TV & Beyond on 2025-07-21 17:04:36

TV & Beyond on 2025-07-21 17:04:36

the struggles the MCU has faced over the last six years, as well as plans for the future.

The goal for a while now has been lower budgets, fewer projects, and higher quality. That strategy led to one of the franchise’s biggest critical successes in years when “Thunderbolts” was released in May. Unfortunately, the box office didn’t keep up with the acclaim.

“‘Thunderbolts*’ I thought was a very, very good movie,” Feige said while speaking with the press (per Variety). “But nobody knew that title and many of those characters were from a [TV] show.” Feige is likely pretty on the money here. John Walker (Wyatt Russell) had only previously appeared in “The Falcon and the Winter Soldier,” for instance, and several other characters — Yelena Belova (Florence Pugh), Red Guardian (David Harbour), and Taskmaster (Olya Kurylenko) — were from “Black Widow,” one of the lesser-seen MCU movies.

A general loss of faith in the MCU after several lackluster projects may have also played a role, of course. “Some [audiences] were still feeling that notion of, ‘I guess I had to have seen these other shows to understand who this is,'” Feige said. “If you actually saw the movie, that wouldn’t be the case, and we make the movie so that’s not the case. But I think we still have to make sure the audience understands that.”

Marvel Studios is looking to recenter things going forward

So far, 2025, hasn’t been the MCU course-correcting year that Feige and other Disney execs likely hoped for. “Thunderbolts” got great reviews, but it didn’t even crack $400 million globally, and according to Variety it needed to gross around $425 million just to break even. The film that came out just before it, “Captain America: Brave New World,” didn’t fare much better financially and got a notably worse critical reception. There’s hope that “The Fantastic Four: First Steps” could turn Marvel’s 2025 around, and early reactions have been very positive, but we won’t know for sure until the film releases later this week.

Perhaps the strongest indicator there, apart from the stellar ensemble cast, is that “Fantastic Four” exists in its own, separate universe with a unique aesthetic, steering clear of the issues that Feige believes held “Thunderbolts” back. “We always were planning, even before that became a talking point, to introduce them in their own world in which they are the only heroes,” Feige said at his recent media day (via Variety). “It is a no-homework-required movie. It literally is not connected to anything we’ve made before.”

Maybe this can be the new hit Marvel Studios has been waiting for. It will have to compete with a long tail on James Gunn’s “Superman” — a film that opened to massive box office numbers, and which Feige gave high praise in the same interview. The answer for Marvel can’t and won’t be having every project feel independent, like “Fantastic Four,” but there seems to be a renewed dedication to accessible, distinctive projects going forward.

TV & Beyond on 2025-07-21 16:45:00

TV & Beyond on 2025-07-21 16:45:00

Wayne taught Howard a very important lesson during their time together on “The Shootist.” But their relationship went beyond their one on-screen collaboration. “The Shootist” — during which Wayne fought a behind-the-scenes battle — debuted to modest box office success and critical acclaim, and the pair remained friends thereafter, to the extent that the Duke actually had a plan for what their next project might be. Sadly, that project was never realized before Wayne passed away.

Ron Howard could have starred alongside John Wayne one more time

Long before he starred alongside John Wayne in “The Shootist,” Ron Howard made his name as a child star, most notably by playing Opie Taylor on the 1960s TV series “The Andy Griffith Show.” After playing a lead role in George Lucas’ “American Graffiti” in 1973, Howard boosted his profile even further by playing Richie Cunningham in the sitcom “Happy Days.” He debuted on the series in 1974, playing a the nice but boring counterpart to Henry Winkler’s Arthur Fonzarelli. The young actor stayed with the hugely-popular series right up until the start of season 8 in 1980 (though he returned as a guest later in the show’s run). It was during his time on “Happy Days,” then, that Howard first worked with John Wayne, learning how much of an artist the Duke really was on “The Shootist” and seemingly making enough of an impression on the man that he  developed plans for another collaboration.

In a 2023 interview with Graham Bensinger, Howard recalled how he ran into Wayne after “The Shootist” had been released. “We crossed paths at an AFI dinner honoring Henry Fonda,” he explained. “I saw him and he said, ‘I found a book. I want to make it into a movie and it’s you and me or it’s nobody.'” Howard went on to explain how Wayne’s illness and declining health was known at the time, adding “It was really poignant at first to see that he still had that drive, but also to know that he wanted to work together again, which meant a lot to me.”

Howard didn’t elaborate on the project during this interview, but at the time of his death, the Duke had already bought the rights to Buddy Atkinson’s novel “Beau John.” The former “Beverly Hillbillies” writer had finished his novel and before it was even published Wayne’s production company, Batjac Productions, snapped up the rights. The story revolved around a family in small town Kentucky during the 1920s, and would have seen the Duke playing the patriarch in what was a more lighthearted project that the actor was typically known for. It would also have featured several generations of the family, including a son, son-in-law, and grandson, and Wayne had Howard in mind for one of these roles. In Scott Eyman’s book “John Wayne: The Life and Legend,” however, Howard is quoted as saying the adaptation “never got past the verbal stage,” adding, “At that point, [Wayne] was showing signs of not being well. I was a little doubtful.”

Ron Howard won over John Wayne early on

Just how well John Wayne’s “Beau John” adaptation would have fared will forever remain a mystery, but at least Ron Howard will always know the Duke had a soft spot for him. Howard discussed his relationship with the late actor during a 2014 Tribeca Film Festival panel (via The Huffington Post) where he explained how things started out a tad rocky on “The Shootist” — which remains one of John Wayne’s best films — but he eventually won over the veteran star by asking him to run lines.

According to Howard, Wayne responded to the request by saying, “Nobody ever asks me to do that.” From that point on it seemed the two got along, with Howard also claiming that his television background appealed to Wayne. The actor-turned-director told UPI, “It turned out my television background was something he really related to because those Westerns were sort of his version of being a television actor. He felt like with that kind of background, a person would know how to get it done.” Whatever the case, Wayne was clearly impressed with his younger counterpart, as evidenced by the fact he planned to make another film with him. Considering “The Shootist” was well-received by critics, however, it might be for the best that this was the duo’s one and only collaboration.

Adria Arjona to Star With Michael B. Jordan in ‘Thomas Crown Affair’

Adria Arjona to Star With Michael B. Jordan in ‘Thomas Crown Affair’

Adria Arjona to Star With Michael B. Jordan in ‘Thomas Crown Affair’

Adria Arjona is set to star alongside Michael B. Jordan in The Thomas Crown Affair for Amazon MGM Studios.

Jordan directs and stars in the feature reimagining that is currently in production in London and follows Norman Jewison‘s 1968 original of the same name starring Steve McQueen and Faye Dunaway. Kenneth Branagh, Lily Gladstone, Danai Gurira, Pilou Asbæk and Aiysha Hart round out the cast for the new project that hits theaters March 5, 2027.

Taylor Russell was previously set to star opposite Jordan in the film. The Hollywood Reporter reported last week that the Bones and All actress exited the movie amid creative differences.

Drew Pearce (The Fall Guy) wrote the script for the new movie after Wes Tooke and Justin Britt-Gibson penned a previous draft. Producers include Jordan and Elizabeth Raposo for Outlier Society and Charles Roven for Atlas Entertainment. Patrick McCormick and Toberoff Productions’ Marc Toberoff also produce. Alan Trustman, who wrote the original film, serves as an executive producer.

The original Thomas Crown Affair landed two Oscar nominations and tells the story of an insurance investigator working to track down the perpetrator of a bank heist. It was remade in 1999, with the updated version starring Pierce Brosnan and Rene Russo.

Arjona is known for such series work as Disney+’s Star Wars show Andor and for features including Blink Twice and Hit Man. She can next be seen opposite Dakota Johnson in Neon and Topic Studio’s comedy Splitsville.

The Thomas Crown Affair reunites Jordan with the studio that released his 2023 directorial debut, Creed III.

Jordan teased his take on The Thomas Crown Affair during a video segment at CinemaCon in April, telling the crowd that his movie “isn’t just another remake.”

Arjona is represented by CAA, Anonymous Content, Brillstein Entertainment Partners and Stone Genow.

Variety was first to report on Arjona’s casting.

TV & Beyond on 2025-07-21 16:30:00

TV & Beyond on 2025-07-21 16:30:00

suffer the misfire that was “M3GAN 2.0,” which isn’t going to make a third of what the original “M3GAN” did. But while it’s not nearly as bad in the early going for Sony Pictures, the studio’s “I Know What You Did Last Summer” legacy sequel opened in theaters over the weekend and, sad to say, it fell pretty far short of expectations as well.

“I Know What You Did Last Summer” opened to an estimated $13 million domestically over the weekend, coupled with $11.6 million overseas. That gives it a $24.6 million global start against a reported $18 million budget. That’s by no means a disaster but considering that pre-release estimates had “Last Summer” taking in between $16 and $25 million in North America, that’s a disappointment. The re-introduction of the once-popular ’90s slasher film series was directed by Jennifer Kaytin Robinson (“Do Revenge”).

While Sony probably won’t lose a lot of money on this movie due to its relatively thrifty budget, any hopes that this would revive the franchise on a longer term basis have gone out the window. Audiences had previously demonstrated a willingness to show up for long-awaited revamps of once-popular horror properties this year, with “28 Years Later” ($145 million worldwide) and “Final Destination Bloodlines” ($285 million worldwide) both doing big business. Sorry to say, though, this one couldn’t catch a similar wave.

There’s no reason to believe word of mouth will help here, either, as the fourth movie in the “Last Summer” franchise holds a poor 38% approval rating on Rotten Tomatoes to go with a lousy C+ CinemaScore. It’s also perhaps worth pointing out that Amazon Prime Video’s “I Know What You Did Last Summer” TV show was canceled after just one season in 2022. The interest just doesn’t seem to be there in any meaningful way to keep this enterprise alive.

I Know What You Did Last Summer couldn’t pull a Scream this time

The latest installment in the “Last Summer” franchise centers on five friends who inadvertently cause a deadly car accident, which they decide to cover up and keep a secret. A year later, though, it comes to light that, you guessed it, someone knows what they did last summer, and horror ensues. The sequel hits many of the same beats as “I Know What You Did Last Summer” (1997), with both Freddie Prinze Jr. and Jennifer Love Hewitt reprising their roles as Ray Bronson and Julie James, respectively.

In that way, it was taking a page out of the legacy sequel playbook, where it serves as a reboot for the younger generation while pulling in players from the past for nostalgia’s sake. Everything from “Jurassic World” to “Ghostbusters: Afterlife” has executed this strategy with success. Unfortunately, in this case, the outcome was fairly muted. Meanwhile, the gold standard for horror legacy sequels remains 2018’s “Halloween,” which made an astonishing $255 million worldwide, kicking off a lucrative trilogy for Blumhouse.

Clearly, Sony was hoping the appetite would be there for this franchise as well. The original “I Know What You Did Last Summer” pulled in $125 million worldwide against a $17 million budget. It was part of the revived slasher trend that kicked off in the wake of Wes Craven’s “Scream” in 1996. So, in some ways, this franchise has always lived in the shadow of “Scream.”

To that end, Paramount recently had great success with 2022’s “Scream,” which made $138 million worldwide, paving the way for “Scream VI” to become an even bigger success in 2023 (where it pulled in $169 million). While the brass at Sony surely had no illusions about “Last Summer” having that kind of juice, they also clearly hoped for a stronger result than what they ended up with. Those hoping for another sequel à la “I Still Know What You Did Last Summer” should go ahead and temper those expectations.

“I Know What You Did Last Summer” is in theaters now.

TV & Beyond on 2025-07-21 16:14:27

TV & Beyond on 2025-07-21 16:14:27

trusts the audience to figure out who the characters are and how the world works rather than stop to explain things. The movie opens years into Superman’s career, centuries into humanity’s discovery of metahumans, and it continuously introduces new characters and concepts without hesitation. By the time the story begins, we understand there’s a much larger universe at play here, and we get a sense of history that we’re not quite seeing but might see in the future.

Just like the opening text crawl teases the existence of superpowered beings on Earth, there is a blink-and-you-miss-it moment where we get a mural showing the history of heroes within the Hall of Justice. That mural, which contains illustrations of various heroes, has fans excited at the prospect of any of those characters potentially showing up in the future.

Though the shot is too brief and too unclear to be 100% sure who is in there, James Gunn has already confirmed one of the heroes. Speaking with Josh Horowitz on the Happy Sad Confused podcast, Gunn seemingly confirmed Doctor Fate exists in the DC Universe. “I think Doctor Fate’s in there,” he said, referring to the mural.

Doctor Fate joins the DCU

Perhaps more interesting than Gunn confirming that Doctor Fate is in the Hall of Justice’s historic mural is his confirmation of who isn’t in it. When asked about whether Jay Garrick’s Flash appears in the mural, which fans (and myself) speculated, Gunn denied it with a simple “nope.” Gunn was also asked if Alan Scott’s first Green Lantern is in the mural, and Gunn did not give a definitive answer. “I don’t think so,” Gunn said before looking off camera for confirmation, not saying anything more one way or the other.

The inclusion of Doctor Fate makes sense to tease the existence of the Justice Society (which made its big screen live-action debut in the ill-fated “Black Adam”), but to not include Jay Garrick or Alan Scott is interesting. There is a chance Gunn’s DC Universe will not include them in the historic Justice Society roster in order not to draw confusion or comparison between the old and new generation of Flash and Lanterns, but that’d also be a wasted opportunity. One of the greatest strengths of the DC universe in the comics is the sense of legacy — that the mantle of certain heroes has existed for a long time, and is passed down from one generation to another. Even when the heroes aren’t exactly related, the inspiration and respect is there. It’d be a huge advantage over Marvel if DC were to lean on this (and it appears that HBO’s upcoming Green Lantern TV series “Lanterns” is embracing this approach).

That being said, there’s still a chance the two characters will make some appearance elsewhere down the line even if they are not on the mural. And if all else fails, that mural can just be changed in the next film.

TV & Beyond on 2025-07-21 16:00:00

TV & Beyond on 2025-07-21 16:00:00

by | Jul 21, 2025 | TV & Beyond Articles

Rotten Tomatoes page.

The site that claims there are only two perfect Alfred Hitchcock movies might not be the most reliable source, but it gives us an overall sense of how Thornton’s films have been received, and there are plenty of missteps here, from the Western flop “South of Heaven, West of Hell” and its 14% critic score to the comedy-drama “Waking Up in Reno,” which earned just 8% and which Todd McCarthy of Variety called “a hillbilly romantic comedy in which the hillbillies show up but the romance and comedy never do.”

But neither of those failures quite compares to 2018’s “London Fields,” which by all accounts was a complete blunder both in terms of its reception and its production. The mystery thriller from director Mathew Cullen was an adaptation of Martin Amis’ 1989 novel of the same name, with the British author co-writing the screenplay alongside Roberta Hanley. While the book was well-received (though also prompted its share of controversy), the film was absolutely eviscerated by critics. Considering its troubled production, however, that’s not all that surprising.

London Fields was a misguided adaptation caught up in legal issues

“London Fields” stars Billy Bob Thornton as writer Samson Young, who, after struggling with writer’s block for 20 years, travels to London, where he meets Amber Heard’s Nicola Six. This clairvoyant temptress claims to be able to see her impending death at the hands of one of three men she’s currently seeing, one of which is Young himself. Jim Sturgess plays taxi driver Keith Talent, while Theo James plays beleaguered businessman Guy Clinch, both of whom round out Six’s love triangle. The film also features Jason Isaacs, Cara Delevingne, Obi Abili, and Jaimie Alexander.

“London Fields” was set to be screened as part of the Special Presentations section of the 2015 Toronto International Film Festival, but the day before it was due to premiere, festival organizers pulled it from the schedule. At the time, the festival cited “uncertainty surrounding the creative vision of the version of the film scheduled to be screened,” which was a way of saying director Mathew Cullen was suing the producers over their cut of the film. As Global News reported at the time, a lawsuit filed by the filmmaker accused the producers of fraud and of using his name to promote a version of the film he didn’t support.

Eventually, the producers and Cullen reached a settlement, which allowed “London Fields” to receive a wide theatrical release in the United States on October 26, 2018. But it probably should have remained in the vault considering the critical response and its commercial performance. As Martin Amis’ old buddy Christopher Hitchens used to say, “Everybody does have a book in them, but in most cases, that’s where it should stay.” In this case, the book wasn’t the issue — it was the adaptation that probably should have stayed hidden, seeing as it managed that rare accomplishment of actually appearing to enrage the critics who were forced to see it (much like the worst movie of all time according to IMDB).

London Fields upset critics and made no money

As you might not be surprised to learn, “London Fields” is Billy Bob Thorton’s lowest-rated film on Rotten Tomatoes and the only project in the actor’s filmography with a 0% score. Clearly, director Matthew Cullen didn’t stand behind the cut that was released, but it’s hard to see how his own version could have improved on what audiences actually got, given the critical response.

David Fear of Rolling Stone claimed that “nothing works” in the film, and lamented the way in which Amber Heard was forced to “become a vamping pin-up, ogled by the camera like it was a horny college freshman.” Writing for RogerEbert.com, Peter Sobczynski dubbed “London Fields” a “boring and garish mess that even fans of the book will find nearly impossible to follow,” ultimately bestowing just half a star on the film. Things didn’t really get much better from there. Words like “horrendous,” “trashy,” and “bizarre” cropped up quite a bit in critics’ appraisals of the film, with Kaleem Aftab of The Independent going so far as to label the whole thing “car-crash film-making.” What’s more, while I acknowledge that it’s time to retire the Razzies forever, Heard did receive a Worst Actress nomination for her role in the film, which didn’t exactly help. Neither did the box office returns, which totaled a negligible $433,732 by the end of the film’s run.

Martin Amis, meanwhile, tried hard to make the best of the adaptation, telling The Guardian he found it “surprisingly faithful in many ways” and that he thought the central relationship was “moving.” Interestingly enough, the author also claimed not to have noticed any significant differences between the various cuts of the film, which casts at least some doubt on Cullen’s disavowal of the theatrical cut as being somehow inferior — though Amis did acknowledge that it wasn’t just Cullen that was upset by the final cut. “Everything in the new cut looked familiar,” said Amis, “so I can hardly remember what all the argument was over. I think it was the ending? All I know is that the cast was very much against the producer’s cut.” 

Regardless, as far as Thornton is concerned, “London Fields” is just a small stain on his career, and he can now look forward to “Landman” lasting for several seasons.