Paul Feig Hopeful DARK ARMY Is His Next New Movie
GHOSTBUSTERS: ANSWER THE CALL Director Paul Feig is Hopefully His Original Universal Monsters Movie DARK ARMY Will Be His Next Film.
Ghostbusters)
Dark Army will include both classic Universal monsters AND original characters. All in the vein of the classic James Whale monster movies, not necessarily a horror movies.
Universal had a moment of pause because I think it seemed a little too expensive at the scope that I did it at. Yeah there is [positive momentum on Dark Army]. I’m desperate to do it. Universal had a moment of pause because I think it seemed a little too expensive at the scope that I did it at, so I’m going to go in and do a rewrite to kind of bring it down. I mean the scope will still be big, but I actually think they were right, I think I was trying to bite off more than I probably should for what I would hope would be the first installment in something I want to carry on, so I’m rewriting that right now an
Photo courtesy Dan Perkins
Photo courtesy Dan Perkins
Courtesy of Audie Murphy/American Cotton Museum
Women swooned over matinee idol John Boles, who appeared as a handsome suave lover on the silver screen with the most glamorous ladies in Hollywood â his mentor Gloria Swanson, Claire Trevor, Joan Bennett, Lupe Velez, Ida Lupino, Margaret Sullavan, Dixie Lee (Mrs. Bing Crosby), Gloria Stuart (who came out of retirement for âTitanicâ in 1997), Loretta Young, Rosalind Russell in the well-reviewed âCraigâs Wife,â Irene Dunne (who costarred with Boles in âBack Streetâ and âThe Age of Innocenceâ) and iconic actress Barbara Stanwyck in âA Message to Garciaâ and âStella Dallas.â
These Are the 100 Best Films of All Time, According to Critics
By Jacob Osborn, Stacker News
AND Ellen Wulfhorst, Stacker News
On 5/9/21 at 9:00 AM EDT
For more than a century, there have been movies, and people paid to review them. The first film critic, W.G. Faulkner, began churning out weekly reviews in January 1912.
Since then, movie criticism has retained countless core consistencies while evolving to keep pace with the medium itself. During this time, the two respective arenas have developed what some might call a symbiotic relationship. Movies often, but not always, depend on solid reviews to succeed, and movie critics rely on the emergence of new films to keep their jobs.
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It feels almost impossible to judge the cultural impact of the Universal Monster movies as they began releasing in the United States almost a hundred years ago. Looking at the box office figures and the interconnected universe they spawned over the 1930s and ‘40s, it was something akin to the Marvel Cinematic Universe or
Star Wars for audiences of its day. The
Frankenstein films, for the most part, starred Boris Karloff and were very loose interpretations of the classic Mary Shelley classic from 1818. Its themes of creating life after death and playing God were powerful and the films brought these ideas to easily shocked or offended audiences in the time before the Production Code. It even had to be edited down for blasphemy in some parts of the country because of Dr. Frankenstein’s bold statement that he’s replaced God by giving life to the monster.