Less than two years after Will Ferrell (playing step dad Brad) and Mark Wahlberg (dad Dusty), squared off in a territorial brawl over their kids, the duo is back in Daddy’s Home 2. Only this time, they are buddy-buddy co-dads engaged in an endless game of suburban gymnastics to serve their family.
And then Christmas hits. That means that Dusty’s smooth-moving pops (Mel Gibson) and Brad’s still-doting father (John Lithgow) collide in the suddenly undersized home for a holiday disaster of theater-sized proportions.
The Sean Anders-directed film, which also stars Linda Cardellini and John Cena, will be in theaters Nov. 10. Pack your baggage.
With Memorial Day weekend, summer arrives in the American conscience. And what’s more summer (or more American), than Baywatch, that 242-episode icon that lives in everyone’s collective slow-motion memories of the 1990s?
The last episode wrapped a long time ago, but Paramount is bringing Baywatch back, refreshed and updated for the cinema, next Thursday, May 25:
Long-time fans likely don’t need a lot of incentive to don their red swim trunks and life jackets and get in line outside the theater. For those of you who aren’t familiar with Baywatch, however, here are eight reasons why you should stake out a spot in your favorite beach chair now:
Johnson is so perfectly suited to be so many things that when Paramount released G.I. Joe: Retaliation in 2013, he was the natural pick to star as heavy machine gunner Roadblock, one of the most popular Joes of all time.
And he plays a starring role as Mitch Buchannon, the jetski-riding, bad-guy chasing, refrigerator-carrying man about beach who leads the Baywatch lifeguard team. Who else would dive underneath a raging fire and emerge in the bowels of a burning yacht to save someone? And who doesn’t want to see that?
The answer: no one.
“In an age when it’s cooler to hate things than enjoy them, Johnson has carved out an improbable niche for himself, as someone it’s safe to like,” GQ’s Caty Weaver wrote recently. “Maybe you like him because he’s big and does fast things in slow motion. Maybe you like him because he had one song to sing in the children’s musical he was cast in, and he sang it with his whole heart. Undeniably, he is likable…”
2) Dwayne Johnson love Zac Efron (and so will you)
Johnson, who is People’s reining Sexiest Man Alive, recently endorsed costar Zac Efron – who plays Olympic gold medalist Matt Brody in the film – as a candidate to assume his title next year.
“Do I get a vote? Then yes, absolutely I could see that,” Johnson told People. “I could see one out of five happening, I can’t divulge that right now, but he’s in the top five.”
And what’s not to like? While Brody saunters onto the beach as a hotshot international swimming star, he reprises the role of affable dufus that Efron excels at. Buchannon mocks him as “One Direction” and makes him haul tandem refrigerators across the beach to prove himself. But that doesn’t stop Brody from leading monster parties, chasing criminals in “lifeguard pursuit” down the boardwalk, and, you know, leaping off a freaking motorcycle into the ocean.
3) But then again, the Rock loves everyone
The Baywatch beach is big, and there’s a lot of talent filling it up. On the Forces of Good side of the credits, Alexandra Daddario plays Summer Quinn, Kelly Rorhbach reprises the role of C.J. Parker, and Ilfenesh Hadera plays Buchannon’s second-in-command Stephanie Holden. Meanwhile, Priyanka Chopra, a former Miss World and one of the most popular Bollywood celebrities in India, tries out her evil cackling as Victoria Leeds, whose materialization in the Baywatch environs has directly corresponded with an uptick in violence and drug smuggling. The Rock, peering down from his lifeguard chair, nods approvingly at them all:
Paramount has dropped another trailer for Transformers: The Last Knight, panning over colossal battlefields across epochs and revealing the provocative details of the alien robots’ history on Earth.
“For a thousand years, we’ve kept it hidden, to protect Earth from what was destined to arrive,” narrates a somber voice to images of Transformers drawing swords in solidarity with armored knights around a medieval round table, suggesting the Autobots and Decepticons have been battling it out on our turf far longer than we had imagined.
We zoom from those ancient battlefields to what appears to be a hypnotized Optimus Prime, chained in some vacuum of space’s nether regions, swearing allegiance to a being he calls “My Maker.”
And from there to an armada of insectile alien ships sliced from a nightmare, descending en masse upon an Earth upturned by a state of total warfare. Here, Optimus Prime battles Bumblebee and delivers his devastating verdict: “For my world to live, yours must die.”
Transformers: The Last Knight drops in theaters on June 23.
Tom Cruise will zoom back for a sixth appearance as Ethan Hunt, following 2015’s Mission: Impossible – Rogue Nation, which McQuarrie also directed. The film, which also start Rebecca Ferguson, Henry Cavill, Vanessa Kirky and Alec Baldwin, is slated to open in July 2018.
While it’s way too early for a trailer, you can get ready for the next mission by checking out promos for the first five impossible adventures:
When Transformers: The Last Knight drops on June 23, it will mark the fifth installment in the franchise from Paramount, a legacy that stretches back a decade. From the day Transformers hit theaters on that July day in 2007, the franchise has delivered an explosive visual experience as oversized as the robots that it stars.
And those visuals really rip on Imax, a platform that seems custom cut to hold the building-crushing, metal-banging, guns-blazing world of Autobots and Decepticons. This little featurette distills the relationship between IMAX and Transformers, narrating how each helped the other surge:
There is almost nothing in the steampunk urban wilds of Ghost in the Shell that does not invite further exploration, so completely is the film’s cyber-enhanced near future stretched over the geometry of a recognizable city and society. Major (Scarlett Johansson), a cyber-enhanced, terrorist-thumping soldier roams a world where everything is at once fantastical and completely plausible, a realm where even the workaday infrastructure of normal living seems exotic and alien.
For example, her apartment:
And what is lurking in her brain:
On every detail, the film, which opens today, executes flawlessly, seeding these elements in a holograph-laced live-action dimension as dazzling as the anime that inspired it.
“Visually, it resembles nothing else in theaters,” writes AV Club’s Ignatiy Vishnevetsky. “…It is in its designs … that this new Ghost In The Shell finds tantalizing expressions of theme: the faces and limbs of hacked androids breaking up into insect-like forms as they attack; the lonely, recessed spaces of futuristic sleeping quarters; the grotesquerie of cybernetic enhancements; red light districts where human prostitutes dress like sex-bots to attract clientele. Johansson’s Kubrickian performance and the technical precision of the camera make its artifice seem almost haunting.”
Scarlett Johansson plays the Major and Pilou Asbaek plays Batou in Ghost in the Shell from Paramount Pictures and DreamWorks Pictures. The spectacular future city rises in the background.
This is a common sentiment – the Telegraph’s Tim Robey writes: “As Blade Runner did before it, this slinky, cyberpunk action flick makes its style the entire statement, pondering a future of human-robot synergy simply by visualising it in as much eye-popping detail as possible.”
Baywatch is sprinting back up the beach this spring to a Paramount feature film, led by Dwayne Johnson (Mitch Buchannon) and Zac Efron (Matt Brody), the all-business vet and the brash newcomer, whose brewing rivalry is subdued by a joint mission to save the bay from criminal scheming.
There are leaping jetskis, gun fights, and gun fights on leaping jetskis. There are daring rescues and dives from moving motorcycles into the water. There are drugs and dumped bodies and a ruthless ringleader at the head of it all. And there are the humor-laced moments of quirk and vanity that make Baywatch everything fans would expect it to be: Buchannon critiquing a sand-carved effigy of his physique, a drowning woman pummeling would-be rescuer Brody, a lifeguard tryout involving two refrigerators mounted to a carrying pole.
Johnson and Efron bring good company along on the ride: Priyanka Chopra, Alexandra Daddario, Jon Bass, Kelly Rohrbach and Ilfenesh Hadera. Baywatch, directed by Seth Gordon, hits theaters on May 26.
Ahead of the film’s wide release next week, Paramount aired the first five minutes of its highly anticipated Ghost in the Shell film adaptation in a Facebook Live stream earlier today. [Slide to 1:30 to begin watching the preview.]
This is our first extended look at Scarlett Johansson as cyber-enhanced asskicker Major, an impossibly fluid super soldier who leaps off skyscrapers and bursts through glass in a terrorist-levelling, guns blazing, ninjitsu-flipping onslaught heavy on violent efficiency and devoid of mercy.
It isn’t clear from this opening scene exactly who dispatched the machine gun-equipped gang that Major pulverizes, although the shadowy Hanka Robotics is mentioned by an expiring kabuki robot. What is clear is the stunning future setting, a towering urban techtopia of building-sized holograms and ubiquitous robots, where wired humans download the entire French language into their brains in a few beats of song and an entire building’s security network can be scanned in moments from a virtual headset.
But that world is a backdrop to the story of Major, a one-time human whose body was so damaged in an accident that it was replaced with her exoskeleton – or so she was told. “Who is the Major is a good question,” says Johansson in the clip below, “and this film is really about the journey of self-discovery for the character.”
The Rupert Sanders-directed film, which costars Pilou Asbaek, Takeshi Kitano, Juliette Binoche and Michael Pitt, will open in theaters nationwide on March 31.
Paramount’s Arrival and Fences each won an Oscar last night, capping a torrid award season that firmly established the two films as among the best of 2016.
With a fiery speech that summoned the emotional resonance of the film she appeared in, Viola Davis accepted the prize for best supporting actress for her role in Fences.
“You know, there’s one place where all the people with the greatest potential are gathered,” Davis said in her acceptance speech. “One place. And that’s the graveyard. … So here’s to August Wilson who exhumed and exhalted the ordinary people.”
The haunting Arrival¸ a gorgeous sci-fi tale of aliens landing, earned top honors for Sound Editing. Sylvain Bellemare, a longtime collaborator with director Denis Villeneuve, led the team that created the film’s auditory component, an immense task given a story that spans civilizations, time periods, and settings from the pedestrian to the otherworldly.
As a boy, Jean de Meuron would rise in the dead of the European night to cheer the Academy Award recipients ascending gilded stages on the far side of the Atlantic. He relished this annual celebration of a world he deeply admired: he was a student of Hollywood history, a fan of Spielberg’s Indiana Jones, a dreamer gripped by the allure of the American entertainment industry.
So here he came, from Switzerland, in 2008, embedding himself in studies at the New York Film Academy, USC, UCLA and the New School; bunking down in internships at the Weinstein Company, MTV, Viacom International Media Networks and Paramount. He would go anywhere – New York City, Los Angeles, Mexico, Buenos Aires – as he produced student films and peppered executives with questions at every stop. He learned about marketing campaigns, about the importance of everything from color schemes to timing to creating effective trailers.
It was an immersive course in filmmaking and marketing, fueled by an unwavering vision of what his life ought to be. It was this resolute focus that led him to the 2012 Basel Gässli Film Festival in his native Switzerland, where he met a young director named Timo von Gunten, a preternatural talent whose work – the editing, framing, storytelling – echoed legendary Amelie director Jean-Pierre Jeunet. And it was his partnership with von Gunten, as executive producer (along with Bela Böke) on the short film La Femme et le TGV, that last month opened up the Oscars in a way de Meuron’s boyhood self would not have believed: live, at the event, as a nominee.
Jean de Meuron (right) with La Femme et le TGV producer Giacun Caduff and director Timo von Gunten at a luncheon for Oscar nominees. Photo courtesy of Jean de Meuron.
It would be the culmination of a lifelong ambition, the highest professional acknowledgement in one of the most prominent creative industries in the world. But like an artisan crafting a beautiful piece of furniture, a filmmaker does not spring wholly into the existence with the knowledge of his art, but learns it through a long apprenticeship. For de Meuron, his time at Paramount would prove crucial to plan, produce, edit and promote La Femme et le TGV.
A rich, nostalgic world
It helps to understand, first, what they have made, for an Oscar nomination is reserved for those things that are exceptional.
La Femme et le TGV is set in an idyllic mountain landscape pancaked with cliff bands in the green and field-dotted wilderness outside the impossibly quaint town of Monbijou, Switzerland. At the center of this world is Elise Lafontaine (Jane Birkin), and hammering through it in a shimmering streak of steel and noise is the twice-daily TGV high-speed train. Every day for 32 years, at 6:18 a.m. and again at 7:13 p.m. Lafontaine has leaned, Swiss flag waving, from the window for these joyous passings.