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Friday, April 17, 2015

The REAL 'Batman vs Superman' Has REALLY Arrived

Warner Bros. releases the trailer less than a day after its leak.

Story by Matt Cummings

Thursday night was an interesting one for Warner Bros. Studios. The home of the DC Cinematic Universe, interest had been building for awhile with their plan to release an extended trailer for Batman vs Superman: Dawn of Justice on Monday April 20th. Seats had been reserved, Zack Snyder "swag" had been hinted at by the director, and fans were ready. That is, until a Portuguese version of the same trailer popped up online that same Thursday night. Although WB did its best to knock down sites that distributed the grainy cam-capture, it was clear they were fighting an uphill battle.

But this is The Internet afterall, and no one will keep a trailer down. That's why Warner decided late Friday afternoon to release the trailer, featuring a much clearer cut:

Snyder isn't letting the leak deter him. On Friday, he Tweeted this message out, giving fans some hope that Monday's event will actually be longer than merely the trailer:
Fellow Sandwich-ers, what do you think of the latest trailer? Comment below and join the conversation!

Batman vs Superman: Dawn of Justice will be released on March 25, 2016 and also stars Amy Adams as Lois Lane), Laurence Fishburne as Perry White, Jeremy Irons as Alfred Pennyworth, and Diane Lane as Martha Kent. Suicide Squad will be released on August 5th, 2016, Wonder Woman on June 23rd, 2017, and Justice League on November 17th, 2017.

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

New Trailer for #DOPE Has Arrived

This summer, welcome to a day in the life of a geek in the Bottoms.
The hit movie out of the Sundance Film Festival, DOPE tells the story of Malcolm (Shameik Moore) who is carefully surviving life in a tough neighborhood in Los Angeles. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself. Directed by Rick Famuyiwa, Produced by Forest Whitaker, Executive Produced by Pharrell Williams and Co-Executive Produced by Sean Combs.

Dope stars Shameik Moore (@meaksworld), Tony Revolori (@TonyRevolori), Kiersey Clemons (@KierseyClemons), Blake Anderson (@UncleBlazer), Zoe Kravitz (@ZoeKravitz), A$AP Rocky (@AsvpxRocky), Chanel Iman (@ChanelIman)and Quincy Brown (@Quincy). The movie features four new original songs by Pharrell Williams (@Pharrell).

A critical hit and audience favorite out of the Sundance Film Festival, in DOPE, Malcolm (Shameik Moore) is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself.

Dope releases on June 19, 2015.

New #JurassicWorld Poster Featuring Bryce Dallas Howard

Click below to see Indominous Rex!
Director Colin Trevorrow has debuted a new JURASSIC WORLD poster featuring Bryce Dallas Howard as Claire Dearing face to face with the Indominus Rex. In addition, we've received several other images from movie, all of which you can see below.

First up is the Bryce Dallas Howard poster:

Next up is a ton of other new images:

Steven Spielberg returns to executive produce the long-awaited next installment of his groundbreaking Jurassic Park series, Jurassic World. Colin Trevorrow directs the epic action-adventure from a screenplay he wrote with Derek Connolly. Frank Marshall and Patrick Crowley join the team as producers.

The movie stars Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, Jake Johnson, Omar Sy, BD Wong, and Judy Greer.


(Exclusive) What the Batman/Superman Trailer Tells Us

We analyze the footage for clues in this superhero throwdown.

Story by Matt Cummings

Warner Bros. is moving forward with a huge expansion of its Justice League universe, hiring a replacement director for Wonder Woman, prepping for a Suicide Squad film, and revealing their possible choice to direct Aquaman. At the center of this is the highly-anticipated Batman vs. Superman: Dawn of Justice, a film designed to officially launch the entire ship of DC's greatest superheroes. In anticipation of that event, Director Zack Snyder is hosting an exclusive event at nearby IMAX theaters, whereby fans were promised a view of the trailer on Monday, April 27th.

And then the Internet happened.

It was revealed on Thursday that a subtitled Portuguese version of the trailer was leaked using a handheld camera or cellphone and eventually uploaded to YouTube. The trailer was quickly removed, but not before companies like CNET and others posted it, causing immediate fan reaction. While we're posting it (yet), our recent viewing of the footage makes several things very clear and raises at least one very interesting question.

A Crisis of Confidence
The trailer begins with a selection of very dark music from Composer Hans Zimmer and a narrator's voice pondering, "Is it really surprising that the most powerful man in the world should be a figure of controversy?" As the footage continues, we see a darkened park with a large figure at its center. Commentators like Physicist Neil Degrasse Tyson and others jump to remark, "We as a population on this planet have been looking for a savior." Another replies, "Human beings have a horrible track record of following people with great power." "Maybe he's just a guy trying to do the right thing." We also hear Lex Luther (Jesse Eisenberg): "We know better now, don't we? Devils don't come from hell. They come from the sky." Finally, what appears to be DC Comics stalwart Lezlie Thompkins' (Holly Hunter) voice concludes with, "The world has been so caught up with what he can do that no one has asked what he should do." As the park scene focuses on the statue, we see that it's Superman with graffiti on his chest that reads, "FALSE GOD" scribbled in graffiti. Then, for the very first time, audiences saw Affleck out of costume (as Bruce Wayne) and in costume (as Batman).

It's clear that the city-wide destruction of Metropolis - as shown in Man of Steel - is still fresh in people's minds. With both rabid supporters and fierce detractors weighing in - with Superman tending to a group of people with white-painted faces, as well as four armed men kneeling before him in another sequence - it's clear that the world is decidedly split on whether Superman is friend of foe.

The Arrival of The Caped Crusader
We haven't seen a live image of Actor Ben Affleck's face since Sad Bat arrived last Summer. Here, we're treated to a long look of him (albeit blurred due to technical issues) as he stares at what looks like a worn Batsuit. We know that Batman has either been dealing with crime in Gotham for awhile, or has retired ala Frank Miller's The Dark Knight Returns. We see images of the Batmobile blazing through an explosion, as well as what looks like the Batwing firing on a team near a dock. Perhaps these are both Batman, as the scenes are cut too short to tell if he's working with someone. We're inclined to believe the former, as perhaps he's still fighting crime in Gotham when the events of Metropolis unfold.

The trailer concludes with an armored Batman (shown in the San Diego Comic-Con footage) preparing to do battle in a heavy rainstorm against The Last Son of Krypton. He asked Supes, "Tell me, do you bleed? You will!" We're pretty sure this sequence happens perhaps late Act 1/early Act 2, as the duo have to work out their differences before coming together. Unless there's something seriously wrong with Superman (as some of the footage might suggests), there has to be enough time for both to deal with their concerns over each other, a fact that we can't wait to see. Do both of them see the other as genuine threats to their systems, or are they just merely misunderstood stooges of the media? The other force to deal with is Lex Luthor, who clearly sees both as a threat to humanity. We don't yet know the reasons for his opinion, but we're sure to see it played out here. Perhaps he discovers that Kryptonite will harm the Man of Steel, or perhaps Batman uses it when the two tussle, giving Luthor the advantage he needs.

The Big Question
As we well know, other stars like Gal Gadot (Wonder Woman) and Jason Momoa (Aquaman) will also appear in the film. Where do they figure in the larger story, and will their screentime be merely limited to glorified cameos? Regardless of their places in the story, we're definitely primed for what's looking like a strong competitor to the Marvel Cinematic Universe. We'll have to see whether Monday's event will be canceled or if entirely new scenes are being prepped to keep audience interest high.

At the time of this post, Warner Bros. has not yet commented on the leaked trailer. Batman vs Superman: Dawn of Justice will be released on March 25, 2016 and also stars Amy Adams as Lois Lane), Laurence Fishburne as Perry White, Jeremy Irons as Alfred Pennyworth, and Diane Lane as Martha Kent. Suicide Squad will be released on August 5th, 2016, Wonder Woman on June 23rd, 2017, and Justice League on November 17th, 2017.

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

Thursday, April 16, 2015

Movie Review: True Story

True Story's manipulative nature betrays itself at the bitter end.

Review by Matt Cummings

In Rupert Goold's True Story, NY Times writer Mike Finkel (Jonah Hill) is disgraced when news of his embellishment of a featured piece leads to his dismissal and blackballing. While desperately searching for another patron, he receives a call that the murderer Christian Longo (James Franco) has been using Finkel's name and title during his run from the law. He's accused of the heinous 2001 crime of strangling his wife and dumping his three young children into suitcases, all of whom were found floating in an Oregon channel. Finkel believes this story will signal his comeback, agreeing to help Longo write a book about the murder trial and his involvement in the crime. But lies and deception are never far behind, as Finklel gets dragged into Longo's web, placing Mike and wife Jill (Felicity Jones) at emotional and professional odds. As the trial ends and a decision is rendered, Mike and Jill must ask themselves: is Longo a scapegoat or a dangerous manipulator?

There is an uneasy stillness behind True Story, as if the murderous nature behind Franco's slick character is tightly controlled, waiting to be unleashed on some unsuspecting stooge. That gives him plenty of chances to mislead Mike and the audience, and for the most part it works. Skin crawls, shock commences, then the jury does what any good jury sets out to do: determine the defendant's real guilt or innocence. But until that happens, we see how Longo's growing list of lies begin to pile on top of each other, soon overwhelming Mike and leading us to wonder at each turn if Longo is telling the truth now...or now...or how about now. When the verdict is reached, we feel a little silly for thinking Longo had a chance, but it's what happens afterwards that left me scratching my head.

Hill continues to expand his resume with a solid performance as the writer who can't seem to get enough of his newest fan. There's an unspoken (dare I say) affection each has for the other: Mike the disgraced writer hoping to recapture his mojo, and Longo desperately needing the same sort of respect from anyone who will listen. And that is where True Story's irresistible force meets its own immovable logic and why some audience members will take exception to its ending. Why Finkel chooses to continue communicating with Longo long after a judgement is reached is beyond me. We're even lead to believe that two powerful scenes involving Jill and then Mike against Longo reflect their collective moment of clarity: on their own, both work exceptionally well. Yet, the film ends soon afterwards without us seeing how any of this has truly affected their marriage. Moreover, title cards before the credits tell us that Finkel and Longo still meet every Sunday to this day - huh? I guess truth is stranger than fiction, because it's based on Finkel's memoir. But it still doesn't do a very good job of getting at the real reasons why Finkel stayed around, and why Jill ultimately lets him.

Story succumbs to its own version of fudging the real details behind some of the events Goold presents, none of which are worthy enough to derail the film. Sadly Story accomplishes that on its own by failing to explain why the two men's friendship has endured for so long. We never discover the modus operandi behind these characters, leaving us to form our own wild theories. I'm such debate is what Goold intended - and that's supposed to be a good thing - but in this case I wonder if another 5 minutes of exposition wouldn't have benefited the audience. True, some endings are best left to one's imagination, but it's the sort of unhealthy discussion after the lights come up that tinges what are some of the best performances of 2015. Another issue I have is the reigned-in role for Jones, who raised lip and frumpy nature are about the most interesting things about her until her tirade at Longo near film's end. Her role in many ways is totally disposable, leaving her out to dry as Mike returns over and over to prison without telling Jill why it's so important. That puts her in an odd position for most of the film, nearly an island onto her own.

Yet to the film's credit, Story doesn't devolve into a simple terror plot, even though Jill does receive the requisite creepy call from Christian that's shown in the trailer. Goold knows how to blur the lines here, making Christian into a sympathetic figure that Finkel can never quite figure out. Franco and Hill use that to their advantage, gliding effortlessly throughout, their long history in Hollywood reflecting in their terrific chemistry. It's odd to see such funny men in such serious roles, but Goold commands them right to the end, even if that end seems too sudden.

True Story succeeds as much as it fails, leading the audience on a twisty road of rationalizations and the obsession people have to feel wanted and admired. It's recommended, but be prepared to debate its rather sudden end.

True Story is Rated R for language and some disturbing material and has a runtime of 100 minutes.

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

Movie Review: Monkey Kingdom

Disneynature's Monkey Kingdom is delightful but still doesn't earn all of our respect.
Review by Matt Cummings
Disneynature, the bastard stepchild of Mouse House, is like a well-meaning aunt or uncle whom the family conveniently forgets about until the holidays. Started in 2008, the studio has never found its core audience, posting huge losses in an already crowded "Wow, Nature!" market. Perhaps part of the problem is that others do it so much better, as evidenced by PBS Nature's spectacular Earthflight. There, the animals sell the story: no need for fancy trickery, creative edits, or propped-up story beats. And although Money Kingdom is perhaps the best Disneynature doc we've seen, it still doesn't earn the total respect it thinks it deserves.

Hidden within the jungles of Sri Lanka lies Castle Rock, a long-abandoned city that's become home to the Macaque monkeys, whose rigid hierarchy sees some living the high life with others like Maya struggling to keep up. Doused with a blonde mop of hair, she's feisty but knows her place at the bottom won't change unless something big happens. That soon does in the birth of her first child - a baby boy - forcing her to take drastic steps to move up the social ladder. But when an opposing family of monkeys descends upon Castle Rock - driving Maya and the others into a human city - Maya and the others must gather their strength to push their enemies back to regain their home. Maya will soon learn that strength not only comes in numbers but in perseverance if she wishes to see her son survive.

What's amazing about Kingdom is the sometimes rather fierce and immutable caste system that the Macaque monkeys have created. There's very little social mobility, unless an event comes along that tests those in power, which rather conveniently happens here. Of course, there's the requisite cute monkeys engaging in cleaning and jumping into water in slow-motion. But perhaps the real strength of it lies in something we haven't seen too often from Disneynature: death. We don't see animals being killed, but we do see others mourning their dead after something happens. That's unique for this series, and something which Directors Mark Linfield and Alastair Fothergill aren't afraid of showing. To them, it's the natural order of things, and here it's shown just enough to remind the little ones that death is a part of life. Narrated by Tina Fey, the comedian does a much better job than John C. Reily's Bears, blending her comedic voice with to make it part of the movie, something Reily never felt comfortable doing.

And yet, Monkey Kingdom is far from perfect. There's a ton of creative editing going on, whereby some animals seem to react to things that were probably never captured at the time the event was actually happening. It's done for effect, but many times it just feels orchestrated. An 'invasion' by the monkeys into a family home's birthday party also seems like someone opened the door and gates to the chicken pens. Everything in those scenes is laid out so perfectly that it's doubtful our directors actually followed them and eventually stumbled on to this scene. Perhaps that does happen in Sri Lanka, but I wish it would have been captured more organically. This series is made for younger children, but with entire sections devoted to parents, Disneynature needs to do more to keep its believability among parents high. In Earthflight, Nature seems to have simply strapped small cameras on the birds and other animals, letting their migrations tell the story. That to me is far more entertaining because it captures nature at its most raw and beautiful.

One of the best parts of Kingdom lies in its credits, as both Linfield and Fothergill are seen capturing some of documentary while dealing with bears and the general dangers inherent in a jungle. That's the sort of imagery I appreciate, perhaps offering a more interactive method than trying to spice up something which is already interesting. Still, Disneynature is getting closer to becoming an attraction that will actually pay the bills; the question is whether there's enough time left before Momma Mouse abandons it.

After eight attempts, Monkey Kingdom is finally close to the Disneynature we know it can be. And while some of the action still feels orchestrated and even edited for effect, the result is a family crowd-pleaser that probably won't stick around for long, if history is any indicator. But maybe this enjoyable distraction should, if only until the summer tentpoles arrive.

Disneynature's Monkey Kingdom is Rated G and has a runtime of 81 minutes.

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

Ryan Gosling Joining Blade Runner Sequel

Drive star will get behind the wheel of a Spinner.

By Brandon Wolfe

Big day for Harrison Ford. In addition to heading home with Chewie, he’ll next face down Ryan Gosling in the long (and I do mean long) delayed sequel to Blade Runner. Gosling is presently in negotiations to join the follow-up to the classic sci-fi film, which is set to be directed by Denis Villeneuve (Prisoners) and produced by original Blade Runner helmer Ridley Scott.

No word yet on Gosling’s role (or Ford’s, for that matter; there’s still that pesky “replicant or human?” question lingering about), but filming is scheduled to begin in Summer 2016.

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

Movie Review: Unfriended

Where's my Dislike button?

Review by Brandon Wolfe

The runaway success of Paranormal Activity was the point where the found-footage format crossed over into the mainstream (The Blair Witch Project was obviously the subgenre’s first hit, but it spent the decade following its release as a one-off curio rather than a trendsetter), spearheading the opportunity for filmmakers to crank out cost-effective horror films that didn’t require slick production values or expensive equipment. They could be produced with recording devices you could get at Best Buy and were expected, even encouraged, to look like they were shot by shaky-handed amateurs. Given its low-overhead accessibility, the subgenre has become so ubiquitous that filmmakers are now having to figure out ways to make the achingly familiar seem new again. So instead of horror films shot on consumer-based cameras, how about one shot entirely on Skype? That’s something new, yes?

Unfriended sure wants you to think it is. The film takes place entirely within the confines of a teenager’s laptop, in real-time, as she flirts with her boyfriend, Skypes with her friends and checks her email and Facebook page. Eventually, as she and her group of friends natter on while Skyping, they notice a mysterious party crasher is among them, designated only by a photoless default icon. The group is unable to delete the mystery guest from their ranks, and the unidentified party begins reaching out to them across several platforms, claiming to be a fellow classmate, Laura Barns, who took her own life exactly a year ago (depicted in the opening scene, via YouTube video) after a mortifying video of her was posted online for the world to see. This ghost in the machine cannot be exorcised despite everyone’s best efforts and seems to have revenge on the brain, seeking to destroy the bonds between these friends before destroying their bodies as well.

Unfriended walks the fine line between innovative and tedious, with its feet landing on the tedious side most of the time. The manner in which the film locks us into the confines of a single laptop screen and then uses all manner of cross-platform pop-up boxes and online venues to unpack its story is fairly ingenious. The laptop’s owner, Blaire (Shelley Hennig), toggles from Skype to iMessage to Gmail to Google to Facebook to Spotify (with all websites being allowed to play themselves rather than forcing the filmmakers to manufacture fictional counterparts for them), which keeps the film visually busy, in spite of our ceaseless incarceration within a computer screen. The film really commits to its conceit, never cheating by straying from the cyber world, and because the intruder threatens to kill any member of the group who logs off, the film circumvents the usual found-footage quandary of “Why don’t they just drop the camera and run?” And, perhaps more than any other film in memory, Unfriended really captures our present moment in time with regard to the proliferation of electronics-based communication. The film is constructed entirely out of online tools and channels that have become commonplace in our day-to-day lives, providing an immediate, immersive familiarity. If anyone in the future should ever require a visual record of what it was like to be a technological consumer in 2015, this film will stand as a perfectly accurate historical document.

But that’s where the tedious part takes over. Unfriended is literally an opportunity to watch someone use the Internet. Before the supernatural shenanigans begin occurring, we are forced to watch Blaire have lengthy, thoroughly banal text sessions with her boyfriend, replete with us having to wait for his typed replies to pop onscreen. We are also treated to watching Blaire conduct Google searches, check her email and look at Facebook, our only respite being whenever the disembodied heads of the group members assemble onscreen in Skype boxes. Crafting an entire horror movie out of first-person Internet usage frequently results in monotony so aggressive that it overrides whatever inherent innovation is being achieved. The film attempts to build ticking-clock tension from such trivial things as a virus scan, the emptying of an overly full Recycle Bin and the drawn-out downloading of a file (that last one, by the way, plays out over the longest 15 seconds in film history). Unfriended doesn’t seem to realize that adding a ghost into the mix doesn’t do enough to offset how mind-numbing the simple act of watching somebody use the Internet can be.

It doesn’t help that the batch of teens we’re saddled with aren’t exactly winners. They are vapid, shrill and obnoxious, and they frequently engage in punishing shouting matches, rendering the film as uninteresting to listen to as it is to look at. The intruder’s divide-and-conquer strategy of sowing seeds of dissension among the group does lead to one decent extended sequence, when the group is forced under threat of death to play a bout of “Never Have I Ever” where they must reveal their darkest instances of betrayal to one another, but even that ends up as an avenue for more unpleasant yelling. That the group comes across as authentic teenagers perhaps gives Unfriended more of the verisimilitude that it clearly craves, but it doesn’t help any of it go down any smoother.

The biggest blunder of Unfriended is that it’s so locked into conveying its gimmick that it doesn’t expend much effort toward being an effective horror film. A slasher who spends a film tormenting victims with textbox taunts or by posting scandalous pictures or videos isn’t one in danger of chilling any audience’s bones, and when the bodies start hitting the floor, it comes in the form of unintentionally hilarious self-application of household appliances. And the film’s final jolt is a parting shot so achingly typical that it neglects to even function as an effective jump-scare. There is the sense that this might have made a fine 15-minute segment in, say, a V/H/S film, but stretched out to 83 minutes, it becomes something of an endurance test. There are moments when the film seems to be attempting to comment on such real-world concerns as cyber-bullying or “slut-shaming,” but it ultimately only pays them lip service. No, Unfriended’s only true aim is to replicate the experience of watching an annoying teenager surf the Web and babble with her dumb friends in exhaustively accurate detail. This isn’t a horror film, it’s the world’s most mundane Saw trap.

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

'Star Wars: The Force Awakens' Images Released

We take a look at the various images released today from Star Wars Celebration.

Story by Matt Cummings

Disney is upping its media push for The Force Awakens, hosting a giant media event in Southern California and releasing a second trailer as well as interviews with Actor Mark Hamill and Director JJ Abrams. Now comes a variety of images, which are screencaps from the trailer. Click on each to view hi-res versions:

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


Watch the next trailer in the long-anticipated series.

Today in Anaheim, California, J.J. Abrams (writer/director/producer) and Kathleen Kennedy (producer) kicked off Star Wars Celebration with an exclusive new look at STAR WARS: THE FORCE AWAKENS. They welcomed surprise special guests from the film: Daisy Ridley, John Boyega, Oscar Isaacs as well as veterans of the original saga Mark Hamill, Carrie Fisher, Anthony Daniels, and Peter Mayhew. The talented team of filmmakers and actors shared a behind the scenes look at the upcoming film and, to the surprise of fans around the world, debuted a brand new teaser trailer.

Star Wars: The Force Awakens arrives in theaters on December 18th, 2015.

'Batman v Superman' Preview Hits IMAX On April 20th - Register for Tickets

See how you can watch scenes from the upcoming film.

Story by Matt Cummings

With comic book news happening almost every week, Marvel Studios is no longer the keeper of the key. DC and Warner Bros. now offers a series of animated films, including the recently-released Batman vs. Robin and the upcoming Suicide Squad and Wonder Woman, and Aquaman. With the live-action Man of Steel released to mostly-favorable reviews and television's The Flash and Arrow, DC has firmly established themselves. Of course, that's not all, with their cinematic universe officially kicking off with the 2016 release of Batman V Superman: Dawn of Justice.

The rumor mill has been churning with reports suggesting that a trailer could be dropped within the next few months. However, it seems Warner Bros. is following their route with The Dark Knight Rises and Marvel's Guardians of the Galaxy by showing an extended trailer of BvS. Variety is reporting that audiences will be able to see the trailer premiere in IMAX theaters on Monday, April 20th. Titled“Batman vs Superman IMAX Trailer Event,” the runtime will be approximately 15 minutes. You can now check to see which theaters will be hosting the event by clicking on this link.

We do know that a standard trailer will release with Mad Max: Fury Road when it arrives on May 15th. While some sites have discussed the unlikely possibility that we would see a full 15 minutes, we believe that audiences will be treated to perhaps a full sequence. Marvel Studios hosted a similar event last year for Guardians of the Galaxy, which detailed the entire prison break sequence. Since Warners is hoping to make a splash with Zack Snyder's anticipated film, it's entirely possible that they are hoping to duplicate Marvel's success. Therefore, look for a much longer sequence than a mere trailer.

For now, check out the teaser trailer for the event:

You can order ticket from this link.

Source: Variety

Batman V Superman: Dawn of Justice arrives in theaters on March 25th, 2016, with Suicide Squad on August 5th, 2016, Wonder Woman on June 23rd, 2017, and Justice League on November 17th, 2017.

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

'Star Wars' Comics Now Available Through Marvel Unlimied

The online subscription adds a galaxy far, far away.

Story by Matt Cummings

For years, the only way to determine if you liked a comic book was to actually go to your local story, peruse the selection, and perhaps read a few pages. Some shops, wary of people reading for free, found it difficult to help potential readers with selections without encouraging them to visit on the shops' dime. The same goes with classic comics: those editions were long-since retired and are only available in Trade Paperback or Hardcover editions. Therefore, choosing a line was a roll of the dice.

In 2007, Marvel Comics tried to solve that problem by creating an online subscription service called Marvel Unlimited. Their mission was to solve the conundrum that both subscribers and dealers were experiencing by placing a large amount of their classic issues online. The deal was simple: choose any comic(s) in their digital library, read it on your computer, and keep it and any others they offered for as long as your subscription lasted. Today, it boasts more than 15,000 new and classic editions, including Captain America: The Winter Soldier as well as newer lines from their Marvel Now! series.

On Thursday, Marvel upped the ante.

According to their website, editions of Star Wars are now available under the same terms. You might remember that Marvel was the original publisher of the comics when Star Wars premiered in 1977. They created editions based on the movies, combined them in a large-scale trades, and then went on to tell new stories until the series wrapped up with episode 107. Afterwards, Dark Horse Comics picked up the contract and produced hundreds of editions. Now that Marvel is owned by Disney, it was only a matter of time before those paper publications returned home. But the news of its availability through Marvel Unlimited is something new. There, you can now see curated selections based on person (Darth Vader, Boba Fett), groups (Rogue Squadron), or events (Rise of the Rebels).

Marvel Unlimited offers several levels of its subscriptions, including Unlimited Plus which includes a unique action figure, exclusive paper editions, and discounts on purchases It's available on your smartphone, digital device, and computer.

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

  © Site Graphics by Randy Jennings by http://www.artfreelancer.com/ 2009

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