Charles Bramesco

Here’s how thoroughly Batman’s influence has permeated the mainstream: he’s claimed tacit ownership of the very notion of shining a light into the sky. The Bat-Signal, introduced in the comics as Gotham City’s method of summoning the Dark Knight, has been endlessly parodied in the annals of pop-culture — just earlier this month, the poster for Captain Underpants paid homage to the iconic (a word I mean here literally, and not in the ‘a photo of the Kardashians’ sense) design of the skyward spotlight. And all too appropriately, the Bat-Signal will now be used to give one former Batman, the dearly departed Adam West, a proper send-off.

Beaming families, teary smiles, mortarboards in the air — it’s graduation season, which means that more importantly, it’s celebrity commencement address season. While some high-profile speakers have received a chillier reception than others, the A-lister speech has long been a reliably amusing diversion in between long-winded orations from dusty academic types. Maya Rudolph took plenty of artistic license with “The Star-Spangled Banner” at my graduation ceremony from Tulane a few years ago, an unforgettable experience that I was too drunk to currently remember. But today brings video of another movie star taking the stage before a mass of fresh-faced students blissfully unaware of how hard getting a job is. Ladies, gentlemen, Will Ferrell is in the house.

Netflix, for all their diverting original series and Bong Joon-ho subsidization, has also been responsible for the introduction of a great evil into the world. I am referring, of course, to their seemingly infinite-picture development deal with chronic Phoner-of-It-In Adam Sandler. Netflix signed Sandler to a four-movie deal back in 2014, which has been going decidedly less-than-great so far — his Western spoof The Ridiculous Six was a big pile of donkey turds, and the trailer for his upcoming Sandy Wexler has not inspired much more confidence. When the news hit a few weeks ago that Netflix would re-up their deal with Sandler for four more movies, our coverage of the notice contained the words “oh no.”

Adam McKay’s establishing a reputation as Hollywood’s foremost chronicler of the biggest hot-button issues... of ten years ago. He made blackly satirical mince meat of the subprime lending crisis with The Big Short, stepping back into our recent past to expose the avarice still at play in the world of macroeconomics today. And for his next project, he’s going to take aim at a West Wing political player loathed and feared by liberals as a power-mad despot intent on destroying America. No, not him, we’re referring to a different wannabe fascist with the public graces of Darth Vader. To be specific, Dick Cheney.

No bubble can last forever — it must eventually pop, as is the nature of bubbles. Marvel has built a vast media empire on the strength of such stars as Chris Evans, Robert Downey Jr., Scarlett Johansson, and Chris Hemsworth, but no actor would be content with playing and re-playing the same role forever. All good (and obscenely lucrative) things must come to an end, and Evans has begun the long and painful process of consciously uncoupling from Captain America’s star-spangled shield and cowl. But a new quote from the actor suggests that he may not be the first big name to make a departure from the Marvel Cinematic Universe.

2015’s remake of old-school espionage show The Man From U.N.C.L.E. was a rollicking good time, but more than that, it was an audition reel for its stars Armie Hammer and Henry Cavill. Hammer brought his marksmanship and high-speed combat skills to Ben Wheatley’s upcoming shoot-‘em-up Free Fire, and now part-time Superman Cavill has also landed a new role befitting his ultra-smooth fighting prowess. He’ll have to run, jump, most likely get shirtless, and appear alongside Tom Cruise in what just might be his most dangerous assignment yet.

Ever since the now-infamous photo of Pennywise the evil homicidal clown peeking out of a drainpipe surfaced online, fans of Stephen King’s seminal horror novel It have been concerned about Seth Graeme-Smith‘s upcoming film adaptation. There was fair cause for worry, too; it looked as if light was coming from several different sources, like a hasty photoshop job one might find on the box art for some direct-to-DVD cash grab. The only person who could really set the It devotees at ease would be Stephen King, who has seen dozens upon dozens of his works make the jump to the silver screen. And it would appear that he’s now done just that.

Unless your name happens to be Kathryn Bigelow (and if it is, then may I say that it’s a pleasure, Ms. Bigelow, big Point Break fan), Hollywood has had a lot of trouble figuring out how to portray the Global War on Terror. The odd movies that have succeeded critically or financially — Bigelow’s The Hurt Locker and Zero Dark Thirty, Clint Eastwood’s American Sniper — take an ambivalent stance on a complicated and nuanced geopolitical situation, but many more have attempted the same and floundered. So it’s with memories of the high-profile failure of one-time Oscar hopeful Billy Lynn’s Long Halftime Walk that we greet the trailer for War Machine, Netflix’s latest foray into this risky genre.

Armond White is something of a notorious name in the world of film criticism. While the caliber of his writing commands respect from many of his peers, his contrarian opinions and coarse manner often land him in the middle of mini-controversies within cinephile circles. This is a man who got himself expelled from the New York Film Critics Circle for heckling 12 Years a Slave director Steve McQueen at the organization’s annual awards dinner. This is a man who publishes an annual ‘Better Than’ list of favorite movies, so he can both name the films he loved and diss the ones that you did in one fell swoop. This is a man who could not give less of a damn what you, me, or anyone else thinks.

A story, told in headlines: Here’s us on December 18, reporting on Ben Affleck’s voicing of slight misgivings about his tentative gig as the director of the new Batman solo film:

Superheroes don’t have to come from the brightly-colored pages of American comic books; the Power Rangers series that captivated youngsters during the ‘90s and early 2000s had roots in Japan, stemming from their tradition of kaiju films. It’s a powerful bridge between cultures, the universal desire to watch a team of teenagers with extraordinary abilities team up to beat the stuffing out of gigantic monsters, And now it’ll connect generations, too, as the official trailer arrives today with the promise of the same spirit of teamwork and towering-menace-fighting that made them an unlikely cross-Pacific sensation two decades ago.

The most jarring line in the new trailer for James Mangold’s increasingly buzzy Wolverine spinoff Logan comes when the gruff mutant informs his young charge, “This is the real world. People die.” He tells her this after seeing one of her vintage X-Men comic books, and informing her that the team’s actual exploits bear little resemblance to what’s on the page. It all sends a clear message: this is a film unlike the solo Wolverine pictures that came before it, distinctive both in its high stakes and self-awareness. It’s a sharply written moment, but the new clip doesn’t linger on it for too long before getting to the good stuff — in this instance, a young girl cutting off an adult man’s hands.