Metro Goldwyn Mayer Pictures (MGM) has partnered with Monkeypaw Productions’ Jordan Peele & Win Rosenfeld to produce a re-imagining of Candyman, the 1992 horror classic adapted from Clive Barker’s short story The Forbidden. The announcement was made today by Jonathan Glickman, MGM’s President, Motion Picture Group. Rising filmmaker Nia DaCosta (Little Woods) will direct from a screenplay by Peele and Rosenfeld. The film, a “spiritual sequel” to the original, returns to the neighborhood where the legend began: the now-gentrified section of Chicago where the Cabrini-Green housing projects once stood. Production is expected to begin Spring 2019. Universal Pictures will release Candyman theatrically in the U.S. on June 12, 2020.
DaCosta’s feature film debut, Little Woods, starring Tessa Thompson and Lily James had its world premiere at the Tribeca Film Festival this year and earned her the coveted Nora Ephron Award.
Peele wrote and directed the critically claimed Get Out which earned $250M worldwide for Universal Pictures. The film received four Academy Awards nominations including Best Actor, Best Director, Best Picture and earned Peele the Oscar for Best Original Screenplay.
“We cannot wait for the world to see what the mind-blowing combination of Jordan, Win and Nia bring to the legend of Candyman. They have created a story that will not only pay reverence to Clive Barker’s haunting and brilliant source material but is also thoroughly modern and will bring in a whole new generation of fans,” said Glickman.
“The original was a landmark film for black representation in the horror genre. Alongside Night of the Living Dead, Candyman was a major inspiration for me as a filmmaker — and to have a bold new talent like Nia at the helm of this project is truly exciting. We are honored to bring the next chapter in the Candyman canon to life and eager to provide new audiences with an entry point to Clive Barker’s legend,” said Peele.
MGM will produce and finance Candyman with Universal handling domestic theatrical distribution. Adam Rosenberg, MGM’s Co-President of Production and Tabitha Shick, MGM’s Vice President of Production will oversee the project on behalf of the studio and Ian Cooper will produce for Monkeypaw.
MGM recently released Steven Caple Jr.’s Creed II, starring Michael B. Jordan and Sylvester Stallone, setting the record for highest grossing live-action opener across Thanksgiving. Upcoming on the MGM film slate is Fighting With My Family, a comedy-drama written and directed by Stephen Merchant, based on the true personal story of WWE Superstar PaigeTM and her family of professional wrestlers, starring Florence Pugh, Vince Vaughn and Dwayne Johnson, in New York and Los Angeles on February 14, 2019, expanding wide on February 22, 2019; The Hustle, a hilarious new comedy starring Academy Award winner Anne Hathaway and Rebel Wilson, which will be released in theaters on May 10, 2019; Conrad Vernon and Greg Tiernan’s animated adaption of The Addams Family featuring the voices of Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard, Nick Kroll, Bette Midler and Allison Janney, in theaters on October 18, 2019; the feature adaptation of Nicola Yoon’s best-selling novel The Sun Is Also A Star with Warner Bros. Pictures, directed by Ry Russo-Young and starring Yara Shahidi and Charles Melton, in theaters on May 17, 2019; the 25th installment of EON Productions, MGM and Universal Pictures’ James Bond film directed by Cary Fukunaga and starring Daniel Craig which will be released theatrically in the U.S. on February 14, 2020 and Legally Blonde 3 starring Reese Witherspoon in her return to the beloved character Elle Woods, is scheduled for release on May 8, 2020.
Under the Monkeypaw Productions banner, Jordan Peele wrote, produced and directed the critically acclaimed blockbuster Get Out, which received four Academy Awards nominations and earned Peele the Oscar for his screenplay. Most recently, Monkeypaw produced Peele’s second original feature, Us, for Universal Pictures. The social thriller starring Lupita Nyong’o will be released in March 2019. Earlier this year, the company produced Spike Lee’s BlackkKlansman, the true story of an African-American detective who infiltrated the KKK. Monkeypaw is also working on the stop-motion animated feature, Wendell & Wild, from director Henry Selick for Netflix. On the TV side, Monkeypaw is producing the upcoming docuseries Lorena, an examination of the infamous Lorena Bobbitt case, which will be released in early 2019 for Amazon Studios. Also with Amazon, Monkeypaw is developing The Hunt, a series based on true events that follows a diverse band of revenge-seeking Nazi hunters in 1970s America. Additionally, Monkeypaw is producing Lovecraft Country for HBO, an anthological sci-fi thriller series set in the 1950s Jim Crow South, in conjunction with J.J. Abrams’ Bad Robot; Weird City, a sci-fi comedy that will air on YouTube Originals; and the second season of The Last O.G., the TBS comedy starring Tracy Morgan and Tiffany Haddish. Also currently in production for Monkeypaw is a new installment of Rod Serling’s visionary television series, The Twilight Zone, in which Peele will revive the iconic role of the narrator. Produced with CBS Television Studios in association with Simon Kinberg’s Genre Films, the mind-bending anthology series will air exclusively on CBS All Access.
DaCosta is represented by CAA, Management 360, Jodi Shields at Casarotto, and Attorney Nina Shaw. Peele and Monkeypaw Productions are represented by CAA, Artists First and Jared Levine at Morris Yorn.
Joy Ride Is An Extremely Raunchy And Hilarious Comedy
Joy Ride is an extremely raunchy and hilarious comedy that takes the mantle of ensemble risky
comedies that at times, leave your mouth on the floor. Joy Ride focuses on two best friends
Audrey and Lolo (Ashley Sullivan and Sherry Cola) end up getting roped up into a trip to Asia,
they end up on gals pal cross-continent trek to find Audrey’s long lost birth mother so she
doesn’t lose a huge business deal.
The chemistry in this movie is superb. Every character has their moment to shine and there’s
rarely a scene where you don’t get a belly laugh. I was shocked at how crazy and bold this
movie got, continually pushing the line to get a laugh. The movie does a good job of getting to
the point and getting to the scenes that really make you chuckle. There are some editing choices where the story flies by some stuff, and it feels a little incomplete, but never at the expense of really enjoying being around for the journey.
I thought that this was a sleeper for this year and certainly a movie worth watching with your
friends some weekend. It’s great to throw on if you want a laugh and really just enjoy some
great actors riffing off each other. The focus on culture was a nice touch and really elevated the movie to another level. While I would say if you’re easily offended, this movie is not for you – if you’re looking for a no holds barred comedy, Joy Ride is a trip worth taking.
Who Doesn’t Want To Wear The Ninja Suit Of Snake-Eyes Or Dress Like The Mandalorian?
Hasbro has had their pulse app out for a while now. It allows for access to items to buy, preorder, and a look into future projects and releases. It also allows for a very cool thing most nerds (a group of which I am a proud card-carrying member) have always wanted, the ability to make yourself into an action figure. I’ve contemplated making one for a time but, I finally got my chance to get my hands on one at Comic-Con this year. Now, of course, I had to wait in line as it was a pretty sought-after item. Who doesn’t want to have themselves wear the ninja suit of Snake-Eyes or dressed like a Mandalorian? I was approached by one of the booth staff as I was showing my nephew all the cool ways we could get him his own MIles Morales action figure with his face (as he’s a massive fan) and invited to take a seat and scan our faces into the Hasbro Pulse app with the help of their awesome team and make this dream a reality. My wife was with us, so of course she got in on the fun too. We scanned our faces in and it was very simple and quick. Then we all selected our figures to add our heads to. We all chose Power Rangers(Me as the Black Ranger, my wife chose the pink ranger and the nephew got the red ranger). Then we were told that we needed to wait about 4-6 weeks and we’d have our custom action figure team in our hands. This was a major part of our Comic-Con adventure and definitely, a memory my wife and nephew won’t forget (as it was both of their first Con ever). Thank you to Hasbro for being so generous(also getting me brownie points that home) and I highly suggest checking out Hasbro Pulse and all the cool stuff it has to offer.
The Last Voyage of the Demeter: Double-knock on wood!
Adapted and written largely from the Captain’s Log chapter of Bram Stoker’s magnum opus Dracula, The Last Voyage of the Demeter tells the story of Dracula’s journey by ship from Carpathia to London, and what happened to her crew in the interim.
So here we are in Bulgaria, middle of 1897, and Captain Eliot (Liam Cunningham) of the Russian schooner Demeter is here to take on some strange cargo from some unknown client and transport it to Carfax Abbey in London. In need of some extra hands, the Captain sends out his capable Second Wojchek (David Dastmalchian) to scout for some, and initially the roving black doctor and aspiring philosopher Clemens (Corey Hawkins) is passed over in favor of more work-roughened men. The adorable cabin boy of the Demeter, Toby (Woody Norman), narrowly misses being crushed by the mysterious dragon-marked crates being loaded onto the ship, saved by Clemens himself and switched out with the superstitious sailors running from the Demeter like they had been poisoned by the sign of Dracul. And now, armed with some nine or so crewmen, Doc Clemens, and Captain Eliot himself, the twenty-four strange what looks like coffins adorned with dragon signs brought mostly safely aboard, the Demeter can make for open water and the Hell that awaits them there.
The duty of showing Clemens around the ship falls to a cheerful Toby, who proudly shows him the living areas, the Captain’s quarters, the very-large cargo hold, the galley and kitchen where the overly-devout Joseph (Jon Jon Briones) cooks the crews meals, the various above decks, even the sails, and the rigging are all at least touched on, and the livestock pens that Toby himself is in charge of, including the handsome good-boy doggy Huckleberry, or just Huck. We the audience get a very clear feeling of what it’s like to actually be aboard the Demeter, just how large she really is, and what living on a ship for months at sea is really like, the reality and practicality and the dangers of it.
Everyone more or less settles in for a hopefully uneventful voyage, taking mess around the common table and exchanging ideas or aspirations for when they arrive in London early thanks to the fair winds, and receive a handsome bonus for their troubles. But that involves being alive and making it to London to spend said bonus and pay, and the coffin crates spilling dark soil from the motherland and disgorging all sorts of other nasty secrets, have some serious plans to the contrary.
First, it’s the livestock, innocent and shrieking in their locked pens as a monster takes great furious bites out of their necks, and of course, the creature just straight up ruins poor doggy Huck. Then there’s the fully grown girl that gets dislodged from an open coffin-crate, covered in bite scars and as pale as death, she eventually starts interacting and talking after several blood transfusions from Doc Clemens, Toby learns her name is Anna (Aisling Franciosi). And then, as the weather turns foul and the winds begin to be a serious problem, the attacks turn toward the remaining humans onboard the Demeter.
Most people these days are familiar with Dracula, that gorgeous cunning vampire Elder who can supposedly transform into a bat or a wolf, seducing women to voluntarily offer up their veins like an unholy sacrament, a being at once beautiful and powerful, but also horrific and murderous if given half a heartbeat to smell your blood. This is not Dracula.
Instead, the creature that hunts the humans occupying the Demeter is an absolute monster, not a single human feature left to it, barely even recognizable as humanoid-shaped, instead boasting not just full-length bat wings but an entire exo-skin of bat membranes that can be used for feeding, a mouth full of needle-like teeth akin to a predator of the deepest darkest parts of the ocean, those yellowed Nosferatu eyes that will not tolerate light in any way, and of course giant pointy bat-ears. This is a thing, a grotesque straight from the depths of Hell, and no amount of glamor magic can make this Dracula (Javier Botet) seem like anything other than what he, is – a parasitic demon who only wants your blood. There is no reasoning with it, no trapping it, not even really any talking to it (kinda hard to talk when your throat has been ripped out), and, like the much more frightening Dracula stories of old, no amount of pure faith behind a symbol does anything other than give false hope.
Coming face to face with an actual abomination does different things to different people. The formerly delightfully foul-mouthed Abrams (Chris Walley) dissolves into a blubbering mess; poor Larsen (Martin Furulund) didn’t even get to see his own death coming; and it turns out Olgaren (Stefan Kapicic) wants to live so badly, he’ll suffer becoming a blank-eyed Renfield if that’s what it takes. All of Cook Joseph’s purported pure faith didn’t stop him from trying to take the coward’s way out and didn’t save him anyway when the sound of unnatural bat wings descended on him. I find that kind of irony delicious. Dear Anna, resigned to her fate to be eternal food for the horror that terrorized her village, nevertheless wants to try and save whoever is left of the Demeter with her own sacrifice, and there aren’t many. Wojchek of course wants to kill Dracula, but for all his logic and solid practical nature, has no experience whatsoever with this sort of thing, and sure doesn’t want to sacrifice the Demeter, the beloved ship he called home that was promised to him by Captain Eliot himself, in order to destroy that demon. Even poor sweet Toby isn’t safe from the creature’s clutches, and what happens to the cabin boy of the Demeter is what finally sends Captain Eliot over the blooming edge. And who could blame him? For this sort of thing to happen during the last voyage of such a proud, solid ship as the Demeter, is some serious bullsh*t.
To leave such a film open for a potential sequel, especially when called the last voyage of something, was a pretty hefty ask, and somehow the filmmakers managed it. I personally think a different version of Van Helsing, the infamous vampire hunter, teaming up with a certain black doctor who nurses a serious grudge against Dracula, could be a kickass sequel. Until then, experience the doomed final journey of the Demeter and her poor crew in all it’s bloodstained glory, in theaters now!