Todd Phillips Says DC’s Joker Is A Movie Marvel Couldn’t Make

From the time we first heard about it to the trailers and now to the reactions coming out of film festivals, it’s been clear that Todd Phillips’ Joker is not like other comic book movies. This is a different type of movie from what we are used to seeing in this comic book movie age, and that’s by design. In a marketplace dominated by Disney, Joker is a movie that Marvel couldn’t make, as Phillips explained:

As Todd Phillips told The New York Times, the way he sees it, Marvel is unbeatable. It’s a massive and hugely successful machine that is simply too big to conquer, and therefore DC can’t really compete with Marvel on its terms by trying to replicate what the MCU does. But rather than take its ball and go home, the director thinks that DC should do something different, something that Marvel can’t do. Something like Joker.

In Todd Phillips’ opinion, his film, a dark, violent, controversial, R-rated character study that chronicles the origins of Batman’s greatest villain, is something that the Disney-owned Marvel Studios simply can’t do. Marvel became the behemoth it is by making PG-13-rated, four-quadrant films for everyone. It’s blockbuster entertainment that is all part of a shared cinematic universe. Pretty much everything that Joker is not.

Sure, in theory Marvel could make an R-rated movie in the vein of Joker for a character like the Punisher or Doctor Doom, but it wouldn’t because such a film wouldn’t fit within Marvel’s business model. Marvel, and parent company and beacon of family-friendly entertainment Disney, have a very specific brand and type of films they make, and while there are variations within those boundaries, there are still boundaries.

So for all intents and purposes, Todd Phillips is absolutely right, Marvel can’t make a movie like Joker.

That’s in no way a qualitative judgment, just a statement of fact. What Marvel can and can’t make, or will and won’t, is part of what makes the future of Deadpool at Marvel Studios so intriguing. Even more so than Deadpool, Joker represents something different, something that Marvel couldn’t do even if it bleeped out all the curse words.

Todd Phillips sees making movies like Joker, movies Marvel can’t make, as a way, if not to beat Marvel (which seems impossible), but to differentiate DC from Marvel. It’s a way for DC to give audiences something different that they won’t get elsewhere, and thus DC may not beat Marvel, but it can succeed on its own terms. Todd Phillips may be on to something and Joker’s success may embolden DC to try to make more movies Marvel can’t in the future.

Joker opens in theaters on October 4. Check out our 2019 Release Schedule to keep track of all this fall’s biggest movies.

Ryan Reynolds Shares Hilarious Deadpool 2 Set Visit Including A Car Crash And Josh Brolin

It’s been a hot minute, Deadpool. Bullets may go right through you, but fans have a hollow hole in our hearts without Ryan Reynolds’ razor-sharp sarcasm as his iconic anti-hero. It’s been over a year since the massive success of Deadpool 2 and plans for another sequel haven’t yet been revealed. However, the actor does have a behind-the-scenes quip to share with us while on set with Josh Brolin. Check it out:

Amazing! Ryan Reynolds took to Instagram to share a hilarious moment of him and Josh Brolin having a lively conversation just before Dopinder’s cab races loudly into the background. The Deadpool star wrote “in fairness, Waze always finds the shortest route to work” in the caption. A much needed dose of the Merc with a Mouth during this long drought!

Ryan Reynolds’ famous friends had fun with the post, too. Karan Soni, who plays Dopinder in the Deadpool movies commented with “the lengths I go to get your attention” and artist BossLogic said “That is an Uber in LA”. Deadpool creator Rob Liefeld flooded the comments twice with “Not pictured – the box that Ryan is standing on in order to tower over Josh!” and “My plane was late and I paid the driver extra to get me to set on time!! Sorry!”

Despite the tall stature of Josh Brolin’s Thanos in the Avengers films, the actor is shorter than Ryan Reynolds (Brolin 5’10” and Reynolds 6’2”). The two stars certainly had tons of comedic chemistry in Deadpool 2, as Cable was introduced to the big screen and ended up being part of Wade Wilson’s X-Force misfits by the end of the movie.

Now that Josh Brolin is all finished terrorizing the MCU as their greatest enemy in Infinity War and Endgame, we would love to see him continue his role as Cable in Deadpool 3. Only problem is a threequel has yet to be announced. This is likely because Disney acquired Fox earlier this year and Kevin Feige is working out how to bring in the mutants into his established universe.

Considering the record-breaking success Deadpool has found on the big screen, a sequel is sure to happen – it’ll just be a longer wait! Until then, Warner Bros is trying out subverting the comic book genre with an R-rated origin with Joker. The drama starring Joaquin Phoenix is currently tracking at an $100 million opening weekend, on October 4.

Why Joker’s Success Could Be A Big Deal For Future DC Movies

Arthur Fleck smiling in Joker

The first ticket won’t be sold to general audiences for another few weeks, but I feel pretty safe in saying that Warner Bros.’ Joker is already looking like a huge success. Todd Phillips’ standalone origin story, starring Joaquin Phoenix as Batman’s greatest foe, is winning accolades and critical acclaim on the festival circuit, all while its opening weekend outlook at the box office continues to rise. The attained and predicted successes of Joker are significant and could be a big deal for future DC movies. In that future, movies like Joker might not be quite so rare.

Joker premiered at the Venice Film Festival on the last day of August where, in a sign of extreme confidence, it screened in competition. The early reviews were largely positive, with the prevailing sentiment being that Joaquin Phoenix was predictably incredible in the role as the Clown Prince of Crime. Gushing tweets, a timed standing ovation and even reviews are things that tend toward the hyperbolic, but then something truly shocking happened.

Todd Phillips’ movie won the Golden Lion, the Venice Film Festival’s top prize and an honor previously awarded to Best Picture contenders like Roma, The Shape of Water and Brokeback Mountain. That prestigious achievement immediately catapulted Joker into the early awards conversation.

Joker has since screened at the Toronto International Film Festival and it must be said that as more critics have seen it, a stark division of opinion has emerged. Some critics have called Joker a masterpiece and others have deemed it garbage, resulting in a fresh, but not overwhelmingly so, 77% on Rotten Tomatoes based on 78 reviews. Full disclosure, I have yet to see the film but it is clear that it will be very controversial, dividing opinions and inspiring plenty of think pieces and hot takes.

Despite its nature, Joker is already looking like a critical success. The Golden Lion is physical proof of that and while the awards race has barely begun, Joaquin Phoenix seems like a shoe-in for a Best Actor nomination and from our current vantage, Joker looks poised to do at least as well as Logan, if not Black Panther as far as comic book movies that received Oscar attention go. While there is a long road ahead, Joker is so far a real success as far as acclaim is concerned.

With a few notable exceptions, critical success has largely eluded DC films in the modern post-The Dark Knight Rises era, which is why this movie could be a big deal for the future of DC films. Financial success has been less hard to come by. Despite being an R-rated, standalone film that is less of an action movie than a character study, Joker looks like it too will bring in the bucks at the box office.

The long-range tracking on Joker had it opening between $60-$90 million. With all the buzz the film is receiving, that tracking has been updated and Joker is now forecasted to open to around $103 million. For a film with a $55 million budget, that’s a big way to kick things off.

With a big opening weekend ahead and prestigious awards in its pocket (alongside knives and lint?) Joker looks to be an all-around success. So what does that mean for future DC movies?

The lesson WB and DC can take from Joker, is that they don’t need to be shackled to making only one type of film and that their films can be unique and varied and don’t have to fit within a cinematic universe. Maybe we’ll see more mid-budgeted films that take chances from WB and DC as a result of Joker. The success of Todd Phillips’ film proves DC can do both, making movies like Joker and continuing with more traditional superhero movies like Aquaman and Wonder Woman.

Warner Bros. has long paid lip service to the fact that DC movies are filmmaker driven. Snyder Cut advocates may take issue with that, but whether you love it or hate it, Joker is testament to that philosophy.

Consider Edgar Wright’s Ant-Man. When Marvel Studios shifted focus towards a shared cinematic universe, Edgar Wright’s vision was no longer compatible. DC now has made two movies with two different Jokers in less than five years. Applying that flexible model to the MCU, you could theoretically have two different Ant-Man movies, with one fitting neatly within the MCU and another where Edgar Wright just got to do his thing. But that’s not the Marvel model.

Oppositely, Warner Bros. allowed Todd Phillips to make a bold movie that he wanted to make, and whether or not you like the movie, seeing more filmmakers being allowed to take big swings with their unique visions is ultimately a good thing, especially for the comic book movie genre, a genre which is currently driving the industry. Stuff like Joker also helps differentiate DC from Marvel — although Marvel has started branching out in its own way, with Doctor Strange in the Multiverse of Madness, Eternals, Moon Knight and WandaVision, Phase 4 and beyond looking weird and fun as hell.

If a filmmaker comes to Warner Bros. with a great idea for a comic book movie, thanks to Joker it might not be ruled out just because it doesn’t fit neatly within the narrow confines of a cinematic universe or adhere to a specific tone.

When we first heard about a Joker origin film, it raised quite a few eyebrows. It seemed kind of strange and rather unnecessary, after all, DC was in the midst of trying to build out a cinematic universe and it already had a Joker in Jared Leto, who played the character in Suicide Squad.

If Joker was a critical disappointment like Suicide Squad or if it seemed headed for Dark Phoenix-esque failure at the box office, Warner Bros. and DC would be getting drubbed for the decision to greenlight a movie that wasn’t asked for and wasn’t part of some larger plan. It would be just the latest chapter on DC’s rocky road following Man of Steel.

Following the success of Aquaman, we’ve heard that WB isn’t as focused on DC having a shared cinematic universe anymore. The advantages of this are many fold, but it’s one thing to have movies that are only tangentially connected like Aquaman and Shazam! and another to have something like Joker that is completely divorced from the rest of the DC movies. The combination of that diminished focus on shared universes and the success of Joker could embolden DC to try more movies like this in the future.

Joker’s success validates DC’s gamble to make a standalone film and not strictly adhering to a cinematic universe. That means that Joker doesn’t have to be the flight of fancy or aberration that it first appeared. Rather than being a dalliance with something different, Joker could stand as a test case, an experiment, the result of which could chart a more diverse future for DC movies.

Warner Bros. shouldn’t learn the wrong lessons here from Joker’s success. It doesn’t mean that brutally dark, R-rated movies are where the studio needs to always focus its efforts, nor should every popular hero and villain get an origin story film. Joker is one of the most popular comic book villains, but there is no guarantee a one-off novel approach would work for another character. This type of film obviously isn’t replicable at scale and we wouldn’t want three Joker-type movies a year.

The point is that Warner Bros. and DC took a creative risk with Joker. A modestly budgeted risk, but a risk all the same. That risk appears to be paying off in a way that even the most optimistic of predictions couldn’t have foreseen. The lessons of Joker may embolden and inspire DC to take similar risks moving forward.

In the past, DC seemed to be just throwing stuff at the wall to see what stuck with its various announced and reported (and subsequently abandoned) projects. In the future, we may see DC doing a lot of different things, including more standalone, one-off movies, not in a desperate attempt to play catch up with Marvel, but because it wants to be daring and different. If that happens, it’ll have a certain clown to thank.

Joker opens in theaters on October 4. Check out our 2019 Release Schedule to keep track of all the big movies coming this fall.

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Watch Angelina Jolie Transform Into Maleficent In New Set Video

Maleficent is the movie that largely gets the credit for creating the ongoing money train that is the Disney live-action remake factory. It’s only fitting that it will be the first of those films to get a sequel. Angelina Jolie has spent most of her time behind the camera since she made the original film, but she’s back, and a new video from Disney shows just what the actress goes through in order to transform into the Mistress of Evil. Check it out.

While AC?DC’s “Back in Black” may make one think more of Iron Man than Maleficent, the song is pretty versatile and works well enough here. The video opens with a cool bit of video editing fun. Angelina Jolie’s hair is being put up so that it can fit inside the iconic Maleficent headpiece, but in the opening it appears that we’re getting Jolie taking her hair down, run backwards so that her hair seems to magically form into a braid. It’s a bit hard to tell but it looks like the entire video may actually be running in reverse.

We see her artificial cheekbones added and the headpiece put on. Then the teeth go in and the one piece of color is added to the otherwise black and white video, very red lips. It’s certainly a striking image of a very striking actress.

She certainly looks the part, but anybody who saw the original Maleficent knows that’s the case. Whatever weaknesses that Maleficent had, Jolie portrayal of Disney’s most famous villain wasn’t one of them.

The sequel, Maleficent: Mistress of Evil, will continue the story in a way that Disney’s animated classic Sleeping Beauty never did. It will see Maleficent’s surrogate daughter Aurora getting married to her prince, but a conflict between the parents causes everything to unravel. Maleficent appears to return to her more villainous ways. It also appears we’ll be learning more about where Maleficent comes from. She’s a unique creature in the moors where she lives, but it turns out based on the trailers that she’s not unique in the world.

Angelina Jolie as Maleficent is one of those actors and roles that seems absolutely perfect together, and as we watch her transform here, it all just feels right, with that smile on her face, you get the impression that she feels that way too.

With this being the first sequel to a Disney live-action remake since 102 Dalmatians, it will be interesting to see just what sort of adventure has been cooked up. While much of Maleficent contained brand new story that wasn’t part of the animated Sleeping Beauty, that was all still at the core of the movie. Here the entire thing is going to be brand new.

The Jurassic World Short Film Will Debut New Dinosaurs

We’re still a little under two years away from the next cinematic chapter of the Jurassic Park/World franchise unfolding in Jurassic World 3, but those of you looking for a quick fix of dinosaur action in this fictional world are in luck. This weekend, an eight-minute short film is debuting on the FX channel called Battle at Big Rock, which is set one year after the events of Jurassic World: Fallen Kingdom and was directed by Colin Trevorrow, who helmed Jurassic World and will be back in the director’s chair for Jurassic World 3.

There’s a lot to unpack about what we can expect from Battle at Big Rock, but one of the key things to be on the lookout for is a couple of dinosaur species new to the Jurassic Park/World universe. In Colin Trevorrow’s words:

Battle at Big Rock may not be anywhere near as long as the Jurassic Park/World tales we’re used to, but Colin Trevorrow and his team are nonetheless making sure to introduce a few more of these prehistoric creatures during that short running time, which is a wise approach. If you’re giving audiences a new installment of a beloved franchise, even if it’s a short film, you need to bring enough fresh material to the table to ensure it doesn’t feel like a rehash of past stories, and showing off new dinosaurs can help with that.

As for the plot, Colin Trevorrow explained Battle at Big Rock follows a family going on a camping trip at Big Rock National Park, which is about 20 miles from where Jurassic Park ended. As you’ll recall, the sequel saw all the dinosaurs that were held captive at the Lockwood estate being freed, meaning that humans must now learn to coexist with dinosaurs. As Trevorrow put it, what goes down in Battle at Big Rock marks “the first major confrontation between dinosaurs and humans” since everything changed.

Colin Trevorrow also mentioned during his interview with Collider that this short film (which was originally supposed to be shorter) was shot over five days with a small crew in Ireland last winter. Trevorrow also co-wrote Battle at Big Rock with his Jurassic World 3 writing partner, Emily Carmichael, and he saw this short film as an opportunity show that the world is “bigger” now following the events of Jurassic World: Fallen Kingdom.

You can catch Battle at Big Rock this Sunday on FX after the channel’s airing of Jurassic World, and it will drop online soon after. Jurassic World 3 will rampage into theaters on June 11, 2021.

The Russo Brothers Explain Why They’re Not Interested In Directing Marvel’s Disney+ Shows

After directing four Marvel movies, including the climactic chapter of The Infinity Saga, Avengers: Endgame, the Russo Brothers have made it pretty clear that they are done making movies in the MCU, at least for now. But if not movies, could they still direct one of the many MCU shows coming to Disney+? Probably not, because the Russo Brothers aren’t interested in directing Marvel’s Disney+ shows. Joe Russo explained their reasoning, saying:

The Russo Brothers don’t want to direct one of Marvel’s Disney+ shows because they are interested in storytelling opportunities on a much bigger scale. The Russos directed the biggest films in the Marvel Cinematic Universe to date, and over the course of their tenure, they created a four-film narrative arc that took the characters on an epic and emotional journey. That experience seems to have changed their interests as storytellers.

The Disney+ shows like WandaVision, Loki and Ms. Marvel will surely be grand and ambitious in their own right as they are meant to fit in with the cinematic side of the MCU, but they won’t and can’t be as big as the one-two punch of Avengers: Infinity War and Avengers: Endgame. That’s why those shows don’t interest the directing duo.

The Russo Brothers went on a journey as filmmakers in the MCU, and as Joe Russo told SYFY Wire, the scale and ambition of that journey is something that really appealed to them. Prior to their time in the MCU, the brothers were known for directing TV comedies like Community and Arrested Development. But after the four Marvel movies, they’re not keen on going back to something smaller, even the Disney+ shows, at least not now.

The Russos got bit by the epic movie bug at Marvel, and now they’re hooked and want to tell more stories on that massive scale. This isn’t a knock on the Marvel Disney+ shows, but they would not afford the Russo Brothers the opportunity to tell stories at that level, and that’s where their interests lie. They want to tell grand stories with years-long ambition to them.

You can’t blame the Russos for not wanting to do the Disney+ Marvel shows. They found a type of storytelling that they like and they’re good at, and they want to do more of that. And their success affords the freedom and opportunity to do so. Good for them. It’s not like they’re looking for something easy either; after the herculean task of Infinity War and Endgame they still want to pursue wildly ambitious projects that could be years in the making.

Although the Russos directing episodes of Marvel’s Disney+ shows would certainly be cool, with them stepping aside, it affords new filmmakers and storytellers the opportunity to put their own stamp on the MCU. Those filmmakers could one day be the next Russo Brothers in the MCU, going on to direct the biggest event movies.

The Russo Brothers might be done in the MCU for now and won’t be directing any of the Disney+ shows, but that doesn’t mean they’ll stay gone forever. The brothers have hinted that getting to play with new (to the MCU) characters like the X-Men, the Fantastic Four and the Silver Surfer could attract them to come back. But for now they have plenty on their plates outside of the world of Marvel superheroes.

To see what’s headed to the big screen in the MCU’s Phase 4 and beyond, check our guide. And to keep track of all the movies headed to theaters this fall, keep an eye on the 2019 Release Schedule.

Why Idina Menzel Is Grateful For Let It Go, Despite It Annoying Some

After all the buzz and hype for 2013’s Frozen, there was a moment when the Anna and Elsa were seemingly everywhere. Look back at your 2014 Halloween pictures: armies of Elsa’s were likely swarming! And above all else, one song became iconic. You know the one. Who needs a karaoke machine when you’ve heard “Let It Go” as much as its been played? It was Disney’s first hit pop song in a while and transcended the success of the animated musical.

Among 2019’s final big releases is Frozen II and Idina Menzel’s Elsa is coming back to belt out more empowering songs to play in the background of our brains. Six years after “Let It Go”, the voice actress/singer remains grateful for the viral song. In her words:

Looks like the haters never bothered her anyway! (Sorry, had to – the song is already stuck in all our heads right?) It’s great to hear Idina Menzel’s massive hit hasn’t been tarnished all these years later and she has a grounded perspective on how important it has been in her career. Hardcore Menzel fans may still be floored by all the notes she hits in Wicked’s “Defying Gravity” but “Let It Go” is universal and has given her a chance to give a generation a lasting childhood memory.

Idina Menzel also celebrates that she was able to reach such fame at 42 years old – something not a load of women in Hollywood have accomplished. Not to mention how groundbreaking Elsa is to Disney canon! No love interest, no problem! Her character has even begun discussions about LGBT representation in animation, even if gay Elsa doesn’t seem to be Disney’s current plans.

There are high expectations for fans following the massive success of Frozen. How does a sequel top the songs of the original? Menzel’s next big track is “Into the Unknown” which will have Elsa singing about a calling into her uncharted origins that Frozen II will take audiences on. The song was presented at D23 Expo, which CinemaBlend’s own Eric Eisenberg described as when he attended as “an amazing track” with “the full power of Idina Menzel’s voice pushing you into the back of your chair”.

Josh Gad, who plays Olaf in the Frozen films, recently said the songs in the sequel are even better and “catchier” than the original! Fans can of course judge for themselves when Frozen II hits theaters on November 22.

How The Goldfinch Director Balanced The Movie’s Multiple Timelines

The Toronto Film Festival is an exciting part of the film world’s calendar year, as plenty of new movies and Oscar hopefuls make their debut each year. Plenty of amazing filmmaking talent made their way to TIFF 2019, and John Crowley’s The Goldfinch is certainly no exception. Based off the best-selling novel of the same name, Crowley’s drama follows the life of Theo Decker, in the wake of a bombing that kills his mother and sends his life into chaos. The movie follows Theo are two different ages, with a pair of actors sharing the role.

John Crowley had an interesting challenge in adapting The Goldfinch for film, especially when it comes to the movie’s non-linear storytelling. While Donna Tartt’s 2013 novel told the story chronologically, Crowley constantly pivots between the two timelines, slowly unravelling Theo’s long and sordid history in the process. I recently spoke to the director at TIFF, where he explained this choice. Check out his explanation below.

Well, that’s quite the explanation. It seems that using two distinct timelines allows The Goldfinch to have a more cinematic quality. Additionally, it gave context to Theo’s actions in the present, once his past was revealed.

As John Crowley explained to me in the above video, he approached The Goldfinch‘s nonlinear storytelling first from the writing perspective. Peter Straughan wrote the screenplay, and needed to be specific about how each timeline was used in the upcoming drama. Adult Theo (Baby Driver‘s Ansel Elgort) doesn’t make his debut until the second act of the movie’s runtime, allowing the audience to truly understand who he was as a young man at the time of his mother’s death. But while the movie gives the adult version its full attention after wrapping up his childhood story, The Goldfinch continues to tell both stories until its very last frame.

In addition to the writing process, John Crowley specifically mentioned the editing process for The Goldfinch, and how that factored into splitting the film’s run between two time periods. The film adaptation had to be careful about its runtime, which comes in at a fairly long 149 minutes. Each timeline was used methodically, to portray Theo’s emotional landscape throughout his life, and how that effected his choices over the years.

Young Theo is played by Pete’s Dragon star Oakes Fegley, who is the original protagonist of The Goldfinch. The movie picks up shortly after Theo survives a horrifying bombing at the Metropolitan Museum of Art, an attack which kills his mother. The trauma and guilt of this event dictates Theo’s choices throughout his life. It also sends his life careening, as he makes his way to various temporary homes.

The non-linear narrative allows adult Theo to constantly reflect upon his traumatic childhood, especially the bombing itself. Details about the protagonist’s life and motivations are slowly peeled away by this form of storytelling, although John Crowley and crew had to be very specific about how they balanced both timelines that The Goldfinch follows.

You can judge for yourself when The Goldfinch arrives in theaters on September 13, 2019. In the meantime, check out our 2019 release list to plan your next trip to the movies.

Resident Evil: The Final Chapter Stuntwoman Who Lost Arm In Motorcycle Accident Is Suing

The Resident Evil film franchise came to an end in 2016 with the fittingly titled The Final Chapter. However, the story did not end there for one unfortunate stunt woman. Olivia Jackson suffered serious injuries on the set of the film as Milla Jovovich’s stuntwoman. A motorcycle accident led to Jackson ending up in a medically induced coma and having to have her arm amputated. Now, the injured woman is suing the film production.

The lawsuit filed in California argues that the film production cared more for financial concerns than safety, which led to the accident.

Olivia Jackson’s complaint states that she was asked at the last minute to perform the dangerous stunt, which had her racing a motorcycle toward the camera at high speed. The camera, on a crane, was supposed to be lifted out of the way as she approached it, but it didn’t move fast enough, causing her to collide with it. Jackson wasn’t wearing any sort of head protection and the camera equipment sliced thorough her face and arm.

Further, the complaint alleges that the production told Olivia Jackson that the film’s insurance would cover everything, but it did not. Jackson claims in the lawsuit that, had she known the extent of the insurance, she would have either refused the stunt, or, at the very least, added supplemental insurance of her own.

The suit names Bolt Pictures, Tannhauser Gate, Jeremy Bolt and Paul W.S. Anderson as defendants. THR, who uncovered the lawsuit, reached out to the defendants for comment, but as of yet, they have not responded. There, almost certainly is “another side” to this, otherwise it would not have resulted in a lawsuit.

There’s certainly no denying that the injuries Olivia Jackson sustained were horrible. It was a tragic and terrible accident. Milla Jovovich spoke about the accident at the time and how it shook the production so badly that the movie almost shut down.

Of course, Olivia Jackson’s accident wasn’t the only tragedy on the set of Resident Evil: The Final Chapter. A crew member named Ricardo Cornelius was crushed by a vehicle that was not properly secured and he died as a result. That event is also referenced in Jackson’s lawsuit as evidence of the safety problems on the set.

No specific number is listed as far as what Olivia Jackson’s lawsuit is asking for in damages. It simply says the amounts will be proven at trial. Considering that Olivia Jackson’s injuries have caused her to lose her ability to work in her chosen field, and that the medical bills were likely significant, the total requested probably will be as well.

While the Milla Jovovich movies are now over, there is already interest in rebooting the Resident Evil film franchise. The game series that it is based on has never fallen too far out of favor, with both new entries and remakes having seen positive reception in recent years, so there’s no shortage of material to adapt or to be inspired by.

ReelBlend #83: Bill Skarsgard Talks Playing Pennywise And It Chapter Two

We know. It’s been a very long time since we recorded a new episode of ReelBlend. We’ve been busy! But that’s no excuse.

Well, the good news is, the boys are back! And it’s one of those very special episodes where we are all together in the same city – Toronto this time, where we are attending the Toronto International Film Festival – which #Blenders know means a blast of energy and a little extra juice.

But we also have an extremely special guest on this week’s show. An actor who didn’t do a whole lot of press for his blockbuster film. That’s right, It Chapter Two star Bill Skarsgard sat down with Kevin McCarthy at the film’s junket in Los Angeles, and the audio is here for you guys to enjoy on this week’s episode!

Bill Skarsgard specifically chose not to do too many interviews prior to the release of Andy Muschietti’s It Chapter Two, especially ones that were on camera. He has an excellent reason, and he gives it in the interview above. Skarsgard also talks about the affect Pennywise has had on his personal life, the challenge to keeping a monster scary for a sequel, and the fact that he’s never met Stephen King.

Before we get to this week’s interview, though, we talk about the films that we have been seeing in Toronto. Jake gets everyone excited for Tom Hanks’ latest, A Beautiful Day in the Neighborhood. Sean and Kevin pump up both Joker and Uncut Gems. And the guys reminisce about their first-ever TIFF screenings, with Sean telling a cool Roger Ebert story.

The Blend Game this week? It was a tough one. The guys choose their favorite movies from the 1970s. The answers are as passionate as you might expect.

ReelBlend is a weekly podcast that we do on CinemaBlend. You can download the latest episode (and all of our past episodes) for FREE on our iTunes page! Visit. Subscribe. Like and comment. Review! Apple loves when you have star ratings and reviews, so if you listened, and you liked it (or even if you didn’t), let us know. We also are on Spotify. And Google Play. And basically everywhere that you download podcasts. So download us.