Michael Fassbender in ‘Assassin’s Creed’ (2016). Photo: 20th Century Fox.
Preview:
Netflix has plans for an ‘Assassin’s Creed’ series.
It’ll adapt the popular Ubisoft game franchise.
The games were previously turned into a movie in 2016.
2016 movie ‘Assassin’s Creed’ could well serve as a cautionary tale for those adapting video games. Despite a big name star (Michael Fassbender) and a talented director (Justin Kurzel), it didn’t catch on with critics or audiences.
That isn’t stopping Netflix from planning its own adaptation, this time as a live-action streaming series.
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The company has announced that Roberto Patino (‘Westworld’) and David Wiener (‘Halo’) are teaming up to write and produce a new show set in the world of
Michael Fassbender in ‘Assassin’s Creed’ (2016). Photo: 20th Century Fox.
With more than 230 million units sold, the Assassin’s Creed franchise is one of the best-selling series in video game history.
Developed and first published by Ubisoft in 2007, The franchise focuses on a centuries-long conflict between two secret organizations: the Assassins, who fight to preserve freedom and free will, and the Templars, who believe in achieving peace through control and order.
While we don’t know exactly what elements the new show will borrow, here’s what Netflix has released as the official logline:
“ ‘Assassin’s Creed’ is a high-octane thriller centered on the secret war between two shadowy factions — one set on determining mankind’s future through control and manipulation, while the other fights to preserve free will. The series follows its characters across pivotal historical events as they battle to shape humanity’s destiny.”
‘Assassin’s Creed’ series: the showrunners speak
(L to R) Marion Cotillard, Michael Fassbender in ‘Assassin’s Creed’ (2016). Photo: 20th Century Fox.
Here’s what Patino and Wiener have said about the series they’re developing:
“We’ve been fans of Assassin’s Creed since its release in 2007. Every day we work on this show, we come away excited and humbled by the possibilities that Assassin’s Creed opens to us. Beneath the scope, the spectacle, the parkour and the thrills is a baseline for the most essential kind of human story — about people searching for purpose, struggling with questions of identity and destiny and faith. It is about power and violence and sex and greed and vengeance. But more than anything, this is a show about the value of human connection, across cultures, across time. And it’s about what we stand to lose as a species when those connections break.”
When will the new ‘Assassin’s Creed’ series be on our screens?
It’s far too early for Netflix to lock down a release date, especially with no other creative team members or cast attached yet.
But the streaming service is hoping it’ll find the same success as other video game-based shows such as ‘Castlevania’ and ‘Arcane’.
Michael Fassbender in ‘Assassin’s Creed’ (2016). Photo: 20th Century Fox.
Opening in theaters on March 14th, ‘Black Bag’ feels for all the world like Steven Soderbergh set himself and writer David Koepp the challenge of blending a thorny, John le Carré story with the effortlessly cool and stylish work the director was doing in his ‘Limey’ era.
The prolific filmmaker (who also serves as his own cinematographer and editor), has been on a real tear of late –– this is his second film in a matter of months (he had experimental ghost story ‘Presence’ out back in January –– and by any reasonable reckoning, it is by far the superior entry in his canon.
Soderbergh is most certainly on top form here, crafting a twisty, thoughtful and timely piece of drama about trust and deception, and the difficulty of maintaining a relationship when much of your life is built on lies –– either ferreting them out or maintaining them.
Having gathered one of the best casts in a while, he uses them in excellent ways, Koepp’s script providing a cluster of superb characters to get their teeth into, especially Michael Fassbender and Cate Blanchett.
It’s not a spy movie in the ‘Mission: Impossible‘ mold (the stunt budget here would probably pay for a day of craft service on a Tom Cruise film), but it’s intellectual and frisky, always keeping you on the back foot, unsure of who to believe.
Credit to David Koepp for here concocting a fascinating screenplay filled to the brim with interesting personalities and crackling drama.
We’re introduced to a group of operatives who work for Britain’s National Cyber Security Center, whose mission is to take down cyber threats to the UK and the wider world. But when the organization learns there is a mole working to get hold of their software worm known as Severus, which has the ability to integrate itself into nuclear facilities and wreak havoc, Fassbender’s George Woodhouse is tasked with sniffing out the traitor (or traitors).
Unlike, say, ‘Jason Bourne‘, George’s primary weapon here is his brain and his culinary skills (no, really) as he invites a group of colleagues to a dinner party where the secret ingredient in one dish is a healthy serving of truth serum. Along with his wife Kathryn, who might well be even smarter and more dangerous than George (and who he’s led to believe could be a mole herself), he tasks his guests with playing party games that lead to personal revelations.
But the real secret here that the fireworks are less grenades and bullets and more inner demons, as everyone has something they’re hiding and no-one is simply good or bad.
In Soderbergh’s hands, the screenplay comes to smooth, stylish life, scored with a jazzy David Holmes track that suits its near-timeless feel. Aside from some of the vehicles and the obvious tech angle, this is a story that could have been set in the 1960s without losing any of its power.
Yet the technology aspect gives it an extra frisson in this age of misinformation and shady online morals.
As we mentioned earlier, this is one of the most impressive casts assembled in a movie so far this year, and they bring the script to fizzy, emotional life.
Fassbender’s Woodhouse comes across as a combination of the intensity of his take on Magneto and the fastidiousness of his character in ‘The Killer.’ This is a committed patriot, a man who rarely lets emotion conflict with his mission. And Fassbender brings such cool effectiveness to the role, especially when a secret about his past comes to light (let’s just say his father was not the most faithful when it came to the sanctity of marriage).
Blanchett, for her part is feline cool, slinky and lethal in her way, and always keeping her intensions close to her chest. Kathryn is a clear match for her husband in skillset –– and her role is a highlight in a movie that features plenty of them.
Regé-Jean Page is Colonel James Stokes, a ramrod loyal agent who serves under Woodhouse and is dating Harris’ character. While the actor has tackled characters such as this before, Stokes is more complicated and a tinder box, ready to explode.
Naomie Harris, herself a veteran of the Bond movies (she played Moneypenny during the Craig era) is another cool customer, quirky shrink Dr. Zoe Vaughan who treats the rest of her colleagues but might be as messed up as they are. She’s utterly brilliant in the role, taking no crap from anyone but also coming across as complicated as those she oversees.
Tom Burke is all seething regret and resentment as Freddie Smalls, a formerly hotshot agent who has somewhat lost himself in addictions to various narcotics and pleasures. Burke, a chameleon of an actor, really digs into the role and is hugely entertaining.
Finally in the main cast, we have ‘Industry’ and ‘Back to Black’s Marisa Abela playing Clarissa Dubose, the youngest of the friend group, who is dating Freddie but can’t quite believe what she’s got herself into. But as with everyone else, there’s more to her than that.
But we would be remiss if we didn’t mention sterling support from Pierce Brosnan, himself a former James Bond, who has a small role but earns every moment of his screen time as Arthur Stieglitz, one of the group’s superior officers who feels himself superior in every way. It’s a great piece of casting, not just for the espionage movie tie-in.
It might not hold the sort of action antics we’re used to from Bond, Bourne or even Ethan Hunt, but if you’re a fan of the complex, knotty and well-drawn characters of le Carré, this will certainly make you smile(y).
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What’s the story of ‘Black Bag’?
‘Black Bag’ follows legendary intelligence agents George Woodhouse (Michael Fassbender) and his beloved wife Kathryn (Cate Blanchett).
When she is suspected of betraying the nation, George faces the ultimate test –– loyalty to his marriage or his country.
Moviefone recently had the pleasure of speaking with Cate Blanchett, Naomie Harris and Tom Burke about their work on ‘Black Bag’, Blanchett’s first reaction to the screenplay and exploring her character’s marriage, Harris and Burke’s characters’ motivations, and working with legendary filmmaker Steven Soderbergh.
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, Cate, can you talk about your first reaction to David Koepp’s screenplay and the opportunity to explore this intriguing marriage dynamic between George and Catherine?
Cate Blanchett: Yes, well, I’d already agreed to do it before I read the script, because obviously when you know David Koepp is writing it and Steven Soderbergh is going to direct it, you know it’s going to be a great adventure. So, then when Steven said he wanted Michael (Fassbender) to play George, I went, “Oh, that’s perfect.” But I was surprised by just how elusive their relationship was, but also how the absolute bedrock of their relationship is that they would die for each other. I find that deeply romantic, and particularly after they’ve been together a long time. They’ve clearly decided not to have children and they’re devoted to their work. But the only thing they’re devoted to more is each other. So, I think that there was an intensely romantic thing at the heart of this film, which was not something you necessarily associate with a texture in the movies that Steven makes.
MF: Naomie, can you talk about your approach to playing Zoe, and since she is a therapist to a group of spies, can she truly trust anything they say, and how does she navigate that?
Naomie Harris: Well, I think she must be two steps ahead of them. I mean, she’s immensely intuitive, insightful and hugely intelligent, as well as being a little morally corrupt and slightly unorthodox in her methods. She’s basically created her own way of working in that environment where morality rules don’t matter. All that matters are results. Are the spies mentally sound and are they staying on mission? That’s it for her.
MF: Tom, can you talk about how Freddie’s personal life is affecting his professional life?
TB: Yeah, I mean, it’s alluded to in the dialogue and in everything that happens, I suppose, as well. You do feel like amid what must be an incredibly careful and focused skill set for his career, that there’s a completely improvised element of his own life that involves drinking, drugging and an awful lot else. That’s very interesting to play because it seems like a paradox, but also it makes sense that somebody like that might be drawn to a high-risk career. It’s to kind of accommodate that need or that drive.
MF: Tom, as an actor, what is it like being on a Steven Soderbergh set? What was he like to work with as a director?
TB: He has an amazing understanding of how to optimize what his actors are bringing to each scene and it’s not least to do with energy and time. I don’t know if I’ve ever seen that handled quite so caringly or felt that handled quite so caringly.
MF: Cate, you’ve worked with Steven Soderbergh before, how was this experience similar or different than the last time you worked together?
CB: Well, we’d worked together years ago on a film called ‘The Good German’, which I think about three and a half people saw. But which Steven has said is one movie he was so completely happy with, and it was such an interesting experience for me. So, it was just a deepening of that experience. He’s so economical and so relaxed while he gives time to people to do what they do. So, he’s very respectful to every single department and grateful to every single department who are working towards making the movie great. What he doesn’t have any truck for is people who are lazy and unprepared. So, he makes you really want to bring your best for him. You want to be ready. If you say to him, “I need to go again”, he’ll go, “Don’t worry about it, I’m only going to use those four frames,” because he’s editing in his head. I mean, he’s like a machine with the biggest heart. You know, he really cares about the actors that he works with and every single member of the crew. So, before I worked with him, I don’t think I could even imagine that those two parts of a cinema artist could coexist as beautifully as they do in him.
MF: Finally, Naomie, what surprised you about working with Steven Soderbergh?
NH: I think one of the shocking things for me about working with Steven was just how much freedom he gives to actors. He truly casts well and then he completely trusts you to make of the characters what you will. I’ve never had that much liberty. So, in the beginning I was really intimidated by it. But then it’s such a liberating and an empowering experience where you’re just like, this person believes in me so much that I can make any choice that I want. So, I really learned a lot from working with him.
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What’s the story of ‘Black Bag’?
‘Black Bag’ follows legendary intelligence agents George Woodhouse (Michael Fassbender) and his beloved wife Kathryn (Cate Blanchett).
When she is suspected of betraying the nation, George faces the ultimate test –– loyalty to his marriage or his country.
Yet he’s already putting the pieces together for another film, and it features another batch of exciting actors, with legendary writer David Koepp also on board.
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What are the details of Steven Soderbergh’s next film?
As originally reported by Jeff Sneider at The InSneider newsletter, ‘Black Bag’ is now out to studios and other potential backers, so any forward progress will depend on a deal for financing and distribution. But given the talent involved, we don’t think that’ll be a problem.
The aim is to shoot this one in May in London, which confirms a U.K. setting, but other details including the plot are being kept quiet for now.
‘Black Bag’ would reunite the director with two actors, who appeared in different past projects for him –– Blanchett was among the leads of 2006 noir ‘The Good German’, while Fassbender was a key part of the cast for 2011’s action thriller ‘Haywire’.
And Koepp is also a previous collaborator with the filmmaker. The writer, famous for the likes of ‘Jurassic Park’ and the original ‘Mission Impossible’ (among a long list of credits), wrote ‘Kimi’ for Soderbergh, which was released via streaming service Max in 2022, and also worked on ‘Presence’.
This is just the latest secretive high-profile project featuring a big-name director and potential cast, as Ryan Coogler has a project with Michael B. Jordan attached to star that is generating plenty of interest.
Is Steven Soderbergh returning to the ‘Ocean’s’ franchise?
(L to R) George Clooney, Matt Damon, and Brad Pitt in 2004’s ‘Ocean’s Twelve.’
Soderbergh’s busy schedule certainly seems to point to the idea that he won’t be making any more ‘Ocean’s movies after directing the trilogy and being an executive producer on ‘Ocean’s Eight’ (which co-starred Blanchett).
And indeed, when asked by Variety whether he’d return, he was quick to shoot down any such idea.
Here’s what Soderbergh said a few days ago:
“After we made the third movie, I felt like the series was very much concluded for me. When the studio approached me to see if I’d be involved in continuing the franchise, I told them no, because it just doesn’t feel like a move forward for me. I’m chasing something else.”
Now we know what else…
Steven Soderbergh, winner of the Best Director Oscar for the film ‘Traffic’ poses for a photo backstage at the 73rd Annual Academy Awards March 25 in Los Angeles.
Opening in theaters on November17th, ‘Next Goal Wins’ is the latest movie from New Zealand filmmaker Taika Waititi and sees him deploying a familiar blend of sweet and silly.
In the past few years, Waititi has spent his time flip-flopping between the giant likes of Marvel movies (he directed 2017’s ‘Thor: Ragnarok’, which was a resounding success and last year’s ‘Thor: Love and Thunder’, generally seen as less of a hit) and the territory at which he has excelled, the low-key comedy.
This new effort, which Waititi actually shot before ‘Love and Thunder’, got caught up in the bizarre Armie Hammer sex text scandal, which resulted in the actor being replaced in the film by Will Arnett, with scenes re-shot to accommodate the change.
Yet with extra time to noodle on the movie, has the usually reliable (and Oscar-winning) filmmaker scored a winner? The answer is yes and no.
‘Next Goal Wins’ was always going to be tricky proposition given its soccer content (a sport that, while it has vastly grown in popularity in the States, in large part to the efforts of its women’s national team is still sometimes niche entertainment.
Yet the focus here is on the personalities and the underdog spirit of the natives of American Samoa, who for years had the reputation of the worst national soccer team in the world (well earned, since they could seemingly not score a goal –– and lost 31-0 to Australia in a world cup qualifier back in 2001.
What could have been seen as mocking of small-town (or island mentality) is instead a warm embrace –– not that anyone would have expected that of the director with some Māori in his family background and who makes strides in representation.
Because the movie is based on the 2014 documentary and references real-life events, there are only so many paths he could have taken with this one, but the road he chooses to travel is genuinely funny and moving places, even if it can feel familiar at times.
Waititi wrote the script with Iain Morris, an English writer who created British sitcom ‘The Inbetweeners’ and collaborated with the director on HBO’s ‘Flight of the Conchords’. The combination works here; it all feels very much in the Waititi style and comedy patter, featuring lots of undercutting of moments and confounding expectations. It chugs along at a fair pace, though at an hour and 45 minutes, there are moments that could still have been trimmed.
Sometimes, though, like Rongen’s habit of cribbing from other speeches to power his own motivational locker room talks, Waititi and Morris do end up borrowing from other, better movies from the genre and the style to find meaning and heart in the movie.
There are some very expected steps here, and not every plotline hits its mark. The interaction between Rongen and transgender player (Kaimana) turns nasty at one point, fueled by Rongen’s frustration with the team’s lack of ability, and he calls her by her old, “registered” name. The incident is soon glossed over and is never really addressed again. Though the two do have a touching/inspirational moment later in the film, it feels like an untied thread.
In terms of the directing style, Waititi largely lets the story lead the flow of the film and has the benefit of some beautiful locations (albeit in Hawaii, not American Samoa).
Michael Fassbender is the driving force of the film, showing off some solid comic chops and making you believe in Rongen’s arc as he evolves from frustrated former pro to happy coach.
But the various players all have a moment or two to shine, with newcomer Kaimana proving more than up to the challenge of the conflicted Jaiyah, who is struggling with her own gender identity and confidence issues. There’s also great work from the likes of Oscar Kightley as the endlessly positive Tavita, president of the local island’s football association (not to mention also restauranter and cameraman for the local TV show that interviews notable people arriving at the airport).
And, of course, Waititi regular Rachel House makes an impact as Tavita’s wife, Ruth, the power behind the throne.
The more famous actors, such as Elisabeth Moss and Will Arnett, largely take a backseat (Moss’s character in particular is mostly thankless), but another Waititi repeat collaborator, Rhys Darby has a fun moment near the start.
There is plenty of gentle joy to be found here. ‘Next Goal Wins’ definitely won’t be accused of being startlingly original or game-changing in any way, but it fits perfectly into the director’s canon of movies such as ‘Hunt for the Wilderpeople’ and ‘What we Do in the Shadows’. It can’t compare to either or those (or his award-winning ‘Jojo Rabbit’), but it’ll certainly be the cause of a few smiles and one or two tears.
If this is the result of Waititi taking more time away from the MCU, then the audience is the real winner.
‘Next Goal Wins’ receives 7 out of 10 stars.
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What’s the story of ‘Next Goal Wins’?
Loosely based on a true story (first chronicled in a 2014 documentary of the same name), ‘Next Goal Wins’ looks to tell a heartwarming underdog tale.
The American Samoa soccer team suffered the worst loss in World Cup history, crashing out to Australia 31-0 in 2001. With the 2014 World Cup approaching, the team recruits down on his luck, maverick coach Thomas Rongen (Michael Fassbender) to help turn their fate around.
Who else is in ‘Next Goal Wins’?
The ‘Next Goal Wins’ ensemble also includes Oscar Kightley, David Fane, Rachel House, Will Arnett, Elisabeth Moss, Chris Alosio, Rhys Darby, Kaitlyn Dever and Waititi (who pops up a couple of times as a local priest).
On Netflix beginning November 10th, ‘The Killer’ marks David Fincher’s latest collaboration with the streaming service, a methodical revenge thriller that sees Michael Fassbender as the title figure, a man on a mission after his latest job goes awry.
As per usual with Fincher, this is as carefully constructed as its central character, though it might leave some wishing for a little more excitement in places.
The last time David Fincher shot something for big (and ultimately small, given Netflix’s cinema-then-server policy with its big movie scores), we got ‘Mank,’ which felt like something different for the director.
That one was bursting with huge personalities, a romantic storyline and a compelling if cynical love for old Hollywood. For ‘The Killer’ however, Fincher has dialed the needle back to his more usual stock-in trade, cold-blooded, full-power cynicism.
This is a man, after all, who made the likes of ‘Se7en’, ‘Fight Club’ and ‘The Social Network’, which all blended his rigorous approach to filmmaking with compelling characters at their heart. Michael Fassbender’s unnamed central figure here just about fits into that category with his various quirks and occupational theorizing –– you might find yourself, however wishing for something more to connect to.
‘The Killer’ reunites Fincher with one of his best collaborators, Andrew Kevin Walker, who wrote the screenplay for ‘Seven’. The pair relishes the chances to take another shot at poking around the darker, grubbier corners of life. Though their previous team-up focused on the law enforcement side of things, this new outing is firmly on the side of someone breaking the rules, albeit with his own strict code.
Walker’s script is precise and darkly funny in its way, primarily comprised of internal monologues from Fassbender’s fastidious assassin, who has several repeating mantras, including about anticipating not improvising, and how empathy is weakness.
While we spend most of our time with the character, there are the bursts of activity once his latest job goes bad and the repercussions hit close to home for him (though you do find yourself wondering why someone who seems to against connections in the world because of the baggage they bring was able to make some).
And as usual with David Fincher, the direction is beyond reproach, starkly color washed and full of interest in every frame. As Fassbender’s killer goes globe-trotting on his vengeful quest, we’re treated to some fantastic sights, including fancy restaurants and a billionaire’s very private (though not quite enough) penthouse.
He finds a way to bring the character’s world to life with his usual dark vibrancy, all metallic sheen and well-composed frames. Not a shot is wasted, and the craft at work is clear. The idea that the killer uses music from The Smiths to blot out the distractions of the world is an interesting one (perhaps, given his pessimistic worldview these days, Morrissey might even appreciate it) and adds another subtle layer of humor.
The director’s regular musical team Trent Reznor and Atticus Ross meanwhile, provide a subtle score that complements the visuals.
Michael Fassbender is at the core of this film, his dry (by choice and need) delivery of the killer’s monologues given just the right amount of snark. And when called upon to show his particular set of skills, the actor (who was lured out if a long break from acting for this juicy role) is more than up to the task, watchable when in silent preparation for an assassination or throwing down with a hulking henchman.
There’s also the chance for him to face off against some great actors, his encounter with Charles Parnell’s lawyer/boss/mentor figure one for the ages and, without giving too much away, involving creative use of a nail gun.
Tilda Swinton, meanwhile, is able to prove she’s still among the best, interacting with our man in more cerebral fashion, telling a solid joke about a hunter and a bear and ultimately coming across perfectly as someone who has found that putting their morals and ethics aside was surprisingly easy when the pay is right.
Elsewhere, the smaller roles are effectively filled, even as you mostly just view them in relation to Fassbender. As he tends to, the director has a good eye for interesting people in supporting roles, filling out the world in such a way as you believe it.
This new David Fincher movie will certainly please his regular fans, even if it doesn’t always quite live up to the standards of previous work. There’s a cold aloofness here that might also turn off more casual viewers (though if you’re sitting down to watch a movie called ‘The Killer’, you likely know what you’re in for).
The opening segment (the movie is split into neatly organized chapters, which would surely appeal to the persnickety pistol packer) at its heart is entertaining but does require a patience level as high as our antihero, since it truly takes its time to get to the point.
Still, if we can’t have more ‘Mindhunter’ on Netflix, at least it’s reassuring to know that David Fincher is keeping busy, and this also represents a welcome return for Michael Fassbender. Completely on target? Not always, but certainly well aimed for the most part.
‘The Killer’ receives 7.5 out of 10 stars.
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What’s the story of ‘The Killer’?
An unnamed man in unremarkable clothes, The Killer (Michael Fassbender) watches from the floor of an empty office, across from the plush apartment of his target, rifle at hand. Measured, controlled, he takes every step to ensure the job goes flawlessly…
It doesn’t.
The Killer flees, following his strict personal mantra of dispassionate action. But his employers want him erased. By attacking his home, they disturb his sanctuary and, with it, his sense of self. This – he will not abide, traveling through the Dominican Republic and the United States, eliminating anyone who might disrupt his hard-won peace again.
It’s an “X-Men” reunion — Alexandra Shipp, who played Storm in “Dark Phoenix,” is joining Michael Fassbender (Magneto) in “Kung Fury 2.”
Deadline reports the actress will join the cast of the film, which comes from writer/director David Sandberg. The movie will also feature Arnold Schwarzenegger and David Hasselhoff.
“Kung Fury 2” is the follow-up to Sandberg’s YouTube short, “Kung Fury.” The action-comedy is set in 1985 Miami, which is kept safe under the watchful eye of Kung Fury, the greatest cop of all time. His Thundercops are the ultimate police force assembled from across history to defeat the villainous Kung Fuhrer, Adolf Hitler.
After the tragic death of one of their members causes the group to disband, a mysterious villain emerges from the shadows to aid in the Fuhrer’s quest to attain the ultimate weapon. Kung Fury must travel through space and time to save his friends, defend the prestigious Miami Kung Fu Academy, and defeat evil once and for all.
Shipp is replacing Eiza Gonzales in the film. She’ll play Rey Porter, a news anchor who will do anything to get the best story.
Michael Fassbender will produce and star in the Lionsgate spy thriller “Malko,” based on Gerard de Villiers’ S.A.S. series. The studio plans to turn the series into a film franchise. (Let’s hope that goes better than, say, Universal’s “Dark Universe.”)
Lionsgate has secured rights to de Villier’s catalogue of espionage thrillers, which includes more than 200 books.
The S.A.S. franchise follows Malko Linge, an Austrian nobleman and freelance CIA operative who spent his formative years in a special Nazi work camp for captured spies. Malko is described as a gentleman warrior without a country who works according to his own moral code.
The first film will largely be based upon de Villier’s 1975 book “Checkpoint Charlie.”
Sounds right up Fassbender’s alley: The German-born actor just presumably played Erik Lehnsherr/Magneto for the last time in “Dark Phoenix.” And he first came to our attention as a spy pretending to be a Nazi in Quentin Tarantino’s “Inglourious Basterds.”
Eric Warren Singer (an Oscar nominee for “American Hustle”) will write the screenplay.
First, Fassbender is starting work on David Sandberg’s action-comedy “Kung Fury,” which goes into production later this summer.
In the “X-Men” movies, it’s never clear when our heroes’ mutant abilities show themselves. And in the case of our very own Ms. Moviefone Grae Drake, those abilities sprouted while she was interviewing the cast of this weeks’ “Dark Phoenix” — including Michael Fassbender, James McAvoy (what is he saying?), Sophie Turner, and Jessica Chastain. Watch the latest mind-bending episode of The Ms. Moviefone Show below and go see “Dark Phoenix” in theaters now!
With “Game of Thrones” ending, Peter Dinklage is moving on from Westeros.
Dinklage, Michael Fassbender, and Jamie Foxx are in early talks to star in Mel Gibson’s remake of “The Wild Bunch,” according to Deadline.
Sam Peckinpah’s 1969 original told the story of an aging outlaw gang looking to pull off one final score. At the time, the film was controversial for its graphic depiction of violence, but was nominated for two Oscars, original screenplay and score.
Gibson co-wrote the screenplay with Bryan Bagby; it will be Gibson’s first directorial gig since 2016’s “Hacksaw Ridge,” which won two Oscars and was nominated for Best Picture and Director.
Fassbender can next be seen reprising his role as Magneto in “Dark Phoenix” this summer. Foxx will play George Jefferson in ABC’s live tribute to “All in the Family” and “The Jeffersons” next week. And Dinklage will play Tyrion Lannister once last time in the series finale of “Game of Thrones” on Sunday.
