Following a few squabbles between Lionsgate and 20th Century Fox — all of which pertain to the schedule of Jennifer Lawrence — THR says that Matthew Vaughn will begin shooting X-Men: First Class 2 this January. Plans originally called for things to get underway in the fall, but Lionsgate was none too hot on altering Catching Fire‘s schedule for a movie they have, say, zero stake in; something about exercising the option on Lawrence‘s contract came up, Fox balked, and here we are.
With all that backstage arm-flailing over and done with, I’m glad to have some extra confirmation on one of the few superhero movies I hold an interest in seeing. First Class had a lion’s share of issues, sure, but it’s a plenty fun time that, with a sequel, will have its finest aspect — that being Michael Fassbender‘s portrayal of Magneto — get expanded. So, just think of this as a big-budget film that has him playing a mutant. You’ve got to be excited now.
Have you been anticipating a First Class follow-up?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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