A new promotional image for Ant-Man and the Wasp: Quantumania shows Kang the Conqueror looking better dressed than ever.
The third Ant-Man film will introduce the Marvel Cinematic Universe to Kang the Conqueror, a multiversal warlord who plans to conquer all realities.
The stunning, comically accurate and elegant outfit he wore has now been shown.


Kevin Feige, the MCU's executive producer, recently spoke with Empire about the forthcoming role of Kang and how he differs from prior villains in the MCU.



In this interview, Feige mentions a time machine that Kang has but can't use since it's broken.
The new promotional image of Kang features not only his stylish attire but also his Time Chair, the same equipment from Marvel Comics that lets its owner to travel through time and space.
Feige has commented as follows:


"When we first meet Kang, he is in a situation where he needs to regain his authority.
If he can connect his spacecraft and gadget to the internet, he can travel to any location at any time.
If only he could get his hands on some Pym particle-wielding, smart scientists."



The Avengers are a strong group comprised of many different heroes and entities, yet they are not indestructible on their own.
Even though they were ultimately successful in defeating Thanos and reversing the Snap in Avengers: Endgame (with a significant assistance from Ant-Man himself), their setback in Infinity War shows that they can be beaten.
With his vast reach and power, Kang the Conqueror can alter history itself.
When the Avengers eventually meet each other in Avengers: The Kang Dynasty, they will have their hands full.


He will be more formidable than Thanos, the previous major enemy in the MCU.
If he could once defeat the Avengers, then Kang certainly might as well.
Now that the multiverse is accessible in Phase 4, there are numerous excellent and terrible versions of Kang.
To prevent the more militarized versions from spreading havoc across all realities, Loki has already developed He Who Remains, a somewhat beneficent variant who acted to protect the Sacred Timeline.
Sylvia's murder of him signaled the end of that shield, and now Kang the Conqueror's potential release from the Quantum Realm poses a danger to the whole material universe.


Kang's superpower is his ability to move freely through time and space.
To employ time travel against the Avengers, he must first use Ant-Man to obtain the MacGuffin he needs to reactivate his Time Chair.
Although the Avengers utilized time travel to erase Thanos' victory, Kang may turn this strategy against them.
Kang the Conqueror might pose a significant threat to the Avengers if he acquires superior technology, has a keen strategic mind, and develops an insatiable desire for bloodshed.
Although it will be some time before Kang encounters the Avengers, I expect that Ant-Man and the Wasp: Quantum Mania will demonstrate the time traveler's formidable might. 

It's possible that what happens to Iron Man and Captain America in Avengers: Endgame will play into what happens to Thor in the MCU.
When the dust settled on Endgame, Thor was one of the few remaining founding Avengers and the lone survivor of the Big Three.
In order to be with Peggy Carter, Captain America traveled back in time, killing Iron Man and Black Widow along the way.
Thor's tale has continued through the Multiverse Saga alongside Hulk and Hawkeye.


It's possible that Thor's adventure is coming to a conclusion. He's beaten Thanos, Gorr, and plenty of other foes.
Chris Hemsworth's MCU future has been discussed since the film's polarizing reaction, and the actor has hinted that his leave may occur in his next appearance.
Moreover, if this is the case, there remains the question of when it may occur and, more importantly, how.
Will he follow Tony Stark's lead and sacrifice himself by falling on his own God-killing ax?
What if he didn't have to wind up like Steve Rogers?
It's possible that the answer is both.



Whether or not Thor appears in Avengers: The Kang Dynasty remains to be seen, but it would be shocking if he didn't.
He's one of the MCU's most potent heroes, and he's been around since the beginning as one of the founding Avengers.
He should be an integral part of the squad against Kang the Conqueror because of his extensive background in countering threats of global destruction.
With Thor still active in the MCU, there's no practical reason for him not to be part in what looks to be one of the Avengers' toughest challenges yet.


And there's good reason to believe that Avengers: The Kang Dynasty will be Thor's last appearance in a Marvel Cinematic Universe film.
Since he has been in more Avengers films than any other character (apart from the Hulk and Hawkeye, who should potentially return), and since he has also had more of his own films, his tale may be coming to a close.
After all, an Avengers film is still the pinnacle of the Marvel Cinematic Universe, and Thor should be afforded the same honor. 

After a pigeon was killed on set of 6 Underground, director Michael Bay, who has directed most of the Transformers films, was arrested and prosecuted.
After gaining recognition with the releases of Bad Boys and Armageddon, Bay went on to establish himself as a successful Hollywood filmmaker, being widely recognized for his lavish special effects and extensive use of pyrotechnic displays and CGI animation.
The Transformers movies have been Bay's primary emphasis as of late, although he has also directed the Netflix original 6 Underground and collaborated with Universal Pictures on the horror film Ambulance.


Bay ran afoul of the Italian authorities during filming of 6 Underground when rumors spread that a pigeon had been slain on site.
Since pigeons are a protected species in Italy, law enforcement has intervened to examine whether or not the death of the homing pigeon was caused by the film, which was produced by Netflix and starred by Ryan Reynolds.
Bay told The Wrap that the allegations against him would likely be dropped because he believes they are baseless.
Below is his explanation:


The footage is unmistakable and provides proof beyond a reasonable doubt.
There are a ton of eyewitnesses and cops on the scene who clear us of any blame.
And it debunks their one, misleading paparazzi shot.
Due to an ongoing legal battle, I am unable to provide any details, but I am optimistic that we will be successful when my day comes.
The Italian authorities gave me the option of paying a minor payment to resolve the situation, but I rejected since I did not want to admit culpability for harming an animal.


Bay denies that any animals were hurt in the making of 6 Underground or any of his other films, and he is devoted to defending the charges.
Bay dislikes contemplating his filmic legacy, although he strongly objects to being labeled an animal abuser, claiming instead to have been a dedicated advocate for animal rights throughout his whole life.
On three separate occasions, Bay's legal team has requested that the allegations against their client be dropped; each time, however, these requests have been denied by Italian authorities, and the case now looks to be headed to trial.


Although Bay is not believed to have been the dolly operator at the alleged event, he is nonetheless being investigated as a suspect in Italy because of his role as the film's director.
Bay plans on using testimony from witnesses, surveillance footage, and legal testimony to disprove any responsibility he may have had in the pigeon's untimely demise.
Eiza Gonzalez, who played a major role in the film Ambulance, has said that Michael Bay's "mischievous" and "mostly harmless" demeanor is the most unexpected aspect of his character.
Bay plans to defend his honor by any means necessary. 

James Cameron has addressed the argument about Titanic's notorious door for the first time in 25 years.
The historical romance drama followed Rose (Kate Winslet), a privileged young woman, and Jack (Leonardo DiCaprio), an impoverished orphan, as they fall in love despite their social differences onboard the titular ocean liner.
Titanic, starring Billy Zane, Bill Paxton, and Kathy Bates, among others, is one of Cameron's most recognizable films. It was a box office triumph, generating over $2.195 billion over numerous theaters and became the first picture to exceed the billion-dollar barrier.



At the Television Critics Association 2023 panel Titanic: 25 Years Later, James Cameron addressed Kayla Cobb of Decider's long-standing question about the film's notorious door.


Cameron adds that the piece of paneling on which Jack and Rose appeared to be floating was really from the ship's first-class lounge, making it much more cramped for them to be in there.
The writer/director of Titanic also detailed the scientific study that went into the sequence, including the fact that Jack "would have been unconscious" after eight minutes due to hypothermia, regardless of space.



The last minutes of the original film's plot see Jack and Rose seeking shelter from the bitter cold of the Atlantic after the ship has smashed into an iceberg. This is the time period from which the famous Titanic door conundrum originates.
For years, viewers have argued about whether or not Jack and Rose could have fit on the floating "door," with many criticizing Winslet's Rose for being "selfish" for taking up the entire space, leaving DiCaprio's Jack to perish in the cold and water.
In an episode appropriately titled "Titanic Survival," MythBusters investigated this question in honor of the film's 15th anniversary. They concluded that Rose and Jack could have survived hypothermia by staying afloat on the paneling until they were rescued, though they would have needed to use Rose's life jacket to keep the door buoyed above the water. 

Some of the Modern Box Office's Biggest Mistakes.
A comparison of current box office figures to those of some past blockbusters indicates a significant difference in the performance of Hollywood's greatest movies, showing a significant loss in box office health despite some recent major hits as crowds return to cinemas.


While Avatar: The Way of Water's initial box office take was lower than expected, it has subsequently surpassed most of the other films in the top 10, demonstrating that the massive success of some of the biggest successes in cinema history is more skewed than previously thought.
Avatar: The Way of Water and James Cameron's other top 10 films had more in common with the box office juggernauts of yesteryear, and their success serves as a useful reminder of what a successful box office run looks like.


The second installment of "Avatar" has broken records at the box office.


Even though 2019 has already broken records for film office income, cinemas were already struggling before the epidemic hit.
Ticket sales have been on the decline for decades, and any recent income rise may be attributed solely to price hikes brought about by inflation.
The majority (8) of the top 10 domestic grossing movies were released in 2018 or after, and half (5) were released in 2012 or later.
Adjusting for inflation immediately reveals this problem. When it was opened in theaters in 1997, Titanic made $600 million in North America alone.
Inflation-adjusted, that's $1.12 billion, which puts it ahead of every other film ever (even before factoring in the $57 million it made from its 3D re-release in 2012).


Shrek 2 earned $441.2 million in the domestic market in 2004, which is equivalent to $707 million in today's values and would place it ahead of Black Panther as the sixth highest domestic earner of all time if we exclude movies that are currently in the top 10 on this list.
Earning $431 million in 1999 (equivalent to $778.7 million in 2018), Star Wars: The Phantom Menace is now the fourth highest grossing film of all time, passing Top Gun: Maverick in the process.
If we convert 1993's $357 million box office total to 2017's $743.1 million, Jurassic Park would still rank #5 in North America.
Inflation-adjusted earnings for 1982's E.T. the Extra-Terrestrial, at $359.2 million, placed it ahead of James Cameron's Titanic by almost a billion dollars.


So, even though new movies are joining the top 10 domestic earners list almost every year, pushing older movies down the list, it's clear the actual economic value of these movies isn't climbing drastically, it's just that the measuring stick used to gauge their success (the dollar) is changing. Despite the undeniable success of modern blockbuster movies, viewing the box office through the counterbalancing lens of inflation reveals that blockbusters like Avatar: The Way of Water and Top Gun: Maverick aren't necessarily massive breakouts as their inflation-driven numbers would suggest, but rather, examples of what a historically healthy box office should look like. 

Puss in Boots: The Last Wish unexpectedly validates Guillermo del Toro's bold declaration regarding animation from the 2023 Golden Globes.
Guillermo del Toro's first Golden Globe triumph since The Shape of Water was for Pinocchio, which took up the award for Best Animated Feature at the 2023 ceremony.
Del Toro made an impassioned acceptance speech after winning the prize, praising 2022 as a banner year for film, which he argued reflected positively on the animation industry since "animation is not a genre for kids, it's an art."



Puss in Boots 2, the Shrek spinoff, provides evidence that animated films can be financially successful.
Much of the dialogue in Puss in Boots: The Last Wish is written with a younger audience in mind, and the film is clearly intended for them to enjoy.
The sequel's animation and plot are still enjoyable for those with a mature disposition.
Because of this contrast, Puss in Boots: The Last Wish has been well received by critics, demonstrating the breadth of animation's popularity.
That sums up Guillermo del Toro's point that animation is a medium and not a genre beautifully.


The aesthetics and plot of Puss in Boots: The Last Wish contribute significantly to the film's wide popularity.
As with another Dreamworks film, The Bad Guys, Puss in Boots 2 takes inspiration from Spider-strongest Man's visual and narrative components in its art and animation style.
Adult audiences have given Into the Spider-Verse a lot of acclaim despite the fact that they are not the target demographic since the plot contains heart and maturity not often found in DreamWorks movies.
Puss in Boots 2 profited greatly from DreamWorks' dedication to a degree of excellence everyone could enjoy, even if such elements weren't technically required for a children's film.

Because of its franchise placement, Puss in Boots 2 has achieved remarkable success.

Film series like Shrek and Puss in Boots: The Last Wish


The popularity of Puss in Boots: The Last Wish is all the more remarkable when considered in the context of the whole Shrek series.
Puss in Boots: The Last Wish, the sixth installment in the Shrek film series, is the first to come out after fans have been waiting for what seems like an eternity for another subpar entry.
Every film in the Shrek film series since Shrek 2 has been met with lukewarm at best critical reviews, fueling widespread belief that the quality of the DreamWorks franchise has steadily declined over time.
With the production of Shrek 5 having delayed, the series has relied heavily on memes and nostalgia for the first two films to keep it afloat, despite the fact that even the first Puss in Boots film was completely disregarded.


When you consider all of these factors, Puss in Boots: The Last Wish seems like an even more incredible success story than it currently is.
In addition to being a fantastic film in its own right, Shrek Forever After demonstrates that audiences remain enthusiastic about the Shrek series and that the franchise can continue to win over both adults and children.
Story-wise and visually, Puss in Boots: The Last Wish already does a lot to illustrate how much animation has to offer, and shockingly, it may just achieve the same by setting up Shrek 5. 

Concept art from Avatar: The Way of Water features an extremely realistic depiction of Pandora's deadly shark.
More than a decade had passed after the events of Avatar, and the plot of the sequel finds Jake and Neytiri fleeing to the reef-dwelling Metkayina clan to protect their Na'vi family from the hybrid Quaritch.
As the name of the sequel implies, the seas, coral reefs, and the amazing animals who call them home receive a lot of screen time.


A new piece of concept art for Avatar: The Way of Water reveals one of these creatures in greater depth.
Recently, Avatar sequel concept artist and chief creature designer Zachary Berger posted some concept art of Pandora's killer shark, the Akula, on Twitter.


Following a few hundred "blue sky" experimental variants of the Akula for the sequel, Berger settled on the "triangular, bifurcated, rattlesnake-meets-great white mouth" design featured in Avatar: The Way of Water, as he recounts in the Twitter thread above.


The creature design in Avatar: The Way of Water is a high point of the sequel along with the visual effects and technological accomplishments.
A prime example of this is the terrifying Akula, which appears during one of the most exciting underwater action sequences in Avatar: The Way of Water, in which Lo'ak is left alone by Aonung and his allies to try to escape the hazardous marine predator.
Lo'ak narrowly avoids certain death on many occasions, and the Tulkun called Payakan is largely responsible for his survival.


The Tulkun, like the Akula, is one of the most memorable animals in Avatar: The Last Airbender.
Space whales, as these animals have been affectionately called, became an instant hit with moviegoers as soon as the sequel was released.
Humans in the Avatar universe go whale hunting because the Tulkun have a fluid in their brains called amrita that slows human aging. The Tulkun are strong, compassionate, and knowledgeable beings.
This allows the sequel to further emphasize its powerful anti-whaling message by making the Tulkun into sad heroes.


James Cameron's love of the water is evident in his films like The Abyss and Titanic, but the imaginative creature design in Avatar: The Way of Water is the clearest demonstration of his enthusiasm.
Both Avatar films were enormous financial successes, thanks in large part to the meticulous attention to detail that made them into the visually arresting spectacles they are.
The Art of Avatar: The Way of Water, a book by Tara Bennett, is now available for those interested in learning more about the creative process behind the creatures in the film. 

When asked about the film's humorous tone, director Rhys Waterfield says that nobody made an effort to inject comedy into Winnie the Pooh: Blood and Honey.

Movie review: "Blood and Honey," starring Winnie the Pooh 

The movie's director, Rhys Waterfield, has commented on the film's odd sense of comedy. 

However, Winnie the Pooh: Blood and Honey takes the character in a different route from the rest of the series, which is often aimed at children and has a beloved bear protagonist and a zoo of entertaining and thrilling critters. 

Because of Christopher Robin's departure for university, the animals in the woods are now resorting to murder in order to prevent malnutrition. 

Winnie the Pooh: Blood and Honey keeps the character's ridiculousness despite the fact that Winnie isn't a teddy bear like previous adaptations. 

Instead of poking fun at the absurdity of making a dark adaptation of Winnie the Pooh, the film takes itself very seriously. 

According to an interview with Entertainment Weekly, Waterfield adds that the shocking aspect of the Blood and Honey premise was on purpose. 

Take a look at the words he chose: 

"In all honesty, we gave it our best go at being serious. 

That was indeed one of my stage directions. 

I said, "Look, I don't want you to take this the slightest bit lightheartedly; I want you to take it very seriously indeed. 

You don't need to add to the comedy; it will come naturally given that Winnie-the-Pooh is involved. 

But the whole cast and crew couldn't help but laugh at the absurdity of the situation throughout most of the shoot. 

Whenever a director was attempting to direct a scary sequence and looked over to his right and saw a six-foot-man dressed as Winnie-the-Pooh listening to him, we would burst out laughing." 

With its astounding $1 million take thus far, Winnie the Pooh: Blood and Honey has more than covered its budget of less than $100,000. 

Only Mexico has shown the film so far, but on February 15 it will open in theaters across the country. 

The notion of a violent Winnie the Pooh, which has already been successful in one nation, follows a strong trend at the box office of low-budget horror flicks. 

Waterfield rightly points out that the idea of a bleeding Pooh bear is sure to grab people's attention, which is great news for the horror series. 

The fact that the serious kind of humor is doing so well at the film office is evidence of the feasibility of the concept, which Waterfield hopes to exploit by creating a universe of bad children's characters. 

Though it was panned when it was unveiled, Winnie the Pooh: Blood and Honey succeeds by poking fun at its detractors. 

The comedy helps it stand out from other horror films, which is especially important since that the slasher genre has become increasingly stale and formulaic. 

Despite the fact that Winnie the Pooh: Blood and Honey has a lot going against it, it has managed to thrive in the post-pandemic world. 

Waterfield's understanding of the absurdity of the endeavor is a strength that will help Winnie the Pooh: Blood and Honey do well. 

 

The deadly confrontation between Anakin and Obi-Wan in Revenge of the Sith may have gone quite differently, and without Anakin's now-famous "high ground" statement. 

Obi-Wan and Anakin's split picture on Mustafar from Revenge of the Sith. 

Star Wars: Episode III - Revenge of the Sith almost had an entirely different ending, with Ewan McGregor's Obi-Wan Kenobi facing off against Hayden Christensen's Anakin Skywalker. The stars favored the other ending. 

Even though the future is continuously changing in Star Wars, those who viewed the prequels already knew how the saga will wrap up. 

It was inevitable that Anakin Skywalker would turn to the dark side and ultimately lose a fight to his old master, Obi-Wan Kenobi. 

The last fight was certainly exciting, but it has been critiqued for a number of reasons by fans. One of these is a peculiar piece of speech in which Obi-Wan claims victory simply because he is on higher ground. 

In an interview with Star Wars Theory, stunt coordinator Nick Gillard for the prequel trilogy revealed a different version of the final combat was planned, sans the high ground sequence. 

Gillard claims that both Hayden Christensen and Ewan McGregor favored that cut, but George Lucas vetoed it. 

"But we had a version where that didn't happen and Obi cut off his arms and legs in a different way...right away, Anakin just grabbed him by the - he disarmed him, grabbed him by the throat, you know he's got him and Obi's saber is down on the ground, and Anakin says, "I'm sorry it has to be this way, my master," and actually lets (the lightsaber) go. 

Obi ducks to avoid it, swallows his saber up, and almost accidentally slashes through Anakin's arms before chopping through his knees, sending his corpse tumbling. 

Rather than a successful offensive maneuver, it was a misguided defensive one. 

It had a lot of force." 

This is a very different take on the conflict between Obi-Wan and Anakin than the one Lucas chose to depict, and it fits better with the contrasting tenets of the Force (the dark side being more offensive and the light side more defensive), but Lucas chose to focus on the conflict from a more introspective angle. 

If this version of the battle on Mustafar from Star Wars: Episode III - Revenge of the Sith had actually happened, it seems like it would have been considerably more dramatic. 

It would have been more in keeping with the protective procedures of the Jedi Order and likely would have increased Obi-Wan Kenobi's sense of remorse about accidentally maiming Anakin. 

However, Lucas favored making the mutilation intentional by including the bizarre sequence in which Obi-Wan claimed victory from a position of superiority. 

Given that Obi-Wan had never hesitated when physically inferior to an opponent, this was both illogical and hasty (nor had any other lightsaber duelist for that matter). 

An alternative duel on Mustafar portrays Anakin as a more proficient fighter who disarms his old master and is only defeated by accident. 

Conversely, Obi-Wan is never shown to have been in command of the fight; he is pinned early on, and his eventual victory is as much a fluke as a calculated move. 

However, the performers' preference for this version suggests that the performance would have been less effective because of the muted emotions displayed throughout the confrontation. 

One of the most important lightsaber duels in Star Wars history occurred at the conclusion of Episode III: Revenge of the Sith, yet the film was far from faultless. 

Specifically, the high ground scene became one of the most popular Star Wars memes, and Gillen appears OK with that fact, claiming the moment "has since found its place" in the Star Wars mythos and fan culture. 

It's intriguing to speculate about what might have been, and what might have been if Ewan McGregor and Hayden Christensen had their way. 

 

To promote her upcoming action comedy Cocaine Bear, director Elizabeth Banks has hinted that she might be interested in making another film about animals attacking people while high on cocaine. 

Photograph of Elizabeth Banks with a Poster of a Cocaine Bear 

Elizabeth Banks, who directed the drug comedy Cocaine Bear, has teased that she would tackle another animal film next. 

The film's release date is February 24. It is based on a genuine story. 

The plot centers on what happens to a bear after it consumes cocaine that was thrown in the woods by a drug runner's plane, and has an ensemble cast including Keri Russell, O'Shea Jackson Jr., Alden Ehrenreich, Jesse Tyler Ferguson, Brooklynn Prince, Margo Martindale, and the late Ray Liotta. 

After a New Zealand news item said three tons of cocaine were drifting in the water, the concept of a film called Cocaine Shark went viral, and people started talking to Banks about making it. 

After the success of Cocaine Bear, she was asked whether she planned to create Cocaine Shark "Yes, I read that [article]. 

Of course, if there's a fantastic tale to tell." 

She said, "I don't see how that loses, Jaws with cocaine." 

Cocaine Bear is upfront about the fact that it is a farcical comedy. 

The bear's coke-fueled rage and the extreme damage it inflicts are completely unrealistic. 

Although the film is based on genuine events, the actual situation was significantly less dramatic but nevertheless devastating. 

A drug runner did, in fact, ditch some merchandise in the woods in December 1985 so that their jet wouldn't have to carry as much fuel. 

After opening 40 vials of the substance, a black bear was discovered dead beside the stockpile. 

The bear's skeleton may be seen at the Kentucky Fun Mall in Lexington. 

Despite the sad origin of Cocaine Bear, the concept of a bear high on the drug never ceases to fascinate visitors and residents alike. 

It's understandable that the incident's inspiration would lead to a cinematic adaptation, even though the actual events were somewhat dull. 

To make matters worse, Cocaine Shark, should it be completed, would be based on an even less genuine event than the first film was, but it's still an intriguing concept that appears tailor-built to pique the interest of those who desire a Cocaine universe following the first film's release. 

 

A new lava-filled poster for Nintendo's The Super Mario Bros. Movie depicts Charlie Day's Luigi being held captive by a band of Shy Guys. 

In a billboard for The Super Mario Bros. Movie, Luigi nervously surveys a group of cowardly males. 

Luigi, played by Charlie Day, has been captured by Shy Guy goons in a new promotional poster for The Super Mario Bros. Movie. 

The Super Mario Bros. Movie is a collaboration between Nintendo, Illumination Entertainment, and Universal Pictures based on the popular video game series created by Nintendo. 

Chris Pratt plays Mario, Jack Black plays Bowser, Anya Taylor-Joy plays Princess Peach, Keegan-Michael Key plays Toad, Seth Rogen plays Donkey Kong, and Fred Armisen plays Cranky Kong in the film, with Day as Luigi. 

Seeing as how the premiere date of The Super Mario Bros. Movie is rapidly approaching, the official Twitter account for the film has shared a fresh look at Luigi, this time depicting the character in a troublesome predicament. 

The Super Mario Bros. Movie's poster depicts Luigi in chains as a prisoner, with what looks like Bowser's castle in the backdrop. 

Day's portrayal of Luigi's fear is consistent with his appearance in a previous ad and has viewers wondering what the gang of Shy Guys have in store for him. 

The plot of The Super Mario Bros. Movie has yet to be revealed, although the bromance between Mario and Luigi may play a significant role. 

Condensing a lengthy, action-packed journey into a manageable two-hour plot is one of the challenges inherent to adapting a video game. 

Because Nintendo's original games typically lack narrative intricacy and true emotion, this is an especially challenging challenge for The Super Mario Bros. Movie. 

In order to present an interesting plot, the future film will need to flesh out popular characters like Mario, Luigi, and Princess Peach. 

The Super Mario Bros. Movie will succeed if it has entertaining characters worth pulling for in addition to amazing visuals, game-accurate mythology, and exciting Easter eggs. 

The Super Mario Bros. Movie may be able to explore broader issues of friendship by delving further into the friendship between Mario and Luigi. 

It didn't take long for the teaser for The Super Mario Bros. Movie to spark heated debate about Pratt's casting as Mario. 

However, if Mario is developed further as a character and a strong relationship is established between him and Luigi, fans may be able to see past Pratt's voice in the end. 

The voice actors in The Super Mario Bros. Movie will play a crucial role in selling the connections between their characters and providing emotion to the plot, despite the fact that their performances may not be 100% game-accurate. 

 

Andrew Schulz, who played a supporting part in You People, claims that the kiss between Jonah Hill and Lauren London was a CGI creation. 

In the movie You People, Jonah Hill and Lauren London lock lips. 

Actor Andrew Schultz from the show You People has revealed that the kiss between Jonah Hill and Lauren London was fake. 

You People, directed by Kenya Barris and premiered on Netflix last month, has received generally unfavorable critical reception. 

The plot of Hill and London's romantic comedy centers on the couple's (Ezra, played by Hill) attempts to manage the challenges posed by their different races and cultures. 

In addition to Schulz, Eddie Murphy, Julia Louis-Dreyfus, David Duchovny, Nia Long, and Nia Long's cousin Avi are included in the cast of You People. 

On his podcast, Brilliant Idiots, Schulz recently discussed the CGI work that went into the last kiss between Hill and London in You People. 

The actor and comedian says that Hill and London moved in for the kiss but stopped, and that CGI was utilized to finish the scene. 

Here is the rest of Schulz's comment: 

I don't know whether it's appropriate to tell you this, but at the very last moment, they don't even kiss. 

The visual effects are computer-generated. 

Boy, on your life. 

I'm on set for the wedding and I catch the couple locking lips. 

Also, their mugs end approximately where my fingers are right now (about six inches apart). 

And I'm thinking, "Hmm, I wonder how it will be portrayed in the film." 

They'll probably only make a quick incision there; don't worry. 

In the film, however, their faces were clearly seen to get near one another before gradually changing into a false kiss. 

More and more is being disclosed about how extensively visual effects are utilized in movies to enhance or modify what viewers are seeing on the screen, and Schulz's revelation that Hill and London never locked lips in that particular sequence in You People is just the latest example. 

According to recently released statistics, "digital makeup" (the term used to describe the employment of visual effects to make actors look younger) is employed in about 85% of films. 

Because of how subtle and believable the effects are, they are often overlooked. 

In the 2018 film Tag, VFX were utilized to replace Jeremy Renner's arms when the actor shattered them just days into production. 

However, CGI has been utilized for years in methods that may go unnoticed by spectators, such as covering up imperfections and injuries. 

In Dark Shadows (2012), VFX were utilized to make Johnny Depp's vampire persona scarier by eliminating his blinking, while in The Social Network (2010), VFX were employed brilliantly to have Armie Hammer portray a set of twins. 

Now that Schulz has let the cat out of the bag regarding the kiss in You People, it's easy to see, but it's still illustrative of how frequently visual effects are utilized for what can seem like inconsequential moments in current films. 

Characters in recent Marvel films frequently do things that real people just can't do, making it simple to recognize the usage of CGI. 

However, it's a much trickier to identify when VFX are employed to do things like make performers seem younger, change the scenery, or, curiously enough, finish a kiss. 

 

Louis Leterrier, who took over for Justin Lin as director of the franchise's concluding installment, Fast X, put a premium on physical effects and actual stunts. 

Speeding down a cliff in F9 

When creating Fast X, director Louis Leterrier relied heavily on realistic effects and actual stunts. 

Fast X, the tenth installment in the Fast & Furious film series, will kick off a two-part conclusion to the franchise that has been in production since 2001. 

Fast X director Justin Lin left the project just weeks into production due to creative differences, and now Leterrier, known for Transporter and The Incredible Hulk, has taken over. It remains to be seen what Leterrier, an action director known for his work on those films, will bring to the franchise, which is known for its epic set pieces and increasingly insane stunts. 

Leterrier discussed his approach to the tenth episode of the Fast and the Furious franchise, highlighting his emphasis on realistic effects and actual stunts in a recent Empire article that debuted a new look at the film. 

The director of Fast X wanted to bring the series back to Earth after F9 memorably (and perhaps controversially) sent it into space in a rocket-powered automobile. 

Have a look at what he wrote down below: 

I brought it down to earth by being more realistic than previous filmmakers. 

Our stunts are authentic and will be bolstered by CGI. 

Our locations included Los Angeles, London, Rio, and Portugal. 

Around Rome, we detonated a number of Humvees in the air. 

This one will have some unforgettable pictures. 

Dom Toretto can accomplish anything, as you will soon learn, as long as he is driving a fast automobile. 

The fact that the director of Fast X prefers actual stunts and realistic effects shows just how well he understands what makes the franchise successful. 

Fast Five, released in 2011, was a watershed moment for the Fast & Furious franchise since it marked the introduction of Dwayne "The Rock" Johnson and the introduction of a greater emphasis on realistic stunt work in the films. 

Before now, most of the automobile stunts in the movies were done using computer-generated imagery (CGI), which looks terrible compared to actual cars. 

Lin, who helmed five installments in the Fast & Furious series, was also an outspoken critic of the franchise's use of computer-generated imagery (CGI) for automobile stunts. 

Even though real effects are frequently complicated logistically and expensive (the Fast X budget is allegedly over $340 million), it is heartening to hear Leterrier keeping a dedication to what makes the franchise great. 

Leterrier is bringing the Fast & Furious franchise down to Earth despite the enormous push to make it bigger and better with each chapter (thus F9 travelling to space). 

Super Bowl LVII was the first public showing of the first Fast X teaser, which features Leterrier's own vision and aesthetic. 

In order to generate excitement for the next and final film, the franchise's new characters and several thrilling action sequences will be featured prominently. 

Leterrier may be requested to return to helm the last installment of the Fast film series if the May 19 release of Fast X proves to be a financial and critical success. 

Actor Corey Stoll thinks director Zack Snyder is great, calling him a "actor's director" for his work on the film Rebel Moon.
Snyder's Rebel Moon, set for distribution via Netflix in December of this year, was inspired by a script he submitted to Lucasfilm years ago.
Originally conceived as a single picture, Snyder's ambitious vision for the franchise necessitated its division into two movies.


Snyder is no stranger to working inside large properties, having been a part of the DC Universe back in its infancy.
Yet, since Justice League's release, Snyder has been hard at work creating his own film worlds for Netflix.
After launching the franchise with 2021's Army of the Dead, the director went on to create a live-action prequel feature called Army of Thieves and an animated series called Army of the Dead: Lost Vegas.
In addition to finishing Rebel Moon, Snyder has announced that production on the sequel Planet of the Dead will begin as planned.


Snyder has ambitious intentions for his Army of the Dead film franchise, and it appears that Rebel Moon is ready for growth, too.
Snyder's planned space opera, which was inspired by Akira Kurosawa and the Star Wars saga, has been split in two.
Even so, it might serve as inspiration for future installments and spinoffs.
While Disney+ has already begun cashing in on the Star Wars brand's success with a slew of spinoffs of its own, Netflix may have a chance to level the playing field with the Rebel Moon universe.


The key issue is whether or not Snyder's space opera can be considered as more than a cheap knockoff of Star Wars.
Although the film's inspiration came from George Lucas's work, it is up to Synder to demonstrate that his world-building abilities are sufficient for Rebel Moon to succeed on its own.
If the faith of his cast in his ability is any indicator, though, science fiction fans may be in for a real treat

The Haunting of Hill House and Midnight Mass creator Mike Flanagan has hinted at his concept for a new A Nightmare on Elm Street film.
One of the finest horror movies of all time, the 1984 original of A Nightmare on Elm Street is still largely regarded as such.
The film spawned an entire horror series with the same title; eight further installments were released between 1985 and 2003.
The 2010 remake of A Nightmare on Elm Street, directed by Samuel Bayer, was a financial failure, and since then there has not been another cinematic installment in the franchise.


From its inception with Wes Craven's groundbreaking original film, the Nightmare on Elm Street series has seen a number of directors, writers, and producers put their own spin on the nightmare-based horrors.
Director Renny Harlin went all-in on the grandiose special effects for A Nightmare on Elm Street 4: The Dream Master, while writer David Chaskin, who has denied writing any homoerotic subtext into the script, gained a cult following in the LGBTQ+ community for A Nightmare on Elm Street 2: Freddy's Revenge, directed by Jack Sholder.


Nonetheless, recent attempts to bring Freddy Krueger to life have met with varying degrees of success.
Freddy vs. Jason was directed by Ronny Yu, who also directed Bride of Chucky, and has a slick, borderline-MTV look for the finger-gloved killer after Craven returned to his origins with the satirical 1994 sequel New Nightmare.
In contrast, Samuel Bayer's Nightmare on Elm Street remake, which was panned for its lack of sympathetic characters and inadequate replication of the original, tried to go too deep in the dark.


Nonetheless, Flanagan's horror approach would undoubtedly add something fresh to the long-running Nightmare on Elm Street franchise, with an emphasis on ambient terror rather than dependence on jumpscares.
Flanagan has already demonstrated an understanding of the type of psychological terror that made the original film by Wes Craven so effective; examples include the anthology film Haunting and the single-shot Midnight Mass.
Flanagan's interest in directing a new A Nightmare on Elm Street film may help get the project moving forward, even if no such plans currently exist.