On a lonely stretch of road in the Midwest, Mildred Hayes (Frances McDormand) drives a beat-up station wagon past a trio of dilapidated billboards less than a mile from her home. It’s near this spot where her daughter Angela was brutally murdered the previous year, and frustration with the local police and their lack of progress on the investigation finally boils over, sending Mildred into the offices of local advertising man Red Welby (Caleb Landry Jones).
Warner Bros. has doubled down financially to protect their DC Extended Universe after their flagship superhero team-up Justice League suffered massive behind the scenes turmoil. Millions of dollars and weeks of reshoots later, the legendary Justice League finally debuts on the big screen and somehow manages to come together in an extremely fun, but still messy film despite the odds against it.
If you thought Deadpool 2 would adopt a more conventional marketing campaign than its predecessor, think again. A new teaser trailer for the upcoming sequel has just arrived, featuring the Merc With the Mouth (Ryan Reynolds) doing his best Bob Ross impression, and a flurry of new footage.
Charlize Theron unleashes all her badass glory in ATOMIC BLONDE, the adrenaline pumping, stylish spy-thriller, releasing today 4K Ultra HD, Blu-ray™, DVD and On Demand on November 14, 2017 – and your pals at The Nerd Repository and The Drinks and Discourse Podcast are giving one lucky readers a chance to take home a free copy on Blu-ray.
It’s been 43 years since the release of Sidney Lumet’s star-studded adaptation of Murder on the Orient Express – not to mention more than 80 years since the publication of Agatha Christie’s classic mystery novel – and director Kenneth Branagh is thrusting the tale back onto the big screen, with an ensemble cast no less impressive than that of the 1974 film. Branagh himself headlines the affair, a visually stunning period piece full of sparkling sets and opulent costumes, all of which are outshined by perhaps the most magnificent mustache in cinematic history.
“The only exciting thing about 2002 is that it’s a palindrome,” bemoans Christine McPherson (Saoirse Ronan), a high school senior at an all-girls Catholic school gazing longingly toward the promise of adulthood. Christine, who prefers the moniker “Lady Bird,” dreams of attending one of those “liberal east coast schools” and leaving behind a life that doesn’t feel particularly fulfilling. “I want to live through something,” she says wistfully, shortly before ending an argument with her mother (Laurie Metcalf) by diving out of a moving car and breaking her arm.
Of the various franchises which make up the Marvel Cinematic Universe, the Thor series was probably the top candidate for a new vision, and What We Do in the Shadows director Taika Waititi proves to be up to the task with the third entry, Thor: Ragnarok. Long gone is the bland, brooding heir to the Asgardian throne, and in his place audiences will find a funny and endearing hero whose personality – all wisecracks and arrogance – falls somewhere between Tony Stark and Peter Quill.
This superhero franchise is going through some ch-ch-changes! Since the promotional tour began, it’s really been a lovefest for Thor: Ragnarok director Taika Waititi. The brilliant marketing campaign gives the impression that this corner of the Marvel Cinematic Universe has been been injected with a new sense of life, and the cast is quick to credit Waititi for revitalizing the series.
Opening with images of a still-beating heart and blood-stained surgical scrubs before cutting abruptly to a conversation in which two hospital employees discuss the merits of their respective wristwatches, the latest film from director Yorgos Lanthimos feels cut from similar cloth as his last effort, The Lobster. Unsettling imagery is punctuated by characters who engage in banal conversations, with everyone speaking in the flat, emotionless tones that feel less like genuine interactions and more like androids attempting to pass themselves off as humans.
On the surface, Goodbye Christopher Robin – about author A.A. Milne’s creation of the Winnie-the-Pooh stories which would become a worldwide phenomenon – appears to share much of the same DNA as Finding Neverland, where a struggling playwright finds himself inspired by the wonders of a child’s imagination and constructs an enduring literary classic. But there’s another tale to be told here, one of a stolen childhood and a lifetime of trauma that were the unfortunate byproducts of the world’s love for an imaginary bear.