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Saturday, May 23, 2015

Jurassic World On Track For $100 Million Opening

Dino sequel might be summer's only dino-sized opening.

By Brandon Wolfe

Deadline reports that Universal’s Jurassic World, opening June 12, is tracking for a domestic opening weekend of between $100-130 million, roughly in line with Man of Steel’s opening gross of $116 million. Awareness for the film is presently in the 90% range, higher than San Andreas, which opens next week.

Interestingly enough, though Jurassic is one of the summer’s earlier releases, it could be one of the last films of the summer to gross more than $100 million in its first three days. Only Universal’s other big summer release, Minions, is expected is join that club. Though there are other big films in the pipeline, the Terminator and Mission: Impossible franchises have, historically, not performed to that level straight out of the gate, and Marvel’s Ant-Man isn’t expected to do traditional Marvel-sized business.

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Brandon Wolfe at @BrandonTheWolfe.


'Tomorrowland' & 'Pitch Perfect 2' in Dead Heat B.O. Shocker

Age of Ultron set to pass $400 million domestically.

Story by Matt Cummings

No matter how you slice it, this weekend's box office race is gearing up to be a close one, with Tomorrowland and Pitch Perfect 2 in a close race for #1.

With the three-day weekend officially casting off on Friday, Tomorrowland took in approximately $10.4 million, owning most of the IMAX screens - it should take in an estimated $33-35m for the weekend. However, that might not be enough to win it the top spot: that one might go to Pitch Perfect 2. On Friday, the comedy-melody mashup took in approximately $10m, which should plpay out to a 3-day tally of $33-34m. It will also pass the $100m mark on Saturday, after only dropping 52% weekend-to-weekend.

Coming in at number three is the George Miller dystopian spectacle Mad Max: Fury Road, dropping only 39%, which should see profit between $26-28m for the weekend. Those numbers are impressive, considering the relatively small potential audience; numbers like that mean that not only are fans returning to see it again (and you should see it if you haven't), while bringing their curious friends along who might not know how about the 30+-year franchise. Road's success does prove that sites like CinemaScore and their disappointing B+ rating might not matter to moviegoers.

Depending on how you look at it, number four's Poltergeist is either a disappointing flop or a surprise entry. The reboot of the 1982 classic will take home between $23.9-26.6m for the three-day weekend. It didn't get a great review from us, with Metacritic's combined score of 47. Horror films like these tend to fall off dramatically in their second weekends, so MGM/Fox should be happy to run off with this much B.O. money before it disappears.

Another bit of interesting news lies at #5's Avengers Age of ultron. The follow-up to the massive 2012 has not been as massive, although it will pass the $400m mark by Sunday with a $20-22m, 3-day weekend performance. Considering that 2012's Avengers finished with over $600m domestically, Ultron won't even come close to that before it exits theaters; that has to be a disappointment to Marvel and Director Joss Whedon, who had hoped to outgain the original. That clearly is not going to happen.

We'll be back to repost this story with updates and give our thoughts on the weekend's big winner, so stay tuned.

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

‘Fuller House’ Will Not Be Quite So Full

Olsen Twins Say No to New Series

By David Clark

Talks to bring back original actors from the Full House cast to reprise their roles in Netflix’s new original continuation of the series, titled Fuller House, have not gone as hoped.

The original show followed Jesse (John Stamos), Joey (Dave Coulier), D.J. Tanner (Candace Bure), Stephanie (Jodie Sweetin), Michelle (Mary-Kate & Ashley Olsen), Danny (Bob Saget), Kimmy (Andrea Barber), and a few other ancillary family and friends.

John Stamos, producer of Fuller House, confirmed that he along with Candace Bure, Jodie Sweetin, Dave Coulier, Bob Saget, and Andrea Barber will be reprising their respective roles in the new Netflix series.

Fans of the original series will notice a fan favorite name is not on the list. Michelle Tanner, the youngest daughter in the Tanner family, was one of the staple stars of the show. Much of the show revolved around Michelle as she grew up on Full House. The unique thing about the character; she was played by a pair of identical twins by the name of Mary-Kate and Ashley Olsen.

The original show would not have been the same without the Olsen twins antics. It is equally difficult to picture this new show without Michelle Tanner. She was such a staple on the show and a pillar within the Tanner family. Surely producers of the show would not consider bringing back the Tanner family without guaranteeing the Olsen twins would be on board to step back into the Michelle character.

Nope - In fact, the Olsen twins claimed they did not even know the show was being produced until they heard about it on a talk show they were attending. The latest news as of April was they were in talks with the show producers to see if something could be worked out. Unfortunately for the cast and crew of Fuller House, the producers were unable to pull the Olsen twins on board with the project.

“Although Ashley and Mary-Kate will not be a part of 'Fuller House,' I know how much 'Full House' has meant to them and they are still very much considered family," (Boyett Executive Producer)

Stamos was a little less understanding,

"Just so you reporters know - this is not a money gig for any of us- quite the opposite - we want to give the fans what they deserve for supporting us for so many years- we all just want to have fun - do it in a classy way on Netflix and have a good time- sad that a few don't share the rest of the cast's opinion - I can only wish them the best."

Stamos starts out complimenting the motivations of the participating cast but he manages to sneak in a nice jab at the glaringly absent Olsen twins with the last comment about certain people not sharing the cast’s opinions.

Hopefully Fuller House carves out a niche following as one of Netflix’s popular shows. Television today seems to lack the wholesome touch of family programming. The blatant snubbing of the show by two of the most famous actresses associated with the original will not help; hopefully the show can overcome that hurdle. There will certainly be more news about this show over the coming months as production continues and the final release date of the 13 episode series is scheduled for 2016.

I would be interested in hearing your opinion on the Olsen twins decision to not participate in the show. Contact us directly by messaging us on our Facebook. On Twitter follow us at @Sandwichjohnfilms, and follow author David Clark @Clark_SJF or simply leave a comment below.

Source: LA Times

Friday, May 22, 2015

Win Tickets To An Advance Screening For #EntourageMovie In Santa Clara

Win Tickets To An Advance Screening For ENTOURAGE on May 27th at 7:30 PM in Santa Clara.

"ENTOURAGE," the much-anticipated big-screen version of the award-winning hit HBO series, reunites the show's original cast, led by Kevin Connolly, Adrian Grenier, Kevin Dillon, Jerry Ferrara and Jeremy Piven.

Movie star Vincent Chase (Grenier), together with his boys, Eric (Connolly), Turtle (Ferrara) and Johnny (Dillon), are back...and back in business with super agent-turned-studio head Ari Gold (Piven). Some of their ambitions have changed, but the bond between them remains strong as they navigate the capricious and often cutthroat world of Hollywood.

Also starring are Billy Bob Thornton and Haley Joel Osment, and returning cast from the series also includes Perrey Reeves, Emmanuelle Chriqui, Rhys Coiro, Debi Mazar, Rex Lee, Constance Zimmer and Nora Dunn. Emily Ratajkowski appears as herself.

See how to win tickets after the Jump...'

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

"Entourage" creator Doug Ellin is directing the feature film from his own screenplay, story by Ellin & Rob Weiss, based on characters created by Ellin. Mark Wahlberg, Stephen Levinson and Ellin are producing, with Wayne Carmona serving as executive producer.

Click HERE and Enter code: SANDOENTO

Warner Bros. Pictures presents, in association with Home Box Office, Inc., a Closest to the Hole Production, a Leverage Entertainment Production, a Doug Ellin Film, "Entourage." The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company..

"Entourage," set to open in theaters on June 5, 2015, has been rated R by the MPAA for pervasive language, strong sexual content, nudity and some drug use.

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

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First Images Of Elizabeth Banks,Amy Poehler, Bradley Cooper In Wet Hot American Summer: First Day of Camp

The counselors are confirmed for Wet Hot American Summer: First Day of Camp, a limited 8-episode series coming to Netflix just in time for summer. The show is a prequel to the 2001 cult film Wet Hot American Summer.

Elizabeth Banks, Michael Ian Black, Bradley Cooper, Judah Friedlander, Janeane Garofalo, Joe Lo Truglio, Ken Marino, Christopher Meloni, Marguerite Moreau, Zak Orth, Amy Poehler, David Hyde Pierce, Paul Rudd, Molly Shannon, and Michael Showalter are among some of the cast joining the series, which tells the story of the first day of Camp Firewood's famous summer season, now fourteen years after the film's debut.

See all the images after the Jump...

The series is directed by David Wain and co-written by Wain and Michael Showalter.

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Movie Review: Poltergeist

Lazily recycled ideas? They're heeeere.

Review by Brandon Wolfe

Though others preceded it (The Haunting, The Amityville Horror), 1982’s Poltergeist is often held as the quintessential haunted house movie. The Steven Spielberg-produced, Tobe Hooper-directed (though, by many accounts, also Spielberg-directed) film about a traditional nuclear family moving into a house of horrors set the stage for every spook-house film that came after. Though, while there is still much to appreciate about Poltergeist, the film’s ability to get under the skin arguably hasn’t endured. There are isolated moments that remain chilling, but that Spielbergian, suburban-set sense of mouth-agape wonderment has the effect of working against the film’s creep factor, creating an aura of comforting safety that prevents the film from becoming true nightmare fuel. Poltergeist feels more of a piece with E.T. than it does with The Exorcist. Watched in the wake of a truly terrifying haunted-house thriller like The Conjuring only makes the film feel even more quaint.

This could perhaps launch an argument in favor of remaking Poltergeist, beefing up the scare quotient into something more dangerous, more unnerving. But the truth of the matter is there isn’t much one could do to update Poltergeist in a way that would set it apart from the myriad haunted-house thrillers we receive routinely. In a contemporary horror climate where the Insidious, Paranormal Activity and Sinister franchises are all still humming along, what could a rebooted Poltergeist really bring to the table to differentiate it? This would stand as a tough nut for any filmmaker to crack, but the producers of the just-released Poltergeist remake took the simplest approach to updating the property: They didn’t.

If you saw Poltergeist ’82, you’ve seen Poltergeist ’15. Very little has been done to set this film apart from its progenitor. Again, a family moves into a new home in a sleepy suburban community. They are not called the Freelings anymore and the youngest daughter is no longer named Carol Ann, but only the names have changed (to The Bowens and Maddy, respectively). The only new spin at work here is that the family is now financially downtrodden, with Dad (Sam Rockwell) recently laid off and Mom (Rosemarie DeWitt) a homemaker and aspiring novelist (how this brood is able to afford a large suburban home, even at a discount, with zero income is the film’s first instance of otherworldliness). After settling in, Maddy (Kennedi Clements) begins having spooky, seemingly one-sided conversations with her closet door and, eventually, the TV. Gradually, the house’s unearthly occupants make their presence known, first to the other children, Griffin (Kyle Catlett) and Kendra (Saxon Sharbino), then to the entire family. After Maddy vanishes into a portal inside her closet, the family turns to the paranormal department at the local university for help.

That sure sounds a lot like Poltergeist, huh? This remake is positively starved for inspiration, ticking off boxes from the original film while making only the most cosmetic of alterations. The film’s idea of innovation is that the TV that Maddy communicates through is now a flat-screen instead of a boxy old-school number. The film mines every inch of iconography from the 1982 film under the impression that contemporary effects inherently make everything old seem new again. When Griffin is menaced by a clown doll and a handsy tree, the effects are now much more elaborate, but that doesn’t quell the sense that we’ve seen this all before. By the time the family decides to bring in the big guns, in the form of a powerful medium with exorcism skills (Jared Harris, an inferior substitute for the memorable Zelda Rubenstein), the feeling of déjà vu becomes suffocating.

So what does the new Poltergeist do well? Hmm, this is a toughie. Rockwell has some solid one-liners in the early goings before the film requires him to shift into “give me back my daughter!” solemnness. And sending a remote-controlled camera-drone into the spirit world (depicted here as a sort of reptilian Hieronymus Bosch painting) is kind of neat. Beyond that, the film is chiefly on autopilot, pillaging everything it can from both the original and more recent horror films without bothering to create a stamp all its own. The result is dismaying, a sterling example of the soullessness inherent to harvesting name brands without any creative impetus behind it. It’s not even that Poltergeist is necessarily a beautiful and perfect snowflake that would be heretical to touch, but doing so without bringing anything fresh to it is futility at its purest. If nothing else, you’d think the filmmakers would have learned that building a prefabricated structure on top of the bones of something else doesn’t work out well for anyone.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Brandon Wolfe at @BrandonTheWolfe.





Hulu along with Paramount Digital Entertainment revealed their all-star cast of comedians who will join The Hotwives of Las Vegas, the follow up season to their hit original series The Hotwives of Orlando. The second season is set to premiere exclusively on Hulu and Hulu Plus with episodes to stream weekly starting on Tuesday, August 18.

The series will see returning stars take on news roles with Casey Wilson (Marry Me, Gone Girl) as Jenfer Beudon; Tymberlee Hill (Marry Me, Drunk History) as Phe Phe Reed, Esq; Andrea Savage (Episodes, Dinner for Schmucks, Step Brothers) as Ivanka Silversan; Danielle Schneider (Marry Me, Hotwives of Orlando) as Denise Funt; Dannah Phirman (Newsreaders, The Hotwives of Orlando) as Leona Carpeze; along with series newcomer Erinn Hayes (Childrens Hospital) as Callie Silversan.

· Callie Silversan - A sensuous, mysterious, raven-haired witch..
· Denise Funt - Neurotic, needy and recently divorced.
· Ivanka Silversan - A European ex-model, she believes she is the standard of beauty and perfection as is her family.
· Jenfer Beudon - Cocky, southern, white-trash and very pregnant.
· Leona Carpeze - A tough, straight-talking broad. Matriarch of the group and self-appointed peace keeper.
· Phe Phe Reed, Esq - Smart, outspoken, always juggling several jobs. Newly relocated to Las Vegas from Orlando.

Emmy© Award-winning Jonathan Stern and Paul Scheer are returning as Executive Producers along with series creators Danielle Schneider and Dannah Phirman who have returned to both star and write.

To learn more about the series and watch season one, visit the official Hulu show page:

About Hulu
Hulu is a premium streaming TV destination that seeks to captivate and connect viewers with the stories they love by creating amazing experiences that celebrate the best of entertainment and technology. As we pursue this mission, we strive to continue to redefine and reinvent the TV-viewing experience.

About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Television, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

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Win Tickets To An Advance Screening For #Sense8 In San Francisco

Win Tickets To An Advance Screening For Sense8 on May 27th at 7:30 PM in San Francisco.

One gunshot, one death, one moment out of time that irrevocably links eight minds in disparate parts of the world, putting them in each other's lives, each other's secrets, and in terrible danger. Ordinary people suddenly reborn as "Sensates."

Watch Season 1 on June 5

See how to enter after the Jump...

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

Goto GOFOBO and enter code: WOMCode

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

Please Leave A Comment-

Thursday, May 21, 2015

Movie Review: 'Tomorrowland'

Disney's Tomorrowland is a mass-branding, incoherent bore. WARNING: Major spoilers ahead.

Review by Matt Cummings
A young person's mind is like a sponge, taking in anything and everything in an attempt to understand its world and (more importantly) its purpose. Children are wonderfully investigative, perhaps more so than parents would prefer on occasion. For a film like Disney's Tomorrowland, that love of information, imagination, and youthful exuberance should be proudly on display. Instead, it's a mass-branding, incoherent bore that few kids will stick around to finish.
The disenfranchised scientist Frank Walker (George Clooney) was once a wide-eyed 10 year-old (Thomas Robinson), enthusiastically dreaming and building machines that he thought would improve his world. As a boy, Frank attends the 1964 New York World’s Fair and meets the British girl Athena (Raffey Cassidy), who gives him a pin that unlocks a magical, futuristic world. Parallel to that is the modern story of Casey Newton (Britt Robertson), a bright 20-year-old who is jailed after trying to shut down the destruction of a NASA launch pad, which would officially end America's journeying into space. When she emerges from prison, Casey finds a similar pin in her effects that, upon touching it, reveals the same futuristic dream world that Frank visited. Through their shared experiences, the duo form an uneasy alliance to find Tomorrowland and rescue humanity before the city's evil leader (Hugh Laurie) can destroy the Earth by filling it with negative feelings. If this plot sounds convoluted, imagine my trouble in keeping it to one paragraph. But to its credit, Tomorrowland is not your typical summer fare, attempting to flex it intellectual muscles by placing science front and center in Tomorrowland and its story in a distant second place. Whether that works or not depends if you like not knowing about its actual plot for a good 60 minutes. Leading up to that point, the series of elongated experiences by our leads aren't powerful or concise enough to keep the story from falling apart. By the time it's all revealed, we've seen nothing more than several vignettes about our characters, the world around them, and the dream of Tomorrowland that's largely been abandoned. All of that wonder gets sucked away in a second/third act that ate far more dark than they need to be. An entity, convinced that the Earth needs to be destroyed to be saved, is a notion already played out this year in Avengers: Age of Ultron, and here the message is too clunky and boring to keep our interest.
Say what you want about negativity in movies these days, but when Bird suggests that all of it is due to a race of robots who've broadcast negative feelings through a wormhole, and that the end result has no effect on Tomorrowland, one cannot help but scratch their head. What is the purpose of a movie with such a seemingly contradictory message? No matter, because Bird is here to wow hiding a 19th Century rocket inside the Eiffel Tower? The resulting launch emits an EMP that wipes out all of the electronic devices in Paris; how that's critical or even necessary to the story isn't important, because we're here to entertained by Mouse House, right? Not really: it comes off looking like the Free Mason's underground structures in National Treasure or the hidden rooms and devices in The daVinci Code, but with little glue to keep this model spaceship from breaking up during launch. There are important and perhaps challenging themes to debate here, but the PG-rated packaging seems like the wrong place to do that. Moreover, there's the sense that Tomorrowland itself is just a place for a certain type of person, namely someone smarter (and therefore better) than everyone on Earth, who when released from our chaotic world will leave all the stupid people to destroy themselves. Instead of trying to bring the world of Tomorrowland to Earth, Writers Damon Lindelof and Bird choose the easy way out: feed Earth what it wants so that it will be destroyed. But why? What does Laurie's character and Tomorrowland get for that?
And then there's the shameless branding that happens throughout, from the multiple Star Wars references to the "It's a Small World" ride and the look of Tomorrowland itself. It's terrific that Disney is trying to push the idea of the role of youth in the development of science and technology; but its self-congratulatory nature does nothing to encourage their intended audience. Roles outside of Clooney and Robertson are terribly one-layered, including Laurie as the one-note bad guy. He really has no purpose here than to be the antagonist for Frank, desiring to destroy Earth without even telling us why it's needed. As I've already said this season, it feels like there's a much longer (and perhaps better?) cut of Tomorrowland out there (see: Avengers). With such a long-winded beginning, I have to believe that other acts would have benefited from such treatment. The production values by Bird's team are excellent, including the city itself and Clooney's rather ramshackle of a farm house. Both serve as the dream of Tomorrowland lost on a people obsessed with conflict and the darkness that has engulfed our society. One of the best scenes of film happens at that farmhouse, as Casey and Frank are pursued by robotic agents left on Earth to watch Frank; when it' attacked, he employs some genius suppression measures to deal with them. But while he lets Clooney and newbie Robertson (who's excellent by the way) do a lot of the heavy lifting, not much of what they say amounts to much. Good reveals and character interplay are the hallmarks of good filmmaking; here, all the joy of scientific discovery promised in its very good teaser trailer are almost completely lost. And why call a movie Tomorrowland, when our characters spend so much away from it?
In the end, Tomorrowland tries to be too much, wasting every asset of its excellent cast and stunning special effects. Its soapbox dialogue and meandering plot won't inspire children in the least, when they've already seen a rocket-powered genius (Iron Man), a worrisome scientist (Bruce Banner) and an evil organization (Hydra) done much better in other Disney properties. I applaud the studio's bold idea for a movie; I criticize them for mishandling its promise so profusely. Tomorrowland is rated PG for sequences of sci-fi action violence and peril, thematic elements, and language and has a runtime of 130 minutes. Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.


These new clips from INSIDIOUS: CHAPTER 3 will paralyze you with fear!

“What’s Happening”

Watch the all the clips after the Jump...

"Cross My Heart"

"Unexpected Caller"

The newest chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell. This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.

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A BRAND NEW trailer has been released starring your favorite farm friends from the SHAUN THE SHEEP MOVIE! From the creators of “Chicken Run,” Aardman Animations brings you a charming story about family, fun, and facing your fears.

Grab a sneak peek of the events that follow Shaun and his flock when they decide to take the day off and end up on a great escape to the big city in the trailer below! And make sure you catch their whole adventure in theaters on FRIDAY, AUGUST 7, 2015.

When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan, and a very steep hill lead them all to the Big City and it's up to Shaun and the flock to return everyone safely to the green grass of home.

Lionsgate presents a Studiocanal and Aardman Animations production.

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By Sue Lukenbaugh

Barry Allen may be the fastest man alive. He has been working for a long time to get justice for his mother, and to free his father, and that day is today. Barry confronts Wells finally. He wants to know the truth, why Eobard/Wells killed his mother. Wells hates him, not the him now, but in the future. They hated each other a lot, and they fought, but neither could defeat the other. Wells learned his secret, and he decided to go back into time and to kill Barry. But Future Barry followed him back.

They both landed some great shots, but Future Barry managed to save his younger self. Then Wells thought, what if Barry was dealt a devastating blow. It could be enough to derail the superhero. So he killed Barry's mother, and he was free he thought. He would be able to return to the future without a Barry Allen. He ran into a snag, he lost his way, he couldn't get home. He had lost his ability. So the only way to return was to create the Flash. He had to help Barry harness his gift so that he could create a stable space time worm hole so he could go back home. Barry doesn't see why he would do that. Wells offers him a way to save his mother from death, save his mother from prison. Barry refuses, with rage in his heart. Wells understands why Joe and his father look at him with such pride, and he's now giving Barry the chance to right Wells's wrongs, to negate his evil.

Dr. Stein thinks that the paradox that Wells is giving him is an interesting proposition. Caitlin sees it as a no brainer, to be reunited with someone you love. Dr. Stein explains, the night that Barry's mother died, he went back and saved himself made a parallel universe, like when Barry traveled recently. Joe points out that he only changed one day that time. Dr. Stein tells them to imagine 15 years being changed. One different decision has a butterfly effect. Nothing would be as it is today, and none of them would remember it. Barry thinks about it. If he goes back and changes his mother's death his father would never go to prison, and he would never go to live with Joe and Iris. Cisco wonders if there would be a him. If Caitlin would be with Ronnie. Dr. Stein tells them that there is no way to tell what there would be. Joe tells Barry that he has to do this, that there isn't a choice, he needs to change the past.

Barry follows Joe out of the room. Barry wants clarification, that he wants him to do it. Joe thinks that its the right thing. Its the chance to get back both of his parents. Barry points out that he won't have a father, but he will Joe tells him. He'll have back his father. It's time to undo the wrongs Wells caused, its why he became a super hero, to put things right. He's saved a lot of people this past year, and now its time to save himself. Oh the feels.

Barry pay his father a visit. His father thinks it sounds crazy to turn back time. Barry isn't planning on turning back time, but actually going back. Joe thinks he should do it, but his dad doesn't. Things happen for a reason. He believes that, he's had to believe it. Barry wants to save his mother. His father knows that by saving her, it will change their past, and he fears that it will change Barry. He's so proud of the man that Barry has become, and if by going back he changes what makes Barry special, he knows that his mother would never want that. As much as he loves his wife, he doesn't want her back at his son's expense.

Caitlin looks over Ronnie. He admits to her that he's back for more than just Barry. He wants Caitlin back. He thinks that he's in control of his powers enough, and he loves her.

Barry does some heavy thinking on the roof, when Iris finds him. She's done plenty of her own thinking up there, when she wasn't having some clandestine meetings with the Streak. She and Barry share a laugh about it, before she turns to more serious matters. She asks if he plans to undo it. Barry hasn't decided yet, its a big decision. Iris thinks how his life would be different, how theirs could be different. They might even be married, Iris West-Allen. I vote a big no to saving the mom if this is the future. Barry tells her that won't happen. Living with her, growing up with her made it hard to admit his feelings for her, but it also made him love her, to have a family with her and Joe. Iris thinks that he should stop thinking about everyone else, and think about himself.

Barry goes down to see Wells, who admits that it took him longer to decide than he had anticipated. Barry asks how the grand plan would work. Wells tells him they'll use the particle accelerator, but this time it'll work. And this time instead of two particles smashing into each other, there will be just one. If Barry can go fast enough, when he smashes into the particle, it'll tear a hole in reality, making a portal that will connect this time into infinite times. Barry can travel to the past to his mother's time and save her, or to the future to Eobard's time. If he doesn't run fast enough, he'll die.

Dr. Stein looks over Wells's plan, and how it should work. Barry asks Cisco for his opinion. Cisco thinks that it looks pretty sound, but isn't sure why Barry would ever consider doing this. Caitlin asks the real question, for this to work how fast does Barry actually have to run. Mach 2, which is faster than Barry has ever had to run. Barry tells them not to worry about how fast he' needs to go, he needs something else. Cisco isn't really into the thought of helping Barry kill himself.

Barry needs a time machine. He explains that Wells gets his speed back at times, but can't control it since he killed Barry's mom. The wheel chair was helping him discharge himself. Wells has most of the parts for the machine to get him home, they just need to put it together. Ronnie looks over the pieces. Cisco reminds him that its not an Ikea bookcase. Ronnie notices an issue with the parts. Made out of tungsten, the heat from the worm hole could pose a problem. Cisco heads down to confer with Dr. Evil.

Cisco pays Wells a visit. He asks how he fit his Reverse Flash suit into a ring, but he rally doesn't want to know, while he paces. Wells looks over the schematics, and sees that Ronnie was correct. Cisco is brilliant, and he tells him that there are so many times that he wished that Cisco was with him while he rebuilt the accelerator. Cisco tells him that doesn't change the fact that his little time sphere will blow. Wells gives him an alternative to the tungsten that will work, and Cisco goes to try that. He turns his back on Wells, and Wells asks him if that is all. Cisco doesn't know what to say. Wells thought of all of them that Cisco would understand, he doesn't belong back in this barbaric time. He feels like he's living among the dead. Cisco asks if that's what he told himself when he killed him. Wells is confused. Cisco explains it was an alternative time line that Barry reset. The memory kept coming back to him, the way he looked when he called him a son, before he crushed his heart with his fist. Wells apologizes. He's not sorry for killing him, he's sure that he had a reason. He's sorry that he was able to see the vision, but it confirms his thoughts. The night that the particle accelerator exploded, Cisco was affected too. Cisco doesn't believe him, he doesn't want to. Wells tells him not to be afraid, a great and honorable destiny awaits him. He only hopes that he remembers who gave him that life, and that it was given out of love. Cisco cannot get out of there fast enough.

Dr. Stein moves Eddie from the work station that he's seated at. It's running some very important calculations. Eddie goes to leave, but Dr. Stein stops him. Everyone has an important contribution to make. Eddie admits that he doesn't. Wells was very clear that he doesn't matter in the future one bit. He doesn't save the day or get the girl. Dr. Stein is surprised that he believes it. He had a newspaper from the future. Dr. Stein has a mug that says World's Greatest Boss, that he's sure his teaching assistant would find misleading. They're dealing with a lot of big scientific ideas today, but he still thinks that Eddie may be the most interesting thing at STAR Labs. Stein points out what would be the likelihood that Wells gets stuck in the past with his numerous Greats, great grandfather. A part of his plan to get home would mean that he would have to protect Eddie. Its a big scientific unicorn of coincidence, one that no scientist can plan for. Eddie is an anomaly. He's the only person in the whole story that gets to choose his own future. The computer shows a big giant problem. Stein alerts the rest of the team. The calculations show that there is a danger. Wells didn't tell them everything. Even if Barry reaches the speed, the collision could create a singularity, a black hole. They could not only destroy Central City. If they can't control it, they could destroy everything.

Wells knows that there is a risk. Stein doesn't think that causing world wide destruction is a risk. Joe points out that his accelerator hasn't exactly been trusty so far. Wells has been fighting Metahumans with them for a long time, and before that he had been planning this for years. Cisco needs more assurance that they're not opening up a black hole in Central City. When the wormhole stabilizes then Barry will have almost two minutes to save his mother, and return to this time. Plenty of time to close the wormhole, but not enough time to stop Eobard from returning to his time. It leaves no time for error, but Wells has confidence in Barry, he always has. He wonders if Barry's other friends and family have that same confidence in him.

Barry struggles with the decision. If he doesn't run fast enough then he's dust. If he does run fast enough, and doesn't get back in time he destroys the world. He asks Joe if he still thinks that its best that he goes back. Joe admits that he's unsure. He was faking the confidence earlier, its par for the parenting course sometimes. He just didn't want Barry to not try because he was worried about him. Barry will always worry about Joe, as Joe will always worry about Barry. He's sorry that he can't stop that. He asks if Joe thinks that he can do this, if he can save his mom, if he's fast enough. Joe doesn't hesitate, he does. Barry has dreamed his whole life of saving his mother, saving his father. He never thought to do so that he'd have to sacrifice one of his parents. He was so focused on that loss, he never considered what he gained that night. He was borne with one father, that tragedy gave him another. He doesn't think he could lose him now. Joe is sure that he will never lose him.

Eddie goes to see Iris at work. She thought that he would be at STAR Labs. He was hungry, so he went for dim sum take out, but also to remind him of something. A year ago, he had a date with a dancer. They had plans to meet at the restaurant, but she had to cancel. Eddie had dinner there anyways, and when he was walking home he met Iris. Someone just told him how powerful coincidence can be, that some had to happen. Everyone has been so focused on Barry's destiny, that he forgot that he had one too. He sees now that Iris is his destiny. He tells her, screw the future, and kisses her.

Stein explains the Ronnie that before he could go off to college his father made him become a Rabbi, so the ceremony will be legit. Caitlin walks out clad in white. They skip the hebrew, and Ronnie gives Caitlin a ring. Caitlin doesn't need a real one. She doesn't care about all the tragedy that has happened, because it lead them here, and he's all she needs. Stein pronounces them man and wife, and Ronnie kisses his bride while the others watch on.

Caitlin hugs Barry to say goodbye. Cisco tells Barry to remember that there will be three of him. He tells him to wait until the other him saves the younger him before he saves his mother. Barry hugs Joe, his father goodbye. Iris kisses Barry on the head goodbye, before going back to Eddie. Barry heads into the Particle Accelerator. Stein's voice comes over the intercom reminding him that if he does reach the speed he needs to he'll have less than two minutes to save his mother and get back. Wells speaks to him last. He has confidence in him that he will be able to do this, and get him back. He tells Barry to run, as he has done so many times. The machine starts up, and Barry starts running faster than he ever has before. The room shakes, and they worry about the accelerator, but Cisco tells them that Barry just hit Mach 2. As Barry runs he sees moments of the past, and the future. Wells tells him that he's seeing the speed force, his past, present and future. He needs to focus it to get back, to think about his mother. As Barry sees his mother, Stein's coffee does the floaty thing. Wells sees the fruition of his plan. Stein tells him to inject the hydrogen particle, and Barry disappears. The worm hole opens. It's stable for the moment, and the clock starts.

In the past Barry watches the events unfold, waiting for his time. He sees himself and Eobard battling, he watches himself come in and take himself. It's time to save his mother, but he turns his back, letting Eobard stab her again. When Eobard leaves, Barry goes in. His mother is dying. He comforts her, telling her that her son is safe. She asks who he is, and he tells her that he is the Flash. He removes his mask. She tells him that he looks just like her father. He tells her that it won't make any sense, but he's her boy. He got a second chance to come back, to tell her that he's okay, he and his dad are okay and they love her. She tells him goodbye, with a smile on her face. Barry weeps over his mother.

In present day, the clock continues its count down. It's time to say goodbye to Harrison Wells. Wells marvels at the time machine. Rip Hunter would be proud, he was the first one to build one of them. A helmet comes out of the worm hole, and that's his cue to leave. Wells thanks Cisco, who tells him not to ever come back. Wells gets inside of his machine, powers it up, and prepares to go to the past. 30 more seconds on the clock. Home is just on the other side. Barry comes flying through the worm hole, smashing Wells's machine. Stein tells Caitlin to shut down the worm hole. Wells doesn't understand why he didn't save his mother, he could have had everything that he ever wanted. Barry already does. The pair fight as Caitlin and Ronnie run to shut down the generator. Ronnie is hit with a blast, and knocked back as Caitlin hits the power just in time. Ronnie seems to be okay. Wells gets the upperhand on Barry. He tells him that after he kills him he's going to kill his father. In the end he always wins. There's a gunshot, and Wells lets Barry go. Eddie shot himself in the heart. He took his own destiny in his hand, there are no such things as coincidences he says. Cisco explains that as Eobard's ancestor, if Eddie dies then Eobard never exists. He's being erased. Eddie is a hero, that's all he ever wanted to be, a hero to Iris. He dies in Iris's arms. Eobard turns to Barry. He's controlled Barry's life for so long, he asks how will Barry get along without him. Eobard disappears in a hail of light, and the worm hole begins to reopen. They have to go, and now. Iris doesn't want to leave Eddie's body, but they don't have a choice as the worm hole becomes a black hole. There is panic in the streets. Captain Cold, and Hawkgirl all see black hole. Its like the tornado, but bigger, upside down and scarier. Barry has to try to stop it. Barry's' father sees him from his cell as he runs straight up and into the black hole to try to stop it.

And that is how you wrap up a successful first season. That ending was amazing.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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Trailer For @AmyTheMovie Directed By Asif Kapadia

Check out Asif Kapadia’s documentary on the iconic singer and see why people are calling it heartbreaking and extraordinary.

From BAFTA award-winning director Asif Kapadia (SENNA), AMY tells the incredible story of six-time Grammy-winner Amy Winehouse – in her own words. Featuring extensive unseen archive footage and previously unheard tracks, this strikingly modern, moving and vital film shines a light on the world we live in, in a way that very few can.

A once-in-a-generation talent, Amy Winehouse was a musician that captured the world’s attention. A pure jazz artist in the most authentic sense – she wrote and sung from the heart using her musical gifts to analyse her own problems. The combination of her raw honesty and supreme talent resulted in some of the most unique and adored songs of the modern era.
Her huge success, however, resulted in relentless and invasive media attention which coupled with Amy’s troubled relationships and precarious lifestyle saw her life tragically begin to unravel. Amy Winehouse died from alcohol poisoning in July 2011 at the age of 27.

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Spider-man Reboot: Rumors Abound

Has Matthew McConaughey Found The Right Script?

By David Clark

The rumor mill is in full swing, first it held news about Krang in the new Teenage Mutant Ninja Turtles movie; the latest rumor surfing the web is McConaughey taking on the roll of Norman Osborn in the new Spiderman reboot. Even the role of Spiderman is not yet solidified though, Asa Butterfield would seem to be one of the top choices to fill the web slinger’s shoes. Will McConaughey be joining Asa Butterfield in the near future?

As of yet this is still a an unsubstantiated rumor but it is not as if McConaughey has not given people a reason to believe it might be true. After-all, he did recently broach this very topic in an interview. McConaughey let it slip that both DC and Marvel have approached him regarding roles within their respective universes. McConaughey had this to say on the topic,

“It’s very simple for me. I look at the script. Is the opportunity exciting? Is the money that comes with it exciting? Sure. Is it the possibility of going, ‘Hey you can get on a train and it can be a franchise and you could do 3, 4, 5, and have a great time as some kind of superhero or anti-hero.”

By the sounds of it, McConaughey is very open to the idea of playing a multi-movie role if the money is right, the script is good, and the character is deep enough for him to explore. He admits later on in the interview that signing up for a comic book franchise comes with a lot of strings. On top of the movie production the contracts often require press tours, convention appearances, and long term time/movie commitments. By the sound of it, McConaughey admits the idea of getting into a Marvel or DC universe could be fun, but he also sounds hesitant about ending up as the next Robert Downey Jr. with a 6, 7, or 8 movie deal commitment.

Breaking down the rumor a little further, what kind of implications would this have for the Spiderman reboot? It is already known Marvel intends to work the new franchise around a much younger Peter Parker. For that reason the Asa Butterfield rumors hold some sway because of the actors young appearance. Perhaps Marvel wants to explore a younger pre-Goblin Norman Osborn too - not that Matthew McConaughey is particularly young.

It may be hard to picture McConaughey dawning an arch-villain suit like that of the Green Goblin. He has recently rebuilt his career through rather serious portrayals in True Detectives, Dallas Buyers Club, and Interstellar. Admittedly the last two attempts at Norman Osborn and the Green Goblin have met with mediocre success at best. With the treatment of villains in prior franchise installments it is hard to see another interpretation of the Green Goblin being accepted well by fans; besides, McConaughey is not an actor that retreads roles or emulates others - he is an original actor.

That said, if McConaughey is not going to play a Green Goblin suit wearing Norman Osborn how might the role work? Norman Osborn does not have to be the Green Goblin as seen in the most recent Amazing Spiderman film. Harry Osborn ended up being the Green Goblin. Norman Osborn played a very small role as a genetically defective terminal old man. In truth, the potential of the Norman Osborn character is yet to be truly explored within the movie franchises.

Norman Osborn is a man of great wealth and power. He is close enough with Peter Parker to be manipulative and he has a foothold in the city to wield and dictate events. Why does he ever have to become an insane green wearing mad man? Let his son or some other character be written into that role. Osborn could be a Lex Luthor or Wilson Fisk type character acting as a catalyst for events throughout multiple storylines and movies. It would be a way of reinvigorating a fresh new take on a character fans have already seen two times over.

Sources: Screerant, Variety

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