Bros. confirmed this rare bit of good news by way of a Friday meeting
focused on their two leading options, intel on which was obtained with Deadline. Per the report, the Powers That Be were initially undecided between Pattinson and Mad Max: Fury Road star Nicholas Hoult. The Pattinson move was decided on during a meeting Thursday, Mike Fleming Jr. said Friday.
the Pattinson-favoring decision having now apparently been made,
negotiations are said to be kicking off very soon. A separate report
from The Wrap, however, suggests such talks have already concluded. An official announcement from Warner Bros. is also expected soon.
Of course, word of Pattinson’s apparent official-ness regarding a role once largely botched by an Affleck should come as no surprise to tuned-in fans. We’ve been hearing near-confirmations on this Batman update for weeks now. Though it’s impossible to know just yet what sort of visual angle director Matt Reeves will take with his trilogy-starting film, I’m guessing it’ll all go down something like this: The Batman is imminent, with production slated to begin later this year. Next July, we’ll see the results of Pattinson’s inadvertently timely part in former Batman franchise helmer Christopher Nolan’s mysteriously titled Tenet.
The trailer for 21 Bridges (fka 17 Bridges)has been released by STXfilms. Chadwick Boseman stars in the film, reuniting with the Russo Brothers, who directed Avengers: Infinity War and Avengers: Endgame.
The film also stars If Beale Street Could Talk’sStephan James, alongside Sienna Miller, Taylor Kitsch and J.K. Simmons.
The official description: 21 Bridges follows an embattled NYPD detective (Chadwick Boseman), who is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. As the night unfolds, lines become blurred on who he is pursuing, and who is in pursuit of him. When the search intensifies, extreme measures are taken to prevent the killers from escaping Manhattan as the authorities close all 21 BRIDGES to prevent any entry or exit from the iconic island.
comes to streaming TV and films, Netflix has got you covered. In May
2019, lots of exciting new movies and TV shows are coming to the
streaming platform, across a variety of genres. Whether you’re into romantic comedies, documentaries, crime thrillers, prestige dramas, or horror movies, there’s something for everyone. And speaking of documentaries, Beyoncé’s Homecoming is
officially available to stream, so you can relive the magic
of Beychella, and then relive it again with her live concert album of
the Coachella performance. We stan a generous queen!
Recent blockbusters like Avengers: Infinity Warand the Oscar-nominated Black Panther and Coco, are also available. Barry Jenkins’ stunning 2017 Best Picture winner, Moonlight, his adaptation of Tarell Alvin McCraney’s unproduced play “In Moonlight Black Boys Look Blue,” is also coming to Netflix, along with some lighter comedy fare, including Zombieland and Patriot Act with Hasan Minhaj. So what are you waiting for? Here are the best movies on Netflix right now.
Director: Lee Chang-dong Starring: Ah-in Yoo, Jong-seo Jun, Steven Yeun
One of the most acclaimed non-English movies of last year, Burning is the latest film from acclaimed South Korean director Lee Chang-dong. Based on the short story “Barn Burning” by Haruki Murakami, Burning follows Jong-su (Ah-in Yoo), as he watches former neighbor Hae-mi’s (Jong-seo Jun) cat while she goes on a trip. When Hae-mi returns, she introduces Jong-su to Ben (Steven Yeun), a man she met while abroad. While the plot may seem simple, Burning has a mysterious and tense atmosphere as we learn more about the mysterious Ben, played wonderfully by former Walking Dead star Yeun. At two and a half hours, Burning is a slow burn (no pun intended) that will keep you hypnotized from beginning to end with its elusive stories and well drawn characters. Despite wide critical acclaim, Burning was not nominated for the Best Foreign Language Academy Award, but became the first Korean film in history to make the nine-film shortlist for nomination.
Director: Andrea Arnold Starring: Sasha Lane, Shia LaBeouf, Riley Keough
Actress Sasha Lane has steadily made a name for herself with eye-catching roles in indies such as The Miseducation of Cameron Post and Hearts Beat Loud, but her career started when director Andrea Arnold discovered her and cast her in the lead role of American Honey. Lane plays Star, a young woman who runs away from home to join a traveling sales crew that sells magazine subscriptions door to door across the Midwest. She soon gets sucked into their lifestyle when she becomes close to crew member Jake (Shia LaBeouf). Arnold is known for her realistic depictions of young women, and she’s in top form here, creating an unconventional coming of age drama around Star. Lane is remarkable in the lead role, and her performance is made all the more astonishing when considering that it’s her first performance. All of that, combined with a perfect soundtrack (Rihanna and Calvin Harris’ “We Found Love” is put to perfect use), makes American Honey a coming of age road movie classic.
Director: Steven Soderbergh Starring: Andre Holland, Melvin Gregg, Zazie Beetz
One of Netflix’s latest originals is also one of the most critically-acclaimed movies of 2019 so far. Based on the real-life 2011 NBA lockout, High Flying Bird follows sports agent Ray Burke (Andre Holland) as he advises his rookie client (Melvin Gregg) on a controversial business opportunity that might just end the lockout and change the game forever. Logan Lucky director Steven Soderbergh is known for his flawless directing and uncanny ability to capture institutions, and High Flying Bird is further proof of this, boasting stunning iPhone-exclusive cinematography and sketching an efficient portrait of the (slightly fictionalized) NBA. Moonlight writer Tarell Alvin McCraney’s script crackles as well, featuring scenes filled with wall-to-wall fast-paced dialogue. McCraney and Soderbergh manage to make High Flying Bird so much more than just a typical sports drama: it’s also a deep look into the racism ingrained in the NBA and how one can be an activist within the institution itself. High Flying Bird is an intelligent and riveting watch.
Beyoncé is extremely private, and only lets you know what she wants you to know, when she wants you to know it — typically, in a surprise post be it on her website or Instagram. But throughout the years, she’s slightly cracked open her door to reveal parts of her life and personality — apart from what she gives through strong singing and extraordinary dance moves — to help remind us that though she is epic and flawless, she is still mortal. “HOMECOMING: A film by Beyoncé,” which premiered Wednesday on Netflix, captures the human side of the superstar singer with behind-the-scenes, intimate moments of a mother, wife and artist tirelessly working on what’s already become one of most iconic musical performances of all-time: Beyoncé’s headlining show at the 2018 Coachella Valley Music and Arts Festival. The performance marked the first time a black woman headlined the famed festival and made Beyoncé just the third woman to score the gig, behind Bjork and Lady Gaga. Beyoncé took on the role seriously — as she does all live performances — giving the audience a rousing, terrific and new show highlighted by a full marching band, majorette dancers, steppers and more that is the norm at historically black colleges and universities (HBCUs). The film takes it a step further to showcase what was happening to get to the historic moment: you see a mother bouncing back from giving birth to twins via an emergency C-section; an African American woman embracing her family’s history and paying tribute to black college culture and honoring black art; and the world’s No. 1 pop star defying the odds yet again and pushing herself to new heights, creating an even wider space between herself and whoever is No. 2. Simply put, Beyoncé changed Coachella — forever — and performing after her is like trying to out-ace Serena Williams or dunk better than Michael Jordan: You won’t win. Woven into the film are audio soundbites from popular figures to help narrate the story: Nina Simone speaks about blackness, Maya Angelou talks about truth, and Tessa Thompson and Danai Gurira explain the importance of seeing people who look like you on large screens. Beyoncé speaks, too, saying that she dreamed of attending an HBCU, though she explains: “My college was Destiny’s Child.” She also says the importance of her Coachella performance was to bring “our culture to Coachella” and highlight “everyone that had never seen themselves represented.”
So many people were represented during those performances last April — her stage was packed with about 200 performers, from dancers to singers to band and orchestra players. Beyoncé kicked of the performance dressed like an African queen, walking up the stage as the jazzy, soulful big band sound of New Orleans is played. After letting her dancers and backing band shine, she emerges again, this time dressed down — like a studious, eager, hopeful college student. The musical direction and song selection flows effortlessly and was purposely crafted to tell a story: the first song is 2003’s “Crazy In Love,” a massively successful No. 1 hit and her first apart from Destiny’s Child. It also was Beyoncé’s first of many collaborations with Jay-Z. But then comes “Freedom,” representing the Beyoncé of today, unconcerned with having a radio or streaming hit, but more focused on the art, and the message. And her message was loud and clear on “HOMECOMING”: Her performance is a homage to the culturally rich homecoming events held annually at HBCUs, but also showcases Beyoncé’s own homecoming — her return to her roots, and how she’s found a new voice by reinterpreting her music through the lens of black history. Young, gifted and black, indeed.
“HOMECOMING: A film by Beyoncé,” a Netflix release, is rated TV-MA. Running time: 137 minutes. Four stars out of four.
Directed by Joe Talbot and starring Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, and Danny Glover. Winner of the Sundance Best Director and Special Jury Awards. The Last Black Man in San Francisco — Summer 2019
From writer/director Joe Talbot and starring Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, and Danny Glover. The Last Man in San Francisco – In Theaters Summer 2019.
RELEASE DATE: Summer 2019
DIRECTOR: Joe Talbot
CAST: Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, and Danny Glover
Like The Last Black Man in San Francisco on FACEBOOK: http://bit.ly/facebook_LastBlackManSF
Follow The Last Black Man in San Francisco on Twitter: http://bit.ly/twitter_LastBlackManSF
Follow The Last Black Man in San Francisco on Instagram: http://bit.ly/instagram_LastBlackManSF
Lionsgate’s “A Madea Family Funeral” opened at No. 2 with $27 million, above analyst predictions
of $18 million to $20 million. It earned a 24% “rotten” rating on
Rotten Tomatoes. “Madea,” however, on 1,800 fewer screens, had the
higher per-screen average, $11,077, to “Dragon’s” $7,010.
final movie in the long-running series, “A Madea Family Funeral” is
Perry’s biggest opening since 2010’s “Why Did I Get Married Too?” opened
with $29 million. The previous year, “Madea Goes to Jail” opened with
$41 million, his highest opening.
Lionsgate deal kicked off with 2005’s “Diary of a Mad Black Woman,”
which grossed $50 million despite having a micro budget. “A Madea Family
Funeral” is the 11th theatrical film to feature Perry as Madea over the
course of 14 years. The Madea films have grossed more than $500 million
In third place, Fox’s “Alita: Battle Angel” added $7 million in its third weekend for a cumulative $72.2 million.
No. 4, Warner Bros.’ “The Lego Movie 2: The Second Part” added $6.6
million in its fourth weekend for a cumulative $91.7 million.
weekend’s haul is the third biggest weekend gross for the film. Ticket
sales were at a high during the film’s initial wide release expansion in
late November and again in late January in the wake of its five Oscar
Oscar winners that saw a notable bump this weekend include Sony’s
animated feature winner “Spider-Man: Into the Spider-Verse,” which added
1,661 locations (for a total of 2,404) and $2.1 million in its 12th
weekend for a cumulative $187.4 million and Warner Bros.’ “A Star Is
Born,” which added 490 locations and $1.8 million in its 22nd weekend
for a cumulative $213 million.
new this week, Focus Features’ “Greta” opened at No. 8 with $4.6
million, just below analyst predictions of a soft $5-million opening.
dark mystery stars Isabelle Huppert and Chloe Grace Moretz as a pair of
New York transplants who bond over a sense of loneliness. It earned a
58% “rotten” rating on Rotten Tomatoes.
a limited IMAX release, Neon released the documentary “Apollo 11” in
120 locations with $1.6 million, a per-screen average of $13,750. The
film opens in traditional theaters next week.
A24 released Gasper Noe’s “Climax” in five locations with $121,655, a per-screen average of $24,331.
week, Disney debuts the highly anticipated “Captain Marvel,” starring
Brie Larson and Samuel L. Jackson, which is expected to give the box
office a much-needed jolt. The year-to-date total now trails 2018 by
NEW YORK >> First-time documentary filmmakers Tina Brown and
Dyana Winkler lugged their cameras to Central Park in New York one day
to capture the last few people still passionate about roller skating.
Rinks across the country were gone. The activity seemed dead.
“We were shooting a piece about what we thought was the end of the
era of skating with what we thought were the last men standing,” said
Winkler. “We thought, ‘Who roller skates anymore?’”
They may have come for a funeral but they found something else entirely. Two young African-American skaters approached them and asked them what they were doing. “They said, ‘Skating’s not dead. It just went underground,’” Winkler recalled.
Winkler and Brown decided to go find it. Five years and 500 hours of
footage later, they’ve emerged with the HBO film “United Skates,” a
fascinating look at the rich African-American subculture of roller
skating, which is under threat.
“We hope that our viewers will learn something they didn’t know
about, fall in love with something they didn’t know about, and maybe be
compelled to care enough to protect it,” Winkler said.
The documentary explores how roller rinks were the sites of some of
the earliest fights of the civil-rights era and how they later became
the launching pads for hip-hop artists.
It shows how unofficial segregation lives on, with so-called “adult
nights” that feature metal detectors and masses of police, something not
used when whites come to skate. It also shows how rinks are being
closed as communities chase more revenue by rezoning for retail use.
“There’s a bigger story to tell and we can use the joyous beauty of
roller skating as the sugar to spoon-feed some of these bigger issues.
That’s when we started to peel back the layers,” Winkler said.
That day in Central Park changed the trajectory — and the lives — of
the filmmakers. The young skaters they met invited the women to come and
see what had happened to skating. And so they got on a night bus to
The duo — one Australian, one American — approached a roller rink at
midnight. It was far from funereal: There was a line down the block,
music was pumping, skaters were dressed to kill and everyone seemed to
know each other.
“We stepped into this world,” said Winkler.
They soon learned that each city had different skate dance styles —
Baltimore has “Snapping,” Atlanta has the “Jacknife” and in Texas you do
the “Slow Walk” — and how such a tight fellowship among skaters is
forged that they will fly across the country to get together.
Embraced by the community, Winkler and Brown never paid for a hotel
room or car rental or a meal while crisscrossing the country
interviewing some 100 skaters. The skaters themselves opened their homes
and drove them around.
The documentary features interviews with hip-hop legends like
Salt-N-Pepa, Coolio and Vin Rock of Naughty by Nature. John Legend is an
executive producer and the film received the Documentary Audience Award
at the Tribeca Film Festival.
The cameras also follow Reggie Brown, a roller-skating ambassador and
community advocate. In a phone interview, he explained that roller
skating teaches patience, athleticism, purpose, positive reinforcement,
determination — and getting up after a fall.
“Roller skating is a little bit more than going in circles on a
couple of wheels,” he said. “It’s fun. It’s an enjoyable exercise. It’s
healthy and there are a lot of great benefits. But the socioeconomics
benefits to roller skating are higher than anybody can think of.”
“Name me another activity that’s family-affordable, that you can go
to on a Saturday and take five members of your family and you can skate
for four hours and everybody can have a good time and exercise.”
“United Skates” is a documentary made partially by the subjects
themselves. Winkler and Brown, who began the project as beginner
skaters, enlisted skaters to shoot scenes and used their rink skills to
help capture footage.
“They would push us from behind at these high speeds and we would
just focus on the camera and just pray,” said Winkler. “It really was
collaboration. They like to say we taught them how to shoot and they
taught us how to skate.”
The cameras capture one suburban Chicago family-owned rink’s
gut-wrenching decision to shut its doors — among thousands that have
done so in the past decade — and the filmmakers are not shy about hoping
their film can stem the tide of closures.
“Obviously if we could save one rink, if we could have one rink
reopen because of this film, that’s a huge step forward for this
community and we hope that will have a ripple effect,” said Brown.