Vin Diesel’s xXx Lawsuit Has Been Revived

Vin Diesel’s xXx Lawsuit Has Been Revived

After a long hiatus, Vin Diesel brought back the xXx film franchise in 2017 with xXx: Return of Xander Cage. While it had been over a decade since Diesel had played the role, the movie did reasonably well at the box office, at least internationally. However, the production wasn't without its hurdles, including a lawsuit filed by a one of the producers of the original xXx, and while the suit appeared to be gone by May of 2017, an appeals court just brought it back to life.

The suit was filed by George Zakk in May of 2016 against both Vin Diesel specifically as well as Revolution Studios, who previously owned the rights to the xXx franchise. Zakk claimed that as a producer of the original xXx film he was entitled to both credit as well as a share of the profits in any sequels that would come after.

In May of 2017, a judge dismissed Zakk's lawsuit, on the grounds that Zakk apparently did not have any of these agreements in writing, which the statute of frauds would require since so much time would elapse between any oral agreement and the execution of said agreement. The judge also found that Zakk first claimed only a single oral agreement, before amending the complaint to include others, which was being referred to as a "sham pleading."

George Zakk appealed that judge's ruling and, according to THR, this week a California Appeals court sided with Zakk. The appeals court found that while Zakk's three different complaints, amended at various times, were unclear, they agreed that there were actually multiple oral agreements that had been put in place over time. In addition, the statute of frauds did not apply because Zakk alleges that he performed all duties he was required to perform under the agreement.

Other aspects of George Zakk's original lawsuit remain closed following this new ruling, but this decision is enough to bring all the parties back to court to deal with the resurrected issues. Considering that Vin Diesel was taking meetings about a fourth xXx movie has recently as a couple months ago, plans to continue the franchise are obviously still moving forward. It's too early to tell if this lawsuit could put the new movie on hold while issues are resolved.

Zakk's original lawsuit claimed that he was owned upwards of $250,000 for the xXx sequel, but one assumes Zakk will also want to see a share of the upcoming movie as well if the project moves forward.

Considering that it took almost two years for the court to rule on this appeal, this suit certainly isn't on the fast track. A fourth xXx movie could be out in theaters before we get another ruling. The only winner in that situation might be Revolution Studios. They sold the rights to the xXx franchise to The H Collective, Vin Diesel, and Diesel's production label One Race Films after the third film, so they won't be on the hook for any future films.

Hellboy Reviews Are In, Here’s What Critics Are Saying

Hellboy Reviews Are In, Here’s What Critics Are Saying

In 2004, Hellboy finally made his big screen debut, with Ron Perlman inhabiting the eponymous role and Guillermo del Toro writing and directing the movie. Both that and its 2008 sequel, Hellboy II: The Golden Army, received mostly positive reviews, but they weren’t huge commercial hits, and despite fans hoping for years that Hellboy III would eventually get made, it never did.

Instead, Lionsgate decided to give Hellboy the reboot treatment, but if you were hoping that this latest theatrical adventure starring Big Red comes anywhere close to being as good as its predecessors, if not better, it sounds like you’ll be disappointed. Hellboy reviews are pouring in online, and not only do many of them paint the reboot as the Dark Horse Comics character’s worse theatrical outing yet, but also as a subpar comic book movie in general.

CinemaBlend’s own Eric Eisenberg was disappointed with how Hellboy turned out, giving it 2 out of 5 stars in his review. He noted that while there are parts of the movie are handled reasonably, like certain story elements and and the look of this Hellboy, overall it’s a “messy piece of work that doesn’t seem quite sure what it wants to be or who it’s for” which especially suffers from bad one-liners and “clever” bits.

Hellboy is definitely a disappointment. As has been proven in the past, this is a character with a lot of big screen potential storywise, but the earlier movies suffered because they couldn’t find an audience, and this one suffers because it feels like it tried to throw everything at the wall in hopes of circumventing that same issue. It’s not a disaster, but with talent like Neil Marshall and David Harbour involved one expected better.

Over at Slashfilm, Josh Spiegel went many steps further in the negative direction and called Hellboy one of the worst comic book movies ever made, awarding it only a 1/10 score. Among the many adjectives Spiegel used to describe Hellboy include unpleasant, dreadful, obnoxious, unnecessary and interminable. In his opinion, both Hellboy’s humor and action fail to hit properly, and David Harbour fails to shine as the heroic demon.

Rebooting the character more than a decade after Guillermo del Toro’s series came to an end is fine. Del Toro’s Hellboy films are charming and feature tactile-seeming creatures, but they weren’t perfect. That’s still a vast improvement over this new film, which feels like a mistake from the start and gets worse from there.

Nerdist’s Kyle Anderson was kinder towards Hellboy, giving it a 3 out of 5 score. He acknowledged that since he was already a fan of the Hellboy comics, he was satisfied with much of what he saw, but people unfamiliar with this mythos might not feel the same way. That said, the movie’s faithfulness to the source material ends up being a burden with regard to looking like a unique/special product.

If you have longed for the Hellboy of the page to hit the screen, this movie will scratch some itches. You want a fun, bloody monster movie? You'll probably have a decent time. If you're expecting a big superhero blockbuster that hits every Joseph Campbell beat, this might not be the devil you need.

Leigh Monson from Birth.Movies.Death. was among those “disappointed” by Hellboy, taking issue with its convoluted plot, unlikable characters, “haphazard” editing and more. The entire product is filled with “strange, dumb-as-rocks” creative choices that ultimately form with the “inherent weirdness” of the source material to create a kind of “bizarro charm.”

Hellboy is some very ill-advised cinema, and those who enjoy the prospect of cinematic trainwrecks are likely to get some joy out of this. Everyone else... well, you all know where to find the better version.

io9’s Charles Pulliam-Moore felt that Hellboy was a “textbook example” of the kind of movie where, when watching it, you can pick up on “echoes” of what it was intended to be earlier in the production process. In its final form, though, Hellboy plays as more of a ‘greatest hits’ from the Hellboy comics that uses its R-rating not for proper scares, but “excessive amounts of gratuitous bloodshed.”

Like two great tastes that somehow don’t go well together, Hellboy’s greatest sin is that it makes you long for the film that it might have been because there’s so much about the movie that works in a vacuum. David Harbour absolutely nails the charming, lunk-ish aspects of Hellboy’s personality, and a handful of the film’s action sequences are legitimately fun to watch before you get back to the slog of the rest of the film. Sadly, those few bright spots aren’t likely to convince anyone that this reboot deserves to be a jumping off point for a new series or doing the Hellboy franchise any favors.

Finally, John DeFore from The Hollywood Reporter acknowledged that while the broad strokes of Andrew Cosby’s Hellboy script fit pretty well with the universe Mike Mignola created, there are too many action sequences, its characters are uninteresting and the design of Hellboy himself is questionable.

… Neil Marshall's Hellboy isn't lousy because nobody wants it, nor only because it fails to live up to both its big-screen and printed predecessors. It's just lousy. Bloated, vastly less funny than it aims to be and misguided in key design choices even when it scores with less important decisions, the film does make bold choices that might have paid off under other circumstances. But these aren't those circumstances.

These are just some of the Hellboy reviews making the rounds, so feel free to browse around other corners of the internet to see what other people have to say. Still, it doesn’t look like this movie will go down as a critical darling, and if its performance at the box office reflects this mediocre response, one probably shouldn’t get their hopes up of the reboot launching a new film series. In any case, if you’re not interested in checking out Hellboy, you can still get your comic book movie fix this month by checking out Shazam! and/or waiting for Avengers: Endgame.

You can judge Hellboy for yourself starting this Friday, April 12. Those of you interested in learning what other movies are coming out later this year can look through our 2019 release schedule.

Judy Trailer: Renée Zellweger Is Unrecognizable As Judy Garland

Judy Trailer: Renée Zellweger Is Unrecognizable As Judy Garland

Bohemian Rhapsody dominated this past awards season, but get ready for two more contenders this year with Taron Egerton’s Elton John in Rocketman and now Renée Zellweger’s Judy Garland in upcoming biopic Judy. The Bridget Jones actress is taking on one of the most iconic legends in Hollywood this fall with an upcoming music biopic about the triple threat during her last tour as a singer. Check out the new trailer below:

Wow! Renée Zellweger’s transformation for Judy has an uncanny resemblance to the showbiz icon. In the trailer, the actress emulates Judy Garland’s facial expressions and mannerisms to a T, while also singing her most well-known song, The Wizard of Oz’s “Somewhere Over the Rainbow”. Yes, that’s Zellweger really singing, not Garland. Anyone else hear Oscar?

The trailer shows a series of flashbacks of Judy Garland’s early years, with newcomer Darci Shaw playing a more youthful Garland during her time on the set of her most memorable role as Dorothy in Wizard of Oz. The film will follow Garland in London for her five-week sold old run at The Talk of the Town in December 1968, before the accidental overdose that she died from six months later, at 47 years old.

The film from Roadside Attractions shows Judy Garland at a time when her voice has weakened, and she undergoes battles with her management and her drug addiction. It starts during her romance with her soon-to-be fifth husband Mickey Deans, whom she weds during the London show run. Deans, who was a musician, will be played by American Horror Story’s Finn Wittrock. He found her dead in the bathroom of their home in June 1969.

Judy will also star Michael Gambon as Garland’s manager Bernard Delfontm and Rufus Sewell as her third husband Sidney Luft, with whom she had two kids. One of Garland’s daughters, Liza Minnelli, has been vocal about her disapproval with the biopic, previously posting the words “I do not approve nor sanction the upcoming film about Judy Garland in any way” after rumors spread that she was meeting with Renée Zellweger to help her prep to play her mother.

Renée Zellweger nabbed the project helmed by True Story director Rupert Goold in October 2017. The screenplay for Judy was written by Lovesick creator Tom Edge, adapted from a stage play by Peter Quilter titled End of the Rainbow. A previous movie about Garland had Anne Hathaway attached.

The movie is an exciting role to see Renée Zellweger take on following her long break from moviemaking between 2010 and 2016. The actress made her comeback with a sequel to her famous rom-com role in Bridget Jones’s Baby in 2016. This looks to be a memorable role for Zellweger as she takes on the actress famous for her Hollywood legacy and roles such as in 1954’s A Star Is Born. The film hits theaters on September 27.

Tim Miller Reveals Terminator In Dark Fate’s Cool New Ability

Tim Miller Reveals Terminator In Dark Fate’s Cool New Ability

Although Arnold Schwarzenegger’s face is the one folks usually envision first when thinking about Terminators, as we’ve seen numerous times over the decades, that’s not the only visage these cybernetic assassins use. This year’s Terminator: Dark Fate will throw several new Terminators into action, including one played by Agents of S.H.I.E.L.D. actor Gabriel Luna. What distinguishes this Terminator model from the others? Well, he has the ability to split himself in two!

During the Paramount presentation at CinemaCon today, Terminator: Dark Fate director Tim Miller came out to plug his latest movie, which he worked on closely with the man who launched this sci-fi saga, James Cameron, who is serving as a producer on Dark Fate. One of the things he revealed is how Gabriel Luna’s Terminator can duplicate itself. This is a byproduct of Luna’s Terminator either being a T-1000 model or a more advanced model with those same liquid metal properties. The T-1000 model was previously played by Robert Patrick in Terminator 2: Judgement Day and Lee Byung-hun in Terminator Genisys.

There was also footage from Terminator: Dark Fate screened that showed Gabriel Luna’s Terminator in action. One shot began with him starting as a black puddle and then rising up to assume his human form. Later on, he was seen chasing after Natalia Reyes’ Dani Ramos and Mackenzie Davis’ Grace. Then another Terminator that was basically an all-black metal skeleton showed up, indicating that this could be the Luna duplicate, and that Dani and Grace are now being attacked on two fronts. Fortunately for them, Linda Hamilton’s Sarah Connor arrives with guns blazing to help the other women out of their troublesome predicament.

The T-800 model may still be the most common Terminator model that Skynet churns out, but there’s no denying that the T-1000 is an even greater killing machine. Its shapeshifting abilities allow it to disguise itself as anybody or anything it sees, as well shrug off all physical injuries. Robert Patrick’s T-1000 was only finally defeated by being pushed into a vat of molten steel, while Lee Byung-hun’s iteration was neutralized when it was caught in a shower of hydrochloric acid. Presumably Gabriel Luna’s model shares these few weaknesses, but the fact that it can split itself in two means that even if the Terminator: Dark Fate protagonists manage to destroy one copy, they’ll have to put just as much effort, if not more, into taking out the other. Talk about upping the stakes!

No specific plot details for Terminator: Dark Fate have been revealed yet, although rather than follow the events of Terminator Genisys, this movie is a direct sequel to The Terminator and Terminator 2, and will ignoring the other sequels. Along with Linda Hamilton reprising Sarah Connor, Arnold Schwarzenegger will return once more to play an older T-800 model. Diego Boneta and Enrique Arce are also part of the main cast, and Jude Collie serves the body double for the young John Connor, with Edward Furlong’s facial likeness from Terminator 2 being digitally applied.

Terminator: Dark Fate hits theaters on November 1. Be sure to look through our 2019 release schedule to learn what other movies are coming out this year.

Disney's Aladdin: 10 Differences Between The Remake And The Original

Disney's Aladdin: 10 Differences Between The Remake And The Original

Disney’s Aladdin is a timeless, animated classic. Aladdin’s songs, cast, and characters, especially Robin Williams as the Genie, made it the highest grossing movie of 1992. So, it was no surprise when Disney announced plans to give one of their biggest animated hits the live action treatment.

It seems unnecessary to revamp what many regard as an untouchable lightning in a bottle moment in Disney’s history. While the new Aladdin follows the story rather faithfully, it is not a mirror image of the original.

It gives us a new Aladdin cast, featuring Mena Massoud in the title role, Naomi Scott as Princess Jasmine and, most notably, Will Smith as a whole new Genie. Alan Menken updates his Oscar-winning soundtrack, including a complete original song. Furthermore, the most intriguing and somewhat refreshing amendment: the directing style of crime thriller auteur Guy Ritchie.

So, if you are wondering how Disney is keeping the live action Aladdin, now playing in theaters, separate from its original hit, here is a list of the biggest difference between the two. Keep in mind, there will be spoilers.

No Fourth Wall-Breaking Street Pedder To Introduce Aladdin

Disney’s animated Aladdin opens with, essentially, an infomercial featuring a street peddler hoping to convince the audience to purchase a “special” lamp by revealing the story of its origin. This segues into the main story of the movie and the Peddler is never to be seen again.

The original intention was for the Peddler to be revealed as the Genie in disguise at the end of the film, as both are voiced by Robin Williams. That idea was scrapped last minute, but Guy Ritchie found a way to work a similar idea into his update.

In the Aladdin remake, it is a mariner who introduces the film as a story he is telling his children as they sail the seas. The Mariner is played by Will Smith, whom we already know is the Genie going in. There's no much room for a huge reveal, but it's a fun callback to some deep Aladdin trivia nonetheless.

Iago Is Far Less Of A Chatterbox

In one of Disney’s most fitting casting choices, comedian GIlbert Gottfried, known for his squawk-like pitch, provided the voice of Jafar’s parrot sidekick, Iago, in Aladdin. When he is not hiding his ability to speak on his own, Iago never cowers at the opportunity to serve up blunt commentary and utilize his skills in spot-on voice imitation.

In Guy Ritchie’s Aladdin, Iago (voiced by Alan Tudyk) is just as loyal to Jafar and, sometimes, just as blunt, but not nearly as talkative. His speech is rarely anything more than a repeat of the last line of dialogue. Other than his willful subservience to Jafar, Iago is not much more than your common parrot.

This updated Iago provides Aladdin with a new air of authenticity, and we have had our fair share of Gilbert Gottfried already with the Alfac commercials.

Princess Jasmine Has A Larger Role This Time

Voice by Linda Larkin in Aladdin, Jasmine is one of the more unique Disney princesses as she is one of the few born into royalty, but longs for a life outside the palace. While she does eventually find happiness, it is only from Aladdin’s help, so it is hard to say she makes the cut beyond the “damsel in distress” kind. In Disney’s live-action remake, that is no longer the case.

Naomi Scott’s portrayal in Aladdin sees Princess Jasmine in a stronger, more pivotal role to the story. She is not defined by her romance with Aladdin, nor is her dissatisfaction with royalty out of mere boredom. She is a progressively minded person who longs to steer her country in the right direction and vies to be Agrabah’s first female Sultan, a feat she eventually achieves - not Aladdin.

Jasmine even sings her own song, with themes of self-empowerment. Speaking of which...

Alan Menken’s Aladdin Song Catalog Has Been Updated

Disney’s Aladdin won two Academy Awards in 1993 for Best Original Score and Best Original Song (“A Whole New World”). Needless to say, the music by Alan Menken is key to the animated movie’s iconography. However, Disney decided it would be best to leave those songs untouched and provide a whole new set of original songs for Guy Ritchie’s Aladdin... Just kidding.

Of course the new creative team brought all the original songs back, but with a few new twists. Will Smith’s rendition of “Arabian Nights” amends the original song’s controversial lyrics. The end credits feature new, additional versions of “Friend Like Me,” by Smith and DJ Khaled, and “A Whole New World,” this time a duet by Zayn Malik and Zavia Ward.

The most pivotal update is the addition of the song specially written for Princess Jasmine called “Speechless,” which Naomi Scott sings at two crucial moments of the film. The most intriguing update is Will Smith’s approach to performing Genie’s magnum opus.

Will Smith Is A Rapping Genie

“A Whole New World” may have won the Oscar, but the most fun of Alan Menken’s Aladdin songs are those performed by Robin Williams as Genie. The all-powerful one’s musical talents are as amusing as his magical skills with “Friend Like Me” and “Prince Ali.” In Guy’s Ritchie’s update of Aladdin, Prince Ali meets the Fresh Prince.

Will Smith’s performance as Genie sees him showing off his musical roots, adding a hip-hop flair to his energetic rendition of “Friend Like Me,” complete with frenetic choreography and even some beatboxing.

You ain’t never seen or heard a “Friend Like Me” like this.

Jasmine Is Not The Only Female Character With Speaking Parts

You know who else never had a friend like Genie in Aladdin? Princess Jasmine. In fact, other than Jasmine’s tiger, Rajah, she does not have any friends at all. Say, did you ever notice that Jasmine is the only woman in the animated original with meaningful dialogue? In the Aladdin remake, neither of those are the case.

Former Saturday Night Live cast member Nasim Pedrad stars as Dalia, Jasmine’s handmaiden and friend, whom she discusses more than just magic carpet rides with. For most of the film, Dalia is Jasmine’s sole source of encouragement.

The character, one of the funniest in the new Aladdin cast, and she also has one of the most surprising additions to the story as she turns out to be a love interest for Will Smith’s Genie, and the mother of his children, whom we meet in the film’s introduction. I bet she ain’t never had a boyfriend like him.

Jafar Lures Aladdin Into The Cave Of Wonders More Conspicuously

In Disney’s Aladdin, Jafar’s hunger for power leads him in the direction of the Cave of Wonders, a sentient temple of great fortune and mysticism. In order to retrieve the magic lamp inside, he must enlist the one “diamond in the rough” whom the cave will allow, which happens to be Aladdin. So, Jafar captures Aladdin, poses as an old prisoner, breaks him out of custody and tricks him into retrieving the lamp for a promised reward.

In Disney’s live-action Aladdin remake, Jafar does not bother with the disguise. He captures Aladdin and presents himself to him, dark red robes and all, with a proposal for riches that would attract the affection of a princess. Once he agrees, it pretty much goes exactly as the animated original does.

This was most likely the right direction to go with adapting Aladdin’s reasoning for entering the Cave of Wonders, given that Jafar’s old man disguise would not have made for much of a reveal given what we already know from the animated classic.

Aladdin And Abu Earn The Magic Carpet’s Loyalty

Aladdin has a few trusted allies to count on for his adventures in the original animated film. Of course, there is the Genie and Abu, but the one I believe deserves more credit is the Magic Carpet.

If not for the Magic Carpet, Aladdin and Abu would have never found the magic lamp and Aladdin and Jasmine’s first date would not have been nearly as memorable. Yet, there is little explanation in the original Aladdin as to why Carpet is so loyal to our hero so quickly. Just a feeling?

In Guy Ritchie’s Aladdin, after Aladdin and Abu first enter the Cave of Wonders, they notice a carpet stuck between two large boulders. But this is no ordinary carpet. This carpet is moving on its own. They work together to lift the rock up just enough to free the Carpet, and a beautiful friendship is born.

Jafar Has No Intention Of Marrying Jasmine To Usurp The Kingdom

Jafar is such a ruthless, uncompromising, unrelenting wannabe tyrant that he will stop at nothing to take control of the kingdom of Agrabah in the original Disney’s Aladdin.

When his initial plan to get ahold of the magic lamp fails, he tries hypnotizing the Sultan into allowing him to marry Princess Jasmine, which Aladdin prevents by smashing his magic scepter and breaking the spell. Marwan Kenzari’s Jafar still uses that snake-headed scepter to control the Sultan, but not for less aggressively creepy reasons.

In Guy Ritchie’s Aladdin, not only does Jafar want to be the Sultan, his wishes for power are beyond merely fame and fortune. He is a war monger, persistently forcing the idea of invading a country that the Sultan just wishes to remain at peace with.

As for his own plan for tyranny, marrying the princess is never brought up. It is as if he recognizes, and even respects, the possibility that Princess Jasmine could be the next sultan and his goal is just to beat her to the throne first. Also, thankfully, when Jafar finally gets a hold of the magic lamp and asks Genie to make him the most powerful sorcerer in the world, he does not keep Jasmine chained up as his personal love slave. You gotta hand it to 2019 Jafar. He may be ruthless and unrelenting, but he's far less of a creep than his animated counterpart.

Director Guy Ritchie Makes Aladdin A Guy Ritchie Movie

You may have noticed that I have been referring to Disney’s live action remake of Aladdin as Guy Ritchie’s Aladdin a lot throughout this article. That is because this Aladdin is very much “Guy Ritchie’s Aladdin.”

The British filmmaker known best for cooky crime thrillers like Lock, Stock, and Two Smoking Barrels and Snatch may have seemed like an unlikely choice to direct a musical fantasy set in an Arabian city. But Ritchie makes his update of the animated film feel right in place with his the rest of his repertoire.

For one, the retrieval of the magic lamp easily puts Aladdin in the heist movie category, like Lock, Stock, and Two Smoking Barrels and Snatch. One of the first major song and dance sequences is a foot race through the city and there are slow motion sequences all throughout the film, both common Ritchie staples. Ritchie also has been known to cast musicians in many of his films (Will Smith). Aladdin has always been a tale loved by all ages, but in the hands of Guy Ritchie, it becomes a special treat for lovers of British crime thrillers as well.

Aladdin is now playing in theaters, and keep checking back with CinemaBlend for more news on Disney's upcoming live action remakes/adaptations.

Phoebe Waller-Bridge Says Bond 25 Will ‘Treat Women Properly’

Phoebe Waller-Bridge Says Bond 25 Will ‘Treat Women Properly’

So here’s the tea: the Bond franchise hasn’t hired a female writer since 1963. That finally changed when Fleabag and Killing Eve creator Phoebe Waller-Bridge was recently hired to polish the script on Bond 25. These action flicks may always be high on the testosterone, but having a woman in the writer’s room couldn’t hurt, especially when it comes to the iconic Bond Girls.

Phoebe Waller-Bridge was reportedly approached by 007 himself to join the team of writers rounding out Daniel Craig’s last hurrah as the suave secret agent. He wanted some of her specific brand of “wit and quirkiness” he’s a fan of from Fleabag in the Bond 25 script. It will be exciting to see a bit of Waller-Bridge’s offbeat humor in the upcoming film. It also looks like her involvement will benefit the movie beyond that too. Check out her recent words:

There’s been a lot of talk about whether or not [the Bond franchise] is relevant now because of who he is and the way he treats women. I think that’s bollocks. I think he’s absolutely relevant now. It has just got to grow. It has just got to evolve, and the important thing is that the film treats the women properly. He doesn’t have to. He needs to be true to this character.

In a world where powerful men are being exposed left and right for taking advantage of women, James Bond’s womanizer ways isn’t exactly one to side with. But it’s the very nature of the character and has been for almost 70 years. Should James Bond change to reflect a more modern hero? Phoebe Waller-Bridge doesn’t think so.

Following the #MeToo era, there are still plenty of playboys left in the world, including James Bond in the fictional space. As Phoebe Waller-Bridge explains, it’s not important that his lifestyle changes because it’s more relevant than ever. The focus of the franchise going forward needs to be on crafting more three-dimensional women who reflect the world today, and per her words to Deadline, it looks like the Fleabag star will help make that happen in Bond 25.

The film has already hired several actresses, including the return of Léa Seydoux’s Madeleine Swann and Naomie Harris’ Moneypenny, as well as newcomers Lashana Lynch (from Captain Marvel) and Ana de Armas. Phoebe Waller-Bridge continued with this:

I just want to make sure that when they get those pages through, that Lashana, Léa and Ana open them and go, ‘I can’t wait to do that.’ As an actress, I very rarely had that feeling early in my career. That brings me much pleasure, knowing that I’m giving that to an actress.

In an additional effort to give Bond 25 a better edge, the film has reportedly hired an intimacy coordinator for the first time for the franchise to help the actors feel comfortable and during the movie’s sex scenes.

After Danny Boyle dropped the project last year, the director was replaced by Cary Joji Fukunaga. The new helmer best known for his work on It is also co-writing the script with Scott Z. Burns (The Bourne Ultimatum) and frequent Bond writing team Robert Wade and Neil Purvis. Phoebe Waller-Bridge is the latest addition to the movie hitting theaters on April 8, 2020.

Backlash To The Robert Pattinson And Game Of Thrones Petitions Has Inspired A New Meme

Backlash To The Robert Pattinson And Game Of Thrones Petitions Has Inspired A New Meme

Nerd culture has just been getting rocked these past few weeks, huh? First, the final season of Game of Thrones hasn't been living up to expectations, which culminated in an extremely controversial event during the penultimate episode. Then Robert Pattinson was reportedly in the final stages of being cast as Batman in Matt Reeves' solo film. Petitions in reaction to these two events have gained publicity online, and Film Twitter is poking fun at the sheer ridiculousness of it all, creating a new "petitioning the makers of" meme.

To sum things up for you, fans aren't happy with the overall direction of Game of Thrones eighth and final season. From the Night King's quick dismissal to Daenerys massive heel turn, fans want the entire season be re-written and reshot from scratch. Yeah, sure, that'll happen.

Even though Robert Pattinson isn't even technically confirmed as Batman, people didn't waste time getting a petition out there to remove Pattinson from the role. Again, he hasn't signed anything yet and the job could go to Nicholas Hoult, but that's a detail that doesn't seem to be important to people.

Obviously, both of these petitions are ridiculous and will accomplish nothing. Whether these are sincere or just trolling, it's nerd entitlement at its finest. Thankfully, the film community isn't taking these petitions seriously either. Several actors have taken to Twitter to poke fun at the petitions, giving birth to a new joke format asking for stupid changes to classic films.

The above tweets come from actors Jon Donahue, Diedrich Bader, Michael McKean, and Mark Hamill (you might have heard of him). Each actor posted a tweet asking for an iconic film to have its ending changed, such as King Kong surviving to become a Broadway star or Wilson the volleyball not getting lost at sea.

The common thread amongst these tweets is that the films have unhappy endings, but they are some of the most popular films ever made. The lesson behind all of this is that sometimes things don't end the way you want, but that doesn't make those films bad. We're still about a day away from knowing how the finale of Game of Thrones will affect the entire outlook of the show or if Pattinson will be a good Batman, but let's not jump the gun here.

At least with Game of Thrones, we don't have to wait much longer for the finale. It's premiering tomorrow night on Sunday, May 19 on HBO and it's sure to be a television event (even if it sucks). Meanwhile, The Batman is still quite a ways off because the script isn't even finished. Currently, the release date is slated for 2021, but be sure to keep checking in with CinemaBlend and we'll keep you updated on all the important information.