[Critic’s Notebook] ‘THE LION KING’ takes a strange trip down the uncanny valley, plays like a cringe-worthy karaoke show
Toying and changing mediums for beloved properties can be a tricky bout to fight for any creative individual. Remaking films is not inherently wrong. Legendary Broadway director Julie Taymor has done it multiple times. She even hit a piece of perfection with her rendition of ‘THE LION KING’ back in 1997. The issue, however, for many remakes has been the lack of conviction. There seems to be no desire to expand or take creative liberties with what transpired before.
When we reviewed ‘SHAZAM!’ in theaters earlier this year, we gave it overwhelming praise for being yet another pleasant surprise in the perpetually struggling DCEU series of films. And as Marvel continues to dominate the big screens this summer, the timing couldn’t be more perfect for reminding home theater enthusiasts of DC’s little movie that could.
[INTERVIEW] How ‘THE LION KING’ director Jon Favreau captured actors performances in a virtual world
Director Jon Favreau had a big task of re-imagining the world of THE LION KING. Lucky for him, he had a fantastic team of collaborators to help him deliver the magic.
In a summer where several sequels and remakes have been either poorly received or bombed with audiences, there is ‘STUBER’ – an action comedy that’s not nearly as miserable as its title.
Preston Barta of Fresh Fiction sat down with ‘STUBER’ stars Dave Bautista and Kumail Nanjiani recently to discuss how they developed the film’s comedy, tone and characters.
THE LION KING has been remade as a computer animated, VR-driven feature. But does it compare to its 1994 award-winning predecessor?
To lay out MIDSOMMAR’s palette of wickedness, actor Jack Reynor (FREE FIRE, SING STREET) details his experience from the moment he read Aster’s script to the finished result when he could sit back and analyze the impact the film could have on audiences.
‘MIDSOMMAR’ feels as if a satanic eye sits at [director Ari Aster’s] shoulder, nudging him further into the dark. It’s a devilish horror feast about codependency. Florence Pugh gives a performance that absolutely slays.
Preston Barta // Features Editor THE ART OF SELF-DEFENSE Rated R, 104 minutes.Director: Riley StearnsCast: Jesse Eisenberg, Alessandro Nivola, Imogen Poots, Steve Terada, Phillip Andre Botello, David Zellner and Leland Orser AUSTIN – There’s a moment in Riley Stearns’ THE ART OF SELF-DEFENSE when Jesse Eisenberg’s timid character, Casey Davies,...