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Hugh Jackman Reveals He Was Almost Fired As Wolverine

Hugh Jackman is one of the most beloved superhero stars ever, with his 17-year career as Wolverine earning him the accolade of being the longest-serving Marvel hero on the big screen. All that could have been cut short right at the beginning, though, as the actor has revealed that he was almost fired from 2000’s X-Men

Jackman is currently on the UK leg of the worldwide tour of his stage show and while speaking to the crowd on Monday night, the star opened up about a dark time in his career, when he was informed he might be let go as Logan. He revealed how he got frustrated and angry about the situation until his wife encouraged him to calm down and trust his gut with his portrayal.

“I was told that things weren’t really working out as they hoped. I was about to get fired from my first Hollywood movie – the biggest of my career. I was angry, I went home to my wife and I complained. I was whinging an Olympic level of whinging to Deb, my wife, and moaning about this person and that person. She listened to me very patiently for about an hour and finally she just said, ‘Listen, I think you have just got to trust yourself. You are worrying way too much about what everything else is thinking. Just go back to the character, focus on that, trust your instinct… you’ve got this.’ To me that was love. Someone that believes in you when you don’t fully believe in yourself.”

Jackman fans will likely know that the Australian star wasn’t the studio’s first choice to play Wolvie. Scottish actor Dougray Scott – soon to be seen in The CW’s Batwoman – was initially cast but dropped out over scheduling conflicts with Mission: Impossible II. Jackman was then called in to replace him and the rest is history, though it sounds like there were some issue with his performance at first.

Thankfully, whoever it was that was thinking of firing Jackman came to their senses. And thanks to his wife, Deborra-Lee Furness, for convincing her husband that he was on the right track with playing the character by trusting his instincts. The shape of the X-Men franchise would’ve been totally different if either of those two events never occurred and we’d all be living in some dystopian Sentinel-controlled future.

Fans – and Ryan Reynolds – are always calling for Jackman to return as Wolverine, but he’s adamant(ium) that he’s sheathed his claws for good. As such, don’t expect to see him in Dark Phoenix when it flies into cinemas on June 7th.



from Movies – We Got This Covered http://bit.ly/2WjXnug

After outcry, Apple carves out room for rival parental control apps to exist

Apple updated its App Store Review Guidelines this week at WWDC 2019 — and many of those changes appear to be aimed squarely at the kinds of controversies that recently led us to ask whether Apple can be trusted with the App Store to begin with.

Most prominently, as The New York Times points out, the company appears to be backing away from its stance that screen time and parental control apps shouldn’t have access to the same powerful mobile device management (MDM) and VPN APIs that big companies do — which the company conveniently used earlier this year to remove a whole bunch of those apps just as it was coincidentally introducing it own Screen Time feature.

“It’s not clear why we should trust big enterprise companies to not steal...

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The Dead Don’t Die Review [Overlook 2019]

Jim Jarmusch’s The Dead Don’t Die presupposes you, the audience, have never watched a zombie comedy before. As if The Return Of The Living Dead, Zombieland, Shaun Of The Dead, Juan Of The Dead – so *flipping* many examples – vanished from existence. The Dead Don’t Die believes itself an invention of subgenre genius, but in actuality, offers nothing new nor furthers zombie cinema by the length of a rotten tooth. A loaded but (widely) misused cast, deadpan atmospheres like a vacuous tonal black hole, and lacking satirical wit assures that The Dead Don’t Die is more lifeless than Iggy Pop’s decapitated corpse.

Cliff (Bill Murray) and Ronnie (Adam Driver) are rural Pennsylvania law enforcers. Zelda (Tilda Swinton), the town’s samurai mortician. Bobby (Caleb Landry Jones), the local gas station horror movie buff. All “simple” folk caught in the middle of a fracking phenomenon that throws Earth off its axis, which in turn raises the dead. Racist cattle farmers are seen blasting walkers in the head with shotguns, while Cliff attempts to figure out just what the hell is going on. “Zombies,” Ronnie states matter-of-factly. Unluckily for our “heroes,” he’s right.

From a fundamental comedic standpoint, Jarmusch’s musty-as-death approach paces like classic lumbering zeds. Driver (one pronunciation of “cauliflower” away from his Logan Lucky redneck) and Larry Fessenden attempt to liven droll scenes featuring blank-slate acting à la Jarmusch’s quirky rambler’s direction, but laughs don’t come easy.

As Cliff learns how to properly decapitate the undead, or Scotsman Zelda practices zen swordplay in her funeral parlor dojo, oddities tickle intrigue but never bust a gut. “Deadpan” becomes synonymous with “emotionless,” “situationally dumbfounding,” and “outright unfunny” as dialogue can be predicted before Mindy (Chloë Sevigny) defies yet another age-old zombie flick norm. A meta-comedy devoid of cleverness that tries to get by on George A. Romero Lite commentary and Driver’s adoration for his convertible SmartCar.

“Dead On Arrival” and never resuscitated. Not even by the power of Sturgill Simpson’s replayed original theme tune.

Bill-Murray-Chloe-Sevigny-and-Adam-Driver-in-The-Dead-Dont-Die

As a zombie mockudrama, The Dead Don’t Die is inexcusably dull. Characters adopt groundbreaking zombie defense practices such as “always kill the head” as if this is brand new information. Jarmusch’s zombies are drawn to their favorite personal effects whilst alive (“Coffee Zombie,” “Fashion Zombie,” “Smartphone Zombie”), attempting some weak riff off Romero’s Land Of The Dead corpser evolution that, once again, acts as if you’re witnessing history unfold anew. Social commentaries are nary subtle, and pale in comparison to stronger world-conscious titles that needn’t require hobo Tom Waits spelling out Jarmusch’s intentions via narration like we’re too stupid to understand.

The *only* new genre note Jarmusch hits is how his zombies don’t squirt blood or spill guts when (re)killed. Slice into (or through) one of these deadies, and black smoke clouds puff outwards. No gore. Sticky practical effects are avoided beyond an initial attack (two diner workers chewed open), presumably in favor of “hilarious” global satire via horror’s lens. Jarmusch misses that target by a country mile.

“But what do you expect from a Jim Jarmusch zombie flick?” Simple: something fresher, morbidly poetic, and absurdly human. Just because it’s a “Jarmusch” production doesn’t mean weightlessness can be ignored. The Dead Don’t Die is a step below “Horror 101,” not even vocal enough to deliver on blatant political commentaries such as Steve Buscemi’s “Keep America White Again” hat or one throwaway line about how fracking *can’t* be to blame because government and environmental officials assure safe practices during press conferences.

Jarmusch only ever steps halfway (or less) into genre skewering meant to be vocally fierce, wildly hilarious, and off-the-wall crazy. Attitudes towards zombie mythologies are adversely basic, character presentations unenthusiastic (Bill Murray channeling his sleepiest Bruce Willis), and ambitions catastrophically safe *even* recounting an Act III “twist” easily foretold.

The Dead Don’t Die is a dry-as-powdered-chalk drag through horror cinema that’s neither a morbidly poignant nightmare nor wink-a-minute metatextual genre riot. With *sincere* regret, words like “boring” and “tired” are best used as descriptors. You’ve witnessed ten thousand zombie comedies rewrite these same jokes, and you’ll witness seven billion more do the same. Jim Jarmusch’s latest never signifies its unique existence among countless zomcom equals, getting lost in a pack of on-the-nose genre “roasts” foiled by their indulgent designs. The dead might not die, but you’ll sure as hell wish this energy-sucked shambles of a horror comedy would.



from Movies – We Got This Covered http://bit.ly/2WuogRb

After outcry, Apple carves out room for rival parental control apps to exist

Apple updated its App Store Review Guidelines this week at WWDC 2019 — and many of those changes appear to be aimed squarely at the kinds of controversies that recently led us to ask whether Apple can be trusted with the App Store to begin with.

Most prominently, as The New York Times points out, the company appears to be backing away from its stance that screen time and parental control apps shouldn’t have access to the same powerful mobile device management (MDM) and VPN APIs that big companies do — which the company conveniently used earlier this year to remove a whole bunch of those apps just as it was coincidentally introducing it own Screen Time feature.

“It’s not clear why we should trust big enterprise companies to not steal...

Continue reading…



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YouTube decides that homophobic harassment does not violate its policies

YouTube has at last formally responded to an explosive and controversial feud between Vox writer and video host Carlos Maza and conservative YouTuber Steven Crowder. The verdict: YouTube says Crowder did not violate any of its policies, and that Crowder’s YouTube channel will stay up, despite his repeated homophobic slurs directed at Maza in videos posted to YouTube.

(Disclosure: Vox is a publication of Vox Media, which also owns The Verge.)

Crowder has routinely, over the course of years, made derogatory and mocking remarks about Maza’s sexuality and ethnicity when making videos attempting to debunk the Vox video series Strikethrough. Crowder also sells a T-shirt on his website, an image of which is also his featured Twitter banner...

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from The Verge - All Posts http://bit.ly/2MwFecS

YouTube decides that homophobic harassment does not violate its policies

YouTube has at last formally responded to an explosive and controversial feud between Vox writer and video host Carlos Maza and conservative YouTuber Steven Crowder. The verdict: YouTube says Crowder did not violate any of its policies, and that Crowder’s YouTube channel will stay up, despite his repeated homophobic slurs directed at Maza in videos posted to YouTube.

(Disclosure: Vox is a publication of Vox Media, which also owns The Verge.)

Crowder has routinely, over the course of years, made derogatory and mocking remarks about Maza’s sexuality and ethnicity when making videos attempting to debunk the Vox video series Strikethrough. Crowder also sells a T-shirt on his website, an image of which is also his featured Twitter banner...

Continue reading…



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Tom Holland Says Thanos Is Responsible For [SPOILERS] In Spider-Man: Far From Home

From the looks of it, Mysterio won’t be the supervillain he is in the comics in Spider-Man: Far From Home, as Jake Gyllenhaal’s Quentin Beck will at least start out as a hero working alongside Spidey to defeat the monstrous Elementals that are plaguing Europe. Other than that they recall third-tier foes like Hydro-Man and Molten Man though, not much has been revealed about these critters in the trailers. But Tom Holland has now let something big slip.

Yes, the only person who can rival Mark Ruffalo as the MCU’s greatest leaky faucet is up to his old tricks again. While attending a Far From Home event in Bali, Holland spoke about the Elementals and their origins, explaining that they came to Earth-616 following a dimensional tear caused by Thanos’ actions in Avengers: Infinity War

“Mysterio is my new best friend in the movie,” Holland says. “We fight together to fight these creatures… because when Thanos snaps his fingers, these creatures come from other dimensions…” Someone then shouts “SPOILER!” from the crowd, causing everyone to get excited and nervous that the star let out something he probably shouldn’t have.

See for yourselves in the video below:

At least this isn’t too shocking. The second FFH trailer revealed that Mysterio himself came from another world due to Thanos’ Snap, so we could’ve worked out that the Elementals arrived via the same method. This does seemingly confirm, though, that Beck was telling the truth and the sequel genuinely will open up the doors to the MCU multiverse. After all, given Mysterio’s untrustworthy nature, we weren’t sure whether to believe him before now.

Spider-Man: Far From Home is out in cinemas in less than a month, on July 2nd, and at that point, Tom Holland will finally be able to rest easy that he can’t spoil anything else. At least, until they make Spider-Man 3. 



from Movies – We Got This Covered http://bit.ly/2Ifdm7K

Annabelle Comes Home Director Says The Doll’s A “Maestro Of Mayhem” In New Film

The Conjuring universe started by James Wan in 2013 will continue on once Annabelle Comes Home hits theaters later this month.

Marking the directorial debut of Gary Dauberman, who’s written three other films in the franchise, as well as co-written the two It movies, the latest horror entry will follow the demonic doll on a vengeful warpath against the Warren family.

And in an exclusive interview with Dread Central, Dauberman went ahead and shed some light on what we can expect from the ever-creepy toy.

“I looked at her as sort of that the maestro of the madness or the mayhem. Kind of a master of ceremonies is a great way to put it. And how she sort of charges up the other artifacts that are in the room. What’s that interaction like? That’s something I dive into.”

A “master of ceremonies” is a good way to put it indeed, given that the new film will show Annabelle taking charge of all the possessed artifacts and evil spirits the Warrens have locked away. The doll will then lead them into an attack against their captors’ ten-year-old daughter, Judy.

And while this is the third film in which Annabelle’s been the star, Dauberman confirmed that this go-around will not be its last appearance on the big screen.

“When I think of trilogies it’s like, I don’t think [Annabelle:Creation was necessarily the Empire [Strikes Back], you know what I mean? The doll connects the stories and I think the mythology connects the stories. But I don’t think this puts closure to the Annabelle story in any way.”

We don’t know what Warner Bros. is planning for the future of the doll. It’ll probably depend on the success of the next film, though if the past’s any indication – Annabelle: Creation made over $300 million worldwide off of a $15 million budget – we’ll be seeing a lot more of the killer character.

What do you think of the director’s comments? Are you excited for this next bloody affair? Let us know below and be sure to check out Annabelle Comes Home in theaters June 26th.



from Movies – We Got This Covered http://bit.ly/2HVq2Sb