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6 Ways That Blade Runner 2049 Improves Upon The Original

In this Blade Runner naysayer’s point of view, Blade Runner 2049 is everything I ever hoped for from this franchise.



There’s something absolutely euphoric about coming out of a movie and knowing that it’s one for the ages. Well the term “modern classic” is in and of itself a bit of an oxymoron (you can’t really know a film is a classic until it’s no longer modern, right?)…it’s a rare thing when a film ends and you’re absolutely confident it will go onto to become one for the ages. A movie talked about and endlessly discussed for decades, featured in Top 10 articles for years to come, and that inspires a whole generation of film lovers to cherish (and lend their own contributions to) the medium. Mad Max: Fury Road was that kind of film. Toy Story 3 was that kind of film. Baby Driver was that kind of film. And, somehow, Blade Runner 2049 is now that kind of film.

It’s a movie that absolutely floored me, and in ways that were pretty surprising too. Because, simply put, I am not a Blade Runner superfan. I am very much in the camp that the first film, well undeniably influential in terms of science fiction filmmaking, is in and of itself not a great movie. It’s not one of my favorites, it’s not what I consider “a masterpiece,” and it just leaves me cold no matter how many times I’ve rewatched it (I’m up to four now, and my opinion has not been improved with any of the revisits.) I like the film fine and find it a decent watch, but I want so bad to be one of those people who find the movie to be brilliant. But no matter how many times I see it, I just can’t.

But Blade Runner 2049? I am completely on board that hype train and, in fact, found it to be everything that I always hoped (and knew other people felt) Blade Runner could be. I love this film so much and, even with its few flaws, found it to be an absolute wondrous cinematic experience. I truly feel it does make the Blade Runner universe in its entirety better, and does it in ways that the first film could never do. So, with that being said, here are the improvements I think Blade Runner 2049 made that, ultimately, makes it a more rewarding experience than the first. Be warned, though: from this point forward, this article will feature FULL SPOILERS FOR BLADE RUNNER 2049. Read on at your own peril.

A Compelling Mystery At Its Center

At its very core, the Blade Runner universe is just one big giant sci-fi noir. And since I love both those genres immensely, such a thing should be pure cinematic candy to me. But the only problem is that, with the original Blade Runner, the noir elements never felt whole to me. Sure, there were the trappings: the lead detective, the femme fatale, the dark and shadowy angles piercing every corner of its cityscape. But in creating its detective noir flavor, the first Blade Runner was missing something essential: the mystery.

There is none to speak of in the first Blade Runner. Despite being a story about a detective on a case, everything about the story is pretty much revealed to you rather fast. Deckard’s entire investigation is based upon finding a group of rogue Replicants…a group whose whereabouts we are constantly reminded about throughout the entirety of the film. We are always one step ahead of Deckard and his mission in the first film, and for that reason, there was little propelling me through the actual story of the piece. Such fascinating themes and incredible atmosphere, all built to support a plot that just kind of…happens.

But right off the bat, Blade Runner 2049 was quick to change that. It presents a very compelling mystery in the first act (who is the Replicant child, and how was it created?), and follows Officer K’s journey in finding the answers to such a mystery. And in doing so, we actually get to see K do something that Deckard rarely did: actually act like a detective. He investigates leads, interviews sources, travels to new locations in search of answers–and starts to unlock a puzzle that is far beyoud what he initially thought it would be. Perfect, perfect noir, and simply keeping the audience engaged in finding pieces to the puzzle helps the nearly three hour long film never feel long. The experience never drags…which is unfortunately something I couldn’t say about the first film.

A Stronger Protagonist

I’m sorry, all you Rick Deckard fans out there: taken on his own, he is not that compelling of a protagonist. Paired with the problems with storytelling illustrated in the last point, Deckard is a frustratingly static character throughout most of the original Blade Runner. Yes, you have the whole question of whether or not he was a Replicant, which was somewhat interesting (although not nearly as compelling as some make it out to be.)

But take that mystery out, and you have a man that bumbles his way to his culprits, has his ass kicked by then, and is only spared due to the kindness of the film’s truly compelling character (one Roy Batty.) And well the bones of Deckard’s story is there (the hitman gains empathy for his target, essentially), I never found it presented in the first Blade Runner in a way that was all that compelling. It doesn’t help that Harrison Ford seems weirdly detached in the lead role, almost sleep walking through the entire thing in a manner that just doesn’t make for the most involving of characters.

But, once again, Blade Runner 2049 comes out on top in this department. Not only does it make Deckard a more interesting character (Ford thankfully brought his A-game with this one), but the actual protagonist, one Officer K, has an extremely compelling story, and rewarding character arc. At the center of this arc was the fantastic decision to, from the get-go, confirm that our lead character is actually a replicant. Making him an android leads to so many interesting story developments, developments that the first film could only really make in passing, simply because, even with this one, it’s hard to say whether or not Deckard is actually a replicant.

And so much of K’s story here is based around the idea of what a replicant really is: he might not be human but, ultimately, does it matter? Is he lesser for not being “born?” K himself ends up asking these question when his origins are put to the test, with he ultimately believing he is the birthed child of Deckard and Rachel. This in and of itself makes K such a unique character, but what Blade Runner 2049 does so brilliantly is yank the rug right under the audience AND K (or Joe, if you prefer) by saying that he ISN’T Deckard’s child. He is really just a replicant and, in the universe of the film, that makes him nothing more than another cog. He isn’t special at all…until he decides that he is, giving his life meaning by saving Deckard’s.

If Blade Runner is the story of a man who starts to question if he is a robot, Blade Runner 2049 is the story of a robot who begins to question if he is man. And when he finds out he isn’t, he decides that it doesn’t matter anyways: like Roy Batty before him, K realizes he can still matter regardless of his creation. It’s his DECISIONS that give his life meaning, not the nature of his existence. It’s a beautiful, complex, and ultimately fulfilling story arc for K, and seeing the character go through all of it (and Ryan Gosling so perfectly portraying it) is one of the huge joys of Blade Runner 2049.

A Touching, But Unique Love Story

Adding even more fuel to K’s already excellent character development is his main relationship in the film. I didn’t expect at all for Blade Runner 2049 to turn into basically an even heavier sci-fi sequel to Her, but man if it didn’t completely work for me. Gosling and Ana de Armas have a very warm chemistry, and the question it raises about the “reality” of such love just adds even more thematic tissue for the film to chew on as it races towards its endpoint.

…Which is in stark contrast to the love story of the original Blade Runner, which admittedly never worked for me. Well it’s interesting to think about (and is essential for the plot of this film to work), I never really FELT anything for Deckard and Rachel, and wasn’t exactly cheering their love on as the film progressed. In the first film, the relationship felt more like a device in which Deckard could start to question his reality, and gain empathy for the people he was assigned to terminate. And 80’s kinda-sorta-sexual-assault aside (I’m sorry, but this scene does not age well at all) the passion and warmth was just not there for me between Deckard and Rachel.

But the fact it is with K and Joi helps the film gain such a fabulous emotional center. And having Joi not even be sentient (maybe?) just adds a bitter-sweetness to the entire relationship. It is simultaneously sweet AND thought provoking, and brings up issues of our relationship with technology in ways that I love to see done in modern filmmaking. Basically, it felt like a mini Black Mirror episode squeezed into my Blade Runner movie, and what a wonderful thing to have indeed.

An Extremely Varied Design

One thing that even I can’t deny when it comes to the original Blade Runner is how absolutely gorgeous the film is. The effects and overall design of Blade Runner still hold up today, and creates one of the most fascinating and vivid sci-fi universes every put to film. That being said, due to the restraints of the period and the budget of the first project, there’s a certain “limited” quality to the effects on display. Yes, the production design of the futuristic Los Angeles, with its noir tinges and cyberpunk aesthetics, is incredible. But throughout the first film, that was all you saw, with the action being set entirely on the streets and in the buildings of 2019 LA.

But, like all great sequels, Blade Runner 2049 dramatically expands the scope. Due to its far higher budget, Blade Runner 2049 has the freedom to visit a ton of unique, equally realized locations. Sure, the film still takes place primarily in Los Angeles (and still looks amazing there), but pretty much every single scene gives us a wildly different location. There’s the crazy design and beautiful lighting of Niander Wallace’s headquarters (pictured above.) The trash covered wastelands of San Diego. The bombed out desert fog of Las Vegas. The rained out and flooded beach of LA’s outskirts. All of them look absolutely amazing, which is to be expected — Roger Deakins directing a science fiction film is pretty much a dream come true, as my favorite DP in all of history might have designed his magnum opus here.

But equally as important with the new locations is keeping things moving in a way that never feels boring. As I said previously, it’s a miracle that I never felt the length of Blade Runner 2049. With a running time that is over an hour longer than the original (and a pace that is nearly as lethargic too), Blade Runner 2049 should have felt like a slog. But because the film is always offering a new and breathtaking look at something I have never seen before, it had my rapt attention throughout every moment of its 164 minute runtime.

A Couple Very Fun Action Sequences

Blade Runner is not an action movie, and it’s something I’ve never really held against the film either. The only moment it truly indulges in “action” is the ending, and even then, its more of a cat and mouse chase between Deckard and Batty than a full on, action packed battle. You don’t go into this universe expecting something like The Matrix which, admittedly, is something that is probably keeping Blade Runner 2049 from really catching on with mainstream viewers. But I digress.

Though the film features a lot more violence and action than the first film, I still really wouldn’t qualify Blade Runner 2049 as a full on action movie either. But compared to the first film, it’s The Raid. The action might be limited, it’s also VERY good. I didn’t really need Dennis Villenueve to prove his action chops or anything here (he’s so good at so many things that he didn’t really need to), but he and Deakins still deliver in some big ways.

The action could have felt perfunctory and against the core concepts of the film (like it does in way too many other blockbusters), but it works surprisingly well in Blade Runner 2049. It’s used sparingly in moments where its needed, never feeling shoehorned in and ALWAYS feeling like an exciting change of pace. I’m especially a fan of the film’s final big set-piece, which does an excellent job of showing what a fight between two Replicants would really feel like. And does it in a way that is big, unique, and bold, with rain effects and underwater sequences that would make James Cameron blush. Even the small moments, like Joe fighting off Wallace’s henchmen as they come to capture Deckard (pictured above), is brilliantly realized, utilizing the same silhouette badassery that Deakins mastered in Skyfall. Blade Runner 2049 never lets the action overshadow everything else but, when it decides to work in that vein, is just as masterfully done as everything else in the movie.

Harrison Ford Has A Dog In This One

I mean, come on — did Harrison Ford have a dog in the last one? Nope, not at all. In fact, there were NO dogs in the original Blade Runner, just a stupid snake and owl who were both totally fake anyways. The question of whether Deckard’s dog is a replicant or not is brought up (because he’s that important to the movie, of course), but we never get a concrete answer on it. But, come on, he has to be real. Because he is super cute and drinks whiskey from the floor and IS A GOOD DOG, YES HE IS, YES HE IS.

The whereabouts of Deckard’s dog is unknown by the end of the film, but I chose to believe he’s out there. Just waiting to come back for the next sequel…35 years from now.

There you have it, five serious and one EXTREMELY SERIOUS reason why Blade Runner 2049, in my mind, is finally the cinematic experience people always tried to convince me the original was. I don’t dislike the first Blade Runner by any means, and still think it’s important as a piece of film history. And if you disagree with me, that’s fine — to me, the difference is like the original Terminator vs. T2: Judgement Day. Like with T2, I think Villanueva took what Scott was trying to do in the original and just made it bigger and better. But there will always be people who prefer the smaller scale charms of The Terminator. And there’s absolutely noting wrong with that! I’m just glad that, finally, I can say I personally love a Blade Runner movie. After all this time, it feels pretty damned good.

Also published on Medium.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)



10 Years Later, Cloverfield Remains The Pinnacle of Found Footage Films

There’s been a lot of found footage films. But none of them can equal the scale and ambition of Matt Reeves’ monster movie masterpiece.



There could be a bit of recency bias in my recollection here but, for me, there might be no more important year in the history of 21st Century film than 2008. There’s a few reasons for that, most of which I will discuss in the months ahead (let’s just say it was a big year for superhero movies, and leave it at that for now.) But when it comes to notable film’s celebrating their 10th Anniversary, one film in particular instantly sticks out to me: Cloverfield. And the reason why is two-fold — not only is the film’s release date extremely memorable (it was going by the title 1-18-08 for the longest time, after all), but the film itself has been one I’ve been thinking about quite a bit in the decade since.

Sure, there might be other films in 2008 that had a larger impact on the world and on cinema, but for me, at least? Cloverfield remains an absolute marvel of a film, a technically brilliant disaster film that not only defined a format, but pretty much give it a kick in the pants the moment it needed it the most. Since Cloverfield we have had many, MANY found footage films, but none have had the initial impact that Cloverfield had for me. And with the film turning ten today, I thought it would be the perfect time to reevaluate its mertis. After so many years, and what feels like a lifetimes worth of other movie releases, would Cloverfield be able to elicit quite the same response? For me at least, the answer is a clear yes. Cloverfield is a film that left me absolutely gobsmacked the first time I saw it and, revisiting it 10 years later, still leaves me rather breathless.

And, for me at least, that euphoria all comes from the result of some absolutely stellar filmmaking. At the time, it was rather shocking just how well made Cloverfield was: nothing about the shaky cam footage and blurry visuals looked like they would amount to much, at least from what the vague trailers showed us. But, now, it’s far easier to see just how technically proficient this film is. Hindsight is 20-20, but also having a grasp on who’s behind the camera helps you appreciate the artistry on display much more.

That man here is of course Matt Reeves, who made his directorial debut with Cloverfield. Reeves would go on to make two of the best blockbusters ever made (IMHO, but it really should just be considered a fact at this point) with Dawn of the Planet of the Apes and War for the Planet of the Apes, but right from the get-go he proved himself an able craftsman with Cloverfield. While the film bares resemblances to both its found footage forefathers AND later successors (think The Blair Witch Project, Chronicle, and Paranormal Activity), it’s clear from the get-go that Cloverfield is working on an entirely different scale altogether. This is a film packed to the brim with huge special effects, crazy monster designs, and the literal destruction of New York City in the span of a half dozen hours. Paranormal Activity, by comparison, is about a bedroom.

None of which is to belittle other films in the found footage genre: I happen to be a fan of the conceit, generally. But, man, none of them have been able to push my buttons in the way that Cloverfield did. It was a revelation, and one that only got better and better as it spun out into grander territory. Even with the intense viral marketing and captivating trailer, I was not prepared for the ride that I initially went on with Cloverfield. And I was far from the only one — remember all the reports of the people getting sick in the theater, becoming disoriented and dizzy by the action unfolding onscreen? That’s purposeful, and though I’m sure those who experienced it would probably disagree with me, very much one of the film’s strong suits. On the surface, it’s a mere monster movie. But the way that the film tells its stories turns it into a powerful, disorienting, enthralling thrill ride.


The shot of the beheaded Statue of Liberty is ICONIC, and for very good reason.

Which is kind of the point anyways, right? The whole reason found footage exists as a genre is to give viewers a rawer, more visceral experience. Take away the excesses of traditional film techniques, and you also separate the barrier between what appears fake…and what doesn’t. You end up taking away people’s perception of it “just being a movie,” to the point that they too might really be convinced that a witch killed some kids in the forests of Maryland.

Now, obviously, the same can’t really be said of Cloverfield. No one was going to get fooled into thinking the events of this film actually happened, unless they just happened to chose the film as their first bit of entertainment after coming out of a twenty-year long coma. But the fact that it feels so real despite that is what makes Cloverfield so magical: through the use of its found footage conceit, it strips away the artifice of the standard disaster movie template, and creates something far more horrifying and powerful in the process. The found footage element of Cloverfield isn’t just some gimmick to make the movie stand out amongst other monster movies — it’s essential to what the film is trying to accomplish and, ultimately, what it is trying to say about the very nature of the genre.

While it would be incorrect to say Cloverfield is the most “realistic” monster movie for this reason, I would argue that it makes it the most down to Earth one. In fact, what I love so much about the movie is the fact that it takes your standard Godzilla-esque story, and recontextualizes it entirely by focusing on your standard, run-of-the-mill people. Throughout the film, our main group bears witnesses to a bunch of soldiers running around, trying their best to combat the unstoppable monster and save the city. In most movies, you would be following the military dudes going after the monster, with the background characters trying to escape simply serving as the backdrop. But what Cloverfield so beautifully realizes is that the more interesting story is buried within these background figures, that a tale of basic human survival is far more affecting than the umpteenth story of some military figures or scientists trying to save the world.


And if you’re going to commit to telling that story, what’s the best way to bring the action down to their level? Why, by literally presenting it from their point of view. The camera only catches the occasional glimpse of things, and misses a bunch of key moments, and is usually just overwhelmed by the sheer amount of chaos happening on screen. But if you were in the shoes of Rob, Hud, Lily, Marlena, or Beth, wouldn’t you be overwhelmed too? The camera is a nice way to give the film some flair but, more importantly, it’s a way to get into the headspace of the main characters.

Main characters who, by the way, are far better handled than they had any right to be. Props should most likely be given to screenwriter Drew Goddard in that department — like Reeves, time has only gone to further show how amazingly talented this man is, with The Martian and (especially) Cabin in the Woods subsequently earning raves. But even in penning his first feature film script, Goddard already showed a knack for inventiveness, and a willingness to form strong character arcs even amidst the nuttiest of concepts. While the center love story between Rob and Beth isn’t the most amazing one in the world, it has its benefits. The idea of risking your own life and safety just to save another in a time of crisis is a meaningful one, and the film’s use of in-camera flashbacks (through a pretty smart “overwriting” technique) also provides a powerful glimpse into how simple and relatable the lives of our main characters used to be before things went to shit. But most important of all, fleshing out the characters the way Cloverfield did gives the film a drive and emotional throughline that so many modern blockbusters really lack.

…Like Godzilla, for instance. Now I was going to try my best not to make this article just another takedown of that 2014 remake, but rewatching Cloverfield reminded me just how much better this film handled the idea of a stripped down, barebones disaster film. While Godzilla wasted about an hour of time with secret military tests, scientists talking about ultimately unimportant things, and criminally underutilizing Bryan Cranston, Cloverfield opens with a bunch of 20somethings having a fun party, and using that party as a way of laying down the groundwork for their future behavior and character arcs. While Godzilla spends an agonizing amount of time following ARMY MAN Aaron Taylor Johnson doing absolutely nothing of value while hopping from country to country, Cloverfield lays out the central mission of the movie a third of the way in, and focus on said mission for the rest of its runtime. While Godzilla got off on withholding its main monster through smudgy cinematography and baffling cutaways, Cloverfield uses said withholding to instill a sense of foreboding and chaos. While Godzilla is an overlong, dreary mess, Cloverfield is a brisk 85 minute roller coaster ride of action and horror. One that also happens to feature a cast of characters I actually give a shit about which, believe it or not, is pretty important for a film! Anyways, I’ll stop picking on Godzilla now. I just needed to release that rant, since I’ve been holding on to it for nearly four years.


Eh, at least this scene was pretty rad.

Anyways, what more can I say? Clearly I love Cloverfield and, rewatching it now, I’m taken aback with how much it still very much works. Not quite as much as it did the first time I watched it unfold on the big screen but, to be fair, what could? Seeing Cloverfield back then was a magical moment for me, as I sat in pure awe watching this crazy monster movie unfold before my very eyes. The fact that the experience can even be 1/10 as awesome some ten years later speaks to how, even pushing aside the mystery and the presentation, the film works incredibly well as a subversive, visceral disaster movie.

Part of me wants to say that I wish we got more original blockbusters that are as gutsy and crazy as Cloverfield but, really, that’s one of the film’s ultimately greatest accomplishments. Even with the found footage format being one of modern horror’s go to devices, there is nothing else that can quite match the scale and ambition of Cloverfield. And, honestly, I doubt there ever will be. I can only just hope that the ongoing Cloverfield set of anthology films will continue to find equally compelling ways to tell unique, compelling sci-fi stories. Hey, they are two for two so far! Hopefully April’s mysterious Cloverfield 3 will continue the trend.

But, until that happens, I highly recommend revisiting Cloverfield. The film unfortunately isn’t streaming on Netflix or Hulu or anything like that, but you can rent it on Amazon, and where all purchasable streaming films can be found. Or you can just watch it on a Blu-Ray disc, like me. PHYSICAL MEDIA 4EVAH.

(You might disagree with what I have to say about the film, but no one can argue this isn’t one of the all-time great teaser trailers, right? Makes one hell of a first impression, and perfectly sells the madness of the finished film.)

Here are some other things of note I thought about while re-watching the film. Also they are spoiler-heavy thoughts so, if you got this far and haven’t seen the film…just go do that instead, okay? Okay.

  • There’s a lot of oners in the film, which must have been very difficult to do with the budget and level of secrecy that the film had. Just makes the technical wizardry all the more impressive.
  • The scene where Rob has to tell his mother that his brother died is so, so great. Once again, it’s not the type of shit you usually get in a monster movie. You don’t get the time to see the direct human cost of the monster wreaking havoc, at least not as it extends outside the core group of characters. Of course all the mothers of the world would be calling their children. And of course a fair amount of those mothers are going to end up heartbroken.
  • I remember there being a huge uproar from people about how stupid it would be for someone to keep filming throughout the entirity of such a crazy attack. But, personally, I never got the argument. Hud from the beginning explains why he keeps filming everything (“People will want to see this”), and I found the sentiment mostly rang true. It was also clearly a way for him to handle the enormity of the situation, which rather intelligently made the motif an additional, but intrigual character quirk. Also, in the modern age, the idea of someone filming everything they are seeing is more believable than ever. If Cloverfield actually happened in real life, you bet your ass someone would be streaming the entire thing on Youtube.
  • The tunnel scene is TERRIFYING. The visualization of the hatchlings is just so perfect, with the creature designs overall being top notch. Props to man designer Neville Page and the rest of his team on that.
  • Marlena’s exploding head death was a visual that stuck with me for a decade. That’s when you know a film is good.
  • The slanted skyscraper also made for some neat compositions, and even cooler set designs.
  • Pulling the rhubarb out of Beth’s shoulder is horrifying, and without even showing a damn thing. It’s the little things that make this movie so great.
  • “What is that!” “It’s a terrible thing!”
  • “What is that?!” “I don’t know, something else, also terrible.” Like any good thriller, Cloverfield also takes the time for some very much appropriate comic relief. Shame it has to come out of the mouth of T.J. Miller, though. Time has been kind to Cloverfield in many areas but, uh, not that one. 
  • Speaking of genuine emotions: I love how people are actually FREAKING THE FUCK OUT throughout the entire film. Not your standard screams and other crowd noises, but genuine “OH MY GOD I AM GOING TO DIE” rantings. Can see how some could be turned off by the detail, but it just makes me appreciate the film’s authenticity even more.
  • The shot of Hud being eaten/seeing the monster for the first time. Next level stuff, people. Matt Reeves is a brilliant, brilliant man. I’m so happy he’s doing a Batman, and I have all the confidence in the world it will be great.
  • “My name is Beth McIntyre. And I don’t know why this is happening.” Can’t think of a more succinct line to express the film’s ultimate theme than that. At the end of the day, the main characters are just a bunch of tiny figures, going through a world-shattering event, and trying their best to make it out alive.  And, if a monster attack happened in real life, you can bet the vast majority of audiences would be right there with them.
  • “I had a good day.” And then that final line is just…mean. 

Also published on Medium.

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Why The Hell Did Fox Just Push Back The New Mutants To 2019?

And why the are they still trying to make that Gambit movie happen? These questions, and more, below.



Fox is in an incredibly weird position when it comes to the future of their Marvel mutant properties. By far one of the studios most profitable properties, they recently doubled down on the franchise, putting what seems to be dozens of X-Men adjacent films into development. But then a wrench was thrown into all these spin-off plans, a wrench in the form of a corporate takeoff and a massive, groundbreaking acquisition. 

Yes, Disney now is in the process of purchasing Fox, which will certainly have repercussions on how the two studios proceed with the future of their Marvel properties. But, for now? Fox has no idea what to expect, so is just proceeding with business as usual when it comes to all the X-Men plates they have twirling in the air. And business today, I guess, is pushing back a film, moving up another, and continuing to live in denial about the increasingly slim possibilities of a third one while they are at it.

All this happened just a few hours ago, as The Hollywood Reporter filled us all in on the shifting schedule of Fox’s X-Men branded films. The most surprising of the bunch by far is Fox’s decision to completely push back The New Mutants, not just by a few weeks, but by AN ENTIRE YEAR. The horror-tinged mutant film was on track for release on April 13, with marketing already commencing and everything, but will now hit theaters on February 22, 2019. Yes, a grand 13 months away…or a substantial 17 months after the film first concluded filming. 

That type of delay is rare to happen on a big Hollywood blockbuster, especially one so close to release. So the question must be asked: why did Fox delay the film? Well, like all things to do with Hollywood blockbusters, the answer is pretty muddled. THR’s sources tell them that Fox was afraid of having too many X-Men films in release at the same time, what with Deadpool hitting theaters in June (at least at the time — more on that in a second.) But that excuse doesn’t at all add up, as it was Fox’s decision from the start to release the film’s so relatively close together. Why wasn’t it a problem back when Fox chose the release?

(Might want to change the date at the end of this trailer now, Fox.)

Furthermore, why couldn’t Fox have just delayed the film a little bit to, say, August? Or maybe push back X-Men: Dark Phoenix instead, giving it the February 22 release and putting New Mutants in its November 2 slot? Marketing hasn’t really kicked off for the former film, and a delay of three months for it is far less drastic than the 10 month one for New Mutants. Or, if Deadpool 2 is the problem, why not push that one to July, giving a healthy gap of three months to all the Mutant properties? No, no, that reason does not hold up in my mind. Far more likely is the fact that New Mutants was having trouble in the editing room, and isn’t up to snuff to what Fox is wanting. Will the Josh Boone helmed horror film manage to come out of this delay a good film? History is not kind to films that get delayed in such a substantial way, but anything is possible I assume.

But New Mutants failing is Deadpool 2‘s gain, as the still untitled sequel has been pushed up from its original June 1 release date to a prime May 18, 2018 slot. That’s great…on the surface. But beneath the assumed confidence such a move would dictate, I’m kind of baffled why Fox would do this. It’s been widely assumed that Disney was going to own May 2018, what with the release of Avengers: Infinity War at the start of it and Solo: A Star Wars Story at the end of it. Why would Fox chose to throw Deadpool 2 right smack dab in the middle of the Disney madness?

The way I see it, releasing Deadpool 2 at the start of June pretty much gave the Merc with A Mouth the whole month to himself — the only other real blockbuster competition was in the form of Incredibles 2, which wouldn’t even be opening until a couple weeks after anyways. All I see happening from placing Deadpool 2 in May is the film running into Avengers: Infinity Wars legs, and having its very own cut off by Solo: A Star Wars Story. Did Fox learn nothing from War for the Planet of the Apes, which faltered at the box office by being smack dab right in the middle of Spider-Man: Homecoming and Dunkirk? And did they learn nothing from the FIRST Deadpool, which managed to be their highest grossing movie by, in large part, having little competition in its February release? C’mon movie studios, stop overcrowding all the blockbusters!

Moving on to the final bit of X-Men franchise news is our old friend Gambit, which at this point has been in development for about 77 years. The Channing Tatum led (maybe?) spin-off was supposed to be directed by Pirates of the Caribbean helmer Gore Verbinski…until he abruptly quit the project earlier today, making him the 124th director to do so (my numbers might be a little off, but you get the point.) Due to once again having no one direct the film, and New Mutants now occupying the previous February 2019 release date, Fox has moved the film to June 7, 2019.

Of course, the movie isn’t going to actually come out then — in fact, I am starting to question that this movie will ever see the light of day. Despite what seems to be the initiative of one executive (or maybe Tatum himself), no one is demanding a Gambit movie. And even more troubling for the film’s production, no one is willing to make one either. When the Disney/Fox deal is finalized, I expect Gambit to be one of the first movie casualties. But, until then…sure, Fox. Believe what you want to believe. When Marvel Studios reabsorbs the X-Men, will any of this even matter anyways?

Also published on Medium.

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Kevin Feige Shrugs, Figures Now Is The Time To Make That Black Widow Movie Everyone’s Been Clamoring For

It only took two phases of near constant requests, but Big Brother Marvel is finally listening.



There have been 17 Marvel Cinematic Universes films thus far released, and literally dozens of others making their way through various stages of development. And, as the years go by, the choices of characters that Marvel chooses to make movies about are only going to get more and more obscure — after all, with all the bigger heroes taken, there’s a lot more room in the development world for the likes of Ant-Man and the Guardians of the Galaxy. And yet, even with the slate expanding to lesser and lesser-known characters, Marvel continued to ignore what seems to be a sure-fire, established property: that of Scarlett Johannson’s Black Widow.

She’s been featured all over the MCU thus far, and is almost certainly one of the most beloved members of the main Avengers team. Furthermore, she’s played by Scarlett Johansson, undoubtedly one of the most bankable actors in the world. And with Marvel very much trying to expand what an MCU movie can be, and delving into a bunch of different genres as a result (Ant-Man is a heist movie, Guardians is a space opera, Spider-Man: Homecoming is a high school coming-of-age movie, etc.), it would make sense to add Black Widow on to the pile — the espionage/noir movie you can build around the character practically writes itself!

And, yet, Marvel has been oddly reluctant to actually give Natasha Romanoff her fair due. They’ve talked about it for years (since she came out as one of the breakout heroes in The Avengers, really), but a movie was never actually produced. It’s been nearly seven years after the character was first introduced in Iron Man 2, and its just been endless talk after endless talk. But coming off 2017, whose 3 highest grossing films all starred a female, it seems Marvel might be thinking twice about having such a male-heavy slate…and is once again looking at giving the Black Widow character her chance at a standalone.

That’s at least my takeaway from today’s big news, as the much-discussed project finally moves forward into development. As first broken by Variety, Marvel has hired up-and-coming writer Jac Schaeffer to pen the script for the potential project. Schaeffer is a bit of an unknown quality at this point, with her only produced projects on IMDB being the indie sci-fi comedy TiMER (which she also directed), and, umm, Olaf’s Frozen Adventure. But I’ll try not to hold that last thing against her.

Johansson is of course attached to reprise her role which, by the way, she has done in SIX MCU films as a supporting character so far. If you ask me, she more than deserves her due to lead a standalone. In fact, she deserved it like five Marvel films ago. Honestly, it would have been great to have Black Widow lead the current charge of female-led action films, rather than simply being an effect of it. But I guess this is one of those situations where I shouldn’t look a gift horse in the mouth. This movie is probably happening, and that should be celebrated. Even more so if Marvel manages to attach a strong director to it. May I be the first (of probably many) to suggest one Michelle MacLaren? If DC won’t have her, you can!

Also published on Medium.

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