Thursday, April 30, 2015

Jon Stewart Positively Destroys Anti-Gay Marriage Arguments At The Supreme Court

Peter and Liam Neeson throw down

Why I don't like standing barefoot in the ocean



From geekology, This is a video taken off the coast of Australia of a spider crab colony migrating in a giant pyramid (technically just a big lump) formation to better defend themselves against predators. If I was one of those crabs I would want to be the one in the very bottom middle. And I wouldn't even care if the crab above me had his penis resting across my eyestalks, at least I'm not getting eaten by an octopus.

Tuesday, April 28, 2015

'Partridge Family' Star Suzanne Crough Condray Dead At 52



From huffingtonpost, "Partridge Family" star Suzanne Crough Condray died on Monday at her home in Nevada, the Clark County coroner's office confirmed to The Huffington Post. TMZ was the first to report the news and confirmed the news with her family members. She was 52 years old. According to the coroner's office, no cause of death was determined yet.

Crough appeared as tambourine-playing Tracy Partridge, the youngest member of the Partridge family, from 1970 to 1974, and also had roles on '70s TV shows like "Mulligan's Stew" and "Wonder Woman." Her last credited role was in "Children of Divorce," a 1980 made-for-TV movie.

She reunited with her former co-stars David Cassidy (Keith Partridge), Danny Bonaduce (Danny Partridge) and Brian Forster (Chris Partridge) on the "Today" show in 2010. “I’m an office manager for Office Max,” Condray told Matt Lauer during the interview. “I have two daughters, I’m married, I have a normal job.” At the time she joked about not really being able to sing while on the show. “I was very good at being Milli Vanilli."

Hilarious news bloopers just because

Jerk squirrel hides nut in dog's fur

Atari: Game Over





If you have the time, this documentary about the rise and fall of Atari is worth checking out.  It delves into the E.T. game disaster, its burial, and exhumation, great stuff!

Monday, April 27, 2015

Monkey drop-kicks guy who gives him the finger


Box Office


From ew, Furious 7 has only been out for four weeks, but it already owns multiple box office accomplishments—and it has a new one to add to the list this weekend. Furious 7 is a bigger worldwide hit than Frozen.

The seventh Fast & Furious film topped $1.32 billion in global earnings this weekend, pushing it ahead of Frozen’s $1.27 billion total. That puts Furious 7at No. 5 on the list of highest grossing movies of all-time, right behind Harry Potter and the Deathly Hallows: Part 2, which made $1.34 billion.

In North America, Furious 7 is also doing pretty well: It’s still No. 1 at the box office, and this weekend made an estimated $18.3 million—just 37 percent less than last weekend’s earnings. The previous two movies in the franchise dropped about 50 percent in their fourth weekends, so Furious 7’s decrease further proves the film’s popularity.

Elsewhere, Paul Blart: Mall Cop 2 finished in second place with $15.5 million. Although the Kevin James-led sequel isn’t getting much—okay, any—love from critics, it’s still the only new comedy available in theaters. It’s also rated PG, which adds to its appeal—families haven’t gotten much new fare in recent weeks.

New release The Age of Adaline came in third with $13.4 million, and the romantic drama should have a fine (if unimpressive) run in the coming weeks thanks to its fantasy aspect (Blake Lively plays an immortal woman) and its status as one of very few female-led films currently available in theaters.

Home, now in its fifth week, proved it’s not slowing down by nabbing the No. 4 spot with $8.3 million, while horror Unfriended came in fifth with $6.2 million.

The top five has been fairly consistent these past couple weeks, but that’s about to change next week once Avengers: Age of Ultron opens wide and takes the box office title from Furious 7.

1. Furious 7 — $18.3 million
2. Paul Blart: Mall Cop 2 — $15.5 million
3. The Age of Adaline — $13.4 million
4. Home — $8.3 million
5. Unfriended — $6.2 million

Outside the top five, the critically loved Ex Machina expanded to 1,255 theaters this weekend and brought in $5.4 million, while the critically disliked Little Boy opened with $2.8 million in 1,045 theaters.

I am not digging Jared Leto's 'Joker' Look from the upcoming 'Suicide Squad'


From cinemablend, We’ve seen hints and teases of what Jared Leto’s Joker looks like in the upcoming Suicide Squad, but director David Ayers just hit Twitter with our first full view of the Clown Prince of Crime, and it’s not like anything you expected. Even for the Joker, it’s totally nuts. Check it out for yourself.

The Suicide Squad wishes you a Happy Anniversary Mr. J!#Joker75 #SuicideSquad @WarnerBrosEnt @DCComicspic.twitter.com/LZXz0x947Q— David Ayer (@DavidAyerMovies) April 25, 2015

Much like when we saw the first picture of Heath Ledger as Joker in The Dark Knight, Leto’s gives us a radically different version of the iconic villain. While he retains his trademark green hair and red lips, his pale skin looks more fleshed-toned compared to the chalk white hue from the comics. The purple glove adds more familiar color, while you’ll notice on his left hand he has a pinky ring. Evidently this is a Joker who likes the bling.

What really draws the eye are the tattoos all over his body. There are multiple "Ha Ha Has" on the left side of his chest and left arm, a demonic jester skull on the right side of his chest, a sinister smile on his right arm, several cards on his left shoulder, a target (or maybe another mouth?) on the top of his left hand, and the word "Damaged" on his forehead. There are a few others that are harder to make out, specifically the words on his abdomen and back, but overall it’s a very inmate kind of look, which is fitting given the reports that Joker spends most of Suicide Squadimprisoned.

However, the one thing the separates this cinematic Joker from the rest is his teeth. The bottom front half appear to caps, which has me suspecting that at one point he got those knocked out by Batman. It’s harder to tell what the deal with the top front half is, but it looks like those could also be caps, or he has somehow darkened them himself. Either way, just looking at his expression assures us that this Joker is just as insane as the previous versions.

Admittedly, this is a Joker look that might take some getting used to, but given that the DCCU’s version of the super villain has been causing chaos for years by the time Suicide Squad begins, it makes sense that he wouldn’t look clean-cut after all this time. It’s also weird not seeing him in his iconic purple suit, but when one is stuck in a prison full of superpowered and special criminals, fashion isn’t always a big concern. Regardless, with this image combined with that voice tease Leto gave earlier in the month, Suicide Squad’s Joker will assuredly be terrifying and creepy as hell. Personally, this just has me even more excited to see the first clip of him in theSuicide Squad trailer. With the whole ensemble together, this is definitely going to be a unique version of the character, and God have mercy on anyone who gets too close to him.

You can see the Joker, alongside a variety of other DC super villains, when Suicide Squad hits theaters on August 5, 2016.

Friday, April 24, 2015

Sawyer Sweeten Of 'Everybody Loves Raymond' Dead At 19


LOS ANGELES (Variety.com) - Sawyer Sweeten, an actor best known for his role as one of the young twins on hit sitcom "Everybody Loves Raymond," has died of a possible suicide, his manager Dino May has confirmed. He was 19.

According to Radar Online, who first reported the news, he was visiting family in Texas, where he is believed to have shot himself on the front porch.

Sweeten played Geoffrey Baron on "Everybody Loves Raymond," which ran from 1996-2005 on CBS. He acted alongside his twin brother, Sullivan, and their real-life sister, Madylin, who played Ally Baron.

Ray Romano, Patricia Heaton, Brad Garrett, Doris Roberts, Peter Boyle and Monica Horan also starred in the comedy.

More to come...

M. Night Shyamalan tries again



M. Night's record (via IMDB):


2013After Earth


2010The Last Airbender


2008The Happening


2006Lady in the Water


2004The Village


2002Signs


2000Unbreakable


1999The Sixth Sense


1998Wide Awake


1992Praying with Anger

Wednesday, April 22, 2015

Jerk college students make me feel old

The Avengers: Age of Ultron review


From cinemablend, Massive, immersive and wildly entertaining, Age of Ultron gets the gang back together for a globe-trotting battle against a meager villain. Fun will be had by all.

This review will contain mild spoilers for The Avengers: Age of Ultron.

We write at length, practically on a daily basis, about the Marvel Cinematic Universe. It’s a phrase that has entered our pop-culture lexicon as Marvel's movie studio has expanded its reach. But how often do you stop and consider what that term actually means? I’ll admit that I didn’t fully grasp the scope of the phrase – particularly the word “Universe” – until Joss Whedon expanded the playing field with his massive, immersive and wildly entertaining The Avengers: Age of Ultron. If the initial Avengers movie introduced the discordant team to our world in 2011, then its sequel illustrates how we now exist in a universe that belongs to super-powered heroes and villains… for better, and for worse.

Because the terrain has been sufficiently established over 10 previous Marvel movies, Whedon is able to forgo any tedious, repetitive introduction and open Age of Ultron with a bang. The Avengers – a multi-faceted squad led by Iron Man (Robert Downey Jr.) and Captain America (Chris Evans) – move in on a HYDRA facility run by Baron Wolfgang von Strucker (Thomas Kretschmann), an adversary spotted in the mid-credits sequence for Captain America: The Winter Soldier. The Baron is encouraged to unleash “The Twins,” enhanced warriors given powers by the mysterious gem located in Loki’s scepter. HYDRA used the alien stone’s magical abilities to experiment on willing human test subjects. Tony Stark, once he obtains the stone, has other, similarly dubious plans.

Is all of this gibberish to you? That likely means you haven’t religiously logged the necessary Marvel hours needed to understand all that’s happening in The Avengers: Age of Ultron. Even as someone who has watched films like Thor: The Dark World or Iron Man 3 numerous times, I felt there was a lot to process in The Avengers: Age of Ultron -- world-building that pertained to the story being told in this film, as well as studio service for the larger Phase 3 plans of the ever-growing MCU. Be warned that Whedon hasn’t made a movie for casuals. He has a lot to get to during Ultron’s 141-minute run, and neither the time nor the patience to hold the hand of non-fans.

Boiling Age of Ultron down to one central idea is complicated, but if we had to single out the thrust of the storyline, it would involve Tony Stark and his continued emotional repercussions of the alien attack from the end of the first Avengers film. Still wary of a second-wave – and acknowledging that an “end game” has to occur in outer space – Stark uses the power found in the stone in Loki’s scepter to create artificial intelligence. As is usually the case with Tony, his intentions are noble. He collaborates with fellow Science Bro, Dr. Bruce Banner (Mark Ruffalo), to achieve “peace in our time” by creating Ultron – an entity similar to Stark’s intelligent program, J.A.R.V.I.S. Except, in true Frankenstein (or Pinocchio) fashion, the creation turns on its creator and takes on a life of its own.

Age of Ultron isn’t Iron Man 4, though, and Joss Whedon has several other plates he needs to keep spinning as this sprawling, ensemble-driven story finds its way. Even briefly touching on the subplots at work in this Avengers sequel, fans can look forward to: a developing love story between Banner (Ruffalo) and Natasha Romanoff (Scarlett Johansson), aka Black Widow; the introduction of two vital team members in Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen); the increased development of dead-eye archer Hawkeye (Jeremy Renner), whom this sequel repeatedly reminds us was short-changed in the previous Avengers adventure; a detour to South Africa, and a reference to Wakanda, where we stick a pin in Ulysses Klaw (Andy Serkis) and acknowledge that he’ll likely return for Marvel’s announcedBlack Panther movie; and the birth of The Vision (Paul Bettany), easily the coolest thing to hit the MCU in ages.

You see? A lot has to happen in The Avengers: Age of Ultron -- yes, arguably, too much – because I’ve barely mentioned characters like Thor (Chris Hemsworth), Captain America (Evans), Nick Fury (Samuel L. Jackson) or War Machine (Don Cheadle), and they aren’t mere supporting players. (Though it’s possible that some of the series’ signature heroes have been relegated to cogs needed to keep the massive wheel turning this time out.) The novelty of seeing the Avengers assemble for the first time on screen is gone, so Whedon fills that loss with beefier action sequences meant to please both comic-book and summer-blockbuster crowds. That opening raid on HYDRA’s base is a head-turner, anchored by an incredible unbroken shot that lingers momentarily on each Avenger in a state of combat. Even if you’ve avoided most of the Ultron marketing materials, you no doubt saw some footage of the film’s centerpiece brawl between a possessed Hulk and a fortified Iron Man in full Hulkbuster mode. And then there are battles with Ultron sprinkled throughout the film, leading to – as you’d imagine – a massive CGI climax.

The film’s weakness brings up a continual issue with films in the MCU, though. Ultron (James Spader), as a villain, disappoints. His sinister motivations aren’t clear enough. His powers seem to fluctuate. He’s angry at Tony in a murky “you betrayed me, father” manner, but their conflict gets no time to manifest, so Ultron’s never as dangerous as Whedon intended him to be. The Avengers attack this being and his army of robots simply because they are there. Scarlet Witch is far more terrifying, even though her reign as a threat is short-lived. Ultron’s endgame actually had to be explained to me by a colleague who’d seen the film twice, and admitted to better understanding some of the convoluted story on a second viewing.

That’s not to take away from the overall impact of The Avengers: Age of Ultron, because what it sets out to do, it does very well. Whedon understands what makes these dysfunctional heroes tick, and there’s an immeasurable delight that comes with seeing them in action, together, on the big screen. In the film’s closing moments, it’s evident that the Marvel Cinematic Universe is ever changing and perpetually growing. And so long as the movies maintain this level of quality, it’s a universe we’ll continue to enjoy revisiting time and time again.

Tuesday, April 21, 2015

My worst nightmare

It's Him!: Newly Discovered Frog Resembles Kermit


From geekology, This is Diane's Bare-Hearted Glassfrog, a newly discovered and described species of translucent-bellied frog that lives in the Talamanca Mountains of Costa Rica. It also looks like Kermit the Frog. You think Kermit faked his own death to get away from Miss Piggy and go live in the tropics of Costa Rica? I would, Miss Piggy is notoriously both verbally and physically abusive. That's not a healthy relationship. My relationship with myself? That is a dead-end relationship.

Scientifically Accurate 'My Little Pony' Is Everypony's Nightmare

Monday, April 20, 2015

New 'Jurassic World' trailer!

Dope trailer



In theaters June 19! A critical hit and audience favorite out of the Sundance Film Festival, in DOPE, Malcolm (Shameik Moore) is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself.

UPDATE! Batman v Superman: Dawn of Justice - Official Teaser Trailer [HD]

‘Star Wars: Rogue One’ Details: Theft of Death Star Plans Confirmed as Plot; Plus Footage* and Concept Art



From slashfilm, Today at the final day of Star Wars Celebration, Star Wars: Rogue One director Gareth Edwards took the stage for a panel called “Conversations with Gareth Edwards and Josh Trank.” Oddly, Trank did not show up (Kathleen Kennedy said he woke up sick) and in the end of there was no further mention of him or his film. Edwards, however, was on hand to show a very brief teaser and provide some Rogue One plot details, including a confirmation of our plot scoop.

Star Wars: Rogue One is the first film in the new Star Wars Anthology series (that’s the official title for the spin-off movies) and features a plot in which “a rogue band of fighters come together to steal the death star plans.” Get more details, including a full teaser trailer description, below.


A band of resistance fighters unite for a daring mission to steal the Death Star plans in Star Wars anthology film, Rogue One #RogueOne.

— Star Wars (@starwars) April 19, 2015

The teaser trailer shown was simple.

A card with “December 2016″ fades in and out, with a sound that is somewhere between a slow Inception horn and a lightsaber. Then a familiar voice: Alec Guinness as Obi-Wan Kenobi, saying “For more than a thousand generations, the Jedi Knights were the guardians of peace and justice in the old Republic. Before the dark times. Before the Empire.”

As he speaks, the teaser fades in on a tracking shot, high up through a forested canyon. We hear a TIE Fighter pass overhead, and see the ship move forward into frame as the camera continues to push forward. We see, dominating the sky, the outline of what could be a moon. But that’s no moon, it’s a… well, you know what it is. The Death Star. Music swells and the screen goes black. The Rogue One logo comes up, and we hear radio voices, like troops communicating during combat. The chatter gets more frantic and loud as light strobes on the logo, which finally breaks up as the sound cuts out.

Gareth Edwards says that Felicity Jones plays a rebel soldier. “We wanted to see fear, humor, and warmth” in the character, he said, not just a cliched image of a warrior. More important, this is definitely a war movie. “It’s called StarWars,” emphasized the director. This film is about moral grey areas and realities of war, and is set in between Episode IIIand IV — and closer to IV, aka the original Star Wars. Greig Fraser, who shot Zero Dark Thirty, is the cinematographer.

Rogue One is set in a time when the Jedi are basically extinct — there are no warriors with “magical powers” to save the day. “It’s about the fact that God’s not coming to save us,” said Edwards. “The absence of the Jedi hangs over the movie.” So this could be a very different Star Wars movie, one that features more “reality” than we’ve ever seen, and potentially some slightly morally murky characters, from a moral perspective. And it has a female lead — color us very

But Neal Scanlan is on for creature design and effects, so don’t think this won’t look like a Star Wars movie. I think we can assume that, despite some leanings towards more adult concepts than we’ve seen in Star Wars, this film will still essentially fit into the overall feel of the series. Edwards also mentioned that there are “opportunities” in the fact that this film is set in the same time period as Star Wars Rebels — what that means is something we’ll have to wait to see.

This film was pitched by John Knoll of ILM, who first talked about the standalone film idea to co-workers at ILM and LucasFilm. They loved it, and suggested he pitch it for real. and they all told him he should pitch it to the company. He did, and when Kathleen Kennedy came on board as head of Lucasfilm, this became one of her very first priorities.



Gareth Edwards also spent a lot of time talking about his history with Star Wars fandom, and detailing the fact that he was hired to make this film during the production of Godzilla, but didn’t even tell his family he got the job for months. He told them just before the trades reported the news.


Gareth Edwards is a real Star Wars fan. He spent his 30th birthday visiting the set of the Slywalker home.pic.twitter.com/Q9KnaIPTzh

— Peter Sciretta (@slashfilm) April 19, 2015




This is the moment that Gareth Edwards told his mom he would be directing a Star Wars movie.pic.twitter.com/Jct4jgo63R

— Peter Sciretta (@slashfilm) April 19, 2015


Star Wars: Rogue One, written by Gary Whitta and Chris Weitz, will be directed by Gareth Edwards. It’s scheduled for release on December 16, 2016. Felicity Jones is confirmed to star and Ben Mendelsohn is rumored for the cast.

*removed by Disney

Box Office


From ew, In its third weekend, Furious 7 may not be revving its box-office engines at top speed any more, but its $29.1 million take was still enough to claim another No. 1 spot. Last weekend, Furious 7 made $59.8 million, and Home—the No. 2 movie—made $41.1 million less; but Paul Blart: Mall Cop 2 closed the gap this weekend, finishing with $24 million for a close second.

Furious 7’s grosses slipped 51 percent, but it was still a great week for Universal’s blockbuster: It passed the$1 billion mark in global sales Friday—and in record time, no less. Domestically, Furious 7 should be surpassing the $300 million mark by week’s end (if not sooner). And it still has another couple weeks until Avengers: Age of Ultron opens on May 1, which will without a doubt replace Furious 7 at the top of the box-office rankings.

Paul Blart’s $24 million debut is impressive in its own way—especially given its all-around negative reviews. (The sequel currently has a 0 percent on Rotten Tomatoes). This debut number is only about $7 million less than its predecessor’s $31.8 million debut in 2009, proving that Kevin James has the power to bring in audiences no matter what the critics are saying.

Unfriended, a horror from producer Jason Blum, also opened this weekend and ended up scoring with $16 million. The movie fared considerably better than Paul Blart reviews-wise—its Rotten Tomatoes score is a relatively healthy 65 percent—and will likely be relying on word-of-mouth (and its disturbing marketing campaign) to keep its numbers up.

Home and The Longest Ride rounded out the top five with $10.3 million and $6.9 million, respectively.

1. Furious 7 — $29.1 million
2. Paul Blart: Mall Cop 2 — $24 million
3. Unfriended — $16 million
4. Home — $10.3 million
5. The Longest Ride — $6.9 million

Outside the top five, Ex Machina, the artificial-intelligence thriller starring Oscar Isaac and Domhnall Gleeson, averaged an impressive $20,872 per screen in its second week of limited release. Disney’s Monkey Kingdom opened with $4.7 million—the same amount Bears, another Disney nature documentary, debuted with exactly a year ago. Bears went on to gross $17.8 millin during its run in theaters.

'Fantastic Four' trailer #2

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

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 platformItch.io, 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.”

Sunday, April 05, 2015

Happy Easter, Everybody!


I was at Target getting last minute Easter Bunny supplies, and I opened up one of those small packs of Cadbury mini-eggs to snack on while I shop.  It was disgusting!  All the eggs were cracked or smashed, and there was a ratty lump of chocolate that had clearly melted out and re-formed.  And I said Ain't no way I'm eating these No Sir and I stuck em back on the shelf.  The next bag I grabbed was fine.  I saved someone from disappointment, thanks to my quasi-legal habit of opening crap I haven't paid for yet.  True story!

Friday, April 03, 2015

Celebrate gluttony with 9 seconds of Homer Simpson-synced snacking

'The Gift' trailer looks creepy!

Good grief, Full House returns!


From slashfilm, Netflix was responsible for reviving Arrested Development and The Killing, and it gave us new versions of Richie Rich and Inspector Gadget. Now it could resurrect yet another old show: Full House.

The streaming service is reportedly nearing a deal for Fuller House, a continuation of the ABC comedy which ran for 8 seasons from 1987 through 1995. Much of the original cast and producers will return, including John Stamos. Get all the details on the Full House Netflix revival after the jump.

According to sources who spoke with TVLine, Netflix is “this close” to a 13-episode order for Fuller House. The new series is envisioned as a multi-cam comedy centering on D.J. Tanner (Candace Cameron Bure) and her best gal pal Kimmy Gibbler (Andrea Barber).

As of last summer we heard Jodie Sweetin (a.k.a. Stephanie) was also on board, but she isn’t mentioned in the latest reports. Maybe it’s just an oversight. Original cast members Stamos, Bob Saget, and Dave Coulier are all eyed for guest appearances. Fingers crossed certain other actors will also find time in their busy fashion-designing schedules to stop by as well.


Stamos, who’s been the loudest champion of a Full Houseresurrection, will additionally serve as producer. Full House creatorJeff Franklin will executive produce Fuller House, alongside Full House executive producers Thomas L. Miller and Robert L. Boyett.

Stamos and others have been working on a Full House sequel, in some form or other, for some time now. He told press he was working on a Full House movie all the way back in 2009. (At the time, Peter deemed it the “worst idea ever.”) But the talk has picked up steam over the past year. Stamos teased “a twist on a sequel”after reuniting with Saget and Coulier for a 2014 Super Bowl commercial for Oikos Yogurt.

Full House is the latest of many, many, many, many, many classic shows making a comeback. The appeal is obvious. These shows were hits back in the day, and the new versions can theoretically play on the nostalgia longtime fans have for the original, while attracting a whole new fanbase.

But real talk, guys: Full House was not a great show. Sure, it was fun when we were kids, and yes, it’s still cute when they reunite for karaoke. But have you seen the actual show lately? It hasn’t aged well at all — it’s cloying and cheesy. Let’s just hope Fuller House is a little better, or at least a little more modern-feeling.

Are you excited for the Full House Netflix series? Am I off base with my Full House criticisms? Or do you wish TV would just let some ’90s shows stay in the ’90s?

Wednesday, April 01, 2015

R2D2 in love...

The Ring Franchise May Bring Back A Key Character For Rings



From cinemablend, As was confirmed earlier this month by director F. Javier Gutierrez, the upcoming horror film Rings is a sequel that is set 13 years after the events that occurred in both The Ring and The Ring Two. Most sequels might use this long stretch of time to have the story detach from the original and move forward with an entirely new plot and group of characters, but that's evidently not what Rings will be doing. Instead, new reports are saying that the movie will have a link to the previous features specifically through one very important character.

So who is this mysterious link? Well, according to sources over at Shock Till You Drop, the answer to that question is Aidan Keller, a.k.a. the son of Naomi Watts' character, Rachel Keller. You'll remember him as the young creepy kid played by David Dorfman who had a mysterious link to the actions of the killer Samara. At this point in time, it is unknown if Dorfman will be coming back to reprise the role, though it is said that it will be an adult version of the character (presumably in his early 20s, going by Aidan's age in the first movie).


It's worth noting that Dorfman hasn't actually been in a feature film since the 2008 comedy Drillbit Taylor, though that's probably because he has been a bit busy working on other pursuits. In 2006, at the age of 13, he was accepted into UCLA's undergraduate program, and he wound up graduating valedictorian. When he was 18, he was accepted into Harvard Law School.

In addition to the news about Aidan's role in Rings, STYD also provides a rather slim plot description for the movie. According to their sources, the movie will be about "two young lovers" who find themselves trying to stop the curse of Samara after the boyfriend, played by Alex Roe, watches the franchise's famous tape. In the cast, Roe is joined by both Matilda Lutz and Aimee Teegarden, though at this time it's unclear what roles they will be playing. Production on the movie is currently underway in Atlanta, but Paramount Pictures has the project on track to be releasedNovember 13th.