Pakistan sports minister has maintained he wants their team to play ODI World Cup matches at a neutral venue if Asia Cup matches are taken away from them
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Cillian Murphy has one condition to return for the legacy sequel hes been asked about for decades
Cillian Murphy is the talk of the town these days as the face of Christopher Nolan’s Oppenheimer, which is due in theaters in a week and a half, and while the Irishman tends to be one of the quieter big actors working today, the consistent impact he brings to the screen makes the spotlight look more and more inevitable with every passing day.
And while Oppenheimer could very well be that tipping point, complete with Oscar buzz if the trailers are any indication, there’s one project that, if it ever came to fruition, would ensure Murphy’s domination of pop culture for a marked period of time, and that project is a sequel to 28 Days Later.
Murphy, of course, starred in the groundbreaking zombie film back in 2002, and while he wasn’t involved with the 2007 sequel 28 Weeks Later, the Peaky Blinders star revealed in an interview with Collider that he’s all but ready to hop in for a legacy sequel, so long as Garland and Danny Boyle reprise their writing and directing duties, respectively.
I was talking to Danny Boyle recently, and I said, “Danny, we shot the movie at the end of 2000.” So I think we’re definitely approaching the 28 Years Later. But like I’ve always said, I’m up for it. I’d love to do it. If Alex [Garland] thinks there’s a script in it and Danny wants to do it, I’d love to do it.”
28 Years Later certainly has a nice ring to it, and given that 28 Days Later‘s cultural impact proved to be alive and well with respect to the COVID-19 pandemic, the fact that we’re now living in a post-pandemic world would allow a potential legacy sequel to build on this impact with a wickedly sharp new lens. Here’s hoping Garland is cooking something up as we speak.
Meanwhile, Oppenheimer is due in theaters on July 21.
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David Warner Has Got to Get This Ashes Done: Former Australia Cricketer Sees No Option for 4th Test
Ian Healy feels even though David Warner was not good enough but Australia have to presist with the 36-year-old veteran in the 4th Ashes Test
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A Margot Robbie revelation paints the Barbie press tour in an entirely new light
The world’s most highly anticipated box office cage match of 2023 is set to kick off in a week and a half, but at this point, it’s safe to say that Barbie has the upper hand on Oppenheimer. Awards season may spell a different story, but between Oppenheimer‘s R-rating and Barbie‘s eye-popping, mysterious premise that will no doubt mutate into great word-of-mouth, Greta Gerwig’s fantasy comedy has this one in the bag.
That’s assuming, of course, that the public doesn’t take this unforgivable betrayal by one Margot Robbie to heart; in an interview with ComicBook, the face of Barbie herself admitted that her childhood was entirely void of any trace of the iconic doll, immediately calling her worthiness as Barbie‘s eponymous lead into question.
I called my mom before this press tour, and I was like, ‘Are there any pictures of me, like with Barbie, playing with Barbie, opening a Barbie on Christmas or anything?’ And she was like, ‘I couldn’t get you to wear a dress!’ And I was like, ‘That’s not helpful.’ So I don’t have a photo like that, but I love how many people have shown me things like that.
What’s real? What isn’t? How can we possibly know anymore? In any case, Robbie’s newfound status as a Barbie fraud just may give Oppenheimer more of an edge in their duel, as there’s no way the Barbie faithful will stand for being lied to like this. Then again, we have our doubts that Cillian Murphy has much of a background in theoretical physics, so perhaps the two films are exactly as even on that front as we’d now expect.
For now, then, we’ll let Robbie’s inexperience with Barbie dolls slide, but if we find out that Ryan Gosling never played with Ken dolls at any point in his life, a boycott will surely be in order.
Barbie flutters into theaters on July 21.
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I was born running I came out with a sprint: Tom Cruise happy to give the people exactly what they want
Mission: Impossible – Dead Reckoning Part One is right on our doorsteps, with Tom Cruise‘s latest endeavor set to continue one of the largest cinematic phoenix moments in history.
After kicking off with a pair of stinkers back in 1996 and 2000, the franchise has since gone from strength to strength to strength, and the fact that Dead Reckoning has already topped the likes of Fallout from a critical standpoint is a sign of more great things to come.
For years, Mission: Impossible protagonist Ethan Hunt has been defined by his commitment to individual life as much as entire populations of people, and while this defining trait of his is set to be tested like never before in Dead Reckoning, there is one other iconic aspect to Ethan that, according to Cruise himself, will remain entirely unshakable.
In an interview with ET Online, Cruise reassured everyone that Ethan’s iconic sprint wouldn’t be going anywhere, cheekily suggesting that the protagonist’s unmistakable running form is as much a part of him as it is a part of the character.
“I was born running. I came out with a sprint. My mom was trying to hold on to me and she just couldn’t get ahold.”
Mission: Impossible regulars Simon Pegg, Ving Rhames, and Rebecca Ferguson are all back for round seven as well, while Vanessa Kirby returns from Fallout and Henry Czerny steps back into the fray after 27 years away. Elsewhere, Hayley Atwell, Pom Klementieff, Esai Morales, Cary Elwes, and Shea Whigham all make their franchise debuts.
Mission: Impossible – Dead Reckoning Part One skydives into theaters on July 12.
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Review: Bird Box Barcelona intriguingly expands the mythology but still asks too many questions it isnt interested in answering
As a general rule of thumb, the industry tends to franchise its biggest hits as soon as possible in order to capitalize on the initial buzz, but it’s taken Netflix almost five whole years to expand upon one of its biggest-ever hits through Bird Box Barcelona.
The Sandra Bullock-led original was a certified cultural sensation after releasing in November of 2018, hoovering up viewing hours like it was nobody’s business and inspiring countless viral crazes. The downside is that its moment in the spotlight has long since passed, and the spin-off that premieres this coming Friday isn’t going to propel the property back to the top of the relevancy pile.
Expanding such a singular concept and using it as the basis of what’s presumably being designed as a string of localized standalone movies is a solid one, but as much as Bird Box Barcelona tries – and succeeds on numerous counts – to expand the mythology, it doesn’t do enough to differentiate itself from its predecessor, while simultaneously dedicating its time to a few too many questions that it doesn’t plan on answering.
This time around, Mario Casas’ Sebastián is our entry point to the story, as he embarks upon a journey largely similar to the one undertaken by Bullock’s Malorie in the opener; the world has been overrun by mysterious creatures that instantly incite suicide among those unfortunate enough to lay eyes on them, with several factions and splinter groups pushing different agendas emerging to try and seize whatever piece of society left that they can.
Whether or not Bullock declined the opportunity to return for a direct sequel based on literary successor Malorie is anybody’s guess, but watching Bird Box Barcelona it’s incredibly easy to imagine that you’d end up with the exact same film beat-for-beat regardless of whether or not the lead was a returning character, a brand new one, or just about anybody plucked off the street in the midst of the apocalypse.
That’s neither a good or a bad thing, but it is somewhat of a damning indictment on the approach to Barcelona as a whole. Writers and directors Álex and David Pastor hit all the right notes from a technical perspective; there are ravaged streets, bursts of gruesome violence, tension-ratcheting set pieces, and a couple of grandstanding action beats that inevitably feature Netflix’s relentless urge to use terrible CGI fire as often as humanly possible, but at no point does it feel like a completely different animal to Bird Box. It exists, it’s a diverting enough watch, and it manages to expand both the scope and mythology while leaving the door open for additional stories – replete with a tantalizing cliffhanger – and yet it can’t shake off that feeling it doesn’t need to exist.
Much like Bird Box, Barcelona incorporates dual-wielding timelines, religious zealots who operate under the impression humanity is being published for its sins, scrappy bands of survivors suspicious of anyone who pleads innocence in the hopes of being welcomed into the fold, and breathless escapes that threaten to plunge them directly into the line of sight of the sinister beings that have decimated the population, and there’s enough style on display to make them every bit as effective as they are over-familiar.
Without going into spoilers, there are a couple of intriguing wrinkles that do present brand new opportunities with which to approach the overarching Bird Box mythos, but they’re only half-explained at best. Meanwhile, several larger questions are posed regarding the who, what, when, and how of the unseen monsters, but there’s never anything remotely resembling a definitive answer; again, there’s always the chance future entries will tie up these loose threads, but it would be nice for a sense of closure that underlines Barcelona as a self-contained story as opposed to table-setting for yet more table-setting to come.
That being said, Casas – who was excellent in Netflix’s Harlan Coben adaptation The Innocent – makes for an excellent anchor. Bedraggled, forlorn, but always hiding something just under the surface, he’s haunted by demons of both a literal and figurative variety with motivations that are never made abundantly clear until the third act, although your mileage may vary on a “twist” that’s easily perceptible from the very first scene.
Barbarian breakout Georgina Campbell makes for a worthy foil as increasingly suspicious survivor Claire, too, with the stellar work of the entire ensemble Bird Box Barcelona‘s strongest method of drawing you into a story that does exactly what it needs to do – and cracks open a few more doors the franchise may or may not end up walking through – but it’s difficult to imagine it’ll come close to seizing the zeitgeist on a level that’s even remotely comparable to its forebear.
At the end of the day, Netflix has built out the Bird Box universe with a hybrid of spin-off and sequel that’s solid, unspectacular, and entirely functional. It does the job it was created to do, but when there’s a unique lore ripe for further exploration, it could have easily been so much more.
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