Review: Monster Trucks

Starring Lucas Till and Jane Levy

Review: The Bye Bye Man

Starring Douglas Smith, Carrie-Anne Moss, And Doug Jones

Review: 20th Century Women

Starring Annette Bening, Greta Gerwig, and Elle Fanning

Review: Patriots Day

Directed by Peter Berg and starring Mark Wahlberg

Review: Live by Night

Directed by and starring Ben Affleck

1/17/2017

Barry Fights The Future In ‘The Flash’ Midseason Trailer



In the midseason finale of The Flash, Barry accidentally traveled 6 months into the future at the very moment where he saw his mortal enemy Savitar brutally murder his girlfriend Iris before his future self’s eyes.  When the show returns next Tuesday, Barry will have to try his best to ensure that this timeline does not happen. All of Team Flash will have to do their best to help Barry to not only prevent Iris’ murder, but also make sure that Caitlin does not continue her downward spiral to becoming Killer Frost.


Also, Iris’ former boyfriend Eddie Thawne will also be returning to the show (yet another consequence of Flashpoint) as per actor Rick Cosnett’s Twitter account.

Eddie’s return comes on top of actor Robbie Amell returning to the show as Ronnie Raymond (one-half of Firestorm) is also coming back to the show.

The Flash returns Tuesday, January 24th.

'White Men Can't Jump' Remake In The Works From 'Black-ish' Creator And Blake Griffin


Back in the '80s and '90s you simply couldn't touch Ron Shelton when it came to writing sports movies. Dude had that gift. And his best by far, shut up Bull Durham fans, was definitely 1992's White Men Can't Jump. The second of three movies to feature Woody Harrelson and Wesley Snipes (Wildcats and Money Train being the others), the film became iconic almost insantly and was a sleeper hit with $90M. So guess what? Time for a remake, ya'll!

THR reports that Kenya Barris, creator of hit ABC sitcom Black-ish, will write the script for a remake of the comedy, which follows two b-ball street hustlers who put their obvious differences aside to scam others on the courts. Rosie Perez had her definining role as Harrelson's Jeopardy-loving girlfriend.   Interestingly, there will be some legit athlete support on this one as Los Angeles Clippers player Blake Griffin and North Carolina Panthers football player Ryan Kalil are producing through their production company, Mortal Media.

I love the original movie and definitely don't want somebody to fuck with it. That said, I can see this being a remake that works with the right duo in place. And come on, they have to face Harrelson and Snipes in the final game, right? RIGHT!? They have to.

New Trailer For 'Wilson' Finds Woody Harrelson As A Miserable Misanthrope


If you know the name Daniel Clowes then you're probably already familiar with his graphic novels Ghost World and Art School Confidential, which were previously adapted for the silver screen. Well Clowes is back now with another adaptation, Wilson, which is headed to Sundance prior to the curmudgeonly comedy hitting theaters this spring.

We've already seen a red band trailer for the Woody Harrelson and Laura Dern-led comedy, and now we're getting the much tamer version. Harrelson stars as a middle-aged misanthrope who hits the road to meet the daughter he never knew existed, after making up with his estranged wife. And this looks to have all of Clowes' trademark twisted sense of humor, which should be fun coming from Harrelson. That's why I have it on my list of movies to definitely check out this while in Park City.

Also starring Judy Greer, Margo Martindale, and Cheryl Hines, Wilson opens March 24th.

'The Young Pope' Recap: S1E2: "Second Episode"


At the climax of the Second Episode, Pius XIII finally delivers a barn-burner of a first address to the faithful.  But, as powerful as that moment is, the episode is really still about setting out the pieces.  After using the First Episode to set up the fundamental tensions of The Young Pope, Sorrentino pivots quickly here to keep us from getting too committed to the easy narrative.

Angelo Cardinal Voiello was put forward as the architect of a political machine, which is a position we're primed not to like.  Machines are seen as signs of corruption in politics, whether it's the Italian story of Giulio Andreotti that Sorrentino told in Il Divo, or the American story of the Democratic National Committee that Bernie Sanders' grassroots movement railed against last Spring.  Political machines can put their operators' interests ahead of the idealistic goals of the institution itself, so Voiello makes a natural enemy for us to root against.

But machines can also provide a buffer against wild swings in either direction.  A stronger Republican machine might have pushed us towards a Marco Rubio or Jeb Bush, or even kept a lid on the rise of the Tea Party movement that crippled the institutional GOP in the first place.  Continuity and momentum mean we don't make as much progress as we'd like, but they keep us from falling as far backwards as well.  We might see Voiello as a man jealous of his power and influence, but he's not only concerned with feathering his own nest.  And Pius is not necessarily the reformer clearing the money-changers from the temple, as he first seemed.  We start to get more of a sense that his past traumas are more serious influences on his character than they appear.  Not that Voiello's investigation has managed to turn any of them up.

As we start, Esther and Peter are having sex.  Peter (Biagio Forestieri) is a member of the Swiss Guard, and Esther (Ludivine Sagnier) is his wife.  She prays, while he asks her to say anything other than "I love you".  She believes the only rule and purpose of sex is procreation, which is the second time that idea has come up.  It's a misconception, albeit one believed even by many of the faithful, that this is the Church's position, and Esther's embrace of it points to a particularly conservative inclination on her part, which is likely to lead her to a strong devotion to the new Pope.

Meanwhile, the Vatican wakes up.  The residents are as attentive to the trappings of modern life as their spiritual concerns.  A Cardinal is glued to his iPad while his cassock is being mended.  Two teams of nuns play soccer in their habits.  Sr. Mary sits with another of her former charges, Andrew Cardinal Dussolier (Scott Shepherd).  In a flashback, the young nun (Allison Case) greets the young Andrew (Jack McQuaid), telling him to call her "Ma" instead of "Sister Mary", though last time we saw her tell the young Lenny (Frank Gingerich) the exact opposite.  Dussolier is eager for Pius to deliver his homily so he can leave the Vatican and return to his missionary work.  He sees death here, cut off from the living Church where he serves the people.

Voiello brings in the Vatican's head of marketing, Sofia (Cécile de France), who is eager to start designing and producing the new line of merchandise with the new Pope's image.  Sales of everything from keychains to decorative plates bring in a huge stream of revenue, after all.  But Pius is not having it.  As Archbishop and Cardinal, he refused to have his picture taken, and he means to continue that tradition.  He wants to be the J.D. Salinger, the Stanley Kubrick, the Banksy, the Daft Punk, the Mina of popes, famous in his reclusive rejection of fame.  He has no image; only Christ does.  Sofia comes around to Pius' perspective; another coup against Voiello.

But while he may refuse to go out, Pius more than welcomes in the gifts of the faithful.  He tours a warehouse set up to receive them, stopping to read a child's painted letter asking, "what do I have to do to believe in God?"  He wants responses sent to all children, offering a rather vague and modernist model for this one: "Think of all the things you like; that's what God is."  But he is interrupted by a noise from deeper in the warehouse: a canvas-covered cage contains a kangaroo from the Australian foreign minister.  Which, rather than donating to the Roman zoo, Pius orders freed in the Vatican's gardens.  The scene where it emerges is classic Sorrentino, beautifully drawn-out, wonderful in its absurdity, with a music cue that carries the mood into the next scene.

Sr. Mary meets Cardinal Voiello in the gardens and they speak about Pius.  Voiello urges caution and humility before the delicately balanced politics of the Vatican.  Sr. Mary recasts the view as lobbying and vendettas, all of which her saintly Pope means to cut through.  It crystallizes the tension between the two views of politics, but despite her distaste she cannot escape them.  She says "we," referring to the Pope, which understandably raises Voiello's notice.  Who is really in control?

At any rate, Voiello presents Sr. Mary with a draft address for the Pope, carefully crafted to keep the diplomatic balance.  But she dismisses the concern: Pius is indifferent to diplomacy, and she admires that in him.  Of course, it's easy to admire that when you're on someone's good side.

Later that night, Voiello slips out of the Vatican into the streets of Rome, and Sr. Mary follows along in his shadow.  She watches from across the street as he enters a building, followed by a young woman in a tight dress.  But through the window she doesn't witness the liaison she expects.  He is visiting a young developmentally disabled man in a wheelchair, telling him stories about his favorite Juventus footballer.  Voiello may be a political animal, but he has a strong heart as well.  The next morning, she decides to read his draft after all.

Pius meets, at last, with the Prefect for the Congregation for the Clergy.  Cardinal Assente (Maurizio Lombardi) regards the new Pope withs suspicion; as a protégé of the moderate conservative Cardinal Spencer, Pius is likely to be conservative as well.  Assente goes on to note that Pius XI was a supporter of Mussolini, and Pius XII was willing to cut deals with Hitler to preserve the Church's interests in Germany during World War II; choosing their name points to a continuity with the last pontificate before the reformist John XXIII started the process of the Second Vatican Council.  His concerns seem validated when Pius asks him, point-blank, whether he is homosexual, which he admits.  Pius cuts the meeting short with another moment of pure Sorrentino absurdity.

Pius collects more information from Don Tommaso, and uses it to further entrench his position.  He replaces Ozolins (Vladimir Bibic) with Aguirre (Ramón García) as the Cardinal in charge of the Vatican museums.  He meets again with Msgr. Gutierrez at the base of the Pietà, discussing the Monsignor's call to service.  He practices his address.  He grows short with Sr. Mary, seeing Voiello's influence on her, and demands that she only refer to him as "Your Holiness," rather than the more-familiar "Lenny" she has used until now.

In a way, he's only following the advice she gave him, to put his personal life behind him and embrace only the office of the Pope.  But he is also acting out of the childhood jealousies that we are only beginning to understand.  Despite her words when she first arrived, she is far more progressive than her onetime charge.

Pius goes to meet with Cardinal Spencer, asking him to replace Assente, and for advice on his address.  But Spencer resents Lenny's election, and believes that he cut a deal with Voiello for power.  Spencer is another political animal; one devoted to using the machine to gain power for himself, and embittered to see his plans fall apart.  He speaks cruelly, implying that he always has to Lenny and warning that he has no intention to change that for Pius.  He sees the offer as a charity handout and refuses to align with Pius.

Pius returns to Sr. Mary's apartment, catching her in an ironic choice of bedclothes.  He asks her about his parents, who left him at the orphanage saying they had to move to Venice.  They might still live there now, a mere five hundred kilometers north of Rome.  He misses their influence, and struggles see God as real and present since his own parents were not.  All the language of God the Father gets muddled and complicated when your own father abandoned you.  Saying that God is Love doesn't help someone crippled in his ability to feel love from anyone else.

And so when he finally delivers his address, he does so in the dark.  He admonishes the crowd: they have forgotten God.  He will not be close to them as Pope, because he, like they, must be closer to God than to each other.  Their devotion must be total.  It's a harsh, angry message that distresses the faithful who have grown used to folk singing and guitars over the last few decades, and seems to fly in the face of the response he offered to the child's letter.  He takes his childhood trauma and turns it into universal theology.

Voiello returns to the young man he comforts, now seeking comfort himself.  He begs for the strength to atone for the wrong he will have to do to save the Church from the Pope he now sees it was a mistake to install.

Bob Odenkirk Is On The Case In Trailer For Netflix's 'Girlfriend's Day'


With Netflix expanding their base of original content, it's opened up room for them to get experimental. So you want a movie about a superhero with smartphone powers? Okay, sure, why not? Well how about a dark comedy...sorta, that stars Bob Odenkirk from Better Call Saul and is kinda like a murder mystery involving greeting card writers?

Odenkirk stars in Netflix's Girlfriend's Day, in which he plays a down 'n out Hallmark card writer who is invigorated by the new Girlfriend's Day holiday. But then the special day starts causing people to die or something (I'd wanna kill somebody if there was such a holiday, too.) and he has to figure it out. Eh. Here's the synopsis:

Ever wonder who penned the perfect words to the Mother’s Day card you sent last year? Or the hilarious birthday card you gave your best friend? A master of words, that’s who.

In the Netflix original film, Girlfriend’s Day, director Michael Paul Stephenson (“The American Scream“) invites you to experience a clever and quirky story about love, loss and the worst place to get a paper cut. Meet Ray Wentworth (Bob Odenkirk), once a king of the wordsmith world, and now a down-on-his-luck romance card writer. In an effort to recapture the feelings that once made him the greatest, he gets entangled in a web of murder and deceit as writers vie to create the perfect card for a newly crowned holiday: Girlfriend’s Day.

Nope, that didn't help. Well, at least the cast is excellent with Amber Tamblyn, Natasha Lyonne, Ed Begley Jr., Stacy Keach, Rich Sommer, June Diane Raphael, Andy Richter, Stephanie Courtney, Toby Huss, Stephen Michael Quezada, Derek Waters, and Echo Kellum all passing through. Girlfriend's Day hits Netflix on Valentine's Day.

Now We Know What A24's Mystery Sci-Fi Film Is


Remember last week when prestige distributor A24 dropped that mystery teaser with no clear indication of what it was? It looked like some kind of sci-fi feature, possibly something from Upstream Color director Shane Carruth with its slick, futuristic visuals. Well now we know exactly what it is, and no, it's not a feature of any kind. Instead it's a short film that will be headed to Sundance this week.

Some of The Film Stage's sharp readers have figured out, based on stills and set images, the film is actually Toru, a 14-minute short from directors Jonathan Minard and Scott Rashap. Scored by Brian McComber (Krisha) and shot by DP Matt Mitchell, the Japanese film (with English subtitles) tells how “an infant’s life is transformed by a new technology", which definitely gels with the footage we saw.A i Kiyono, Yasu Suzuki, Tatsuo Ichikawa, Tsukasa Kondo, John Mullen, and Tamara Hickey star.

Here's a more complete synopsis:  With a science fiction undercurrent, Toru centers on the story of a baby boy, named Toru, born with a fatal lung condition. As he only has a few days to live Toru’s parents sign him up for a trial experiment that would simulate a full life in a matter of days.

The film follows Toru’s dream-like life simulation as a boy named Todd growing up in a New England suburb, and concludes in futuristic Japan.

Disappointed? Don't be. That A24 is putting this much effort into promoting the film means they have big plans. Remember, they are the same folks who gave us Ex Machina a couple of years ago, and I wouldn't be surprised if Toru got a feature-length expansion.

Review: 'The Founder' Starring Michael Keaton And Laura Dern


Do you really care where your hamburger comes from? It's one of those questions that has come to take on a scary meaning in the wake of films like Fast Food Nation, but you may find your McDonald's burger distasteful for a whole new reason after watching The Founder. Those golden arches may be a symbol of happiness for some (Love really is french fries when they're fresh and hot) but the restaurant chain's path to fast food domination was anything but happy, except for maybe Ray Kroc, who made sure he "had it his way" at the expense of everyone else.

The irony of The Founder is that Kroc (Michael Keaton) didn't found McDonald's at all. That honor goes to brothers Dick (Nick Offerman) and Mac (John Carroll Lynch), who built the first one in 1940. So why not make a McDonald's movie about them? Because this is about how their naivete led them to lose everything, even their own names, to the snake oil salesman Kroc. That makes for a story McDonald's shouldn't want to officially endorse and they don't, although John Lee Hancock (The Blind Side) and screenwriter Robert Siegel (The Wrestler) go light on the special sauce and don't show how ugly Kroc's actions really were.

Keaton is disgusting, odious, and totally magnetic as Kroc, a multi-spindle milkshake machine salesman struggling to get by in the 1950s. He's drawn out to San Bernardino, California when a restaurant he's never heard of places a huge order. Curious, he investigates and finds the McDonald brothers who have basically invented how fast food works. No more drive-ins with girls on roller skates. They had a whole system down for how every burger was made in exactly the same fashion in record time. But they also came up with the idea to have people come up to the window and pick up the food themselves in little bags. It may sound simple now but back then it was revolutionary, and one of the best scenes depicts those early few days of the experiment as customers are confused by the whole process. Blown away, Kroc decides then and there that he has to be part of expanding this idea nationwide. But the brothers have had problems with franchising in the past, and in particular Dick doesn't trust Kroc as far as he could throw him. But the easy-going Mac wants to give it a try, and the rest is a history the McDonalds' would probably prefer never have happened.

"We have a fox in the hen house, and we let him in", says Dick soon after when it becomes clear Kroc has his own agenda. Kroc's a shady dude all around, from mortgaging the house without the consent of his wife (Laura Dern in a thankless role) to scratching around for any legal means to gain greater power over the franchise. He begins opening up restaurants in multiple locations without the brothers' consent, becoming the face of the business while they stick around managing their one shop, feeling left out. That's because they are, and when a whip-smart lawyer (BJ Novak) clues Kroc in that he's "really in the real estate business", it's only a matter of time  before they're cut out of everything completely.

It's a nasty story and the reality of it is far worse than the movie offers. But this is a cleaned up version that doesn't bother asking a lot of questions. It's content to paint Kroc as a charming rogue driven to taking advantage of a pair of dopes who didn't realize what they had on their hands. That narrative is probably the least interesting take on Kroc possible, and we don't learn much else about him except that he always goes after what he wants, and that includes a sexy younger woman (Linda Cardellini) who shows him the value of powdered milkshakes (*barf*). I would have preferred a story seen totally from the McDonalds' perspective as everything they worked so hard to build was yanked out from underneath them. Every time they return to the screen it's the best part of the movie and sadly the most unrealized. In the end, The Founder turns out to be a lot like a McDonald's burger; pretty tasty at times but is so empty that you feel awful about eating it.

Rating: 2.5 out of 5

Travis' Most Anticipated Movies At The 2017 Sundance Film Festival


By this time tomorrow I'll be on the plane snoozing as it heads to the snowy climes of Park City. The Sundance Film Festival is here and it looks like my sixth year could be one of the best. When asked why I prefer Sundance to some of the later festivals, my answer is simple. Months in advance I get to see the movies that everyone will be talking about throughout the year. But there is more to it than that. I also get to help drive the conversation about these movies, and as a film critic that is tremendously exciting.

While there are always a ton of surprises to be found, everybody goes into Sundance with movies that are high on their must-see lists. I'm no different, and I've plucked out 10 that I really must check out, even if it means roughing somebody up for their ticket. In the case of Wind River, I might actually have to do that, so look for me on America's Most Wanted or something.

So here are my choices in no particular order, and once the festival starts you'll be able to check out all of my reviews here of course. You can follow my updates on Twitter (@punchycritic) and those of Mae Abdulbaki (@MaeAbdu) in real time. Who knows who we'll run into? And bear in mind that this is just a small handful of the moves I'm eager to see. My schedule is nearly triple this number, although honestly the only way I can see them all is if I get cloned.


A Ghost Story
Director: David Lowery
Cast: Casey Affleck, Rooney Mara

The "secret" project by David Lowery finds him reuniting with his Ain't Them Bodies Saints stars, Casey Affleck and Rooney Mara for a drama that is being kept mostly under wraps. After stepping into studio territory with Disney's heartfelt live-action Pete's Dragon, it's good to see that Lowery hasn't forgotten where he came from.


The Discovery
Director: Charlie McDowell
Cast: Jason Segel, Rooney Mara, Robert Redford, Jesse Plemons, and Riley Keough

Speaking of surprises, McDowell floored me at Sundance a couple of years ago with the Twilight Zone-esque rom-com, The One I Love, and I've been waiting eagerly for The Discovery ever since. He's tackling a love story of a different kind this time, as the setting is a future when the afterlife's existence has been scientifically verified. It's also pretty cool to see Redford in another movie at his festival because there won't be too many more of them, if any.


Landline
Director: Gillian Robespierre
Cast: Jenny Slate, Jenny Slate, John Turturro, Edie Falco, Abby Quinn, Jay Duplass, Finn Wittrock

Obvious Child duo of director Gillian Robespierre and star Jenny Slate reunite for a period piece set in 1990s Manhattan. Yes please. The comedy follows sisters who set out to expose their parents' various affairs, although it sounds like everybody in this family has issues. If Robespierre and Slate stuck together for the rest of their careers I'd be quite happy.


I Don't Feel At Home In This World Anymore
Director: Macon Blair
Cast: Melanie Lynskey, Elijah Wood, David Yow, Jane Levy, Devon Graye

Nobody owns Sundance quite like Melanie Lynskey and Elijah Wood, so it's cool to see them together for what is sure to be a popular festival choice. That it's also written and directed by Macon Blair, the star of Jeremy Saulnier's Blue Ruin (he also was in Saulnier's Green Room), I don't know if there will be enough seats to accommodate this one. Lynskey stars as a depressed woman who sets out to find the thieves who burglarized her home. I'm expecting a different kind of revenge tale out of Blair, based on his experience with Saulnier.


Roxanne Roxanne
Director: Michael Larnell
Cast: Chante Adams, Mahershala Ali, Nia Long, Elvis Nolasco, Kevin Phillips, Shenell Edmonds

The rap game is fierce this year in Park City, but the hip-hop flick I'm down for most is Roxanne Roxanne. For one thing, it follow the career of the one of the best battle rappers ever, '80s icon Roxanne Shante. The film also stars Mahershala Ali and Nia Long, who I'll follow pretty much anywhere.


Crown Heights
Director: Matt Ruskin
Cast: Keith Stanfield, Nnamdi Asomugha, Natalie Paul, Bill Camp, Nestor Carbonell, Amari Cheatom

Based on a true story chronicled in This American Life, Matt Ruskin's Crown Heights stars Short Term 12 and Atlanta breakout Keith Stanfield as Colin Warner, who is wrongfully convicted of murder. A surprising twist is the co-starring role of former Oakland Raiders All-Pro cornerback, Nnamdi Asomugha, who plays the man who dedicates his life to proving Warner's innocence. I don't know much about Ruskin but the material is powerful and the cast potentially exciting. Count me in.


Wilson
Director: Craig Johnson
Cast: Woody Harrelson, Laura Dern, Judy Greer, Margo Martindale

The Skeleton Twins director Craig Johnson returns for what I'm hoping will be an upbeat break from all the serious festival dramas. Woody Harrelson plays a middle-aged misanthrope (think American Splendor) who reunites with his estranged wife and learns of a teenage daughter he's never met. I'm not expecting anything groundbreaking here, just make me laugh. Chances are I'll need it.


Colossal
Director: Nacho Vigalondo
Cast: Anne Hathaway, Jason Sudeikis, Dan Stevens, Austin Stowell, Tim Blake Nelson

I don't know what to make of Colossal, but I do know it has a great  cast and a nifty concept. Anne Hathaway plays a party girl who forges some kind of bond with a rampaging monster on the other side of the world. The film is directed by Nacho Vigalondo who is best known for visually inventive flicks like Open Windows and Timecrimes. But his movies tend to be pretty forgettable overall, and there has been little buzz about Colossal since it debuted at TIFF last year.


Wind River
Director: Taylor Sheridan
Cast: Jeremy Renner, Elizabeth Olsen, Jon Bernthal

Man, don't make me jack somebody up to get into this one. The directorial debut of Taylor Sheridan, writer of both Sicario and Hell or High Water, Wind River looks like one of the more mainstream efforts at the festival this year. It stars fellow Avengers Elizabeth Olsen and Jeremy Renner as government agents who must discover the truth about a dead body found in the rugged wilderness of a Wyoming Indian reservation.


The Yellow Birds
Director: Alexandre Moors
Cast: Tye Sheridan, Jack Huston, Alden Ehrenreich, Jason Patric, Toni Collette, Jennifer Aniston

One of the films I've pegged as a potential awards film, The Yellow Birds is the sophomore feature effort by Blue Caprice director, Alexandre Moors. I adored that movie and its lead performance by Isaiah Washington, and expect to see Moors pull equally great performances out of this star-studded cast. The story, which is based on the Kevin Powers novel and co-written by David Lowery (who has another movie on this list), follows two young Iraq War soldiers, and the solemn promise one struggles to keep after a terrible tragedy.


Mudbound
Director: Dee Rees
Cast: Carey Mulligan, Garrett Hedlund, Jason Mitchell, Jason Clarke, Mary J. Blige

Another one that has awards prestige written all over it, Pariah director Dee Rees return to Sundance with her biggest movie yet. Set in the Post-WWII South, the story follows two warring families as they face racism and an unrelenting social hierarchy. Any movie that has Mulligan in it will grab my attention immediately, but I'm also interested in seeing how Rees handles a much larger scope than usual. This could be the film that elevates her in the way Selma did for Ava DuVernay, at least I hope it is.

1/16/2017

Attend A Free Screening Of 'XXX: Return Of Xander Cage' Starring Vin Diesel


We're happy to offer our DC readers the chance to attend a free advance screening of XXX: Return of Xander Cage, bringing Vin Diesel AND Ice Cube back to the hit extreme action franchise.

SYNOPSIS: The third explosive chapter of the blockbuster franchise that redefined the spy thriller finds extreme athlete turned government operative Xander Cage (Vin Diesel) coming out of self-imposed exile and on a collision course with deadly alpha warrior Xiang and his team in a race to recover a sinister and seemingly unstoppable weapon known as Pandora’s Box. Recruiting an all-new group of thrill-seeking cohorts, Xander finds himself enmeshed in a deadly conspiracy that points to collusion at the highest levels of world governments. Packed with the series’ signature deadpan wit and bad-ass attitude, “xXx: RETURN OF XANDER CAGE” will raise the bar on extreme action with some of the most mind-blowing stunts to ever be caught on film.

The screening takes place on Wednesday, January 18th at 7:00pm at AMC Georgetown. If you'd like to attend, register at the Gofobo ticketing site here and download one Admit-Two pass. Please note that having passes does not guarantee entry and you will need to arrive early to ensure receiving a seat. Enjoy the show!

XXX: Return of Xander Cage opens January 20th.

Tom Hardy Is Confident A 'Fury Road' Sequel Will Happen


We're now into 2017 and apparently no closer to a Mad Max: Fury Road sequel. Warner Bros. seems reluctant to green light the film, perhaps because it wasn't exactly a box office juggernaut or anything. George Miller's awesome apocalyptic racer is an instant classic to many, though, and hope continues to be that there will be more of them. While stars Tom Hardy and Charlize Theron seemed less than thrilled over the rigorous production, and haven't been too hot on coming back, Hardy may have changed his tune. Speaking with The Daily Beast, he sounds positively ecstatic at the idea...

"George Miller is a genius! The wheels were rolling from the beginning of Fury Road for three films, so I would assume it’s just crossing the t’s and dotting the i’s. There are other Mad Max vehicles and Furiosa vehicles that are out there—as far as the characters’ mythologies and stories—so it’s a little bit… I’m waiting for the call to get back in the leathers and get cracking on that. I really loved doing it and can’t wait for another outing. I’m hungry to go back out and do some more."

If that sounded like a confirmation he's signed on for three movies, he actually confirmed that to Collider while discussing Mad Max: The Wasteland, saying that it might not be the sequel's actual title...

"Yeah, as far as I’ve signed to do three of them. It’s a question of when. I’m not sure it’s called The Wasteland or not ‘cause you never know. These titles change all the time. But, there’s definitely another Mad Max project pending."

So at least Hardy sounds sure it will happen, but don't get too excited until Warner Bros. makes it official.