It is safe to say that Aaron Sorkin is one of the best screenwriters working today, a status he has deservedly earned thanks to excellent writing credits including the award-winning scripts for The West Wing, Steve Jobs and The Social Network. While Molly’s Game continues Sorkin’s current trend of writing scripts concerning the lives of real people, the film also marks his first time directing.
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As Dwayne ‘The Rock’ Johnson continues his vendetta against iconic elements of 90’s pop culture, no property appears to be safe. Having already tormented cinemagoers with the painful Baywatch film earlier this year, it is therefore understandable that many have expressed their concerns about his involvement with Jumanji: Welcome to the Jungle. Being not quite a sequel and not quite a reboot either, Jumanji: Welcome to the Jungle seeks to show us the inside of the Jumanji board game, which has now become a video game, a change that only spurred further outrage from fans of the 1995 original.
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When The Force Awakens was released in 2015, it was met with overwhelmingly favorable reviews, just as the fans for the most part seemed thoroughly pleased by the continuation of the beloved saga. The cause for the success was largely attributed to J.J. Abrams having managed to bring the franchise back to its roots in terms of tone and atmosphere, just as many of the new additions to the cast were also commended for being highly compelling. However, with a change of director and the untimely death of the inimitable Carrie Fisher, people have been wondering where director Rian Johnson would take the saga, as the ominous episode title The Last Jedi and the secretive marketing campaign seemed to suggest that the latest installment would be a much darker outing than its predecessor.
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When you walk past the Prince Charles Cinema in the heart of London’s West End, you may notice that the marquee above the entrance has a small, permanent sign that boasts that this is the home of Tommy Wiseau’s The Room. Like a miniature version of his infamous Los Angeles billboard, Wiseau eerily glares down on passersby, but Tommy Wiseau and Greg Sestero can also be witnessed in person at this location, as they visit the cinema at frequent intervals. Here, Wiseau and Sestero introduce the film that brought them cult fame, take questions from the crowd – albeit Wiseau rarely answers any – and throw footballs back and forth to fans in the Leicester Square side street outside the cinema.
As a result, the cinema has become particularly famous for the wild energy that fills it when The Room audiences let loose with endless, heckling roars and a monsoon of spoons – mostly plastic ones, however, cinema manager Paul Vickery does recall a few unfortunate incidents involving metal spoons – which requires the staff to take swift action to get it all cleaned up before the next flock of cult film fans fill the room for yet another of the frequently sold out screenings.
This has clearly not escaped James Franco, as he and his brother Dave take the stage after a special preview screening of their new film The Disaster Artist has just finished to a standing ovation from the sold out screen.
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Guillermo del Toro has always had a unique style as a filmmaker, and his love of monsters has continued to give cinema-goers colorful and nuanced portrayals of the creatures and stories he holds dear, ensuring that his films stand out compared to the more one-dimensional and disposable paranormal offerings that tend to populate the contemporary cinematic landscape. While del Toro is no stranger to passion projects as evidenced by a significant number of his previous works, it is clear from the onset that The Shape of Water is the very definition of an unadulterated labor of love.
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Anyone who has ever witnessed The Room – which by many has deservedly been called the best worst movie ever made – can attest to how the weirdness of the film does not merely boil down to incompetent filmmaking, but also to its paradoxically significant amount of entertainment value, the presence of which is as enigmatic as the film’s mastermind Tommy Wiseau. Very few definitive details are known about Wiseau, which makes for meeting the man in person as odd an experience as witnessing his work.
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Not only has establishing the DC Extended Universe proved to be an arduous task with the numerous flops threatening to be a deadly counterweight to the one big hit the current film franchise managed to land with Wonder Woman this summer, the production of Justice League itself has also been tumultuous, to say the least. When Zack Snyder decided to step down from Justice League due to the tragic loss of his daughter, Joss Whedon stepped in to cover for Snyder, helming a substantial amount of re-shoots. Among DC fans, concerns understandably grew that Warner Bros. were simply trying to imitate the Marvel formula by bringing in the director of The Avengers, but while it is for better and most definitely also worse easy to see which elements Whedon has been in charge of, Justice League overwhelmingly comes across as the vision of a Snyder who has reined in his preference for angsty bleakness and muted colors and instead attempted to create a more vibrant film with more of a comic book feel than his previous DCEU offerings.
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