by admin | Jul 28, 2025 | TV & Beyond Articles
horror movies are a great way for up-and-coming actors to get a foothold in the film industry. That’s primarily thanks to the horror boom of the 1980s, giving opportunities to numerous thespians who went on to become A-list actors; folks like Tom Hanks, Kevin Bacon, Meg Ryan, and others. Yet the notion of horror giving a first chance to future stars is not relegated to the last 40-odd years. Sure, horror’s reputability certainly wavered during the classic Hollywood years, meaning that studio horror films weren’t as prolific as Westerns were, and thus many more young actors found themselves riding a horse more often than running around a spooky castle. Yet horror’s always been popular, and during the 1950s, the studios began to get excited about a new gimmick which would briefly revitalize the genre: 3D.
1953’s “House of Wax” is, in retrospect, a bit of a milestone movie in several respects. The film is an adaptation of Charles S. Belden’s 1932 short story “The Wax Works,” which had been previously made into a movie by Michael Curtiz in 1933, entitled “Mystery of the Wax Museum.” (That version was also a gimmick movie, being one of the few movies shot and presented in two-color Technicolor.) So, since “House of Wax” is effectively a remake, director Andre de Toth decided to give the movie some extra spice by choosing to shoot it in 3D, using Milton Gunzburg’s Natural Vision 3D system, which had made a splash in United Artists’ “Bwana Devil” the year prior.
On top of that, de Toth cast Vincent Price in the leading role of the mad Professor Henry Jarrod, rescuing the actor from a slump. Price’s performance in “House of Wax” helped cement his reputation as a preeminent horror star of the day, and essentially launched Price into the next phase of his career. Amidst all this was the role of Jarrod’s assistant, Igor, a part which needed to be played by someone physically imposing and with an intimidating glare. The role was filled by a young actor named Charles Buchinsky, who would change his name the year after “House of Wax” because of the Red Scare that was sweeping Hollywood. That new name would be Charles Bronson, and the actor would soon go on to star in numerous Westerns and action pictures after his “House of Wax” appearance.
‘House of Wax’ was a one-and-done horror film for both Bronson and his director
Warner Bros. Pictures
While “House of Wax” would make Vincent Price synonymous with the horror genre, it did not do the same for either Charles Bronson or Andre de Toth. For both men, it was the only horror film they ever made. (In Bronson’s case, this only holds true depending on how you categorize the 1983 thriller “10 to Midnight,” in which Bronson plays a cop on the trail of a skeevy serial killer.) By the time of “House of Wax,” de Toth had already made a name for himself as a director of edgy genre pictures, mostly westerns and film noir. Despite the success of “House of Wax,” the filmmaker never returned to the horror genre again.
Yet de Toth was clearly impressed with Bronson’s work as Igor in the film, enough that the two men worked together several times subsequently. De Toth cast Bronson in the film noir “Crime Wave” and the western “Riding Shotgun” (both 1954). The latter film helped establish Bronson in the western genre, a relationship that continued throughout the rest of his career with appearances in such classics as “The Magnificent Seven” and “Once Upon a Time in the West.” Bronson’s tough-guy stature also served him well in the burgeoning action film genre, taking him from crime pictures like “Machine Gun Kelly” to films like “The Mechanic” and, of course, the gritty vigilante “Death Wish” series.
Ironically, Bronson and de Toth nearly worked together a final time in a completely different genre: the superhero movie. Thanks to Bronson’s good relationship with director Richard Donner (appearing in two of Donner’s early features, “X-15” and “Lola”), Bronson became one of the actors to audition for the title role in 1978’s “Superman.” Of course, that part went to then-unknown Christopher Reeve, yet had Bronson won it instead, he would’ve worked again with de Toth, who had been hired to do some uncredited second unit directing on the film’s flying sequences. Though Bronson had appeared in various small roles in films and TV episodes prior to his performance as Vincent Price’s eerily stoic henchman, it’s clear that “House of Wax” was a turning point in his career, making him a charter member of the “actors who got their break thanks to horror” club.
by admin | Jul 28, 2025 | TV & Beyond Articles
“First Steps” had by far the biggest opening weekend ever for the “Fantastic Four” franchise. It debuted to an estimated $118 million domestically to go with $100 million overseas for a $218 million global debut. It’s very much the win that Marvel and Disney needed after the relative misfires that were “Captain America: Brave New World” ($415 million worldwide) and “Thunderbolts*” ($382 million worldwide). This is, if you’ll pardon the pun, a heroic opening weekend much more in line with what we used to expect from the MCU.
It also essentially matches what James Gunn’s “Superman” did just a few weeks ago when it bowed to $220 million, which is good company to be in. So, what went right for this well-received reboot? What helped to bring audiences out in an age where big superhero movies (even those in the MCU) are no longer automatic hits the way they once were? We’re going to take a look at the biggest reasons why “Fantastic Four: First Steps” was a success at the box office on its opening weekend. Let’s get into it.
Critics and audiences really liked the new Fantastic Four
Marvel Studios
Though it doesn’t always equate to ticket sales, a good reception never hurts a big blockbuster. To that end, “Fantastic Four: First Steps” was welcomed with open arms by both critics and audiences alike. The movie currently holds a very solid 87% critical approval rating on Rotten Tomatoes to go with a great 93% audience rating. Not to turn this into a competition but, as of this writing, both of these numbers are just slightly above those for “Superman.” Shakman’s latest also earned an A- CinemaScore, which similarly matched “Superman.” This matters because DC’s new take on the Man of Steel has proven to be a crowd-pleaser with staying power.
In his review for /Film, Witney Seibold gave “First Steps” a 9 out of 10 rating, writing it “is set in a world that I wouldn’t mind living in.” Indeed, a lot of recent MCU releases earned a far more mixed response than this film did, if not a downright sour one in some cases. The house that Feige built is simply not as bulletproof as it was in the lead up to “Avengers: Endgame,” back when the enterprise seemed downright unstoppable. Fortunately, that wasn’t the case here, as Marvel appears to have gotten its mojo back. It couldn’t have come at a better time, either.
The Fantastic Four are a known, classic Marvel team
Marvel Studios
One thing that simply cannot be overlooked when we talk about the success of “First Steps” compared to other recent Marvel fare is the sheer recognizability of the team at the center of the film. We’ve had several “Fantastic Four” movies (of varying quality) over the years. They were one of the teams that helped make Marvel Comics what it was way back in the ’60s after being created by the legendary Stan Lee and Jack Kirby. Even very casual audiences know, vaguely speaking, who these characters are. The same can’t be said for the namesakes of “Eternals” or “Thunderbolts*.”
By Feige’s own admission, a lack of character recognition helped doom “Thunderbolts*,” in particular, despite the fact the movie earned very strong reviews. The MCU needed to bring in a heavy-hitter. It got four of them in the forms of Mr. Fantastic, The Invisible Woman, The Thing, and The Human Torch. The Fantastic Four are a hugely important team within the Marvel Comics canon and, if things go well, “First Steps” may kick off a franchise that can help carry the MCU for the next decade. Put plainly, the studio needed this one to work. By all accounts in the early going, it did.
Fantastic Four: First Steps promised something fresh for fans
Marvel Studios
Another thing that greatly benefited “First Steps” was the fact that it promised something fresh for both hardcore comic book fans and casual moviegoers. The fact of the matter is that the post-“Endgame” era of the MCU, which has been defined by wildly expansive storytelling within the larger Marvel multiverse, has been somewhat unwelcoming to audiences. It’s made many of its movies — not to mention the shows on Disney+ — feel like required homework rather than things to be enjoyed as one pleases.
Again, Feige has admitted the MCU was focused on quantity over quality for a while there, and that hurt the brand. Fortunately, this movie wasn’t saddled with multiversal baggage and got to exist on its own terms. That was made very clear in the marketing and during the press tour. Beyond that, Shakman crafted a retro-futuristic look for the film that helped set this “Fantastic Four” film apart not only from the ones that have graced the big screen before but also other movies in the MCU. It looked different and, thankfully, did not require hours of previous viewing homework to appreciate.
Indeed, people can enjoy “First Steps” as a movie for its own sake, while hardcore fans are free to connect any dots that might lead to “Avengers: Doomsday.” It’s precisely the sort of thing that the MCU used to do so well with regularity.
It has been a decade since the Fantastic Four graced the screen
Marvel Studios
In 2015, director Josh Trank’s “Fantastic Four” became one of the biggest bombs in superhero movie history. It was a disaster of epic proportions, and it certainly didn’t help that 2007’s “Fantastic Four: Rise of the Silver Surfer” was also a failure before it. The larger point is that, even though Disney completed its purchase of Fox in 2019, giving Marvel Studios control of the “Fantastic Four” and “X-Men” properties, the House of Ideas exercised patience and avoided rushing a new movie with these characters into production right away. Instead, the studio allowed some time to pass, giving the wounds from those previous failures a chance to heal. Most importantly, it allowed a real appetite to build up.
Now, in the year 2025, fans have been absolutely dying to see this “Fantastic Four” reboot, complete with a far more comic book accurate version of the villain Galactus and an A-list cast bringing these heroes to life. To that end, Marvel Studios nailed it by lining up Pedro Pascal (“The Mandalorian”) as Reed Richards, Vanessa Kirby (“Mission: Impossible — Dead Reckoning”) as Sue Storm, Joseph Quinn (“Stranger Things”) as Johnny Storm,” and Ebon Moss-Bachrach (“The Bear”) as Ben Grimm. A decade removed from Trank’s ill-fated flick, everyone was ready to love the Fantastic Four again.
Audiences are still ready to love Marvel movies
Marvel Studios
Speaking of love, one of the biggest things “The Fantastic Four: First Steps” had going for it was the Marvel Studios logo itself. To be sure, for as much as the studio’s last handful of years has been defined by disappointments such as “Ant-Man and the Wasp: Quantumanina” and “The Marvels,” it has also given way to absolutely gigantic hits such as “Deadpool & Wolverine” ($1.3 billion worldwide).
The fact of the matter is that audiences are still ready to fall in love with these movies and will spend their hard-earned money on a ticket if they think it seems worth it. Is it as easy as it once was for MCU films to make it to $1 billion globally? No, but that should never be the bar for success, even for Marvel Studios. The number of movies that can open to more than $200 million globally are few and far between in the pandemic era. Despite its numerous misfires, however, Marvel can still do that with the right film.
There’s a reason why millions of people watched and analyzed the hours-long “Avengers: Doomsday” casting announcement in March. There’s also a reason why its misfires haven’t derailed everything that Marvel puts out. Audiences just want to feel like what they’re going to see is truly worth their time, much in the way that “Guardians of the Galaxy” or “Captain America: Civil War” were in their day. In this case, Shakman, Feige, and everyone hit the mark. Audiences seem like they’re downright rooting for Marvel to hit the mark and vote happily with their dollars when it happens. Here’s hoping this can be the beginning of the end for the rough patch.
“The Fantastic Four: First Steps” is in theaters now.
by admin | Jul 28, 2025 | Articles, Hollywood Reporter Articles
The Women’s List, which describes itself as “the trailblazing advocate for female voices in screenwriting,” has announced its 2025 Scripts List finalists.
The list aims to spotlight “compelling unproduced scripts penned by women — across all genres, for every audience.”
According to the organization: “Unlike traditional contests, the nonprofit is a curated ‘treasure hunt’ for extraordinary scripts written by women, not a competition. Whether the scripts are thrillers, comedies, dramas or genre-benders, every selection is hand-chosen for its originality, strong characters and cinematic potential — boasting the kinds of dynamic female roles the industry wants and needs.”
The Women’s List, meanwhile, consists of co-founder Mia Certic, chair and co-founder Jan Kimbrough and board members Maggie Levin, Christine Luby, Kira Kalush, Lisa Seidman and Emily Schmidt. The nonprofit’s aim is to “brilliant” unproduced scripts by women and connect those writers to producers, directors, actors, agents and managers.
“We aren’t just about women’s stories,” Kimbrough said. “We’re about bold, innovative storytelling — by women, for everyone.”
Added Luby: “We want this list to land on every desk in town — from producers and showrunners to actors and agents. We’re just getting started — join us as we help reshape the industry, one script at a time.”
The 2025 finalists are:
- 4B (half-hour) – Kelly Hannon
- All That Glitters (one hour) – Susan Marks
- Arranged (feature) – Mithra Alavi
- Blackbird (feature) – Shaina Steinberg
- Breaking Up The Beatles (feature) – Ariel Sayegh
- Counting on Clark (feature) – Erin Copen Howard
- Cumberland Gap (one hour) – Angelle Haney Gullett
- Danni’s Hard Drive (one hour) – Megan Green
- Demented (half-hour) – Pam Davis
- Fab Girls (one hour) – Heidi Nyburg
- Fertile Attraction (feature) – Mariah Wilson
- Fish Crimes (half-hour) – Molly Vogel
- Five Points (one hour) – Vivian Kerr
- Forever51 (one hour) – Pamela Skjolsvik
- Good Great Fine (half-hour) – Kayreth Williams
- Guera (half-hour) – Eileen Alvarez
- Horse Girls (half-hour) – Annalise Tahran
- In the Valley of Darkness (one hour) – Jennifer Frazin
- Kiana the Bandit of Panga (one hour) – Lauren Conoscenti
- Landfall (feature) – Amy Fruchtman
- Me, My Elf and I (feature) – Ellen Ireland
- Monsta (one hour) – Clayvon Harris
- Mother Tongue (feature) – Anu Valia
- Not Drowning but Waving (half-hour) – Caroline Mabey
- Prime (half-hour) – Laura Streicher
- Razzle (one hour) – Sharon Lennon
- Roads to Nowhere (feature) – Jordyn Giddens
- Six Letter Word (feature) – Lisanne Sartor
- Sovereign (one hour) – Arielle Waldman and Jordan Henry
- Suckers (one hour) – Emily Hornsby
- Syvertsen’s Complex (one hour) – Marni Sullivan
- The Changed (one hour) – Sessen Mengist
- The Montana (one hour) – Monica Cecilia Lucas
- This Is Not About You (half-hour) – Jessica Combs
- The Truthsayers (feature) – Julie Lynch
- Tits Up (one hour) – Stacey Russell
- Trivial Pursuits (feature) – Kristen Angonese
- Warrior Girl (feature) – Laurie Whitaker
by admin | Jul 28, 2025 | TV & Beyond Articles
a silly and fun return to form for the character after more than a decade of depressingly bleak Jesus allegories and “Superman as evil” what-ifs? Yes. Does it have arguably the single best portrayal of Jimmy Olsen on screen? Unquestionably. Does “Superman” work as a great introduction to a brand new DC Universe and makes it stand out from Marvel? Absolutely.
This last bit is important because there was a lot of speculation about what would happen if “Superman” didn’t deliver the goods and how the DC Universe could build up from a failed introduction like the last time DC tried to start a cinematic universe. Thankfully, “Superman” is not just a fun movie, but it does for DC what “The Avengers” did for Marvel in bringing together different characters, different tones, and introducing a vast world that could support all kinds of stories. Seeing David Corenswet’s Superman deal with Lex Luthor is already entertaining, but doing all that while Edi Gathegi’s Mister Terrific, Nathan Fillion’s Guy Gardner and Isabela Merced’s Hawkgirl help save the day makes the movie stand out as part of a much bigger world.
In what is possibly the best Easter egg in the movie, we get a glimpse at the history of the DC Universe in a mural that’s inside the Hall of Justice, the headquarters of the Justice Gang. James Gunn has already teased the existence of a popular classic hero in the DC Universe through his appearance in the mural, and now he’s teasing the importance of two other heroes for the future of the franchise.
After sharing the whole mural in full HD on social media for fans to obsess over, Gunn talked to IGN about the meaning of the mural for the future. “I will just say that in one of our scripts we’re working on, two of those characters are kind of important,” Gunn teased, without specifying which two.
Historic DC heroes will (maybe) make their return
James Gunn/Warner Bros.
There are too many heroes in the mural to guess which two Gunn may be referring to without spending thousands of words, but the fact that it’s more than one is quite interesting. A relatively easier ask is to try and guess what script he’s referring to. Though there are more scripts and concepts being developed than are confirmed and announced, we do know of at least a few projects being currently written — including the Wonder Woman movie, a Sgt. Rock film, Batman feature “The Brave and the Bold,” and a Booster Gold TV pilot.
Out of all these, Sgt. Rock and Booster Gold are the most promising. The former can be a period piece involving wartime heroes like Phantom Lady (member of the Freedom Fighters). Booster Gold is more interesting — and likely, given that the character literally comes from the future and has vast knowledge of superheroes from the past. A show based on the character could go the “Legends of Tomorrow” route and have the titular character go on time-traveling adventures, meeting with different heroes from across the history of the DC Universe.
Alternatively, James Gunn could lean on what’s one of DC’s biggest strengths and deliver a movie or TV show exploring heroes from the past. I argued in favor of showing us the Justice Society of America, but what could truly make this cinematic universe unlike any other is to treat it as a fleshed-out universe with a long history. Given the focus on comic books as influence and inspiration, why not make an actual adaptation of Mark Waid’s “New History of the DC Universe” limited series and treat it as an in-universe documentary of the history of metahumans? In an era where Marvel is promising to slow down on interconnectivity, giving audiences the choice of catching up on everything a cinematic universe has to offer or not is becoming important. Something like this, which is great for worldbuilding but not necessarily essential to understand the next chapter in the DC Universe, could be a great way of making DC stand out.
DC should capitalize on the mural
Warner Bros.
What’s interesting about the heroes portrayed in the mural is the kind of powers on display. First, we have confirmation of magic being real in the DC Universe via Zatara the magician (father of Zatanna and mentor to Bruce Wayne) and Madame Xanadu appearing. Granted, we did get Circe the Amazonian sorceress in season 1 of “Creature Commandos,” but it’s nice to see DC doubling down on not just the sci-fi but also the supernatural. Could this be the start of the road to a “Justice League Dark” project in the future? I, for one, would love to see it.
Also very curious is the appearance of what seems to be Max Mercury the speedster, who is actually represented twice: once as Windrunner and then also as Max Mercury. This seems to be in line with the idea from the comics that he keeps jumping through time and acting as different heroes. Whether James Gunn simply wants to avoid bringing The Flash back, or whether the plan is to have several speedsters in play, a time-traveling one is definitely a cool idea to introduce to a superhero cinematic universe.
At the very least, this is a sign that the future is bright and full of possibilities for the DC Universe.
by admin | Jul 28, 2025 | TV & Beyond Articles
we failed you, “Thunderbolts*”), we have seen the most sincere and earnest superhero movies in years come out in a short timespan. Though many fans would like to think DC and Marvel are polar opposites, more often than not, they reflect one another. At the very least, that’s the case with James Gunn’s “Superman” and the new, more hopeful, optimistic, and cosmic take on Marvel’s first family in “The Fantastic Four: First Steps.”
Though the two movies are very different — one kickstarts its cinematic universe, the other brings it closer to a supposed reset — they nevertheless have more in common than you’d think. They are both reboots of iconic superheroes — Superman and a reinvention of the Human Torch both being the very first superheroes of DC and Marvel — that are hugely important to the history of their respective comic book publishers, and each has gone through poorly received and unsuccessful movies in the past 20 years. But their time in the sun has come at last.
A world that’s already super
Marvel Studios
Like James Gunn’s “Superman,” the new “Fantastic Four” movie throws us off the deep end and into a fully realized world of heroes. At the start of the movie, the Fantastic Four have already been active for four years (three in the case of Superman) and the movie spends a lot of time exploring just how much he world has changed due to their impact. Granted, the Fantastic Four seem to be the only superpowered individuals in this world — unlike “Superman” which has been populated by metahumans for centuries — but this is nevertheless a world that has already seen plenty of big superhero stories. The movie begins with a montage exploring the history of the heroic family and every one of the many villains they have defeated over the years — from the hilarious Mole Man to Red Ghost and his Super-Apes.
This means that the movie proper can focus on the heroes facing a big personal crisis that interrogates their place in the world rather than just showing them learning the ropes. Everyone has complete control over their powers, and the tension comes from them having to face the very first threat they can’t just fight easily. Similarly, when we first meet Clark Kent in “Superman” he’s already earned the world’s love and admiration, and he’s very confident in his abilities. That the movie begins mere minutes after his vey first defeat means the character goes through an existential crisis and ponders what his place in the world is, especially after he learns that his parents wanted him to rule over Earth.
Indeed, both movies throw philosophical questions at the heroes through their own character dynamics. In “Superman,” we see Lois and Clark arguing about whether Superman should interfere in foreign affairs, what authority a superhero really has, and whether doing good supersedes proper protocol — and the tension these conversations create has an impact on their romance. In “Fantastic Four: First Steps,” Sue and Reed argue over what responsibility their “family” has to the world and whether that responsibility is more important than their commitment to each other.
Caring for normal people
Marvel Studios
To that point, both movies have a big focus on showing the impact their heroes have on everyday people, and showing that everyday people interact with the heroes. This is something that’s been solely missing from the superhero genre. Back in the very, very early days of the Marvel Cinematic Universe. this was an important part of the movies, as we saw the heroes saving regular people all the time, getting them to safety, and offering comfort while their worlds crumbled around them. Nowadays, that’s almost entirely lost, with the stakes so high that there is simply no room to care about individuals — which is why “Thunderbolts*” felt so refreshing, and emotionally devastating.
“Fantastic Four: First Steps” continues that with a big focus on the relationship between the titular group and the public, with crowds gathering on the streets to cheer for the heroes when they leave Earth to find a way to stop Galactus or to boo them when they fail to do so. We see more of them actually saving people throughout the story than actually beating up villains (in no small part due to Galactus simply being too big a threat to beat up, literally). Likewise, all throughout “Superman” we see Clark go out of his way to prevent any damage from coming to people, saving kids from rubble, saving a dog and even a squirrel from being crushed by a space kaiju. This approach makes the heroes seem both more approachable and also truly heroic.
One of the best sequences in all of “Fantastic Four: First Steps” involves Ben being greeted and cheered on by a group of kids who want him to lift a car (and then throw it). Meanwhile, a citizen in Superman was honored by a time when the Big Blue Boy Scout stopped by his food cart for some tasty eats. Forget fighting the big bad guy, this is what it means to have superheroes.
by admin | Jul 28, 2025 | Articles, Hollywood Reporter Articles
Eddie Murphy let slip some major Shrek news during a new interview.
The 64-year-old comedy icon was promoting his upcoming film The Pickup when he was asked about his upcoming role in Shrek 5. Murphy said he’s currently recording the DreamWorks release, but is then going to start recording dialogue for a Shrek spinoff film centered around his beloved Donkey character.
“We’re still in the booth, and literally, we’re still doing Shrek,” he told Screenrant. “We start in September on Donkey — we’re doing a Donkey one, and that’ll [be released] three years from now. But we’re about two years into Shrek 5. Still in the booth and about to start Donkey in September.”
Continued Murphy: “Donkey‘s going to be like how Puss in Boots had his own movie, Donkey’s going to have his own movie — [his] own little story with his dragon wife and his kids that are half-dragon and half-donkeys. They’ve written this funny story. We’re doing that, starting that in September.”
Murphy has teased a Donkey movie in the past, but these are his most substantive comments yet.
DreamWorks had no comment, but a spinoff around the fan-favorite character certainly sounds like a viable project — especially given the box office success of the two Puss in Boots spinoff films (2011’s Puss in Boots and 2022’s stellar Puss in Boots: The Last Wish).
Donkey has been the giant green orge’s sidekick starting with the 2001 original, and continuing through three more films.
Murphy’s The Pickup is a heist action comedy coming to Prime Video that’s directed by Tim Story and stars Murphy, Keke Palmer and Pete Davidson. In the film, a pair of mismatched armored truck drivers (Murphy and Davidson) find their routine cash pickup escalating into chaotic mayhem when they’re ambushed by ruthless criminals led by the savvy mastermind (Palmer). The film will be released on Aug. 6.
