Sketch comedy, potluck, political satire, lip syncing, drag queens, kid-friendly rock and roll and animated, nostalgic purple grapes: these are a few of our fans’ favorite things. And it turns out that the esteemed voting committee for the 69th Primetime and Creative Arts Emmy Awards likes them quite a bit too.
On June 1, the day that President Trump announced that he was withdrawing the United States from the 195-nation Paris climate agreement, Paramount confirmed that Al Gore would edit his forthcoming Inconvenient Sequel: Truth to Power, to include the executive turnabout.
The last-minute changes to the Jon Shenk- and Bonni Cohen-directed film should only inject more poignancy and relevance into a film that earned standing ovations and critical praise when it opened this year’s Sundance Film Festival, on the eve of Trump’s inauguration.
In both a nod to Gore’s courage and an emphatic statement of its own commitment to environmental causes, the studio has launched a Pledge to #BEINCONVENIENT, a social activation where concerned citizens can articulate their solidarity with the movement to mitigate the impacts of climate change.
Those who take the pledge can record a video explaining their passions for the environment:
A companion site offers resources to help pledgees choose renewable energy and communicate their priorities to others.
The Pledge follows Paramount’s longstanding commitment to environmental action, a philosophy that permeates the organization, from employee events organized by the studio’s Green Team to helping fund the Green Production Guide for making sustainable Hollywood films.
As Viacom refocuses under the leadership of CEO Bob Bakish, this rapid-fire concentration of noteworthy properties distills the impressive breadth and depth of Viacom’s multi-brand portfolio.
Here’s a day-by-day look at what’s already dropped and what’s to come over the weekend:
Wednesday, June 21 – Transformers: The Last Knight – Paramount Pictures
It is the fifth installment in the live-action Transformers spectaculars directed by Michael Bay, an intriguing collision of ancient epochs with the robot alien present, and a special effects masterpiece.
“…[I]f you’re not staggered by the technique on display here – the stuff that sets Bay’s work miles above the Fast & Furiouses, X-Men: Apocalypses and Tom Cruise-chasing Mummies of this world – you’re not paying attention,” writes The Telegraph’s Robbie Collin.
Here’s a preview of what he’s talking about:
Since the first Transformers movie hit theaters in 2007, the franchise has raked in nearly $4 billion for Paramount and redefined important elements of the movie industry. “Ever since the first movie in the robo-franchise was released into theaters a decade ago, the film industry has changed its approach to producing, releasing and reporting on movies,” writes The Street’s Buster Coen, noting that the films legitimized toy-to-cinema adaptations, stamped June as a month for movie blockbusters, and set the template for international distribution of American films.
Transformers: The Last Knight is in theaters around the world now. A Bumblebee spin-off is scheduled for release next summer.
With a cast of complex characters unified by their small-town setting, the deft use of suspense and drama, and some imaginative writing, Spike has transformed Stephen King’s 1980 novella about a sinister, monster-filled cloud descending upon a small Maine town into a 10-part serial that debuted last night.
And it’s really good, according to a platoon of critics who got an advanced look at the pilot. “Spike’s new series based on The Mist … wasn’t written by King, but it does the author proud ,” writes CNET’s Gael Fashingbauer Cooper.
The series was written, rather, by a team led by Denmark native Christian Torpe, who is a lifelong King fan and consulted with the author at the project’s outset. King simply told him, “Don’t do anything ordinary.”
Torpe appears to have succeeded, leaving even those familiar with King’s original work in suspense. “It’s hard to judge where this newer, looser adaptation might progress from just the first hour, but Torpe has said that, like King, he intends to explore the nature of fanaticism, and how fear so often compels people to seek out unlikely prophets,” writes The Atlantic’s Sophie Gilbert. “If so, The Mist could be a satisfyingly complex chiller, scaring viewers not just with unexpected jumps and amped-up creepy crawlies, but with the more human monsters who are all trapped together inside, waiting out the weather.”
The Mist premieres at a time of incredible momentum for Spike, which will evolve into the premium TV Paramount Network in January of next year. While the network is still determining an exact programming lineup, they have already announced Yellowstone starring Kevin Costner, a six-part documentary on Trayvon Martin produced in conjunction with The Weinstein Company, American Woman starring Alicia Silverstone and Mena Suvari, a six-part Waco series documenting the 1993 stand-off at the Branch Dividian compound, and a television adaptation of the 1988 classic film Heathers.
There’s so much to love about Baywatch. The surf, the sand, the slo-mo. After Paramount’s adaptation of the hugely popular show came to the big screen in May, we posed “5 Questions” to actress Priyanka Chopra. Hear her talk about what it was like working on the film, how Baywatch has become such a global phenomenon, and what’s behind the drama between her character, Victoria Leeds, and super lifeguard Mitch Buchannon, played by Dwayne Johnson.
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.
Brad Grey, who led Viacom’s Paramount Pictures for a dozen years and left a rich legacy at the studio, passed away on Sunday evening following a battle with cancer. He was in his home in Holmby Hills, California with his family by his side. He was 59 years old.
“Brad Grey was an extraordinary talent with a passion and gift for storytelling that won’t be forgotten,” said Viacom President and CEO Bob Bakish. “He has left an incredible legacy at Paramount and across the entire entertainment industry, from the beloved hit franchises he developed for both film and television, to the countless individuals he mentored and supported throughout his career. All of us at Viacom and Paramount mourn his passing, and our thoughts are with his family at this difficult time.”
Grey’s commitment to delivering poignant, compelling stories to audiences around the world bolstered the 105-year-old studio’s deep library with films across many genres. Starting with the smash hit Transformers in 2007, Grey guided Paramount into the franchise era with the original Paranormal Activity and continuations of the classic Mission: Impossible and Star Trek series. The studio complemented these releases with a parade of must-see standalone films, including the cerebral Interstellar, the gripping World War Z, and the gonzo Wolf of Wall Street.
NEW YORK, NY – JULY 27: Alec Baldwin, Tom Cruise and Chairman and CEO of Paramount Pictures Brad Grey attend the New York premiere of “Mission Impossible: Rogue Nation” at Times Square on July 27, 2015 in New York City. (Photo by Kevin Mazur/WireImage)
Aside from box office success – eight of Paramount’s 10 top-grossing films came over Grey’s tenure – this varied slate earned many accolades for the studio, including at least one Academy Awards Best Picture nominee in 11 of Grey’s 12 years. Most recently, Paramount earned a pair of Oscars in February: Viola Davis took Best Supporting Actress for her work in the widely hailed adaptation of August Wilson’s Fences, while the gorgeous Arrival earned the award for Sound Editing (both earned Best Picture nominations). At the 2008 Academy Awards, Paramount’s No Country for Old Men won four Oscars – Best Film, Best Director, Best Supporting Actor and Best Adapted Screenplay.
HOLLYWOOD, CA – FEBRUARY 22: Paramount Chairman and Chief Executive Officer Brad Grey (R) and Cassandra Grey attend the 87th Annual Academy Awards at Hollywood & Highland Center on February 22, 2015 in Hollywood, California. (Photo by George Pimentel/Getty Images)
“All of us at Paramount are deeply saddened by the news of Brad Grey’s passing,” said current Paramount Chairman and CEO Jim Gianopulos. “He was at the helm of the studio for over a decade and was responsible for so many of the studio’s most beloved films. I was proud to call Brad a friend, and one I greatly admired. He will be missed by us all, and left his mark on our industry and in our hearts.”
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.
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.