Water, water everywhere, and not a damn way to get home. That’s this week’s gallery theme: Movies where we see people trapped on the open seas, inspired by Adrift, starring Shailene Woodley and Sam Claflin as two young lovers whose boat is incapacitated after sailing directly into a catastrophic hurricane (and with Claflin’s character suffering from a life-threatening injury). Likewise, the movies in this gallery see heroes under immense pier pressure when their boats get hijacked, destroyed, or worse of all, disappeared all together.

Note: Because a lot of movies fall under this theme, we’re not including submarine movies (Das BootBelowBlack Sea) or movies where the heroes can generally head home at any time (JawsThe Life Aquatic with Steve Zissou).

Luc Besson’s return to the big space opera scene with Valerian and the Thousand Planets comes at a hefty price: a reported $180 million, easily making it the most expensive French production ever. And such fiscal modesty inspires this week’s gallery of the 24 most expensive movies ever made! (Budgets and box office are adjusted for inflation, with the base numbers from Box Office Mojo, natch.)

Aye yo, it be Talk Like a Pirate Day on Rrrotten Tomatoes! We have plundered the internet for pictures of our fellow piratanical  hearties for yer sole entertainment! Let’s crack open the barrel and see what crawls out of the bung hole, savvy?



 

“The sea was angry that day, my friends – like an old man trying to send back soup in a deli.” (George 5:14)

Two releases coming out, The Shallows and Swiss Army Man, feature hapless folks stranded in the ocean, inspiring this week’s gallery: 24 more movies to convince you to stay the hell out of the water.

Neil Marshall

Just a few scenes into Doomsday and we know we’re watching the work of someone who adores post-apocalyptic films, with every scene littered with references to end-of-the-world classics from the 70s and 80s. And writer-director Neil Marshall readily admits that’s exactly what he was going for.

“Right from the start, I wanted my film to be an homage to these sorts of movies, and deliberately so,” he says. “I wanted to make a movie for a new generation of audience that hadn’t seen those movies in the cinema – hadn’t seen them at all maybe – and to give them the same thrill that I got from watching them. But kind of contemporise it, pump up the action and the blood and guts.”

This is a rather surprising shift for the filmmaker behind Dog Soldiers and The Descent, two claustrophobic thrillers that got deep into their characters’ heads. But Doomsday is a big, loud action movie, and Marshall reveals to RT readers the films that inspired him most…


The Road Warrior (1981)

The Road WarriorThe three Mad Max movies set the bar for this kind of movie, but for me personally it’s the second one. I do love the third one, Mad Max Beyond Thunderdome (1985); there are elements in it that are rubbish, but most of it’s pretty good. The first one, Mad Max (1979), has a great car chase at the start – a real jaw-dropper – and a pretty good one at the end, but the rest of it is quite slow. But with The Road Warrior, once the bondage gear comes out – the Mohawks and all that kind of stuff – it was like, “Wow, OK, we haven’t seen this before.” My thinking is that if you’re in the apocalypse and you survive, you’re going to choose to wear a leather jacket instead of a tweed suit. People are going to look like punks, because it looks cool!

The Road Warrior is so concise, beautifully written and beautifully directed. I love the use of cars and locations. And Mel Gibson is just so perfect in that role. He hardly says a word, but when he does speak, it counts. Like him, Rhona Mitra‘s character in my film, Eden Sinclair, is a police officer who has a history. So there’s another connection.


Doomsday


Escape from New York (1981)

The Road WarriorWhat a fantastic vision and idea, and certainly my film is a huge homage to this film, what with the concept of something being walled off and all the gang warfare. The anarchic spirit of that movie is definitely something I was going for. And of course Eden Sinclair has an obvious connection with Snake Plisken. It’s no accident that she wears an eyepatch in the film. But I said right from the start that if I was going to have her wear an eyepatch, I’d have a bloody good reason for that. So the eyepatch became a plot point, with the fake eye and the camera. And that also enabled us to have her not wear the eyepatch all the time. So that was fun.


Excalibur (1981)

ExcaliburThis isn’t a post-apocalyptic film, but it had that same ethos, and it’s one of the films that deeply inspired me when I first saw it. I think John Boorman did a wonderful job with the whole genre; no one has ever touched the artistry of it. I mean, compare it to King Arthur! Excalibur has that beautiful look about it – it’s so rich, and I wanted to tap into that a little bit. There’s just a kind of logic in that they’re living in this castle, and they’ve gone to a feudal society and have divided into tribes at war with each other. Scotland is full of these amazing fortresses, so what better place to hide out? They’re all museums as well, so they’re all going to be full of suits of armour and swords and stuff. Maybe go that way – you don’t need to find ammunition when you’ve got bows and arrows and other useful kit.

Doomsday


The Warriors (1979)

The WarriorsOne of my biggest inspirations is Walter Hill. He made these very tough, very violent adult action movies during that period. And The Warriors is just a classic example. It’s completely nuts – just the visual style of the gang warfare. When I first saw it I took it as being pretty literal, like this kind of stuff was going on in New York. And now of course he’s explained that it was very much an exaggeration and he sees it as a comic book movie. And I don’t see it that way at all. I love the idea of these crazy gangs roaming around New York – it’s scary but fun. But its world is New York at night, and it’s a brilliant depiction. And he did a similar kind of thing with Streets of Fire, another great movie. It’s not post-apocalyptic, but it’s certainly set in a nonspecific future world.


No Blade of Grass (1970)

It’s about a virus that wipes out all the crops in the UK, and there’s bikers roaming the countryside, somebody trying to make their way up north, and they end up hiding in a country house full of soldiers – just like in 28 Days Later. And it was made more than 10 years before Mad Max. I think 28 Days Later and 28 Weeks Later are great movies, but they’re very straight-faced, and I wanted to make mine a lot of fun. It’s not to be taken seriously, really.

Doomsday


The Omega Man (1971)

My generation’s version of the whole empty city thing. It’s a subgenre that I really like. This generation has had 28 Days Later and I Am Legend. But I prefer the gritty, darker side of it.

Doomsday


A Boy and His Dog (1975)

I like the world of it, and that sort of sun-scorched look. And I just loved the relationship between Don Johnson and his dog, and then at the end when they eat the girl – one of the best endings ever. I think that’s kind of where the whole Sean Pertwee sequence in my film comes from – the cannibalism idea.


Waterworld (1995)

I just love that gritty thing, with everyone just scavenging to survive, and how they’ve adapted to the future world. Although some of those things don’t really go there enough.

Doomsday


Gladiator (2000)

I think Ridley Scott gave us the most amazing spectacle put on screen in years. It’s brutal and giant. And it’s what my film is about – trial by combat. I wanted to put Eden Sinclair through that, and she’s not supposed to survive it. And I just liked the idea of this little woman facing off against this seven-foot knight in armour and managing to outwit him. She’s not stronger than him, but she outsmarts him, and I thought that was a lot of fun.

Doomsday


Children of Men (2006)

An excellent movie. But it was kind of frustrating that it came out during the course of making this film. Oh great, let’s do a version of post-apocalyptic London after they do it, and they had something like a $130m budget. So we knew we were going to have to make ours more bloody and more fun.

 

Ashton Kutcher ambushed the top two spots at the North American box office this weekend playing an animated mule and a Coast Guard rookie in Open Season and The Guardian, respectively. Both films enjoyed strong openings pumping in a combined $40M and helped the marketplace beat last year’s levels for the first time in four weeks. The weekend’s other new wide release, the comedy School for Scoundrels, saw more modest results with a fourth place bow.

Sony claimed its usual position atop the charts with the animated comedy Open Season which brought in an estimated $23M in ticket sales over the weekend. Hunting moviegoers in an ultrawide 3,833 theaters, the PG-rated film about funny forest animals fighting off hunters averaged a strong $6,001 per site. Open Season marked the first venture from the studio’s new in-house animation division which will compete in the years ahead with dominant players in CG toons like Pixar and DreamWorks. Martin Lawrence and Kutcher led the voice cast.

Sony research showed that 77% of the crowd consisted of parents with children under the age of 12, while girls were a bigger force making up 56% of the audience. A high 89% marked the film "excellent" or "very good". With strong exit polls and the Columbus Day school holiday coming up next week, the $85M film hopes to last throughout the month of October. For the studio, it was Sony’s record eleventh number one opening of the year. Of the company’s twenty film releases in the first nine months of 2006, half have debuted north of $20M.

Kutcher’s face and body showed up in the weekend’s number two film, the Coast Guard action drama The Guardian, which opened with an estimated $17.7M. Also starring Kevin Costner, the Buena Vista release averaged a solid $5,451 per theater from 3,241 sites. The starpower helped bring in moviegoers who in turn liked the film. The Guardian earned an impressive CinemaScore grade of A-. Studio research showed that 50% of the crowd was in the 26-49 age bracket while males outnumbered the ladies with 53% of the audience. For Costner, who has not been a major box office force in over a decade, it was actually his best opening since Waterworld‘s $21.2M debut in 1995. Kutcher has seen many films debut in the same ballpark like The Butterfly Effect with $17.1M, Just Married with $17.5M, and Guess Who with $20.7M.

Falling an understandable 52% from its top spot debut, Jackass: Number Two finished the weekend in third place with an estimated $14M. With $51.5M in ten days, the $12M production should deliver $70-75M for Paramount plus healthy DVD revenue down the road. The first Jackass film grossed $42.1M in its first ten days on its way to a $64.3M cume in 2002.

Earning passing grades in fourth place was the Billy Bob ThorntonJon Heder comedy School for Scoundrels which opened to an estimated $9.1M. Playing in 3,004 theaters, the PG-13 film about a young loser who seeks advice from an older pro on how to get women averaged a mild $3,032 per site. Reviews were not too encouraging for the MGM release.

Jet Li‘s Fearless dropped a steep 56% in its second weekend and placed fifth with an estimated $4.7M. The action star’s "final" martial arts epic has grossed $17.8M in ten days and looks headed for about $26M. Each of Li’s last five films also fell by more than half on its sophomore frame.

Sony’s football drama Gridiron Gang fell 52% to an estimated $4.5M pushing its cume to $33.2M. Enjoying the smallest decline in the top ten for the fourth consecutive weekend was the sleeper hit The Illusionist with $2.8M, off only 15%, for a total of $31.5M for Yari Film Group. MGM’s fighter pilot adventure Flyboys tumbled 61% in its second weekend to an estimated $2.3M. With only $9.9M in ten days, a final take of around $14M seems likely.

Yet another period drama The Black Dahlia followed with an estimated $2.1M, down 54%, giving Universal only $20.7M to date. Rounding out the top ten with the biggest cume on the list was indie sensation Little Miss Sunshine with an estimated $2M, off 28%, for a total of $53.2M for Fox Searchlight. The acclaimed comedy has now matched megablockbusters Pirates of the Caribbean: Dead Man’s Chest, The Da Vinci Code, and Cars by spending seven consecutive weekends in the top ten.

A pair of critically-acclaimed dramas about world leaders opened to fantastic results in limited release. Miramax launched its Helen Mirren starrer The Queen on Saturday and grossed an estimated $123,000 from just three New York theaters for a potent two-day average of $41,000. The story of Queen Elizabeth II after the death of Princess Diana was double-screened at a pair of the arthouse venues and opened a day later than usual since on Friday it screened as the opening night film of the New York Film Festival. Mirren won the Best Actress prize at the Venice International Film Festival and is considered a major contender for an Oscar nod.

Also a likely Academy Award nominee, but for the Best Actor trophy, was Forest Whitaker whose new film The Last King of Scotland debuted powerfully with an estimated $143,000 over three days from only four venues in New York and Los Angeles. The Fox Searchlight release finds Whitaker playing Ugandan dictator Idi Amin in the early 1970s. Since its Wednesday launch, Scotland has grossed $172,000 in five days and will expand into the top ten markets on Friday before spreading nationally on October 20.

Posting a respectable debut in moderate national release was the football drama Facing the Giants which collected an estimated $1.4M from 441 theaters for a mild $3,150 average. The PG-rated pic about a coach who finds inspiration from God was released by Destination Films and Samuel Goldwyn Films.

Warner Independent Pictures expanded its Michel Gondry pic The Science of Sleep from 14 to 221 theaters nationwide and grossed an estimated $1.2M. Averaging a solid $5,475 per location, the R-rated drama lifted its sum to $1.7M. Lionsgate widened its doc The U.S. vs. John Lennon grossing an estimated $210,000 from 57 sites for a moderate $3,684 average. Cume stands at $361,000.

Three films dropped out of the top ten this weekend. Sony’s big fall flop All the King’s Men crumbled 56% in its second weekend to an estimated $1.6M giving the political drama a puny $6.3M in ten days. Rejected by audiences, the Sean Penn flick should finish its run quickly with a horrendous $9M. The studio’s supernatural teen thriller The Covenant fell 59% to an estimated $1.3M and upped its total to $22.2M. A $25M final should result for the $20M production. Fox’s baseball toon Everyone’s Hero got crushed by the arrival of Open Season and sank 79% to an estimated $1M. With a modest $13.2M thus far, the animated film could end up with only $15M.

The top ten films grossed an estimated $82.2M which was up 15% from last year when Flightplan remained at number one with $14.8M; but down 17% from 2004 when Shark Tale opened in the top spot with a fierce $47.6M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

This week at the movies, we’ve got jive talking woodland creatures ("Open Season," with Martin Lawrence and Ashton Kutcher). We’ve got a school for Coast Guard rescue swimmers ("The Guardian," starring Kevin Coster and Kutcher again). And we’ve got a school…for scoundrels ("School for Scoundrels," starring Billy Bob Thornton and Jon Heder). Which of these flicks will get a passing grade from critics?

"Open Season," Sony Pictures Animation’s first picture, features the voices of Martin Lawrence and Ashton Kutcher as a grizzly bear and a deer, respectively, who must team up after getting stranded in the woods at the start of hunting season. Critics say that despite some impressive visuals and funny sequences, "Open Season" does little to distinguish itself from the recent glut of CG kiddie films. At 43 percent on the Tomatometer, you should turn, turn, turn away from this middling "Season."


Martin Bear: "Say it, Ashton. Say I was funny on Martin!"
Ashton Deer: "I’m Ashton Kutcher! I was on That 70’s Show!"

Kevin Costner makes a hopeful return to the action genre in "The Guardian," in which he plays a veteran U.S. Coast Guard officer who must mentor a cocky young upstart played by Ashton Kutcher. The film features intense training sequences, dramatic rescue scenes, and the requisite love story. Sound familiar? Critics seem to think so, calling it a cliched mix of "An Officer and a Gentleman" and "Top Gun," with a predictable storyline. At 40 percent on the Tomatometer, "The Guardian" needs rescuing.


"Oh, man… Finally, a funny ‘Waterworld‘ joke!"

Director Todd Phillips brings us his latest comedy "School for Scoundrels," about a nerdy meter maid (Jon Heder) who takes confidence building classes from a smarmy instructor (Billy Bob Thornton). When the student gains the confidence to ask out his longtime crush, he discovers he must compete with the teacher for her affections. Most critics are in agreement that the real scoundrels are the screenwriters who couldn’t devise a script worthy of the considerable acting talent involved. At 21 percent on the Tomatometer, "School for Scoundrels" receives a failing grade.


Jon Heder’s got to worry about more than just talons these days.

Also opening this week in limited release: "The Queen," a speculative drama about the reaction of Britain’s royal family after the death of Princess Di starring Helen Mirren, is at 95 percent on the Tomatometer; "The Last King of Scotland," which features an electrifying performance from Forrest Whitaker as the Ugandan dictator Idi Amin, is at 86 percent; "Be With Me," a three part meditation on love, hope, and destiny, is at 80 percent; "A Guide to Recognizing Your Saints," a coming-of-age story starring Robert Downey Jr., is at 77 percent; and "loudQUIETloud: A Film About the Pixies," which chronicles the triumphant reunion tour of the influential cult band, is at 60 percent.

Recent Ashton Kutcher Movies:
—————————————-
80% — Bobby (2006)
39% — A Lot Like Love (2005)
44% — Guess Who (2005)
33% — The Butterfly Effect (2004)
19% — Just Married (2003)

Recent Billy Bob Thornton Movies:
——————————————
46% — The Ice Harvest (2005)
46% — The Bad News Bears (2005)
79% — Chrystal (2004)
82% — Friday Night Lights (2004)
30% — The Alamo (2004)

Recent Kevin Costner Movies:
————————————–
18% — Rumor Has It… (2005)
73% — The Upside of Anger (2004)
79% — Open Range (2003)
8% — Dragonfly (2002)
13% — 3000 Miles to Graceland (2001)

Recent Jon Heder Movies:
———————————-
73% — Monster House (2006)
11% — The Benchwarmers (2006)
56% — Just Like Heaven (2005)
71% — Napoleon Dynamite (2004)

Tom Cruise‘s spy sequel Mission: Impossible III remained the most popular film in North America for the second straight weekend while the big-budget disaster film Poseidon opened in second place to disappointing results.

The frame’s other new releases, the Lindsay Lohan comedy Just My Luck and the soccer drama Goal! The Dream Begins, opened miserably as well giving the industry little to celebrate. Overall ticket sales fell behind those of the comparable weekend in each of the last four years as a sluggish marketplace waits for that one true summer blockbuster that draws the masses into the multiplexes.

Despite a weaker-than-expected opening weekend, Paramount’s MI3 enjoyed a respectable sophomore frame dropping 49% to an estimated $24.5M to retain its standing as the number one film. Playing in an ultrawide 4,059 theaters, the Ethan Hunt actioner averaged a solid $6,039 per location and raised its ten-day total to $84.6M. The decline was very similar to the 48% second weekend fall for last summer’s big spy flick Mr. & Mrs. Smith which grossed $26M in its sophomore shot after a $50.3M bow. The Pitt-Jolie vehicle, however, captured a more muscular $96.7M in its first ten days thanks in part to a June release when more students were out of school.

With so many action sequels tumbling by 55% or more on the second weekend, Mission: Impossible III managed to hold up relatively well. Competition from Poseidon was not formidable so moviegoers were not drawn away to another big event pic. The latest Ethan Hunt film will face its true test this Friday when the much-anticipated thriller The Da Vinci Code starring that other Tom opens followed a week later by the mutant juggernaut X-Men: The Last Stand. At its current pace, look for MI3 to reach $130-140M domestically making it the lowest grossing installment of the decade-old franchise. The first Mission: Impossible grossed $181M in 1996 while MI2 took in $215.4M in 2000. Overseas, MI3 jumped to $129.2M in foreign sales putting the worldwide tally at $213.8M in under two weeks. The global box office gross looks to be on a trajectory to hit $350M.

Failing to sink Cruise’s ship, the ocean liner disaster pic Poseidon settled for the runner-up spot this weekend opening with an estimated $20.3M from 3,555 locations. Warner Bros. generated a decent but not impressive per-theater average of $5,717 with its first pricey entry of the summer movie season. Directed by Wolfgang Petersen (The Perfect Storm, Air Force One), the PG-13 film was a remake of the 1972 picture The Poseidon Adventure and starred Kurt Russell, Josh Lucas, and Richard Dreyfuss as passengers on a luxury ship who must fight to survive after a rogue wave capsizes the vessel. Poseidon opened weaker than other big-budget maritime action films like 2003’s Master and Commander ($25.1M), 2000’s The Perfect Storm ($41.3M), and even 1995’s infamous Waterworld ($21.2M).

Although audiences in years past have flocked to May disaster films like Twister, Deep Impact, and The Day After Tomorrow, this time Poseidon lacked the goods to draw in a paying audience. Reviews were not kind which also made the adult-skewing picture a tough sell. Varying reports on the film’s budget put the production cost in excess of $160M so a stellar run internationally and on DVD will be needed in order to turn a profit. Poseidon set sail in a handful of Asian countries to the tune of $4.4M this weekend, but will open in most foreign territories in June and July.

Once again scoring the best hold among all wide releases was the Robin Williams family comedy RV which dipped a mere 14% in its third weekend to an estimated $9.5M. The Sony hit has collected a solid $42.8M in 17 days.

Ticket buyers ignored Lindsay Lohan’s new film Just My Luck which flopped in its opening weekend grossing a mere $5.5M, according to estimates. The Fox release averaged an unlucky $2,165 per location and played almost exclusively to a teen girl audience. Studio research showed that the crowd for Luck was a remarkably high 80% female and 70% under the age of 25. Critics, not surprisingly, panned the film.

Horror flick An American Haunting enjoyed a solid sophomore session dropping only 36% to an estimated $3.7M for fifth place. Distributed by Freestyle Releasing, the PG-13 thriller has banked $10.9M in ten days and should scare its way to a mediocre $17-19M. Universal’s 9/11 thriller United 93 followed with an estimated $3.6M, down just 33%, lifting the cume to a decent $25.6M.

The teen gymnastics pic Stick It dropped 41% to an estimated $3.2M to land in the number seven spot with a total to date of $22.2M for Buena Vista. Fox’s animated sequel Ice Age: The Meltdown, still the top-grossing film of 2006, grossed an estimated $3M sliding just 29% in its seventh weekend. No other film has spent as many weeks in the top ten this year. Cume stands at $187.4M domestically and over $600M worldwide.

Sony’s fright pic Silent Hill placed ninth with an estimated $2.2M, off 45%, for a sum of $44.5M thus far. The New Line flop Hoot fell 37% to an estimated $2.1M in its second outing as the total inched up to a dismal $6.2M. Last weekend, the owl film had the distinction of suffering the worst opening in history for a film debuting in over 3,000 theaters. Hoot’s puny $3.4M bow in 3,018 sites beat out the dismal $6M launch from 3,006 theaters of 2004’s New York Minute starring the Olsen Twins for that unfortunate honor.

Another film failing to connect with kids was Buena Vista’s new soccer drama Goal! The Dream Begins which kicked off its run with a weak estimate of only $2M. The PG-rated film failed to qualify for the top ten this weekend and averaged a poor $1,989 from 1,007 locations.

Two April releases fell from the top ten this weekend. The spoof comedy Scary Movie 4 dropped 44% to an estimated $2.1M in its fifth frame. With $86.6M to date, The Weinstein Co. release looks to finish with roughly $90M which would not be far off from the $110M of its predecessor 2003’s Scary Movie 3. The Lionsgate family drama Akeelah and the Bee declined 41% to an estimated $2M in only its third turn. Cume sits at just $13.6M and should reach $16-18M.

Opening in limited release this weekend, Miramax’s family reunion comedy Keeping Up with the Steins grossed an estimated $621,000 from 138 locations for a respectable $4,500 average. The PG-13 film stars Garry Marshall, Jeremy Piven, and Daryl Hannah. The Swaziland-set drama Wah-Wah debuted in 25 theaters and grossed an estimated $57,000 for a mild $2,270 average. Starring Gabriel Byrne, Miranda Richardson, and Emily Watson, the R-rated film is distributed by Roadside Attractions and Samuel Goldwyn Films.

Among indie films expanding into more markets, Sony Classics grossed an estimated $1.2M from its comedy Art School Confidential after widening from 12 to 762 theaters across the country. That left the John MalkovichAnjelica Huston starrer with a pitiful $1,593 average per venue as it failed to register with moviegoers on a national level. Cume is $1.4M. Fox Searchlight expanded its Indian drama Water from 36 to 62 locations and grossed an estimated $257,000 for a $4,138 average. Total sits at $593,000 with more markets opening on Friday.

The top ten films grossed an estimated $77.7M which was down 15% from last year when Monster-in-Law opened at number one with $23.1M; and down 23% from 2004 when Troy debuted in the top spot with $46.9M.

Author: Gitesh Pandya, BoxOfficeGuru.com

CHUD.com clues us in on a few of the first cast members signed to star in the Tarantino/Rodriguez horror flick "Grind House," which is presently in production down in beautiful Austin, Texas. Here’s a clue: One of the new cast members is no stranger to things that occur "Six Feet Under."

Says the CHUD gang: "Robert Rodriguez is currently hard at work making mayhem down in Austin with his part of the RR/QT combo Grind House, and now we’ve heard of another human appearing in the flick: Six Feet Under corpse-restoration expert Freddy Rodriguez… Though his HBO show may be over, Freddy will still have bodies to contend with — the Robert Rodriguez half of the horror-exploitation double-feature is called Project Terror, a zombie homage that apparently concerns a sheriff department dealing with an outbreak of infected lunatics (called "sickos").

We’re not sure of Freddy’s role in the film, but given the involvement of gore god Greg Nicotero and Rodriguez’s penchant for splatternalia, there’s a good possibility he’ll meet a messy end. Project Terror also stars Michael Biehn (yay!), Josh Brolin, Tom Savini and Marley Shelton, among others yet to be confirmed or identified."

Both filmmakers have displayed some success in the arena of horror: Robert Rodriguez for his "From Dusk Till Dawn" and "The Faculty," and Quentin Tarantino for his acting career. (ba dum bum)

For a bit more info on the project, including some scoopage on the QT side of the story, hit CHUD.

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