The latest movie in the X-Men universe has gotten a new trailer. New”Logan” footage dropped during Sunday night’s Super Bowl, featuring old pals Logan (Hugh Jackman) and Charles Xavier (Patrick Stewart) working to help young mutant Laura (Dafne Keen).

In his last performance as Wolverine, Jackman plays a weakened version of the unbeatable and unbreakable anti-hero. Since his healing powers have lessened, Logan has been earning a living as a chauffeur, hiding out in a border town while caring for the ailing Professor X.  Their small world is shattered by the arrival of young Laura, whose powers are similar to Logan’s and have attracted quite the violent following. Logan, always reluctant to help others, appears to eventually come around and become protective of Laura, one of the few remaining mutants in the country.

The action-packed trailer — set to “Amazing Grace — shows Logan and Laura demonstrating their ferocious fighting skills.

After “X-Men Origins: Wolverine” in 2009 and “The Wolverine” in 2013, “Logan” is the last standalone Wolverine film and the last performance of the character by Jackman, who has depicted the animalistic loner-turned-hero eight other times since 2000’s “X-Men.”

Richard E. Grant, Boyd Holbrook, Stephen Merchant, Eriq La Salle, Elise Neal and Elizabeth Rodriguez also star. James Mangold (also directed “The Wolverine) directs the story by David James Kelly and himself. Hutch Parker, Simon Kinberg and Lauren Shuler Donner (whose worked on the series since its inception) produce.

“Logan” hits theaters on March 3, 2017.

Check out the trailer here or above.


Jack Sparrow is back.

A new trailer for the fifth installment in the “Pirates if the Caribbean” franchise, “Pirates of the Caribbean: Dean Men Tell No Tales,” brought an atmosphere of adventure to this year’s Super Bowl ads, set to the soundtrack of Johnny Cash’s “Ain’t No Grave.” Full of blazing ships and supernatural foes, you won’t see Johnny Depp’s Sparrow until the very last shot… covered in mud.

The film, for a May 26 release in the U.S., will see the return of Depp as Captain Jack Sparrow, the amiable, garrulous pirate who always seems to be one step ahead of trouble. This time, Captain Sparrow will come up against a new foe in the form of Captain Salazar, played by Javier Bardem, a ghost pirate who could do with some moisturizer on his face by the looks of it.

Regular cast members like Geoffrey Rush, playing Captain Barbosa; Orlando Bloom as Will Turner; and Kevin McNally as Joshamee Gibbs, will also all return for the film.

New additions to the franchise include Brenton Thwaites in a lead role, Kaya Scodelario, and, probably the biggest surprise package, Paul McCartney in an unspecified role. When McCartney’s casting was announced, a Disney spokesman revealed the former Beatle will play a key component in the one scene he’s in which he features.

Production on the film wasn’t always smooth, as back in March 2015 when Depp injured his hand while on location in Australia, forcing filming to be briefly halted.


“Bayhem” is back with a bang.

Among this year’s slew of Super Bowl commercials on Sunday afternoon was a new trailer for Michael Bay’s upcoming movie, “Transformers: The Last Knight,” the fifth installment in the children’s toy-inspired franchise. And while a short Super Bowl spot was shown during the Big Game and was released online earlier this weekend, an extended look was released on Sunday.

It will be autobot v. autobot in the latest installment, and it looks like Optimus Prime will be fighting his old friends in “The Last Knight.”



China’s Huahua Boards Paramount’s ‘Transformers: The Last Knight’


“The Last Knight” will see regular heavyweights like Mark Wahlberg, Stanley Tucci, Josh Duhamel, Tyrese Gibson, and John Turturro return to the series, while adding others like “100 Things to Do Before School” actress Isabela Moner and Anthony Hopkins, who make their “Transformers” debuts.

The film ran into controversy in September while filming in the U.K., with photos emerging in a local tabloid of Blenheim Palace, the birthplace of former Prime Minister and World War II leader Winston Churchill, being used as the location for a Nazi base.

In an interview with Variety, Tony Hayes, head of the Veteran’s Association U.K., called the decision to cover the palace in Nazi insignia and have men enter its main building in Nazi uniform a “total disgrace.”

“A lot of the older generation find it totally appalling. It’s an insult,” Hayes added.

“Transformers: The Last Knight” will hit theaters on June 23, 2017.


A new trailer for “The Fate of the Furious,” the eighth installment in the “Fast and Furious” franchise, dropped Sunday afternoon during the Super Bowl on CBS.

Universal’s next “Fast and Furious” chapter finds Vin Diesel’s Dominic Toretto and Michelle Rodriguez’s Letty on their honeymoon, with the rest of the crew exonerated, finding a semblance of a normal life. However, when a new villain, played by Charlize Theron, who’s making her debut in the franchise, seduces Dom into a world of crime he can’t seem to escape, the family will face a new set of trials.

And as evident from the tagline of the trailer, the rules have certainly changed. The footage even shows Dwayne Johnson’s Hobbs and Jason Statham’s Deckard Shaw joining forces… begrudgingly.

Theron joins fellow series newcomers Helen Mirren and Kristofer Hivju. Tyrese Gibson and Ludacris will also be returning. The franchise has proved a reliable bet for Universal, with the previous film “Furious 7,” grossing $1.5 billion worldwide. That 2015 film was also the last installment to feature late star Paul Walker.

Director F. Gary Gray also enters the franchise with “Fate.” Gray directed “Straight Outta Compton” and action flicks “The Negotiator” and “The Italian Job,” which starred Theron.

“The Fate of the Furious” will hit theaters on April 14, 2017. Watch the trailer below.


The Jackie Chan comedy “Kung Fu Yoga” topped a bountiful box-office weekend in China that largely shrugged off back-to-work blues after the long Chinese New Year holiday – a festive period that saw Tsui Hark and Stephen Chow’s “Journey to the West: The Demons Strike Back” emerge as the biggest winner.

The holiday period officially ended last Thursday, and many businesses were supposed to reopen Friday. But, inevitably, many people took the weekend as additional vacation or travel days. Cinemas were the big beneficiaries, with daily attendance more than 50% higher than a typical non-holiday weekend.

For the Friday-Sunday weekend, “Yoga” claimed $49.9 million from some 70,000 screenings per day. “Journey to the West” earned $34.5 million from only slightly fewer screenings, according to data from Ent Group. That included $3 million from 389 IMAX screens, bringing its IMAX total to $15.9 million. (The film also earned $1.2 million from 400 venues in Sony Pictures Releasing International’s seven overseas territories.)

Han Han’s drama “Duckweed” climbed the rankings to No. 3 with a strong $29.9 million from some 45,000 screenings per day. The second India-themed comedy, “Buddies in India,” earned $12.9 million, narrowly ahead of franchise cartoon “Boonie Bears: Endangered World,” which grossed $12.4 million.

Those five had all been released Jan. 28, the first official day of the holiday period. The quintet dominated theaters throughout the nine-day period, untroubled by a smattering of small new releases in the second week.

After a fast start – it broke the record for the largest single day in Chinese box office history – “Journey” had accumulated $182 million from nine days. “Kung Fu Yoga,” in second place, had $146 million. “Buddies” reached $89 million, “Duckweed” $70.5 million and “Boonie Bears” $48 million.

Although Chinese media hailed the holiday box office bonanza as a return to form for the Chinese theatrical business and for Chinese-language films, there are multiple reasons to question that analysis.

First, while the six-day official holiday period (Jan. 28-Feb. 2) saw a 13% growth in ticket sales, according to government reports, the number of cinemas in operation has increased by some 30% since 2016. Per screen, ticket sales remain persistently down.

Second, while January 2017 saw a 25% increase in theatrical business compared to January 2016, last year the Chinese New Year holiday period fell entirely within February. This year a steep comparative drop should be expected for February.

Furthermore, China’s industry regulators have begun presenting box office data differently. From the first day of the lunar new year (Jan. 28), reported grosses were required to include online booking fees. These are typically between RMB3-5 ($0.44-0.72) per ticket. Given that more than 70% of movie tickets in China are now sold online, the inclusion of the booking fees instantly swelled the overall box office numbers by about RMB4 ($0.58) per ticket, or more than 10%.

The idea behind the change is to ensure greater clarity of reporting; after all, these are the prices paid by the consumer. But the change means that making comparisons with past performances, whose numbers do not include the booking fees, much harder. And it is the gross revenues measured in the old way that are still to be used for calculating the revenue shares payable to overseas rights holders in the case of imported films.

Another reason for caution is that the Chinese New Year period was all about local films. A crop of new releases, including Hollywood titles “xXx: The Return of Xander Cage” and the Oscar-fancied “La La Land” will soon grab screens from the incumbents and compete for Valentine’s Day audiences.

So, while “Journey to the West” scored an opening-day record, its cumulative earnings are still currently outside the all-time top 10. The film stands little chance of getting near the RMB3.39 billion ($491 million) performance, excluding booking fees, of last year’s blockbuster hit “The Mermaid.”


A new set of ultra-toned lifeguards will be hitting the beaches of Los Angeles this summer.

The latest trailer for “Baywatch,” the film adaptation of the hit 1990’s television series, was released Sunday afternoon during the Super Bowl on Fox.



‘Baywatch’ Stars: Then and Now (Photos)


In the film, Mitch Buchannon (Dwayne “The Rock” Johnson), a forthright veteran lifeguard, goes head-to-head with a rash recruit named Matt Brody (Zac Efron). When the two discover that a criminal plot is in the works that is threatening their beach, they are forced to put aside their differences.

In the Super Bowl spot, they get into gear… very revealing gear, that is. When Efron tears off his pants to unleash an American flag-themed bathing suit, Johnson asks him, “What are you wearing?” Efron quickly answers, “Freedom.”

The film also stars Priyanka Chopra, who plays the lead antagonist of the film, along with Kelly Rohrbach playing C.J. Parker, the role Pamela Anderson played in the original television series.

The original “Baywatch” show premiered on NBC in 1989, but was canceled after only one season. Star David Hasselhoff and creators and executive producers Michael Berk, Douglas Schwartz, and Greg Bonann felt the show had potential, and revived it for the first-run syndication market in 1991, through which it garnered large success, especially internationally.

“Baywatch” will hit theaters on May 26.


Russell Hollander will succeed the retiring Jay Roth as the national executive director of the Directors Guild of America.

The DGA’s national board unanimously selected Hollander, its current associate national executive director, at its meeting Sunday. Roth had announced on Jan. 18 that he would step down in the late spring after 22 years with the DGA.

Hollander has been with the DGA for 16 years. He will take on the new role in May while Roth remain with the guild as senior adviser.

“In this appointment, we ensure the continued strength and stability of our Guild,” said DGA President Paris Barclay. “Long committed to advancing the creative and economic rights of our members, Russ is a respected and accomplished leader with a strong track record of success on behalf of our membership and the industry. Together with his deep roots in our Guild, Russ brings the necessary combination of strategic thinking, negotiating prowess, labor law expertise, and appreciation of our craft to build upon the DGA’s strong foundation under Jay, well into the future.”

Hollander joined the DGA in 2001 as Assistant Eastern Executive Director. He formerly headed the Guild’s New York office before moving to its Los Angeles headquarters to take on an expanded national role in January, 2016, to focus on national and international representation of directors.

The DGA said Sunday night that Roth and Hollander will work with the national Board and councils, as well as senior executive staff, in the coming months to ensure a seamless transition.

“It is a tremendous honor to be selected by the National Board to serve in this role, and a privilege to have learned so much from Jay whose guidance for directors and their teams has elevated the DGA to an industry leading position,” said Hollander. “The strength of our guild is derived from the unique collaborative structure they have crafted together, and we are well prepared to continue our trajectory of success.”

Roth was paid $888,173 in compensation during 2015, according to the most recent LM-2 report filed with the U.S. Department of Labor by the DGA. Hollander was paid $387,982.

During his tenure, Hollander has served as the DGA’s chief negotiator in six network negotiations with ABC, CBS, and NBC; and four commercial negotiations with the Association of Independent Commercial Producers. He’s also had oversight of enforcement of the guild’s collective bargaining agreements in the Eastern region, and national responsibility for non-dramatic programming, news, sports, commercials and new media.

 Prior to joining the DGA, he was a partner at Cohen, Weiss and Simon LLP where he specialized in the representation of labor organizations and employee benefit plans. The news was first reported by Deadline Hollywood.




Local films “Confidential Assignment” and “The King” remained in the top spots at the South Korean box office for the third consecutive week.

CJ Entertainment’s “Assignment” earned $7.8 million from 1.05 million admissions between Friday and Sunday for a total of $45.2 million from 6.27 million admissions after three weekends. It accounted for 45.6% of the weekend box office revenue.

Next Entertainment World’s “King” grossed $3.04 million. The crime drama has earned $36 million from 5 million admissions since its Jan. 18 release.

UPI’s sci fi drama “Arrival” debuted in third place. Opening on Thursday, the film scored $2.62 million over four days. Disney’s “Moana” slipped to fourth and earned $1.21 million between Friday and Sunday for a total of $14.8 million after four weekends.

Another UPI release, “Resident Evil: The Final Chapter” dropped to fifth. The sci-fi actioner earned $849,000 and extended its total to $5.25 million after two weekends.

Japanese animation, “Your Name” earned $501,000 for a total of $25.2 million after five weekends. Oscar hopeful, “La La Land” earned $273,000 for a total of $23.6 million after nine weekends.


Riding high on three successive weeks at the top of the North American box office, director M. Night Shyamalan says he is working on a follow-up to “Split.”

“I have an 11 page outline for my next film in my bag. I can’t tell you what it is, but If you’ve seen #Split…” he said this weekend in a Twitter posting.

“Split,” the story of a man with 23 personalities, earned $14.6 million this weekend at the North American domestic box office, narrowly beating horror retread “Rings.” After three weekends, “Split” has grossed $98.7 million stateside.

No details are currently available about either the sequel’s storyline or its production and finance plans. However, it is increasingly clear that the Pittsburgh-based film maker conceived the film as part of a series of connected tales, if not exactly a franchise.

Shyamalan previously told U.S. news media that “Split” itself was conceived as a sequel to “Unbreakable,” from 2000. It even features “Unbreakable” star Bruce Willis (who also toplined Shyamalan’s “The Sixth Sense”) in an uncredited cameo.

“Split” was produced by Jason Blum’s Blumhouse Productions and the director’s Blinding Edge Pictures on a budget reported as just $9 million. Distribution is by Universal Pictures in North America and multiple companies in international territories.


“Una Mujer Fantastica” (“A Fantastic Woman”) by Chilean director Sebastian Lelio, whose  “Gloria” wowed the Berlinale four years ago, looks likely to be one of the most accessible titles playing in the film fest’s competition this year.

Variety has accessed in exclusivity “A Fantastic Woman’s” first poster and international sales trailer – the first trailer of any kind – which will be screened to buyers at the European Film Market by Peter Danner’s Funny Balloons, the Berlin Golden Bear contender’s international sales agent. Participant Media is selling U.S. rights.

The story of a woman’s struggle for the right to be herself, “A Fantastic Woman” is Lelio’s fifth feature and his follow-up to “Gloria,” with which he made a move towards the mainstream. Among those taking producer credits are “Jackie” director Pablo Larrain at Chile’s Fabula, run with producer brother Juan de Dios Larrain, Jeff Skoll’s Participant Media and “Toni Erdmann” director Maren Ade, at Germany’s Komplizen.

The film is co-written by Gonzalo Maza, Lelio’s co-scribe on his last three films. Chilean newcomer Daniela Vega, in her first starring role, plays a waitress, Marina, who moonlights as an aspiring nightclub singer. Marina and her partner Oscar (Francisco Reyes), 20 years older and a printing company owner, are in love and plan a future together. After an evening celebrating Marina’s birthday, Oscar falls seriously ill; Marina rushes him to the hospital. But he dies just after arrival.

Suddenly, Marina falls under suspicion. Doctors and Orlando’s family don’t trust her. His ex-wife bars her from the funeral; his son wants her thrown out of the flat she shared with Orlando.

Marina is a trans woman and for most of Orlando’s family, her sexual identity is an aberration, and the only way they think of Marina.

“She will go through a battle against the very same forces that she has spent a lifetime fighting just to become the woman she is now – a complex, strong, forthright and fantastic woman,” the synopsis runs.

The trailer shows off vibrant tones which pop out from the screen, and elegant compositions, often from Marina’s POV.

“I would like the viewer to end up intimately tied to Marina,” Lelio has said, calling “A Fantastic Woman” a film of “aesthetic splendor, narrative vigor, tension and emotion, both a celebration and examination of its main character: Marina Vidal.”

“What will the viewers see when they see Marina? A woman, a man, or the sum of both?” Lelio asks in a director’s statement.

His answer: “They will see a human being, a vortex that attracts the viewer’s fantasy and desire, inviting them to explore the limits of their own empathy.”

Juan de Dios and Pablo Larrain produce with Lelio and Maza. Komplizen’s Janine Jackowski, Jonas Dornbach and Ade co-produce, along with Fernanda del Nido at Spain’s Setembro Cine. Executive producers are Jeff Skoll, Jonathan King, Rocio Jadue Z, Mariane Hartard and Ben von Dobeneck.

“’A Fantastic Woman’ and ‘Gloria’ both show women facing and overcoming adversity, which makes you proud of them, as you see in them yourself, your mother or a friend,” said Juan de Dios Larrain.

“A Fantastic Woman” marks Participant Media’s third collaboration with Chilean powerhouse Fabula, in Participant’s most fertile Latin American relationship to date, after Gael Garcia Bernal-starrer “No,” an Academy Award nominee, and 2016 Cannes hit “Neruda,” both directed by Pablo Larrain.

“Gloria,” Lelio’s breakout, proved one of the biggest arthouse sales hits at 2013’s Berlin Film Festival, clinching best actress for Paulina Garcia.

One of the first figures in his new Latin American generation to cross over into English-language filmmaking – along with Larrain himself (“Jackie”), Brazil’s Jose Padilha (“RoboCop”) and Mexico’s Gerardo Naranjo (“Viena and the Fantomes”) – Lelio is currently in London shooting “Disobedience,” starring Rachel Weisz, Rachel McAdams and Alessandro Nivola.