A few weeks before Wonder Woman hit theaters, film critics took to social media to share their early reactions of the newest movie in the DC Cinematic Universe. And while critics had plenty of great things to say about the film’s overall tone and Gal Gadot in particular, one sentiment above all others kept bubbling to the surface: this movie was funny. When fans got a chance to see the movie for themselves, they were pretty quick to agree. Gadot’s fish-out-of-water take on Diana Prince, combined with Chris Pine’s deadpan delivery as the superhero’s straight man, makes Wonder Woman one of the funniest comic book movies to date.
Based on how this weekend’s box office numbers shaped up, odds are good that you either saw Wonder Woman this weekend or you avoided the theater altogether. It was a record-setting few days for everyone’s favorite warrior princess — sorry, Xena — but things were decidedly less rosy if your movie was… well, literally anything else. Here are the box office estimates as of Sunday afternoon:
We’re less than a week away from Universal’s latest attempt to launch a Dark Universe, and fans are still uncertain as to what’s in store for their favorite iconic horror characters. With stars like Tom Cruise and Russell Crowe on board, will The Mummy be more action-packed than horrific? Does Cruise have another hit franchise on his hands — to go along with the Mission: Impossible and Jack Reacher films — or will fans wish that this particular mummy had remained dead?
Since 2003, HBO’s Real Time With Bill Maher has been a divisive source of comedy and political commentary. If you believe the old adage that there’s no such thing as bad publicity, then the last few years have been particularly kind to the series; Maher has come under attack for his comments on an Ann Coulter protest at the University of California at Berkeley or his decision to give alt-right poster child Milo Yiannopoulos the chance to spread his message of intolerance to the masses. And while Maher has survived and even thrived at the center of controversy, his recent use of a racial slur on the show may be the final straw for even his most ardent supporters.
While the first trailers for Edgar Wright’s Baby Driver have hinted at the relationship between music and action in the film, a few fans are probably still wondering why so many critics have referred to the film as a “car chase musical.” Do characters actually burst out into song in the middle of the film? Should we expect dance numbers in the middle of a bank robbery? The trailers for Baby Driver have been very good, of course, but they also hint at a more traditional care chase movie, albeit one with an Edgar Wright twist. What’s the real deal?
Audiences have grown accustomed to seeing a slew of screenwriter credits on summer blockbusters. A few studios, like Universal and Paramount, have put together writers’ rooms for their biggest franchises; some films also have a host of different writers who either worked to develop the story or hammered out the final screenplay itself. Therefore, fans probably won’t bat an eye when they see three different writers’ names pop up in the Wonder Woman opening credits, but to hear one of the film’s producers tell it, that’s only part of the story. The road to bring Wonder Woman to the big screen involved a whole host of writers who didn’t end up mentioned in the final product.
While fans might be a little cynical about a Transformers multi-verse, there are plenty of reasons to be excited about their planned Bumblebee prequel. For one, Christina Hodson’s script has widely been praised as a standout in the franchise thus far. For two, the film will serve as the live-action directorial debut of Kubo and the Two Strings director Travis Knight, whose visuals in that film — and whose overall body of work with animation studio Lakia — make him a name to remember in future projects. Oh, and there’s this small little tidbit: the movie may now be adding a pretty talented star as its (human) lead.
Have a week, Patty Jenkins. With Wonder Woman already a big hit with critics and a global blockbuster in the making — early projections suggest the film could earn as much as $95 million domestically in its opening weekend — now is the perfect time for Jenkins to start blowing the dust off some of the films she couldn’t get made before she was a big-time superhero director. And although one such project may sound like it belongs in the DC Cinematic Universe, that couldn’t be farther from the truth. To hear her say it, Jenkins might finally be teaming with Ryan Gosling to get one of her biggest passion projects off the ground
Even by its normally prestigious standards, this was a pretty exciting year for the Cannes Film Festival. Surprise selections, an atypically fun jury, and countless debates about Netflix and the future of film exhibition all combined to make headlines all around the world. Oh, and there were also a handful of the most highly anticipated films of 2017 receiving serious recognition from the festival. You know, no big deal.
Over the past few weeks, we’ve quickly cycled through the various stages of superhero hype with Wonder Woman. First it was judging the trailers, then guessing at the potential box office, then responding to the initial buzz. And now, with fans and critics alike praising what Patty Jenkins and her team have put together, we can move to the final stage of the process: openly discussing the possibility of a sequel. Oh, those folks who haven’t seen the movie will catch up eventually. Right now it’s all about the next one.
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