The latest trailer for the upcoming DreamWorks film The Boss Baby — an animated comedy featuring Alec Baldwin voicing a baby who is, bear with me here, a boss — was specially cut together to be paired with Disney’s Beauty and the Beast remake, which premiered this past Friday. The video, jocularly titled “A Tale NOT As Old As Time” in reference to the line from the 1991 film’s theme music, features the Baldwin-voiced infant making Cogsworth and Lumiere play with one another as playthings before he directly accosts the audience. For a movie that would appear to be marketed to children, it sure does contain a joke about sticking a candlestick in there somewhere.
Hey, are you between the ages of 18 and 25? Are you of Middle Eastern descent? Are you free from April of this year right on through to January 2018? Have you ever been described as ‘telegenic,’ and most importantly, can you hit a high C? Then good news, you have a solid shot at landing one of the starring roles in Guy Ritchie’s upcoming live-action Aladdin remake for Disney!
Ah, the Super Bowl: the one magical night each year in which the nation unites under the binding forces of domestic macrobrewed beer, buffalo chicken wings, and good ol’ American football. Everyone’s got something to enjoy at the big game, whether that’s the competition itself or, for those of us unable to enjoy sporting events due to PTSD over a childhood of getting picked last, trailers for a movie in which Scarlett Johansson plays a sexy police robot. The Super Bowl regularly doubles as the premiere for a handful of brand new previews of upcoming blockbusters, and Paramount has done us all the solid of giving us a three-day jump on the fun.
Transformers and the Super Bowl are a match made in heaven. Is the NFL’s biggest night not, in its own way, the Michael Bay of televised sporting events? Massive budget, fetish for pyrotechnics, close-up shots of muscle-bound men glistening with hard-earned sweat, oodles of American patriotism, very few women, an overall roiling undercurrent of homoerotic tension — when the new TV spot for Transformers: The Last Knight runs on Sunday night during the big game, it’ll be difficult to tell where the football ends and the gigantic alien robot battles begin.
The most widely recognized iterations of Batman’s constant foe the Joker would probably have to be Heath Ledger as the unchained mad-dog of The Dark Knight, Jack Nicholson as an urbane creep in Tim Burton’s 1989 film, and to a lesser extent, Cesar Romero’s campy turn in the goofy TV series from the ’60s. But Mark Hamill logged more hours as the Clown Prince of Crime than the rest of them put together, voicing the Joker in the long-running animated series and its many spin-offs. The man with the greatest claim to the Joker persona dusted off his special crazy-voice this week for a more pointedly political purpose than the usual cocktail-party entertainment.
Before the era of reality television popularized the concept of “being famous for being famous,” Hungarian-born actress Zsa Zsa Gabor elevated celebrity to its own sort of art form. She brought her European sense of sophistication to a handful of big-name films as their star, including John Huston’s Moulin Rouge. (The famed director described Gabor as a “creditable” actress.) Mostly, however, she commanded gossip headlines with her flashy and impossibly ritzy personal life. The revolving door of husbands, the uniform of furs and jewels she was seldom seen without, the way she purred “dahhhhling” to everyone she addressed — even offscreen, she was a larger-than-life character.
Music is everything to La La Land, not just its main mode of communication but its reason for being — all of director Damien Chazelle’s films have centered on the power of music to varying extents. For his most ambitious passion project yet, Chazelle figured he’d need a composer who was up to the task of capturing the swooning romance and the lingering melancholy of the film, and he found one in Justin Hurwitz. And now you can listen to the beautiful La La Land score a whole week before the film hits theaters.
The late actor Peter Cushing, mainstay of Hammer’s horror films and erstwhile Star Wars cast member, cut a distinctive figure: cheekbones that could slice diamond, perfectly coiffed shock of grey hair, mouth permanently pursed into a single flat line. As the ruthless Empire commander Grand Moff Tarkin, Cushing left a lasting impression on generations of viewers, austerity coded directly into the lines on his face. He makes for an instantly recognizable silhouette — so is that really him, out of focus and in the foreground for a split second in the latest Rogue One: A Star Wars Story TV spot?
In one way or another, all of Mark Wahlberg’s movies have involved him playing the role of the savior. In many instances, this takes a pretty literal form — Wahlberg protected Earth from alien robots in Transformers: Age of Extinction, protected America from terrorism in Lone Survivor, and in his Oscar-nominated role in The Departed (remember that time Mark Wahlberg got nominated for an Oscar...
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