Lethal Weapon 3 (1992) - News Poster

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Hulu in September: Here’s Everything Coming and Going

  • The Wrap
Hulu is out with its list of new and expiring content for the month of September, and what better way to beat the back-to-school blues than with a whole bunch of binge-watching.

Among the new goodies coming next month is the 12th episode and season finale of horror anthology series “Into the Dark.” Out Sept. 6, the finale is called “Pure,” and is described as a female coming-of-age horror story in which a group of teenage girls perform a secret ritual at a “Purity Retreat.” When one of them begins to see a “supernatural entity,” a scary question is posed: “What is more dangerous: the demon they’ve unleashed, or the pressure to conform to their fathers’ expectations?” Scary indeed!

The Hulu original documentary “Untouchable” will be released on Sept. 2, described as “the inside story of the meteoric rise and shocking fall of movie titan Harvey Weinstein.” Directed by Ursula Macfarlane,
See full article at The Wrap »

What’s Coming to Hulu in September 2019

  • Variety
If the Summer Scaries are beginning to creep in, it may be time to start binging a new show to distract yourself from the impending end of vacation season. Luckily, Hulu is among the streaming services with a fresh slate of new content coming next month.

Beginning Sept. 1, you’ll be able to stream older franchise favorites, including the first three “Ocean’s Eleven” movies, all four “Lethal Weapons” films and all three installments of “The Matrix.”

There are other options if you’re in the mood to catch up on the latest TV. Check in with the Johnson family in the sixth season of “black-ish,” or get your tissues ready for the emotional fourth season of “This is Us,” both available on the streamer Sept. 25. And if you’re looking for a laugh from a comedy, new seasons of “American Dad,” Bob’s Burgers,” “Family Guy” and “The Simpsons
See full article at Variety »

Lethal Weapon 5 to Be Announced Soon with Joe Pesci Returning?

Lethal Weapon 5 to Be Announced Soon with Joe Pesci Returning?
Like many, if not most, action movie fans out there, I love director Richard Donner's original Lethal Weapon flick written by Shane Black and starring Mel Gibson and Danny Glover. I could take or leave most of the sequels, but it can't be argued that they are just as much fun as the original film, especially Lethal Weapon 2 which famously added Joe Pesci to the mix as Leo Getz. Anyhow, today we have word that the long-rumored and much-anticipated fifth entry in the franchise, fittingly titled Lethal Weapon 5 may be coming our way sooner than anyone expected. Hell, it might even begin shooting later this year!

This killer news (rumor) comes from MoiveHole who claim to have talked to "a pal who works in location management on various series, including Fox's" Lethal Waepon series, and the source told them this.

"Gibson, Glover, Pesci doing that. [The] script is super solid I heard.
See full article at MovieWeb »

What’s Coming to Hulu in January 2019

  • Variety
There may not be any more eggnog to drink or mistletoe to stand under, but don’t despair — Hulu is coming in clutch with over 200 new titles arriving to the streaming service next month.

Ease into the new year by rewatching classics like “Beetlejuice,” “Heathers” and “Rain Man,” or snuggle up with a bowl of popcorn for family movies like “Shrek,” “Surf’s Up,” and “The Twilight Saga.” If reality TV is more your style, then you’re in luck, as a slew of favorites are set to make their Hulu debut this month including Season 7 of “Dance Moms,” Season 2 of “90 Day Fiancé,” and Season 10 of “American Pickers.” Starting out this year’s slate of Hulu originals, Season 2 of “Future Man” drops Jan. 11.

Find the complete list of this month’s new arrivals below and stream now on Hulu.com. Right now, the streaming service is knocking its monthly price
See full article at Variety »

Here’s Everything Coming to and Leaving Hulu in January

  • The Wrap
Hulu’s slate of new titles arriving on the platform in January is here.

The second season of Hulu original “Future Man” will arrive on the service Jan. 11, while the Natalie Portman-Tessa Thompson science fiction film “Annihilation” will be available to stream on Jan. 4. The film is Alex Garland’s follow-up to “Ex Machina” and starred Portman, Thompson and Jennifer Jason Leigh as a group of scientists investigating a strange environmental phenomenon known as “the shimmer.”

Here’s the full list of what’s coming and going in January.

Also Read: Here's What You Can Stream With Your Amazon Prime Membership in January

Available Jan. 1

Atlanta: Complete Season 2 (FX)

The Detectorists: Complete Season 3 (Drg)

Dot.: Complete Season 2B (Universal Kids)

Saints & Sinners: Complete Seasons 1-3 (Bounce TV)

X Company: Complete Seasons 2&3 (Sony)

54 (1998)

10 Years (2011)

2 Days in the Valley (1996)

9 to 5 (1980)

A Charlie Brown Valentine (2002)

A Simple Plan (1998)

A
See full article at The Wrap »

‘The Girl in the Spider’s Web’ Film Review: Claire Foy’s Lisbeth Salander Adventure Trades Angst for Espionage

  • The Wrap
‘The Girl in the Spider’s Web’ Film Review: Claire Foy’s Lisbeth Salander Adventure Trades Angst for Espionage
The world-famous Swedish vigilante hacker Lisbeth Salander is back, and this time she’s saving the world from nuclear annihilation. It’s a bit of a shift for Salander; when last we saw her in “The Girl With the Dragon Tattoo,” she was solving serial murders and exacting painful revenge on abusive male accountants.

In Fede Alvarez’s “The Girl in the Spider’s Web,” she’s stealing from the Nsa, surviving explosions in bathtubs and getting in a whole bunch of car chases. It’s like if “Goldfinger” was the sequel to “Psycho.” It may be undeniably cool to watch, but it’s hard to deny that it’s a tonal Crazy Ivan.

It’s been three years since Lisbeth Salander last worked with journalist Mikael Blomkvist. She’s been using her mad hacking skills to punish abusive husbands, but she’s still got a day job, and when
See full article at The Wrap »

Grab Some Tissues, Because a Ton of Rom-Coms Are Leaving Netflix in July

Netflix giveth, and Netflix taketh away. After releasing the incredible list of new titles it's adding in July - Orange Is the New Black! Jurassic Park! Shameless! - the streaming service also revealed which movies and TV shows will be disappearing before we know it. If your weekends consist of cuddling up and watching rom-coms like Along Came Polly and A Cinderella Story, we have some bad news . . .

July 1

Alive

Along Came Polly

An Honest Liar

Beerfest

Before Midnight

Bring It On

Bring It On Again

Bring It On: All or Nothing

Bring It On: Fight to the Finish

Bring It On: In It to Win It

Cocktail

Extremely Loud and Incredibly Close

Lethal Weapon

Lethal Weapon 2

Lethal Weapon 3

Lethal Weapon 4

Little Women

Michael Clayton

Midnight in Paris

Mixed Signals

More Than a Game

Pandemic

Piglet's Big Movie

Rugrats Go Wild

Scary Movie

Scream 3

Terminator 3: Rise of the Machines
See full article at Popsugar »

Netflix schedule: Here’s what is coming and leaving in July 2018

Netflix has confirmed that a slew of new original series will be debuting on the streaming service in July, including the sixth season of the Emmy contender “Orange is the New Black” and more installments of Jerry Seinfeld‘s “Comedians in Cars Getting Coffee.”

And there will also be new to Netflix seasons of some of your favorites from other networks, including season 4 of “Madam Secretary” and season 8 of both “Blue Bloods” and “Shameless.” Likewise, there will be plenty of movies making their first Netflix appearances including the first three films in the “Jurassic” franchise and the Oscar-winning “Her.”

Available July 1

Blue Bloods: Season 8

Bo Burnham: what.

Chocolat

Deceived

Finding Neverland

Get Smart

Happy Gilmore

Hawaii Five-o: Season 8

Interview with the Vampire

Journey to the Center of the Earth

Jurassic Park

Jurassic Park III

Madam Secretary: Season 4

Menace II Society

NCIS: Season 15

Pandorum

Penelope

Queens of Comedy: Season 2

Rica,
See full article at Gold Derby »

Here Are All The New Releases Coming to Netflix in January 2018

Netflix is starting out 2018 with a ton of new film and TV series releases! We are only about halfway through December, but if you're curious to know what is waiting for you on the streaming service in the new year, we have a full list the new releases and their release dates. There's a lot of great stuff coming including a bunch of Batman Films, the Lethal Weapon movies, The Godfather trilogy, Caddyshack, Apollo 13, King Kong, The Shawshank Redemption, Training Day, and even all of the Bring it On films! You can check out the fill list below!

Week of 1/1/18

10,000 B.C. -- 1/1/18

30 Days of Night -- 1/1/18

Age Of Shadows -- 1/1/18

AlphaGo -- 1/1/18

America's Sweethearts -- 1/1/18

Apollo 13 -- 1/1/18

Batman -- 1/1/18

Batman & Robin -- 1/1/18

Batman Begins -- 1/1/18

Batman Forever -- 1/1/18

Batman Returns -- 1/1/18

Breakfast at Tiffany's -- 1/1/18

Bring It On -- 1/1/18

Bring It On Again -- 1/1/18

Bring It On: All or Nothing
See full article at GeekTyrant »

Mike Flanagan’s Before I Wake Coming to Netflix in the Us on January 5th

  • DailyDead
Horror fans have been looking forward to seeing Mike Flanagan's Before I Wake since the film was teased in trailers back in 2015, but bankruptcy issues at Relativity Media delayed and ultimately brought the movie's release to a halt. Since that time, Flanagan directed two well-received films for Netflix, and the streaming service has now revealed that they will bring Before I Wake out of film purgatory and into the warm glow of the TV screen.

Netflix revealed the exciting Before I Wake news in their full announcement of titles being added to their streaming lineup in January of 2018. Starring Jacob Tremblay, Thomas Jane, and Kate Bosworth, Before I Wake will be available to watch on the streaming service beginning Friday, January 5th, marking its first official release in the Us (it was previously released internationally, including in the UK by Netflix).

Other titles being added to Netflix (in the Us) include 30 Days of Night,
See full article at DailyDead »

‘The Godfather’ Trilogy Makes Netflix an Offer It Can’t Refuse Next Month; ‘Marie Antoinette’ and ‘Midnight in Paris,’ Too

  • Indiewire
Say this for 2018: It can’t be any worse than 2017, right? (Spoiler: It totally can.) At least Netflix’s first batch of offerings inspires cautious optimism in the new year, with everything from the entire “Godfather” trilogy, “Marie Antoinette,” five different “Batman” films and five different “Bring It On” movies (did you even know they’d made that many?), “Midnight in Paris,” the complete “Lethal Weapon” collection, “Willy Wonka & the Chocolate Factory,” and “The Truman Show” coming to the streaming service in January.

Read More:Netflix Reveals the Most Binge-Watched Shows of 2017: ‘American Vandal,’ ’13 Reasons Why,’ and More

As for Netflix Originals, there are several: “Before I Wake” and “Rotten” are both available to stream as of January 5, “Somebody Feed Phil” and “The Polka King” premiere a week later, “The Open House” arrives on the 19th, and “A Futile and Stupid Gesture” and “Dirty Money” both debut on the 26th.
See full article at Indiewire »

Lethal Weapon 4: a retrospective

Guy Buckland Dec 14, 2017

Guy takes a belated look at the fourth (but possibly not final) film in the Lethal Weapon franchise…

Spoilers lie ahead for Lethal Weapons 2 to 4.

See related The Oa: 10 questions (sort of) answered The Oa: Netflix renews for season 2 Netflix's The Oa: spoiler-free review

At the beginning of 2016, Den of Geek gave me the opportunity to rank the Lethal Weapon films in order of merit and then write about each one individually. This made me very happy, as it is a franchise for which I have a great deal of passion – both positive and negative. But like a reluctant hit man stuck in a clichéd redemption arc, I just couldn’t finish the job.

By the time I had produced a well-reasoned account of why the third in the series was objectively the worst – an assertion I still stand by, despite what you’re about to read
See full article at Den of Geek »

Exclusive Interview: Rene Russo believes in the men of this generation

It’s a ringing endorsement for the Gen-x/Millennial generation that Rene Russo has faith in us. In the ‘90s, Russo was one of the women who paved the way for female icons with roles in Lethal Weapon 3, In the Line of Fire, Outbreak and Ransom. Fans like me grew up watching Rene Russo, Linda Hamilton, Geena Davis and Sarah Michelle Gellar do the same things Arnold Schwarzenegger, Sylvester Stallone, Mel Gibson and other men did, so we don’t even question it today. Our conversation about Russo’s new movie went there. Russo reunites with her Tin Cup director Ron Shelton for...read more
See full article at Monsters and Critics »

Carrie Fisher's Personal Star Wars Scripts Go Up for Auction

  • MovieWeb
Carrie Fisher's Personal Star Wars Scripts Go Up for Auction
Carrie Fisher's hand annotated Star Wars scripts are going up for auction during a three- day Carrie Fisher and Debbie Reynolds personal property action on October 7th through the 9th in Los Angeles, California. Profiles in History is in charge of the auctions and they expect the scripts to fetch some decent money, so if you are interested in any of these, they aren't going to go for cheap. These are important pieces of the Star Wars legacy and will be a worthy addition for any collector.

Fisher was known for taking her pencil out and crossing out some of the clunkier dialogue in the script and replacing it with her own witty dialogue. That fact is especially evident in her personal The Empire Strikes Back script, which has over 1,000 words handwritten by the actress in it. There are actually four scripts going up for auction, as she had two different ones for Empire.
See full article at MovieWeb »

Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema

Author: Cai Ross

The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.

Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.

The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.

Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.

Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.

It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.

Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.

Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.

Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.

As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.

It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.

Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.

The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).

Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.

Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.

So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.

On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘DocEmmett Brown’s hair to play new villain, Max Shreck.

Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.

The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)

Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.

Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.

The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
See full article at HeyUGuys »

'Lethal Weapon' Stars Reunite for Film's 30th Anniversary, Dish on Potential 5th Installment – Watch!

'Lethal Weapon' Stars Reunite for Film's 30th Anniversary, Dish on Potential 5th Installment – Watch!
It's been three decades since audiences first heard Danny Glover utter the now-famous line, "I'm too old for this s**t," in the 1987 film, Lethal Weapon.

To celebrate the buddy cop's 30th anniversary, Glover, Mel Gibson and Rene Russo reunited on Good Morning America for the first time since shooting Lethal Weapon 4 to reminisce about their time on set and how it feels to be back together again.

Watch: The 'Love Actually' Stars Reunited for a ​New Sequel and It Was Amazing

"I think there was a lot of love between us," Gibson, who portrayed cop Martin Riggs, told ABC's Chris Connelly. "And when I see them, I just kind of get the same feeling... It's like seeing a teenage sweetheart or something."

Gibson and Glover portrayed their characters from 1987 to 1998, and it wasn’t until 1992's Lethal Weapon 3 that Russo joined the cast as Lorna Cole.

"I think you
See full article at Entertainment Tonight »

Lethal Weapon Cast Reunite for 30th Anniversary

Lethal Weapon Cast Reunite for 30th Anniversary
1987 was a big year for classic movies, but when it comes to action comedies, nothing beats the original Lethal Weapon, which defined the buddy cop genre and launched a new wave of likeminded movies in its wake. There have been three sequels and a TV show adaptation, but nothing beats the first time Mel Gibson and Danny Glover went to work on a case in Los Angeles. Today, the pair, along with future co-star Rene Russo, invaded Good Morning America to celebrate the movie's 30th Anniversary.

Today's Lethal Weapon reunion marks the first time that Mel Gibson, Danny Glover and Rene Russo have shared the screen together since shooting their final scenes for Lethal Weapon 4 way back in 1998. That final sequel marked the end of an era, though it was never supposed to be the last movie in the franchise. Mel Gibson says that while they've been apart for nearly twenty years,
See full article at MovieWeb »

How ‘Lethal Weapon’ Partnered Dark Humor with Ptsd

The action comedy about…heavily damaged Vietnam vets?

Lethal Weapon often gets heralded at the preeminent buddy cop film, despite the fact that the genre existed for decades prior to its 1987 release. So what makes Lethal Weapon the mold-breaker? Is it (then) wunderkind Shane Black’s razor-sharp script? The legendary cast? The quotable quips? Or is that so many members of the audience identified with the characters because they too possibly felt a general sense of being too old for life’s shit?

How about the fact that Lethal Weapon is the Apocalypse Now of buddy cop movies? It’s true, Shane Black’s script is just as concerned with the heavily damaged psyches of Vietnam War veterans as was Apocalypse Now’s. Nearly every major character in Lethal Weapon, hero and villain alike, served in Vietnam and came back with a hefty amount of baggage. While this is reasonable considering the realities of that war, it
See full article at FilmSchoolRejects »

The myth of screenwriting credits

Simon Brew Apr 3, 2017

Why the writers credited on a movie are rarely the only ones who put the screenplay together....

The Wizard Of Oz, since its initial release in 1939, has richly deserved its long-cemented status as an all-time classic. A regular resident in the IMDb top 250 films of all time, and a part of many people’s DVD collection, it’s a film that I’d wager more and more people fall in love with each year. Long may that continue.

See related Teenage Mutant Ninja Turtles: Ciro Nieli & Brandon Auman 10 ways we didn’t get kicked off the set of Tmnt Out Of The Shadows Tmnt season 3: 5 great episodes (with cake)

Lots of brilliant people were involved in bringing The Wizard Of Oz to the big screen. Some terrific writers, too, who came up with a quotable and cherished script. The film’s screenplay is credited to Noel Langley,
See full article at Den of Geek »

Great Job, Internet!: Post-credits sequences were a thing before Marvel, believe it or not

Due to an overabundance of “cinematic universes” and sequel fodder, post-credits sequences have become such a thing in modern moviegoing that they’ve become less of a surprise and more of an obligation. These days, the post-credits sequence functions as a teaser of sorts of a new hero (as seen in the latest Power Rangers film), a new villain (à la the first Avengers), or even the foreshadowing of a forthcoming battle (who else heard that Godzilla roar at the end of Kong: Skull Island?).

In simpler times, however, the post-credits sequence could serve multiple roles. A new video from WhatCulture compiles some notable examples, some of which are truly surprising (L.A. Confidential, really?).

As evidenced by films as diverse as Django Unchained, Harry Potter And The Chamber Of Secrets, and Lethal Weapon 3, the post-credits sequence was more often than not a punchline for some unresolved joke, though
See full article at The AV Club »
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