Friday, April 17, 2015

Archie's Met Everyone Else by Now; It's Sharknado's Turn

From toplessrobot, Sharknado 1-3 director Anthony C. Ferrante will write this comic, in which Riverdale becomes the next city in the path of nature's most exploitative fanged phenomenon. It's set to hit comic stores the same day Sharknado 3 airs on Syfy - July 22nd.

Have we reached the point yet where these Archie crossovers seem like bad jokes rather than creative steps forward? I feel like Archie's Game of Thrones is next, and am slightly afraid.

Kiss meets Scooby-Doo in new film

From usatoday, They'll be selling Scooby Snacks soon in Detroit Rock City.

The super-sleuthing canine and "the hottest band in the world" are teaming up in the animated filmScooby-Doo! and Kiss: Rock and Roll Mystery, available July 10 on digital HD platforms and July 21 on Blu-ray/DVD from Warner Bros. Home Entertainment.

Kiss members Gene Simmons, Paul Stanley, Eric Singer and Tommy Thayer voice their own characters in the movie, which centers on a Halloween concert at the group's amusement park Kiss World. Scooby, Shaggy and the rest of the Mystery Inc. gang drop by to hear some tunes but wind up partnering with the musicians to take on the Crimson Witch, a spooky lady with a nefarious plan to summon the evil and powerful Destroyer from the alternate dimension of Kissteria.

The cartoon Mystery features six classic Kiss numbers plus a new song by the band just for the film, which features guest voice stars Kevin Smith, Jason Mewes, Darius Rucker, Garry Marshall, Penny Marshall, Jennifer Carpenter and Pauley Perrette.

This isn't the first time Kiss and Scooby have shared screen time: The band also appeared on a 2003 Halloween episode of What's New, Scooby-Doo?

Watch Jon Stewart Crush Dick Cheney In Epic Takedown Over Iran

'Batman V Superman' Trailer Leaks Online

What, the new Star Wars trailer wasn't enough for you?

Wednesday, April 15, 2015

Mad Max 'Legacy trailer' looks fantastic

Jerk-face Chimpanzee knocks drone out of the sky!

Jon Cryer Recreates His 'Pretty In Pink' Dance Because The '80s Never Die

From huffingtonpost, Before Jimmy Fallon had celebrities pretending to sing pop hits on the "Tonight Show" or the girl from "Princess Diaries" swung on a wrecking ball during "Lip Sync Battle," there was Duckie.

Jon Cryer gave one of the most memorable lip-sync performances ever in "Pretty in Pink," and on Tuesday's "Late Late Show," he did a long overdue encore. Along with James Corden, the actor donned his Duckie gear, broke out his old dance moves and once again pretended to sing Otis Redding's "Try A Little Tenderness," because the '80s will never die.

Monday, April 13, 2015

New 'Terminator' trailer

'Ant Man' full trailer

'Scream' the TV series trailer

Box Office

From ew, Furious 7 is only in its second weekend, and it’s already made more than any of the other Fast and Furious films made throughout their entire runs. For example: 2013’s Fast & Furious 6 made $238.7 million over 15 weeks. Furious 7 made $252.5 million over two

Most films in the franchise dipped around 60 percent between their first and second weekends, and Furious 7—even in all its record-breaking, first weekend success—did the same: It dropped 59 percent from $147.2 million to an estimated $60.6 million. This was expected, and it’s not a bad sign by any means. Furious 7 has proven to have a devoted fanbase, and those fans will keep showing up to the theater to watch it, whether it’s for the first or second or fifth time.

Home also had a good weekend: Its ticket sales dropped just 30 percent, partly thanks to its status as the only newish (it’s in its third week), completely family-friendly film currently in theaters. Cinderella, which kept its spot in the top five with $7.2 million, is also family-friendly but not as appealing to kids—especially younger ones—as the colorful, musical, animated Home.

The Longest Ride, another film in the always-growing series of Nicholas Sparks adaptations, was the only wide release this weekend, and it debuted with $13.5 million—considerably less than its $34 million budget, but just about where forecasts were predicting it’d end up. It’s more than what the last Sparks film, Best of Me, opened with (that was a disappointing $10 million), but not as strong as other recent ones: Safe Haven, for example, opened with $21.4 million in 2013.

Like Cinderella, the Will Ferrell/Kevin Hart comedy Get Hard kept its spot in the top five for one more week—though unlike Cinderella, it received bad reviews. Its days on top will likely end next weekend, however, when Paul Blart: Mall Cop 2 (another comedy that probably won’t receive glowing reviews) opens wide.

1. Furious 7 — $60.6 million
2. Home — $19 million
3. The Longest Ride — $13.5 million
4. Get Hard — $8.6 million
5. Cinderella —$7.2 million

Friday, April 10, 2015

Play the Pac-Man-Pong-Space Invaders mash-up Pacapong for free

From ew, Pacapong puts such a twist on your nostalgia that there’s a good chance you haven’t played Pac-Man—or Pong or Space Invaders—like this before.

Enter Pacapong, a mash-up of three of video games’ best-known staples that is surprisingly fun and addictingly competitive.

Available on the indie game, Pacapong comes from kingPenguin and is available for free on Windows, Mac, and Linux.

Pacapong pits two players against each other, each controlling a Pong paddle on either side of the screen. But rather than shooting a ball back and forth, each player catches and launches a Pac-Man into a Pac-Man level, complete with ghosts to avoid and pellets to eat. Each player must attempt to chomp down on more pellets than the other player. Oh, and Space Invaders aliens will occasionally rain down from the top of the screen for each player to contend with while playing.

Rounds are short enough that you can easily play two, three, or 10 without even realizing it. And Pacapong only requires you to use directional or WASD keys, so it’s relatively easy to pick up, play, and get lost in the mayhem.

Play and download Pacapong now, and expect one final recognizable game character to show up while playing. Though it’s best to leave that one a surprise.

Thursday, April 09, 2015

The Human Centipede 3 (Final Sequence) trailer is here!

Pee-Wee's Big Holiday (update)

From ew, Joe Manganiello has joined the cast of Pee-wee’s Big Holiday, according to the Pee-wee Herman website—but Pee-wee’s keeping quiet on who the former True Blood star is playing.

Pee-wee (Paul Reubens) made his big-screen debut in 1985 with Tim Burton’s Pee-wee’s Big Adventure. Reubens reprised the role for Pee-wee’s Playhouse, a CBS kids’ show that aired from 1986 to 1990, before mostly giving up the Pee-wee shtick save for appearances as the character here and there.

But now Pee-wee’s making a big return with Pee-wee’s Big Holiday, a film Reubens said is “very similar in style and tone to Pee-wee’s Big Adventure.” “I never really thought of Big Adventure as a family movie, but I didn’t try to make an adult movie or a kid movie,” he told EW in March. “We wanted to make something that appealed to a wide age range, and I think that’s the case with this movie also.”

Big Holiday will premiere on Netflix, but it doesn’t yet have a release date.

Wednesday, April 08, 2015

'Twin Peaks' cast begs David Lynch to return in bizarre video

'Golden Girls' Legos

From ew, It looks like one Lego creator has 10,000 people to thank for being friends.

Lego Ideas user lostsleep has created a possible The Golden Girls Lego set, which would include the show’s iconic living room, foyer, and kitchen sets in Lego form, along with Dorothy, Rose, Blanche, Sophia, and Stan minifigs.

The project has garnered the 10,000 votes of support necessary for Lego to consider actually producing the project, though it has not yet been approved.

As lostsleep describes it, “[The set] has been meticulously recreated to have opening cupboards and fridge in the kitchen, Wicker Sofa and Chairs, a hallway backdrop, a storage closet in the kitchen, and an outdoor area with potted plants and a hose.”

Other licensed products have come from Lego Ideas, so there’s certainly precedence for Lego to approve projects based on existing licenses. Notable creations include a Back to the Future DeLorean and a Dr. Who set.

The Golden Girls set reached its goal earlier today and will now go under review by Lego to determine whether or not it will be produced for stores.

View more images from the set on the Lego Ideas website.

25 years later: The 5 ways Twin Peaks changed TV

From ew, While the future of Twin Peaks remains uncertain, there’s little doubt about the overwhelming influence David Lynch and Mark Frost’s drama—which originally premiered April 8, 1990—has had on television over the last 25 years.

In fact, identifying every program that shares some DNA with Twin Peaks would mean naming most of the biggest dramas, and even some of the biggest comedies, of the last two-and-a-half decades. Twin Peaks’ idiosyncratic design, plot, characters, camerawork, and nearly every other notable aspect of the show have been referenced, honored, and outright copied ad nauseum since Laura Palmer’s body was discovered on a riverbank.

With that extensive reach in mind, let’s take a look back at some of the most notable ways Twin Peakslives on after its short but influential 30-episode run.

The Season(s)-Long Murder Mystery

“Who killed Laura Palmer”? is a tagline that’s as iconic as Twin Peaks itself. That murder compelled viewers to tune in, and to expect it to be addressed—even if Lynch wasn’t particularly interested in resolving the plot. The show waited until its second season to reveal Palmer’s killer, and with the answer came a steep drop in viewership. But before then? Despite Twin Peaks’ unique style, it was surprisingly successful commercially—probably thanks to interest in the murder mystery.

Scores of dramas that appeard in its wake have attempted to replicate that success, launching with a central murder or similar crime to hook viewers. The most prominent recent example? The American version of the Danish Forbrydelsen, here known as The Killing. AMC led its advertising campaign with a familiar-looking question: “Who killed Rosie Larsen?”

The Killing hoped to make Rosie the next Laura. But like Twin Peaks, the later show also saw critical flack and declining ratings for not identifying Rosie’s killer until the season two finale. No wonder subsequent shows like Broadchurch and True Detective elected to solve their central mysteries in their first season finales.

The Great Unknown

Murders are a dime a dozen on TV. But one thing that’s kept Twin Peaks fans faithful through the years is just how damn strange it is. At every turn, Twin Peaks is bizarrely and uniquely odd, filled with many more questions than answers—and anything, as nonsensical as it may seem, can end up being hugely important to the series overall.

Many shows tried to ape this mystique, hoping that throwing questions and oddities at the audience would keep them watching. (What was The Event? Why were they able to FlashForward? What really happened to The Nine?) And nobody has done it more than than the J.J. Abrams school of television. Yes, some Abrams-branded projects have failed (Alcatraz)—but both Fringe and Lost operated and thrived largely by making viewers ask, “What the hell is going on?” on a weekly basis. The continual process of answering questions with more questions, and introducing unexpected and seemingly arbitrary new characters and ideas, was a hallmark of the Abrams “Mystery Box” formula—and you can draw a direct line to it from Twin Peaks.

Before Abrams burst onto the TV scene, The X-Files dealt in a similar model. But while Twin Peaks was a phenomenon in its early going, The X-Files was a cult favorite for nine full years that also enjoyed high ratings—especially in its middle seasons, when it was one of the top 15 shows on TV. In many ways, David Duchonvy and Gillian Anderson’s government agents made mysteries that may not have answers—or make much sense—palatable for a wider audience

Location, Location, Location

Twin Peaks’ eponymous town has been replicated in two specific ways: small TV towns where strange things happen, and the woodland scenery of the Pacific Northwest.

The first has been essential to many of Twin Peaks’ spiritual successors. Some have found more life in the pecularities of a small town life than others—for every Bates Motel, there’s a Happy Town—but the trend shows no signs of stopping: Fox is introducing another mysterious titular town this spring with Wayward Pines.

But Twin Peaks’s location may be as significant as the town’s weird stable of characters. Sure, Twilight helped to make dreary, ominous forests popular on the big screen, but the rainy woodlands of Lynch and Frost’s Pacific Northwest have made their way into many other shows. (It certainly doesn’t hurt that filming in Vancouver has exploded over the last couple of decades. No wonder forests are so popular on genre TV shows).

The Killing’s Seattle is covered in almost constant rain—at least, it feels that way in the show’s early episodes. Everything from The X-Files to Fringe to even The 100 has also made use of the woods as an area of endless mystery and possibilities. A forest can hold secrets that uncover the truth—or horrors that can lead to a much more unpleasant end.

The Interpretation of Dreams

Twin Peaks’ dreamlike nature, both literally and figuratively, is central to Lynch’s signature aesthetic. The show included multiple dream sequences, like the Red Room, filled with odd imagery and strange dialogue. It also made the real world of Twin Peaks feel just as uncertain as the dreams themselves. An odd character like the Log Lady could spout lines that sounded like nonsense, only for them to have deeper resonance down the line. Agent Dale Cooper could interpret his dreams to solve crimes.

Dreams, visions, and their hazy prophecies were integral to Twin Peaks—and have been just as important to the shows that have followed it. Tony Soprano’s dreams became major points of discussion on The Sopranos, even as far back as the show’s pilot. Buffy the Vampire’s fouth season ended with an episode filled with extended, surreal dream sequences in which the show’s main characters encountered any number of important and random scenarios, from hints about Buffy’s sister Dawn to a man who always appears holding cheese. Mad Men shocked viewers with a sequence in which antihero Don Draper appeared to murder a woman… only to reveal that it had just been a fever dream. And then there’s True Detective, a murder narrative that seemed aesthetically similar toTwin Peaks, thanks largely to its dreamlike qualities. Because of that, many viewers expected the murderous Yellow King to be some sort of supernatural force. Instead, he turned out simply to be a man.

Auteur TV

Showrunners have become as well-known as the actors portraying our favorite characters in recent years. Breaking Bad is Vince Gilligan’s show. Mad Men comes from Matthew Weiner. Everything on ABC Thursday nights comes from the house of Shonda Rhimes.

But when Twin Peaks debuted, the general public was a lot less inclined to see TV series as the work of one or two people’s specific visions. And while every show requires a cast and crew, the idea of auteur-driven TV dramas began to find its way into the mainstream with Twin Peaks.

If you loved the mysteries of Twin Peaks, you’ll want to thank David Lynch. (And Mark Frost—but, as James Hibberd points out, the show’s co-creator has developed much less of a public persona that seems intrinsic to his body of work.) If you hate that season 1 ends with Laura Palmer’s murder still unsolved? Blame Lynch for that, too. Twin Peaks has grown to be viewed as Lynch’s (and Frost’s) work specifically, especially as the internet’s message board and forum culture developed not long after the show’s run.

The thought that a TV show could be the work of a singular visionary was relatively unheard of when Twin Peaks first aired. But as shows have become increasingly about central mysteries or singular character progressions, audiences have looked for a chief creative mind to latch onto and mine for information. Lynch may not have been one of the first—but it’s difficult to discuss Twin Peaks without evoking Lynch’s name. And that has become particularly clear as discussion of the show’s revival continues.

Hilarious Trailer Reimagines Avengers 2 As A Movie From 1995

From cinemablend, Blockbuster movies have changed a hell of a lot in the last 20 years - but I'm not just talking about visual effects and plots that reflect our modern world. The advertising for these movies was extremely different too, and big differences can easily be spotted looking at old trailers online. But what if a modern blockbuster like, say, Joss Whedon's The Avengers: Age of Ultron had come out in 1995? Well, the previews may have looked something like this:

This fun little edit, rather bluntly titled "If Avengers: Age of Ultron Came Out In 1995," comes to us courtesy of the folks over at New York Magazine, and anyone who lived through the 1990s will probably see this as a fairly accurate representation of what movie trailers looked like back then. They nailed pretty much everything from theDon LaFontaine-like voice-over, to the 90-degree turning blockletters revealing the stars of the awesome ensemble. Even the picture quality is degraded, and the film's title logo is more '90s-esque.

What weirdly lends a degree of credibility to this trailer, however, is the fact thatAvengers: Age of Ultron is all about a terrifying technological threat, and Hollywood was all about that back in 1995. After all, that was the year of Iain Softley's Hackers, the Sandra Bullock-fronted thriller The Net, and the Denzel Washington vs. Russell Crowe digital adventure Virtuosity. The industry didn't have had the visual effects back then that could realistically bring a villain like Ultron to life, but in retrospect you get the feeling like they might have actually tried. The robotic menace probably just would have looked a whole lot crappier, and bringing him to life would have involved a lot more lightning hitting servers.

Tuesday, April 07, 2015

Rosco P. Coltrone has died

From ew, James Best, an actor known for playing Rosco P. Coltrone on The Dukes of Hazzard, has died “after a brief illness,” according to his website. He was 88.

Best got his start in the ’50s and appeared on dozens of TV shows ranging from The Twilight Zone to The Andy Griffith Show. By 1979, he had what many consider his most successful role as a sheriff in The Dukes of Hazzard. He went on to star in the show until the series’ 1985 conclusion.

Best continued to take acting jobs and also spent some time teaching and writing (his autobiography came out in 2009). But it’s his Dukes of Hazzard turn that remains the most memorable—and his co-stars, like his fans, are grieving his death. “Darling Jimmy,” fellow Dukesstar Catherine Bach wrote on Twitter Tuesday. “Thank you for all the laughs, support and love. I will miss you like crazy honey.”

Horror actor Tom Towles died

(The Hollywood Reporter )Character actor Tom Towles, a regular in Rob Zombie films who also played a murderous sidekick in "Henry: Portrait of a Serial Killer," has died, the writer-director said. He was 65.

Zombie announced Towles' death Sunday on Facebook. "I just got word that our buddy Tom Towles has died," he wrote. "He was such a great guy and I am so grateful that we got to work together several times. He will be really missed."

No other details were immediately available.

The Chicago native also starred as Harry Cooper, one of people trapped in the farmhouse and the father whose young daughter becomes a zombie, in the remake of "Night of the Living Dead" (1990).

Later, Towles portrayed Lieutenant George Wydell, who was shot by Karen Black's character, in Zombie's first film as writer-director, "House of 1000 Corpses" (2003). He also teamed with the musician-turned filmmaker in "The Devil's Rejects" (2005), the reimagining of "Halloween" (2007) and in a segment of "Grindhouse" (2007).

Hollywood Reporter: "Teenager Mutant Ninja Turtles," the untold story

In the low-budget "Henry: Portrait of a Serial Killer" (1986), directed by John McNaughton, Towles played Otis opposite Michael Rooker as the title character. Towles' psychopath was based on real-life serial killer Ottis Toole, who admitted to the 1981 decapitation of the 6-year-old son of John Walsh. (Walsh in 1988 had created the Fox show "America's Most Wanted" in a bid to catch the killer of his boy.)

Towles also was in such horror films as the remake of "The Pit and the Pendulum" (1991), McNaughton's "The Borrower" (1991), "Home Sick" (2007) and "Blood on the Highway" (2008).

Towles also could be seen in "Dog Day Afternoon" (1975) — his first screen credit — "The Rock" (1996), "Gridlock'd" (1997), "More Dogs Than Bones" (2000) and Michael Mann's "Miami Vice" (2006).

Hollywood Reporter: Emilia Clarke on Sarah Connor, "Game of Thrones"

On television, Towles guest-starred on such series as "Seinfeld," "NYPD Blue," "L.A. Law," "ER," "Star Trek: Deep Space Nine," "Star Trek: Voyager" and "Firefly."

Monday, April 06, 2015

Wait. *That's* the guy in Boba Fett's costume?

More like Schlubba Fett, amiright?

More here -- many of which, surprisingly, i'd never seen.

Box Office

From cnn, Universal's "Furious 7" crossed the finish line this weekend with a record $143 million opening at the domestic box office.

Not only is a $143 million opening completely unheard of for April (easily zooming by last April's record $95 million by "Captain America: The Winter Soldier"), but it's the biggest opening weekend so far this year.

The $85 million opening of 2015's prior record holder "Fifty Shades of Grey" -- a film also released by Universal, a division of NBCUniversal -- seems miniscule in comparison.

"Furious 7" also becomes the top opening in "Fast" series history, surpassing the $97.3 million of 2013's "Fast & Furious 6."

In international markets, it's also doing very well, earning an additional $240 million to date.

Launched in 2001, the "Fast and the Furious" series has transformed itself from a cult favorite street racing saga to one of biggest brands in Hollywood.

The first film in the series brought in $144 million overall -- a total the seventh film almost beat in one weekend.

The opening of "Furious 7" is impressive, but it's incredible how the series rebounded after the third film in the series, "The Fast and the Furious: Tokyo Drift," only made $62 million.

The return of the original cast in 2009's "Fast and Furious," the inclusion of Dwayne "The Rock" Johnson, a reboot of the series' plot format, and a continued loyal fan base helped "Furious" become a surprise $2.4 billion global franchise for Universal.

The movie's success was driven by minority audiences: 25% of the weekend's ticket buyers were white, 37% were Hispanic, 24% were African American, and 10% were Asian.

44% of the film's moviegoers were also under the age of 25.

"The drawing power of the franchise some 14 years since the first installment is nothing short of miraculous," said Paul Dergarabedian, a box office analyst for Rentrak (RENT). "The enthusiasm on the part of the audience for these characters and the fast-paced world in which they live has not diminished one bit."

One of the reasons that "Furious 7" stood out with audiences is that it was the last film to include one of the series stars, Paul Walker.

Related: Buckle up: 'Furious 7' will be emotional for Paul Walker fans

Walker died in a 2013 car crash while the film was still in production.

"There is no question that this massive surge in sales can be largely attributed to the profound desire on the part of the fans to see Paul in his final performance," Dergarabedian added.

"Furious 7" shouldn't get too comfortable as the lead box office car, however.

On May 1, Marvel will release "Avengers: Age of Ultron," one of the most anticipated films of 2015.

With "Furious 7" and "Avengers" coming out of the gate, Hollywood could be setting up for a record-breaking summer box office.

"This summer could be on track to eclipse the $5 billion mark for the first time," Dergarabedian said. "If 'Furious 7's' performance is any indication, we are in for a wild (and record-breaking) ride at the box office."

'Sinister 2' teaser of the teaser

Damnit! David Lynch exits Showtime's Twin Peaks reboot

From ew, David Lynch has pulled out of Showtime’s Twin Peaks reboot, the director announced on Twitter Sunday.

“After 1 year and 4 months of negotiations, I left because not enough money was offered to do the script the way I felt it needed to be done,” Lynch said. “I love the world of Twin Peaks and wish things could have worked out differently.”

Showtime first announced plans to bring back Twin Peaks, which went off the air in 1991, in January. At the time, Twin Peaks creators Lynch and Mark Frost were expected to write and produce the nine-episode limited series run.

According to a statement though, Showtime is still optimistic that they can work it out with Lynch. “Showtime also loves the world of Twin Peaks,” the network said, “and we continue to hold out hope that we can bring it back in all its glory with both of its extraordinary creators, David Lynch and Mark Frost, at its helm.”