Happy Death Day 2U

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The novel premise of Happy Death Day was no doubt one of biggest reasons for the 2017 slasher flick’s box office success, with the film ultimately grossing $125.5 million worldwide on a $4.8 million budget. What’s more, the upcoming Happy Death Day 2U has a fair amount of positive buzz behind it, and if the Blumhouse Productions sequel performs as well as expected, then director Christopher Landon already has another crazy idea that the third movie could explore.

As well as helming both installments in this relatively young but popular horror series, Landon penned the script for the second film, and in an interview with Entertainment Weekly, the filmmaker teased plans for a threequel.

“I always imagined this as a trilogy,” Landon said. “So I have the third movie, but it’s just a question of whether this one does well. I would love to make the third one. I think it’s a really bonkers, fun idea.”

When asked if he could offer any clues on just what he has in mind, Landon stayed tight-lipped on the matter, but he did say that Happy Death Day 2U will hint at what’s to come in an end credits sequence.

“Oh god,” he said. “Well, I mean, there’s a big clue already in [Happy Death Day 2U]. There’s an end credit sequence, so people who stick around, they’ll see that. But, beyond that, mum’s the word right now.”

First Happy Death Day 2U Trailer Promises Valentine’s Day Scares 1 of 2

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By the time filmgoers have made it to the end credits tease, most will have made up their minds on whether or not they want the series to continue, but so far, the signs indicate that those who enjoyed the original horror hit should find much to appreciate in the sequel. It certainly helps that the follow-up sees the return of not just the first film’s director, but also several cast members, including Jessica Rothe as Tree Gelbman, Israel Broussard as Carter Davis and Ruby Modine as Lori Spengler, though it’s expected that the sequel will bring a new killer into the mix.

In any case, we won’t have long to find out if Happy Death Day 2U has done well enough to land a follow-up, since the film is set to hit theaters on February 13th.

Isn’t It Romantic

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Rebel Wilson, Liam Hemsworth, Adam DeVine and Priyanka Chopra starrer Isn’t It Romantic opens in theaters on February 13. Before that, the film had a grand premiere in LA. While Hemsworth had to miss it owing to health issues, Wilson and Chopra made a starry entry at the premiere of their film. The Indian star was accompanied by husband Nick Jonas and the duo made for a power couple at the pink carpet of the event.

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Priyanka was seen promoting the Todd Strauss-Schulson directorial as she asked her fans to spend the Valentine’s Day with her at the movies. In one of the videos shared on her fan page, PeeCee talks about how amazing it is to have Nick’s support and have him cheering for her. She even posted pictures and videos from the premiere on her Instagram handle. Later, Nick shared how proud he is of his ‘talented and beautiful’ wife.

Recently, the Quantico actor, in an interview with Extra, was also asked about her Valentine’s Day plans with Jonas. “We’re not supposed to be together this Valentine’s Day because I was working in LA and he in London, but things moved so I am glad we can spend that time together… The pressure does not exist – he’s thoughtful and sweet all the time,” she said.

Priyanka Chopra attended the premiere of her third Hollywood film, Isn’t It Romantic, with husband, American singer Nick Jonas, on Monday. The couple arrived hand in hand on the red carpet and also shared a kiss before posing with the film’s lead Rebel Wilson.

Priyanka and Nick earlier celebrated the Grammy’s weekend with their friends. While the couple was not seen at the Grammy awards, they were very much a part of all the fun.

Fighting With My Family

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Dad (Nick Frost) is the mohawked terror known as “Rowdy Ricky”; Mom (Game of Thrones‘ Lena Headey) dishes out pain under the name “Sweet Saraya.” And from the moment that their young daughter Saraya-Jade learned how to get out of a chokehold properly, she and her brother Zak were expected to get in the ring. The family that leg-drops together stays together, etc.Cut to the siblings in their teens, with Saraya-Jade (Florence Pugh) hitting the ropes as “Britani” and partner “Zodiac Zak” (Jack Lowden) giving local punters their money’s worth.

Then, the call comes: WWE representatives are going to be in London for a Smackdown event. They’ve seen the siblings’ tapes and they’d like both of them to audition. After running into The Rock backstage (Dwayne Johnson in the role he was born to play, i.e. an even more charismatic version of himself), the Knights try out for a wisecracking drill sergeant of a trainer named Hutch (Vince Vaughn).

Zak gets the boot. Saraya-Jade gets invited to train in pro-wrestling’s equivalent of the minor leagues in Florida. Soon, our pale, Gothed-out heroine has renamed herself Paige and settled in to a physically punishing boot-camp experience. She also finds herself lost in America, a British Siouxsie Sioux among a sea of Barbies and one bad day away from seeing everything fall apart.

If you know Paige’s real-life, ragged-leotards-to-riches story, you know how this all plays out. Even if you don’t, Fighting With My Family makes no bones about telegraphing where it’s going and what kind of sports movie it is. There will be life lessons and setbacks and heel turns, especially when Zak’s resentment over his sister’s opportunity curdles into a personal downward spiral.

Of course there are training montages, how could you even ask? Vaughn’s coach belongs to a long line of screen hard-asses determined to either push athletes past their limits or break their spirits one soul-crushing putdown at a time — his aggro-sarcastic comic timing has not been this on-point since Swingers. But how many times do you think Mr. Side Eye will quietly smile to himself when Paige does something right, or give her a you’re-ok-kid nod when she succeeds in winning over tough crowds?

We stopped counting once that number hit triple digits. Just when you think Paige is down for the count, she finds the inner strength to come roaring back. The movie even plays like a wrestling match. It’s Underdog Cinema 101.What’s surprising is how well all of this suplex-to-nuts biopic works. Hiring Stephen Merchant, one-half of the braintrust behind the original U.K. edition of The Office and a writer-director with a droll wit, to tell Paige’s story initially seems like an odd fit.

But the skewed humor and warmth and scrappiness he brings to the family scenes, along with the fact that he doesn’t treat pro wrestling like a hold-your-nose novelty, is enough to distinguish this from a million other started-at-the-bottom-now-we’re-champs tales. Temporarily liberated from scowling and shorn-haired walks of shame, Headey is clearly having fun with her grappling, faux-growling wrestler mom.

Fans of Frost — or “Frostitutes,” as the resident comic relief in Edgar Wright’s repertory company has sometimes referred to us diehards — will be ecstatic that he’s given ample opportunity to indulge in goofballery, yet not at the expense of his character’s paternal concern. (He’s not just a comic caricature, in other words.) If the sequences of Zac nosediving into self-destructiveness feel like weak links, the rapport between him and his sister nail the bond of siblings born into a family dynamic involving the regular administration of piledrivers. And we haven’t even mentioned the movie’s not-so-secret weapon yet.

That would be Florence Pugh, an English actor who’s been slowly building an impressive resumé of period-piece heroines with claws and fangs. Those who first saw her in hell-hath-no-fury mode in Lady Macbeth (2016) registered someone with a genuine fearlessness; anyone who caught her Cordelia in a recent King Lear adaptation and her steely queen in Outlaw King (both 2018) could tell she was meant for bigger things than corsets and cowering in musty castle corners.

Before you could yell, “Welcome home, Helena Bonham Carter 2.0!”, we got her undercover recruit in AMC’s John le Carré adaptation The Little Drummer Girl, and it started to feel like her talent was real-thing transcendent. This confirms it. Paige is the sort of role that requires her to be vulnerable, tough, rebellious, funny, determined, drained, someone capable of executing a move called “The Paigeturner,” everyone’s little sister and the sort of larger-than-life performer that can command an arena. She lets you see where all of this springs from, and how it’s all part of the same misfit. You’d be advised to see it for Pugh’s fireplug turn alone, which makes the just-north-of-oddball take on a warhorse narrative, the Rock’s charm-offensive cameos and a really choice Vin Diesel dig almost feel like bonuses.

Donnybrook

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“It’s how you fight is all that counts at the Donnybrook…” IFC Films has debuted the first official trailer for an indie fight drama titled Donnybrook, which premiered at the Toronto Film Festival and Fantastic Fest last year. This is the latest feature made by indie filmmaker Tim Stutton, of the films PavilionMemphis, and Dark Knight. It’s about “three desperate souls” who must fight their way out of a dead-end world in this “bracing, gut-punching glimpse into America’s dark underbelly.

Two men prepare to compete in a legendary bare-knuckle fight where the winner gets a $100,000 prize. Starring Jamie Bell as Earl, along with Frank Gillo, Margaret Qualley, James Badge Dale, Chris Browning, Adam Bartley, and Pat Healy. If you’re already a fan of Sutton’s low key films, then you know what you’re getting into, but it really looks like he’s kicking things up a notch and going more “epic” as one of the quotes in this trailer says.

Worth a watch.Three desperate souls must fight their way out of a dead-end world in this bracing, gut-punching glimpse into America’s dark underbelly. Earl (Jamie Bell) is a struggling ex-marine and father determined to make a better life for his family—no matter what it takes. Angus (Frank Grillo) is a violent, unhinged drug dealer who leaves a trail of death and destruction in his wake. And Delia (Margaret Qualley) is a haunted woman who will do anything to escape a life of crime she can no longer bear.

In their kill-or-be-killed world, all roads lead to the Donnybrook: an illicit backwoods cage match where bare-knuckled fighters brawl for a shot at a $100,000 prize. It’s either a last-ditch chance at redemption—or a death sentence. Blending unflinching brutality with dreamlike lyricism, director Tim Sutton conjures a mesmerizing, visceral vision of life on the extreme margins. Donnybrook is written and directed by filmmaker Tim Sutton, director of the films Pavilion, Memphis, and Dark Knight previously.

Based on the novel by Frank Bill. This premiered at the Toronto Film Festival and Fantastic Fest last year. IFC Films will release Sutton’s Donnybrook in select theaters starting February 15th, then on VOD starting February 22nd. Who’s in?Survival of the fittest. Charles Darwin’s theory that only the strong make it to the break of day lies at the cynical heart of Tim Sutton’s Donnybrook, which got a fresh trailer today three weeks ahead of its release. Just enough time to wrap your hands, stretch your conscience out, and get ready for the first must-see film of 2019.Adapted from the pulpy gravel road mind of author Frank Bill, Donnybrook explores a rugged part of Indiana where a bare-knuckle tournament awards one bloody victor with $100,000. For veteran Jarhead Earl, that’s not just a ticket out of town, but a new lease on life. All he has to do is sift through the corrupt town and get by the devilish clutch of Chainsaw Angus, a drug kingpin with sinister ways that usually leave adversaries cold and full of dirt.

The trailer cuts a desolate tone, opening with Earl walking into a caged off room with several other fighters enclosed, setting up to have an all out brawl. You see, this isn’t the kind of tournament where two fighters get into a ring and throw punches. The entire group gets in at once and only one stands in the end. Bell’s rugged yet scrappy look pales in comparison to others, but that’s the point. He’s a man out of time trying to make things right. As Earl’s family member tells him on the river, it all comes down to how you fight at the Donnybrook.When someone asks Earl what happens if he loses, his reply is succinct and quick: “I can’t lose.” The desperation in his voice fuels his desire to win. The same could be said for everyone in Sutton’s world. People desperate to get to the next day, even if it means climbing on top of ten others.

Grillo’s Angus walks through the trailer like the Grim Reaper of the South, killing people with guns, needles, and whatever else he can find. Angus’ sister, Delia (Margaret Qualley), has sworn by him for years, even though their relationship revolves around sexual abuse, violence, and all-around slavery. Midway through the trailer, he asks Earl if she can tag along with him.

James Badge Dale’s cop may wear the badge and aim to keep the peace, but he seems to be carrying a wistful ounce of contempt and reality, saying the world is one big lost soul not worth saving. He’s sawing off a shotgun, and looks to be going up against Angus in one scene.

The 150 minute clip is soaked in darkness and grim pictures. Sutton seems to have taken Bill’s words and championed them instead of merely recycling them. Sutton’s visual palette here is similar to the one he employed in Memphis and Dark Night. The filmmaker is drawn to the land of the unfortunate beasts who yearn for survival against the worst odds.

It’ll all come down to Earl and Angus going head to head, as the final 30 seconds of the trailer, tuned to the National Anthem which is sang before the brawl begins, shows Grillo’s antagonist staring down Earl across the cage. A collision course marked in blood.

Say hello to the grass roots version of Fight Club. If you like graphic novels with a vengeful heart, you’ll like Donnybrook. You got some No Country For Old Men vibes mixing in with Out of The Furnace flavors. Throughout it all, Sutton’s film cuts its own tone. The trailer assures you of one thing: no matter who wins, no one makes it out alive.

Grillo gets to break bad in a real way, and show a side of his persona few of his fans have seen before. Angus would eat Brock Rumlow for breakfast. Along with raves about the work of the cast, the film won Best Picture at Fantastic Fest.

In life, none of us do. That’s the the backbone of Bill’s novel. Life is like a heart: a clinched fist covered in blood. Are you ready for the Donnybrook? I am.

If you look up Donnybrook in the dictionary, here’s what it’ll say: a scene of uproar and disorder.

This February, movie audiences get a full serving.

Alita Battle Angel

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Abandoned cyborg Alita (Salazar) is found in the scrapyard of Iron City by cyber-doctor Ido (Waltz), who takes her to his clinic. With no memory, Alita must adapt herself to this big bad dystopian world. As she learns to navigate her new life, Ido tries to shield Alita from her mysterious past.

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After accidently discovering her real powers, Alita sets out on a journey that makes her take on the .. Genre films face a chronic problem: they have to introduce viewers to new worlds quickly and efficiently. There’s often so much lingo and history to lay out that writers have to choose between clumsy information dumps, or leaving their setting unexplained for long stretches, so they can get to the action.

By the time a film’s original science fiction or fantasy setting starts feeling familiar, it’s about time for the credits to roll. That’s one of the many reasons studios find it so irresistible to turn these titles into franchises. By the second outing, the groundwork has already been laid, and the writers can hit the ground running. The challenge is producing a first film that’s worthy of a sequel.

Alita: Battle Angel, based on Yukito Kishiro’s 1990s manga series Battle Angel Alita, is a triumph of worldbuilding and a failure of storytelling. The film is set in a distant future following a devastating war that leveled all but one of Earth’s great floating cities. That last survivor, Zalem, is fueled by the factories of Iron City, and the humans and cyborgs who live in Zalem’s shadow literally feed off its scraps while dreaming of a better life above.

Scrounging for spare parts amid the trash Zalem dumps down to Earth, the kindly cybernetics genius Dr. Dyson Ido (Christoph Waltz) discovers a cyborg girl who’s still alive, and repairs and adopts her.The amnesiac Alita (Rosa Salazar) progresses from wonderstruck child to moody teenager over the course of days, rebelling from Ido’s fatherly protectiveness to spend time with her generic “criminal with a heart of gold” boyfriend Hugo (Keean Johnson).

Alita has a particularly good reason for thrill-seeking, as a battle against the cyborg equivalent of Jack the Ripper triggers some memories of her past life, and convinces her that more violent conflict might reveal more information. Like a video game hero, Alita progresses through the film, earning gear upgrades and memories of extremely lethal martial arts that allow her to take on increasingly more powerful threats.The cliché game plot isn’t helped by the film’s cartoonishly evil villains.

Jennifer Connelly plays Chiren, Ido’s haughty, morally compromised ex and fellow cybersurgeon. She stands out from the grittier denizens of Iron City, with her fine clothes and a forehead gem which looks distractingly like a BIM mark from the trash classic The Apple. Grewishka (Jackie Earle Haley), the hulking murderous cyborg hunting Alita for much of the film, at one point literally kills a dog just to show how irredeemably evil he is. Moonlight’s Mahershala Ali fares a bit better, by virtue of a plot quirk that has him alternately playing sports mogul Vector, and Zalem’s maniacal ruler Nova. But his acting talents are largely wasted on the clunky script, written by James Cameron and Laeta Kalogridis.