Category Archives: movies

A QUIET PLACE Worth Thunderous Applause

By Tom Holste

Apr. 23, 2018

On the spur of the moment, we ended up seeing A Quiet Place at the theaters yesterday. AMAZING movie! Sci-fi/horror, done with just a few actors on a handful of sets. More suspenseful than gory. Reminded me of M. Night Shyamalan in his prime. Who knew John Krakinski from “The Office” had this movie in him? (He directed, co-wrote and stars in the film with his wife Emily Blunt.)

Quiet_Place

If you’re the kind of person who can’t handle intense and frightening movies, this one is definitely not for you. In fact, normally I would say this isn’t my kind of movie either, but it’s so artfully done that I just loved it. I don’t want to reveal too much (I went in knowing almost nothing), but the clever premise forces Krakinski to tell the movie in an extremely visual way and not use dialogue as a crutch. It’s one of the most cinematic movies I’ve seen in years. 

Also, if you’re the type of person who’s been saying that they’re tired of superhero movies, sequels, remakes and reboots: Please go see this movie. It’s an excellent film that’s completely original and not like anything else out there. If you think Hollywood isn’t willing to take a chance on new ideas anymore, show them that you’ll support a unique movie like this one!

Plus, as a person of faith, there were several things that deeply resonated with me: a scene of prayer portrayed positively; no cussing or sex; and selfless love as a profound theme in the movie. Normally, those last few points only show up (or are attempted) in harmless but not-very-interesting movies aimed directly at the Christian community. To see these things in a modern mainstream film is nothing short of astonishing! (And yet none of it feel cloying or preachy.)

Seriously, folks. Go see this film. 🙂

 

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Joss Whedon Broke Up With Batgirl

By Tom Holste

Feb. 27, 2018

Last April, I reported that Joss Whedon, who directed two Avengers movies and also created Buffy the Vampire Slayer, had come on board a Batgirl movie project for Warner Bros.

But apparently, last week, to little fanfare, Whedon exited the project, as seen in this article by the Hollywood Reporter.

Whedon diplomatically cites an inability on his part to crack the story. Unnamed insiders suggest that a woman-centered superhero film directed by a man might face too much scrutiny these days (and, indeed, a leaked draft of his unproduced Wonder Woman script got eviscerated by the Internet last year).

But the one thing that no one is talking about, which seems to be a major piece of the puzzle here, is the Justice League fiasco. After the movie’s original director, Zack Snyder, left the project due to a family tragedy, Warner Bros. asked Whedon to step in and finish the film in time for its November release date. Unfortunately, the film opened to dreadful reviews and ended up performing weaker at the box office than any of the DC Extended Universe movies to date.

JossWhedon_TA

Joss Whedon likely had the same worried look on his face when the first reviews of JUSTICE LEAGUE were released.

Even though Whedon is well known for giving fans what they like, and Snyder’s films have been, at best, divisive, many fans ironically blamed Whedon for the film being a mess, and have demanded for Warner Bros. to release a Zack Snyder cut of the film.

I haven’t seen the movie, but it seems more likely to me that Whedon simply wasn’t able to save the project by being brought in at such a late date. Part of the problem is that Warner Bros. hadn’t bothered to properly set up all the individual characters in their own movies before rushing out their big team movie. Another part of the problem was Warner’s insistence on a 2-hour time limit for the film, probably due to the box office disaster of the critically acclaimed but nearly 3-hour Blade Runner 2049. But without all the individual films for each character, there was too much setup that needed to be done in too truncated of a time frame.

Those asking for a Snyder cut of the film don’t seem to realize that no such cut exists; if the film had been far enough along for such a cut to exist, Warner Bros. wouldn’t have needed to call in another director. The DVD/Blu-ray release will hopefully have a bunch of extended/deleted scenes or possibly even an extended cut that might salvage the film.

At any rate, although no one has said it outright, I can’t help but think that Whedon and Warner Bros. just didn’t want to work together anymore after what happened with Justice League.  So now, the future remains up in the air for both Batgirl (which wasn’t even greenlit until Whedon came on board, so does Warner Bros. keep going?) and for Whedon (who doesn’t have any projects lined up other than a return for a possibly final “season” of Buffy in the comics). It’ll be interesting to look back in another year or so and see what’s happening for both of them.

Brace Yourselves; More STAR WARS is Coming

By Tom Holste

Feb. 7, 2018

Since I blog a lot about Star Wars, I really intended for my next blog post to be about something else. But every so often, a crazy story breaks where you just have to drop all your other plans and focus on the new thing.

Yesterday, Lucasfilm astonished fans around the world by announcing that a new series of movies was on its way from David Benioff and D.B. Weiss, the show runners of HBO’s immensely popular and acclaimed fantasy series Games of Thrones.

david-benioff-db-weiss

David Benioff and D.B. Weiss, two of the happiest guys in the galaxy.

Why astonishing, you ask? These two writers/producers have a great track record, after all. (Indeed, Thrones has made such a cultural impact that I know the catchphrase “Brace yourselves; winter is coming” even though I haven’t seen any episodes.)

Well, it’s astonishing because one would think that Lucasfilm would wait for one trilogy to be done or at least partway through before announcing the next one. We’re not even done with the current sequel trilogy; director Rian Johnson hasn’t shot one frame of his follow-up trilogy; and now we’ve got another series of films announced beyond that. (And note that Lucasfilm does say “series of movies,” therefore not limiting it to just a trilogy.)

After the negative fallout from many fans regarding Rian Johnson’s The Last Jedi, one would be excused for thinking that Lucasfilm had removed Johnson from heading up the new trilogy, yet the press release clearly indicates that Benioff and Weiss’ films are completely separate from Johnson’s upcoming saga.

Even more baffling is that we still don’t have any official confirmation of the next standalone Star Wars movie. Variety announced back in August that they had heard rumblings of an Obi-Wan movie. Variety has a very good reputation for accuracy, but the “sources” that they mentioned never made an official announcement.

We were expecting to hear an announcement about Obi-Wan or whatever the next standalone film turned out to be either way, but we just got crickets chirping. And then this news — which no one was expecting — gets a straight-up confirmation on StarWars.com.

Mind you, none of this is bad, just surprising.

I am starting to wonder if the next standalone has just simply been canceled at this point. It seems like it would have made more sense to continue doing standalones in between the trilogy installments. But maybe all the production problems that Rogue One and Solo went through have caused Kathleen Kennedy (the head of Lucasfilm) to swear off any more standalones.

Of course, as with anything, one can see potential issues, which are not the same as real concrete issues, just fun/interesting things to speculate about:

1) Rian Johnson is already known for turning in dark and gritty stories. Both Last Jedi and his earlier film Looper fit that bill. I presume his new trilogy will be more of the same. Does it make sense to hire another creative team also known for making dark and gritty stories? It seems like it would make sense to do a different movie (or series of movies) with a lighter, more crowd-pleasing tone, since a lot of people associate that with Star Wars more than the darker stuff.

It’s possible that the GoT producers want to break from tradition and not be pigeonholed, deliberately choosing to do something lighter. But I assume part of the reason why Lucasfilm hired them in the first place is so they could basically market the movies as “Star Wars done Game of Thrones-style,” which should pack people in the theater.

2) On that same note, I initially assumed that Benioff and Weiss understood that Star Wars is more family-friendly than GoT. But considering the fact that Marvel has done some TV-MA stuff with the Marvel brand (albeit only on Netflix), a few people I’ve talked to have expressed concern that these producers were brought on board specifically to bring R-rated content to Star Wars, which I certainly hope is not the case.

3) StarWars.com cites Benioff and Weiss as the creators of Game of Thrones. While it’s true that they developed the TV series, the actual creator of GoT is, of course, author R. R. Martin, who wrote the books on which the series is based. Benioff and Weiss have shown that they know how to adapt a story in a way that makes the fans happy, but this wouldn’t be adaptation, it would be creating something new (although admittedly playing within a very well established fictional universe). I wonder how much difference that’s going to make in the final product.

4) If they had been hired as the showrunners of the upcoming live-action TV series coming to Disney’s new streaming platform, that would be less surprising to me. But apparently these movies are going to exist in addition to Johnson’s movies, plus a live-action TV show on Disney’s streaming service, and another animated TV series following Rebels.

In fact, the same day as yesterday’s announcement, Disney also announced that they have several TV shows currently in development.

Star-Wars-All-Films

Hold on to something — we’re just getting started. (Source: Reddit)

As an old-school fan who’s used to having to wait three years between installments and then decades between trilogies, I am a little concerned about viewer burnout. This feels like the Avengers effect: Because Marvel has been so successful at having multiple movies and TV shows on all at once, every other franchise feels like they have to do the same thing. But Star Wars is special, and I’m concerned that this abundance of media will make it less special. (To be fair, though, it used to feel like there weren’t enough Star Wars movies, and that certainly won’t be a problem now.)

I do think / hope Disney means that they’re developing multiple ideas and trying to figure out which one they want to take all the way to the finish line, rather than saying we’ll have 20 Star Wars shows on the air at the same time.

I must again heavily emphasize that these things pique my curiosity, but I’m not an angry raging fanboy about them. In the world of fandom, there’s probably nothing bigger than Game of Thrones right now, so Lucasfilm has really gone all out and gotten the top people to work on these new movies. Metaphorically speaking, I just got told that Michael Jordan got hired for my favorite basketball team. That’s a good thing, and I want to show a proper level of gratitude for that.

My concerns are small, and hopefully none of them will be realized. I plan to keep an open mind. These are just my initial thoughts.

Finally, there have been many Tweets weighing in on the news, but this one was by far the funniest: (SPOILERS for The Last Jedi ahead!)

 

Blake Schultz‏ 
@AsAlwaysBlake

What are the Game of Thrones writers going to bring to Star Wars?  The siblings already kissed, and the beloved characters are dead…. #starwars #GameOfThrones

THE LAST JEDI: What Happened?

By Tom Holste

Jan. 16, 2018

There has been a grave disturbance in the Force.

The new Star Wars movie, The Last Jedi, released last month to an astonishing level of critical acclaim, with “the best movie in the series since The Empire Strikes Back” being a common refrain. But once fans started seeing the movie, a much different anthem started gaining traction: “the worst movie in the series, worse than The Phantom Menace.”

Rotten Tomatoes, a site that pulls reviews from around the Web and compiles percentages based on positive and negative reviews, has been at the center of the controversy. At the time of writing, Last Jedi’s critical consensus stands strong at 90%, but the Audience Score (which can be affected by any user who signs up and votes) has currently plummeted to 49%.

LAST-JEDI-on-RT

“Oooooh. Triggered, people on the Internet are. Hmm, hmm, hmm!”

So, what happened to cause such a wide gap in reception between critics and audiences? What follows is not a review, but an attempt to objectively show both sides of the argument. (Warning: MAJOR SPOILERS AHEAD if you haven’t seen the movie!)

It’s Different. A common sentiment after the release of The Force Awakens is that there were too many things that felt like clichés from other movies in the series. People wanted (or thought they wanted) the sequel movies to be different. Writer-director Rian Johnson took the message to heart, and ironically delivered a movie that felt so different in its tone and structure that it became off-putting to many fans. For critics, though, who probably like cinema as a whole more than they like Star Wars in particular, any change was welcome.

It’s Sad. Rather than playing it safe and having nothing bad happen to characters from the Original Trilogy, as one might expect from a major corporation reviving a franchise, Disney-owned Lucasfilm has surprisingly taken a lot of risks, putting the classic characters through the ringer. In Force Awakens, we learned that Han Solo failed to be a good husband and dad and that he went back to a life of crime before ultimately being killed by his son. In Last Jedi, we find a bitter, depressed Luke Skywalker who failed to revive the Jedi Order and enabled his nephew to go on a killing spree. (In fairness, all of these ideas are already in Force Awakens, but in Last Jedi, everything gets spelled out in detail.) In the end, Luke also dies.

These sequels have also shown us that Leia failed in her diplomatic duties to restore the Republic. By the end of this film, the heroes are once again broken and on the run. And since actress Carrie Fisher has passed away, there’s no chance for her character to take part in any happy ending in the next sequel. All of the major classic characters are now dead. While critics enjoyed the risk-taking elements, fans are crushed from watching their childhood heroes meet such sad fates.

Luke-Skywalker-LAST-JEDI

“I hear there’s going to be a new TOY STORY trilogy, where Woody dies, Buzz dies, and Jessie gets written out of the story.”

It’s All About the New Characters. Unsurprisingly, Disney has made the new heroes—Rey, Finn and Poe—the focus of the new trilogy. As already mentioned, the major characters from the Original Trilogy are now all gone (with no mention of whatever happened to Lando Calrissian), and supporting characters such as Chewbacca and the droids have been reduced to cameos in films that juggle a very large cast. Critics appreciate the focus on the new, interesting characters; nostalgic fans come away with an empty feeling.

A Twist or Not a Twist? Poe’s subplot is about trying to stop Admiral Holdo, who he believes to be a spy. He recruits Finn and Rose to help him. Ultimately, their plan fails, but it doesn’t matter because Holdo’s plot succeeds. For anyone who thought that Poe’s plan was going to succeed, this movie has two great twists in it. For those who guessed that Holdo was in the right, though, the Poe/Finn/Rose subplot has no twists.

Elsewhere on the plot-twist front: Virtually no one saw the twist coming that Rey’s parents aren’t anyone famous or connected to the overall Skywalker/Solo saga. For those who enjoyed the feel of the original movies, and remember that Luke Skywalker himself started off as an “everyman” character from the middle of nowhere in the original movie, this twist feels like a return to form. However, with this saga’s famous shocking family reveals, and with the previous director (JJ Abrams) known for crafting mystery stories like the TV show Lost, this reveal fell flat for some.

Another genuine surprise was when the villainous Snoke was abruptly killed off in this installment, when nearly everyone expected him to make it to the last film in the trilogy. Critics loved the surprise and the renewed focus on Kylo Ren as the main villain. Fans who wanted to know more about his backstory were frustrated that he was dispatched so quickly.

Social Commentary. Many critics gushed over the apparent social commentary, with the movie seeming to take an anti-war stance and to criticize wealthy people. Many fans hated this aspect and preferred the saga when it was more mythic in its storytelling. Ironically, Star Trek fans were upset when the new movies became like theme-park rides rather than the social commentary that they’re known for; now Star Wars is criticized for its commentary from fans that are used to the movies being theme-park rides.

Star_Wars_Porg

Star Wars fans: “I hate the Ewoks! They’re too cutesy.” Also Star Wars fans: “Porgs are adorable! I need to buy all the toys!”

With all of these issues in mind, the Star Wars franchise stands at a tenuous crossroads. Last Jedi has made a ton of money despite the backlash (it was #1 for three weeks in a row and quickly became the highest-grossing movie of 2017), but many long-term fans have sworn off seeing Ep. IX. To Disney’s credit, they’ve tried playing it safe and got criticized, and they’ve tried taking chances and gotten criticized. Where do they go from here?

The questions remain as both the studio and audiences find out that Star Wars means something very special to nearly everyone, but we all have different ideas about what exactly it is that makes it special.

Lucasfilm Entrance Should Have a Revolving Door

By Tom Holste

Sep. 9, 2017

By now, you’ve probably all heard about Colin Trevorrow being removed as director from the as-yet-unnamed Star Wars Ep. IX, the final film in the Skywalker saga. (There will be other Star Wars films, but this will be the end of the Episodic cycle involving the Skywalker-Solo clan.)

This news comes barely two months after Phil Lord and Chris Miller were removed from the upcoming unnamed movie about a young Han Solo, replaced with Ron Howard, an old friend of George Lucas and an accomplished director in his own right. And it also comes after director Tony Gilroy was brought in to do extensive reshoots on Gareth Edwards’ Rogue One last year (although Edwards cooperated with the reshoots and got to keep his name on the film). And this is after director Josh Trank was removed from an untitled Star Wars spinoff movie.

Old-Luke-Skywalker1

“Really? … ANOTHER director gone?”

While it’s natural to be slightly nervous about all these abrupt behind-the-scenes changes, I suppose it means that Kathleen Kennedy (the current head of Lucasfilm) is leaving nothing to chance, so perhaps it’s cause for relief.

As for Colin Trevorrow, I enjoyed Safety Not Guaranteed, and Jurassic World was passable fun, but I don’t think it had very much to do with the direction. As stated in an earlier blog post, I think it had more to do with good timing on a film fueled by nostalgia that offered a nice alternative to people tired of superhero movies. Don’t get me wrong, Trevorrow did his job well, but I don’t think the film’s massive success was about that.

Many people are suggesting that Rian Johnson, writer-director of the upcoming Episode VII: The Last Jedi, should take over Ep. IX as well. Rian Johnson might be a good choice, but frankly, I’ve been a little nervous about his work. Looper is certainly a clever film, but there’s nothing in that movie at all that suggests that Johnson knows how to handle the light-hearted, family-friendly tone of a Star Wars film. And yet, they let him write and direct this Episodic film and co-write the next one. Add in Mark Hammill’s comments about “fundamentally disagreeing” with every choice Johnson made regarding Luke, and I’m a little on edge about this one guy having so much say over my favorite franchise.

Having said all that, Kathleen Kennedy has seen Johnson’s work on this film and kept him around, when she hasn’t done the same for others. We know she takes this too seriously to just let anyone do whatever they want, so I consider it a high compliment to him that he’s been allowed so much creative control.

I’m not outright saying he’ll do a bad job. I’m saying I don’t think it’s wise to hand over direction of the next film to him when we don’t know how audiences have reacted to this film yet. (All that being said, I’m still looking forward to December. Again, I haven’t seen Johnson’s work on The Last Jedi, while Kennedy has, so I’ll defer to her judgment if she picks him for Ep. IX.)

So who should Lucasfilm go with? Here are my thoughts on the other names I’ve heard bandied about:

JJ Abrams: He did direct some Star Wars-y stuff before working on The Force Awakens, but I wasn’t overwhelmed by his work on this franchise. He initially resisted taking on the job because he didn’t think he was the right choice; he thought he was too attached to the source material to have an objective eye. He may have been right on that.

George Lucas: Yes, heaven help us, a lot of fans are insisting that this is the time for George to step back into the franchise. There’s even an online petition to get Disney to hire him. I say: No, no, a thousand times, no! George is great at many things — he’s a creative visionary and a technological genius — but he is not a director of actors, nor is he a good editor.

Joe Johnston: The director of Honey, I Shrunk the Kids, Jumanji and Captain America: The First Avenger — as well as an old-school Lucasfilm employee who created Boba Fett’s armor, among other things — is a solid choice, but he’s working on the next Narnia film, The Silver Chair, and I think Narnia needs him more than Star Wars at the moment. I hope he doesn’t jump ship on that project. I’d like to see him direct a different Star Wars film later on, though.

Ron Howard: He’ll probably do a solid job on the Han Solo movie, but I don’t want him to feel rushed trying to also get Ep. IX out the door.

Brad Bird: Would do a great job, but is busy with Incredibles 2 at the moment.

Steven Spielberg: Gets asked every time. He isn’t interested because this isn’t his franchise.

Robert Zemeckis: The director of Back to the Future, Who Framed Roger Rabbit and Forrest Gump is rumored to be in talks to direct DC Comics’ Flashpoint, but if that doesn’t happen, he would be an exciting choice for Ep. IX, and his career could use a boost right now (his recent films haven’t done so well), but I don’t know what his interest level is. He reportedly turned down directing one of the Episodic prequels (as did Spielberg and Ron Howard).

Ryan Coogler: Director of Creed, so he knows how to take long-running franchises and give them new leases on life that are both popular and acclaimed. He’s also finishing up work on the Marvel movie Black Panther. I have no problems with this choice; I only put it at the bottom because I haven’t yet seen any of his movies.

Now here are some names I haven’t heard, but would be interesting choices:

Jon Favreau: Director of the first two Iron Man movies, among others. I know a lot of people don’t like the second one, but I don’t think its problems were related to the direction (and I kind of love the movie anyway).

David Fincher: Yes, as with Rian Johnson, his work is very dark, but he’s also another former Lucasfilm employee (ILM, specifically) that’s gone on to direct movies, which makes him an interesting choice.

Hettie MacDonald or Rachel Talalay: It would be nice to have some women behind the camera, and both of these directors have helmed fan-favorite episodes of Doctor Who. MacDonald worked on “Blink,” nearly everyone’s choice for best episode ever, and Talalay directed the acclaimed season finales of the past two seasons. Yes, TV is somewhat of a different animal than features, but they’ve shown that they can handle special effects and tight pacing while pulling strong performances out of their actors.

Anyway, it will be interesting to see how this all develops!

 

Mickey Mouse to Leave Netflix

By Tom Holste

Aug. 9, 2017

This news story has been making the rounds on Facebook, and I thought it might be interesting for discussion here.

https://www.gamespot.com/articles/disney-to-pull-its-movies-from-netflix-including-s/1100-6452383/?ftag=GSS-05-10aab8d&utm_campaign=trueAnthem%3A+Trending+Content&utm_content=598a81bd3ed3f00007aca3d8&utm_medium=trueAnthem&utm_source=facebook

This comes just a year after Disney’s content went exclusively to Netflix for the foreseeable future. Apparently, that deal will end in 2019.

I, for one, am getting really tired of every entertainment company pulling out of Netflix to start their own service, or in some cases, multiple services. Warner Bros. has put all their classic cartoons (including Hanna-Barbera and MGM content) on the Boomerang app, and they intend to release another app for all their DC Comics content. And if one wants to watch Doctor Who on streaming, one has to pay Britbox for the classic stuff and Amazon Prime for the new stuff.

Disney has already announced that they’re going to have a separate streaming service for ESPN content. If they have a separate service for animated classics, and a separate service for Marvel, and one for Lucasfilm, Pixar, etc., people are not going to go for that.

Part of what’s great about Netflix is its affordability. But studios seem to think that if we’ll pay Netflix $8 a month, we’ll be willing to pay them $40 a month for multiple different mini-Netflixes. That’s an incorrect assumption.

This strategy may drive some consumers back to physical media, which may in fact be part of the goal of the studios. Even though the rest of the planet moved on to streaming media 10-ish years ago, I’ve seen multiple doom-and-gloom articles from Hollywood experts about how the industry is doomed if consumers don’t keep buying physical media (ignoring the many decades in which the industry did just fine without that).

Nonetheless, having said all that, if enough companies do pull out of Netflix, it may become worth my while to invest our $8 a month in one of these other companies. Much of what my family watches comes from one of Disney’s many divisions; in addition to what’s mentioned above, my kids are big fans of anime from Studio Ghibli, which has been distributed by Disney for a long time. While I don’t want to jump ship — I’d rather pay Netflix a little more to have more content — there may come a point where loyalty to them doesn’t make sense.

I’d also be interested if the Disney streaming service has multiple classic versions of characters instead of just the latest version. For instance, if they have just the new DuckTales and the latest version of Spider-Man, that doesn’t seem very interesting to me. But if they have those in addition to the old DuckTales and the ’90s Spider-Man and so forth, that could be fun. I would also be excited if they would finally release all episodes of The Muppet Show. (The DVDs stopped after Season 3, leaving two seasons unreleased.) They would need to dig in their archives a bit and come up with interesting things.

Anyway, the industry continues to change and evolve, and it’s fascinating to watch the permutations.

READY PLAYER ONE Drops 1st Trailer

By Tom Holste

Jul. 24, 2017

Over a year ago, I wrote an article about the upcoming film adaptation of the novel Ready Player One by Ernie Cline. To my surprise, it’s become the most “Liked” post I’ve made, and I’ve gotten more follows on my blog due to that than anything else!

For those unfamiliar with the source material, the novel is about a young man living in a future Earth where everything has deteriorated so much that the only escape is into a virtual reality “OASIS” where people can be whoever they want to be, and can have whatever they want to have, including their favorite pop culture icons. So, for instance, if you want to look like Batman and fly the Millennium Falcon, you can do that.

Cline’s novel is clever and fast-paced, but I figured with all the different intellectual properties from different companies mentioned, this film would be impossible to make. When Steven Spielberg stepped into the director’s chair, though, the film’s development really started to move forward. Spielberg is one of the few people in Hollywood that could make such a project happen; in fact, he already got multiple companies to work together for the animation extravaganza Who Framed Roger Rabbit (which he produced and Robert Zemeckis directed). That film met with such success and acclaim, it’s not surprising that studios would be willing to trust his instincts with this film as well.

(Also worth noting is that, when the novel came out, we hadn’t seen such universe-jumping franchises as The LEGO Movie or LEGO Dimensions yet, which is why I found such an onscreen mashup unlikely at the time.)

With such a high level of enthusiasm for the project, it’s only natural to share the first trailer for the film here:

A few random thoughts:

–While many different properties are indeed featured in the clips, naturally Warner Bros. put their properties front and center in the trailer. WB owns The Iron Giant, perhaps the licensed character that gets the most screen time in the trailer; DC Comics-owned characters (Harley Quinn and Deadshot) walk through one scene; and at another point Freddy Krueger (whose films were released through Warner-owned New Line Cinema) is also clearly visible.

There are cameos from the DeLorean from Back to the Future (Universal) and the van from The A-Team (Universal again, although Fox did the movie adaptation), but they’re basically blink-and-you’ll-miss-it moments. (I’m not saying that the trailer doesn’t feature many non-Warner properties, just that these stood out to me more, and I actually had to go and look up articles to find out what was in the trailer.)

Non-Warner Bros. characters and stories may still feature heavily in the completed film; I recall that the 1983 MGM-owned WarGames featured significantly into the plot, and I believe that Voltron was present in the climax, as were some TIE Fighters. But it’s not surprising that the marketing focuses more on the in-house stuff.

Also, I expect that any non-Warner property that’s not absolutely essential to the plot (or anything that they couldn’t get the rights to) will get substituted with something else in the final film.

–Is it just me, or is it really weird to see Freddy Krueger in a Steven Spielberg movie? It’s not wrong or anything; it just seems odd for some reason that I can’t put my finger on.

–It’s been interesting to see the fairly recent shift in storytelling tastes. For a long time, crossovers within a company or on a TV network were common. There were a ton of Hanna-Barbera projects where Yogi Bear met up with Scooby-Doo and the Flintstones and other H-B characters; Magnum P.I. wound up on an episode of Murder, She Wrote; Paul Reiser’s character from Mad About You once showed up at the apartment of Kramer from Seinfeld; and so on.

As time went on, these crossovers began to feel more and more like lame cash grabs without much story justification. And so a lot of TV shows and movies only took place within their respective fictional universes, with creators going out of their way to define why other characters wouldn’t work within the consistency of the universe. (In an interview about the first live-action Scooby-Doo movie, screenwriter James Gunn said that Grape Ape shouldn’t be able to casually exist next to Scooby: “This Mystery Inc. might freak out if they saw Grape Ape and try to pull his head off, thinking it was a mask.”)

However, possibly due to the rise of social media, where we’re used to scrolling through our feed and seeing a Lord of the Rings meme followed by a SpongeBob meme, audiences seem ready to accept crossovers again, and if the reception to Cline’s novel — as well as the aforementioned LEGO productions — is any indication, the idea even gets them very excited.

–Since John Williams ran into scheduling conflicts, composer Alan Silvestri has stepped up to the plate. As much as I love Williams’ work, Silvestri is pretty exciting to have on board. Silvestri’s work includes Back to the Future, Who Framed Roger Rabbit, Forrest Gump and The Avengers. Since we know at least the DeLorean appears in the film, expect Silvestri to work in a reference to this and possibly other franchises in the music.

–The movie looks visually stunning, and I actually probably would be excited for this film based on the story alone even if it wasn’t this huge mashup (although that is a huge selling point for me). And that really is the best way to go: The movie needs to function as a satisfying story in and of itself, or eventually the novelty will wear off.

Anyway, this first trailer is a rousing success!