Review: Queen and Slim

Starring Daniel Kaluuya and Jodie Turner-Smith

Review: Grand Isle

Starring Nicolas Cage and Kelsey Grammer

Review: The Aeronauts

Starring Felicity Jones and Eddie Redmayne

Review: Knives Out

Directed by Rian Johnson

Review: The Wolf Hour

Starring Naomi Watts


'A Quiet Place 2' Teaser Showing Exclusively Ahead Of 'Black Christmas'

Last night I had the misfortune of paying to see Black Christmas (review here), and as some of you know there were technical difficulties at the theater. The film started more than 20 minutes late, and so they completely skipped the trailers. Normally this is a trade-off I'm cool with, but not in this case, because Black Christmas screenings were the only place to get an exclusive teaser for A Quiet Place 2.


Screenrant reports that A Quiet Place 2 was exclusively teased ahead of Black Christmas, which means tens of people may have seen it by now. Anyway, this is becoming a regular thing of late, with trailers to major upcoming films featured only to specific audiences. It's become common practice for Christopher Nolan, who teased Tenet ahead of Hobbs & Shaw. I suspect this will make at least a few people buy a ticket...or just sneak into the auditorium for the trailers then duck back out.

As for what the teaser reveals, well...*SPOILERS*

The 20-second clip shows Emily Blunt's character walking along a trailer along with her two kids, similar to the way the first movie began. Obviously, they are trying to keep silent to avoid attracting monsters, but it's made clear that Blunt's foot is bandaged up, showing damage from the nail she stepped on previously. That suggests events of the sequel pick up very soon after the first movie ends.

Not much else is known about the film, except that John Krasinski will write and direct. Millicent Simmonds and Noah Jupe return along with Blunt, while Djimon Hounsou and Cillian Murphy are new additions.

A Quiet Place 2 opens May 15th 2020.

DC Readers: Attend A Free Advance Screening Of 'Bombshell'

We're happy to offer our DC readers the chance to attend a free early screening of Bombshell, starring Margot Robbie, Nicole Kidman, and Charlize Theron.

SYNOPSIS: Starring Academy Award® winner Charlize Theron, Academy Award® winner Nicole Kidman, Academy Award® nominee John Lithgow and Academy Award® nominee Margot Robbie, based on the real scandal, BOMBSHELL is a revealing look inside the most powerful and controversial media empire of all time; Fox News, and the explosive story of the women who brought down the infamous man who created it. Directed by Emmy® Award winner Jay Roach and written by Academy Award® winner Charles Randolph.

The screening takes place on Monday, December 16th at 7:00pm at AMC Mazza Gallerie. If you'd like to attend, go to the Lionsgate ticketing site here. Please remember all screenings are first come first served and you will need to arrive early to ensure seating. Enjoy the show!

'To All The Boys: P.S. I Still Love You' First Look: This Time It's Real For Lara Jean And Peter

Lara Jean Covey and Peter Kavinsky are together again, people. And this time, it's for real.

If you don't know those names right off the top of your head, then clearly you didn't fall in love with Netflix's To All the Boys I've Loved Before, and it's two gorgeous stars Lana Condor and Noah Centineo. The film helped Netflix capture the market on teen romances, and now it's back for the sequel, To All The Boys: P.S. I Still Love You.

In these images we see Lara Jean and Peter getting close as an official couple, while another love interest who received one of her letters reemerges. 

SYNOPSIS: It’s a new year and Lara Jean (Lana Condor) and Peter (Noah Centineo) are no longer pretending to be a couple. They ARE a couple. And, as Lara Jean navigates a trove of official firsts with Peter — her first real kiss, her first real date, her first Valentine’s Day — she finds herself leaning more on Kitty and Margot (Anna Cathcart and Janel Parrish), Chris (Madeleine Arthur), and an unexpected new confidant, Stormy (Holland Taylor), to help her manage the complex emotions that come with this new chapter of balancing a relationship and figuring out her authentic self. But when John Ambrose (Jordan Fisher), another recipient of one of Lara Jean’s old love letters, enters her life again she must rely on herself more than ever as she’s confronted with her first real dilemma: Can a girl be in love with two boys at once?

Taking over as director (somewhat controversially) is Michael Fimognari, a cinematographer on the prior film. The cast Jordan Fisher, Anna Cathcart, Janel Parrish, John Corbett, Sarayu Blue, Ross Butler, Madeleine Arthur, Emilija Baranc, Trezzo Mahoro and Holland Taylor.

To All The Boys: P.S. I Still Love You hits Netflix on February 12th 2020.

Review: ‘Mob Town', David Arquette Tries To Stop A Mob Party In Upstate New York

Before 1957, “there is no mob” was the official policy/comment from J. Edgar Hoover’s FBI.  However, after the famous “Apalachin Meeting” in the small town of Apalachin, New York (and all the subsequent arrests made from it), the US government started to get serious about the Mafia, and thank goodness, where would all our awesome mob movies (much better than this one) come from?

Danny A. Abeckaser’s Mob Town details an account of that famed meeting.  After being exiled in Italy, mob boss Vito Genovese (Robert Davi) successfully takes out his rivals and wants to set up a meeting away from all the heat of New York City and enlists Joseph “Joe the Barber” Barbara (Abeckaser acting as well as directing) to use his upstate New York residence to host up to 100 members (including 60 bosses) of La Cosa Nostra to establish himself as the “Capo Dei Capi.”

All that stands in his way is NY State Trooper Ed Croswell (David Arquette) who notices that “something’s up.” At first, he arrests an enforcer who has a fake ID and attempts to bribe him during the stop, but Ed’s not easily bought. Of course, the guy’s too connected and has to get cut loose after a state supreme court judge orders his release. That pretty much puts the bug in Croswell’s ear that the mob has somehow infected Apalachin, and he’s going to get to the bottom of it. Of course, this falls on deaf ears for his bosses. His job is to “write speeding tickets,” not investigate mob conspiracies that no one else sees.

While having a name like “Mob Town” may make you think this is going to be Scorsese-ish, you may want to think again. For the most part, the film really digs into the concept of party planning. If this was a film about someone getting ready for a big wedding instead of a mob meeting, not much of the script would really change. When the film doesn’t focus on Croswell keeping his ear to the street and his courting of widower Natalie (Jennifer Esposito), focuses on Joe the Barber as he’s frantically trying everything in his power to make sure this mob summit goes off without a hitch. Everything from trying to figure out what fish to have, what steak to order, and making sure the spaghetti will be done right. Working alongside Joe the Barber is his wife Josephine (Soprano’s vet Jamie-Lynn Sigler) who REALLY wants him to do well and be able to move up the ladder. In fact, what makes Croswell really start to take interest in what might be happening, is the fact that he can’t get a steak while on a date with Natalie as all the steak in the town has been purchased for the mob summit.

While some of the production is great (the architecture and car designs as straight out of the 1950s and captures that very well), most of the film falls a little flat. David Arquette’s Croswell doesn’t really sell that he knows something mob-related is going on, but somehow, he just does. You also can’t help but feel that Deputy Dewey Riley from Scream is in this movie instead of Sgt. Ed Croswell, who went on to become an authority on organized crime in real life. Sure, this could have been his origin story, but he still feels like he had no idea what was going on more than the audience did. Unfortunately, many of the mobsters are simply background extras, except besides Abeckaser’s Joe the Barber, who is hamming it up. The raid at the ending of the film, unfortunately, is a little anticlimactic as everything leads to the conclusion, and then goes to the aftermath of the summit. While a unique and interesting choice by Abeckaser, it falls flat as a result. Ultimately, Mob Town is an interesting outing for a second-time director. Shedding a little light on a little-known historical event that changed how we view organized crime is always interesting and informative, it just would have been intriguing to see different choices made in its presentation.

2 out of 5

Review: ‘Jumanji: The Next Level', An Effective Sequel To The Smash Jungle Hit

Way back in 2017, it was considered an unnecessary cash grab to do a “legacy sequel” to the classic 1995 hit Jumanji, especially since Robin Williams’ charm was no longer around for us to enjoy.  The idea of Dwayne Johnson and Kevin Hart headlining a Jumanji movie just sounded insane.  However, everyone was proven wrong as Jumanji: Welcome To The Jungle was funny, action-packed, fun, as it spun the video game movie genre on its head (and is probably the best video game movie made to date) and ended up clearing $962 million worldwide.  It’s almost a no brainer that a sequel would be greenlit.  But since we got everything we needed out of the first Jumanji sequel film, what new could they bring to the table, or would it suffer from Sequelitis?  With Jumanji: The Next Level, the series managed to once again reinvent itself and deliver a very fun movie while continuing to honor the groundwork laid previously.

A year has passed for the gang after they experienced the events of the first film.  They have graduated high school and are all now in college, but because of their experience being inside a video game, they all remain tight, they even have a WhatsApp group chat.  While everything seems to be going good for the group, things aren’t so good for Spencer (Alex Wolff) as he’s suffering a case of the Holiday Blue after breaking up with Martha (Morgan Turner) as he returns home for the holidays.  To make matters worse, he has to share his room with his crotchety grandfather Eddie (the always awesome Danny DeVito).  He basically realizes that his time in the game was better than in the real world, rebuilds the game (the group destroyed), and goes in to play once again.  That leaves Martha, Fridge (Ser'Darius Blain), and Bethany (Madison Iseman) to come to his house when he’s a no-show for their planned group brunch.  After they all meet Grandpa Eddie and his uninvited friend Milo (Danny Glover), they hear the drums and realize Spencer’s in the game.  They decide they have to once again go in and rescue their friend.

However, things are a little different.  The game as glitched as a result of the team destroying the game before, and they aren’t using the same avatars they did last time, except Martha who luckily ends up as game character Ruby Roundhouse (Karen Gillan) again.  Everyone else, it’s all different.  Grandpa Eddie ends up getting sucked into the game and is in Smolder Bravestone (Dwayne Johnson), who was Spencer’s previous avatar.  Grandpa Eddie’s friend Milo is also involuntary brought in the game and goes into "Mouse" Finbar (Kevin Hart), Fridge’s previous avatar.  Fridge ends up in Sheldon "Shelly" Oberon (Jack Black), who was Bethany's previous avatar.  They are now in the game trying to find Spencer, who is now a new character Ming Fleetfoot (Awkwafina) Are we confused yet?  Speaking of Bethany, where is she?

The body-switching makes the film very interesting as now the actors are acting in completely new roles. Dwayne Johnson is having a ball doing his best Danny DeVito impression as he lays it on thick. Kevin Hart is incredibly hilarious as he does his best Danny Glover “old black man” impression, complete with long-winded conversations that he takes at ill-opportune times. The MVP however, is Jack Black, who does his absolute best Kevin Hart impersonation. While it may feel like he’s going for “black voice,” he’s swinging for the fences and is completely hilarious. Half the time Johnson and Hart are playing old people who not only don’t understand the concept of a video game, but they have to repeatedly be told that they are in a video game and not dead or “in Florida.”

Even though their main objective is to try and find Spencer, this is Jumanji, and they have to win the game.  Nigel Billingsley (Rhys Darby) is back as the NPC guide and gives them a mission to save Jumanji from Jurgen the Brutal (Rory McCann- good to see a GOT alum getting some work after Westeros).  So off they go on their quest, which of course Spencer is bound to show up to help.  Also helping is Alex (Colin Hanks) who after hearing of their predicament goes back into the game as "Seaplane" McDonough Nick Jonas.  Once again, everyone has special abilities (although they are a little different this time with different strengths and weaknesses) and they have three lives or else will die in the real world as well.

The film does try to veer into drama territory as there’s a conflict between Grandpa Eddie and Milo that goes through its combative-to-happily friends cycle of conflict, it feels clunked in and the resolution at the ends of the film “sorta” works.  The same does for Spencer and Martha as they deal with their breakup.  However, the exploration that Spencer’s life in the real world sucking and him wanting to go back to the video game is an interesting parable for how many people live their lives on social media.  But let’s keep it real, the comedy and the spectacle, is what makes this movie work.  As stated before, the actors playing against their previous roles (except Karen Gillan) and how they have to do a different type of acting and improvisation than they did in the first film and it completely works.  There’s a moment that involves body-swapping and the characters and their avatars are changed once again, which allows the actors to once again flex their muscles, especially Awkwafina who is hilarious in the third act.  While a small bit of the magic from the first film (as it was a completely new concept) has faded a little, the decision for the film to remix itself makes it a funny and worthwhile experience.

3.5 out of 5

Will Poulter Drops Out Of Amazon's 'Lord Of The Rings' Series

Amazon's Lord of the Rings series didn't have a ton of star power to begin with, but now it has even less. Variety reports Midsommar and The Maze Runner's Will Poulter has exited the show over scheduling conflicts.

Poulter's exit leaves the $1.3B TV show with a big hole to fill. While Poulter's role was being kept under wraps, it was probably going to be significant. He leaves behind a cast that now includes Markella Kavenagh, Joseph Mawle, Maxim Baldry, and Ema Horvath, none of which I could pick out of a police line-up.

Jurassic World: Fallen Kingdom's J.A. Bayona is on board to direct a few episodes, while JD Payne and Patrick McKay act as showrunners. The show has already been renewed for a second season, with an extensive months-long hiatus after the first couple of season one episodes so writers can get ahead on scripting.

'The Mandalorian' Ep. 6 Recap & Review: Lots Of Familiar Faces Get In On A Prison Break

The last thing I expected going into episode six of The Mandalorian, titled "The Prisoner", is another diversion from the main story. Ultimately, it's a fun diversion, and indicative of the kind of story I expect to see more of in future seasons. But those looking to see the tale of Baby Yoda moved substantially forward, you'll be disappointed.

On the other hand, this episodes takes its cues from heist movies, a particular favorite genre of mine, so I absolutely love it. And there are tons of familiar faces (or voices) that will bring a smile to a lot of fan's faces. The story finds Mando joining up with a group of bounty hunters for a rescue mission, an extraction of someone important. Mando lands the Razor Crest on a platform belonging to Ran (played by Sons of Anarchy's Mark Boone Junior), an old friend who he used to do jobs with back in the day. There's some tension between them, especially when Ran makes it clear he knows what Mando has been up to with The Guild, but says his old friend is welcome on the ship anytime. The team Ran is putting together includes a Twi'lek named Xi'an, played by Harry Potter and Game of Thrones actress Natalia Tena. She and Mando also share a past, and it's strongly implied, mostly by her sexual innuendo, they used to be lovers. Leading the squad is a human named Mayfeld (comedian Bill Burr), with a Devaronian named Burg (Clancy Brown, currently seen on ABC's Emergence), and a bug-eyed Tee-Oh droid named Zero (voiced by comedian Richard Ayoade). Yeah, pretty cool group of characters and cast.

There are some great jokes between this ragtag bunch, too. Ran lets Mando know the only reason he's there is because the Razor Crest is off the grid, and can slip in and out unaware from Imperial or New Republica surveillance. Mando isn't happy about that, but he's even less amused at learning the extraction is from a maximum security New Republic prison freighter. Mayfeld is none too pleased at having a Mandalorian on his team, but Ran vouches for him...

"Mayfeld, he's one of the best trigger men I've ever seen", Ran says. "Former Imperial sharpshooter."

"That's not saying much", Mando cracks.

"I wasn't a stormtrooper, wise ass!", Mayfeld shouts.

Mando doesn't want any part of this job because of the heat it could bring down on them if shit goes bad, which we know that it will. But when he hears it's only manned by droids, which he still hates, it changes his mind. He soon wishes he hasn't. Aboard the Razor Crest, Mando is teased by Xi'an who seems to know exactly how to piss him off. The others urge him to take off his helmet (Mando is accused of being a Gungan!), razz him about the other Mandalorians all being dead despite their reputation as great warriors, and a fight nearly breaks out between Mando and Burg.

It's at this moment you're probably wondering where the Hell is Baby Yoda? The scuffle answers that question when a button is accidentally pressed, revealing The Child to be stashed away in his own little safe room. Like everyone else who has encountered Baby Yoda, they have no idea who or what he is. They assume Mando has taken on a pet of some kind; Xi'an implies that Mando has gone soft.

While Baby Yoda barely has a role in this episode, there's a total freakout moment when the ship suddenly drops out of hyperspace. In the ensuring rumble, everyone loses their balance and Mayfeld drops Baby Yoda to the ship's hard metal floor! *gasp*  The kid is alright; Mando quickly helps the little womprat up and secures him back in the room, but he has the others' attention now and we know that's not a good thing. Even worse, Zero has begun to decrypt a Guild message from Greef Kara (Carl Weathers) directly referencing the Child.

Aboard the ship, we do manage to see a few of the prisoners. None of them seem to be all that important, but one appears to be Rio Durante, the Ardennian voiced by The Mandalorian showrunner Jon Favreau in Solo. It's not spelled out or anything, but it seems like the kind of cameo Favreau would dangle out there for eagle-eyed fans.

A major complaint I've had throughout is that Mando hasn't been shown to be that great of a fighter. Sure, he can shoot, but hasn't been that impressive elsewhere. He's been overwhelmed in multiple episodes, and fought Gina Carano's Cara Dune to a draw. But here, he's the badass we expect him to be, slicing up the ship's attack droids and using his flamethrowers to maximum effect. Another thing that's clear is how indestructible the Beskar metal really is. Mando takes a number of blaster bolts that would've killed a normal person, but they mostly bounce right off. The other bounty hunters are impressed.

Eventually, they reach the control room and discover a terrified human New Republic officer (played by The Clone Wars' Matt Lanter) who was not supposed to be there. Somebody fucked up somewhere. After some arguing about what to do with him, the decision is taken out of their hands by Xi'an who kills the officer with a blade. Unfortunately, he manages to set off a distress signal before dying, giving them only 20 minutes to retrieve the prisoner and escape before New Republic ships show up.

It's at this moment when the mission truly goes sideways, and you realize there's a lot more going on than we knew. Upon getting to the prisoner's cell, they discover that it holds another Twi'lek, Qin (Ismael Cruz Cordova), who happens to be Xi'an's brother. Oh yeah, and he's in prison because of Mando. Oops. The others turn the tables on Mando, knocking him into the cell and locking the doors. Maximum freakout time! If Mando can't escape, not only will the New Republic discover him, but the others will steal his ship and Baby Yoda, too! Fortunately, Mando doesn't take long to make his escape, cleverly using an incompetent droid's own arm as a lock pick.

Rick Famuyiwa really struts his stuff here, taking on horror elements to capture Mando's stalking of his fleeing betrayers. The first to be stalked down is the massive Burg, who seems to be impervious to just about everything...other than blast doors. Xi'an is a test, as well. The sly Twi'lek's blades find their mark around his Beskar armor, but not enough to save her from Mando's wrath. Mayfield gets the worst of it, or so we think. In an awesome display of strobing effects we see Mando sneaking up, frame by frame, on an unsuspecting Mayfeld.

All that's left is Qin, and when he's found the only thing he can do is plead forgiveness. He appeals to Mando's code of honor as a bounty hunter. Why not just finish the job and collect all the credits? It's at this point we realize how little we truly know about the Mandalorian. Would he really kill Qin just to get vengeance? Clearly, he's been a killer in the past, so why not now? Or would he stick to the personal set of principles he's been following since discovering the Child?

While this is going on, Zero has cracked Greef Kara's message and learns of Baby Yoda's importance. He goes off in search of the tyke, and after a brief game of hide-and-seek, finds him and prepares to shoot him. Yoda acts as if he's about to use the Force to protect himself, but at that moment Mando shoots Zero from behind. The look on Baby Yoda's face when he thinks it was his own powers that did it is, honestly, too precious for words.

The job done, Mando returns to Ran and it's then that we learn he didn't kill Qin. He finished the job, and dismisses Ran's questions about the other bounty hunters with a simple "No questions asked" reply. Mando collects his pay and prepares to fly off in the Razor Crest, but it's then that Ran orders someone else to "Kill him". As fighter ship begins to launch and destroy Mando, Qin discovers the New Republic tracking beacon...and it's still blinking.

As Mando flies off, a trio of X-Wing fighters arrives and begins shooting up Ran's freighter. The pilots are played by, get this: co-showrunner Dave Filoni (as Trapper Wolf) and directors Rick Famuyiwa (as Jib Dodger) and Deborah Chow (as Sash Ketter). Pretty awesome. They're now officially part of the Star Wars mythos. We also discover that Mando didn't kill Mayfield, Burg, or Xi'an. They're instead locked away on the prison ship, stuck in the same cell like the final episode of Seinfeld.

An amazing episode, one that expands on the Mandalorian's background without having to delve into more childhood flashbacks. This episode introduces us to the man he used to be before he found Baby Yoda, and it's strongly hinted that he wasn't such a good dude. Also, we get to see a number of cool characters that are, thankfully, still around to cause Mando a lot of headaches.

That said, this is awfully late in the season for an episode that doesn't push the Baby Yoda narrative forward. I can only imagine the final two chapters will, but at this point it's really hard to say. Rumors are this next episode, which drops on Wednesday, December 18th rather than Friday, will have some tie-in with The Rise of Skywalker. Part of me hopes so, but another part likes how The Mandalorian is off in its own world doing something new each week. I don't want to see that complicated by trying to fit into a separate narrative.

Review: 'Black Christmas', Sophia Takal's Holiday Horror Is More Woke Than Scary

Bob Clarke's 1974 slasher "classic" Black Christmas was particularly progressive for its time. It centered on a young woman dealing with her decision to have an abortion, plus a boyfriend who nowadays would be a textbook example of why the #MeToo movement exists. The film's feminist ideals made it unique for the time, but in an era in which female-driven horrors have revitalized the genre, they aren't enough of an inspiration for Sophia Takal's remake which is too busy offering up clichés and talking points to deliver any scares.

As an immediate homage to its predecessor (I'm ignoring the awful 2006 remake), Black Christmas begins with the icicle stabbing of a sorority sister on her way home for the Christmas holidays. Other women at the formerly all-male now-integrated Hawthorne University are sticking around for the annual talent show and "Orphans' Dinner", one of those being Riley (Imogen Poots), a "big sister" of the Mu Kappa Epsilon sorority. Riley is struggling to cope with a past sexual assault committed years earlier by Brian (Ryan McIntyre), a big wig of the powerful Delta Kappa Omega fraternity. The cops didn't believe her story then, and Riley has been keeping to herself ever since. Inspired by her firebrand pal Kris (Aleyse Shannon) and sorority friends, Riley is encourage to take part in a sexy talent show number that exposes Brian's predatory nature. The toxic dudes of Delta aren't at all happy, and soon after the ladies begin receiving ominous text messages from the school's long-dead founder Calvin Hawthorne, a man known for his racism and misogyny. Kris led a petition to have a Hawthorne bust removed, and to have a shady Literature professor (Cary Elwes) fired for his all white-male curriculum. When some of the women in Mu Kappa start turning up dead, it isn't hard to figure out why they might be targets.

And that's just one major problem with Black Christmas; it has all of the subtlety of a snow shovel. The script co-written by Takal and April Wolfe is heavy on messaging, lots of attacks on the white male patriarchy, rape culture, and the toxic brew that is life on campus colleges. Frequent nods to sisterhood are offered at such a clip that there's little room for anything else. Not that we should expect much character development in a slasher flick, but at the very least we are meant to care something for Riley because of what she previously endured and must now endure again as she's stalked by, presumably, another guy with a violent streak. Poots, who fought back against similarly malignant men in the far-superior Green Room, never seems comfortable in the role. At first, I thought maybe she was just embodying Riley's stunted attempts to cope with prior trauma, but it never really goes away. Poots is a terrific actress at projecting strength, but it never comes across convincingly here, even when she gets the chance to do so. Others in the cast aren't especially memorable, either, including Caleb Eberhardt as the dorky love interest, Landon. He's so uninteresting they don't even bother to make him much of a red herring. Actually, there are no red herrings.

What's surprising is how conventional Black Christmas is, taking on the tone and tenor of typical slasher movies. While the movie has been pushed as a "final girls turn the tables" payback flick, that's not what this is most of the way. Kills occur precisely when we expect them to, and whether it's a woman or man on the receiving end we can tell they've been toned down for a PG-13 rating. Cinematographer Mark Schwartzbard's snowy exteriors and creaking, dimly lit house interiors build up a great deal of suspense only to have the action fall flat time and time again.

A supernatural element introduced late in the game is problematic for disrupting the real-world messaging, but also for just being ridiculously lazy. It all but absolves the killer for their actions, and brings Black Christmas to such a dead end that it can't even be bothered for any kind of coda. There's no final point to make, nothing of substance to reflect on what this movie is supposed to mean at this moment in time, when timeliness is all it's had going for it from the beginning.

2 out of 5

'Lovecraft' Thriller In The Works From 'Game Of Thrones' Duo David Benioff And D.B. Weiss

Like so many directors who had a quick meteoric rise, Game of Thrones creators David Benioff and D.B. Weiss are in the midst of a freefall, at least with their public image. Professionally, well, things are actually pretty good. Sure, they're no longer attached to a Star Wars trilogy, but that came after signing a massive nine-figure deal at Netflix. That makes their next project somewhat surprising because it's not at Netflix, but at Warner Bros., and it's based on the Hans Rodionoff and Keith Giffen graphic novel, Lovecraft.

Deadline reports Benioff and Weiss' next project will be an untitled Lovecraft thriller, a fictionalized story set "in 1920 within the Cthulhu mythos" in which the characters created by cosmic-horror writer H.P. Lovecraft are real.  The film will be written by Matt Manfredi and Phil Hay, the duo behind Karyn Kusama's excellent Destroyer and The Invitation. Kusama will serve as exec-producer.

The Cthulhu is the octopus-like cosmic deity usually worshipped by cultists. It's one of the great gods of Lovecraftian mythology, and has been featured in movies, games, theatre, and more.

A surprising move for Benioff and Weiss, especially in light of the Netflix deal. This project apparently predates that one, which is why they're doing it, but I wonder how Netflix feels about it?


Kylo Ren Seeks Out the Emperor in New Clip from Star Wars: The Rise of Skywalker

8 Days left until the release of Star Wars: The Rise of Skywalker, I almost wanted to say that if they keep up these daily TV spots we'd be able to patch the whole thing together but damned if they aren't good a teasing. This clip, which is titled to make you think you're getting your first look at the emperor takes you right to that point and rips it away....something really screwed up must be happening with his look, otherwise why not show him for even a quick shot?.

While descending into a stormy planet we follow Kylo Ren (who is again helmet-less) into a fortress. Once inside the Emperor begins a voice over which goes from his normal voice, to a demonic version, to Vader. His speech is almost taunting, letting Ren know that he's been grooming him all along. I have to reserve all judgement but I really don't know how I feel about this whole Palpatine's return thing yet...doesn't it cheapen the OT? I mean, if he's still around then he didn't just survive Vader's turn but he also outlived Luke. I won't have to wait much longer to see how it turns out. Check out the trailer below and let us know what you think.