latukefu, who plays one of the young Rocks in, er, ‘Young Rock’, allow us to slap on the hat of wild speculation and say he’s either playing a young Adam or his child.
Next up, we have ‘The Flash’, which finally gives Ezra Miller’s big-screen Scarlet Speedster his solo outing (even if he does have to share it with Michael Keaton’s Batman, Ben Affleck’s Batman, and some alternate versions of himself).
The story for the movie, which has ‘It’s Andy Muschietti directing, is that Barry Allen tries to use his powers to save his mother, who died when he was young, and his father, who was framed for the killing and ended up in jail. But Barry’s attempts end up causing fractures in the multiverse, which explains the appearance of Keaton and more.
The latter only shows up via voice-over in the clips, asking Barry why, if he can go to any timeline or universe, why he’s fighting to save this one? You’ve got to wonder why Bruce Wayne, of anyone, would question trying to save someone’s parents.
And while the TV version of ‘The Flash’ has explored the famous comic book storyline known as ‘Flashpoint’, the new movie looks to be going all-in on the idea; between this and the likes of Marvel’s ‘Doctor Strange in the Multiverse of Madness’ alternate realities are big this year.
‘Aquaman and the Lost Kingdom’, meanwhile, returns Jason Momoa to screens as Arthur Curry, wrangling with his status as ruler of Atlantis. The sequel to the hit 2018 movie is once again directed by James Wan and while the storyline is mostly a mystery, we do know it’ll see Momoa’s hero teaming up with an unlikely alley (possibly Patrick Wilson’s Ocean Master, the villain of the original) to face a big new threat. Because, let’s face it, ‘Aquaman and the Lost Goldfish’ just wouldn’t have the same impact.
Amber Heard, Willem Dafoe, Dolph Lundgren, Yahya Abdul-Mateen II and Nicole Kidman all return from the first movie. Little was revealed about this new adventure (unlike the others, there wasn’t as much footage, which likely points to it having finished shooting later and having fewer shots finished) but there’s plenty of time as it doesn’t swim into theaters until December 16.
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And though ‘The Batman’ got first position because it’ll be out in less than a month (March 4, to be exact), it’s less exciting simply because we’ve seen almost everything presented here in previous trailers.
Still, the movie, directed by Matt Reeves, stars Robert Pattinson, Zoe Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, and John Turturro, is looking very good – dark, gritty (well, it is cinematic Batman, after all) and stylish. Skipping the usual origin story (as far as we know), Reeves’ movie is instead a detective story about Bruce Wayne’s relatively early days as the Caped Crusader, investigating a dangerous new enemy in Dano’s The Riddler, who is himself digging into all of Gotham City’s secrets – including those of the Wayne family.
Perhaps most remarkable about this is that final, bold “Only In Theaters” tag, which almost sounds like it should come with a smaller, “Sorry to the makers of last year’s movies about the whole day-and-date HBO Max thing. Our bad!” But it’s certainly a statement of intent, a setting out of DC’s stall that it still means to compete with Disney and Marvel.
Warner Bros. and New Line clearly feel that ‘Mortal Kombat’ was punching above its weight last year, as the companies have started the early work on a sequel.
Jeremy Slater, who most recently was head writer on the Oscar Isaac-starring Marvel/Disney+ series ‘Moon Knight’ (headed to screens starting next month), will write the script for the new movie.
In the story, an MMA fighter seeks out Earth’s greatest champions to stand against the enemies of Outworld in a battle for the universe and the safety of our planet. Released simultaneously in theaters and on HBO Max last April, it didn’t garner the strongest reviews, but was a success at the box office and on the streaming platform, where it became one of the highest-viewed offerings on the relatively new service.
No details of the new movie are available – beyond Slater, we don’t know who will be involved creatively and any returning/new cast has yet to be announced. The 2021 story did end with a tease for more action, and the next movie will likely answer fans’ demands for an actual tournament this time around. There are plenty of clashes in the most recent offering, but no formal competition, as in the game.
(L to R) Mehcad Brooks as Jax Briggs and Joe Taslim as Sub-Zero in 2021’s ‘Mortal Kombat’
We also don’t know when the new movie might be released – Deadline’s report on Slater’s hiring doesn’t specify, though you can imagine that New Line and Warner Bros. will want to have it out within the next couple of years.
‘Mortal Kombat’ already has quite the video game and cinematic history. Created by Ed Boon and John Tobias in 1982, the Midway Games title became a big hit in both arcades and on home consoles, generating plenty of sequels as fans enjoyed the beat ‘em up action of pitting various fighters with unique abilities against one another.
The games became famous for their finishing moves, or ‘Fatalities’, in which the victorious fighter kills their defeated opponent, often in gruesome fashion.
It was adapted into a movie in 1995, leading to the 1997 sequel ‘Mortal Kombat: Annihilation’, which didn’t perform as well at the box office. Various comics, novels and animated shows have followed, along with anything that companies could slap its name onto. There was even a live, touring stage show featuring martial artists and stunt teams showing off some of the game’s moves.
Alongside ‘Moon Knight’, Jeremy Slater has a few projects in the works, including a movie called ‘Thread’ he wrote and will direct for Screen Gems and James Wan. The ‘Malignant’ director also has him adapting the Stephen King story ‘The Tommyknockers,’ and Slater wrote in-development Netflix film ‘Uprising’, which has ‘Bumblebee’ director Travis Knight attached.
The latest film focusing on paranormal investigations of Ed & Lorraine Warren is the third film in The Conjuring series (focusing on the Warrens) but the eighth film in the “Conjuring Universe.” If that’s confusing, well, so is the latest film.
The movies set in this shared universe all boast they are based on true stories, primarily from the files of the Warrens. Full disclosure, I’ve always thought that the Warrens’ stories are mostly bunk. But in the hands of the right filmmakers, that bunk can be pretty entertaining. The first two ‘Conjuring’ films, both directed by James Wan, are pretty effective horror thrillers, as was ‘Anabelle: Creation,’ directed by David F. Sanberg.
This latest chapter is a pale shadow of those earlier films, however. Vera Farmiga and David F. Sanberg return as Lorraine and Ed Warren, and their familiarity with these characters really anchors the film. When one or both of the Warrens are on screen, the film works, but the rest of the scenes fall flat without them.
This particular case finds the Warrens documenting the possession of a young boy named David, so that they can presumably send their proof to the Vatican and have a formal exorcism performed on him. But when David suddenly stands on the table, bent backwards like a professional contortionist, Ed Warren tells the priest that’s present that they need to do an emergency exorcism immediately. The priest doesn’t think this is safe, so of course, there are unexpected complications. David’s older sister Debbie is there with her boyfriend Arne, who invites the demon inside himself instead of staying in David. All of the commotion gives Ed a heart attack, during with he sees the demon make the jump to Arne. (See, this is why you leave the exorcisms to the professionals, kids.)
Ed then wakes up in the hospital and tells Lorraine that Arne is now possessed. Which is probably why Arne stabs his landlord to death (while listing to that damned, devilish rock and roll). Arne’s locked up by the police, and indicted for murder, but the Warrens have a defense for him; he was possessed. The rest of the movie involves the Warrens trying to lift the curse that enabled the demon to possess David and then Arne, leading them to investigate a local cult and consult with a local former priest. And we can tell they’re on the right track, because Ed gets cursed and almost kills Lorraine.
Directed by Michael Chaves, this latest Conjuring film is more of an occult detective procedural than anything else. It certainly isn’t all that scary, unfortunately. Like in any proper procedural, we see our detectives (the Warrens) discover clues, make connections to other crimes, and find that some sources may not be completely honest. But that’s not what were here for, unfortunately. And even if we were, it’s never really clear why David’s family was targeted in the first place. There are some moderately effective set pieces here and there; a scene in the jail infirmary comes to mind, as does Lorraine’s psychic exploration of a killing in the forest. But that latter example gets goofy as the scene extends, and none of these elements add up to an engaging whole.
As I mentioned before, Farmiga and Wilson give far better performances than this script really deserves. And I have to give a nod to Leah Butler’s costume work. The puffy sleeves and ruffled necks on Lorraine’s blouses are perfect for the period, never crossing the line into satire of the era’s excesses.
The biggest frustration is that the movie is trying to be scary, without really succeeding. If the better movies in this franchise carry real dread, then this one struggles to even achieve unease. I won’t say that it’s boring; it moves along just fine, but you’re never really worried about the characters’ survival. And that’s not because history tells you what happens; Apollo 13 keeps you on the edge of your seat, even though you know what happens to Lovell and his crew.
Prior to quarantine, I’d have called this the kind of movie you could wait for on home video. But since this is also on HBO Max, you don’t even have to wait. No matter where you see it, bring a friend; this is the kind of movie where you’ll snicker about how silly it is, but that’s still a pretty good time.
2.5 out of 5 stars.
(L to R) Vin Diesel and Paul Walker in ‘Furious 7’. Photo: Universal Pictures.
‘Furious 7‘ delivered high-octane action, daring stunts, and explosive car chases—but it was the film’s emotional tribute to Paul Walker that truly left a mark on audiences worldwide. In a behind-the-scenes look at the film’s final scene, we learn just how much care and heart went into saying goodbye.
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After Paul Walker’s tragic passing in 2013, filmmakers faced the impossible task of completing the film while honoring his legacy. With the help of Paul’s brothers, Caleb and Cody Walker, and advanced CGI, the team recreated Brian O’Conner’s final moments. The now-iconic beach and drive sequence—where Dom and Brian share one last ride—was crafted with incredible precision and emotion.
Director James Wan revealed that this scene was rewritten multiple times to strike the perfect tone.
“It couldn’t just be a farewell to a character—it had to be a farewell to a friend,” Wan said.
The result is a powerful blend of real footage, visual effects, and heartfelt storytelling, set to Wiz Khalifa’s ‘See You Again’. The song itself became a tribute to Walker, topping charts and touching fans across the globe.
This exclusive scene remains one of the most memorable and emotional moments in the ‘Fast & Furious‘ franchise, reminding us that it’s not just about cars and action—it’s about family.
(L to R) Tyrese Gibson, Michelle Rodriguez, Paul Walker and Chris “Ludacris” Bridges in ‘Furious 7’. Photo: Universal Pictures.
Variety also reports that the film is tentatively tiled “Silvercup.”
Details of Young and Wallis’ characters are being kept under wraps.
Young is a relative newcomer who had a breakout role in HBO Asia’s 2014 miniseries “Grace.” He also appeared in The CW drama “Containment.”
Wan set this horror thriller for New Line Cinema in a bit of a surprise move, since many expected that his next film would be the sequel to his blockbuster movie “Aquaman.”
The director broke out in the horror genre with 2004’s “Saw.” Since then, he has remained a producer in that franchise, helped create the “Insidious”/”Conjuring” universe, and helmed “Furious 7.”
Wallis starred as Mia Form, who is given the demonic doll at the center of “Annabelle,” a spinoff of “The Conjuring” films.
She also recently starred in “The Loudest Voice,” Showtime’s limited series about Fox News founder Roger Ailes, as former Fox News staffer Laurie Luhn.
Wan set this untitled thriller for New Line Cinema in a bit of a surprise move, since many expected that his next film would be the sequel to his blockbuster movie “Aquaman.”
Wan broke out in the horror genre with 2004’s “Saw.” Since then, he has remained a producer in that franchise, helped create the “Insidious”/”Conjuring” universe, and helmed “Furious 7.”
Before James Wan returns to sea for “Aquaman 2,” he’s returning to his indie horror roots.
Wan has set his next directorial film project, an untitled original thriller for New Line Cinema that will begin production this fall. Plot details have not been revealed.
Wan broke out in the horror genre with 2004’s “Saw.” Since then, he has remained a producer in that franchise, helped create the “Insidious”/”Conjuring” universe, and helmed “Furious 7.”
