Netflix has come a long way from those little red envelopes full of DVDs. Today the movies-by-mail rental company is a full-fledged movie and television studio with an impressive slate of original films, documentaries, mini-series, and cartoons. And they keep adding new content constantly; a week after Season 3 of the acclaimed series House of Cards, they unveiled Unbreakable Kimmy Schmidt from Tina Fey; two weeks later they debuted Bloodline starring Friday Night Lights’s Kyle Chandler.
Furious 7 almost certainly won’t be the last Fast & Furious movie. But at times it feels like a series finale. There are numerous callbacks and homages to the franchise’s entire 15-year history. The setpieces are bigger and crazier than ever; it’s hard to imagine anyone topping them. And before the chases really get rolling, the mood is often downright mournful. Two different scenes are set in graveyards, and characters talk about taking “one last ride” together.
Here’s something strange in the neighborhood: Deadline reports that Sony isn’t waiting for Paul Feig’s all-female Ghostbusters reboot (with its cast of comedy all-stars Melissa McCarthy, Kristen Wiig, Leslie Jones, and Kate McKinnon) to debut before planning additional Ghostbuster sequels or spinoffs. They’re already getting to work on what the trade describes as a “guy-themed” offshoot with an all-male cast.
Starting tomorrow, audiences around the country will be able to see Hugh Jackman in Chappie, playing a former military man turned robotics engineer trying to produce a new human-piloted police drone. He sports a hideous mullet, spends most of the film sitting at a dreary cubicle, and generally behaves like a dope. So if you’re a Jackman fan looking for the guy you love in the X-Men and Wolverine movies, I’m afraid you’re going to have to wait a while longer.
The technology in Neil Blomkamp’s movies is so fully realized and intricately detailed that it feels like another one of his characters. Now Blomkamp’s made Chappie, a film where that’s literally true in the form of a police robot given the gift of human consciousness. The result is one giant metaphor for itself; a story of the world’s first true artificial intelligence and how it is almost corrupted by violence, presented in a movie where any semblance of serious consideration of what it means to be alive is drowned out by gunfire, explosions, and macho posing.
Last year, back when it still seemed possible that Sony may try to continue their Amazing Spider-Man reboot and before they teamed with Marvel to relaunch Spidey in a new film series that will connect with the Marvel Cinematic Universe, ScreenCrush Editor-in-Chief Mike Sampson and I put together a list of ten directors we thought could save the Spider-Man franchise. One name we both immediately thought belonged on the list was Drew Goddard, the man who directed The Cabin in the Woods and was then slated to direct the Amazing 2 spinoff The Sinister Six.
We have very sad news to report from The New York Times: Leonard Nimoy, Star Trek’s Mr. Spock for almost 50 years, has died. Nimoy’s wife, Susan Bay Nimoy, told the Times the cause of death was “end-stage chronic obstructive pulmonary disease.” The beloved actor and director was 83 years old.
If the prospect of a new live-action version of Cinderella wasn’t enticing enough, the new Disney film is opening with a special added attraction: “Frozen Fever,” a short sequel to Frozen, the most popular movie (and most dastardly earworm) of 2013. And here I thought “Frozen fever” was a mental illness that made kids sing “Let It Go” over and over again until their parents begged for the sweet release of death. My mistake.
For most people, Valentine’s Day means flowers, chocolate, and romantic dinners. For cinephiles (or people too cheap or lazy to leave the house), Valentine’s Day means snuggling on the couch and watching a romantic movie. If you’re planning a Netflix night this weekend, picking the right film is key. There’s nothing worse than inviting that special someone over for a private screening, lighting a few candles, pouring a glass of wine, and then killing the mood by putting on In the Ream of the Senses.
Christian Grey is an unusual guy. He’s the world’s most eligible billionaire bachelor and an enormously powerful businessman. He’s an avid jogger, an exceptional piano player, and a licensed helicopter pilot. He also really like the color gray. He wears gray suits and ties, drives a gray car to his gray office building (which is called Grey House) under gray Seattle skies, where his assistant dresses in—you guessed it—gray. (For the record, his office chairs are white but the couches are gray too.) And, oh yeah, he’s into kinky sex, including bondage, spanking, and domination.
Disney’s big kick right now is revisionist versions of classic fairy tales. ‘Sleeping Beauty’ became ‘Maleficent,’ a sympathetic look at the supposedly “evil” witch. Last Christmas’ ‘Into the Woods’ followed numerous fairy tales to find the unhappy endings after their “happily ever after.” Even ‘Frozen’ reconfigured numerous classic fairy tale tropes (the handsome price was secretly [SPOILER ALERT] the bad guy, and the film’s true love story was actually between a pair of sisters). What’s most surprising about Disney’s new live-action ‘Cinderella’ is how unsurprising it looks; it seems totally unlike those films in its old-school vibe.
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