Charles Bramesco

Our relatively brief national nightmare of the new Transformers movie being three hours long is over. It’s a small but curious story, yielding little more than a detail in terms of intel on Michael Bay’s latest film, but more telling with regards to how information is generated and spread online today.

Spider-Man 3 truly is The Godfather III of its franchise: widely reviled as the weak point in a strong trilogy, fascinating in its own embarrassing and imperfect way, appreciated by some for what it is, but largely forgotten when compared to its towering predecessors. (More delightful still, this makes Topher Grace the Sofia Coppola of Spider-Man 3 by default.) But perhaps the film is due for a bit of a reappraisal, as an upcoming rerelease of the original trilogy has promised a recut version of the third installment. And in a fleeting surprise this past weekend, that new “editor’s cut” of the film popped up online for anyone to pore over.

For those who engage in it, speculating on the significance of obscure clues in the Star Wars universe has gone beyond a hobby and grown into a way of life. Even something as simple as a three-word phrase — one word of which is “the” — can spark months of obsessive investigation. And while George Lucas’ disciples will have to wait until December to finally learn the identity of The Last Jedi’s title figure, that has not stopped the dogged gumshoes of Vanity Fair from pumping key figures for information.

The prevailing message of the upcoming Spider-Man: Homecoming has been that of novelty. This will be a fresh take on the Peter Parker mythos, making him younger than ever, sticking him in the treacherous social minefield of high school, and assigning him a lovably bratty irreverence more in-step with the comic-book original. Plus, Aunt May is young and hot now! But while Marvel and Sony’s advertising has gone to great lengths to assure audiences that this will not be their father’s Spider-Man (and it definitely won’t be the Andrew Garfield one we’re all psychologically working to repress), there is one respect in which this production is business as usual.

Even as Marvel continues to crank out massively scaled spectacles, they’re always keeping one eye on the future. Ant-Man sequel Ant-Man and the Wasp won’t shrink down and infiltrate theaters until July 6, 2018, but the wheels of pre-production have begun turning on the sequel audiences apparently asked for.

George A. Romero has fully laid claim to the dominion of all things Dead — whether that’s Night of the Living, Dawn of the, Day of the, Land of the, Diary of the, or Survival of the. The elder statesman of horror cinema has no intention of resting on his laurels, however. Perhaps riding the wave of renewed interest in Night of the Living Dead that accompanied its gorgeous restoration last year, Romero has announced plans for a new addition to the ever-expanding of the Dead universe. And it looks like his new breed of zombies have a need for speed.

Seeing an international trailer for a Hollywood-made blockbuster can be an unexpectedly illuminating experience. Taking note of what elements get subtracted or added when appealing to a global audience speaks volumes about what studios and ad executives think will play across the Atlantic and Pacific. For instance, when advertising a mega-budgeted action assault, it’s best to frontload the universal: and in the instance of Transformers: The Last Knight, the cultural-divide spanning material happens to be the “comedy” of an alien robot dinosaur spitting out a chewed-up car covered in viscous green slime.

When someone says they’re going to keep doing something until they die, they’re usually being figurative. But it would seem that Ridley Scott, now at age 79, fully intends on making the Alien franchise into his tomb. It’s impressive enough that he’s forged the most gore-heavy entry this deep into both the series and his own career, but Scott’s not losing his edge any time soon. In a new interview with Yahoo, Scott spoke about the future of the Alien movies, and you might wanna put on some shades, because the future’s looking real bright.

We owe a lot to scientists — they cured polio, got us on the moon, and they‘re doing their darnedest to stop us from methodically killing the planet. But man, what a bunch of nerds. It seems like every time biologists discover a new species of animal and need to give it a name, they take the opportunity to bust out a reference to their favorite bit of geek-approved pop culture. Lest we forget the velvet worm named after My Neighbor Totoro, and we’d be remiss to overlook the euglossa bazinga, a rare bee with a Big Bang Theory catchphrase as its namesake. And it appears that now the nerds are at it again.

The fate of Hellboy has long been trapped in development hell, boy. Franchise director Guillermo Del Toro and star Ron Perlman were both interested in another installment, but legal complications made that tricky, then there was scheduling stuff, then the studio was being uncooperative, you name it. Del Toro said it was definitely gonna happen, then that it wouldn’t happen, then that it might happen, then that it probably wouldn’t but hey you never know, then that yes, there absolutely 100% will not be a Hellboy 3. And he’s holding true to those final words, because there won’t be a third chapter of his Hellboy franchise — as the new one’s gonna be a [deep breath] reboot.

The game of extremely handsome musical chairs that is staffing up for the next James Bond film continued apace today. The two biggest question marks — who will star as the secret agent extraordinaire, and who will direct him in the new picture — remain unresolved, but a new development may hold a clue as to the future of the franchise. A great ruckus was raised over the fact that the Bond property has entered the marketplace for a new studio overseer, and while the new management has not yet been decided, it’s starting to look like Warner Bros. has the upper hand. And it all has to do with Christopher Nolan.

For a guy whose entire acting career has been overshadowed by one role he played decades ago, Mark Hamill’s got a pretty good attitude. He loves Star Wars, and what’s more, he loves how much the people who love Star Wars love Star Wars. A regular fixture at conventions and other fan events, Hamill regularly gets in on the fun and mingles with his adoring public. And in a new video from Lucasfilms’ charity arm Force for Change, he gives a handful of diehard devotees the surprise of their lives.

And a very happy Alien Day to you, ScreenCrush readership! I trust you’ve already paid homage to the late John Hurt with the customary tense salad dinner and pantomimed death-spasms, and have refilled the ceremonial offerings at the Yaphet Kotto shrines we all keep in our closets. Today’s a day filled with wonders, many of which we outlined earlier this month, including various special screenings, a live trivia challenge, and plenty of exclusive merchandise to gussy up the mantle in need of something that says “expulsive viscera.” But one of today‘s surprise offerings dwarfs all pre-announced attractions, at least in terms of potential to give me nightmares.

People like a legend. When Heath Ledger died of a prescription drug overdose in January 2008, he had just completed principal photography on his Academy Award-winning role of the Joker in Christopher Nolan’s grown-up Batman flick The Dark Knight. With zero foundation in confirmed public knowledge, a narrative sprung up around Ledger’s troubled final days, that the psychological demands of portraying a figure as sick and twisted as the Joker weighed too heavily on the actor. The apocryphal notion that the role ultimately drove Ledger to suicide is way off the mark, however, explains Ledger’s sister Kate.

Over this past weekend, CinemaBlend ran an interview with Marvel Studios decision-maker Kevin Feige. As per usual, the man was exceedingly tight-lipped about the future of his beloved superhero playthings, but even his obfuscating non-answers contained the tiny seedling of a revelation within them. While getting grilled about the fate of the Avengers franchise, its third entry of Infinity War slated for 2018, Feige let slip that there was a good reason that the already-scheduled fourth installment has no subtitle as of yet. Though the film was originally planned as the second half of Infinity War, the two projects were recently split into their own individual spheres, and Feige doesn’t want the fourth installment’s full title coming out because apparently it contains a spoiler.

Never lacking in ambition (at least when it comes to the expanding frontiers of branding and marketing), Marvel boldly announced back in 2015 that the third film in the Avengers series would be unlike those that came before it. At the time of the project’s initial reveal, Marvel head honcho Kevin Feige clarified his plans to split Avengers: Infinity War into two parts that would be released independent of one another. This was cause for great excitement, as moviegoers love nothing more than to shell out for two separate tickets just for the privilege of waiting up to a year to see the conclusion of a self-contained story. Incredibly, however, Feige backpedaled on that can’t-fail proposition shortly thereafter, amending their plans to separate Avengers 3 1 and Avengers 3 2 into the simpler Avengers 3 and Avengers 4.

For a franchise about slightly sketchy space crooks and intergalactic military types, the Star Wars films are almost conspicuously free of profanity. It makes sense from a business perspective — keeping the series PG-13 ensures that it’ll be open to a wider array of viewers — and yet the absence of cussing feels especially noticeable in a movie starring the famously coarse-tongued Carrie Fisher. The closest the series came to a four-letter word was Han Solo getting dissed as a “scruffy nerf-herder,” but a recently discovered cache of lost footage from the original 1977 Star Wars is going to change all that in short order.

Shooting a movie’s not like performing a play. The theatrical process is primal, all rooted in emotion and immersion within the fictional moment. Production on a feature film requires far more on a technical level, to the point where actors will be ordered to pick up a spoon in the exact same way ten times, just to be safe. (David Fincher famously went through one hundred takes to nail the opening breakup in his magnum opus The Social Network.) For the typical actor, most of filmmaking is waiting around for stuff to happen — but that’s far less tiresome when you get to hang out with Carrie Fisher between calls of “ACTION!”

While the post-credits scene was once a surprise specially afforded to those superfans with the dedication to sit through the final frames of a film, it’s now become par for the course, a de facto advertisement for whatever a franchise might have up its sleeve next. Marvel Studios has turned this into standard operating procedure, to the point where viewers expect nothing less than another tasty morsel of footage, the cinematic equivalent of the delicious fries waiting for you at the bottom of your McDonald’s bag. How to continue taking audiences off-guard, then? Marvel could do no post-credit scene at all, that’d certainly throw people for a loop. Or... they could do five.

Much in the same way that I have always wondered who delivers mail to mailmen (if they live in their own district, are they allowed to deliver mail to themselves? is that a conflict of interest?), the writers of the new action-comedy The Hitman’s Bodyguard ponder who a career killer goes to when he finds himself a mark. Even professional assassins need a little muscle from time to time, and when one especially ill-tempered sunuvagun hires a body guard with a short fuse, violent egos clash with nose-crushing results.