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There hasn’t been any shortage of music documentaries on big screens lately, but most are presented as special events that come in and out for one or two nights on a weekend, without settling in for a regular run. The Sony Classics release “Becoming Led Zeppelin,” though, has defied expectations of what a modern rock doc can do in cinemas, on its way to finding the favor of fans as a home video hit, too. Its success is, well, highly becoming.

Director Bernard MacMahon sat down with Variety to talk about the long process of making and then finding a buyer for the film, admitting there were plenty of companies that turned it down. The objections were plentiful, as he recalls it, when he and producer Allison McGourty were touring executive suites. But maybe most curious of all, to those who didn’t get the film, is that it...

Christopher Nolan isn't the kind of director to rest on his laurels for too long. With production officially underway on The Odyssey, fans are working their way through his back catalog, and it's Nolan's last movie that has become a streaming hit almost two years after it was initially released. The film in question is none other than Oppenheimer, starring Cillian Murphy. You may remember it as the film that had a weird feud with Greta Gerwig's Barbie, caused Cillian Murphy to nearly emaciate himself for the leading role, or won almost every Oscar last year. However Nolan's R-rated biopic about one of the most important men in modern history lingers in your brain, it might be time to revisit the 3 hour+ epic, as it's currently a hit on streaming.

Oppenheimer is currently streaming on Netflix, and is flying up the streamer's top 10 most popular films of the week list.

Sword and sandal films cover a wide range of subgenres, from historical dramas, biblical tales, and fantasy, to mythological epics. Through the decades, Hollywood has been enamored by the stunning sets, genius special effects, and colorful pageantry of stories told in bygone times with a romanticized lens. As the palettes of audiences have become saltier for more "grounded" and "gritty" versions of their favorite heroic tales, a surge to remake them has built a monotony in the styles of directors who try to market to this visual flavor.

However, with the dynamic range that Christopher Nolan has showcased over his years of dazzling the world with his films spanning a plethora of genres, audiences are enticed by how he will approach his adaptation of The Odyssey. As a way to prepare for such a revisit of a time-honored legend, here are films that will prime audiences for the kind of...

Quick LinksSome Filmmakers Are Shy About MythologyHollywood Has Plenty of Grounded Retellings of MythologyThe Supernatural Is the Heart and Soul of MythologyChristopher Nolan Is Perfect For A Faithful Odyssey StoryChristopher Nolan Shouldn't Miss This Opportunity

Since the days of visionary filmmakers like Ray Harryhausen, movies like Clash of the Titans and Jason and the Argonauts have explored ancient mythology to great effect. Considering the range of budgets and varying styles of directors, some have stuck close to the original story, while others opted for different perspectives. With Christopher Nolan set to adapt Homer's epic The Odyssey to the big screen, it's time for Hollywood to abandon a tired trend.

The ancient world has given movie fans an array of stories, from wholly original epics like The Lord of the Rings to historical films like Gladiator. Mythology often represents a combination of both, delivering audiences a look at history that blends fact and fiction.

Quick LinksBefore 'Game of Thrones' There Was 'Dragonslayer'Fans Noticed Similarities Between 'Dragonslayer' and 'Game of Thrones'Should You Watch 'Dragonslayer'?

George R.R. Martin's Game of Throneshas become a cultural phenomenon and the most beloved fantasy series of the modern era. The first book, having sold over 45 million copies in the US alone, led to the HBO series, which would draw an average of 9.3 million viewers per episode for its inaugural season. Yet, the foundational success of Game of Thrones can be owed to its forbearers, from the iconic work of J.R.R. Tolkien to the grimdark world of Conan as created by Robert E. Howard. On the screen, early works like 1963's Jason and the Argonauts set the precedent for decades of films celebrating the fantasy genre.

Yet, the underrated gem Dragonslayer has flown mostly under the radar, an initial failure at the box office that saw some later resurgence in appreciation.

Christopher Nolan always aims big, and his latest project is no exception. Renowned for his mind-bending stories and blockbuster success, Nolan is now bringing Greek mythology to life with The Odyssey.

You know, Homer’s ancient epic—the one that’s about gods, monsters, and Odysseus taking the scenic route home for a decade. Well, Nolan’s tackling it with a film that has a million-dollar price tag. It’s so massive, it makes Interstellar and Oppenheimer feel like indie flicks.

Christopher Nolan

The Odyssey is a “mythic action epic” that’ll use groundbreaking IMAX film technology to bring Homer’s sweeping tale to life. If anyone can pull this off, it’s Nolan. But how does The Odyssey’s budget stack up against Nolan’s past films (Interstellar and Oppenheimer)? Let’s break it down!

What is the budget for The Odyssey?

Let’s not beat around the bush...

Christopher Nolan isn't pulling any punches with his next movie project. Adapting Homer's The Odyssey is a massive undertaking, and it looks like Nolan has ensured the production budget will cover that.

Christopher Nolan's The Odyssey reportedly has a $250 million price tag (per Puck). Only two out of Nolan's 12 films crossed that $200 million mark, Tenet ($200 million) and The Dark Knight Rises ($250 million). If anything, the update hints at the scale of his next project, which is fitting for an adaptation of Homer's epic. Details on the movie are still scarce save for its premise and release date. "Christopher Nolan's next film The Odyssey is a mythic action epic shot across the world using brand new IMAX film technology," per Universal's announcement. "The film brings Homer's foundational saga to IMAX film screens for the first time and opens in theaters everywhere on July 17, 2026."

Related Christopher Nolan's Newest Epic May...

Paul Maslansky, a producer behind films such as “Police Academy” and “Return to Oz,” died on Monday of natural causes at a hospital in Los Robles, Calif. He was 91.

Maslansky collaborated frequently with Oscar winner Alan Ladd Jr. Together they worked on “The Russia House,” “Death Line,” “Race With the Devil” and “Damnation Alley.” He also produced “Love Child” in 1982 as well as the 1979 comedy film “Scavenger Hunt” and the 1995 fantasy feature “Fluke,” starring Matthew Modine.

Following the production of “Love Child,” Ladd requested that Maslansky advise on The Ladd Co.’s upcoming movie “The Right Stuff.” After watching the parade scene in the film, Maslansky wrote a short story about a group of police cadets. This would go on to become “Police Academy,” which grossed $82 million in 1984 and led to six film sequels, an animated television show and a live-action series.

Prior to the film’s theatrical release, Maslansky...

Producer Paul Maslansky, who came up with the premise for the first Police Academy movie and got help from three world-class directors to push the troubled cult classic Return to Oz past the finish line, has died. He was 91.

Maslansky died Monday of natural causes at a hospital in Los Robles, California, his partner of 16 years, Sally Emr, told The Hollywood Reporter.

The New Yorker made his producing debut in Italy on The Castle of the Living Dead (1964), starring Christopher Lee, and he filmed George Cukor’s penultimate feature, the Elizabeth Taylor-starring The Blue Bird (1976), and Fred Schepisi’s The Russia House (1990), starring Sean Connery and Michelle Pfeiffer, in the Soviet Union.

Maslansky, who collaborated often with Oscar winner Alan Ladd Jr., also produced Larry Peerce’s Love Child (1982), starring Amy Madigan in the true story of a woman who is impregnated by a guard in prison and has...

In an increasingly polarized, complex and scary world, animated films are one of our last havens of pure communal joy. Divisions between red and blue, left and right, wokes and deplorables fall away when we collectively gather in a movie theater to hear stories of inner emotions transformed into quippy cartoons, to watch the adventures of elemental gods and sentient robots (or sentient garden gnomes), to ponder the marvels of real-world creativity through the medium of children’s building blocks.

THR invited the directors of some of the biggest and buzziest animated films in this year’s awards season — Josh Cooley, director of Paramount’s Transformers One; Kelsey Mann, the helmer behind Pixar’s Inside Out 2, the highest-grossing animated film of all time; Dana Ledoux Miller, one of the directors of Disney’s Moana 2 (along with David Derrick and Jason Hand); Morgan Neville, who helmed Piece by Piece,...

If your thirst for non-stop action isn’t sated by the bloodletting in “Gladiator II,” take a gander at previous epics like “Spartacus” and “Ben-Hur,” which both heavily influenced the original “Gladiator.”

We’ve also thrown in some cinematic suggestions that go beyond Ancient Rome, with sprawling battles in West Africa, Persia, Spain, Japan and Norway, and confrontations that don’t necessarily involve a sword and shield.

Behold some great, epic action movies like “Gladiator II” to watch next.

(Universal Pictures) Gladiator (2000)

The Oscar-winning Ridley Scott epic is obviously the template for the new sequel, but if for some reason you haven’t seen Russell Crowe’s Maximus (almost) single-handedly upending the Roman Empire, you should remedy that with due speed. The film, which won five Oscars, including one for Crowe as Best Actor, is always worth revisiting, especially in light of the many callbacks in the new film. Strength and honor!

It takes a lot for a movie to be considered a masterpiece, and the standards are even higher when the film falls into the fantasy genre. Since speculative fiction isn't an immediate hit with all audiences, the special effects, characters, and plot must all work seamlessly for the project to connect with everyone who watches the movie. The films that fit the bill are some of the most influential and groundbreaking and are frequently cited and referenced in contemporary works. Every decade holds unique and mesmerizing additions to the genre that will capture the hearts and minds of viewers.

Sometimes, these movies are fantasy box office flops that deserve better and aren't recognized for their skill and talent until long after these films have premiered. However, with many of them, the merit is immediately obvious to audiences and critics alike. Despite this, it takes more than accolades and monetary achievements...

In a time where CGI and other digital technology reign as the kings of cinema special effects, Full Moon Features has released a film with old school SFX and a production timeline nearly half a century-long, spanning from conceptualization to release, with The Primevals.

And this timeline length is no exaggeration. The road to this film’s release began with plot elements used in the 1968 short film Raiders of the Stone Ring by writer-director David Allen (Puppet Master II and The Howling) that evolved into a full-length film script by 1975 and then produced by Charles Band in 1978. Alas, pre-production saw some funding issues surface that postponed the project until filming commenced again in 1994, before finally being completed and released in 2023.

After learning of the existence of Yeti when one is killed in Nepal, Dr. Claire Collier (Juliet Mills) and her student Matt Connor (Richard Joseph Paul) head to the Himalayas to investigate its origin.

Plot: Having long enjoyed his status as King of The Gods, Zeus’ reign has never been truly threatened. That is until he wakes up one morning and discovers a wrinkle on his forehead. Believing it to be the harbinger of an ancient prophecy which foretells his destruction, neurosis sets in: Zeus becomes convinced his fall is coming. As his paranoia takes hold, the God of Gods – seeing signs everywhere – starts to dangerously self-destruct. And he’s right to be worried. Zeus’ one time friend and now prisoner, Prometheus, is orchestrating a plan to bring him down. The plan involves three disparate humans, all of whom are totally unaware of their cosmic significance or the part they must play in saving the world. No pressure. (Some pressure).

Review: As a kid, I was obsessed with mythology. I consumed everything I could about Greek and Roman myths, including movies like Clash of the Titans...

Stars: Juliet Mills, Richard Joseph Paul, Leon Russom, Walker Brandt, Tai Thai | Written by David Allen, Randall William Cook | Directed by David Allen

The Primevals was a film I thought I’d never get to see. Tracing its roots back to a short filmed in the 1960s, Raiders of the Stone Ring, and through the late 70s and early 80s it constantly seemed to be in some form of preproduction, either by the project’s driving force, stop-motion artist David Allen, or via one of producer Charles Band’s companies. It got frequent mentions in Famous Monsters of Filmland and even a cover story in Cinefantastique. But apart from some footage shot around 1978, nothing came of it until 1994 when the film’s live-action footage was shot in Band’s Romanian studios and the Dolomite Mountains in Italy.

Then, as he was working on the film’s extensive stop-motion effects, Allen died of cancer,...

Near the beginning of Irvin Kershner's 1980 sci-fi flick "The Empire Strikes Back," the psychic rebel warrior Luke Skywalker (Mark Hamill) is riding alone through the snowy drifts of the distant planet Hoth, mounted on the back of a bipedal beast of burden called a tauntaun. He is on the lookout for any sign of the Empire, hunting the rebels after the destruction of their superweapon, the Death Star. Rather suddenly, Luke is attacked by a wampa, a humanoid yeti native to the planet. The wampa kills the tauntaun, claws Luke, and drags the hapless rebel back to its lair, presumably to be eaten.

The wampa is only seen in flashes. Luke sees a roaring face for a split second and a waving claw. For the 1997 Special Edition of "The Empire Strikes Back" — a notorious re-release that remastered and reworked most of the effects shots — a full-bodied shot of the wampa was included.

The British Film Institute has partnered with film animation studio Laika to start its event series Stop Motion: Celebrating Hand-Crafted Animation On The Big Screen, which will offer free screenings for children under 16 and include Laika’s five films to date: “Coraline” (2009), “Paranorman” (2012), “The Boxtrolls” (2014), “Kubo and the Two Strings” (2016) and “Missing Link” (2019), all of which were nominated for the Academy Award for outstanding animated feature.

The season, curated by BFI Southbank Lead Programmer Justin Johnson, will take place from Aug. 1 through Oct. 9. Additional titles playing on the big screen throughout the season will include “King Kong” (1933), “Jason and the Argonauts” (1963), “Chicken Run” (2001), “Corpse Bride” (2005), “Coraline” (2009), “Fantastic Mr. Fox” (2009) and “Anomalisa” (2015).

A free exhibition at BFI Southbank, Laika: Frame x Frame, will also run and showcase the art, science and innovation of the studio’s films. The exhibition will allow visitors an exclusive look at puppets, sets and artifacts from...

Garraka, the creepy demon in “Ghostbusters: Frozen Empire” who gives New York a “Death Chill,” was animated by Sony Pictures Imageworks with an eye toward Ray Harryhausen’s legendary stop-motion creatures from “Jason and the Argonauts.” In fact, the team paid particular attention to the skeleton army and Medusa for performance reference. That’s because director Gil Kenan (“Monster House”), who voiced Garraka, wanted to combine puppetry, stop motion, animatronics, and CG to evoke the handcrafted charm of the original “Ghostbusters” from 1984.

In this sequel to “Ghostbusters: Afterlife,” the once powerful Garraka, who’s imprisoned in a brass orb by ancient Fire Masters, is inadvertently set free by the Ghostbusters and unleashed on New York. His “Death Chill” breath can freeze his victims and cause them to shatter like tiny crystals. What’s more, Garraka can deep freeze the entire planet, and his plan is to take over by resurrecting an army of the undead.

Director and visual artist Stuart Birchall and producers Leila Mousavi and Seb Brown have unveiled joint UK production outfit Scrapbook Pictures, with a focus on using physically produced special effects for family-focused live action theatrical features.

For its first feature project, Scrapbook Pictures has teamed up with model visual effects supervisor José Granell, who has worked on the Harry Potter franchise, A Haunting In Venice and Napoleon, alongside The Magic Camera Company to co-produce fantasy adventure feature A Paige Odyssey (working title), which will combine physically built miniature environments and creatures with virtual production and CGI. It aims to start...

Divinity is visually stunning and showcases a unique blend of classic sci-fi motifs with a new perspective on the genre. The plot of Divinity may be straightforward, but the film's fast editing and overall eccentricity might not appeal to all viewers. The performances in Divinity, led by Scott Bakula and Stephen Dorff, are exceptional and contribute to the film's distinct tone and universe.

Divinity has the energy of a bad acid trip, but man does it look good. Writer-director Eddie Alcazar (Perfect) has a very particular vision that blends classic sci-fi motifs with his new perspective on the genre. The film's visual style is stunning and gives it a wholly original look. Though there is too much going on in the script at times, the sheer ambition is a marvel to behold. Performance-wise, Alcazar has brought together a great cast and puts them in an environment they embody perfectly. The...

Science fiction movies often come with a coating of dazzling special effects, and are invariably sold with spectacle in mind. And yet, the best science fiction stories are about ideas far more than visuals, and they tend to hold up much better, even when their effects age. That, in turn, gives the genre a bumper crop of underrated gems: films that didn't quite fit the zeitgeist upon release, but have aged like fine wine.

Some such movies find their audience and deserve acclaim along with that. A sterling example is Ridley Scott's Blade Runner, which was dismissed upon release, but now ranks among cinema's unquestioned masterpieces. Not all of them enjoy such late-inning comebacks, leaving them for genre aficionados to uncover.

Related: 10 Ways Blade Runner Subverts Science Fiction Cliches

The Last Man on Earth (1964)

Richard Matheson's I Am Legend is one of the most influential science fiction novels of the 20th century,...

Spy Kids: Armageddon marks the fifth chapter in the popular family franchise. It also serves as a reboot. Co-produced, directed, and co-written by creator Robert Rodriguez, the action-comedy flick follows Tony and Patty, youngsters blissfully unaware that their folks serve as two of the world's top-secret agents. That all changes when a powerful game developer -- dubbed The King -- unleashes a computer virus designed to give him complete control over technology. The siblings must embark on the adventure of a lifetime in order to rescue their kidnapped parents and save the world. That mission requires them to learn the art of espionage, employ cool gadgets, and even venture into a video game to beat the baddie.

Rodriguez recently spoke to Cbr about creating content for all ages, incorporating real-life experiences, skeletons, and future sequels to his other projects.

Cbr: What's the secret to making a good, fun, family-friendly movie...

In an era when many superhero films have adapted an unflattering, desaturated visual style in the name of realism, "Aquaman" is a balm for the eyes. The James Wan-directed DC Comics flick is full of eye-popping colors and imagery reminiscent of the splash pages you find in actual comic books. There are also nods aplenty to classic sci-fi and adventure stories, from the globe-trotting tomb-raiding of the Indiana Jones films to the fantastical prehistoric setting of Arthur Conan Doyle's "The Lost World." So it should come as no surprise that Wan has taken a similar approach to crafting a unique look for his sequel, "Aquaman and the Lost Kingdom."

Speaking at a reveal event for the "Lost Kingdom" trailer attended by /Film's own Jenna Busch-Henderson, Wan talked about the importance of world-building to the "Aquaman" films. "We enjoy all the different worlds that really no superhero movies go into,...

After much delay and studio drama, another Dceu hero will see the long-awaited release of their solo film. Granted, this solo film is a sequel. The first Aquaman was able to avoid strong undertows and treacherous waves on its way to the big screen and became a hit when the Jason Momoa outing joined the billion-dollar club, grossing $1.148 billion at the global box office. For Aquaman and the Lost Kingdom, the weather started getting rough and the tiny ship was tossed as Covid delays and schedule changes put the film, which was originally supposed to precede The Flash, at a year’s delay. It was even feared that the WGA and SAG-AFTRA strikes might have even pushed it back further to 2024, but for now it’s secure.

Just as there was talk of suspicions that the December film had barely released any advanced marketing, a trailer announcement for the week had dropped online.

Simon West, known for his love of extreme action, is taking on a more traditional film with his next project, Antara. Antara is a swords and sandals epic that follows the true story of Antara Ibn Shaddad, a slave turned knight and famous poet.

There are few directors who have little public name recognition but immensely popular bodies of work. One of these directors is Simon West. His name may not be familiar, but his movie resume is bursting with fan favorites. So, what is he doing in the desert?

With his new project, Antara, having been announced, it may initially seem like a departure. But when you look closer, it feels very on-brand.

Simon West Is Action

When looking through Simon West’s resume, it is full to the brim with some of the best action movies of the past twenty-five years. He is a man who has a...

Meg 2: The Trench director Ben Wheatley cited Steven Spielberg's Jaws as a major influence on the film.

In an interview with ScreenRant, Wheatley revealed how his love for classic monster movies, especially Jaws, shaped his creative vision. Despite being based on Steve Alten's novels, The Meg franchise drew inspiration from Spielberg's iconic shark thriller and, according to Wheatley, "a lifetime of watching monster movies." He said, "It comes from, I think, being a kid and watching [Ray] Harryhausen's stuff; watching Jason and the Argonauts and Sinbad and all those movies. I remember watching Jaws as a kid on TV, and that blowing my mind."

Related: Jaws: Steven Spielberg Says Casting a Lead Role Almost Led to a Fistfight

"In fact, I've probably watched Jaws every year since and always see new things in it," Wheatley said. "It's not just the greatest shark film of all time,...

Director Ben Wheatley cites Steven Spielberg's Jaws as the biggest inspiration for The Meg 2, calling it not only the greatest shark film but one of the greatest films of all time. Wheatley also draws inspiration from monster movies like Godzilla and Thing From Another World, as well as '40s adventure films with scientific elements. The sequel aims to maintain the vulnerable and relatable characters from the first film, offering an adventure where the audience can understand and worry about the protagonists.

While speaking to ScreenRant, The Meg 2: The Trench director Ben Wheatley revealed that Steven Spielberg's Jaws was the biggest inspiration for his latest film and explained how the 1975 classic action thriller as well as other monster movies influenced The Meg sequel.

The Meg 2: The Trench stars Jason Statham, Jing Wu, Cliff Curtis, Shuya Sophia Cai, Page Kennedy, Sienna Guillory, Melissanthi Mahut, and Skyler Samuels.

Ben Wheatley is one of the most unpredictable filmmakers working today. He impressed with his feature debut, the darkly funny "Down Terrace," but took a huge leap when he decided to blend two quintessential British genres, crime flicks and folk horror, with the terrifyingly brilliant "Kill List." Wheatley could've hightailed it for Hollywood on the strength of the latter, but he had different priorities. He bounced from the psychedelic horror of "A Field in England" to an effective adaptation of J.G. Ballard's dystopian "High-Rise" to the pitch-black shoot-em-up "Free Fire." He subsequently took a crack at Daphne du Maurier's "Rebecca," and while he couldn't quite place his distinctive stamp on the material (which Alfred Hitchcock aced with David O. Selznick hanging over his shoulder in his 1940 Best Picture winner), you had to admire his ambition.

Wheatley is an undoubtedly gifted filmmaker, but, film to film, I can't...

Director Ben Wheatley's love for monster movies, particularly Jaws, heavily influences his approach to The Meg 2: The Trench. Wheatley draws inspiration from various monster movies, including Jason and the Argonauts, Shin Godzilla, and the current Godzilla movies. The Meg franchise incorporates elements from Jaws and other monster movies, while still maintaining its own unique identity and taking the suspense and action to the next level.

The Meg 2: The Trench director Ben Wheatley explains how his love of Jaws and other monster movies influences his approach to the action-packed sequel. While The Meg franchise is based on the Steve Alten novels, the movies take great inspiration from Jaws. The Steven Spielberg classic put the shark movie genre on the map, with countless blockbusters following in its footsteps.

In an exclusive interview with Screen Rant about The Meg 2: The Trench, Wheatley discussed his love of monster movies. He...

The Meg 2: The Trench is a thrilling blend of horror, suspense, action, and comedy, inspired by classic monster movies like Jaws and iconic creature features. Director Ben Wheatley wanted to create an adventure with vulnerable characters that audiences could relate to and worry about, avoiding the typical superhero formula. The sequel expands on the original film by introducing additional sea monsters, upping the stakes and providing new threats that cannot be easily escaped, ensuring non-stop excitement throughout.

Following the events of the first film, rescue diver Jonas Taylor returns in The Meg 2: The Trench along with other survivors from the first mission for another fight with the megalodon. A new research team goes on an exploratory mission to the deepest parts of the ocean, but things become more dangerous than ever when a mining operation threatens their voyage. This conflict turns into a high-stakes battle, and with Megalodon...

Speaking for nearly an hour at his master class, one of the key highlights of the Annecy Animation Festival this week, maestro filmmaker Guillermo del Toro kept his packed-to-the rafters audience enthralled – and in stitches – as he extolled the virtues of stop-motion animation and of embracing flaws.

Having just won a best animated feature film Oscar for his long-gestating stop-motion version of the classic tale “Pinocchio” gave his talk even more heft.

“Stop-motion is, in my opinion, the most beautiful of all the forms of animation because it’s the most intimate, and is quite literally a connection between the animator and a physical model,” he said, adding: “It’s the closest thing to playing with your toys.”

“We are the weird motherfuckers in this room,” he told the stop-motion animation filmmakers in the audience. “Your family thinks you’re useless and that’s good,” he added, prompting a burst of laughter.

While each actor to appear on Doctor Who has a memorable experience, each has gone on to other roles after portraying the famous Time Lord. For any actor who steps into the shoes of the Doctor, it tends to be a life-changing and career-changing experience. Especially when portraying a role that’s been filled by so many others that it has become a pop-culture icon, playing the Doctor always leaves an impact on their actors and often becomes one of the roles they are most known for. But every Doctor must then pass their role on to the next actor, leaving them to grow their career in new ways.

The long-running series tells the story of a time-traveling alien called the Doctor who travels with a human companion in Doctor Who. A key aspect of the Doctor is that they can regenerate their body when they die, becoming an entirely...

There is a moment near the end of The Little Mermaid, the latest in Disney’s ongoing series of live-action (or “sort of live-action”) remakes in which King Triton (Javier Bardem) emerges from the deep to impart a message to his mermaid daughter Ariel (Halle Bailey). This is supposed to be the mighty god of the sea, but Bardem’s outfit of armored scales looks cheap in the sunlight—a fact previously hidden by watching it in mostly dark scenes—and the actor appears to be standing in about three feet of water in a pool.

It feels like director Rob Marshall just wanted to get the shot in the can and say the hell with it, let’s move on. And it’s unfortunate that a lot of 2023’s The Little Mermaid feels just as perfunctory. And damn long as well. The 1989 original was 83 minutes in length; this one is 135 minutes,...

If someone asked you to name a Hollywood legend, there are certain people that just cannot be excluded. One of these is director Steven Spielberg. When you're responsible for films like "Jaws," "Close Encounters of the Third Kind," "Raiders of the Lost Ark," "E.T. the Extra-Terrestrial," "Schindler's List," "West Side Story," and "Jurassic Park," it's pretty hard to argue against. The man is probably running out of space for all of his accolades.

Hollywood legend Spielberg may be, but he's taken inspiration from earlier legends of the silver screen. In fact, with "Jurassic Park," Spielberg paid homage to legendary animator/special effects creator/stop-motion animation innovator Ray Harryhausen. 

Harryhausen, who died in 2013 at the age of 92, was responsible for the creature work in films like "The 7th Voyage of Sinbad," "Jason and the Argonauts," "One Million Years B.C.," and "Clash of the Titans." Harryhausen inspired many filmmakers with his work,...

If there's one thing we can take away from modern blockbusters it's that, with rare exceptions, special effects just don't feel "special" anymore.

That's not to say that there aren't beautiful and convincing visual effects being produced in the world of cinema. "Top Gun: Maverick" seamlessly blends real aerial footage with CG recreations, to the extent that it's nearly impossible to tell what was really in front of the camera. "Avatar: The Way of Water," whatever its other flaws may be, is a sumptuous spectacle for the eyes, at once vibrant and colorful and creative.

But what so very many modern visual effects films have in common is that they take imagery that should be astounding for granted, treating the most incredible and impossible things the human mind could devise, and acting like it's just something everyone deals with every day. And the new superhero film "Shazam! Fury of the Gods...

In Sam Raimi's 1981 zero-budget horror film "The Evil Dead," Ash (Bruce Campbell) is attacked by mysterious malevolent demons in a cabin in the woods, having been summoned there by an ancient evil book called the Necronomicon. All alone in the cabin, you start to think that Ash is not so much being beset by monsters, as Campbell is being beset by the movie itself. In the more comedic 1987 part-sequel, part-remake "Evil Dead II," the self-awareness is amped up to a slapstick degree, and the language of horror gives way to the timing of comedy.

At the end of "Evil Dead II," Ash flees into another genre altogether, finding himself in England circa 1300 Ce. By 1993's "Army of Darkness" (which celebrates its 30th anniversary this week), Ash has transformed from an average college student into a really dumb, full-bore a-hole. He is hailed as a "chosen one" despite his crass dialogue.

1981’s Clash of the Titans signals the end of an era. In the fifties, sixties and even part of the seventies, stop-motion maestro Ray Harryhausen was the guy you went to if you wanted to do a fantasy epic. His stop-motion animation brought so many fantasy adventures to life, such as Jason and the Argonauts, Mysterious Island and the various Sinbad movies. He was easily one of the people responsible for truly bringing magic into the movies, but the game started to change in the seventies, especially once Star Wars was released. By the time other fantasy epics like Conan the Barbarian were being planned, Harryhausen was at work on what would be his most ambitious movie to date, Clash of the Titans.

Telling the myth of Perseus, Harryhausen would face some of the most significant logistical challenges of his career, as he’d have to use his effects to portray Medusa,...

In a year in which the film industry was still in disruption because of the formidable powers of digital streaming, stop-motion animation — maybe the most analog of all styles of filmmaking — has had a peak year, with three features vying for awards and shorts introducing powerful new talents. It definitely hasn’t always been like this, but several stop-motion helmers hope the trend continues.

The stop-motion films “Guillermo del Toro’s Pinocchio,” “Wendell & Wild,” and “Marcel the Shell With Shoes On” were all released in 2022, which is rare since the techniques used to make stop motion can be incredibly detailed and often require dozens of artists to be shooting scenes for the film if it’s ever to be completed in a reasonable amount of time. Add to that the need for, among others, hundreds of replacement faces for the various puppets, clothing made of fabric scaled down for...

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The joy in Guillermo del Toro’s face has been abundantly apparent this awards season each time he introduces his latest big-screen outing, a deeply personal animated version of Pinocchio told in the Mexican helmer’s typically sumptuous, meticulously crafted visual style.

When the Oscar-winning filmmaker was growing up, Carlo Collodi’s 1883 fable about a wooden puppet who longs to be a real boy was one of his favorites, and del Toro has now made the oft-told tale (Disney released its own ill-received live-action version, starring Tom Hanks, in September) distinctly his own: a darker, timely retelling for today’s audiences, set in fascist Italy during the 1930s.

Pinocchio is del Toro’s first foray into directing stop-motion animation, an art form that dates back to the early days of motion pictures and which was developed by filmmaking pioneers del Toro has long admired,...

Five of the creative talents behind animated films looking to gain traction in this year’s Oscar race sat down with Gold Derby recently and discussed subjects including what inspired them to get into animation and what they’d like to see from the medium in the future. This was all part of Gold Derby’s Meet the Experts panel on Film Animation that included Pierre Perifel (“The Bad Guys”), Peggy Holmes (“Luck”), Mark Gustafson (“Pinocchio”), Joel Crawford (“Puss in Boots: The Last Wish”) and Don Hall (“Strange World”).

You can watch the film animation group panel above with the people behind these five projects. Click on each person’s name above to be taken to each exclusive video interview.

For Holmes, it wasn’t a particular movie that made her fascinated with animation but an encounter she had when she used to work as a choreographer. Two music executives...

Animation fans are truly being treated in 2022. Pixar released one of their best ever films, "Turning Red," while DreamWorks dropped an underrated caper in the form of "The Bad Guys." Richard Linklater turned to rotoscope for "Apollo 10 ½" and "Dragon Ball Super: Super Hero" became an unexpected box office hit in North America. To top it off, we're getting not one but two stop-motion animated features: Guillermo del Toro's take on the classic story of "Pinocchio," and Henry Selick's return to the medium with the horror-comedy "Wendell and Wild."

Selick has long been one of the stalwarts of stop-motion in American animation thanks to iconic spooky season films like "The Nightmare Before Christmas" and "Coraline," while del Toro turned to the medium for his decade-long passion project and has received some of the best reviews of his starry career for his troubles. It's hard not to be...

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For Guillermo del Toro, it wasn’t a question of why stop-motion fit his new version of “Pinocchio,” but why it had never been attempted before. After all, Carlo Collodi’s enduring fable about a wooden puppet who longs to be a real boy cries out for the tactile, handmade technique.

“It’s the perfect way to tell the story,” del Toro told IndieWire, following a sneak peek of the first 38 minutes of his Netflix movie (premiering this weekend at the London Film Festival ahead of its closing-night special presentation at L.A.’s Animation Is Film Festival on October 29). “Everyone is a puppet. Being animated makes the existence of Pinocchio completely naturalistic the way you’re telling the tale. I’m surprised, happy, that it hasn’t been tackled like that before. It comes so naturally to the tale.”

But it’s taken more than 15 years to realize del Toro’s passion project,...

Some cliche somewhere said that ‘a picture is worth a thousand words.’ This has proven to be the case for me and especially when it comes to fan art. I have always sought out great fan art and have wanted to share it with as many people as possible. “Awesome Art We’ve Found Around The Net” is the outlet for that passion. In this column, I will showcase the kick-ass artwork of some great artists, with the hopes that these artists get the attention they deserve. That’s the aim. If you have any questions or comments, or even suggestions of art or other great artists, feel free to contact me at any time at theodorebond@joblo.com.

Airplane! by Nick Charge

Big Trouble In Little China by Zach Henson

Jason and the Argonauts by Kilian Eng

Lord of the Rings by Luke T. Benson

Mighty Morphin Power Rangers...

This meticulous docu-drama is still the best show about the Titanic, the awesome disaster that has never lost its grip on the imagination. Roy Ward Baker leads an enormous cast of Brit character actors through 2.5 hours of true-life terror in the icy Atlantic — Kenneth More, Honor Blackman, David McCallum, Laurence Naismith, Anthony Bushell. No stupid subplots and no insulting anachronisms, just an awful sinking death trap and 1600 passengers facing the freezing water. [Imprint] brings some new extras to the mix, too.

A Night to Remember

Blu-ray

Viavision [Imprint] #135

1958 / B&w / 1:66 enhanced widescreen / 123 min. / Street Date June 29, 2022 / Available from / 39.95

Starring: Kenneth More, Honor Blackman, David McCallum, Laurence Naismith, Anthony Bushell, Alec McCowen, John Cairney, Michael Goodliffe, Ronald Allen, John Merivale, Jill Dixon, Kenneth Griffith, Frank Lawton, Tucker McGuire, Ralph Michael, George Rose, Joseph Tomelty, Jack Watling, Michael Bryant, Bee Duffel, Thomas Heathcote, Andrew Keir, Jeremy Bulloch, Desmond Llewelyn, Derren Nesbitt, Beth Rogan,...

Producer Charles Band discusses a few of his favorite films with hosts Josh Olson and Joe Dante.

Show Notes: Movies Referenced In This Episode

Re-Animator (1985) – Charlie Largent’s Blu-ray review

Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review

Puppet Master (1989)

Dollman (1991)

Trancers (1984)

Corona Zombies (2020)

Cannibal Women In The Avocado Jungle of Death (1989)

Frankenstein (1931) – Joe Dante’s trailer commentary, Glenn Erickson’s Blu-ray review

The Sixth Sense (1999)

The Wolf Man (1941) – Glenn Erickson’s Blu-ray review, Alex Kirschenbaum’s Wolf Man power rankings

I Bury The Living (1958) – Joe Dante’s trailer commentary, Charlie Largent’s Blu-ray review

Face of Fire (1959)

Hercules (1958)

The 7th Voyage Of Sinbad (1958) – Brian Trenchard-Smith’s trailer commentary

Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary

King Kong (1933)

King Kong (1976) – Glenn Erickson’s Blu-ray review

The Exorcist (1973) – Oren Peli’s trailer commentary

Star Wars (1977)

The Omega Man (1971)

Castle Freak (1995)

Tourist Trap (1979) – David DeCoteau’s trailer commentary

Laserblast (1978)

Crash!

Jason and The Argonauts set the stage for films about Greek mythology way back in 1963. However, cinematic explorations of the tales of adventure, great gods, and powerful goddesses have been around since the beginning of cinema. Disney made its mythology debut with Hercules in 1997, and suddenly, every child wanted a pegasus and to be as strong as Hercules.

Related: 14 Best TV Shows About Greek Mythology

The Disney+ streaming service just announced that it will be producing a TV series based on the Rick Riordan young adult novels and the 2010 Logan Lerman films, Percy Jackson and the Olympians. With this announcement, fans are getting excited about seeing their favorite gods and demigods on screen again. If audiences want to prepare for the new series, they can watch some of the best Greek mythology movies, as chosen by Ranker users.

Cinematically, I've always thought of the Greek God Zeus as a toga kind of guy. That's probably because I loved those old Ray Harryhausen monster movies when I was a kid, especially those classic swords-and-sandals adventures like "Jason and the Argonauts" and "Clash of the Titans."

Niall MacGinnis and Laurence Olivier memorably played Zeus in those movies, and many other actors have portrayed the character over the years. One of the most intriguing was potentially Christopher Walken, who played the role in the unreleased comedy "Gods Behaving Badly." In 2013, photos emerged of him in the Daily Mail, dressed like a crime kingpin rather than the traditional...

The post Gods Behaving Badly: The Unreleased Christopher Walken Project We've Never Seen appeared first on /Film.

After success with several small-scale films, Peter Jackson in 1992 told Variety he was looking for a project “that will really push me.”

He found something that surpassed everyone’s expectations. This month marks the 20th anniversary of Jackson’s “The Lord of the Rings: The Fellowship of the Rings,” which kicked off the 2001-2003 film trilogy based on the books by J.R.R. Tolkien.

In 2000, Jackson told Variety “Lotr” was “the Holy Grail of filmmaking, a once-in-a-lifetime experience.”

In retrospect, handing this massive project to Jackson seems like a no-brainer: great material for a great filmmaker. But in fact, there were so many unknown factors that it was immediately recognized as one of film history’s greatest gambles.

“I read ‘Lord of the Rings’ first as a 17 year-old,” Jackson told Variety. “I wasn’t one of those avid fans who read it every year. Fran and I were childhood fan of the ‘Sinbad’ movies,...

“Release the Krakken!”

No! You don’t have to travel to Scotland to see the original sculptures and models created by Ray Harryhausen. Just visit the ‘Ray Harryhausen – Titan of Cinema’ Virtual Exhibit at the National Galleries of Scotland. But tickets for the virtual tour Here

In films spanning five decades Harryhausen breathed life into his foam latex creations through the process of stop-motion animation. He set them among living actors to create fantastical creatures that enchanted and terrified audiences worldwide. His film credits include classics such as Jason and the Argonauts, with its uncanny sword-fighting skeletons and towering living statue Talos, and Clash of the Titans featuring Medusa, one of the most frightening and iconic monsters to slither across the flickering screen.

Although the sources for Harryhausen’s monsters often came from existing material – from myths and legends, the fantastic literature of H.G. Wells (First Men in the Moon...

It was 40 years ago, in June 1981, that Clash of the Titans, the last film to feature the stop-motion animation effects of Ray Harryhausen, was released.

Starring a then-unknown Harry Hamlin, along with veteran stars like Laurence Olivier, Maggie Smith, Burgess Meredith, and Ursula Andress, the film was loosely based on the Greek myth of Perseus (Hamlin), weaving in strands of other mythologies and legends and putting its hero into conflict with creatures like the Kraken, Calibos, Medusa the Gorgon and a two-headed dog named Dioskilos.

“Greek and Roman myths contained characters and fantastic creatures that were ideal for cinematic adventures,” wrote Harryhausen in his memoir, Ray Harryhausen: An Animated Life. “If some of the adventures were combined with 20th century storytelling, a timeless narrative could be constructed that would appeal to both young and old.”

Harryhausen was already a filmmaking legend by the time he began work on Clash of the Titans.