The writer-producer, one of the co-creators of seminal adventure series Lost who later brought seminal comic Watchmen to the screen as an acclaimed, Emmy-winning HBO limited series, is part of the creative team behind Lanterns, the DC based-show from DC Studios.
Chris Mundy, the showrunner behind Netflix’s crime series Ozark, as well as Eisner-winning and long-time DC comic author Tom King round out the creative team, DC Studios co-head James Gunn announced on Instagram Saturday.
Gunn welcome Lindelof and Mundy into the DC family and said the trio had written a “wonderful” pilot script and bible, announcing that the series is now “putting together a crack team of writers.”
“This plays a really big role in leading into the main story we are telling across film and TV,” Safran said in January 2023 when he and Gunn unveiled their initial DC plans.
It is unclear if that still holds though the social media post accompanied by drawings of heroes Hal Jordan and John Stewart, implying it will be a two-hander.
After establishing his bona fides with Lost, Lindelof co-created The Leftovers, the HBO supernatural drama that explored the ramifications of losing people in a sudden and great disappearance.
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Indiana Jones and the Temple of Doom begins with an action sequence that’s almost exactly 20 minutes long, starting with a show-stopping east-meets-west rendition of Anything Goes at a Shanghai nightclub in 1935 and ending in the whitewater rapids at the foot of the Himalayas.
For the director Steven Spielberg, whose Raiders of the Lost Ark had instantly been canonized as an all-time great adventure movie only three years before, the only option was to top himself, to make a sequel so breathlessly paced and technically proficient that audiences would be whisked along relentlessly.
And while there’s a generous array of other outstanding set pieces to come, The Temple of Doom has to do the ugly business of moving the story forward through characters and cultures colliding, and through the sort of mythological nonsense that brought Nazis and religious artefacts together in the original.
The fluidity and visual wit of the opening in Shanghai is breathtaking, with Spielberg evoking the choreography of an Old Hollywood musical before slipping into a tense confrontation between Indiana Jones (Harrison Ford), the nightclub singer Willie Scott (Capshaw) and a double-crossing crime boss who owns the club.
Even when Indy and Short Round are about to be crushed by a spiked ceiling slowing descending on their heads, she bellyaches her way to the trigger mechanism like a guest preparing a lengthy one-star review of Pankot Palace on Yelp.
And yet, despite a second act so unpleasant that it spurred the creation of the PG-13 rating, Temple of Doom recovers with more Spielberg magic down the stretch, as Indy and company flee the Thuggee high priest Mola Ram (an excellent Amrish Puri) and his followers through the mines and across a rope bridge that spans a giant crevasse.
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As Hollywood’s finest gather at Cannes Film Festival this week, the event’s strangest phenomenon – and greatest overindulgence – has been making headlines: the standing ovation.
Ovations perhaps only continue for so long because of the camera feed – each time its lens homes in on another star of the film, there are renewed claps and cheers.
The standing ovation has become such a part of the festival’s glittering fabric that people whip out stop-watches (or their phones) to record how long they last.
The sinister film, which incoporated elements of myth, fairy tales and folklore, along with influences from Del Toro’s own childhood, was set five years after the Spanish Civil War, and went on to win three Oscars at the Academy Awards.
In 2021, Annette star Adam Driver appeared to get so bored during the film’s Cannes standing ovation that he started smoking a cigarette.
At the 2024 festival, Kevin Costner’s Western epic Horizon: An American Saga has been making headlines for the length of its standing ovation – which, at 11 minutes and 40 seconds, is measley compared to its forebears.
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In the film, which received a rapturous 11-minute standing ovation after its Cannes premiere last night, Moore plays a faded Hollywood superstar, whose yearning for youth leads her to an experimental procedure: once injected with a mysterious fluid, she births an alternate version of herself (played by Margaret Qualley) – someone sparkling with sex appeal and youthful pep, whose body she can only ever inhabit for a total of seven days at a time, before she must revert back to her older self.
“The places that risk takes her in the movie’s absolutely bonkers final act will have your jaw on the floor, if it’s even still attached to your body.” “Ripping into her best big-screen role in decades, Moore is fearless,” raved the BBC.
(Her demand for pay parity with the male movie stars of the Nineties didn’t earn her media respect back then, but a snarky nickname: “Gimme Moore”).
In the former, her character turns to exotic dance to pay the bills; Moore’s nudity and her sculpted, toned physique made up the entirety of the film’s marketing campaign.
No one really spoke about her acting – her determined resolve in GI Jane, or the haunting image of her keeling over in agony in the TV film If These Walls Could Talk, her character having undergone a clandestine abortion.
The Substance is, in a sense, a bold move for Moore, and there is a meta thrill to her playing an actor mourning her heyday and fixated on age and experimental plastic surgery (she had to repeatedly deny in the mid-Noughties that she’d spent $300,000 on cosmetic work ahead of filming 2003’s Charlie’s Angels: Full Throttle).
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Since 2007, when Spider-Man 3 (three full cycles ago in that deathless franchise) topped the box office – and barring two years where the global pandemic threw the mainstream release schedule into disarray – that weekend has been the exclusive domain of Marvel superhero adaptations, through to Guardians of the Galaxy Vol.
And so, with the coveted early-May date open to a cape-free blockbuster for the first time since the Bush administration, Universal spotted an opportunity for its action romcom The Fall Guy, about a Hollywood stunt man tangled in an insider conspiracy.
The story of last year’s summer box office was the aforementioned Barbie–Oppenheimer double – disparate films that turned the rather banal fact of a shared release date into a wildly successful marketing gimmick, as audiences fashioned “Barbenheimer” into a double-feature roadshow with little official prompting from the studios.
Greta Gerwig’s loopy metatextual approach to Barbie looked and felt like nothing else at the multiplex; ditto Christopher Nolan’s rather sober three-hour chamber film, which, notwithstanding one spectacular explosion scene, riskily banked on the more arthouse-inclined pitch of men debating strategy and morality in dim rooms.
The summer ahead has few sure things on the horizon: as the only major superhero release of the season, much will ride on Deadpool & Wolverine to prove the genre’s continued commercial muscle, while the fate of sequels such as Inside Out 2, Despicable Me 4, A Quiet Place: Day One and Furiosa: A Mad Max Saga – launched at Cannes last week with a defiantly glitzy premiere – will tell anxious studios if they really do need to change course.
Meanwhile, the year’s most belated franchise extension – Twisters, a sequel to the 1996 tornado adventure – may or may not be a nostalgia-fuelled hit, but it’ll certainly make studio execs think back fondly on easier days, when a new idea wasn’t the fall guy.
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Amanda Nell Eu’s snarling debut is not the first film to harness body horror tropes as an allegory for the adolescent angst and the shame of female puberty.
But this Malaysian production, which shares central ideas with Pixar’s Turning Red, as well as genre films such as Carrie and Ginger Snaps, folds in a distinctive element of south-east Asian folklore and superstition, in addition to universal themes of preteen girl bullying.
Bursting on to the screen with an energetic dance routine – Tiger Stripes is as TikTok literate as it is fluent in the language of horror.
Twelve-year-old Zaffan (Zafreen Zairizal) is the wildest of her circle of friends, but when she gets her period that feral energy takes on a disconcerting new dimension.
The message is not always clear, but it’s an entertaining ride.
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However, the boos quickly turned to cheers when an “In Memoriam” segment proceeded to play for Coppola’s late wife Eleanor, World of Reel’s Jordan Ruimy reported.
New York Magazine’s Bilge Ebiri wrote that, at times, the film “feels like the fevered thoughts of a precocious child, driven and dazzled and maybe a little lost in all the possibilities of the world before him”.
“The City of New Rome must change, causing conflict between Cesar Catilina (Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare.
“Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.”
Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Kathryn Hunter, Grace VanderWaal, Chloe Fineman, DB Sweeney and Dustin Hoffman also star.
“It was as if the Hollywood executives were looking for payback for all those past occasions when Coppola had criticised their way of doing business, or when he had taken their money and produced a box-office turkey, such as the romantic musical One from the Heart (1981) or his car designer biopic Tucker: The Man and His Dream (1988),” he wrote.
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Coppola regularly held table readings of his latest draft of the script with actors including Paul Newman, Robert De Niro, Al Pacino, James Caan, Edie Falco and Uma Thurman.
About 300 rewrites, 40 years of preparation and one winery sale later, he finally had the means to make his dream script come true: in autumn 2022, shooting commenced over several sound stages at Atlanta’s Trilith studios.
By the sound of things, the shoot became a clash between Coppola’s old-school approach, privileging spontaneity and “finding magic in the moment”, and newer digital film-making methods, such as filming actors in front of virtual CGI landscapes in a “volume” – effectively a giant wall of LED screens.
But pretty much every day, we’d just walk away shaking our heads wondering what we’d just spent the last 12 hours doing.” As a third crew member puts it: “This sounds crazy to say, but there were times when we were all standing around going: ‘Has this guy ever made a movie before?’”
Francis successfully produced and directed an enormous independent film, making all the difficult decisions to ensure it was delivered on time and on budget, while remaining true to his creative vision.
Another told reporters: “There is just no way to position this movie.” A third said: “It’s so not good, and it was so sad watching it … This is not how Coppola should end his directing career.” Shortly before its Cannes premiere, the film was acquired by distributors in the major European markets.
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Among the planned events include Andy Serkis hosting a filmmaker conversation and extended look at The Lord of the Rings: The War of the Rohirrim, the anime feature that hails from New Line Cinema and Warner Bros.
Director Kenji Kamiyama and producers Philippa Boyens, Joseph Chou and Jason DeMarco will take part in the discussion and present the first footage from the movie that Warner Bros. is set to release theatrically on Dec. 13.
Last week, Warner Bros. announced that a live-action Lord of the Rings film from director Serkis is in early development and eyeing a 2026 release.
Gunn serves as executive producer and writer for the Max animated series that hails from DC Studios and Warner Bros.
At the Annecy presentation, Creature Commandos supervising producer Rick Morales and supervising director Balak Yves will share an in-depth look at the artistic process behind the series that focuses on Amanda Waller (Viola Davis) forming a military group comprised of monstrous villains.
Also set for Annecy is a panel sharing an inside look at the return of the Cartoon Network series The Amazing World of Gumball, in addition to a world-premiere screening of the forthcoming animated feature The Day the Earth Blew Up: A Looney Tunes Movie.
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Wikipedia describe them as a "mini-major" and "large independent". So,I suppose they get the advantages of size with the flexibility of being independent.
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