The Croods: A New Age Release Date Moves Up a Month

Universal Pictures has officially changed the release date for their upcoming animated family comedy sequel The Croods: A New Age, which comes after seven years since the 2013 Academy Award-nominated feature’s debut. Originally scheduled for a December 23, 2020 release, the Nicolas Cage and Emma Stone-led film will now hit the theaters a month earlier on November 25, 2020, for Thanksgiving weekend.

This announcement comes days after Warner Bros.’ decided to push back the release of Wonder Woman 1984 from October 2, 2020, to December 25, 2020, which would have pitted it against the animated sequel. The new November 25, 2020 release will see the animated sequel go up against another animated film in the form of Pixar’s upcoming Soul.

In 2020, DreamWorks Animation invites you on an all-new adventure back in time with The Croods: A New Age. The sequel will see the return of the first film’s voice cast consists of Nicolas Cage (Mandy), Emma Stone (Maniac), Ryan Reynolds (Deadpool 2), Catherine Keener (Kidding), Cloris Leachman (American Gods) and Clark Duke (I’m Dying Up Here) as The Croods face their biggest threat since leaving the cave: another family.

New voice cast members include Star Wars alum Kelly Marie Tran as the only child of the Bettermans named Dawn with Leslie Mann (Blockers) and four-time Emmy winner Peter Dinklage as Dawn’s parents.

The sequel will be directed by Joel Crawford with Mark Swift set to produce.

In the first film, the world was introduced to the first family of the prehistoric era, The Croods. The Academy Award-nominated comedy about a clan dealing with their changing world captivated global audiences, reminding us of the timeless importance of family… and just how little we’ve evolved.

The development of the film has been a long tormented road, with production initially set for two years after the release of the first film, but release dates continually were pushed back before DreamWorks announced its cancellation back in November 2016. Following Universal’s acquisition of the animation studio, it was announced production had been revived with its new 2020 release date.

Not Life of The Party After All: Melissa McCarthy, Warner Bros, Gersh, Brett Ratner & Ben Falcone Sued For More Than $10M In ‘Life Of The Party’ Ripoff Suit

According to Variety that the $10 million breach of contract lawsuit just filed over the 2018 Melissa McCarthy starter Life of the Party may prove a party pooper for the Ghostbusters actress, Warner Bros, director Ben Falcone, the Gersh Agency, agent Sean Barclay, and Brett Ratner and his RatPac banner.

“Plaintiff formally pitched the Concepts to the Gersh Defendants in 2014, and was informed that the Concepts had significant commercial likelihood of success,” a jury-seeking suit filed Wednesday in Los Angeles Superior Court says. “At this meeting, the script, ideas, story and treatment referred to herein were discussed and presented to the Gersh Defendants, and details were further discussed at length,” adds the five-claim complaint. If you want to read more:

According to the outlet not only does the producer of primarily shorts want a payout of “not less than $10,000,000,” but the Lindemann Law Firm-represented Kowalski also is seeking an injunction against the movie, which was penned by McCarthy and Falcone. Kowalski is also seeking “an order that Defendants destroy all materials of every nature and kind in their possession, custody or control that are based on Plaintiff’s Concepts.”

“Defendants breached the implied-in-fact contract by, among other actions, misappropriating, using, and exploiting Plaintiff’s Concepts and by disclosing Plaintiff’s Concepts, and producing the hit move Life of the Party, repackaged as Defendants’ own project without Plaintiff’s permission and/or without compensating Plaintiff in the form of payments, credit and other considerations to Plaintiff,” the 13-page plus attachments complaint reads.

“The McCarthy Defendants knew that the interference was certain or substantially certain to occur as a result of its actions,” it adds of the CAA-repped McCarthy, who was also an executive producer on the movie. “The McCarthy Defendants wanted and intended to interfere with the contracts between Plaintiff and the Gersh Defendants, because they would make more money by trampling on Plaintiff’s rights then including her and compensating her.”null

Reps for McCarthy and Falcone did not respond to request for comment. Warner Bros declined comment on the complaint. Reps for Gersh as well as reps for Ratner and RatPac also did not respond to requests for comment. In that context, it should be noted that neither Ratner nor RatPac were producers on Life of the Party and actually don’t seem to have had any involvement whatsoever with the movie.

It should also be noted that Kowalski says she was made aware of the alleged breach when Life of the Party premiered on May 10, 2018 – though it has taken nearly two and a half years for her to take legal action.

While McCarthy is a beloved and respected member of the Tinseltown community, there is no arguing that Hollywood has a long history of sticky fingers. Having said that, whether the allegation that the idea for the movie really came from Kowalski via Gersh and Ratner will be determined by a judge and then perhaps a jury. However, if similar past cases are any indication, Los Angeles Superior Court judges rarely let these cases move ahead very far. They tend to put such projects side-by-side and, in the spotlight, often determine that comparisons at best come down to general themes and plot devises – and that’s no ripoff under the law.

We’ll see if that’s true of Life of the Party or not.

Netflix’s Southern Gothic Noir The Devil All The Time Will Leave You Speechless!

Photo from Business

Netflix released its film adaptation of Donald Ray Pollack’s book “The Devil All The Time,” in which the author also provides the narration. The Devil All The Time is a southern gothic thriller that presents the viewer with serval stories that appear scattered at first but slowly intertwined into a thrilling surprise ending.

The film follows three small-town residents during the 1950s-60s who live in two rural West Virginia towns: Knockemstiff, Ohio, and Coal Creek. Each is affected by a dark twist of murder, sex, and religious experiences. Flashback sequences follow the resident’s stories.

The standout performances were, Of course, Bill Skarsgard as a battered WWII vet who finds God again during a horrible time of his wife having cancer and dying. He trains his son to pray for the dead in front of a makeshift cross in the woods for miracles to happen. The boy Tom Holland grows up with a disdain for religion and uneasy.

Meanwhile, across town, a local photographer (Micheal Clarke) has a twisted evil sex fetish as a hobby and meets a gullible young waitress who joins in the oddity of sex and murder hitchhikers.

Next scene a new preacher who graduated from bible college , Robert Pattinson blows the town people away with his intense saint-like gospel from on high with a sex addition at night for younger girls.

All these characters’ stories, in one way or another, collide with one another in a bloody bath of murderous affairs, religious symbolism, and vigilante justice. I was surprised by Pattinson’s southern accent the most for some reason? But I am slowly seeing him less as the twilight guy the more he takes dark, twisted roles.

I liked the film, but the ending was odd? At first, I wasn’t sure how the character’s stories would tie together, but it was a slow burn that left a bitter mark on me for some reason? Also, I felt dirty watching this film but also wanted to watch more to be cleansed! I kept waiting for some light but got more darkness, which is fine but it would have been nice to have a little light in the script.

I think it is an excellent cast of characters with intense dark themes in a small rural town. Nothing like small-town murder right mix with religious overtones? I recommend this movie, but also it would be good to read the book as well.

You can catch The Devil All The Time streaming now on Netflix.

(Librarian Ninja Girl)

‘Wonder Woman 1984’ Release Date Pushed to Christmas

According to Variety, Warner Bros. has postponed the release of “Wonder Woman 1984,” the latest development in Hollywood’s rocky plans to return to the movies.

The superhero sequel starring Gal Gadot, which was expected to debut on Oct. 2, will now touch down in theaters on Dec. 25, 2020.

“Patty is an exceptional filmmaker and with ‘Wonder Woman 1984’ she has delivered an incredibly dynamic film that moviegoers of all ages around the world will absolutely love,” said Toby Emmerich, Warmer Bros. Motion Picture Group chairman. “We’re very proud of the film and look forward to bringing it to audiences for the holidays.”

Director Patty Jenkins added, “First and foremost let me say how much Gal and I love all our devoted Wonder Woman fans around the world, and your excitement for ‘WW84’ couldn’t make us happier or more eager for you to see the movie. Because I know how important it is to bring this movie to you on a big screen when all of us can share the experience together, I’m hopeful you won’t mind waiting just a little bit longer. With the new date on Christmas Day, we can’t wait to spend the holidays with you!”

Warner Bros. recently took a risk in releasing “Tenet” on the big screen, marking the first major blockbuster to debut since movie theaters closed in March due to the pandemic. The $200 million-budgeted film, from director Christopher Nolan, launched over Labor Day weekend in the U.S. to a muted $20 million. Some presume the studio was waiting to assess domestic ticket sales for “Tenet” before making a decision about moving “Wonder Woman

With the delay of “Wonder Woman 1984,” “Tenet” won’t face much competition among ticket buyers and could see a boost in sales in the coming weeks. For now, Disney and Marvel’s comic book adventure “Black Widow” on Nov. 6 is the next major film on calendars. In the meantime, smaller movies like Sony’s romantic comedy “The Broken Hearts Gallery” plan to open this weekend.

Denis Villeneuve’s sci-fi epic “Dune,” also from Warner Bros., is still slated to open on Dec. 18, a week prior to “Wonder Woman 1984.” But there’s a good chance that film — starring Timothee Chalamet, Oscar Isaac and Zendaya — will be pushed into 2021 to avoid clashing for attention from audiences. When the first “Dune” trailer dropped earlier this week, it conspicuously lacked a release date.

Nearly 70% of movie theaters in the U.S. have reopened, but important markets like New York, Los Angeles and San Francisco remain closed. Box office analysts suggest that it’s unwise to release big-budgeted movies until those areas can welcome patrons. The first “Wonder Woman,” in 2017, collected over $400 million in North America alone — and the sequel would struggle to even come close to that figure without some of the country’s biggest markets in play.

Warner Bros. has found massive success over the holidays with its DC properties. “Aquaman,” which released in 2018, generated over $1 billion after hitting theaters around Christmastime. The hope, barring a second wave of coronavirus, is that theaters in New York and Los Angeles will be able to open by then.

“Wonder Woman 1984” has been delayed numerous times amid the pandemic. It was originally scheduled for June 5 before moving to Aug. 14 and then Oct. 2.

It’s not entirely surprising that the sequel “Wonder Woman” was postponed again. Four weeks ahead of its October release date, and the studio had hardly done any promotion. “Wonder Woman” is a hugely important franchise for Warner Bros., and the company couldn’t risk mediocre box office receipts. The movie cost roughly $180 million to produce, not counting pricey global marketing fees.

Amazon Acquires Joe Exotic Scripted Series Led by Nicolas Cage

Deadline brings word that after shopping the project out to studios in May, CBS Television Studios’ scripted series centered on Joe Exotic, the infamous subject of the Netflix docuseries Tiger King, with Nicolas Cage (Mandy) in the lead role has been acquired by Amazon Studios.

The story, based on the Texas Monthly article “Joe Exotic: A Dark Journey Into the World of a Man Gone Wild” by Leif Reigstad, centers on Joe Schreibvogel, aka Joe Exotic, an eccentric zookeeper in Oklahoma who fights to keep his park at the sake of his own sanity and will explore how he became Joe Exotic and lost himself to a character of his own creation.

The eight-episode scripted series will be co-produced by Amazon Studios, Imagine Television Studios and CBS Television Studios and is planned to be taken to the market this week, with Dan Lagana (American Vandal) set to serve as writer, showrunner and executive producer of the series through his overall deal at CBS Television Studios. Paul Young, who optioned the article with Lagana, is set to executive produce through his banner Make Good Content, while Imagine’s Brian Grazer and Samie Kim Falvey will executive produce alongside Cage through his banner Saturn Films, and Scott Brown and Megan Creydt for Texas Monthly.

The currently untitled series will mark the first role of Cage’s career on the big screen, having starred exclusively in films aside from appearances on Saturday Night Live as well as a failed pilot called The Best of Times in 1981 and a televised stage production of Industrial Symphony No. 1 directed by David Lynch (Twin Peaks) in 1990, the same year he starred in Lynch’s cult classic Wild at Heart.

In addition to being the showrunner on the Emmy-nominated Netflix mockumentary American Vandal, Lagana is also known for his work on the short-lived MTV series Zach Stone Is Gonna Be Famous starring Bo Burnham (Eighth Grade) and the Hulu comedy Deadbeat.

The seven-part true crime documentary series was directed by Eric Goode and Rebecca Chaiklin. It is executive produced by Chris Smith, Fisher Stevens, Goode, and Chaiklin. Since its release, the docuseries became an instant phenomenon and had earned a rating of 93% at Rotten Tomatoes, as well as garnering an audience of 34.3 million unique viewers in the first 10 days of availability.

Amazon’s acquisition of the series marks its second project currently in development with the Oscar winner after he signed on to star in and executive produce the platform’s series adaptation of Artemis Fowl author Eoin Colfer’s bestselling novel Highfire. Alongside the Cage-led project, a scripted series centered on Carole Baskin is currently in development at NBCUniversal with Kate McKinnon (Saturday Night Live) set for the lead role.

‘Mighty Ducks’ Star Shaun Weiss Over 230 Days Sober and Gets New Teeth Following Meth Arrest

Former child star Shaun Weiss, best known for his role as Greg Goldberg in the ’90s sports comedy classic The Mighty Ducks, is now 230 days sober.

Earlier this year, Weiss was arrested on burglary and meth-related charges. A man realized that there was “an intruder in his garage,” who turned out to be Weiss. When officers got to the scene, they discovered Weiss inside a vehicle in the garage, which he had broken the window of to gain entry. September 11th’s reports that Weiss is doing a lot better now, thankfully, and has even gotten a new set of teeth.

“He’s just a great guy,” Los Angeles-based dentist Dr. Gabe Rosenthal told Page Six. “He’s such a good guy, such a sweetheart. He’s putting his weight back on. He is so much more confident. … He’s ready to go. He feels better. Every time I see him he gains a few more pounds. His face is filling out, he’s smiling like crazy now.” Rosenthal helped clear infections, remove broken teeth, and fix Weiss’ broken root tips. He’s so far gone through four surgeries to repair his teeth, and he’s due for one last one later by early 2021. “Weiss has to stay sober. That’s number one,” he added. “Hopefully, he can keep fighting the good fight.”

Rosenthal was kind enough to donate his dental services for free, but otherwise it would have cost Weiss somewhere close to $80,000. Rosenthal and Weiss’ friend Drew Gallagher have been helping him to get his life back on track, and while it’s “still a long road ahead,” he appears to be doing better than ever now.

Thor: Love and Thunder to Use the Same VFX Tech as The Mandalorian

According to /Film, Lucasfilm’s visual effects company Industrial Light & Magic a.k.a ILM is reportedly building a large-scale custom volume at Fox Studios Australia that will be used for the production of Taika Waititi’s highly-anticipated Thor: Love and Thunder. This kind of groundbreaking visual effects technology called The Volume was first seen in Disney+’s The Mandalorianwhich saw ILM make use of HD LED panels that duplicated the landscapes of different worlds.

ILM notes that the new VFX technology for the Chris Hemsworth-led sequel will be a much better version than the versions they’ve used in the Star Wars series. “By every measure, the new stages are vast improvements over the original ground-breaking LED volume developed for the first season of The Mandalorian in 2018. Physically, the new stages are larger, utilizing substantially more LED panels than ILM’s original stage and also offering both higher resolution and smooth wall to ceiling transitions – this directly results in better lighting on set as well as many more in-camera finals. ILM’s proprietary solutions for achieving groundbreaking fidelity on the LED walls at scale allows for higher color fidelity, higher scene complexity, and greater control and reliability.”

Thor: Love and Thunder will be directed by Waititi (Jojo Rabbit) on a script co-written by him and Jennifer Kaytin Robinson (Someone Great), which will be the followup to Waititi’s wildly successful 2017 sequel Thor: Ragnarok. Oscar-winner Natalie Portman is set to return as Jane and will now be wielding the mighty Mjolnir. Chris Hemsworth and Tessa Thompson will also return as Thor and Valkyrie, respectively. Academy Award winner Christian Bale (The Dark Knight trilogy) will portray the main antagonist in the film. The female Thor storyline is based on Jason Aaron’s run on “The Mighty Thor” in which a cancer-stricken Jane Foster takes up the mantle and powers of Thor.

Thor and Valkyrie were last seen in this year’s highest-grossing film of all time Avengers: Endgame, with the god of thunder entrusting his responsibilities as the King of Asgard to Valkyrie as he joins the Guardians of the Galaxy on their next mission. According to Vin Diesel, the Guardians might also make an appearance in the fourth Thor film.

Thor and Valkyrie were last seen in this year’s highest-grossing film of all time Avengers: Endgame, with the god of thunder entrusting his responsibilities as the King of Asgard to Valkyrie as he joins the Guardians of the Galaxy on their next mission. According to Vin Diesel, the Guardians might also make an appearance in the fourth Thor film.

Originally set to debut on November 2021, Thor: Love and Thunder will now be arriving in theaters on March 25, 2022.


So this could be interesting…It seems that, after all the returning castmembers for SCREAM 5 have been announced, including Neve Campbell, Courtney Cox, and David Arquette, star Matthew Lilliard – who played one of the villains Stu in the original 1996 film – has dropped hints he may be returning to the franchise.

Which isn’t as far-fetched as that may seem! Besides the fact that many horror villains – even ostensibly non-supernatural ones – have come from much worse (and it’s at least conceivable – if still highly unlikelythat Stu could recover from the injuries incurred from the first film), there’s the fact that he was going to be the main villain in SCREAM 3! Yep, originally he was going to be grooming and orchestrating copycat killers from prison…but the studio thought that take was too dark and did a crappy and tired Hollywood satire instead.

Lillard took to his Twitter account to say “
I mean… it was just a TV? Right? You’d think he’d SURVIVE?”

Now, obviously, take it with a grain of salt for now. Lillard has been known to be active on social media, and might just be angling for a part that isn’t even there. But who knows? Maybe where there’s smoke there’s fire?

Anyway, so what do you guys think? Would you like him to be a part of this? Or would you prefer it be a new antagonist(s)? Either way, sound off below!

Meanwhile, SCREAM 5 will be stalking theaters January 14th, 2022 from Radiolab’s Matt Bettinelli-Olpin and Tyler Gillett…but we’ll keep you updated if there are any delays.


Hot on the heels of Warner Bros. pushing the release of WONDER WOMAN 1984 comes the news that MGM and Universal have pushed back the release of Nia DaCosta’s CANDYMAN from October 16th to some unspecified date in 2021. The studios plan on confirming the new date in the coming weeks. This isn’t the first time that CANDYMAN has felt the wrath of COVID-19 as the film was originally set to hit theaters in June before it was pushed back for the first time.

This new incarnation of CANDYMAN takes place a decade after the housing projects of Chicago’s Cabrini Green were torn down, but the legend of Candyman still thrives among the residents. When visual artist Anthony McCoy ( (Yahya Abdul-Mateen II) ) and his girlfriend Brianna Cartright (Teyonah Parris) move into a luxury loft condo in the now gentrified Cabrini, they soon discover the true story behind horrific legend of Candyman. While I was certainly looking forward to this new take on CANDYMAN, I also wasn’t about to be heading to the theater anytime soon, so I’ll just keep my finger’s crossed that 2021 shows some improvement. A man can dream.

The official synopsis for CANDYMAN:

For as long as residents can remember, the housing projects of Chicago’s Cabrini Green neighborhood were terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand, easily summoned by those daring to repeat his name five times into a mirror. In present day, a decade after the last of the Cabrini towers were torn down, visual artist Anthony McCoy (Yahya Abdul-Mateen II; HBO’s Watchmen) and his girlfriend, gallery director Brianna Cartwright (Teyonah Parris; If Beale Street Could Talk), move into a luxury loft condo in Cabrini, now gentrified beyond recognition and inhabited by upwardly mobile millennials. With Anthony’s painting career on the brink of stalling, a chance encounter with a Cabrini Green old-timer (Colman Domingo; HBO’s Euphoria) exposes Anthony to the tragically horrific nature of the true story behind Candyman. Anxious to maintain his status in the Chicago art world, Anthony begins to explore these macabre details in his studio as fresh grist for paintings, unknowingly opening a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence that puts him on a collision course with destiny.

Harry Styles to Replace Shia LaBeouf in Olivia Wilde’s Don’t Worry Darling

Deadline reports that award-winning singer-songwriter Harry Styles has officially signed on for one of the leading roles in actress-director Olivia Wilde’s forthcoming period thriller film Don’t Worry, Darling. The “Adore You” singer will be replacing Honey Boy star Shia LaBeouf, who has decided to exit the project because of scheduling conflicts. This marks Styles’ second high project after over three years since his appearance in Christopher Nolan’s 2017 war film Dunkirk.

Originally written by Carey and Shane Van Dyke, Don’t Worry, Darling is a psychological thriller about a 1950’s housewife who uncovers a disturbing truth to her perfect life. It’s also described as a pertinent story for the Time’s Up era and Wilde’s producing and writing collaborator Katie Silberman will rewrite the script and produce the film alongside Wilde and Vertigo Entertainment’s Roy Lee.

The film will also star Oscar nominee Florence Pugh (Midsommar), Chris Pine (Star Trek, Wonder Woman), and Wilde in a key supporting role. Dakota Johnson (Peanut Butter Falcon) was previously in talks to join the film.

New Line Cinema was eager to work with Wilde following her directorial debut Booksmart. Wilde will also star in and produce the film, alongside Silbermann and Roy Lee of Vertigo Entertainment. The film will also be executive produced by Catherine Hardwicke, Shane Van Dyke and Carey Van Dyke with Daria Cercek and Celia Khong set to oversee the project on behalf of New Line.

Part of the deal includes an asking budget around $20 million, fees for acting, directing, for Silberman’s rewrite, and the “rare” backend. The outlet reports that the filmmakers and producers of Don’t Worry, Darling stand to receive 50 percent in profit participation once the movie breaks even. The last time a deal was made like this was between Warner Bros. and Todd Phillips’ The Hangover.