4 Months After People Walk Out Of Holmes And Watson In Theaters, It’s Topping DVD Rentals

Last Christmas was a great period for films. We had superhero adventures like Aquaman and the amazing Spider-Man: Into the Spider-Verse. There were beautiful family movies like Mary Poppins Returns and even Bumblebee. However, one movie that did not belong in this category was the Will Ferrell/John C. Reilly comedy Holmes and Watson.

Based on both the reviews and the box office, Holmes and Watson was a travesty of a movie, one of the worst in recent memory that had viewers literally walking out of the theater before it was over. And yet, four months later, the film is now at the top of the rental charts.

Movie rental company Redbox has released its rental charts for the week ending April 14, and quite surprisingly, Holmes and Watson finds itself at the top of the charts when it comes to physical disc rentals, and in the number two slot for digital rentals, behind Clint Eastwood‘s The Mule.

Holmes and Watson was something of an epic flop. Quite frequently, a movie that is panned by critics is still able to put up some decent numbers at the box office, but that wasn’t the case here. The film holds an 11% rating on review aggregate site Rotten Tomatoes and has an only slightly better 27% score from the general audience.

Not only did a lot of people who saw it not love it, but not all that many people actually saw it. The film only made $30 million domestically and barely broke $40 million globally, on a reported budget of $42 million. The film was officially a box office flop, though it’s possible the movie might be able to find its way to breaking even thanks to rental numbers.

Clearly, those who did not bother to go see Holmes and Watson on the big screen are willing to give it a shot with a rental. Redbox physical rentals can cost less than $2, which means if you pick up something you don’t like, you’re not out much.

Rentals in general are done by people who want to give a look to something that they missed in theaters. While the Redbox top 10s published by Media Play News do include those bigger films like Aquaman and Bumblebee, the lists are largely populated by movies that didn’t make a smash, like Second Act, and Instant Family, in addition to The Mule and Holmes and Watson.

Of course, it has to be said that just because people are renting Holmes and Watson, doesn’t mean any more people are actually liking it than they did the first time around. It’s also hard to say how many people are actually watching it. Physical DVD rental may not be dead, but we have no idea how many people in absolute numbers are actually taking the time to go to a kiosk to rent it.

Still for a movie like Holmes and Watson, any good news should be celebrated.

Robert Downey Jr. Says Avengers: Endgame’s Last 8 Minutes Are The MCU’s Best

It’s almost hard to believe, but we’re mere days away from the release of Avengers: Endgame. It’s been a long year of waiting and theorizing for the fandom, as Marvel Studios made room for the release of Captain Marvel and Ant-Man and The Wasp. But moviegoers will finally get some answers shortly, and see how the MCU has reacted to Thanos’ snap of death that wiped out half of all life.

The stakes couldn’t be higher for The Russo Brothers, who must live up to the precedent they set with Avengers: Infinity War. The surviving heroes must find a way to unite and avenge the galaxy, bringing the fight to Thanos in his presumed retirement. While the pressure is on, Robert Downey Jr thinks that Endgame‘s final minutes are the very best the MCU has to offer. As he recently put it:

Well, that’s a bold statement. Marvel Studios has released 21 movies ahead of Avengers: Endgame, so there’s been some major moments brought to the silver screen. Infinity War is certainly no exception, but it appears that The Russo Brothers outdid themselves with their next (and possibly last) MCU installment.

Robert Downey Jr’s comments to The Upcoming are sure to capture the attention of the rabid MCU fanbase. Avengers: Endgame is the most hotly anticipated movie of the year, and The Russo Brothers are going to need to pull out all the stops in order to please the countless fans who broke the internet to get pre-sale tickets. But Endgame‘s ending is apparently so epic that it puts the rest of the shared universe to shame.

Just what RDJ is referencing is a mystery, as is basically all of Avengers: Endgame. While there are some spoilers floating around the internet, Endgame‘s marketing campaign has been methodical, and we’ve only seem a limited amount of footage. This includes the film’s ending, which should have a big group of characters involved.

If I were to guess, I assume the last 8 minutes of Avengers: Endgame includes all the characters– including the ones who faded to dust in Infinity War. Most fans assumed they’d be revived sometime during the movie, allowing the MCU to continue in Phase Four. Perhaps this is what Robert Downey Jr is referencing. Luckily, we only have a few days left before answers will finally arrive.

The Russo Brothers have already shown their ability to balance a large cast of characters. Captain America: Civil War proved this, as the directors brought a story that had both action and heart. Things got even bigger with Infinity War, as the Russos serviced a giant cast of beloved characters. They’ll have a smaller group to utilize in Endgame, but clearly something big is happening in the film’s final moments.

Answers will finally arrive once Avengers: Endgame hits theaters on April 26th. In the meantime, be sure to fill out CinemaBlend’s Endgame death pool, and check out our 2019 release list to plan your next trip to the movies.

Could Clint Eastwood’s Next Movie Land Over At Disney/Fox?

Disney is still figuring things out when it comes to the new Fox studio that the company now owns. There were many projects in various stages of development, and it’s likely that not all of them will continue moving forward. However, one project that looks like it may have a chance at life is The Ballad of Richard Jewell and Clint Eastwood is looking at directing.

The Ballad of Richard Jewell was already a project under consideration under the previous 20th Century Fox administration. It now belongs to the new Disney/Fox and Clint Eastwood has been in talks with the new studio about helming the film.

Not every Fox project is doing as well under the new guard. Wes Ball’s Mouse Guard, which was very near going into active production, was just stopped by Disney/Fox. The project may get picked up elsewhere, but the new company is already making the call to close down projects it doesn’t want. This project, especially if Clint Eastwood does agree to direct, looks to be one Disney/Fox wants to move forward with.

The Ballad of Richard Jewell is based on a Vanity Fair news article of the same name about Richard Jewell, who was a security guard during the 1996 Atlanta Olympics who recognized a suspicious package, which turned out to be a bomb, and saved many people in the process. However, after the events were over Jewell was looked at as a possible suspect. This information became public and Jewell’s life was turned upside down. While he was eventually exonerated, his life, and health, were never the same and he died of heart failure at the age of 44.

The Ballad of Richard Jewell is a project that’s been around for a while. The script was written by Billy Ray, who previous wrote Captain Philips. Several years ago, Jonah Hill was attached to star as Richard Jewell and Leonardo DiCaprio was considering coming on board to play Jewell’s lawyer and friend. Paul Greengrass had considered taking on directing the project, but it never went anywhere. Deadline reports that Eastwood would be looking to put together his own cast with an eye toward beginning production as early as this summer.

Richard Jewell feels like just the sort of character that would be of interest to Clint Eastwood. Many of his recent directorial projects have been stories based on real people. Sully, 15:17 to Paris, American Sniper, and even Eastwood’s most recent film, The Mule, in which he also starred, were all based on real people. Clearly, there’s an interest in dramatizing these real events and the story surrounding Richard Jewell is one that certainly lends itself to drama.

If The Ballad of Richard Jewell does go into production this summer we could see it as early as the first half of 2020. Although, on paper, this one could have the potential to be an awards contender, which would likely give it a late 2020 release.

New Chucky Will Make A Major Change From The Original Child’s Play Chucky

Chucky the killer AI doll

Sure, Game of Thrones coined the phrase, “What is dead may never die.” But that concept can also apply to just about every major horror franchise, as classic killers from Freddy to Jason appear to die, but always figure out how to return to create chaos. This is fine. Audiences WANT to spend more time with these terrifying threats. But it means that storytellers have to find fresh ways to bring the beloved horror threats back, and Child’s Play thinks it figured something out.

We are getting a new Child’s Play movie on June 21, from producers Seth Grahame-Smith and David Katzenberg. The new movie will serve as both a remake and a reboot of the classic Child’s Play franchise, which followed a doll named Chucky who was possessed by the spirit of deranged serial killer Charles Lee Ray. In the new movie, the team found a new way to revive Chucky, and detoured away from the serial-killer spirit inside of the doll.

It’s a major switch to the doll’s origin, and at a recent press event for the film, producer Grahame-Smith told CinemaBlend:

We sort of lean into more of the AI/Kaslan story and hint at a Chucky that is driven by something different than he is in the original series, when he’s Charles Lee Ray and he’s just a truly psychopathic killer in the body of a doll. [Also, there is] the mother/son story, the emotional component of the movie, which I feel like the movie really delivers. And then above all that, just the intensity, the gore, the fact that the movie is rated R, that it really does go there when it goes there. I think the movie looks big, is much bigger than a lot of movies that are our size – very affordable movie, we are. But we had big ambitions. Those are, I’d say, the primary things we’re going for.

As the conversation continued – and also, as is made evident in the recent Child’s Play trailer that we are including below – the new Chucky is driven more by demonic Artificial Intelligence, and not by the spirit of a serial killer. This appears to give Chucky the ability to control more technology, as the new trailer appears to show him taking over drones, controlling power tools, and more.

Child’s Play producer Seth Grahame-Smith elaborated to CinemaBlend on the origin angle of Chucky in the new movie, explaining:

You’re getting at the heart of, I think, what a lot of people are inherently skeeved out about AI. Does it have its own agency, or is it just a series of processes and commands and executions? The truthful answer is by the time the movie’s over, I don’t know. I think at the beginning of the movie, you’ll see sort of briefly why this particular doll is the way that he is, and it’s not every one of these dolls, right? So why is our Chucky special. And then it’s going at that inherent need to make his child happy no matter what, right? To bond with him, to be with him. It starts out like you saw in the clip, very sweet. It’s two characters in Chucky and in Andy that both in their own ways at that point in the movie been rejected. Andy is certainly in need of a friend, and finds one in Chucky. So that’s the reason we showed you that clip, because we wanted to sort of lean into that this is a relationship that is genuine that goes off the rails in a big way. It’s not just brooding, and it’s not sinister from the jump. It gets there, for sure, but that I think just gets to the heart of what we’re trying to do here, and why we felt like there was a why and a cultural relevance to doing a different version of this classic series.

As the conversation played out, CinemaBlend learned that Child’s Play isn’t just changing Chucky, at his core. It’s also making changes to the boy who befriends Chucky, thereby changing their relationship. Andy in this new movie is older than he was in the 1988 Child’s Play, which kind of means that he’s past the point of playing with dolls. Seth Grahame-Smith assures fans that the movie will address that immediately, and goes on to say:

He’s not necessarily like super excited about this gift when he gets it. But once he realizes that this thing has his interest in his heart and mind, they grow on each other. We knew that one of the differences we wanted to do here was to ultimately put more pressure on kids having to do this than in the original movie where it’s Karen and Detective Mike, primarily Detective Mike, hunting this [doll] down. And now Detective Mike is a big part of the movie. Brian Tyree [Henry] is amazing in the movie, and obviously Karen – Aubrey [Plaza] – is amazing in the movie. But that really helped us give Andy sort of a life away from mom that we could exploit for different things.

All in all, it’s sounding like the team behind the new Child’s Play went above and beyond to make their story stand apart from previous versions of the Chucky story, hoping to make improvements while also luring a fresh audience into this world. Remakes and reboots aren’t always guaranteed successes, but it sure is looking like the new Child’s Play has updated the look and feel of Chucky, as evidenced by this most recent trailer.

Child’s Play will hack and slash its way into a competitive summer blockbuster frame, arriving on June 21 where it will go toe-to-AI-toe with Toy Story 4 (a totally different story about toys with emotions), and the pending Annabelle Comes Home. The competition for the horror dollar will be intense, but because of the major changes introduced into this new Child’s Play take, we think it looks interesting enough to lure both fans of the original franchise, and newcomers looking for creative, never before seen thrills.

What do you think of the changes made to the new Child’s Play? Does it make you excited to see it? Weigh in down below in the comments section. Maybe you’ll make a new best friend while you are down there.

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Is The Curse Of La Llorona A Good Or Bad Step For The Conjuring Universe?

While it hasn’t been advertised as such, Michael Chaves’ The Curse Of La Llorona is most definitely a part of The Conjuring Universe. Its posters may only say “From The Producers Of…” instead of referring to it as the next chapter in the franchise (as was the case for both Annabelle: Creation and The Nun), but its actual connection is very clear – specifically through the return of Tony Amendola’s Father Perez from the original Annabelle. Given the popularity of the brand, this might strike some as odd, but there arguably is a good reason for it: it’s the first non-Conjuring title that’s neither a direct spin-off nor a sequel to a direct spin-off.

Simply put, the film doesn’t fit in with the same development strategy that has established The Conjuring Universe to date. The reason why John Leonetti’s Annabelle and its follow-ups exist is because of the immense popularity the titular doll earned from her small part in James Wan’s original The Conjuring; and Corin Hardy’s The Nun got the greenlight because of the response to the habit-sporting demon from Wan’s The Conjuring 2. The Curse Of La Llorona, meanwhile, has roots in urban legend, but no actual connection to the other movies beyond Father Perez’s small role. It’s a surprising move for sure – but it’s also hard to say if it’s a good or bad one for the future of the franchise.

Certainly the biggest positive featured in this development is the increased potential for more diverse storytelling. As successful as The Conjuring Universe movies have been, the limitations present in its choices thus far are pretty obvious, as the “spin-off only” idea does put filmmakers in a box of a certain design. Every new property has to not only follow certain rules previously established by different writers and directors, but there is also a certain expectation for a degree of narrative dovetailing that basically forces every story to end in a specific place that matches up with a previous title.

To his credit, Gary Dauberman – who wrote the scripts for Annabelle, Annabelle: Creation, The Nun, and the upcoming Annabelle Comes Home (which he’s also directing) – has made this work for the most part, but the creative freedom offered by the Curse Of La Llorona approach is clear. While it’s cool that Father Perez makes his second big screen appearance, it’s really more of an Easter egg than anything, and everything else about the movie is able to really do whatever it wants – including establishing the “rules” for its eponymous evil spirit and how it concludes the arcs for its characters.

Following the release of The Curse Of La Llorona, really any horror film that shares The Conjuring Universe’s perspectives on “good” and “evil” and approach to the supernatural could arguably be included in the larger continuity – and that could lead the franchise in a lot of new and interesting directions.

Where this becomes a drawback and potential hazard for the brand, however, is the subject of identity and specific definition. Since 2013, the core of The Conjuring Universe has been Ed and Loraine Warren – the protagonists played by Patrick Wilson and Vera Farmiga based on the real life demonologist duo. Albeit very loosely, the films in the franchise have to this point been based on the legends surrounding their exploits, and have always tied back to them in one way or another.

With The Curse Of La Llorona now being an exception, it raises an important question: what is The Conjuring Universe really about? If stories aren’t specifically expanding on the myths and terrors that the Warrens personally experience, does that mean that the franchise will eventually develop into being simply a collection of titles that share a genre and maybe the occasional single character? That’s far less interesting, and could eventually dilute the whole enterprise into nothingness.

How things move forward from this point will definitely be interesting. As of right now there are seemingly only spin-offs and sequels in development – including the aforementioned Annabelle Comes Home, The Conjuring 3, The Nun 2, and The Crooked Man – but given the way The Curse Of La Llorona was promoted it’s possible any horror title currently being developed by Warner Bros. has the potential to be brought into the continuity. Ultimately it may be the audience’s response to the new release that determines everything, and you can be sure that we’ll be keeping a close eye on it.

Regina Hall Really Loved Playing A Bad Boss In Little

Many of us know Regina Hall as Brenda from the hilarious Scary Movie franchise, but if her newest character ran our workplaces, we’d be using that title in a brand new context. In Little, the comedy actress plays a rich tech entrepreneur who leaves her staff shaking in their seats with her crazy demands and deep-cutting insults – so much so that she must relive her middle school days to change her ways.

Regina Hall had such a blast playing the nightmarish bad boss to Issa Rae’s April, it actually surprised her how much so. Here’s what she said in my recent interview with her:

The actress certainly had the chance to go over-the-top for the comedy and say some vile things to her staff in the film. This included tearing them down during a pitch meeting and even getting on the bad side of a young girl, who ends up magically transforming her into a 13-year-old, played by Black-ish’s Marsai Martin.

Regina Hall served as an executive producer on Little along with her younger counterpart, Marsai Martin, who has now made history as the youngest in Hollywood history to earn the prestigious behind-the-scenes role. Martin pitched the film inspired by the Tom Hanks-led Big to Will Packer Productions when she was just 10 years old and had a hand in picking Regina Hall and Issa Rae as her costars.

While Regina Hall only stars in the beginning and end of the film, she gets some scene-stealing moments as a bad boss similar to Meryl Streep’s character in The Devil Wears Prada. The actress also apparently made sure to make it onto set for Luke James’ steamy dancing scene (according to director/writer Tina Gordon, she flew in just for it!)

Little opened last weekend with a handful of other newcomers such as Hellboy, After and Missing Link, and bested all of them at the box office with a $15 million weekend. Little was just behind Shazam!, which took home the No. 1 spot at $25 million during its second weekend. It’s a modest entrance for the studio that made the Ride Along films, Think Like a Man and Girls Trip, but altogether it wasn’t a solid run for movie theaters as a whole.

As more films hit theaters this weekend such as Breakthrough, Penguins and The Curse of La Llorona, we’ll have to see how Little (or Big) of an impression the ensemble comedy makes on audiences. Either way, it looks like Regina Hall and the cast had tons of fun making it, especially when it came to exploring her bad boss side.

Triple Frontier’s Big Twist Even Surprised Its Premiere Audience

Warning: SPOILERS for Netflix’s Triple Frontier are in play. If you haven’t seen the film yet and would like to remain unspoiled, please bookmark this story and return once you’ve caught up.

Towards the end of Triple Frontier’s second act, a pretty big death occurs. As the team of veteran warfighters are making their way through the treacherous mountains that stand between them and their rich escape, a surprise shooter gets the jump on the team.

That shooter is the son of a farmer murdered by Ben Affleck’s Tom “Redfly” Davis, and as fast as you can say “karma,” the young man sneaks up behind Redfly and shoots him in the head. If you thought you were surprised when co-writer/director J.C. Chandor dropped that twist into the film, just wait until you hear about how the audience at the film’s big premiere, courtesy of two of the film’s producers.

During a recent talk with CinemaBlend, producers Charles Roven, Alex Gartner and Andy Horowitz were on hand to discuss Triple Frontier, one of the recent Netflix projects made under their Atlas Entertainment production company. In particular, it was Roven and Horowitz who recounted how Triple Frontier’s killer reveal hit one of the first audiences to see the film. That story went as follows:

As if surprising audiences watching Triple Frontier at home wasn’t enough, Ben Affleck’s big death scene turned a Hollywood premiere into a setting as interesting as any theater showing a moment of that caliber. Listening to Charles Roven and Andy Horowitz discussing this moment only made the story that much sweeter, as you could tell that they had a lot of fun keeping that big twist secret.

Hearing that the Triple Frontier twist played so well in front of an audience of professional peers is pretty entertaining, but it’s also pretty much a vindication of the request that Ben Affleck made for Redfly’s fate during the production of the film.

During the extensive reworking that J.C. Chandor had done on the original Mark Boal script for the film, Affleck had the idea to sacrifice Redfly instead of an unnamed secondary character. This idea met with the approval of the powers that be, and flash -orward to the finished product, you’re met a tense as hell gun battle in the mountains. It’s also capped off by one of the most surprising movie deaths since Janet Leigh in Psycho.

The shifting rhythm of Triple Frontier’s action-fueled and drama-driven halves of the plot at hand needed a moment to jump start its pulse, so as to shake up the audience. Redfly’s death did just that, and if focus group data isn’t enough to support that, then try the fact that even those who work in the Hollywood industry had their minds blown during that fateful premiere of this very film. A fact that makes any possible sequel talk all the more complicated, because how do you beat a moment like that?

Chris Hemsworth Was ‘Underwhelmed’ With Thor Franchise Before Ragnarok

Thor has been a major player in the Marvel Cinematic Universe since 2011, both leading his own film series and being one of the founding Avengers. However, the character received his biggest surge in popularity yet with Thor: Ragnarok in late 2017, and Chris Hemsworth credits the threequel with refreshing his character, as going into it, he wasn’t excited about having to play the God of Thunder again. In Hemsworth’s words:

Thus far the Thor film series is the only one where each movie was directed by someone different, with Taika Waititi following in the footsteps of Kenneth Branagh and Alan Taylor for Ragnarok. There’s no question that tonally speaking, Ragnarok was significantly different from its predecessors, but that shift paid off, as it’s the most critically well-received of the Thor movies and made $854 million worldwide.

Chris Hemsworth admitted last year that he found Thor: The Dark World to be “meh” (it’s the lowest-rated of the MCU movies on Rotten Tomatoes’ Tomatometer), but in his recent interview with Yahoo, he clarified that his issues with the Thor of it all pre-Ragnarok weren’t due to any of the people he had worked with, but his own dissatisfaction with the character. As he put it:

Mission accomplished! Not only did Thor: Ragnarok take full advantage of Chris Hemsworth’s comedic skills, but it also put shook up Thor’s world by killing his father, destroying his hammer, gouging out his eye and annihilating Asgard. Granted, the lost eye isn’t really an issue anymore since he was given a bionic replacement by Rocket Raccoon in Avengers: Infinity War, but otherwise Thor is definitely out of that box Hemsworth was worried about and has arguably hit his stride.

MCU fans can look forward to Chris Hemsworth’s Thor returning next week for Avengers: Endgame, but beyond that, the character’s future is shrouded in secrecy. Hemsworth seems open to playing the Asgardian hero again and Tessa Thompson said that a Taika Waititi-directed Thor 4 has been pitched, but for now, Marvel’s upcoming slate of films is, with the exception of Black Widow, focused around brand-new and more recently established characters.

Should there be any major update concerning Thor’s future in the MCU, we here at CinemaBlend will let you know about it. For now, the next chapter of his journey unfolds with the release of Avengers: Endgame on April 26, and you can browse through our Marvel movies guide to learn what else this superhero franchise has coming down the pipeline.

Captain Marvel Is Still Doing Incredibly Well, Despite Being On Fewer Movie Screens

The latest Marvel Cinematic Universe film, March’s Captain Marvel, has been in theaters for over a month now and it has enjoyed massive, record-breaking success during its run. That run is slowly coming to an end as more new blockbusters are released, and Captain Marvel’s theater count continues to drop to make room at the multiplex. Yet despite being on fewer movie screens, Captain Marvel is still doing incredibly well.

Captain Marvel lost a whopping 598 screens last weekend as new releases like Little, Missing Link and fellow comic book movie Hellboy opened. Despite that huge drop in screen count, Brie Larson’s heroine still managed to hold on at the box office remarkably well week after week. According to Forbes, Captain Marvel pulled in $884,741 on Monday, which is up 2.2% from last Monday. It didn’t do quite as well on Tuesday, dropping 6.1% from the previous week to $1.297 million, then rebounded on Wednesday with an 8% jump over last Wednesday to $971,000.

That type of hold and box office performance is very impressive given that there were almost 600 fewer screens on which audiences could see Captain Marvel. It’s not like there’s no competition at the box office either. Both Shazam! and Hellboy are now out and are competing for largely the same audience’s superhero dollars.

The Anna Boden and Ryan Fleck-directed film will now pass $390 million at the domestic box office. When it does, Captain Marvel will pass Guardians of the Galaxy Vol. 2’s domestic performance to become #7 on the MCU’s domestic box office charts.

If Captain Marvel continues to have small drops in the coming weeks as it gives more ground to the start of the summer blockbusters, and receives a bump around Avengers: Endgame, it could pass the $400 million mark domestically and beyond. When it’s all said and done, it could surpass Captain America: Civil War’s $408 million and Iron Man 3’s $409 million to land in the MCU’s top 5.

Captain Marvel has made over $1 billion worldwide, so that it is doing well is no surprise, but the solid box office hold despite playing on fewer screens reflects something of an Avengers: Endgame bump. Black Panther enjoyed something similar with Avengers: Infinity War last year, and with about a week left until the first Endgame screenings begin, all eyes are on the concluding chapter in the MCU’s Infinity Saga.

So some MCU fans may be going back to see Captain Marvel again as part of their pre-Endgame MCU watch list. If you want to rewatch all 21 films, that means heading back to the theater to check out Captain Marvel before next weekend.

Given that Brie Larson’s character has been more prominent in the trailers than I think many suspected (she’s clearly not being saved as a third-act savior), it’s also possible that some who thought they could skip Captain Marvel are finally getting around to seeing it. Captain Marvel is also likely benefitting from kids being out of school for the Easter holiday.

You can check out Captain Marvel again in theaters now before Avengers: Endgame arrives to dominate on April 26.

Shazam’s Editor Reveals The Scene That Was The Toughest To Get Right

Warning: SPOILERS for Shazam! are ahead!

As one expects from a superhero movie, Shazam! was packed with a lot of action-packed moments, all of which came with their own unique challenges to pull off. As a result, just because a scene or sequence was envisioned in a particular way on script or while shooting doesn’t mean it came together looking exactly like that when finally assembled.

One of those sequences was the final battle between the eponymous protagonist and the Seven Deadly Sins-powered Doctor Sivana, which led to Billy sharing his power with his adoptive siblings so they too could become adult superheroes. I learned this when I recently spoke with the editor of Shazam!, Michel Aller, as this was her response when I asked what scenes changed the most from how they were initially shot to how they were edited together:

There’s definitely a lot going on in that final Shazam! battle. It would be one thing if it had just been a straightforward fight between Shazam and Sivana, but not only did Mary, Freddy, Eugene, Darla and Pedro joining the fray widen the scope, but there was also the fact that the Seven Deadly Sins were able to separate from Sivana and go their own ways. So there were numerous things to keep track of within that carnival battleground.

As a result, not only was the final Shazam! battle the sequence that evolved the most during the editing phase, it was also the hardest one to cut together. In Michel Aller’s words:

Even with all those moving pieces to track, ultimately the battle culminated with the showdown between Shazam and Sivana, adversaries that have been fighting on the printed page and in other media for eight decades. Remembering that main antagonist loses his powers if all of the Sins are out of his body, the superpowered Billy Batson managed to goad Envy out of Sivana, leaving the chrome-domed baddy helpless. Upon taking the Eye of Sin from Sivana, Billy imprisoned all of the Sins back within it, and the Shazam family redeposited the artifact back at the Rock of Eternity.

While this sequence had to go into the Shazam! final cut no matter what, there were 20-24 minutes of scenes that were taken out. However, Michel Aller expects you’ll be able to watch most of these when Shazam! comes out on Blu-ray and DVD later this year, with some of these excised scenes possibly including one where Mary confronts Billy as he’s sneaking out of the Vasquez house and the original version of Sivana’s murder spree. For now, catch Shazam! in theaters while you can, as the next DCEU movie isn’t coming out until next February (although Joker is holding down the overall DC fort in October).

Be sure to read CinemaBlend’s review of Shazam! and stay tuned for updates on how Shazam! 2 is coming along. Those of you interested in learning what other DC movies are in development can find that information in our handy guide, or you can look through our 2019 release schedule to plan when you’ll be going to the movie theater later this year.