#steve is coming for alyssa's gig

[artificialqueens]

Scandal, that's what it is. Chapter 2/? You look pressed like a panini (Branjie) - Miss_VanessaVanjie

Oh, hi, hello, good evening! How’s everybody going?!

Last chapter: Brooke was caught being a pillow princess and nobody is shocked.

This chapter: Our girls finally met and, well, Brooke is a useless lesbian, Vanessa is well, Vanessa. Pretty, and smart.

The rules are the same: leave kudos and comments if you want, if you don’t that’s okay 😌

(I’m sorry again for any spelling mistakes, I NEED A BETA, HELP)

Enjoy! 💗💗

***********

“Steve, I thought we have a deal” Brooke heard the woman say through the phone.

So she knew Steve before. Interesting.

“And we have, V” Steve said.

“Care to remember what exactly the deal was?"

Steve sight, he looked tired and almost pissed. But Brooke didn’t missed the grin he was trying to suppress. He likes this woman.

"I have to stay out of trouble and never call you unless I’m dying or going to the club.” He laughed.

“So, explain to me why I’m receiving a call from you, in the middle of the night and you’re not dying, and judging by your office voice you’re not going to the club either?"

"I said I need your help but not that I was in trouble” Steve started “I’m bringing somebody to your office tomorrow. It’s something urgent. I can’t tell you over the phone.

"Okay, Mary. I don’t believe you’re not in trouble. 8 AM in my office”

Steve took the phone out of his ears and looked in Brooke’s eyes.

“You probably heard everything”

“Yeah, she has an…. how can I say that? An really interesting voice”

They looked to each other before bursting into laugh. After a moment Steve stood up.

“I’m gonna pick you at 7 AM. Please be on time and bring the picture. Vanessa hates when somebody makes her wait."

"And the last thing we need is to make her mad. Okay. Got it.” Brooke said.

“Yes. And please remember what I said. Don’t lie to her. Please."

With this Steve walked, slamming the door closed behind him. Leaving Brooke and her fears alone.

The ride was silent. Steve never was talkative and Brooke was more than grateful for that today.

She was scared. Steve let very clear that Vanessa was her only option. The only person capable of save her. And Brooke was thankful for that. She really was. But this still makes her angry.

She’s used to have control. Control of his life, her choices, decisions. And most recently, her country. Now she’s gonna have to let somebody she doesn’t know, and most important, doesn’t trust, get into her personal life.

Say that this is far away from her comfort zone is the underestimate of the year.

Brooke got out of her thoughts when the car stopped. She looked through the window, to the old building in front of her. She was expecting something more glamorous, modern.

As if he could read her mind Steve said

"She works with stealth. She doesn’t like attention. Not to her business"

Brooke just shook her head and waited for Steve to open the door.

They need to be careful. She’s still the president and leave the White House undercover and with just two bodyguards isn’t the ideal situation.

Inside the building Brooke heard the womans before she actually see them. Being received with a really loud laugh and somebody saying

"Silky, shut up. If Vanj hear you sayin’ this she gonna kick your fatass"

She looked to Steve and he was smiling

"Some things never change"

"STEVE, MISS THING! What we give the honour?” The big black girl talked first.

“Uuuuuuuh, Vanjie is gonna woop your ass. She knows you’re here? Cause-"

Brooke barely have time to understand who these peoples where before the tiny black woman with the blond hair and a pink jumpsuit stop midway through the sentence when her eyes focused on her.

"Holly mother of jesus. T-this is-?

"The fucking president of the fucking United States, Kiki” the big one said. She had big curly brown hair and was wearing an yellow outfit, pants and top. She practically yelled. Apparently silence isn’t a thing here.

“A'keria, Silky” Steve said and hugged the two shocked womans.

“Hi” was the only thing she managed to say before another loud voice come out of the elevator

“Kiki, Silky Steve is comin and he said he has a problem but that is not his problem? Can you believe the nerve that bitch has…. holly shit” the woman finished her sentence looking up from her phone for the first time.

She’s the most beautiful person Brooke have ever fucking seen.

She has big brown eyes that makes Brooke feel like she can se right through her. See her soul and the most dirty secrets she has. She’s captivated.

Her long and wavy black hair was loose and falling gracefully to her back. She was wearing an white skirt and blazer that hugged her curves beautifully.

Her mouth was moving but Brooke wasn’t listening. She couldn’t focus. Not when she could smell the sweet vanilla fragrance of the woman’s perfume.

She never believed in God but if it really existed, she was in front of her right now, with furrowed eyebrows looking less then impressed.

“You’re okay, mami? You need water or somethin’? You look pressed like a panini.” The woman, Vanessa she suppose, walked closer to her and now Brooke could see how tiny she was. How she had to tilt her head to look in Brooke’s eyes.

Cute.

“N-no I’m okay.” She said. “I’m Brooke. Brooke Lynn. Brooke Lynn Hytes. Yeah, I’m… uhm… I’m Steve’s problem.” She finally managed to say after embarrassing herself.

“Everybody knows you, mami. No need to presentation” she said, shacking the hand Brooke awkwardly stood to her. “I’m Vanessa"

She smiled for the first time and Brooke felt like her heart was about to get out from her body. How’s somebody can be this beautiful?

Vanessa walked toward Steve

"That’s why you couldn’t tell me what was going on through the phone, huh?” She said before hugging him.

Steve never was the hug type, he always avoided personal contact. But with Vanessa he looked almost like he needed the hug. Like he missed Vanessa.

Brooke was intrigued.

“Okay. Please bring her to my office, we have business to make"

Vanessa yelled and started to walk without looking back. Almost like she knew they’re gonna follow her without ask.

She was absolutely right.

Vanessa’s office was…. something. Brooke wasn’t expecting the three red walls, or the view the glass wall had to the city. The black and white furniture and the big table wasn’t something Brooke would put in an office. But weirdly enough it worked really well.

This isn’t stealth. She tought.

"So” Vanessa started sitting in her chair “what brings the president to my office?” She looked genuinely curious while waving to them to sit down.

This wasn’t something Brooke was looking forward to do. Nobody besides her and Steve knows about her sexual preferences. Or how her and Seth doesn’t shared the same room. How she’s supposed to share this to somebody she knows nothing about? Somebody she still doesn’t know if she can trust.

Somebody that looked to her like Vanessa was doing now. With soft eyes and looking really soft lips.

“I, hum…” Brooke tried “I had an one night stand and, hum, and now I’m being threatened with a picture of us having sex.” Brooke finally breathe “they want me to leave the presidency. I have five days”

Vanessa doesn’t look shocked or impressed. She looks…. interested.

“And who is he?” She asked after a minute of silence.

“It’s she” Brooke replied not looking in Vanessa’s eyes.

“Oh” was everything she said.

“Show her the picture.” Steve demanded, talking for the first time.

Brooke handle Vanessa the photo and watched her analyzing it.

“I suppose you told her how I work, Stevies” Vanessa said still looking in Brooke’s eyes.

“Yes, I know. I can’t lie and all that shit.” Brooke said, an chain of arousal running through her when Vanessa giggled.

“Okay, mami. So tell me, how long you’re seeing this girl?"

Vanessa knows what she’s doing to Brooke? She can see what "mami” makes with her? She’s doing it on purpose?

“Was an one night stand I told you” Brooke need to stop looking to those brown eyes. Need to stop the shiver in her spine.

Vanessa laughed. Out and loud. And Brooke was a little confused.

“You want me to believe that the first time you cheated on your husband you got caught?” She rested her elbows on the table “want me to believe somebody gamble that the first pretty girl to cross your way you’re taking to bed?"

She laughed again.

"I don’t believe you, miss thing. I’m not dumb. You don’t look like the type of gal that goes to bed on the first date.” She looked in Brooke’s eyes again “So you’re gonna tell me the truth or I’m not gonna help you, mami"

Brooke’s cheeks where crimson now.

After this she knows two things:

Number one: Vanessa know exactly what she’s doing.

Number two: Fuck. She’s screwed.

***********

you can find me as hi-yekaterina on Tumblr 🧡

If you intrested here’s the link to V’s, Akeria’s and Silky’s outfit:

V: https://www.instagram.com/p/BxWnRJbhggL/?igshid=8b0bnrrilvsk

Where is the body aka A'keria: https://www.instagram.com/p/B1p0Ngxh_Jt/?igshid=13mclkk9likh4

Silky: https://www.instagram.com/p/ByvInI9hv5m/?igshid=hiz40wo0r3xd

[dreamings-free]

By Alyssa Nilsen Published: 26.10.19

A lot has happened since Louis Tomlinson showed up at an audition for British talent show The X Factor in 2010. The resulting boyband One Direction didn’t win the competition but went on to become a worldwide phenomenon, earning the boys a loyal fanbase even after the band decided to go on a hiatus to explore solo-careers. Since then, Tomlinson has released three stand-alone singles, ‘Just Hold On ’ with Steve Aoki, ‘Back To You ’ with Bebe Rexha and Digital Farm Animals, and the heartfelt ‘Miss You ’. Two years have passed since then, and now Tomlinson is back with a new style of music, new singles, and his debut solo album 'Walls’  on the way. This week, the single ‘We Made It ’ was released, a song written back in 2017 with personal lyrics and a relaxed Britpop feel to it. This is the third single from his forthcoming album, and for Tomlinson, releasing his solo music is a brand new experience. “It’s completely different,” he says eagerly as he puts away his coat, fresh back in from a bit of fresh air and a lunch break between interviews. “It’s funny ‘cos I’ve got all this experience from the band, but it’s not the same at all!”

This time around, everything he does from writing to recording, making music videos and touring is different. It’s his own words, set to his own music, and done through his choices. But there was a time he wasn’t sure whether this was something he wanted to do. He wasn’t ready to go out and do stuff on his own, he wasn’t ready for the band to go on a hiatus, and the decision for it all to end threw him off balance. So when he decided to pursue a solo career, after all, he went for the music that was the most popular at the time — dance/pop crossovers. “It felt like the easiest way in,” he admits, explaining that the reason he chose to do features for the first few songs was that it gave him a bit of time to tread some water and figure out where he stood in the industry. “I needed that time to work out who I was and what I wanted,” he says, “but I was also making music that I thought I had to make, as opposed to the music I wanted to make.”

Breaking away from the safety of a band and going solo can be as emotionally confusing and tumultuous as breaking out from a long time relationship and being single again. You’re used to your band-persona and who you are as a part of a bigger puzzle, but once away from all that, you have to get to know yourself again and figure out who you are on your own. Though he was often involved in writing sessions in the band as well, Tomlinson feels writing and creating music got a little bit more precise once it was just him. When writing for a band, you write music with four or five people in mind, it all has to relate to — and fit — them as well. Now, he can narrow it all down to only himself. Your own taste, your own preferences, and your own narrative. Having dropped the dance pop-feel of his initial singles for an indie-infused pop-rock style, Tomlinson's new music reflects his taste in music growing up. Being from the north of England, all the big northern bands had a profound influence on his life. “Like, the closest city to me is Sheffield, which Arctic Monkeys are from,” he says, “so that sound is massive there.” His previous single, ‘Kill My Mind ’ was intended to be a bit of a statement of intent musically, setting it and him apart from what had been released before. Still, the decision to change his style wasn’t an easy one. He had a lot of industry people, songwriters and producers who didn’t really know him, trying to drag him into a slightly urban sound that he couldn’t relate to, but which is big in America. At one point he realised he’d had enough of those sessions and made the choice to take the reins himself. “I can either try and follow radio and follow the trends there, or I can just do what I love,” he says of the decision, “in the end I just had a word with myself and worked out what success meant to me. Now I just do what I love.” Still, it took bravery to stand up for himself to the people who tried to steer him into their preferred direction. “You can make the mistake of relying on the expertise around you when, actually, I believe it’s really important just to trust your gut - because nobody knows you better than yourself.”

Going solo is challenging in more ways than just creatively and musically. In a band, you don’t know about all the gears that go into the massive machine you are a part of. Being on your own, it’s all a lot more intricate. “When you’re in a band like One Direction,” Tomlinson says, “we didn’t want for anything. We had everything that we needed.” He knew nothing about things like budget conversations and admits that coming face to face with such issues as a solo artist was a brand new concept for him. The learning curve has been steep, but Tomlinson feels like he’s always been learning as he goes along. “I used to think that I had… I used to get involved creatively in One Direction as well, but now when I look at it in hindsight, it’s nowhere near how much I have to be involved in every single detail.” But challenges also makes success all the more rewarding, though even amazing experiences are different as a solo artist. A few days before our chat, Tomlinson had played a ten-song headline set in Madrid, Spain, his first-ever. “Other than musicians I played with onstage, it’s hard to explain to anyone what just happened,” he smiles, “as opposed to when you’re in a band and you’re all feeling the same thing. But it definitely makes it more rewarding when I look back on the show and I think about my influence on it. I feel like I’ve been leading up to that gig for as long as I’ve been solo.” Another thing he’s currently working towards is the release of his debut solo album. He hopes to have it ut early next year and feel like it will be a relief to have it out and be able to tour with it. The album is mostly finished, all the writing is done and only a few more vocals need to be recorded, but after that, what remains is working out the order of the tracks and other details. Out of the singles put out so far, not many will make it to the album. “The Steve Aoki song [‘Just Hold On ’] is an interesting one ‘cos the melody kinda leans to quite anthemic sounds, so we’re reproducing that to give it a bit more guitar and band-feel,” Tomlinson says, “so that will be on the album in a different version, but other than that, the last three are the only ones that will make it.” And for those eagerly awaiting the debut album, there are more treats on the way. “I’m hoping to release the next single six weeks after ‘We Made It,'” he smiles, “I’ll pretty much try and release music now in the run-up to the album in the new year.”

Leaning back in a comfy chair in the Sony Music offices in central London, Tomlinson is relaxed and cheerful, dressed in comfy all black clothes and chatting intermittently to his label crew. With a direct gaze and a cheeky smile, it’s hard to imagine him ever doubting himself or his own abilities. But when he speaks, there’s a certain vulnerability he’s not afraid of showing. Though experiencing massive success with numerous triumphs, he’s also gone through great losses, heartbreak and grief. And despite his young age and only just starting out as a solo artist, Tomlinson’s songs have unexpected depth and some seriously personal lyrics. The song ‘Two Of Us ’ was written about his late mother Johannah Deakin, who died of Leukemia in December 2016. “I have a bit of a luxury that where I grew we wear our hearts on our sleeve,” he says, “it’s part of our make up, so it has always come naturally to me. But of course, that is a really tender subject, but since I have the luxury of being confident enough to be able to talk about these things, I think it’s also important to put that message out. Especially as a guy as well.” “There was this girl at a meet & greet who had just lost her dad and she shared some really lovely words with me and that experience gives me goosebumps.” Experiences like that, he says, didn’t really happen in One Direction. They wrote some lovely love songs, but there was a real purpose to ‘Two Of Us ', and how people interpret the message and what it means to them is enormously special to Tomlinson. “I want to be honest as a lyricist,” he says, “and sometimes talk about things that we maybe don’t always talk about. I think it’s important to get those messages out.”

( article available in Norwegian here )

[aion-rsa]

Upcoming Movies in December 2020: Streaming, VOD, and Theaters

https://ift.tt/3fD2QHM

As we recover from whatever Thanksgiving celebration we were able to safely put together in these strange times, there is something reassuring about the fact that December is here and 2020–a challenging year on every level–is almost over.

While December is normally packed with theatrical releases that range from buzzy awards contenders to end-of-the-year blockbusters and holiday-themed comfort films, this year is not business as usual. Sure, Oscar hopefuls abound, such as Mank, Ma Rainey’s Black Bottom, and Nomadland, but two of those three will be on Netflix. As for the tentpole contingent, well, only Wonder Woman 1984 is still opening in theaters–and you can also watch that on HBO Max right after opening your presents on Christmas morning.

In other words, there are plenty of new movies coming out this month, and more than one way to watch them. That’s not the worst thing in the world even when a pandemic isn’t raging, and perhaps an unintended gift for cinema lovers–one that may keep giving well into 2021.

Mank

December 4 on Netflix

Director David Fincher’s film is either a masterful ode to old Hollywood or a dull vanity project, depending on your point of view. Many critics, including our own David Crow, love its devoted recreation of both the era in which Citizen Kane was created and the style of that and other films of the period; others asked aloud why we should be so invested in a dissolute writer and the long-forgotten gubernatorial race that dominates a large portion of the film?

There’s no doubt, however, that Mank is beautifully crafted (right down to the “cigarette burns” indicating film reel changes) and is anchored by a typically immersive Gary Oldman performance. Oldman plays the enigmatic Herman J. Mankiewicz, whose authorship of Orson Welles’ masterpiece has been a source of contention for many reasons. After a limited theatrical run, it now comes to Netflix as one of the streamer’s major awards contenders.

Nomadland

December 4 in U.S. Theaters, February 19 in the UK

Pegged as the film to beat for all the Oscar love this year, Nomadland tells the story of Fern (Frances McDormand), a woman in her 60s who lives an itinerant existence–as a literal nomad–out in the American West after losing everything to the Great Recession. The narratively sparse film explores both the liberation of living off the grid as well as the despair that comes with the feeling that the world has forgotten about you.

Our review from the Toronto International Film Festival called the movie a “modern day Grapes of Wrath” and in addition to utilizing real American nomads in the film, both director Chloe Zhao and McDormand lived and traveled in vans during the shoot (which took place while Zhao was prepping for Marvel’s Eternals, a project which seems like it couldn’t be more the opposite of this).

The Prom  

December 11 on Netflix and in Select Theaters

Based on a Tony-winning Broadway musical, The Prom stars Meryl Streep and James Corden as New York City stage stars whose careers go down the tubes after their expensive new Broadway show becomes a major flop. But they soon plot a way to revive their flagging fortunes by heading with two other actors to small-town Indiana. There high school student Emma Nolan (newcomer Jo Ellen Pellman) has been banned from attending the prom with her girlfriend Alyssa (Ariana DeBose).

Directed by Ryan Murphy (Glee, American Horror Story), the film’s sparkling cast also includes Nicole Kidman, Keegan-Michael Key, Kerry Washington, Andrew Rannells, Tracy Ullman, Mary Kay Place and more. We’re not familiar with the stage show, but Murphy’s first huge mainstream success was Glee, so this kind of brings him back to his high school musical days. But wait, no role for Sarah Paulson?

Ma Rainey’s Black Bottom

December 18 on Netflix

There’s no avoiding the heartbreaking reality that Ma Rainey’s Black Bottom contains the final screen performance of Chadwick Boseman, who died last August from cancer. And seeing him on screen again makes one realize just what an incredible talent we lost. As the ambitious yet hot-headed trumpet player Levee, Boseman is stupendous: he has two scenes in this movie in which all the rage and pain of being a Black man in America pours out of him, and he simply sears the screen.

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Black Panther Director Pens Touching Tribute to Chadwick Boseman

By Mike Cecchini

As does Viola Davis in the title role of the blues singer who assembles her band on a fateful day in 1927 to record her songs–for a white-owned record label, of course. Based on August Wilson’s Tony-winning play and directed by George C. Wolfe, Ma Rainey’s Black Bottom is certainly about the exploitation of Black musicians by white businessmen. But it’s also about the blues themselves, as well as race, religion, sex, and African American culture, all stirred up in gripping fashion. One of the year’s best.

The Father

December 18 in U.S. Theaters, January 8 in the UK

The Father is simply one of the best films we’ve seen this year. Director/screenwriter Florian Zeller’s adaptation of his own play stars Anthony Hopkins as Anthony, an elderly English man suffering from the onset of dementia. Olivia Colman is his daughter Anne, who is apparently planning a move to Paris to live with her partner and trying to find a new caregiver for her father after he scared off the last one.

Or is she? As the film goes on, the viewer begins to wonder what is actually happening. People drift in and out of the narrative under different names, Anthony’s spacious apartment seems to change around him, and time itself seems to bend. As a result, what could have been a conventional drama about illness and memory becomes something brilliant and utterly heartbreaking.

The Midnight Sky

December 23 on Netflix

George Clooney’s seventh film as a director (and his first acting gig in four years) finds him back in the same sci-fi territory he’s traversed as an actor in movies like Solaris and Gravity. Here he plays Augustine Lofthouse, a lonely scientist who (along with a little girl) may be the last person left alive on Earth after a global catastrophe. He races to contact the crew of a spacecraft that has been sent to explore a potential new home for humankind, in order to warn them away from Earth and give themselves a chance to survive.

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By David Crow and 2 others

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Best Sci-Fi Movies of the 21st Century

By Don Kaye

Based on the novel Good Morning, Midnight by Lily Brooks-Dalton, The Midnight Sky looks like it will be a beautifully shot and designed film at the very least. The premise is engaging, but Clooney has been hit and miss as a director (his last good directorial effort was 2011’s The Ides of March). We’ll see if sci-fi adventure is a genre at which he can excel again.

Wonder Woman 1984

December 16 in the UK, December 25 in U.S. Theaters and on HBO Max

Patty Jenkins’ long-awaited follow-up to her culture-shifting 2017 origin story of the Princess of Themyscira has bounced all over the 2020 release map, with Warner Bros. not giving up hope of getting Wonder Woman 1984 into theaters at some point. Now the studio has split the difference, resolving to open it in theaters on Christmas Day while also giving nervous fans the chance to watch it at home (and give the struggling HBO Max platform a needed boost).

Gal Gadot returns as Diana in a standalone adventure that takes place in the 1980s and features her squaring off against both the diabolical Maxwell Lord (Pedro Pascal) and the grievance-fueled Barbara Ann Minerva, who evolves into arch-villain Cheetah (Kristin Wiig). Plot details are under wraps–including how the supposedly dead yet still youthful Steve Trevor (Chris Pine) ends up back in Diana’s life–but we hope that this second Wonder Woman adventure channels the sheer exhilaration that its predecessor brought to the table.

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Wonder Woman 1984: Does HBO Max Premiere End Theatrical Releases as We Know Them?

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By Kayti Burt

Soul

December 25 on Disney+

Director Pete Docter follows up his brilliant Inside Out with another animated exploration of the metaphysical and existential. In this case, aspiring jazz pianist Joe Gardner (voiced by Jamie Foxx) accidentally finds himself headed for the Great Beyond, but manages to change course and land instead in the Great Before, where souls prepare to join life on Earth. Can Joe and a cynical soul named 22 (Tina Fey), who has no desire to become a human being, find a way to get Joe’s soul back to his body in time for the biggest gig of his life?

Read more

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Soul: How Nine Inch Nails Scored the New Pixar Movie

By Don Kaye

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Inside Pixar’s Soul and the Secrets of Life Before Death

By Don Kaye

Docter (and co-writer Kemp Powers) tackle some of the Big Questions this time around, and the answers will no doubt prove as thoughtful as any of Docter’s previous work. The visuals are of course up to the usual jaw-dropping Pixar standard, and the striking score is a mix of jazz by Jon Batiste and electronics by Trent Reznor and Atticus Ross–that’s right, Nine Inch Nails have scored a Disney release.

Promising Young Woman

December 25 in U.S. Theaters, February 12 in the UK

Originally slated to come out last April, Promising Young Woman stars Carey Mulligan as Cassie, whose one-time dreams of completing medical school were derailed by an unspeakable tragedy that has gone unpunished. Now the smart yet single-minded Cassie is obsessed with righting that wrong–and will stop at nothing to seek justice.

Killing Eve showrunner Emerald Fennell makes her directorial debut with this mix of thriller and black comedy (which she also wrote) that is certainly part and parcel of this particular moment in history. The always compelling Mulligan is joined in the film by Alison Brie, Laverne Cox, Bo Burnham, Jennifer Coolidge, and Connie Britton.

One Night in Miami

December 25 in Select U.S. Theaters, January 15 on Amazon Prime Video

You can read a comprehensive review of Watchmen star Regina King’s directorial debut here. Adapted by Soul co-writer Kemp Powers from his play, the film envisions what happened on the night in February 1964 that Cassius Clay (El Goree), Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.), and football star Jim Brown (Aldis Hodge) all assembled in a motel room after Clay–later known as Muhammad Ali–defeated Sonny Liston for the heavyweight championship.

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By David Crow

King may not fully escape the movie’s origins as a play, but she projects confidence behind the camera and gets distinctive performances out of her four stars. Goree and Hodge are the strongest, but Ben-Adir’s doomed civil rights leader and Odom Jr.’s introverted singer are the heart of this timely story, which builds to a powerful and inspiring finish.

News of the World

December 25 in U.S. Theaters, January 1 in the UK

Director Paul Greengrass’ first feature since 2018’s grim 22 July stars Tom Hanks as a widowed Civil War veteran and traveling storyteller who agrees to deliver a girl to her aunt and uncle against her will, years after she was taken by the Kiowa people. They travel hundreds of miles and face grave dangers as they search for a place that either can call home.

Based on a 2016 novel by Paulette Jiles, News of the World was originally set up at Fox three years ago, but was sold to Universal following the Disney/Fox merger. It marks the second time Hanks and Greengrass have collaborated, following 2013’s excellent Captain Phillips, and its vast natural scope and period setting are new territory for the director.

Monster Hunter

December 25 in U.S. Theaters, 2021 TBC in the UK

Based on the globally popular video game series, Monster Hunter stars Milla Jovovich as Captain Artemis, who is inexplicably transported along with her military unit (via sandstorm) to a different world where dangerous, powerful monsters reign supreme. Their only hope to survive and stop the creatures from destroying our world is to team up with another band of warriors for the ultimate battle.

Read more

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As Wonder Woman Heads To HBO Max, Will Black Widow Make A Move To Streaming Next?

By Don Kaye

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Mortal Kombat: The Definitive Video Game Movie of the ’90s

By Matthew Byrd

Monster Hunter finds Jovovich working once again with her creative and real-life partner, director Paul W.S. Anderson, on yet another video game adaptation–although doing all those Resident Evil movies together certainly didn’t seem to hurt their bank account. Nevertheless, video game movies are notoriously hit and miss (mostly miss), so we’ll see if Milla and Paul work their magic again.

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