Robert Pattinson Is Officially Your New Batman

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Warner Bros. have now officially announced that Robert Pattinson will star as the Caped Crusader in Matt Reeves’ forthcoming, The Batman.

Rumours flew out earlier this week that Pattinson and Nicholas Hoult were both duking it out in final negotiations as Reeves and Warner’s final choices, and now it looks like Pattinson punched that bit harder, as Deadline have revealed him as the victor.

Little is known about Reeves’ long-in-gestation movie, except that it will focus on the early days of Bruce Wayne as Batman, highlight more of the detective angle of the character (yay!) and that the central villains could be Penguin and Catwoman (again… boo!).

While many still think of Pattinson as “the Twilight guy,” the actor has steadily been turning out a number of critically-acclaimed roles in the past few years in films such as Good Time, Cosmopolis, High Life and The Lighthouse, and has also been cast in Christopher Nolan’s new movie, Tenet.

And director Reeves certainly did sterling work revitalising Fox’s revamp of the Planet of the Apes saga, so there’s much to be intrigued by here.

Shooting is rumoured to take place in the UK this autumn but no release date has been announced for The Batman, so I’ll be sure to light the Bat-Signal as soon as Warner Bros. give the word.


Photo by Paul Archuleta

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Castle Rock – “This Place” Trailer Unnerves…

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The Stephen King screen renaissance seems set to continue (we’ll conveniently ignore The Dark Tower) with a new series, coming from Hulu this summer.

The network has the very welcome team of King and producer J.J. Abrams working on Castle Rock, from Warner Bros. TV and Abrams’ Bad Robot, and here’s the latest trailer to unnerve you…

The official synopsis for the show reads:

“A psychological-horror series set in the Stephen King multiverse, Castle Rock combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles of Maine woodland. The fictional Maine town of Castle Rock has figured prominently in King’s literary career: CujoThe Dark HalfIT, and Needful Things, as well as novella “The Body” and numerous short stories such as “Rita Hayworth and the Shawshank Redemption” are either set there or contain references to Castle Rock. Castle Rock is an original suspense/thriller — a first-of-its-kind reimagining that explores the themes and worlds uniting the entire King canon, while brushing up against some of his most iconic and beloved stories.”

If that sets your pulse racing as much as it does mine then we can all settle down together on the sofa when the show drops on July 25th. I just recently revisited the 1994 TV mini-series of The Stand, and despite having a screenplay from King himself that sorry production left me seriously jonesing for a genuinely great small screen take on the novelist’s work (short take: King & co pretty much ballsed-up one of his greatest works).

Will Castle Rock float with Andy Muschietti’s It, or will it linger with the undead stench of Nikolaj Arcel’s The Dark Tower? We’ll know soon enough…

Will Wonder Woman Save DC Movies…?

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It’s no secret that here at Out of Dave’s Head Towers, the DC movies are considered to be something of a mess (and that’s being kinder than they perhaps deserve). Man of Steel has its qualities, Batman Vs Superman was an overstuffed mess and the less said about Suicide Squad the better for my use of expletives.

Dc and Warner Bros, clearly inspired by the success of the Marvel Cinematic Universe dived into their first productions with zeal but no understanding of what made the Marvel movie franchises work so well. Instead of careful planning, the DC movies exhibit painfully obvious signs of throwing in everything but the kitchen sink in the hope of universe building, but do so with no vision of what makes their characters so special or indeed how an interconnected universe of movies should develop.

So it’s no small thing to say that I’m hoping against hope this rudderless ship of a brand can be saved by two women… director Patty Jenkins and DC’s Amazonian, Wonder Woman.

Everything about this film is shaping up nicely (though of course, the same could be said of the previous efforts) from the cast and crew to the look of the film. The Wonder Woman trailers (and Jenkins’ track record) have promised something far more cohesive and this latest from Warner Bros and DC is no exception.

Wonder Woman is a character who has never yet been handled right in her relatively few onscreen appearances (sorry, Lynda, I love you and your crazy 1970s TV show with its spangle and kookiness, but y’know…) and she deserves to be given the best treatment out of the starting gate.

Here’s hoping she can use her lassoo of truth to steer this ship into better waters.

Wonder Woman, starring Gal Gadot and Chris Pine, opens on June 2nd.

All these moments – the Blade Runner 2049 Teaser

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Okay, we all know certain movies should never be touched – Citizen Kane, 8 1/2, Apocalypse Now, Brazil… none of these movies need remakes or sequels and neither, seemingly, did Ridley Scott’s Blade Runner.

But things just keep getting more and more interesting with Blade Runner 2049, from the casting (Ryan Gosling and Harrison Ford, oh my), the screenplay (Michael Green and from the original, Hampton Fancher), Scott’s involvement as Executive Producer (not necessarily a sign of quality, but still…) to Denis Villeneuve as director (if you haven’t seen Prisoners, Enemy, Sicario or Arrival then you’ve really been missing out on exquisite modern cinema).

And now, this… billed by Warner Bros. as an ‘Announcement’, it’s certainly an announcement of intent that this might not be the awful, pointless extension many (including myself) feared.

Frankly, this teaser looks absolutely beautiful and intrigues the good, goddamned hell out of me.

October 6th 2017 can’t get here soon enough…

Suicide Squad – the two hour trailer.

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So let’s just get this out of the way: Suicide Squad is a complete and utter mess, it’s one of the most incoherently put together mainstream Hollywood movies I’ve ever seen, to the point where it feels like a two hour long trailer.

The plot is simple: Superman is dead (at least until the last ten minutes of next year’s first Justice League movie) and U.S. government official Amanda Waller comes up with a plan to put together a team of super powered bad guys in order to combat other super powered bad guys. One of the team, The Enchantress, a witch with a bad complexion but great dance moves (of which, more later) goes rogue, throws a lot of big, glowing CGI around and threatens to take over the world. Fighting ensues.

The real life plot of Suicide Squad goes (allegedly) like this: Warner Bros/DC hire screenwriter/director David Ayer (Training Day/Fury) to make what they touted as one of their “filmmaker driven” projects. During production of Suicide Squad, Zack Snyder’s Batman Vs Superman: Dawn of Justice is released to okay-ish box office but – and here lies what I suspect is the nub of this film’s (many) problems – a quite horrendous critical backlash.

Snyder’s film was labelled too dark, too grim, just too damn serious! According to industry scuttlebutt reshoots are ordered for Suicide Squad but, say the producers, these were always scheduled and weren’t done as a result of the drubbing meted out to BvS. Then things get stickier with the rumours that the film was given over to the guys who had cut Suicide Squad’s well received trailer with the remit to lighten it up, put in more jokes, make it more like… well, a Marvel film. Further, it seems that two cuts of the film existed – Ayer’s darker version and the trailer guys’ lighter version – and the decision was made to merge them.

What amount of this is true? Does it matter anyway? The short answer of course, is that none of the above would be of any interest if Suicide Squad had turned out well. But, dear reader, Suicide Squad has not turned out well.

The film seems to have been edited with a pair of blunt scissors by someone wearing thick rubber gloves and a blindfold. Cara Delevingne’s badder bad guy The Enchantress stands around doing interpretive dance moves to create… I still don’t know, a magic something or other… for almost an hour of the movie. Really, her character stands in one spot and (literally and figuratively) doesn’t go anywhere. Characters are introduced multiple times – the squad are introduced solidly three times in three concurrent scenes – each character is even given text-filled info screens and then we’re still treated to more introductory sequences!

After being introduced three times to Will Smith’s sharpshooter, Deadshot, we’re then given a scene, where Smith is handed a whole bunch of guns to fire at targets, that exists only to show us that… um, Deadshot is a sharpshooter. Just in case you didn’t get that before. Or before. Or before that.

In case all of this isn’t enough to hammer your poor eyes and brain into submission as to who you’re watching, each character gets a needle drop so painfully obvious it’s a wonder they don’t flash the lyrics onscreen just to really underline things. Incidentally, there should be an immediate ban on any filmmaker using The Rolling Stones’ Sympathy for the Devil to underscore how bad a character is, punishable by exile to making wedding videos for the rest of their life.

Whole sequences are muddily constructed (wait… the Enchantress did what to her human alter ego in order to escape her earthly shell!? Who shot down that helicopter!?). One scene has Margot Robbie’s Harley Quinn wave goodbye to the rest of her team as she heads up into a building in a glass elevator, get into a fight with some monsters between floors and then enjoy a supposed comedy beat as the elevator doors open high up in the building to reveal the team she’d left behind on the ground floor pointing guns at her. But there’s no explanation for how they got there before her – it’s not even laughed off as a joke, it’s just left hanging in a kind of awkward “Huh? What?” moment. This is a first day at film school level mistake, it’s unforgivable in a multi-million dollar movie.

Whatever went on in the background of the making of this film we may never know, but you should be under no misapprehension that this film has somehow completely lost its way in post-production. The astonishing thing is that no one at DC or Warner Bros was able to see what a mess had been created and that the film was allowed to go into release in this sorry state.

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What makes all this so frustrating is that somewhere in this mess is a good film. It’s really enjoyable that so much weird shit is just thrown headlong into the film without anyone batting an eyelid… superhumans, witches, swords possessed by souls, mutated crocodile men! This is fun stuff and the film’s willingness to embrace it all almost gives it a strong worldview.

Also, whatever the producers paid Will Smith and Margot Robbie, it wasn’t enough. These two scorch their way across the screen with good, old fashioned star power and share great chemistry. Both actors were obviously having a blast with their parts and it shows. Really, I could have watched two hours of just these two and they almost (…almost) make the film worth the price of admission.

Viola Davis and Jai Courtney (as Amanda Waller and villain Captain Boomerang, respectively) do their best with the little they’re given, and Jay Hernandez (as fire summoner, El Diablo) impresses by bringing heart to an underwritten role. Joel Kinnerman (as Rick Flagg), unfortunately, feels miscast and Karen Fukuhara (as swordswoman, Katana) is a blank slate who drifts in and out of the film leaving no impression whatsoever.

In case you were wondering, Heath Ledger’s legacy remains completely undamaged by Jared Leto’s Joker, the character is horrible (and not in the way he should be) – blindingly obvious, grating, underwritten (again) and pretty redundant for much of the film. It’s such a gross misunderstanding of the character that I am now really hoping he doesn’t show up in Ben Affleck’s forthcoming Batman movie.

And despite all this I found myself enjoying parts of the film. But I’d no sooner find myself hitting a groove than some bizarre edit or incomprehensible plot point would just pull me out of the story all over again. It’s a shame. These actors are really working hard to give life to their characters and so much is undone by terrible committee meddling.

Warner Bros and DC really need to get their act together. This is a two for two strike out which shows a basic lack of faith in the core material and a lack of cohesive direction for their shared universe. Instead we’re left with an aimless mess that simply makes a lot of noise for two hours.

So, that was Suicide Squad the trailer. Now when do we get the movie…?

* With thanks to Ante Lundberg for the review title.

Christopher Nolan’s Dunkirk – teaser trailer

Whether you love his work or hate it (and he does seem to raise a significant amount of ire with certain sections of film lovers), Christopher Nolan is one of the few modern directors with enough clout to ensure that the release of a new film is very much an event. So the release of the teaser trailer for his forthcoming film, Dunkirk, is definitely a cause for some people (the ones who don’t hate his work) to get excited.

And if the thought of Nolan taking on one of the most harrowing events of World War 2 doesn’t raise your enthusiasm for this (a last-ditch effort to evacuate 300,000 Allied troops who were surrounded by German forces), then perhaps the thought of seeing One Direction’s Harry Styles in a proper, grown up movie will have you rushing to the box office in a frantic sweat to buy a ticket. Those of us above the age of fourteen will just have to settle for the involvement of Tom Hardy, Cillian Murphy, Mark Rylance and Kenneth Branagh.

Nolan and his director of photography on Interstellar, Hoyte van Hoytema, shot Dunkirk using 65 mm and IMAX film cameras, so this is sure to look astonishing. I can only hope that Nolan decides not to infuriate large portions of the cinema audience again with another wilfully muddy dialogue mix (as per Interstellar) so we can actually hear what characters are saying. Which is always nice, of course.

Dunkirk is set to be released on July 19, 2017.

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Apocalypse KONG – Skull Island trailer

King Kong is, somewhat bizarrely, the first film I remember seeing. I have vivid memories of watching these strange, flickering black and white images through the bars of my cot – which my Mum places at me being around just a year old! What can I say? I was obviously destined to be a Monster Kid of the 1960s.

So Kong has a special place in my affections, whether it’s the original 1933 masterpiece, the Dino De Laurentis/John Guillermin or Peter Jackson remakes or even the truly bizarro Japanese outings against Godzilla or Mechani-Kong (look it up, you’ll thank me).

I’m delighted to say this latest trailer has me very excited, mixing Apocalypse Now-style imagery with a fantastic, foreboding tone. And if Legendary Pictures and Warner Bros. have their way (and if this film proves a big enough box office hit) we’ll see the mighty ape doing battle with the Gareth Edwards version of Godzilla in just a year or two!

Kong: Skull Island stomps into your local cinema  chased by Tom Hiddleston, Samuel L. Jackson, Brie Larson, Jason Mitchell, Corey Hawkins, Toby Kebbell, Tom Wilkinson, Terry Notary, John Goodman and John C. Reilly, in March 2017.

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Trailer source: JoBlo on YouTube

“I’m putting together a team…” – the Justice League trailer arrives.

For anyone (like me) who thought that Batman vs Superman was pretty much a disaster of tone and character, the rumours appear to be true that Warner Bros took notice of the massive critical lambasting and have taken great pains to right their sinking DC ship into smoother waters.

Hot on the heels of the rather exciting Wonder Woman trailer , the San Diego Comic-Con has now seen the arrival of the first footage from DC’s all star team up, Justice League.

The film is directed by Zack Snyder (presumably now on a much tighter leash from the studio), with a screenplay by Chris Terrio, and features an ensemble cast that includes Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Jeremy Irons,J. K. Simmons, Amber Heard, and Willem Dafoe. In Justice League, Batman, Superman, Wonder Woman, The Flash, Aquaman and Cyborg assemble a team to face the catastrophic threat of Steppenwolf and his army of Parademons.

This first footage appears far lighter in tone than the utterly grimdark, miserabilist tone poem that was Batman vs Superman, so it’s fingers crossed that Warner Bros really have learned their lesson!

Justice League arrives in theatres on November 17, 2017.

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She’s a wonder – the Wonder Woman trailer is here!


Created by the American psychologist and writer William Moulton Marston and originally drawn by H. G. Peter, Wonder Woman first appeared in All Star Comics #8 in December 1941 and first cover-dated on Sensation Comics #1, January 1942.

Over the decades the character’s role as an international diplomatic heroine fighting for justice, love, peace, and gender equality has led to Wonder Woman being widely hailed as a feminist icon.

On screen however she has fared less well, with the most memorable portrayal to date coming in the form of the high camp antics of Lynda Carter in the 1970s TV series.

So hopes are riding high (not least of which in this writer, as a self-professed Wonder Woman geek) that the latest incarnation from Warner Bros. will do the character justice.

The movie, due to hit our screens on on November 17, 2017, directed by the always interesting Patty (‘Monster’) Jenkins, and starring Gal Gadot as the demigoddess, and warrior princess of the Amazons of Themyscira, alongside Chris Pine, Lucy Davis, Connie Nielsen, Robin Wright, Lisa Loven Kongsli, Danny Huston, Ewen Bremner, Saïd Taghmaoui, Elena Anaya and David Thewlis. That’s a heck of a cast and a lot of great talent surrounding the first big screen outing for one of DC Comics’ most preeminent characters.

This first trailer (just released for the San Diego Comic Con 2016) bodes well and looks like a lot of fun, so here’s hoping the film successfully gives us the true feminist hero we deserve.

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The Legend of Tarzan – Me Tarzan, You Entertained

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The Legend of Tarzan is the latest screen version of the character created by Edgar Rice Burroughs in 1912. With a cast headed up by Alexander Skarsgård, Margot Robbie and Christoph Waltz, and directed by David Yates (who will forever be in my good books for helming the classic BBC serial, State of Play, and more famously headed up the final four Harry Potter films), this take on Tarzan has a lot of production wattage.

It also feels like a genuine attempt to transfer Burroughs’ Tarzan to the screen, complete with (thankfully) a cultured, sophisticated lead character (as opposed to the more frequently featured noble savage) and much of the background material from the books, while updating things slightly for a modern sensibility (including some far too contemporary sounding dialogue, unfortunately).

The story sees Tarzan, Lord John Clayton III, having left Africa behind almost a decade previously, now living in Victorian England with his wife, Jane. The two become involved in a plot set in motion by Leon Rom, a treacherous envoy for King Leopold of Belgium, to lure the jungle lord back to the Congo. Rom plans to capture Tarzan and deliver him to an old enemy in exchange for diamonds which will pay for an army to take over the continent.

Skarsgård makes a fine John Clayton/Tarzan, gifting him with a quiet intelligence and a restrained fierceness, Robbie continues to impress, giving us a feisty, admirable Jane Porter Clayton, while Samuel L. Jackson tones down many of his usual Samuel L. Jackson-isms for a character that always stays just the right side of comic relief. Christoph Waltz, as Rom, is far too talented to be anything other than entertaining, but his character lacks some truly defining dialogue and moments to make him rise above the actor’s increasingly familiar toolbox of tricks.

Yates strives for a Tarzan film that falls between the mythic grandeur of 1984’s Greystoke, The Legend of Tarzan, Lord of the Apes (phew) and the gung ho nature of the 1930s-40s MGM Johnny Weissmuller films, and mostly succeeds. Unfortunately, the script, while perfectly serviceable, feels two or three polish drafts away from anything truly memorable – dialogue works but never sparkles or shines.

The film is also highly inconsistent in some of its production values. Many edits are inelegant, with some clumsy transitions. Sometimes the CGI work is wonderful – such as a small but sweet moment where Tarzan bonds with some lions, and sometimes it’s almost wilfully bad – the wildebeests seen in the trailer or a shot near the climax of a rowboat approaching the camera, which has it practically floating through nothing.

Despite these caveats, The Legend of Tarzan moves at an admirably classical pace, it treads around issues of colonialism with broad but well defined strokes (even if, in real life the Belgians ruled the Congo for another 70 years), is well cast and handsomely mounted, and it mostly looks wonderful, with sweeping vistas of plains and deep, emerald forests. It deserves plaudits for not insulting the audience with yet another origin story (though Tarzan’s backstory is present in the form of flashbacks), and there’s good chemistry between the two leads. It gave me a genuine chill of delight to hear an updated version of the classic Weissmuller Tarzan yell (though it would have been nice to actually see him do it, rather than just hear it – a result of post-production tweaks, perhaps) and definitely left me wanting to spend more time with these versions of the characters for further adventures.

While somewhat frustrating, this is still an entertaining and enjoyable Tarzan film for a modern blockbuster audience, proving the one hundred and twelve year old character is still the one, true king of the swingers. Next time he just needs to swing a little higher.