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MUFASA: THE LION KING – Review

With Christmas less than a week away, the “Mouse House” has decided to send another family-friendly flick into the multiplexes to share space with its recent “box-office behemoth” MOANA 2 (which is still in the number one spot). Oh, and this is somewhat of a sequel, too. When the Marvel Cinematic Universe made a huge cinematic splash, many studios wanted to create their own versions of a “brand”. Naturally Warner Brothers had their DC Comics line (which is getting a big “re-do”) and Universal keeps attempting a “Dark Universe’ based on those classic monsters (THE WOLF MAN is on the way next year). And though Marvel is a partner, Disney itself is “getting into the act” with their legacy of classic animated tales, the twist being that they’re being remade in “live-action”. This new film is unique in that it is “technically” an animated film with pixels replacing the pencils involved with 2-D “hand drawn” films. And, as I mentioned earlier, this is the first sequel. to one of these remakes. Ah, but it’s actually more of a prequel, since its main focus is the “origin” story of MUFASA: THE LION KING.

This film begins a few years after the finale of THE LION KING, as we return to the denizens of Pride Rock. Nala (voice of Beyonce Knowles-Carter) has embarked on a “sabbatical” in the deep woods leaving her daughter Kiara (Blue Ivy Carter) with Papa Simba (Donald Glover). But now it’s time for him to join her so he enlists three “babysitters”: Pumbaa the warthog (Seth Rogan), Timon the meerkat (Billy Eichner), and the shamen-mandrill Rafika (John Kani). Kiara is frightened by the approaching thunderstorm, so Rafika decides to calm her by telling the story of her grandfather, Mufasa. His blissful life as a royal cub is shattered by a flood that separates him from his adored parents. Mufasa is swept far away by a swift stream until another cub, Taka, pulls him onto the shore. The two return to Taka’s pride, where their king, Obasi (Lennie James) shuns him and pushes him toward the females, led by his mate Eshe (Thandiwe Newton). Luckily she is a nurturer and encourages Mufasa’s “gifts”. The years pass, and teenaged Mufusa (Aaron Pierre) and Taka (Kelvin Harrison Jr.) practice their hunting skills and encounter a pride of white lions known as “The Outsiders” ruled by the cruel and avaricious King Kiros (Mads Mikkelsen). When they attack Obasi’s pride, the two teens begin a desperate journey to find the bountiful land known as M’Leilei. Along the way, Mufasa and Taka are joined by a young lioness named Sarabi (Tiffany Boone) and her scout/servant, the hornbill Zasu (Preston Nyman). And they luckily run into their guide, the younger Rafiki (Kagiso Lediga), but can his mystical skills protect them as Kiros and his pack trails them in order to enact his vengeance? Friendships are tested and changed for good during the long hard trek.

Though it’s been five years since the remake (the original just turned thirty), those returning voice actors slip right back into their roles as though they were in the recording studio yesterday. Especially potent is the comic chemistry between Eichner and Rogan who riff like a classic vaudeville comedy team, with Pumbaa a bit more of a lunkhead who beams with pride about his “fragrance” while Timon is the motor-mouthed wiseguy who delights in breaking (not the wind like his BFF) the “fourth wall”. Spin-off, please. In her acting debut, Miss Carter projects a sweet energetic innocence as the future queen. Both Kani and Lediga give Rafiki the proper gravitas and magical mentoring. Pierre is an engaging lead who goes from confusion to confidence as the king-to-be, while Harrison relates the pressure of his lineage while slowly succumbing to very human emotional faults. Boone is a spunky heroine who can dive into the action right alongside the fellas. James is a great blustering and conniving king as Obasi. The film’s best asset might be the compelling Mikkelsen who accentuates each threat with a sneering snarl making Kiro a fearsome villain. He’s pure silky menace.

Aside from the film’s unique structure as a sequel/prequel, it’s got another unusual filmmaker for an animated film in the director’s chair. It’s helmed by the acclaimed crafter of live-action dramas (MOONLIGHT, IF BEALE STREET COULD TALK), Barry Jenkins, who is working from the screenplay by Jeff Nathanson (based on the 1994 film). He gives the story an added emotional heft, slowly zooming in during essential conversations and confrontations. Of the latter, he brings lots of excitement to the deadly encounters, from hungry crocs to the revenge-obsessed Outsiders. The African environments are stunning, going from arid plains to snowy mountains and particularly the utopia of M’Leilei with its lush vegetation. But despite the advancements in CGI, the animals (though expertly rendered) just can’t convey the bravada acting and emoting of those hand-drawn icons of that 90s classic. Though they’re caricatures the gestures and expressions tell us so much more than these computer creations. It helps that the coloring and voices make the main characters here more distinct, along with the voices, but I can still mix up the principals. Wisely, the narrative cuts back to the present, to provide some welcome comic asides from T & P, but the pace seems to drag before the big reveals of the third act (key settings and props are introduced). Perhaps another “pass” at the script was needed to trim a few minutes. Still, it’s a well-crafted extension of the story rather than a quick “cash grab” like the straight-to-home video follow-ups back in the VHS “glory days”. A few more memorable songs might have helped since none of the new tunes comes close to the stellar work of Elton John and Tim Rice. But kids that are “crazy about critters” will be happy to return to the exotic “pride lands” as they explore the legend of MUFASA: THE LION KING.

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

“Mr. and Mrs. Smith” – TV series review

*Donald Glover and Maya Erskine, in “Mr. & Mrs. Smith” on Amazon Prime. Courtesy of Amazon Prime.*

Donald Glover is a multi-talented young man. Proof lies in his boatload of awards and nominations for acting, writing, directing, producing and in several aspects of the music biz. Further proof lies in his having enough clout to attract a slew of stars for mostly brief appearances in this eight-episode action comedy. Alas, “Mr. & Mrs. Smith” is not his best work as co-writer or co-star.

Glover plays a guy recruited by an unspecified secret agency to pose as half of a normal, bland couple while remaining perpetually on call for any kind of covert op, from protection to swiping documents to whacking designated baddies. The “wife” they picked for him (Maya Erskine) shares all the assignments while helping to maintain their cover. As is par for such courses, they don’t like each other until they do. Throughout the season, they quibble with each other between and during their jobs. He’s more experienced, but she’s smarter. He’s impulsive; she’s methodical. Both chafe at the others’ assertions of leadership in most situations they face.

Not a bad setup, but poorly executed. The scripts aren’t as funny or exciting as they should be. That’s especially disappointing since they decided to reuse the title of a superior 1996 series starring Scott Bakula and Maria Bello, and the zany “Brangelina” (aka Brad Pitt and Angelina Jolie) pairing in a 2005 movie. Third time under the banner was not the charm. All ran on similar façade and function dichotomies, though the movie upped the ante a bit with its spin of the spouses not even knowing each other’s secret identity. Those productions set the bar somewhat higher than this could reach. It’s not a remake of either. This incarnation fizzles on its own initiative.

The couple’s repetitious verbal clashes grow tedious. Action sequences are too few and far between, as they build to a fairly bizarre climax. Some of the guest stars pitch in bits of panache – notably Parker Posey, John Turturro and Ron Perlman. Same for either comedian Dave Attell or his clone in an uncredited appearance.

Worst of all, the two stars are seriously miscast. No credible chemistry to match their character arcs. Glover looks great with his shirt off, as he makes a point of proving several times (*author’s confession – I’d be tempted to do the same if my torso even closely resembled his. Alas, my six-pack is thoroughly insulated beneath an ample layer of less screen-worthy covering). On the other hand, there’s no insight into how Erskine looks without hers. The whole thing is quite PG-13 as to sex, language and violence. And unfortunately dull.

“Mr. & Mrs. Smith” is available streaming on Amazon Prime starting Friday, Feb. 2.

RATING: 1 out of 4 stars

THE LION KING – Review

Sometimes changing very little in a remake is a bold choice. Ask Gus Van Zant, whose 1998 shot-for-shot PSYCHO redux was met with equal parts derision and disinterest. Director John Favreau’s new remake of THE LION KING does less tinkering than his 2016 live-action JUNGLE BOOK did, but it never feels pointless, as this summer’s ALADDIN did, nor does it feel like one of Tim Burton’s uninspired attempts to shoehorn his personal quirk into films like DUMBO and ALICE IN WONDERLAND. THE LION KING is the best of these live-action Disney versions to date mostly because it stays so true to its source (though with no humans on-screen, perhaps we should call it ‘the photorealistically computer-animated version’ ….but that’s too much a mouthful).

THE LION KING is, you’ll recall, the tale of young lion cub Simba (voiced by JD McCray then Donald Glover) who must accept the title and responsibilities of ‘King of the Jungle’ when his father Mustapha (James Earl Jones in a glorious return) is killed as part a power play by the king’s jealous younger brother Scar (Chiwetel Ejiofor). and his delightfully evil henchmen, a three-pack of cackling hyenas (Keegan-Michael Key, Eric André, Florence Kasumba). The story follows young Simba treading along the “circle of life,” encountering a cute female playmate Nala and a couple of cut-ups – Pumbaa the warthog (Seth Rogan) and Timon (Billy Eichner) a wise-cracking meerkat.

Within the heavy, Shakespeare-inspired melodrama, there are of course plenty of light touches. It’s 25 minutes longer than the ’94 version and most of what’s been added to the script is extensions of the humor, but not all the attempts to juice the laughs work. There’s a charming BEAUTY AND THE BEAST song reference that’s a gut-buster, but too many of the new lines go to John Oliver’s Zazu, the hornbill who flaps around far too often squawking alarmingly about the news. Rogen as Pumbaa is the comic centerpiece here and he makes the most of his enthusiastic line readings, while his off-key attempts at warbling may be the most vicious assault on the ears since Lee Marvin in PAINT YOUR WAGON. Billy Eichner is almost equally funny as his partner Timon and their antics are what are going to most appeal to younger audience members. Chiwetel Ejiofor is powerful as Scar, yet he retains Jeremy Iron’s often pathetic and manipulative persona. Donald Glover is a weak link. As a voice actor he’s undistinguished and he doesn’t sing particularly well (though better than Rogen). This was the same issue with Mathew Broderick in 1994, so it’s more a case where a protagonist is overshadowed by iconic supporting characters. Beyoncé Knowles (Excuse me, Beyoncé Knowles-Carter) as Nala would barely have made an impression if Disney hadn’t felt the need to showcase her with one the update’s two new songs (the other is by Elton John in the closing credits). Her tuneless ‘Spirit’ stops the film in its tracks, not only because it’s lousy, but because it’s jarring and out of place (now watch it win the Oscar!). These are minor complaints though. THE LION KING is a terrific story and this new spin displays the eye-popping gains in technology from the past 25 years. The biggest drawback of the remake is that you already know everything that’s going to happen, so for future generations who discover this story now for the first time, it may be a toss-up which version is superior. Each of them is packed with those timeless Elton John–Tim Rice tunes and gifted with Hamlet-inflected gravitas. Director Favreau found something that really wasn’t broken, so he didn’t try to fix it. Good for him. Let him direct the rest of these Disney’s re-boots (and a remake of PSYCHO!)

3 1/2 of 4 Stars

SOLO: A STAR WARS STORY – Review

As the Marvel Heroes “space-hop” to thwart the master plan of Thanos, another Disney acquisition beckons film fans to return to that “galaxy, far, far away’, you know the one that doesn’t have Guardians. Wow, ease up on those thrusters, this is Spring (though it feels like Summer). Aren’t those high-tech fantasies released near the start of Winter, usually a dozen or so days from Christmas? Those clever movie marketers have decided to launch this flick on another holiday. Yes it’s Memorial Day weekend, but it’s also a special day near and most dear to film geeks and nerds the world over. You see, this May 25th is the forty-first anniversary of the (then limited) theatrical release of STAR WARS, now tagged as EPISODE IV: A NEW HOPE. Movies would never really be the same after that Friday in 1977. This is apropos since the new release focuses in on the origins of a beloved character from that iconic flick. That’s because it’s not one of the canonical “episodes”, so no Rey, Finn, and Poe for another 18 months or so. No, it’s the second of the “Star Wars Anthology” films, the first being that critical and box office smash of 2016, ROGUE ONE: A STAR WARS STORY. It was a “one-off”, a prequel expanding on an incident mentioned in Episode IV. This year’s “spin-off” isn’t really a “one-shot’, but possibly the start of a new franchise all set in the past of that smuggling “scoundrel”, or “scruffy Nerf-herder”, our man Han in SOLO: A STAR WARS STORY.

After a brief introduction, we’re plunged into the action as teenage Han (Alden Ehrenreich) “hot wires” a “hover car” and tries to evades some crooks he’s just double-crossed. The young orphan, along with countless others, tries to survive under the thumb (or is it a tentacle) of crime syndicate boss Lady Proxima. After an altercation with her goons, Han escapes with his lady love Qi’ra (Emilia Clarke), while more thugs try to prevent them from getting to the massive transport ship about to leave the planet. Ah but now they must get past entrance gate that’s manned by the Empire (you know, the one that struck back). But fate can be cruel to young lovers, and the two are separated. As she’s dragged away, Qi’ra pleads with Han to keep going on. Our hero vows that he’ll return to her after amassing a fortune as the best pilot ever. But where will he get the training? He signs up with same Empire (say it ain’t so). But Han is no model stormtrooper. On the battlefield he realizes that a fearless soldier is actually the boss of a smuggling ring. After escaping certain death and dismemberment at the hands, er paws, of a hungry wookie named Chewbacca (Joonas Suotamo), Han and his new furry friend join that same bandit named Beckett (Woody Harrelson) and his cohorts on a train heist. They’re out to steal a car full of power fuel on a snowy mountain-filled planet, then deliver it to the head of the mob called the “Crimson Dawn” that’s run by the ruthless Dryden Vos (Paul Bettany). Beckett’s plans are thwarted by a group of pirates and the cargo car is destroyed. Dryden is furious, and as his men are about to shoot Beckett’s crew, Han comes up with a new plan. They’ll steal the unrefined fuel from a less fortified mining planet, process it at another factory, and deliver it to the angry gangster. It’s a deal. As he begins this new job, Han rekindles a romance as he meets the legendary space swashbuckler, Lando Calrissian (Donald Glover) and hops aboard his prized ship, the equally famous Millennium Falcon.

The big question for most fans has been, “How’s the new guy (or kid, depending on the fan’s age)?”. Followed by, “Can he fill Ford’s shoes?”. As if anyone could measure up to the coolest cat in the cosmos. Well, Ehrenreich’s really putting forth an effort. Yes, a near impossible task, and though he had charm to spare in 2016’s HAIL, CAESAR (his scene with Ralph Fiennes may be the highlight of that flick), Mr. E comes up short. I know this isn’t the same guy that was cracking wise with Luke and Leia in that golden trilogy, but there’s nothing compelling about this scrappy hustler. He works best in the film’s first act as the urchin yearning for greatness as the best “star pilot”. Unfortunately by the big finale’ his bluffing and bluster become tiresome. The lack of a real spark between Han and Qi’ra doesn’t help. Of course, it’s impossible to become really invested in this romance knowing that Han’s one true love is so many years in the future. Canon insists that it must end somehow. Clarke is convincing as the scared girl on the run that’s transformed by fate years later into a tough noirish femme fatale, but the script never really tells us what changed her. . Harrelson’s grizzled tough-talking mentor is a sober variation of his Hamish role from the HUNGER GAMES franchise, with a much better toupee, but he’s mired with conflicting motivations. At one point it looks as though he’ll make Han part of the family he’s creating with accomplice/lover Val (The terrific Thandie Newton in a far too brief appearance), but that’s tossed aside during the next big “score”. Bettany does his own take on the sophisticated gentleman kingpin who can turn on a dime into a brutal enforcer, his facial scratches giving us more of a hint of the ugliness within his heart. Phoebe Waller-Bridge provides some needed comic relief as pilot droid L3-37 who dishes out verbal put-downs as she tauts “robot equality” (though the similar K-2S0 voiced by Alan Tudyk had more of a brutal comic edge). So who’s good, no great, in this flick? Why that’s easy, almost “childish”. The casting of Glover as the smoothest dude in space was truly inspired. His drawling slow line delivery, with his eyes always at “half-mast”, Lando is the movie’s secret weapon, particularly when his curtain of cool is pulled back to reveal the devious con man beneath the colorful capes. Now here’s a character, and an actor, that truly deserves his own “spin-off” franchise.

This may be the Star Wars flick with the most turmoil behind the scenes. The media was put on high alert when original directors Chris Miller and Phil Lord (THE LEGO MOVIE) were shockingly ousted weeks into production and quickly replaced by Ron Howard. We’ll never know Miller and Lord’s spin on this space saga , but you can’t help but wonder. Howard has a had a rough last few years, but his work here is not in the same league as the dismal Dan Brown trilogy, nor the flops THE DILEMMA or IN THE HEART OF THE SEA. But it’s not close to the heights of RUSH or CINDERELLA MAN either. After an interesting opening half hour, the story chugs and sputters toward a big showdown full of annoying, aggravating triple and quadruple crosses. This is more the fault of the script from Lucasfilm vet Lawrence Kasdan and his son Jonathon, which tries to check off a list of Han’s future quirks and props much like the unending list of pop culture references in READY PLAYER ONE. Fans can revel in these (oh, that’s his blaster…and he speaks “wookie”) while the story bounces from one planet to the next, many in close to total darkness (can’t imagine how dull it’ll look upconverted to 3D). This is truly frustrating in the opening scenes. The credits are filled with loads of talented artists and craftspeople whose work can barely be seen! Despite the marvelous performance by Glover, this back story is nearly devoid of any real spark of life, though it’s an interesting break from the Jedi/Force subplot that nearly smothered the recent episode THE LAST JEDI (no Sith, though a couple of pseudo lightsabers flicker). Speaking of former entries, this is miles beyond that turgid trilogy, episodes one thru three, but nowhere close to the moving spectacle of ROGUE ONE. This title could be prophetic. SOLO: A STAR WARS STORY may be solitary indeed, “one and done”. Ah, but we’ll always have the fabulous Ford’s four flicks.

3 Out of 5

Buy Your Tickets for SOLO: A STAR WARS STORY Today! Here’s a Brand-New Clip

Tickets for SOLO: A STAR WARS STORY are now on sale everywhere tickets are sold. For more information about in-theater events and giveaways visit StarWars.com.

SOLO: A STAR WARS STORY opens in U.S. theaters on May 25, 2018.

Board the Millennium Falcon and journey to a galaxy far, far away in SOLO: A STAR WARS STORY, an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo befriends his mighty future copilot Chewbacca and meets the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.

Check out this new clip:

SOLO: A STAR WARS STORY stars Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, and Paul Bettany.

Ron Howard directs “Solo: A Star Wars Story,” and Kathleen Kennedy, Allison Shearmur and Simon Emanuel are the producers. Lawrence Kasdan, Jason McGatlin, Phil Lord and Christopher Miller serve as executive producers. Jonathan Kasdan & Lawrence Kasdan wrote the screenplay.

Director Ron Howard And Actors Donald Glover, Alden Ehrenreich, Emilia Clarke Discuss HAN SOLO In New Featurette For SOLO: A STAR WARS STORY

Join director Ron Howard, screenwriter Lawrence Kasdan, and stars Alden Ehrenreich, Donald Glover and Emilia Clarke as they talk about Han Solo’s rite of passage to become the galaxy’s most beloved scoundrel in “Becoming Solo,” a fun, new featurette for SOLO: A STAR WARS STORY.

SOLO: A STAR WARS STORY opens in U.S. theaters on May 25.

Board the Millennium Falcon and journey to a galaxy far, far away in SOLO: A STAR WARS STORY, an all-new adventure with the most beloved scoundrel in the galaxy.

Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo befriends his mighty future copilot Chewbacca and meets the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.

The film stars Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, and Paul Bettany.

Ron Howard directs SOLO: A STAR WARS STORY, and Kathleen Kennedy, Allison Shearmur and Simon Emanuel are the producers. Lawrence Kasdan, Jason McGatlin, Phil Lord and Christopher Miller serve as executive producers. Jonathan Kasdan & Lawrence Kasdan wrote the screenplay.

Chewbacca, Lando Calrissian And Han Solo Are Back In SOLO: A STAR WARS STORY First Trailer

“I’m going to be a pilot. The best in the galaxy.”

A new trailer and four teaser posters, featuring Han Solo, Lando Calrissian, Qi’ra and Chewbacca, are here for SOLO: A STAR WARS STORY.

Board the Millennium Falcon and journey to a galaxy far, far away in “Solo: A Star Wars Story,” an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo befriends his mighty future copilot Chewbacca and meets the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.

Donald Glover is Lando Calrissian in SOLO: A STAR WARS STORY.

Woody Harrelson is Beckett and Alden Ehrenreich is Han Solo in SOLO: A STAR WARS STORY.

The film stars Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge and Paul Bettany.

SOLO: A STAR WARS STORY opens in U.S. theaters on May 25, 2018

Phoebe Waller-Bridge is L3-37 in SOLO: A STAR WARS STORY.

Thandie Newton is Val in SOLO: A STAR WARS STORY.

Jon Favreau’s THE LION KING Cast Features Beyonce, Alfre Woodard, Donald Glover, Seth Rogen and John Oliver

The all-star lineup for director Jon Favreau’s new take on Disney’s 1994 classic animated film THE LION KING includes stars from the film, TV, theater and music arenas. Featuring pioneering filmmaking techniques, the film welcomes back to the big screen iconic characters that audiences have long treasured—but in a whole new way.

From Disney Live Action, THE LION KING is slated for U.S. theaters on July 19, 2019.

“It is a director’s dream to assemble a talented team like this to bring this classic story to life,” said Favreau.

Lions rule the African savanna in THE LION KING which welcomes Donald Glover (“Atlanta,” “Solo: A Star Wars Story”) as future king Simba, Beyoncé Knowles-Carter (“Dreamgirls,” “Lemonade” visual album) as Simba’s friend-turned-love interest Nala, and James Earl Jones (“Rogue One: A Star Wars Story,” “Field of Dreams”) as Simba’s wise and loving father, Mufasa, reprising his iconic performance from Disney’s 1994 animated classic. Chiwetel Ejiofor (“Twelve Years a Slave,” Marvel Studios’ “Doctor Strange”) was called on to portray Simba’s villainous uncle Scar, and Alfre Woodard (“Juanita,” Marvel’s “Luke Cage”) portrays Simba’s no-nonsense mother, Sarabi. JD McCrary (OWN’s “Tyler Perry’s The Paynes,” Apple’s “Vital Signs”) fills the shoes of Young Simba, a confident cub who can’t wait to be king, and Shahadi Wright Joseph (NBC’s “Hairspray Live,” Broadway’s “The Lion King”) brings tough cub Young Nala to life.

Every kingdom comes with a trustworthy advisor or two. John Kani (“Coriolanus,” Marvel Studios’ “Captain America: Civil War”) was cast as the wise baboon Rafiki, and John Oliver (HBO’s “Last Week Tonight with John Oliver,” Comedy Central’s “The Daily Show with Jon Stewart”) was tapped as hornbill Zazu, Mufasa’s loyal confidant. When Simba goes into exile, he relies on two newfound friends—Seth Rogen (“Sausage Party,” “Neighbors”) lends his comedic chops to naïve warthog Pumbaa, and Billy Eichner (“Billy on the Street,” FX’s “American Horror Story”) joins the cast as know-it-all meerkat Timon.

While most of the animals in the kingdom respect the king, the hyenas have other plans. Florence Kasumba (NBC’s “Emerald City,” Marvel Studios’ “Black Panther”) portrays Shenzi, Eric André (Adult Swim’s “The Eric André Show,” FXX’s “Man Seeking Woman”) is Azizi, and Keegan-Michael Key (“Predator,” Netflix’s “Friends from College”) plays Kamari.

Meet the cast of a new take on #TheLionKing. 🦁 pic.twitter.com/lUpBi9vNnt

— Disney (@Disney) November 2, 2017

THE LION KING is directed by Favreau (“The Jungle Book,” Marvel Studios’ “Iron Man”) and produced by Favreau, Jeffrey Silver (“Beauty and the Beast,” “Edge of Tomorrow”) and Karen Gilchrist (“The Jungle Book,” “Chef”). Jeff Nathanson (“Catch Me If You Can,” “Pirates of the Caribbean: Dead Men Tell No Tales”) penned the screenplay based on the 1994 screenplay by Irene Mecchi, Jonathan Roberts and Linda Woolverton. Tom Peitzman (co-producer “Kong: Skull Island,” “Alice in Wonderland”) and Thomas Schumacher (“The Lion King,” “Beauty and the Beast”) are executive producers, and John Bartnicki (“The Jungle Book,” “Chef”) is co-producer.

The award-winning team of artists tapped to bring the African savanna and its animal inhabitants to life include visual effects supervisor Rob Legato, who conceived the virtual production on “Avatar,” won Academy Awards® for his work on “The Jungle Book,” “Hugo” and “Titanic,” and was nominated for an Oscar® for his work on “Apollo 13.”

The film’s animation supervisor is Oscar®-winner Andrew R. Jones (“The Jungle Book,” “Avatar,” “World War Z”). VFX supervisor is Adam Valdez (“The Lord of the Rings: The Fellowship of the Ring,” “The Lord of the Rings: The Two Towers”), who won an Oscar for his work on “The Jungle Book.” Five-time Oscar nominee Caleb Deschanel, ASC, (“Jack Reacher,” “The Patriot”), is director of photography, and James Chinlund (“War for the Planet of the Apes,” “Marvel’s The Avengers”) serves as the production designer. Oscar winner Ben Grossman (“Alice in Wonderland,” “Hugo,” “Star Trek into Darkness”) is virtual production supervisor, and Mark Livolsi, ACE, (“The Jungle Book,” “Saving Mr. Banks,” “The Blind Side”) and Adam Gerstel (“Transformers: The Last Knight,” “The Jungle Book”) are editors. Hans Zimmer (“Dunkirk,” “Hidden Figures”), who won an Oscar for his score for the animated classic, will score the adventure.

From Disney Live Action, director Jon Favreau’s all-new THE LION KING journeys to the African savanna where a future king is born. Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub’s arrival. Scar, Mufasa’s brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba’s exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his. The all-star cast includes Donald Glover as Simba, Beyoncé Knowles-Carter as Nala, Chiwetel Ejiofor as Scar, James Earl Jones as Mufasa, Billy Eichner as Timon and Seth Rogen as Pumbaa. Utilizing pioneering filmmaking techniques to bring treasured characters to life in a whole new way, THE LION KING roars into theaters on July 19, 2019.

HAN SOLO – A NEW STAR WARS STORY First Photo Features Alden Ehrenreich, Woody Harrelson, Emilia Clarke And Donald Glover

HAN SOLO – SMUGGLER. SCOUNDREL. HERO. A NEW STAR WARS STORY BEGINS.

The adventure-filled past of the iconic scoundrel and everyone’s favorite Wookiee is going before cameras this month when principal photography on the untitled Han Solo Star Wars Story officially began February 20th at Pinewood Studios, London.

The movie will explore the duo’s adventures before the events of Star Wars: A New Hope, including their early encounters with that other card-playing rogue from a galaxy far, far away, Lando Calrissian.

Phil Lord and Christopher Miller are directors co-piloting the movie, with a cast that includes Alden Ehrenreich as Han Solo, Woody Harrelson, Emilia Clarke, Donald Glover as Lando Calrissian, Thandie Newton, and Phoebe Waller-Bridge, with Joonas Suotamo as Chewbacca.

“Watching such inspired people from all over the world, with such unique voices, come together for the sole purpose of making art, is nothing short of miraculous,” Lord and Miller said. “We can’t think of anything funny to say, because we just feel really moved, and really lucky.”

Written by Lawrence and Jon Kasdan, it will be produced by Kathleen Kennedy, Allison Shearmur, Simon Emanuel and co-produced by Kiri Hart, Susan Towner and Will Allegra. Lawrence Kasdan and Jason McGatlin will executive produce.

Crewing the ship will be some of the industry’s top talent, including Academy Award nominee for his work on “Arrival,” Bradford Young (Director of Photography), Chris Dickens (Editor), Dominic Tuohy (SFX Supervisor), Rob Bredow (VFX Supervisor) and Brad Allan (Action Designer).

They will be joining returning Star Wars veteran crew members Neal Scanlan (Creature & Droid FX Creative Supervisor), Neil Lamont (Production Designer), Dave Crossman and Glyn Dillon (Co-Costume Designers), Jamie Wilkinson (Prop Master), Lisa Tomblin (Hair), Amanda Knight (Make-Up) and Nina Gold (UK Casting Director).

The untitled Han Solo Star Wars Story is slated for release on May 25, 2018.

Punch it.

SPIDER-MAN: HOMECOMING Trailer Gives First Glimpse Of Michael Keaton’s “Vulture”

SPIDER-MAN: HOMECOMING is coming to cinemas July 7, 2017 and we have your first look at the brand new trailer for the upcoming film.

A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in SPIDER-MAN: HOMECOMING.

Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

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