Indie News

Lena Waithe is producing Radha Blank’s comedy “The 40-Year-Old Version,” Variety has learned.

Blank is directing from her own script about a down-on-her-luck New York playwright who decides to reinvent herself and salvage her artistic voice the only way she knows how — by becoming a rapper at age 40. This film follow its protagonist as she vacillates between the worlds of New York’s theater and hip hop scenes, places where a black woman’s voice is still often marginalized. Production is currently underway in New York City.

“The 40-Year-Old Version” also stars Peter Kim and hip hop performer Oswin Benjamin, who makes his feature film acting debut. The film will be shot almost entirely on 35mm black and white film by cinematographer Eric Branco, who shot “Clemency,” which won the U.S. Dramatic Grand Jury Prize at the Sundance film Festival this year. “The 40-Year-Old Version” was selected for

With Tom Hardy reprising the title role, Andy Serkis is set to direct “Venom 2,” the sequel to Sony Pictures’ 2018 Marvel movie that nabbed $855 million at the global box office. This is the fourth film to be directed by the “War for the Planet of the Apes” and “Lord of the Rings” actor following “Breathe,” “Mowgli: Legend of the Jungle,” and the filmed hip-hop performance piece “The Ruins of Empires” for British television.

“Venom,” which received abysmal reviews despite making bank, starred Tom Hardy as investigative journalist Eddie Brock, whose body becomes host to an alien parasite that endows him with superhuman abilities. The film co-starred Michelle Williams as Brock’s embittered district attorney ex-fiancée, as well as Riz Ahmed, Scott Haze, and Reid Scott.

Many audiences and critics felt the film was a creative failure, despite some cult-like appreciation down the line. Co-creator Todd McFarlane, however, was happy with the film.

Gwendoline Christie is competing for her first Emmy Award nomination this year for her final outing as Brienne of Tarth on “Game of Thrones,” but the actress would not have landed in the race had she left things up to HBO. According to the Los Angeles Times, Christie submitted herself in the Emmys category for Outstanding Supporting Actress in a Drama Series after learning HBO would not. Her decision resulted in a surprise nomination opposite co-stars Lena Headey, Sophie Turner, and Maisie Williams, all of whom HBO entered into the race. Speaking to the La Times, Christie shared the reason why she felt compelled to join the Emmys race herself.

“I checked that it wasn’t an inappropriate thing to do, and I was told it wasn’t,” Christie said. “People submit themselves all the time. I truly never expected it to manifest in a nomination and I don’t think anybody else did either.

There’s a scene in D.A. Pennebaker’s “Original Cast Album: Company” that unites all Elaine Stritch fans. Of course, younger audiences know her Emmy-winning turn as Jack Donaghy’s sharp-tongued mother in “30 Rock,” and Broadway fans will never forget her Tony-winning one woman show “Elaine Stritch at Liberty,” the film version of which incidentally united her with Pennebaker decades later.

But it is her increasingly desperate attempts to record the most famous number of her career, the 11 o’clock number “The Ladies Who Lunch” from Stephen Sondheim’s “Company,” that Pennebaker captured and edited so sensationally, that shows a rare peek behind the curtain at the ferocious talent at her most vulnerable.

Less Broadway-inclined cinephiles may be unfamiliar with “Original Cast Album: Company.” The documentary legend, who died over the weekend at the age of 94, was known as a groundbreaking figure in the evolution of documentary filmmaking, helming

Quentin Tarantino and Paul Thomas Anderson are good friends, but that doesn’t mean they can’t nitpick one another’s work. During a recent appearance on The Ringer podcast, Tarantino detailed the one flaw that’s impossible to overlook in Anderson’s 1997 breakthrough drama “Boogie Nights.” The flaw concerns the character played by Burt Reynolds, who was set to play ranch owner George Spahn in Tarantino’s “Once Upon a Time in Hollywood” before his death.

“I think Burt Reynolds is fantastic in the movie,” Tarantino said. “Me and Paul have talked about this, though. I actually think there is a slight flaw in ‘Boogie Nights,’ and the flaw is the perception of the Burt Reynolds’ character. Paul can say he’s not based on the director Gerard Damiano, who directed ‘Deep Throat,’ but he obviously is. He looks exactly like him, and Damiano has a very unique look.

The day in the life of a hapless, young medical transport van driver in Milwaukee doesn’t necessarily sound like the makings of a great comedy. However, in director Kirill Mikhanovsky’s “Give Me Liberty,” the life of young Vic is fodder for not only some truly hilarious comedic moments but also a quick glimpse at the social issues that affect the country today.

As seen in the first trailer for the film, there’s a lot going on during this hectic day for young Vic.

Continue reading ‘Give Me Liberty’ Trailer: Sundance Standout Comedy Follows A Day In The Life Of A Medical Transport Van Driver at The Playlist.

To fumble as a choreographer on “Fosse/Verdon,” FX’s sterling limited series depicting the life, love and legacy of Bob Fosse and Gwen Vernon, would be failing while standing in the brightest of spotlights, exposed to the most savage of television, film, dance, and theater critics.

To succeed would be to risk not being noticed at all.

That was the challenge entered into by three-time Tony winner and “Fosse/Verdon” co-producer Andy Blankenbuehler (“Hamilton”), who painstakingly choreographed the series’ first three episodes, and then taken up by actress and Broadway veteran Susan Misner (“The Americans”) who stepped in when Blankenbuehler heeded the (cat) call and departed the production to head up choreography on Tom Hooper’s “Cats.”

As it happened, Misner was already signed on to “Fosse/Verdon,” portraying Fosse’s first wife, actress Joan McCracken, when she got a call from Blankenbuehler about expanding her responsibilities on the series.

“[Andy] called

It’s been two months and we would like to the mutant ability to wipe “Dark Phoenix” from the public’s collective consciousness. That isn’t to say that “Dark Phoenix” is some sort of dumpster fire of a film (it’s not), but instead to say that Fox and writer-director Simon Kinberg had the chance to wrap up its 20-year franchise with something special. Instead, they turned in one of the most ill-conceived and terribly bland entries in the ‘X-Men’ series.

Continue reading Hans Zimmer Shares New Unreleased Tracks Pulled From Over 16 Hours Of ‘Dark Phoenix’ Music at The Playlist.

Neil Degrasse Tyson’s cultural value needs company. As a popularizer of science, Tyson introduced audiences to the wonders of the universe with an approachable tone that expanded its appeal beyond physics classrooms and laboratories. Like Carl Sagan before him, Tyson excels at translating the dense field of astrophysics into riveting cosmic terms that anyone can appreciate.

Lately, however, Tyson’s folk-hero status has hobbled, as various developments — from sexual harassment charges to insensitive tweets — have made him more of a burden for the field. None of this has changed Tyson’s underlying value in bringing scientific concepts to the masses, but the backlash is a clear reminder that he shouldn’t be the only famous scientist on TV.

Over the weekend, Tyson issued a bizarre tweet in response to America’s mass shooting debate, listing a range of other death statistics — from suicide to car accidents — and concluding that

Not sure if you’ve heard or not, but in the world of the “Fast and Furious” films, it’s all about family. So with that, on the latest episode of The Discourse – the show where we discuss film and television reviews, news, and any other items in the zeitgeist that we feel the need to weigh-in on – we’ve recruited an outstanding family of writers.

Robert Daniels, Alisha Grauso (Atom Insider), and Griffin Schiller join me this week to discuss “Fast & Furious Presents: Hobbs & Shaw,” the first official spin-off in the nearly twenty-year-old franchise.

Continue reading The Insanity & Imperfections Of ‘Hobbs & Shaw’ [The Discourse Podcast] at The Playlist.

One of the most consistent elements across all three seasons of the Netflix series “Dear White People” has been the music. From Kris Bowers’ unmistakable jazz-infused score to the wide range of musical selections that help punctuate some powerful episode-ending moments, the show has always sounded as good as it looks.

This year, as the show moved confidently on to its Season 3, that meant an entirely new group of songs to help illuminate the many different character changes that dotted the season. As Lionel learned how to become direct in his own pursuits, as Sam struggled with various creative roadblocks, and as Troy wrestled with expectations placed on him at various turns, those evolutions rarely came without something to accent the changes.

In the process, this soundtrack helps put forward the power of context. Whether it’s a beat that samples a ’40s standard, spinning one particular song’s generalizations to a subversive advantage,

Disney is getting into the live TV musical game, and it’s gone colorblind for its casting. ABC President Karey Burke announced at Monday’s Television Critics Association summer press tour that Auli'i Cravalho will star in the live musical of “The Little Mermaid” on Nov. 5 as part of the “Wonderful World of Disney.”

Cravalho – who is half native Hawaiian and also of Puerto Rican, Portuguese, Chinese, and Irish descent – has already been a Disney princess, having voiced the lead role in 2016’s “Moana.” In July, Disney had revealed Halle Bailey as the first black Ariel for the live-action theatrical remake of “The Little Mermaid.”

Joining Cravahlo as the titular mermaid are Oscar-nominated Emmy winner Queen Latifah, who will play the sea witch Ursula, and musician Shaggy, who will play Ariel’s crab pal Sebastian. More cast will be announced later.

“The Wonderful World of Disney presents The Little Mermaid Live!

Before July’s San Diego Comic-Con, it was revealed that Warner Bros. wasn’t going to have a big presentation for its comic book film slate. This meant that October’s “Joker” wouldn’t get a prime Sdcc panel. Instead, it was reported that WB had fall film festival aspirations for the comic book film, which left many people confused. Sure, the film stars Joaquin Phoenix and features Robert De Niro in a supporting role, but is “Joker” ready to play alongside the Oscar bait that seems to populate the fall fests?

Continue reading Tiff Director Also Thinks ‘Joker’ Is An Oscar Contender & Calls The Film “A Cinematic Achievement On A High Level” at The Playlist.

The new trailer for Netflix’s addictive crime series “Mindhunter” has landed ahead of the show’s return on August 16. Season 2 finds FBI agents Holden Ford (Jonathan Groff) and Bill Trench (Holt McCallany) taking on the Atlanta child murders, which unfolded place between 1979 and 1981, with 28 African-Americans slaughtered in Georgia.

Among the sage psychopaths to whom Holden and Bill will consult this season are Charles Manson and New York serial killer David Berkowitz, a.k.a. Son of Sam. Also returning for the series based on the book by John Douglas and Mark Olshaker is Anna Torv as psychology professor Wendy Carr, who assists Holden and Bill in their investigations of criminal behavior.

As with Season 1, series creator Joe Penhall has once again lured top auteur talent to take the directing reins. David Fincher helms the opening episode of the season and at least one more, according to IMDb, followed by

By now, a lot of film fans have experienced the over-the-top ridiculousness of ‘Hobbs & Shaw.’ The first ‘Fast & Furious’ spin-off is chock full of massive action scenes, bulging biceps, and corny dialogue that has become a bit of a staple in the franchise. And that sense of ludicrousness has bled over into the cameos that appear in the film.

**Spoilers for a couple of cameos in ‘Hobbs & Shaw’**

If you’ve seen the film, you know that Ryan Reynolds and Kevin Hart are the surprise supporting stars of the film, showing up multiple times to inject some extra humor in the already silly film.

Continue reading ‘Hobbs & Shaw’ Director Says Surprise Cameos Could Turn Into Expanded Roles Down The Line & Reveals Role That Was Set Aside For Keanu Reeves at The Playlist.

How do you follow a stark drama about the struggles of a small Brazilian fishing village? If you’re Kirill Mikhanovsky, you wait 13 years and then direct a madcap dark comedy about driving people with disabilities around Milwaukee. The Russian director’s latest, “Give Me Liberty,” is a complex ensemble piece about a man who just can’t seem to make anything go right.

Chris Galust plays a Russian-American driver of a medical van, who shuttles an eccentric cast of characters around the city on the day of a riot. He is committed to driving a group of elderly Russians to a funeral, but he also wants to help a young black woman with Als, an Elvis-obsessed woman, and many more in this sprawling, chaotic movie.

The film, Mikhanovsky’s first feature since his 2003 debut “Fish Dreams,” draws from the director’s personal experiences. Before becoming a filmmaker, he worked

For all the talk that has gone on about Martin Scorsese’s “The Irishman” and its ever-expanding budget, thanks to its reliance on CGI to make star Robert De Niro look decades younger throughout the film, you would think that we’ve reached peak de-aging discussion. But wait, dear reader, “It: Chapter Two” takes the cake for what might be the most over-the-top usage of de-aging tech to date.

Continue reading CGI De-Aging Isn’t Just For Adults Anymore As ‘It: Chapter Two’ Uses Tech To Make Child Actors Look Even Younger at The Playlist.

“I’ve never met anyone in my entire life like Jules,” says Rue, the tomboy drug addict played by Zendaya on “Euphoria,” HBO’s provocative teen-drama-for-adults and the network’s newest hit of the summer. And chances are, most viewers haven’t either. As the series’ endlessly compelling protagonist, Rue narrates the events of the show in a sleepy voiceover that is equal parts profoundly intimate and archly blasé. Newly sober at 16 after an overdose that nearly tore her family apart, Rue has found the one thing that can rival drugs for her affection: Jules.

Emanating a manic pixie trans girl energy unlike anything seen onscreen before, Jules floats magically through every frame in which she appears. Whether she’s biking giddily through an orchard or reciting Shakespeare in a pool without smudging her killer eye make-up, it’s hard not to fall in love with her. Played by newcomer

It has already been a bizarre summer for movies, it’s only going to get stranger in August before the upheaval of the festival circuit is further set upon us and awards season kicks into high gear. Until then, while there are certainly interesting films to get us by, we’re going to continue to be hit with a smorgasbord of odd selections, from hard-hitting documentaries to the most ridiculous action flicks the genre could hurtle our way.

Continue reading 11 Movies To Watch In August: ‘Scary Stories,’ ‘Peanut Butter Falcon,’ ‘The Kitchen’ & More at The Playlist.

When it comes to “Once Upon a Time in Hollywood,” one scene that is proving to be most controversial is the fight between Bruce Lee (Mike Moh) and Cliff Booth (Brad Pitt). Bruce Lee’s daughter and protégé have already spoken out against the film, condemning Quentin Tarantino for his portrayal of the martial arts and acting legend. In an interview with HuffPo, “Hollywood” stunt coordinator Robert Alonzo reveals Tarantino originally wrote a much longer version of the Bruce Lee fight scene.

In the film, Bruce Lee challenges Cliff to a three-round fight on the set of “The Green Hornet” after Cliff insults him by laughing when he says his fists have been registered as lethal weapons. Lee quickly wins the first round by knocking Cliff to the ground, then Cliff wins round two by launching Lee into the side of a car. Just before the two men can engage in the final round,