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  1. Give your ratings the the very last movie you saw. You can rate it out of 10. You might also write a small review. Here goes Smashed(2012) Rating 7/10
  2. Alright ladies & fellas , we are looking for the best Film Director of ''IS'' :cool: , Please feel free to share ur thoughts with us ! Who is ur favourite Director? Don't forget to use ur vote! I'm stuck between Steven Spielberg and Stanly Kubrick , but my vote goes tooooooooo '' Steven Spielberg '' Regards.
  3. Hello Guys I would like to find out ur favorite horror Movie. Please share your thoughts here so i starts from mine its Evil Dead :shock:
  4. The following story contains spoilers for Inferno, both Dan Brown's book and the Ron Howard movie on which it is based. Stop reading now if you don't want to get into the ending of Brown's latest story. Harvard symbologist Robert Langdon is back in action this weekend when Inferno hits theaters, and it reunites Tom Hanks with Ron Howard for the third time. Langdon and Dr. Sienna Brooks (Felicity Jones) are racing the clock to unearth a man-made plague that threatens half of the planet's population... and the way the movie handles the resolution is VERY different from the way it's concluded in the book. STOP reading now, again, if you don't want to know. In the book, Langdon fails to prevent the virus from being released. But he learns, through the World Health Organization, that it's a vector virus, meaning that it will only trigger DNA modification to cause sterility in one-third of our planet's population. It's a grim, but realistic, ending to the book, and one that the movie jettisons. Ron Howard opts for a happy ending where Tom Hanks and his team reach the bomb and stop it from exploding. Problem solved. During an exclusive press event in Florence, Italy, I was able to ask Dan Brown about the change, and why he allowed it, and he told me: Anytime you're going to adapt a novel into a movie, a movie that is not 25 hours long, some things are going to have to be simplified. I know that the novel had a subtle, ambiguous ending. This was much more direct, right to the point of it. [But] I'm very lucky. I'm working with great filmmakers and I can just sort of sit back and know that I'm in good hands. Also, my expertise is not movies. I write novels.... I saw the first draft and said, 'Hey, the ending is different. And they said, 'Yep.' And that was pretty much the conversation. By this point, Dan Brown sounds like he trusts his filmmaking collaborators. And to their credit, Ron Howard and Tom Hanks were largely faithful in their adaptations of The Da Vinci Code and Angels & Demons (though a few exciting moments ended up on the cutting room floor). Howard's thoughts on the matter suggest that Dan Brown's ending wasn't as cinematic as he had hoped, and that while it fit the book, he needs to be more focused -- as the film's director -- in delivering a satisfying movie-going experience. Here's Ron Howard telling me why they changed the ending of Inferno from the book to the movie
  5. Modern comic book movies tend to rely on certain tried and true structures to work. Wade Wilson said it best in Deadpool; there are origin stories, and more lucrative ensemble films. However, a fundamentally different superhero movie like Justice League Dark requires a fundamentally different approach to the genre. That's something that Doug Liman has recognized, and he fully intends to turn the comic book genre on its head with the upcoming gothic DC adventure. The director explained: I get asked to come in and do things that are 'unconventional.' If people want conventional, they don't come to me. It's why doing Invisible was like right up my alley -- because how can you be conventional when there aren't even conventions that exist? And so you know when Warner Bros. wants to sort of turn the comic book genre on its head, they call me. While speaking with IGN about his involvement in the upcoming Justice League Dark film, Doug Liman explained that the very nature of his involvement in the movie means that the project will buck traditional comic book movie norms- something that excites him. Due to the fact that he's generally not known for doing "conventional" films, Warner Bros. clearly tapped him in order to properly ensure that Justice League Dark will look and feel unlike anything we have seen from other major comic book franchises. If they wanted a typical superhero film, they would've approached another director. A simple look at Doug Liman's filmography will definitely sell you on that idea; his action films generally tend to be anything but formulaic. From the massively underrated Edge of Tomorrow, to The Bourne Identity (which was insanely innovative, despite its constant imitators), Doug Liman has proven time and time again that he has a knack for approaching stories and characters from bizarre new angles. With an ensemble film like Justice League Dark on the horizon, it seems likely that he's about to fundamentally alter the superhero movie formula. In the face of mounting superhero fatigue, we are completely fine with that. Of course, if any comic book property inherently requires that type of approach, it's Justice League Dark. Despite the similar name to DC's most iconic superhero team, Dark eschews capes and cowls for paranormal threats and gothic sensibilities. Comprised of darker (obviously) characters like John Constantine, Swamp Thing, Deadman, and Zatanna, the team takes on supernatural entities that characters like Superman and Batman would never be able to handle. Justice League Dark is not Justice League; it's not even Suicide Squad. It's much more niche property, and Doug Liman seems to have a solid understanding of that fact. If Doug Liman sticks to this promise, then we can likely expect Justice League Dark to become one of the most fascinating and off-kilter superhero movies of all time. We will keep you posted as more details become available; Justice League Dark does not have an official release date yet.
  6. In an era defined by interconnected universes, sequels, and prequels, spin-offs have become an increasingly prevalent sight on the silver screen. That being said, we really never expected that The Big Lebowski would ever receive an offshoot of its very own. It looks like we were wrong. We've just received a look at the upcoming Lebowski spin-off, Going Places, and it appears that Jesus Quintana will once again lace up his bowling shoes. Check out the photo below to see for yourself. First Look: John Turturro Bowls Again in 'Big Lebowski' Spinoff 'Going Places' — THR Movies (@THRmovies) October 28, 2016 Our first good look at Jesus Quintana from Going Places has just surfaced on Twitter, and it's already abundantly clear that John Turturro's legendary character really has not changed very much since the days of The Big Lebowski. He's still an energetic and oddly charismatic deviant who seems to love thrusting his pelvis in an incredibly expressive manner. And yes, his passion for bowling remains as intense as ever. Was there ever any doubt? Although The Coen Brothers are not involved in the production of Going Places, John Turturro's status as the film's director and writer bodes incredibly well for the future of Mr. Quintana. Turturro famously created many of Jesus' iconic mannerisms during the production of The Big Lebowski, so the fact that he has taken the creative reins on Going Places seems like a solid indication that the character will soon be fleshed out in some seriously awesome ways. As long as he's still the same old fast-talking, strike-scoring bowler, we will be happy. Going Places will reportedly take the mythology of the Jesus in a wildly different direction compared to what we've seen before. The spin-off will center on a trio of sexually promiscuous eccentrics whose reckless attitudes towards basic decency eventually get them into trouble with the law. What follows is a story of life on the lamb as they struggle to escape the wrath of a violent hair stylist. If you thought things were going to become normal after the events of The Big Lebowski, then you were certainly mistaken. Oddly enough, Going Places serves as both a spin-off and a remake. While the film clearly takes place within the Lebowski universe, it's also a remake of a French film of the same name. In addition to John Turturro, the film also stars Bobby Cannavale, Audrey Tautou, and Susan Sarandon.
  7. Roger Moore has never been afraid to talk about James Bond, despite the fact that the last time he donned a suave suit and drank a martini (shaken, not stirred) was in 1985's A View To A Kill. The 89-year-old clearly still feels protective over the character, which is why he always seems wary about any possible alterations to 007. So when he was recently asked whether or not James Bond could ever be portrayed by a woman, he was adamant that couldn't be the case. He was still all for a female version of the spy having her own franchise, though. After touting the likes of Aidan Turner and Tom Hiddleston as potential new James Bonds, Roger Moore has then asked by TalkRadio (via The Huffington Post) about the possibility of a female incarnation. To which he responded: You could have a female, a Jane Bond, but it would have nothing to do with James Bond. No, Bond is Bond. Since Sony currently own the rights to the James Bond franchise, and recently encountered huge problems trying to reboot the Ghostbusters franchise with an all female cast, it's highly unlikely that they would be chomping at the bit to experiment with Jane Bond. This will be devastating news to the hoard of James Bond fans that are eager to see a woman be given the chance in the role, which has only ever been portrayed by six male actors. X-Files actress Gillian Anderson recently led the charge for 007 to be reimagined as Jane Bond, taking to Twitter to post the following picture that instantly garnered support: At the moment there isn't actually a position available, as earlier this month Daniel Craig hinted that he'd want to return for a fifth time as James Bond. There had previously been rumors that Craig would leave the role after Spectre, which failed to match either the box office or acclaim of its predecessor Skyfall- especially because of comments he made about how strenuous it was filming the blockbuster. But a more sobering Daniel Craig admitted at the start of the month, "I've got the best job in the world doing Bond," before adding, "If I can keep getting a kick out of it, I will." It's also been rumored that producer Barbara Broccoli is so intent on Daniel Craig returning for another outing as Bond that she's willing to pay him $150 million to do so, figures that Craig himself has debunked. Even if Daniel Craig doesn't return, Tom Hiddleston is still the odds on favorite to replace him in the role, despite the fact that the likes of Emily Blunt, Felicity Jones, Emilia Clarke, Carey Mulligan, or Daisy Ridley would be just as good, probably better.
  8. With Whiplash, Damien Chazelle revealed himself to be a red-hot filmmaker worthy of keeping an eye on. However, his follow up, the joyous and infectious La La Land, immediately elevates him to a different class. Suddenly, Chazelle looks like a magician, weaving an impossibly skillful musical romance on the big screen that's both classic and contemporary, urban and celestial. And Chazelle actually drops the mic in the opening moments of La La Land with a jaw-dropping, splashy and majestically staged musical number in the middle of a Los Angeles traffic jam. I honestly can not wait for you guys to see this sequence on the big screen. It's mesmerizing, and you will be shaking your head wondering HOW Damien Chazelle managed to film this incredible, eye-popping musical number on an L.A. freeway. But during a recent conversation with Chazelle at the Savannah Film Festival, where La La Land played in competition, the director actually dropped a bombshell of his own: the sequence that people can't stop talking about almost didn't make it into the movie at all. That's right. There was a cut of La La Land -- that existed recently, according to Chazelle -- that didn't include the traffic jam musical sequence. Which, after you have seen it, you will know how ludicrous that sounds. But the way Chazelle explains it to me: That's the irony with that number. We used to get into [the movie] differently, and there used to be like an overture with opening credits and then we saw Ryan [Gosling] and Emma [Stone] before the number began. I'm trying to remember... yeah, that's right, we sort of dipped down initially into seeing Ryan and Emma, and then we kind of veered off away from them, and then the number happened. Then we caught up with them again. So there was this whole thing, basically, that we lopped off. Yeah, that was all in the edit. That's, the first few cuts of the movie, that's how it was. And that's how it had been in the script, literally since 2010. It had always been that kind of thing. And it was just wrong. And it was wrong for various reasons. It felt like two, weirdly two overtures back to back. Because the traffic number kind of operates in a way as an overture. And it also felt like, 'Why are you introducing your characters here instead of here?' And all these things that now seem to be so obvious, but didn't seem obvious in the writing or the filming. As a result of that, in that early part of editing, the opening traffic number didn't feel that great. It felt like, it felt just, like what is this. I think because it wasn't the opening of the movie, it didn't feel like it served any purpose. And so we cut it, and we wound up... I think for a few months, probably, living with it gone completely from the movie, thinking it would probably always be gone from the movie. Which makes it really crazy -- I guess, rewarding to me -- that like, you know, we ultimately went back to putting it back in, and once we realized, 'Ah, ok, here's a way that we can make it work,' we realized that the movie ultimately didn't work without it, because you need to announce that you're a musical off the bat. And it just made every other musical number, without it, every other musical number suddenly felt very different and very fake. Because you needed to kind of announce the full maximum potential of the 'musicalness' of the movie in order for the rest of the stuff to feel natural. So we put it back in, but completely rejiggered how we got into it. And lopped off a bunch of stuff before it, and then suddenly, it worked. And so now, it's just so funny, like when, the fact that as you say, it's one of the questions I get asked the most. It's so funny that this almost wasn't in the movie. This still blows my mind. Once you are able to see La La Land in a few weeks, the opening number, set to the rousing "Another Day of Sun," will have you smiling, stomping your feet, bouncing in your chair and wondering how the hell Damien Chazelle pulled it off. The reality that he almost pulled it out of his movie, altogether, is lunacy. We can only celebrate that cooler heads prevailed. La La Land is a contemporary musical set in Los Angeles, and stars Emma Stone and Ryan Gosling as a struggling actress and jazz aficionado, respectively, who fall in and out of love. It has been busy on the film festival circuit, but will open in theaters on December 9 (limited) before going wider on December 16.
  9. Doug Liman's Edge of Tomorrow (or Live. Die. Repeat.) was one of the most underrated action films of 2014. A time-bending sleeper hit, the sci-fi gem messed with our brains by introducing audiences to Tom Cruise's Bill Cage -- a coward who suddenly finds himself endowed with the ability to Groundhog Day himself into an action hero during an apocalyptic alien invasion. That's about as high-concept as science fiction can get, but now it seems that Liman has huge plans to mess with the film's continuity in the sequel... which is actually a prequel?. He explained: That is the only sequel that I'm considering doing, and it's because first of all the story is so amazing---much better than the original film, and I loved and loved the original film---and second of all, it's a sequel that's a prequel. ... I had these intellectual ideas on how you should make a sequel that are unlike how anybody else makes a sequel, and this script and this idea fit perfectly into that idea. So it's gonna revolutionize how people make sequels. And again that's why I try to do things like Invisible that are just, the revolution's sort of built into the idea. It's more heresy in the film world for me to pitch things that are sort of unheard of. During a recent conversation with Collider about his new VR series Invisible, Doug Liman addressed his highly anticipated Edge of Tomorrow sequel to provide updates on the project. Although he played pretty coy with the specific details about the film, he made it abundantly clear that he really wants to break the mold with Edge of Tomorrow 2. While most follow-up installments progress a given story by taking a film's narrative either forward or backward in time, Edge of Tomorrow 2 will seemingly do both, and operate as "a sequel that's a prequel." Okay, Mr. Liman. You have our attention. Do we have any real idea as to what that means? Absolutely not. Are we excited about the prospect of it? Obviously. It's already incredibly clear that Doug Liman has a passion for this sequel (it's the only one he wants to commit to right now), as earlier today we even reported that he has remained vocal in his belief that Edge of Tomorrow 2 will be a game-changer in the realm of Hollywood sequels. Given what we already know about the Edge of Tomorrow universe, it seems that Doug Liman may double down on the time-bending qualities of the world established in the first film. Edge of Tomorrow introduced an incredibly bizarre alien threat to Earth in the form of an extraterrestrial hive mind with the ability to manipulate time. With that sci-fi trope already established, the next installment in the franchise could take place before, after, or during the events of the first film -- or even all of the above. The original Edge of Tomorrow ended with a fairly definitive conclusion, so going back in time may simply be the only logical way to progress the story in a meaningful way. As long as we get more of Emily Blunt as the Full Metal Bitch we will be happy.
  10. I hope you're having a good Friday, because depending on your opinion of reboots, you're either about to have a really good one or a really bad one. It was just announced that Nu Image/Millennium Films are plotting to reboot the action franchise Rambo with an all-new star in the title role. Series star Sylvester Stallone will not return as the title character (not that he wanted to). According to The Hollywood Reporter, the reboot will continue the franchise's confusing title pattern and will be called Rambo: New Blood. It's unknown if Stallone will be involved in the project as a producer (or have a cameo), but a younger actor will take up the mantle. The producers are comparing the character to being similar to James Bond, presumably meaning that they can cast anyone as Rambo whenever they need to and people will just shrug and say "okay." Brooks McLaren will write the screenplay, while Ariel Vernon is tapped to direct. Brooks McLaren doesn't have much to credit him with just yet, but he seems to have experience in the action genre. He first came onto the scene with the screenplay for How it Ends, a post-apocalyptic survival film that made the 2010 Black List. One of his in-development projects is the action thriller Line of Sight, which is being developed by Ben Affleck for Warner Bros -- which gives McLaren some good street cred. Ariel Vernon is arguably best known for directing The Iceman, a crime drama with Michael Shannon. His latest film, Criminal, premiered just this year starring Kevin Costner as a brain-swapped Ryan Reynolds alongside Gal Gadot. Based on the book First Blood by David Morrell, the first Rambo burst into theaters in 1982 starring Stallone as a struggling veteran. Despite delivering the usual high doses of adrenaline and gun fights, the movie offered a surprising look at the effect of war on Vietnam veterans. The sequel, Rambo: First Blood Part II, was a massive success and cemented the character as an action icon. He would go on to hit the big screen again in the simpler titled Rambo III before Stallone returned to the role for what is now the last time in 2008's Rambo. The project is still in the infancy of development, so there are no details on the plot. Assuming that the point of the reboot is to set a younger Rambo in a modern time, then it could aim to replace the Vietnam War with, say, the Iraq War for a more relevant commentary. That COULD be good, but it's all up in the air at this point.
  11. Hollywood. We already saw an all-female Ghostbusters earlier this summer, and a female-driven Ocean's Eleven will hit theaters in 2018. Now it seems that another classic franchise will get the gender-bending treatment. Not only is Channing Tatum taking on the role of the mermaid (merman?) in the upcoming Splash remake, but Tom Hanks also has an idea for how he could return to really make it a truly progressive love story. He explained: Look, I think if they were really going to be bold, I would come back as Allen Bauer, and I would go off with Channing Tatum. That would be a bold movie. And I am suggesting it right now. According to a new report from People, while attending the Inferno premiere in Los Angeles earlier this week, Tom Hanks addressed the upcoming Splash remake and suggested a way to get himself involved in the project. By his own estimation, a genuinely bold move for the franchise would be for Hanks to come back as Allen Bauer so a romance can blossom between him and Channing Tatum's gender-swapped version of Daryl Hannah's mermaid. This would obviously represent an enormous change from the original film -- which focused on a heterosexual romance between a man and a female mermaid -- but Tom Hanks seems to think that it's the type of move that would really sell a modern version of Splash. You know what? We're on board with this idea. It's 2016, dammit. The man/merman love story is an underused storytelling device these days. It's definitely not outside the realm of possibility for Tom Hanks to return in the upcoming Splash remake, even if it's just a cameo. With Ron Howard returning to work on the long-awaited sequel, it seems incredibly likely that he would seek to capitalize on his longstanding work relationship with Hanks. Even if Allen Bauer doesn't return to fall in love with the brand-new male mermaid, it would seem like a wasted opportunity to not include Hanks in the film in some capacity. At this point, the possibility of Tom Hanks returning to the Splash universe to fall in love with Channing Tatum feels fairly unlikely, but it's definitely an idea that we can get behind as fans of the original that want to see something new. We will bring you any and all relevant details related to the development of the upcoming Splash update as more information becomes available to us. The remake does not have an official release date yet.
  12. The movie world is still in shock at the revelation that Tim Miller will no longer be directing Deadpool 2. But, as the old adage goes, the show must go on, which is why various filmmakers are already being linked with the coveted position. It had previously been speculated that John Wick's David Leitch was in pole position for the job, but now two further names have been added to the short-list in the shape of Drew Goddard and Magnus Martens. Deadline were quick to insist that while David Leitch is still the favorite for the Deadpool 2 directing gig, 20th Century Fox also wanted to meet with a few more filmmakers to hear what their visions for the blockbuster would be. First on this list was Drew Goddard, who earlier this year was nominated for an Academy Award for his screenwriting efforts on The Martian, an accolade that ultimately went to Adam McKay and Charles Randolph for The Big Short. Drew Goddard's work as a screenwriter has been hugely impressive, as he's scribed on the small-screen for the likes of Buffy The Vampire Slayer, Angel, Alias, Lost, and, most recently Daredevil, which he created. He also has some inpressive film credits, like Cloverfield, The Cabin In The Woods, and World War Z, plus The Martian. Goddard has been looking to move into feature film directing for quite a while now, having helped to executive produce 10 Cloverfield Lane, as well as directing the pilot of The Good Place for NBC, too. In fact he was originally supposed to oversee the Amazing Spider-Man spin-off Sinister Six for Sony, only for Marvel to come in, reboot Peter Parker and add him to their universe. Meanwhile, Magnus Martens has been earning rave reviews for his work on Luke Cage for Marvel over on Netflix, which earned him the right to pitch his vision for Deadpool 2. The Norwegian director has overseen episodes for the likes of Agents Of S.H.I.E.L.D., Power, 12 Monkeys and Banshee, too, while his 2014 Norwegian action film, Jackpot, is currently being remade with Will Gluck directing and Mila Kunis starring. For the time being at least, though, David Leitch remains the front-runner to replace Tim Miller in the Deadpool 2 hot seat. After working as a stuntman in Hollywood for over 20 years, David Leitch made the leap behind the camera with 2014's John Wick. Roundly and rightly adored because of its high-octane action, John Wick made $86 million and a sequel was soon green-lit. However, David Leitch has decided just to return as producer on John Wick: Chapter 2, leaving solo directing duties to Chad Stahelski, who he shared them with on the original. Instead, David Leitch moved onto The Coldest City, an action thriller set in Berlin on the eve of the Wall's collapse, which stars Charlize Theron, James McAvoy, John Goodman and Sofia Boutella. The Coldest City will be released on August 11, 2017.
  13. Following in the footsteps of Batman v Superman: Dawn of Justice's Ultimate Edition, Warner Bros announced at the beginning of October that Suicide Squad would receive its own Extended Cut release, adding 13 minutes of extra footage to the movie. Many fans have speculated that this will include some (or maybe all) of Joker's deleted material, and a new trailer is out that provides a better idea of which excised scenes featuring the Clown Prince of Crime will be reincorporated into Suicide Squad. The newest Suicide Squad Extended Cut trailer was recently posted on Amazon (YouTube embed from ComingSoon), and while most of the footage is from the theatrical cut, we also get a taste of how much more we'll see of Jared Leto's Joker. The first is a longer version of when Joker had Dr. Harleen strapped Dr. Harleen Quinzel to that table in Arkham Asylum. In the theatrical cut, it looked like he tortured his psychiatrist just for the hell of it, but this preview reveals that he's holding a grudge against her. When Harleen tells Joker that she helped him, he responds, "You left me in a black hole of rage and confusion." It looks like he felt that giving her unnecessary shock treatment was proper retribution. The second big Joker moment on this Suicide Squad trailer helps fill in the gap between when Harleen was literally shocked and when she accompanied Joker to Ace Chemicals to undergo her own transformation. As it turns out, she was understandably pissed he put her through hell, so she decided to track him down and see if she could dish out her own revenge. Joker, the insane agent of chaos that he is, is amused with her holding a gun to his head, even daring her to pull the trigger. If she had, Gotham City would be rid of its deadliest criminal. Alas, she hesitated, and Joker slaps the gun out of her hand. We don't what else will go down in that scene, but it will eventually lead to Harleen being willing enough to go with Joker to the place where he was "reborn" so she can become Harley Quinn. Despite being advertised as one of Suicide Squad's key characters, Joker didn't get a lot of screen time, and needless to say, this disappointed Jared Leto. For those who were eager to see more of his take on the Clown Prince of Crime, this Extended Cut will definitely be the place to go. Besides Joker, this trailer also implied that the cut 'ordering drinks' moment seen in one of the trailers will be added back in, but with 13 extra minutes, there's still plenty of material which has yet to be revealed. Suicide Squad (now available for preorder) will be released on Digital HD on November 15, and the Blu-ray/DVD will hit shelves on December 13.
  14. One of the most intriguing movie universes currently being molded is Universal's Monsters franchise. The Tom Cruise and Russell Crowe-led The Mummy will kick-start the series next year, which will then be followed by Van Helsing, The Wolfman and The Bride Of Frankenstein. David Koepp has been placed in control of bringing The Bride Of Frankenstein to the big-screen for the first time in over 80 years, and he's revealed that at its heart, his version is a tale of female liberation. David Koepp made this revelation while talking to Collider, as he conducted his promotional duties for Inferno, which he also happened to write. Koepp jumped at the chance to write The Bride Of Frankenstein, which, from the sound of things, he has had a truly joyous time scribing it, too. Koepp explained: It's one of my favorite scripts I've written in years because if you reimagine the Frankenstein story, it gets into so many issues of men trying to feel dominant over women. To create someone who then says, 'You don't own me,' it becomes a tale of liberation. David Koepp didn't stop there, though. Because he want on to discuss why he found it so liberating writing the script for The Bride Of Frankenstein, confessing that what he's enjoying the most about working on the project is the titular character herself. Koepp explained: She's not a zombie. She's a super-intelligent creature, but she's dead, and that changes a person's perspective. But don't hold your breath forThe Bride Of Frankenstein, because not only are they still working out the kinks of the script, but they're trying to figure out how it will exactly fit into the Universal Monster universe. David Koepp admitted that he's only done a draft of the script, and doesn't have a clue when cameras will actually start rolling on it. However, he did insist that the powers that be over at Universal seemed quite taken with what he'd come up. Now they just want to see how The Mummy fares at the box office and how audiences react when it's released next summer before they proceed. But the studio is certainly throwing everything that they've got at the Monsters Universe, as it features an A-list cast of actors, while they hope that it will develop and evolve into a series of films that rivals the Marvel Cinematic Universe and DC Extended Universe. The Mummy stars both Tom Cruise and Russell Crowe, with the latter playing Dr Jekyll. It has also already been announced that Johnny Depp will portray The Invisible Man, Scarlett Johansson has been linked with lead role in the Creature From The Black Lagoon film, while in July 2016, it was speculated that Javier Bardem was in talks to play Frankenstein's monster. Universal will be crossing their fingers and toes that The Mummy, which has been written by Jon Spaihts (Passengers) and is directed by Alex Kurtzman, gets the franchise off to a perfect start when it's released on June 9, 2017
  15. Batman v Superman: Dawn Of Justice. While he was far from the worst thing about the superhero hybrid, he failed to make an impact as Bruce Wayne's trusty butler. And from what he had to say about the size of his role in the Justice League it doesn't sound like he'll be getting much more screen time to strut his stuff. Jeremy Irons made this admission to Variety while chatting about his role in the drama The Man Who Knew Infinity. Obviously the discussion soon turned to his role as Alfred in the DC Extended Universe, and Jeremy Irons was asked if he'll have more to do this around. To which he responded: Similar, but then, of course, Ben's going to make a Batman film next summer. He promises me there's going to be a bit more of Alfred in that. In the Justice League we have seven major lead characters and I'm the butler to one of them. It's clear I will not be dominating that film. As he rightfully points out, it's not that surprising that Jeremy Irons will have a similar amount of time on-screen in Justice League as he did in Batman v Superman: Dawn Of Justice, because there's quite a bit more competition for spaces. Earlier this summer he only had to contend with Superman (Henry Cavill) and his posse, which included Lois Lane (Amy Adams) and Perry White (Laurence Fishburne), as well as Wonder Woman (Gal Gadot) popping in and out. In Justice League we are fully introduced to Ezra Miller's The Flash, Jason Momoa's Aquaman, and Ray Fisher's Cyborg, whose combined presence in the DC Extended Universe has so far come to less than a minute, while Superman will return from the dead, and Wonder Woman will undoubtedly be kicking ass, too. Luckily for Jeremy Irons, though, Ben Affleck's Batman appears to be in control of bringing the Justice League together, and Alfred will clearly be assisting him with addresses, telephone numbers, What's App groups, and MySpace profiles in his quest. You can remind yourself of the rather impressive first teaser for the Justice League by watching it again below. Jeremy Irons is in the DC Extended Universe for the long haul, though. And while his appearance in Justice League is expected to be just as fleeting as it was in Batman v Superman: Dawn Of Justice, we can expect to see him given a meatier role in Ben Affleck's solo Batman film. The big question is, though, whether he'll be able to rival Michael Caine's virtuoso portrayal as Alfred Pennyworth in Christopher Nolan's Dark Knight saga, which we can all admit was fully deserving of at least a Best Supporting Actor Oscar nomination. We have quite a few years to wait and see about that, though, because Ben Affleck is remaining tight-lipped about when we can expect a solo Batman film. At least we know that Justice League will be released on November 17, 2017.
  16. In many ways 2015 was the year of Michael Pena. He made both Ant-Man and The Martian immeasurably better with his presence, providing the comic-relief in the Paul Rudd and Matt Damon blockbusters. 2016 and 2017 sees him reaping what he sowed with numerous roles, but one of his projects has hit a road-block after Sony Pictures decided not to proceed with The Bringing. But The Hollywood Reporter didn't just bring the bad news with the revelation that Sony Pictures isn't moving ahead with the horror film, they also had some rather some good news, too. That's because The Bringing is set to find a brand new home as several other studios are already interested in the film. Like the prize pig at the fair, The Bringing suddenly has quite a few offers to consider, as Lionsgate, New Line, Paramount, and STX Entertainment are all in the process of trying to woo those involved. There are a number of factors at play, though, most integral of which is when The Bringing can start production as Michael Pena currently has a window to make the film that he wants to take full advantage of. The Bringing is based on the death of Elisa Lam back in 2013, who was found in a water tank on the roof of the Cecil Hotel in Los Angeles. However, that only tells half the story, because security camera footage of Elisa Lam in the elevator just hours before her death showed her acting rather peculiar. After her death the footage went viral, as conspiracy theorists started to speculate over what led to her death. You can see for yourself below: I think we can all see why that's ripe for the horror genre. In fact, I'm pretty sure it will haunt my dreams for the rest of my days. The Bringing's script revolves around a man who is investigating a woman's death in the notorious Cecil Hotel, while Kevin Kolsch and Dennis Widmyer have now replaced Jeremy Lovering as the directors on the project. The duo also recently did a rewrite on the script, too, and Matthew Tolmach (The Amazing Spider-Man, Jumanji) is producing alongside Daniela Cristina Cretu. Kevin Kolsch and Dennis Widmyer rose to prominence in 2014 after writing and directing Starry Eyes, which after its world premiere at South by Southwest in March garnered a cult audience. Those of you that missed the boat with Starry Eyes can get a sneaky peak about what all the fuss was about by watching the trailer below: From the sound of things Michael Pena and everyone involved in The Bringing is looking for a quick turn around, so we could see it towards the end of 2017.
  17. Despite the multitude of theatrical films Fox has released starring either the X-Men or characters related to the X-Men universe, one fan-favorite hero still yet to make the jump to the live-action realm is Cable, a.k.a. Nathan Summers. A time-traveling mutant cyborg, Cable made his first Marvel Comics appearance back in 1990, in an issue of The New Mutants. Son to Scott “Cyclops” Summers and a clone of Jean Grey, Cable became known to many non-comic readers via a memorable run of appearances in the popular X-Men: The Animated Series. Cable also has as extensive comic history with Deadpool, so it’s only fitting that Cable is finally set to make his first live-action film appearance in the upcoming sequel Deadpool 2. It remains unclear at this point just who will play Cable in the movie, although Deadpool (Ryan Reynolds) himself famously suggested Keira Knightley for the part in the post-credits scene of his titular outing. Rumors have circulated that creative differences as how to cast Cable played a major factor in the departure of director Tim Miller from Deadpool 2, although that remains unconfirmed. With Deadpool 2 still over a year away, fans that have been waiting not-so-patiently to see Cable realized in live-action for decades can get their fix with the new fan film Cable: Chronicles of Hope. Running just over six minutes in total, the short is inspired by the 2010 Marvel Comics crossover X-Men: Second Coming, and features Cable and his adopted daughter Hope Summers waging war across time against the Purifiers. Cable art X Men Marvel X Men Fan Film Features Cable in Action In addition to Cable and Hope, other X-Men characters and props also pop in for cameos, including Bishop, Nightcrawler, and the X-Men’s Blackbird aircraft. Cable: Chronicles of Hope comes courtesy of K&K Productions, who have previously produced fan films for properties like Dragon Ball Z and Batman. As is usual for fan films, the acting in Chronicles of Hope isn’t exactly Oscar caliber, but the action scenes and effects work are very good, and look quite professional, all things considered. With a title like Chronicles of Hope, one would assume that this is only the first planned entry in a series of Cable-fronted shorts from K&K, although they have yet to announce when or if a second installment will arrive. The short ends on a cliffhanger, though, so it would be a shame to not see the story resolved. Until then, K&K has also released a behind-the-scenes making of video on their YouTube channel that, oddly enough, actually runs nearly the twice the length of the short film itself. It’s well worth watching for anyone interested in how fan projects like this are made.
  18. Whether or not movie audiences are fully onboard for the DC Extended Universe as a feature film franchise, one thing is for certain: The Warner Bros.-owned superhero “multiverse” is running the table on broadcast television. The small screen comic book universe includes Arrow, The Flash, Legends of Tomorrow and now Supergirl winning over audiences and critics alike with colorful, action-heavy adventures playing out weekly on The CW, and fans are eagerly anticipating their first major crossover. While the various Arrowverse shows have all crossed over several times in one way or another already, the big focus in terms of potential lasting change is the impending inclusion of The CW newcomer Supergirl to the mix. Originating on CBS in its first season, a one-off guest appearance by Grant Gustin’s Flash established that Kara Zor-El’s storyline takes place in an alternate universe — a status-quo that has thus far been maintained despite all four series now sharing a network. Asked at EW‘s PopFest about how her character will react when confronted by an entire universe of heroes she’s meeting for the first time, Supergirl actress Melissa Benoist offered: “I think Kara just wanted to be accepted and be like a part of the cool kids, and I felt the same way. It was so fun to be in this big group setting where everyone… It was like this infectious environment where we all.. It felt really cool. But she had good interactions with almost everyone there.” Flash Arrow Supergirl Crossover 2016 Season Arrowverse Cast Offer Details on Huge Four Episode Crossover Event The four-part event, which will run throughout a week’s worth of new episodes for each series, will be titled ‘Invasion’ and involves the emergence of DC Comics villains The Dominators. As a major player in the first crossover event, Gant Gustin spoke to the sheer scope of ‘Invasion,’ especially as it compared to the previous Legends of Tomorrow episodes: “It’s just a lot bigger. Last year was Flash and Arrow and now… We have 17 characters in multiple scenes and almost everyone interacts with every other character, at a certain points. So, it’s huge! Huge.” While plot details are being kept secret for now, producer Greg Berlanti was also onhand to tease the beginnings of how the major event will play out: “They all have their own continuing storylines thoughout it, but it really does feel like in the middle of the whole season a 3-hour movie. It starts a little at the tail-end of Supergirl, because she’s in a whole other universe, on a whole other planet, so having to go get her. And then it really begins on the night of The Flash. It’s three parts and called ‘Invasion.’ The complex they talked about shooting in: We found an exterior shot that looks a lot like the Hall of Justice, so we like that.” Arrow continues next Wednesday with ‘Human Target’ @8pm on The CW. The Flash will air ‘Monster’ on Tuesday @8pm on The CW. Legends of Tomorrow has ‘Abominations’ lined up for Thursday @8pm, and Supergirl presents ‘Survivors’ on Monday @8pm on The CW.
  19. Teenage Mutant Ninja Turtles 3 Won't Happen Says Out Of The Shadows Producer Andrew Form is one of the producers that worked on 2014’s Teenage Mutant Ninja Turtles and its 2016 sequel, Teenage Mutant Ninja Turtles: Out of the Shadows, and during a recent interview, he said he doesn't think Paramount will move forward with a third installment in that live-action film series. "I don’t think there’s Turtles 3," Form told Collider, "but I wouldn’t say there’s never going to be another Turtles movie." As you can guess, much of the reason there probably won't be a Teenage Mutant Ninja Turtles 3 is because of the poor box office performance from Out of the Shadows. Its $35.3 million opening was down 45% from the first film's $65.6 million debut; more importantly, its $245.6 million box office total was down 50% from its predecessor's $493.3 million global cume. It also didn't help that top critics on Rotten Tomatoes only gave it a rating of 28%, and while that is a major improvement from the 9 percent its predecessor received from top critics, it's still overwhelmingly negative. "We were obviously surprised at the box office results," Form shared. "We loved the movie. We loved making the movie. From our first Super Bowl teaser to everything we launched, we felt so good about our material, and for some reason it did not find the audience that the first movie found. And we talk about it all the time, and we tried to figure it out, but we cannot put our finger on what happened. We really can’t. It’s just one of those things where we feel like we made a really great movie; we thought at the time that our release date was great, and we added all these new characters with Bebop and Rocksteady and Baxter Stockwell had a big role in the movie and Casey Jones and for some reason when it came to opening weekend…Even before the movie came out, we were feeling great. And you wake up two days before the movie opens and you go, “Wow, I don’t know if this movie is tracking as well as it should.” Then you hope, and then Thursday night happens and your midnights come in and you’re like, “That’s not what Movie 1 did,” and then sure enough your weekend comes and it’s nowhere near what anyone thought, and it’s nowhere near Movie 1, and, before you know it, it’s over. We’re still so proud of the movie; it just didn’t find an audience. We really don’t know why." Source:
  20. James Cameron Promises Innovation in ‘Avatar’ Sequels as He's Feted by Engineers Cameron and Douglas Trumbull were honored at the Society of Motion Picture and Television Engineers' Centennial Gala. James Cameron promised to “push” innovation in service of storytelling in his Avatar sequels as he accepted an honorary membership in the Society of Motion Picture and Television Engineers on Friday night during the society’s black-tie Centennial Gala. The distinction is the society's highest honor and has been reserved for such influencers as Walt Disney, Ray Dolby and George Lucas. For the sequels to Avatar — the most successful movie ever made — the filmmaker, tech innovator and explorer said, “I'm going to push. Not only for better tools, workflow, high dynamic range and high frame rates — the things we are working toward. I’m still very bullish on 3D, but we need brighter projection, and ultimately I think it can happen — with no glasses. We’ll get there.” VFX pioneer and motion picture innovator Douglas Trumbull also was awarded the SMPTE Progress Medal, the society's most prestigious award, during the ceremony at the Dolby Ballroom at Hollywood & Highland. The program, hosted by actor John O’Hurley, celebrated the pioneering spirit and innovation of motion picture and TV engineers, highlighting advances of the past century from the first recorded images to virtual reality. During the ceremony, Cameron, Trumbull and others emphasized that science influences art by giving filmmakers the tools they need to tell their stories. Cameron told the estimated 500 guests that movie “magic has to amaze … and that involves constant creation of new tools and techniques. The audience’s eyes adjust to what we did, and so we need to up our work.” The director — who was presented his honor by his Avatar VFX supervisor, four-time Oscar winner Joe Letteri — received enthusiastic applause as he told the room full of tech experts, “You’re my peeps. … To be acknowledged by engineers is so much more meaningful to me, truthfully, than all the glitz of the artist side of Hollywood. … I like sitting in a room with a bunch of smart people and solving technical problems.” He also gave a shoutout to his fellow honoree, saying Trumbull's VFX on 2001: A Space Odyssey inspired him to become a filmmaker. Accepting his award from four-time Oscar winning VFX pioneer Richard Edlund (Star Wars), Trumbull — who is launching his MAGI Pod system that supports 4K, 3D at 120 frames per second in an effort to draw people out of their houses and into theaters — also addressed evolving cinema technology. He noted that Ang Lee’s Nov. 11 release Billy Lynn’s Long Halftime Walk, which used an approach to 4K, 3D at 120fps, is “getting mixed reviews because this is shocking a lot of reviewers. … They don’t quite know what to do with it.” But he reminded the crowd that “2001 got terrible reviews when it opened.” Today, Stanley Kubrick’s sci-fi classic is revered as one of the most influential films of all time. Trumbull asserted to applause, “It’s time to give [new cinema technology] a chance, because everything is changing." One of the reasons influential filmmakers such as Lee and Cameron are exploring high frame rates (HFR) is to learn how this tool might reduce or eliminate the issues in 3D that can cause viewing discomfort. Speaking with The Hollywood Reporter on the red carpet, Cameron elaborated: “I think [high frame rates] is a tool, not a format. I think it’s something you want to weave in and out and use it when it soothes the eye, especially in 3D during panning, movements that [create] artifacts that I find very bothersome. I want to get rid of that stuff, and you can do it through high frame rates. “In terms of that kind of hyper clarity, there may be some films that benefit from it," he continued. "But I feel you still have to have a little bit of that veil of unreality that comes with [today’s commonly used] 24 frames per second. This is my conclusion now. I don’t think you do it wall-to-wall, I think you do it where you need it.” As for the sequels to Avatar, Cameron said in addition to HFR, he’s working on “HDR, 4K for native stereo reduction, all the plethora of things we can do with CG that we couldn’t do or were so difficult. I’m going to need a lot of water [simulations], dynamics sims. And merging water, air, fire, all that sort of stuff together into complex simulations is going to be essential for the Avatar films." He asserted: “Movies are going to look better than they’ve ever looked. They already do and they are going to continue [to look better]. Anything we can imagine, we can put on the screen.” Source: The Hollywood Reporter
  21. The following story contains spoilers for Inferno, both Dan Brown's book and the Ron Howard movie on which it is based. Stop reading now if you don't want to get into the ending of Brown's latest story. Harvard symbologist Robert Langdon is back in action this weekend when Inferno hits theaters, and it reunites Tom Hanks with Ron Howard for the third time. Langdon and Dr. Sienna Brooks (Felicity Jones) are racing the clock to unearth a man-made plague that threatens half of the planet's population... and the way the movie handles the resolution is VERY different from the way it's concluded in the book. STOP reading now, again, if you don't want to know. In the book, Langdon fails to prevent the virus from being released. But he learns, through the World Health Organization, that it's a vector virus, meaning that it will only trigger DNA modification to cause sterility in one-third of our planet's population. It's a grim, but realistic, ending to the book, and one that the movie jettisons. Ron Howard opts for a happy ending where Tom Hanks and his team reach the bomb and stop it from exploding. Problem solved. During an exclusive press event in Florence, Italy, I was able to ask Dan Brown about the change, and why he allowed it, and he told me: Anytime you're going to adapt a novel into a movie, a movie that is not 25 hours long, some things are going to have to be simplified. I know that the novel had a subtle, ambiguous ending. This was much more direct, right to the point of it. [But] I'm very lucky. I'm working with great filmmakers and I can just sort of sit back and know that I'm in good hands. Also, my expertise is not movies. I write novels.... I saw the first draft and said, 'Hey, the ending is different. And they said, 'Yep.' And that was pretty much the conversation. By this point, Dan Brown sounds like he trusts his filmmaking collaborators. And to their credit, Ron Howard and Tom Hanks were largely faithful in their adaptations of The Da Vinci Code and Angels & Demons (though a few exciting moments ended up on the cutting room floor). Howard's thoughts on the matter suggest that Dan Brown's ending wasn't as cinematic as he had hoped, and that while it fit the book, he needs to be more focused -- as the film's director -- in delivering a satisfying movie-going experience. Here's Ron Howard telling me why they changed the ending of Inferno from the book to the movie
  22. A key strategy of the entertainment industries is to repeatedly warn pirating Internet users of their illegal behavior in the belief they will change their ways. However, co-chief of movie company Village Roadshow has just admitted that he's been caught breaking the law numerous times - and he still hasn't learned. As 2015 hits its mid-point, a handful of key strategies are clearly favored by the world’s largest entertainment companies. Perhaps the most prominent this year thus far have been efforts to have sites blocked at the ISP level. Most recently Australia went through the months long process of introducing the Copyright Amendment (Online Infringement) Bill 2015 and last week the Bill passed the Senate. Earlier today the legislation received Royal Assent, meaning it is now firmly cast into local law. With attention now turning to which copyright holders will bring the first site-blocking action (hint: movie industry, within six months), another anti-piracy strategy is almost ready to fly. After the introduction of the United States’ “six strikes†program, in the coming months Aussie citizens are likely to be subjected to a similar “three strikes†regime. The idea is that after receiving an “educational†notice and then a “warning†notice, local Internet pirates will finally comply with the law before receiving a scary “final noticeâ€. This type of regime has the backing of some of the world’s largest entertainment companies, including the co-chief of Aussie movie giant Village Roadshow. However, despite giving the scheme his backing, Graham Burke has revealed that even people of his stature can be completely immune to government-backed educational efforts. In an interview published by SMH this morning in which he again calls for action against piracy, Burke notes that society wouldn’t say “Hey we’re not going to have legislation against drunken driving or high-speed driving or legislation against stealing.†Indeed, for driving offenses, Australia runs a demerit system, whereby each logged offense accumulates a set number of points. Get to 12 points and you’re at risk of getting your license suspended. But of course, the idea is that people will wise up before then and, more importantly, before they end up killing someone. At its educational core the demerit program is similar to the “three strikes†system, albeit with much higher stakes. Trouble is, it doesn’t work on Burke. In fact, he appears completely immune to the numerous opportunities granted to him by the government. “I got a note last night saying I’d been photographed by a camera in my car exceeding the speed limit and I’ve lost three points,†he told tech editor Ben Grubb. “As I’ve already lost nine points it’s rather worrying.†While Burke faces having his license suspended for failing to heed the warnings, three-time piracy offenders face having their details handed over to copyright holders who may decide to sue. Of course, Village Roadshow are the major Hollywood-affiliated movie company in Australia, so Burke himself will almost certainly have a hand in who gets sued and when. Fortunately, it seems that his company won’t make a habit of taking legal action. Burke says that they won’t be afraid to sue people “that act in a criminal way†but hopefully Village Roadshow “won’t have to sue too many peopleâ€. Indeed, Burke will hope that ‘pirates’ take their warnings more seriously than he has done, even though he will have faced fines for his transgressions and they will not. He would’ve preferred some punishment, he reveals, but is satisfied with the direction of the scheme. “A good agreement is when both sides are not deliriously happy but both sides are happy,†Burke says. “Am I thrilled? No. Do I think it’s a good code? Yes.†So now all eyes turn to September 1, when the new “strikes†code is set to begin. Will the public respond to the warning notices? Or will they bury their heads in the sand like Burke has done until it’s too late?
  23. The best way for Hollywood to defeat piracy is by making content available, legally. To further this effort dozens of video on demand services have been launched throughout the world. However, not all of these services are happy with how the major studios treat them, and today we hear why. The account below comes from an employee of a mid-sized video on demand (VOD) service in Europe. To avoid repercussions from the major studios the author prefers to remain anonymous. — Exploitation On Demand Every once in a while wrongdoings are reported by whistleblowers. Motives are often political and have worldwide consequences. Today, we’re addressing a much more down to earth topic. We don’t pretend for a second that we’re changing the world but instead we’re shining light on what we consider to be wrongful practices destroying an industry. Our case is business centered, yet the industry we’re denouncing has damaged its fair share of individual liberties and has violated countless numbers of ethical principles. We’re talking about the Major Movie Studios. For quite some time we’ve been working with “Major Studios†such as Warner Bros, Walt Disney, Universal, Sony, 20th Century Fox and Paramount. We would like to refer to it as collaboration, but unfortunately it’s really been a one way street thus far. Money transits and the final destination is the Majors’ pockets We’ve been operating a video on demand service (VOD) for quite some time now, trying to make the best out of it. Eventually we grew tired of being shaken down at every turn and now feel it’s time to share the limitations that come with a deal in the “legit distribution†system. This may not be breaking news to some of you, yet we feel it’s important for people to understand how operating within the constraints imposed by the Majors works. While observing the latest productions coming out from Hollywood studios (Fast & Furious 7, Avengers, Transformers 4, Dumb and Dumber 2, Taken 3) you may have noticed that this industry is not very risk savvy, to say the least. In fact it hates risk. In recent years the studios’ strategy has been to buy rights to bestselling or comic books, plus games and kids toys to feed the public with a new episode every year. Another risk minimizing strategy is to pre-sell cinema-distribution rights in certain territories to finance film making. By this mechanism a film is basically paid for before it gets made. This system works for cinema distribution and was exported for home entertainment, where it affects our business. For a video on demand (VOD) operator to distribute any given catalogue, it must pay “Minimum Guarantees (MG’s)†to the studio. This allows one to exploit the catalogue. Mind you, you don’t get to choose what you pay for. That would be too simple. Output deals are the norm and in essence they mean you need to take every licensed film as part of a single deal. If you want the latest blockbuster, you must also take the latest winner of the Golden Raspberry awards, and take our word for it, there are some pretty unworthy films in there. These Minimum Guarantees are quoted in millions of dollars per deal, and as a result VOD services like ourselves have to operate on very small profit margins. On top of MG’s, distributors must also agree to pay revenue shares. Should the sales top the Minimum Guarantee on a given year the rev share kicks in. Revenue shares are usually in the studio’s favor (between 70% and 50% depending on whether we’re speaking of recent releases or old ones). If a given platform manages to recoup its costs it must also share its future revenue with the Rights Holder, while providing the majority of the value chain involved in a streaming service: Storage, streaming costs, platform development, DRM licenses and geoblocking tools. In the meantime, studios provide a license that costs them virtually nothing and they take the lion’s share of the deal for it. And we haven’t even started on release windows yet. Windows? If you thought that paying a fortune for a film allowed you to exploit it forever, think again. Usually the window for a film is 90 days. You got that right: platforms have 90 days to pay for a Minimum Guarantee if they expect to turn a profit on a film. And keep in mind most of the profit just gets funneled back to the studios anyway with the revenue share clause. After that a title simply gets pulled off their catalogues to allow for Pay-TV and linear TV distribution. The title can come back in the catalogue after 12 to 18 months, given of course that it’s properly paid for. This may seem like a lot to process, and it is, yet it’s just the tip of the iceberg. We will probably write a follow-up to this article as these people are not acting as if they were selling entertainment; they’re behaving like they’re selling enriched uranium! Facilities that host servers on which films are kept have to be equipped as if they were a bank. If studio’s are looking to diversify they should consider giving Fort Knox consultancy services on security matters. More on that soon… We love films and originally started a VOD business hoping to provide a legit solution that would entertain millions. How will we ever be successful while we have to operate on such stiff policies? Well we won’t. It’s no wonder that streaming and P2P services are thriving: Majors’ constraints imposed on people who are trying to abide by their standards are just disabling anyone trying to be competitive enough and offer a comprehensive catalogue at a decent cost to the public. Until this framework changes no one will ever. With their own policies, the major movie studios are sawing at the branch on which they sit . They probably realize it to some extent. But they certainly don’t care enough to do something about it. Surely this is because piracy is not hurting them as much as they want us to believe. By cutting some slack to their partners they would have concrete tools to cut down piracy. They’re simply too comfortable to consider that as an option.
  24. On behalf of the major Hollywood movie studios the Motion Picture Association (MPA) is demanding that pirate site operators shut down within 24 hours, or else. The recent push targets a wide variety of services, including some of the top torrent sites. Thus far, the only casualty appears to be a rather small linking site. In recent years Hollywood has tried several tactics to deal with so-called pirate sites. Through lawsuits against isoHunt, Hotfile and Megaupload, for example, or by targeting intermediaries such as search engines, Internet providers and hosting companies. The most direct option, however, is to simply contact the site owners directly. This is what the MPAA’s European branch has been doing lately. During recent weeks various sources have informed TorrentFreak about emails received from Jan van Voorn, the MPA’s Vice-President Global Content Protection, Internet Operations. The emails all use standardized language and have been sent to a wide variety of services ranging from some of the biggest torrent indexes, to linking sites and hosting services. The MPA mail puts the site operators on notice and alerts them to European jurisprudence under which they may be held liable for linking to pirated movies and TV-shows. “Without prejudice to our contention that you are already well aware of the extensive infringements of copyright, this Notice fixes you with actual knowledge of facts and circumstances from which illegal activities […] are apparent,†Van Voorn writes. Among other things the email mentions that Article 14 of the E-Commerce Directive requires sites to stop offering infringing material. In addition, the Hollywood group cites other recent cases supporting their claim. Without making a specific threat, the MPA demands that site operators stop offering infringing material within 24 hours. “This Notice requires you to immediately (within 24 hours) take effective measures to end and prevent further copyright infringement. All opportunities provided by the Website to download, stream or otherwise obtain access to the Entertainment Content should be disabled permanently,†the email reads. Interestingly, the movie studios are not just worried about pirated films. Towards the end of the email they also point out that some sites are using movie posters without permission. “Finally, we draw your attention that any use of the artwork of the Entertainment Content (e.g. movie or TV show posters) (‘Artwork’) is prohibited without authorization of the rights holder. Since the MPA Members haven’t authorized the Website to publish the Artwork, the Website is infringing copyright on that basis as well,†Van Voorn writes. For now the threats haven’t made too much of an impact. Only one site that we know of has shut down after receiving the email recently, and that’s the relatively unknown link site TF contacted the movie industry group for more details on the efficiency of the campaign. The MPA didn’t provide any details but informed us that the emails are standard notices sent to websites that carry infringing content. “These notices ask respectfully that effective measures be taken to stop further infringement,†an MPA spokesperson says. “This activity is part of the MPA’s ongoing strategy to curb copyright infringement, encourage consumers to use legal sources of content and increase the viability and quality of those services that actually pay creators for their work.†It remains unclear whether the MPA will take legal action against the warned sites, or if the group will focus its anti-piracy efforts elsewhere. — One of MPA’s emails is posted in full below.
  25. Staff from four of the UK's most popular cinema chains have been given cash rewards for hindering the work of suspected movie pirates. Eleven individuals stepped in to interrupt nearly a dozen so-called 'camming' incidents on movies including Fifty Shades of Grey and The Theory of Everything. The interventions led to four arrests but things don't always go to plan. While the Internet provides an unrivaled distribution mechanism for illicit digital goods, cinemas themselves are often depicted as the front line against pre-release piracy. Just as the latest blockbusters air for the first time to an eager public, in their midst are individuals who aim to record movies and place them online for the enjoyment of others. And even as discerning consumers seek out pristine high-definition content, third-rate ‘cammed’ copies of movies are still gobbled up online. In an effort to mitigate the number of titles that end up on the Internet from UK sources, the Hollywood-funded Federation Against Copyright Theft (FACT) promotes the Take Action initiative. In place since 2006, this anti-piracy scheme is funded by UK film distributors via the Film Distributors’ Association (FDA) and encourages local cinema staff to catch ‘cammers’ in the act. In its latest report, FACT says that staff from four of the UK’s largest cinema chains – Cineworld, Odeon, Vue and Showcase cinemas – stepped in during the past six months to interrupt those suspected of recording movies including The Hunger Games, Fifty Shades of Grey and The Theory of Everything. In all 11 cinema employees were involved in a total of 11 incidents. Police reportedly attended on all occasions, leading to four cautions and three arrests. cambustersFor their efforts the cinema staff pictured right were invited to a ceremony hosted by Universal Pictures where they were presented with certificates and cash rewards. The precise amounts aren’t being released but for the period the maximum is £500 per person. However, FACT now reports that for a limited time more money is on the table. Any cinema staff who prevent and report unauthorized recording between 20th April and 30th June 2015 can expect to get paid a maximum of £1000. “FACT’s strategy, funded by the film distributors and put into action by cinema staff across the UK, seeks to identify and prevent the initial recording that seeds piracy globally,†says FACT Director General Kieron Sharp. “We continue to work together with UK cinema operators to support the success of the cinema experience and to allow continued investment by FACT’s members in exciting entertainment for all audiences.†Despite the successes, the number of incidents in the current reporting period is up on the previous set of figures published last year. Stats released in September 2014 reveal that there were seven “incidentsâ€, all of which were attended by the police. In five incidents the alleged cammers accepted police cautions, with just one incident leading to an arrest. Nine cinema staff picked up rewards. During the reporting period April 2013 to December 2013, a dozen alleged cammers of major movies were spotted in UK cinemas resulting in five arrests but no prosecutions. A total of 15 cinema workers picked up rewards. Although groups like FACT have a vested interest in publicizing the negative fates of alleged cammers, those with less than favorable outcomes are largely avoided. The most recent involved the November 2013 arrest and early 2014 trial of a man accused of attempting the world’s first in-cinema 3D recording of the movie Gravity. It didn’t go well. The case fell apart, with the judge commenting that “It ought to have been absolutely clear there was no legal basis for it.†Although the defendant, a Birmingham-based student, did enter a cinema with camera equipment, he did not record a moment of the film. Nevertheless, he was reported by cinema staff who called in the police. It’s not clear whether any reward was paid in that case. Also of interest is a December 2014 incident when staff at a Cineworld cinema dialed the national 999 emergency number after spotting a group of 12-year-old girls with iPhones and iPads at a showing of The Hunger Games, a movie mentioned in the most current rewards report. After a police search at the scene turned up nothing incriminating the girls were allowed back in. However, the teens waited outside, reportedly in tears, until their parents came to pick them up. It is not clear whether any cinema staff were given a reward for this incident either. While a little extra cash will no doubt be welcomed by some cinema staff and effective hindering of real pirates greatly appreciated by the studios, there is always a risk that the money available will cloud judgement. Nevertheless, police seem ever more willing to get involved. Documents previously obtained by TorrentFreak revealed that in 2008 there were 50 UK camming incidents, with police attending on just two occasions. If current figures are to be believed, in today’s climate they are almost guaranteed to respond.