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American Dreamer

Home ownership is considered a staple of economic stability for most Americans. So, if you were given the opportunity to buy a $5 million dollar mansion ‘as is’ for $240,000 knowing when the owner expires you could hit the real estate jackpot, would you go for it or not?

Based on a true story from Chicago Public Radio’s This American Life , Paul Dektor ‘s “American Dreamer” tells the story of Phil Loder ( Peter Dinklage ), a twice-divorced, underpaid professor of economics, who dreams of home ownership that seems to be tragically out of reach for his budget. However, when an incredible, once-in-a-lifetime opportunity presents itself, Phil strikes a deal with Astrid Finnelli ( Shirley MacLaine ), a childless, near-death widow who’s offering her sprawling estate for a nominal amount. But Phil quickly discovers the deal is too good to be true and the American dream is not quite what it used to be.

Emmy winner Peter Dinklage is a perfect thespian match for the legendary Shirley MacLaine when it comes to curmudgeon-laced dialogue, while simultaneously giving these characters so much heart and grit that audiences will be inspired to reach into the screen to give them a hug. They’re a wonderful duo, and it’s their contributions and chemistry that anchor the film.

Combined with some insanely dangerous and comical stunts, Dinklage makes Phil lovable and relatable.  MacLaine hasn’t lost that edgy comedic energy audience love to witness her inhabit onscreen. There’s even a slight nod in the dialogue to past lives, which she has spoken and written about often over the years. Matt Dillon , Danny Glover , Kim Quinn, and Danny Pudi round out this perfectly cast flick with each character bringing some spice and flavor to each scene they inhabit.

Although immensely entertaining, Theodore Melfi ’s screenplay has some unexplained potholes here and there which will have audiences scratching their heads from time to time. Regardless, it’s clear that director Paul Dektor’s empathy and heart dwell in the right place for a story ultimately asking the questions of what one needs to be happy, how far we are willing to go to achieve it, and what role does loneliness play in these life-altering decisions?

Carla Renata

Carla Renata aka The Curvy Critic reviews and/or op-ed’s have been published in Variety, The Wrap, The Cherry Picks, Sundance.org, Sotheby’s, and RogerEbert.com.

• Peter Dinklage as Dr. Phil Loder
• Shirley MacLaine as Astrid Fanelli
• Danny Pudi as Craig
• Kimberly Quinn as Maggie Pennington
• Danny Glover as Danny
• Matt Dillon as Dell
• Paul Dektor
• Theodore Melfi

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Transformers One

The untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. The untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever. The untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever.

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The biggest movie trailers and release dates in 2024

By Amrita Khalid , one of the authors of audio industry newsletter Hot Pod. Khalid has covered tech, surveillance policy, consumer gadgets, and online communities for more than a decade.

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What new movies are coming out of Hollywood in 2024? Studios are still catching up after last year’s strikes ground production and deal-making to a halt, and a number of new films hitting theaters this year had their release dates pushed back due to the strikes, including Dune : Part Two (February 28th on IMAX, March 1st in all theaters), Challengers (April 26th), Deadpool & Wolverine (July 26th), Venom 3 (November 8th), Furiosa: A Mad Max Saga (May 24th) , and others.

2024’s slate started the year slowly, with no single film cracking the $100 million mark in the domestic box office in January, according to Gower Street Analytics. Only Wonka and Mean Girls were able to crack $50 million.

Movies that could bring more people to theaters this year include big-name sequels like Kingdom of the Planet of the Apes (May 24th), Inside Out 2 (June 14th), Despicable Me 4 (July 3rd), Beetlejuice Beetlejuice (September 6th), The Karate Kid (December 13th), and Sonic the Hedgehog 3 and Mufasa: The Lion King (both December 20th).

Here are the biggest movie release dates and trailers set for 2024 and beyond:

Trailers of the week: Sonic 3, Napoleon, and Agatha All Along

This week brought a few noteworthy movie and TV trailers — the big one being Sonic the Hedgehog 3. And while I won’t include them here, you should check out some of the trailers included with our coverage of the most recent Nintendo Direct (shoutout to the Nintendo DS Castlevania games collection).

It’s clear that summer is winding down, and so are the big blockbusters. Things will liven up a bit with Beetlejuice Beetlejuice next week, but things are looking quiet for a little bit after that.

The biggest trailers of the week: June 23rd to June 29th

I’m stuck in a weird spot when it comes to movies and TV, these days. On one hand, the constant churn of remakes, reboots, franchise movies, and sequels often feels like it comes at the expense of original storytelling. But on the other, I am unabashedly looking forward to Beetlejuice Beetlejuice , I’m really enjoying The Acolyte , and I’m sorry, but I’m the reason Nintendo just keeps remaking games , and I will continue to be . (Also, I feel I must apologize to my friends and family in advance for my absence when Metroid Prime 4: Beyond is released.)

Thankfully, the trailers that showed up this week look as promising as any of the best of those.

Charles Pulliam-Moore

Hugh Grant was fantastic in HBO’s The Regime as the imprisoned former lover of a deranged dictator who locked him away in a dungeon beneath her castle. And it looks like he’s also going to turn it out in in Heretic , Scott Beck and Bryan Woods new horror about a man with a penchant for imprisoning (and torturing) Mormon missionaries. Movie’s out November 15th.

This year’s Cannes Film Festival belonged to the madness of Francis Ford Coppola’s Megalopolis , and now that Lionsgate has secured the film’s distribution rights , we can expect to see it in theaters on September 27th.

Logan is so annoyed in the third Deadpool & Wolverine trailer

There’s virtually no indication in the trailers for Deadpool & Wolverine so far that Wolverine feels anything but disgust and irritation at Deadpool as they get down to whatever fourth wall-breaking multiverse shenanigans the film holds in store. That’s made all the more apparent by a Hugh Jackman whose increasingly craggy face only seems to be more fit to represent Logan as time goes on.

The new trailer leans way more into bits and one-liners than the previous two. Maybe that’s because Marvel and Disney have already set up the movie’s emotional stakes, first for Deadpool (Ryan Reynolds) and then for Wolverine . This one is all dick jokes and a cranky Jackman scowling and raging and glaring with everything he has.

The biggest movie trailers for the first week of June

Two of my favorite trailers for this week share a common theme: parasitic aliens. The trope has given us some of the finest moments in cinema history; consider the whole Alien franchise, the horrifying dog transformation in The Thing , or that scene from Spaceballs . You could make a convincing argument that Star Trek ’s Borg race are parasites of a kind, too. 

It’s a versatile premise that lets a movie be as heady or grotesque or action-packed as its creators want. And two of sci-fi’s most beloved fictional freeloaders are showing up this week.

Megalopolis’ first teaser makes it look like everything Coppola dreamt it would be

After gestating in the mind of writer / director Francis Ford Coppola for the better part of the last century, Megalopolis is finally making its way to the big screen at this year’s Cannes Film Festival. And from the looks of the sci-fi epic’s first teaser trailer, it might be just about everything Coppola always dreamt it would be.

Set in a sprawling metropolis that’s been devastated by a cataclysmic natural disaster, Megalopolis tells the story of how architect Cesar Catilina (Adam Driver) tries to rebuild the city using his unusual ability to control time. There seems to be no stopping or reversing the shower of flaming meteors that descend upon the city in the new trailer as Cesar and other citizens watch in horror. But as imperiled as the city may be, Cesar appears to be dead set on trying to convince people how it could be remade as a utopia if only they would understand his visions for a better future.

Andrew Webster

Given the success of Disney’s “live-action” remake of The Lion King , a prequel seemed inevitable, so here we are with Mufasa . It looks a lot like the original, only this time they added an ice level and a villain voiced by Mads Mikkelsen. It hits theaters on December 20th.

The best movie trailers for the week of April 21st

I’ve been making more of an effort to keep up with movies lately and even managed the rare feat of seeing one in an actual movie theater. I saw Guy Ritchie’s The Ministry of Ungentlemanly Warfare , which stars Henry Cavill, Alan Ritchson, Alex Pettyfer, Elza González, Babs Olusanmokun, and others in what I interpreted as a goofy spaghetti western / spy / heist film.

I suppose it’s also a war movie, being based (very loosely) on a true story about a collection of unstoppable guys set on an unsanctioned secret mission to destroy a German U-boat resupply ship during World War II. It doesn’t try to ruminate on the weight of the mission, which was to clear the way for American ships to cross the Atlantic and join the war effort. Ministry is all vibes and style. You know, a Guy Ritchie movie.

Jim Henson Idea Man , Ron Howard’s new Disney Plus documentary about the man who dreamt up the Muppets , is obviously going to have its lighthearted moments. But the doc’s first trailer makes it feel like a sentimental tearjerker that will have people putting on their favorite Henson productions after it debuts on May 31st.

Blink Twice , director co-writer Zoë Kravitz’s new psychological thriller about two women (Naomi Ackie and Alia Shawkat) trapped on an eccentric billionaire’s (Channing Tatum) island, sounds like a cross between Glass Onion and The Menu.

And the movie’s first trailer makes it seem like those two flavors are going to go pretty well together Blink Twice hits theaters on August 23rd.

Netflix’s Atlas is looking more and more like a buddy cop movie about working with AI

At first glance, Netflix’s upcoming action thriller Atlas , starring Jennifer Lopez, seemed like it was going to be a rather serious movie about a mech pilot fighting to survive on an inhospitable planet. That could still be the case, but the movie’s latest trailer makes it out to be a bit more of a sci-fi buddy cop affair with an emphasis on human / robot alliances.

Though a maniacal machine (Simu Liu) dead-set on eradicating humanity presents the biggest threat in Atlas , the movie’s new trailer puts a spotlight on how an AI-powered battle armor will join Atlas Shepherd (Lopez) in her fight to save the world. With so many killer robots on the loose and doing a bang-up job of destroying cities, it makes sense that Atlas would be distrustful of thinking machines, regardless of how good-natured they appear to be. It makes a bit less sense that Atlas, someone who doesn’t know how to fully operate a piece of intelligent battle armor, would be sent on a mission requiring her to use one in order to stay safe.

This week’s trailers offered twists on familiar genres

This week saw some fun trailers tapping into heady science fiction, comic book movies, and taboo horror, each with a fun mixed genre twist. Joker: Folie à Deux is a comic book movie about the love affair of The Joker and Harley Quinn that’s also a musical, and Apple TV Plus’ new Dark Matter series is a kidnapping thriller with an interesting alternate reality twist. Then there’s MaXXXine , a horror slasher that looks to also be a whodunit crime mystery.

Joker: Folie à Deux takes a crack at the origin of The Joker and Harley Quinn’s romance, which has been explored in some of the best episodes of Batman: The Animated Series and lightly featured in 2016’s Suicide Squad . This movie is supposed to be a “jukebox musical” — you know, like Moulin Rouge, except it’s about a murderous pair of lovers with unconventional ideas about jokes. It will be out on October 4th.

Or they will, in a new movie called Fly Me to the Moon, from Apple Original Films (and distributed by Sony Pictures). The movie imagines Johansson and Tatum as Kelly Jones and Cole Davis, who are given the directive to film a fake Apollo landing just in case the real one goes sideways.

It hits theaters July 12th.

A24’s horror trilogy heads to the ’80s in first MaXXXine trailer

It’s shaping up to be a promising summer of horror. Last week, we got a first glimpse at Tilman Singer’s Cuckoo , which comes out in August, and this week is starting off with the first trailer for Ti West’s MaXXXine . The movie will round out a trilogy that kicked off in 2022 with the release of both X and its prequel Pearl ; it hits theaters on July 5th.

As the title implies, the new movie follows aspiring actress Maxine Minx (Mia Goth) as she attempts to make it big in Hollywood in 1985 following the gruesome events of X . Much like Pearl before her (also played by Goth), she seems willing to do anything to make it happen. But bad news: a mysterious killer known as the “night stalker” is on the loose, complicating those plans.

Abigail , Universal’s new horror about a vampire posing as a young girl , seems to have all the makings of a classic killer child movie. But watching the film’s new trailer, you can absolutely see Megan’ s influence as Abigail prances around while murdering folks she just wants to have fun with.

Abigail hits theaters on April 19th.

The new trailer for Tilman Singer’s horror film — which stars Hunter Schafer and Dan Stevens — doesn’t give a lot away, but it sure does look scary. You can find out for yourself when it hits theaters on August 9th.

The new trailer for Kingdom of the Planet of the Apes has what all good action movies need: an overhead shot of people being hunted in tall grass. (See Prey , The Lost World: Jurassic Park , and X-Files: Fight the Future for more on this subject.) The latest Apes hits theaters on May 10th.

Commenters on the second Doctor Who trailer really love Ncuti Gatwa’s Doctor saying, “I will shatter this silly little battlefield into dust.”

I’m sure they’re right and that’s a better line, but I love the exuberance of “space babies!” (even if talking babies still look terrible in the year of our lord 2024). The new season hits Disney Plus on May 10th (or BBC iPlayer in the UK on May 11th).

Poor Things director Yorgos Lanthimos is already back with his next film, Kinds of Kindness. The first teaser trailer doesn’t reveal much — aside from a stacked cast — but the movie is described as a “triptych fable” that hits theaters on June 21st.

Kevin Nguyen

Ryûsuke Hamaguchi’s follow-up to Drive My Car was one of my favorites out of last year’s New York Film Festival. Fellow Hamaguchi-heads can see it when it comes to theaters May 3rd.

Beetlejuice Beetlejuice brings the dead man home in its first trailer

Tim Burton spent the better part of the past decade talking about how ready he was to make a Beetlejuice sequel with Winona Ryder and Michael Keaton . And after all this time the perfectly named Beetlejuice Beetlejuice is finally seeing the light of day.

Set some years after the original movie, Beetlejuice Beetlejuice catches up with Lydia Deetz (Ryder) and her teenage daughter Astrid (Jenna Ortega) as the pair travel home to Winter River to be with Lydia’s mother Delia (Catherine O’Hara) in the wake of a sudden family loss. It’s not clear whose funeral the Deetzes are attending in the new trailer, or how any of them feel about the person who died.

After Alien: Covenant , it felt like 20th Century Studios might not have been sure where it wanted to take the franchise . But the nightmarish first teaser trailer for director Fede Álvarez’s upcoming Alien: Romulus standalone film — out August 16th — makes it seem like the studio has a solid plan to get things back on track.

Between the gruesome murders, supernatural resurrection, and moody quest for vengeance, director Rupert Sanders’ upcoming remake of The Crow seems like it should have all the right ingredients to appeal to fans of the original comic.

And yet, watching the movie’s new trailer, there’s something that feels kind of off — maybe it’s the Yolandi Visser cut — about Bill Skarsgård’s take on the undead vigilante. The film’s out June 7th.

Sony initially had the third Venom movie starring Tom Hardy scheduled to hit theaters on November 8th , but along with revealing the project’s new title — Venom: The Last Dance — the studio has bumped its premiere up to October 24th.

[ Variety ]

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'The Substance' review: Demi Moore shines in bold, boundary-pushing psycho horror shocker

In-your-face satire is not for the squeamish or weak of stomach..

Wickedly audacious and boldly over-the-top, "The Substance" is a biting, hilarious and stomach-churningly disgusting satire of modern beauty standards and Hollywood's obsession with youth, staged as a deranged midnight movie freak-out.

In her second film, French writer-director Coralie Fargeat (2017's "Revenge") calls on boundary pushers such as Gaspar Noé, Nicolas Winding Refn and Davids Lynch and Cronenberg in her raging body horror sci-fi nightmare. She's in league with those renegade auteurs, and "The Substance" is on the shortlist of the wildest, most daring movies to be released (unleashed?) into theaters in the last 25 years.

Demi Moore, in her best and most vital work in decades, stars as Elisabeth Sparkle, a fading star who is being pushed out of her position as host of a hugely popular aerobics TV show. This is part of Fargeat's cracked portrait of the entertainment industry: An aerobics show is the top of the ladder, because it's all leering at women with no pretense of art or anything else. It's selling sex, plain and simple. And Sparkle's stock is waning.

She knows it, even before she's handed her walking papers by a cartoonishly grotesque exec, played by Dennis Quaid and named — in what might as well be a flashing neon light above his head — Harvey. He wants someone younger, someone prettier, someone happier , and he goes about finding her replacement.

Sparkle wants to be younger, prettier and happier, too, and she hears about an experimental procedure dubbed "The Substance," where she'll essentially birth a more perfect version of herself. This will in essence split her into two bodies — the matrix and the other self — and they'll live separate lives but remain one being, trading off consciousness every seven days. And if they don't swap back after exactly one week, there will be consequences.

Don't get caught up in the particulars of transformation. Just know it's staged in vividly gory detail, and the second self emerges as Sue, who is played by Margaret Qualley as a kind of blank, vapid but perpetually smiling young ingenue.

Sue immediately wins over the town — and Harvey, of course — and she becomes the hot new starlet, immediately replacing Sparkle on the newly branded aerobics show "Pump It Up." The only hitch to her sudden fame is those weekly body swaps, and Sparkle quickly grows resentful of Sue, which sets up a sort of "All About Eve" against her alternate self.

It's an absurd, outlandish premise, but Fargeat is never less than all-in, so she makes it easy to go along for the ride. And she has such a striking visual sensibility — she shoots long, imposing, static hallways like they're the spaceship corridors in "2001" — that it feels like you're in the hands of a master craftsperson, someone with a resolute vision who, to her great credit, is completely in on her own joke.

There are social media parallels to this parable, and our quest to constantly present the "best" version of ourselves to the world. The villain in the story is vanity, and Fargeat takes it to its extreme.

As "The Substance" keeps pushing and pushing — boundaries, limits, good taste — it builds to a go-for-broke climax that not even Troma could pull off. Say this for Fargeat, she doesn't pull any punches. She pulls off a shocker of a film that will leave viewers feeling dizzy, dazed and delirious, and feeling like they've just been split in two. It leaves a scar in the form of a beauty mark.

'The Substance'

Rated R: for strong bloody violent content, gore, graphic nudity and language

Running time: 140 minutes

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‘The Featherweight’ Review: Boxing Is Easy. Retirement Is Hard.

In this biopic, a documentary crew follows the boxer Willie Pep during his 1960s comeback.

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By Lisa Kennedy

In “The Featherweight,” James Madio nimbly portrays Willie Pep, the boxing champion from Connecticut whom The Ring magazine once nicknamed the Hartford Tornado.

The movie, directed by Robert Kolodny, opens on the acclaimed pugilist in 1964, two decades after he started his career and five years after he first retired. At 42, Pep has been selling autographed photos and other memorabilia, a requirement and curse of a fading fame. He often appears with his nemesis, Sandy Saddler (Lawrence Gilliard Jr.), a Black featherweight champ who is along for the downward slide.

Pep is angling for a comeback, which is the reason a documentary film crew is trailing him. “The Featherweight” is the fruit of their fly-on-the-wall ubiquity.

In Hartford, Pep lives with his much younger wife, Linda (Ruby Wolf), an aspiring actress, and his mother (Imma Aiello), who doesn’t much like Linda. His grown son, Billy Jr. (Keir Gilchrist), is openly antagonistic. Talk about bobbing and weaving.

Pep often engages the crew with a sweet and cocky slyness, which befits a boxer who would amass almost 230 wins during his career. That doesn’t mean he’s happy being filmed bullying one of Linda’s fellow actors or being battered at his old gym once he returns to his former trainer, Bill Gore (Stephen Lang).

Kolodny handles his movie-as-documentary conceit with subtle flair and finesse. For a subgenre as crowded with movies as boxing has weight classes, “The Featherweight” isn’t a knockout. But it does land more than a glancing blow.

The Featherweight Not rated. In English, with some Italian in subtitles. Running time: 1 hour 39 minutes. In theaters.

'Twilight of the Gods' Review: Zack Snyder Finally Has a Winner on His Hands

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Zack Snyder is back, and this time he’s delivering his signature bloody battles and eyebrow-raising sex scenes through the lens of animation in Twilight of the Gods . The new eight-episode series feels like Netflix’s Norse-themed answer to their own hit Greek pantheon-based animated show Blood of Zeus , complete with scheming gods, brave mortals rallying against them, and clever twists on familiar mythology. Following the critical failure of Snyder’s Rebel Moon duology, Twilight of the Gods feels like a long-overdue win for the writer-director , whose lofty ideas are often maligned before they ever hit screens.

The glorious visuals of Twilight of the Gods , which was co-created by Snyder, Jay Oliva , and Eric Carrasco , hail from the Oscar-nominated animation studio Xilam Animation, which previously garnered praise for their Netflix-acquired R-rated animated feature I Lost My Body . The use of 2D animation throughout the series crafts an almost nostalgic sensation, hearkening back to an era of animation where it was the norm, not the exception. While most of Snyder’s previous body of work was bogged down by drab color grading and muddy visuals, Twilight of the Gods is vibrant and full of life , even in its darkest moments.

Twilight of the Gods revolves around Sigrid’s (Sylvia Hoeks) revenge-filled quest to slay the God of Thunder , Thor ( Pilou Asbæk ), after he savagely murdered her entire family on the night she was to marry King Leif ( Stuart Martin ). Norse mythology, like most religious canon, is largely focused on the masculine, which isn’t a surprise considering their society was a patriarchal one. What is a surprise is that Snyder opted to make Sigrid the lead of the series. This is, as the finale says, “The Song of Sigrid.” Leif vows to follow her wherever she leads him, no matter the cost, which is the sort of blind devotion these stories often reserve for female characters, pining after the brawny heroes. In fact, it’s Sigrid who makes the maidens swoon, not her would-be husband.

Loki and Egill Are Standout Characters in ‘Twilight of the Gods’

With Leif at her side, Sigrid puts together a rag-tag crew of crusaders with their own motives, tragic backstories, and impressive abilities, in her do-or-die crusade against Thor and the gods that aid and abet him. This includes recruiting the rune-wielding Egill ( Rahul Kohli ) and the witch Seid-Kona ( Jamie Clayton ), who are perhaps the most notable of their band of unlikely warriors. Egill is clearly a riff on the Viking-era poet and sorcerer from Egil’s Saga , though few scholars could have foreseen that his first true arrival into modern pop culture would reimagine him as a sexy, tragic, bisexual mess.

In addition to the mortals that Sigrid recruits, she finds an unlikely ally in the God of Mischief himself, Loki ( Paterson Joseph ), who has his own reasons for wanting Thor out of the picture. Out of all the Norse gods that Twilight of the Gods introduces audiences to, Loki is undoubtedly the standout, which shouldn’t come as a surprise to anyone who has even the barest familiarity with Norse mythology. Like Sigrid, he has felt the wrath of Thor’s vendetta against his kind, and his family paid the price for his desire to have a life of his own. He is a tragic figure, and it’s hard not to feel for him, even as he lashes out against his would-be allies. Episode 5, in particular, should satisfy those who have hungered for a more true-to-lore approach to the trickster god.

The ensemble cast is rather robust and at times over-stuffed . Each character may have a distinctive look and voice, but it’s easy for them to begin to bleed together across the eight episodes, especially as there isn’t nearly enough time to become fully invested in their past and (sometimes short-lived) present. Egill and Loki may be the most memorable of the recurring characters, but Hervor ( Birgitte Hjort Sørensen ) and Hel ( Jamie Chung ) leave quite an impression too. As with modern-day live-action series, Twilight of the Gods will leave you pining for 23-episode seasons that give the audience time to fully meet each character.

Every Zack Snyder Movie, Ranked by Rewatchability

This is Snyder!

Zack Snyder Makes Bold Choices With ‘Twilight of the Gods’

Twilight of the Gods is exactly what you expect when it comes to Snyder’s brand of storytelling, particularly when it comes to adult content. Early on, he promised that the series would have “lots of sex,” but the scenes are nothing to clutch pearls over. Yes, there are threesomes aplenty, but they all serve the plot. Whether they are (quite literally) stripping insecurities bare or laying the groundwork for heroic motivation, the intimacy of these moments is vital to fleshing out who these characters are . When it comes to the violence, the blood and gore are more in line with Castlevania , rather than Invincible .

For audiences who only know of Thor through the MCU, Twilight of the Gods ’ take on the hammer-wielding deity may come as a shock. While Norse mythology presents Thor as ambivalent toward mankind, his well-documented malice towards giants takes center stage in this series, and it’s an unsettling sight to behold. Snyder’s vision may take liberties with Norse mythology, but he does stay fairly true to the essence of the ideas and mores associated with the religion.

Nestled within the gore and gristle of the series, there are some highly compelling concepts that Snyder toys with. Namely, dashing the idea that Valhalla is a warrior’s rest after they fall on the battlefield. Instead, it’s framed that they are leaving behind one army to be conscripted by a vengeful god who has little care for them. It’s a neat twist, and one that will surely ruffle feathers. While Twilight of the Gods is presented as “a mythical world of great battles, great deeds, and great despair,” there are elements to the latter half of the season that call into question whether this world is truly meant to be a mythical version of our own world. After all, it wouldn’t be Snyder without grand allusions to the crucifixion of Christ .

When it was first announced that Hans Zimmer would lend his musical talents to Twilight of the Gods ’ soundtrack, I had an inkling that Netflix had something epic on the horizon, and I was right. Sure, he also lent his musical genius to Army of the Dead , but the German composer has crafted some of the most iconic soundtracks; from Gladiator to Top Gun: Maverick to Dune: Part One (and Two ) to nearly 250 projects in between. Here, he crafts a beautiful score that supports the epic, otherworldly visuals laid out by the animators. The only flaw in the entirety of the series’ soundtrack is not the fault of Zimmer, but rather, an entirely unexpected needle drop featuring MC Hammer . Not only did it feel anachronistic for the series, but it was a complete disservice to the atmosphere created by Zimmer’s score. For the scene in question, the song choice did make sense, but at a cost.

Is ‘Twilight of the Gods’ Worth the Watch?

If you are a fan of Blood of Zeus but have been pining for a series steeped in Norse mythology instead, then Twilight of the Gods is absolutely a must-watch. If you don't like Snyder’s very distinctive storytelling style, then Twilight of the Gods isn't for you. If you are Snyder-curious and willing to give him a chance after disliking any of his previous work, then you may be in luck with Twilight of the Gods . It is, undoubtedly, one of Snyder’s best “original” projects , perhaps because it is rooted in something that is largely familiar to the audience, at least those who have some basic understanding of Norse mythology. Animation also seems to give Snyder and his co-creators the freedom to be more adventurous with the plot.

Twilight of the Gods isn’t without its faults, though they are few and far between. The series suffers from the same issue that struck down Rebel Moon ’s full potential: an overstuffed cast of extremely cool characters who never get their moment in the spotlight. This is certainly the case for the interchangeable band of warriors in Sigrid’s crew, but also noticeable among those surrounding Thor and Loki. Even Odin ( John Noble ) feels underwritten, relying upon what the audience knows from outside the series to establish him as an intimidating force. Should Netflix opt to greenlight a second season, there’s plenty of room for further development of the remaining characters as the story progresses.

Overall, Twilight of the Gods is quite enjoyable. Sigrid is a fantastic lead character, and it's great to see a strong female lead who is allowed to seek revenge and have a beautiful romance (two-fold, in fact). That isn’t to say that this element doesn’t lack issues, because some very minor elements felt unnecessary — namely, where threats of rape occur, though, blessedly, there is no real follow-through with those threats. This may be historically accurate for a time period where women had no rights and were bartered off like livestock to the highest bidder, but this is a series filled to the brim with magic, godly mayhem, and the literal underworld . It would only undercut the strength established by constructing a world around a character like Sigrid. It’s clear that Snyder and co. have a great respect for Norse mythology, all the while following the trend of using it as the bones to build a much more rich and diverse story.

Twilight of the Gods is streaming now on Netflix.

Twilight of the Gods

Twilight of the Gods is exactly what you expect when it comes to Zack Snyder’s brand of storytelling.

• Xilam Animation delivers beautiful visuals, rich with depth and color, that are further elevated by Hans Zimmer?s hypnotic score.
• Zack Snyder and his fellow co-creators are deftly capable of taking established Norse mythology and bending into clever ways.
• Sigrid is an excellent lead for the series, subverting the expectations associated with Norse mythology.
• The ensemble is overstuffed and eight episodes is not enough time to fully develop the series' ensemble into memorable or meaningful characters.
• At times, the plot can feel rushed, likely due to the shorter episode count and robust ensemble.
• The use of jarring, anachronistic music in a latter episode hurts the overall aesthetic of the series.

In a grand saga of power and betrayal, the last days of a once-mighty realm are depicted as its ruler faces the ultimate test. Amidst a tapestry of mythic battles and ancient prophecies, leaders and heroes emerge, each vying for survival and supremacy, culminating in a climactic battle that could either save or doom their world.

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(Photo by WB. Courtesy Everett Collection. BEETLEJUICE BEETLEJUICE.)

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

Discover the top, most popular movies available now, along with what’s stoking early buzz and hype! Across theaters, streaming, and on-demand, these are the movies Rotten Tomatoes users are checking out at this very moment, including Am I Racist? ,  Joker: Folie a Deux   (hype full steam ahead for its October 4th release), Beetlejuice Beetlejuice , Speak No Evil   (see the best horror movies of 2024 ), and Rebel Ridge ,  which places high on our list to 50 best new action movies .

Check back for latest updates to the charts, and also take a look at the most popular TV shows out right now !)

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‘Heretic’ – Hugh Grant Takes Center Stage on New Poster for A24 Horror Movie

Fresh off the film’s premiere at TIFF, which resulted in the first reviews hitting the internet , A24 has announced that the new trailer for Heretic will be released tomorrow, September 19.

Scott Beck  and  Bryan Woods  ( A Quiet Place, 65 ) are the writers and directors of the upcoming horror movie  Heretic  for A24, and you can check out a new poster in the meantime.

A24 will release  Heretic  in theaters on  November 15, 2024 .

Hugh Grant  ( D&D: Honor Among Thieves ),  Chloe East  ( The Fabelmans ) and  Sophie Thatcher  (“Yellowjackets”) lead the cast of the upcoming horror movie. In the film…

“Two young missionaries are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed, becoming ensnared in his deadly game of cat-and-mouse.”

What’s really going on here? This first official trailer for  Heretic  from A24 keeps the mystery bathed in darkness, but it seems Hugh Grant’s sinister villain is harboring a supernatural secret of some kind. “It will make your hearts beat faster,” he tells his two young captives. “It may even make you want to die.” Grant’s character later promises, “You will witness a miracle.”

Whatever it is, it will likely shake their faith to its very foundation. Any guesses?

Scott Beck and Bryan Woods wrote  A Quiet Place  with director John Krasinski, and they just wrote/directed the high concept  Adam Driver dinosaur movie  65  last year. The duo also wrote/directed  Haunt  and penned the Stephen King horror film   The Boogeyman .

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

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‘Krazy House’ Starring Nick Frost Aims to Be the Most Offensive Blood Bath of the Year [Trailer]

Dutch directorial duo  Steffan Haars  and  Flip Van Der Kuil ’s English-language debut,  Krazy House  polarized Sundance audiences this year with its over-the-top lampooning of the ’90s sitcom era, and XYZ Films has now dated the movie for wide release this week.

Krazy House heads into your house on VOD outlets on October 4, 2024 .

Watch the official trailer for  Krazy House starring Nick Frost ( Shaun of the Dead ) below, which previews just how crazy this horror movie twist on the classic ’90s sitcom is about to get.

In the film from writers/directors Steffen Haars and Flip van der Kuil…

“When Russian workers in Bernie’s house turn out to be wanted criminals, Bernie has to man up and save his ’90s sitcom family. “

Nick Frost stars alongside  Alicia Silverstone  ( Perpetrator ) in the upcoming Krazy House , with the cast also including Jan Bijvoet, Gaite Jansen, Walt Klink  and  Kevin Connolly .

Maarten Swart produced the upcoming genre-bender.

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Stressed siblings clash in a tiny New York apartment and audiences love the sparks

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Nothing brings people together quite like the death of a loved one. And nothing brings out the small slights, simmering resentments and long-term emotional connections quite like the death of a loved one.

The new film “His Three Daughters” explores all of that in acute, observant detail. Written and directed by Azazel Jacobs, the film follows three sisters, not exactly estranged but definitely not close, who find themselves back together in a small New York City apartment as their father lies in a back bedroom in hospice care.

The film is a powerful spotlight for performances by Carrie Coon, Elizabeth Olsen and Natasha Lyonne, all of whom manage to bring unexpected turns to their seemingly well-established screen personas. Coon’s intimidating Katie, Olsen’s reticent Christina and Lyonne’s disaffected Rachel all show new sides — to each other but also to themselves — by the time the story is done.

“It goes back to that whole ‘Breakfast Club’ thing, which is: How do you expect us to sum ourselves up?” Jacobs says in a video interview from his apartment in New York. “ ‘I’m the domineering person, I’m the flighty person, I’m the laid-back stoner.’ And hopefully by the end they’ve untethered and revealed something quite more flawed and human than that.”

Having premiered at last year’s Toronto International Film Festival , the movie was acquired by Netflix for a reported $7 million. Following a limited theatrical release, including some screenings in 35mm, the film begins streaming on the platform on Friday.

Jacobs wrote his script with these three actors in mind, knowing he had a connection to each and could get the script to them directly. Jacobs had directed Olsen in episodes of the series “Sorry for Your Loss.” He met Coon after directing her husband, the actor and playwright Tracy Letts, in his previous films “The Lovers” and “French Exit.” He met Lyonne after going with actor Lucas Hedges to Lyonne’s 40th birthday party, a screening of the film “The King of Comedy.” The two then became friendly on Instagram.

Though Coon had met Jacobs socially, she was still surprised to receive a script written with her in mind.

“I didn’t know how he thought of me as an actor, if he even considered me in that way,” says Coon, a recent Emmy nominee for her role on “The Gilded Age.” “So I was very flattered when he revealed that he had written this part. And of course, Tracy said, ‘Well, you’re doing it.’ And that was before I even read it, because he so loves working with Aza. He knew I would have a wonderful time.”

When she did read the script, Coon liked what she found.

“I often play very verbal, highly intense women,” says Coon. “And so in some ways it was, by all observation, in my wheelhouse, as they say. And I am an older sibling and I am overbearing and controlling, and think they should all take my advice. And so it’s not far from me in that way.”

For Olsen, the part of the shy, recessive Christina felt more distanced from her recent roles in the series “Love & Death” or as part of the extended Marvel Cinematic Universe.

“I don’t find myself to be that sweet and sensitive, but I am, in ways, and Aza knows a lot about me personally and my own day-to-day life that I go through and things I don’t share with many people,” says Olsen. “And so to find something smaller within me and quieter, very vulnerable, it felt like a nice opportunity even though it wouldn’t necessarily have felt like the thing I was dying to do next. I had this opportunity to go to a softer place than I’m usually drawn to.”

At a time when she is very busy as a producer, director, writer and showrunner on projects such as “Russian Doll” and “Poker Face,” there is still something satisfying for Lyonne in acting in someone else’s project — just to be, in her words, “like a Traveling Wilbury or something. I’m just out here being a session musician and the gig is to service the idea as best you can. I love to be a part of watching somebody make their thing.”

Jacobs broke through with his third feature, 2008’s “Momma’s Man,” which featured his actual parents, artist Flo Jacobs and avant-garde filmmaker Ken Jacobs, in their Tribeca loft and there is something full-circle in seeing him return to a story so tied to family, aging and New York housing.

To find the specific apartment Jacobs had in mind, he and his co-producer, the costume designer Diaz Jacobs (also the director’s wife), handed out fliers on the street. He called people he hadn’t spoken to in years. He discovered the apartment they ultimately used through someone he knew since he was a teenager. A unit on the Lower East Side, it had only recently been purchased, which meant it wasn’t fully furnished. Most crucially, a dividing wall typically knocked down by contemporary owners was still standing.

“It was important for me to not write about an artist’s loft,” says Jacobs. “I wanted this family to exist outside of my own. I grew up going to lots of these apartments. I knew it from sleepovers or visiting friends. And it was super important to me to use the actual structure as a limitation.”

Jacobs and cinematographer Sam Levy, whose credits include “Frances Ha,” make the most of the limited space. In the early stages of the film, the three sisters are seen only in individual shots locked off from one another. Gradually, two of them may appear together in a shot, but it is not until well into the film that the three performers are all together on-screen.

“The experience of the film, it mirrors the relationship of the sisters,” Coon says. “Form follows function in such a beautiful way and in a way that is so rarely done. You just rarely see this level of craftsmanship in an industry that’s moving at breakneck speed to make money.”

The production used other apartments in the building as holding areas in between takes, with Coon and Olsen in one and Lyonne in another to heighten the feelings of isolation felt by her character. But the three of them ended up spending time together anyway.

“It was lovely to kind of be on top of each other all the time and to giggle and to get into each other’s personal lives and then be called to set and Aza having a hard time wrangling us because we’re so obsessed with whatever it is that we’re doing together,” says Olsen. “I feel like all the photos that Aza has taken of us when we were off camera, I feel like our limbs are all tangled within one another. It created a different energy, kind of like there’s nowhere to escape. You just have to deal with what’s real and what’s there.”

“We would just spend all our time running up and down the stairs in the building,” recalled Lyonne.

All three actors have been pleasantly surprised by the response to the film from audiences. A small, independent movie that arrived at a festival a year ago without distribution has steadily been impressing audiences at screenings and is now beginning to generate talk of awards consideration.

“I’m really grateful that people are connecting to it,” says Lyonne. “It’s absolutely true that I don’t think any of us expected this. It’s really something for us all to remember, that it’s always the unexpected ones. How beautiful it is that we are impacted by these kind of surprises. It’s a reminder to keep an open mind when we’re green-lighting or reading or thinking that we’re making these strong choices and building out these imaginary careers and ‘Gotta win at life.’ Well, spoiler alert, we die at the end.”

Whereas “Momma’s Man” was inspired by Jacobs seeing people his age begin to have babies and “The Lovers” came from a wave of divorces around him, “His Three Daughters” grew out of seeing people his age lose their parents, as well as his parents having their own health issues.

The film captures the specific end-of-life agony of simply waiting: the agonizing period where there is little to be done and the smallest detail — a signature on a piece of paperwork, what to have for dinner — can take on huge meaning simply because it is a task that can be accomplished.

“That experience of waiting is what actually sat me down to write,” says Jacobs. “Time moves in the strangest way. Like every second suddenly counts. Emails don’t matter. Everything doesn’t matter except this. Then you realize there’s a shift, suddenly emails do matter again and life outside does matter. This thing that you did not want to happen, suddenly you are resigned that it is happening.

“And there really felt like three acts in that,” Jacobs says. “That’s why it was so important for me to edit this film. I know that there’s been this comparison to plays, but the truth is that we’re not seeing time move in the way that a play would at all. I could take advantage of time so that some things can move fast. Some things can move slowly, time could collapse. It doesn’t move like real time. And that’s what death feels like to me.”

More to Read

Review: Anticipating loss, sisters rub against old frictions in superb ‘His Three Daughters’

Sept. 6, 2024

Review: A cantor and an older student find reciprocity in the playful ‘Between the Temples’

Aug. 23, 2024

Review: Emotionally, ‘Daughters’ shows prisoners reuniting with their children, just for a night

Aug. 9, 2024

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