Director James Wan and Aquaman himself, Jason Momoa—along with Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II and Nicole Kidman—return in the sequel to the highest-grossing DC film of all time: “Aquaman and the Lost Kingdom.”
Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.
All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior. Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin.
Directed by Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.
The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.
Joining Wan behind-the-camera is his sterling team of “Aquaman” artisans: director of photography Don Burgess (“The Conjuring 2”), production designer Bill Brzeski (“Jumanji: The Next Level”), editor Kirk Morri (“Furious 7”), composer Rupert Gregson-Williams (“Wonder Woman”) and music supervisor is Michelle Silverman (“Malignant”). Visual effects supervisor Nick Davis (“The Clash of the Titans” films, “The Dark Knight”) and costume designer Richard Sale (“Doctor Strange in the Multiverse of Madness,” “Ready Player One”) also join.
Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” set to open in theatres internationally beginning 20 December 2023 and in North America on December 20, 2023; it will be distributed worldwide by Warner Bros. Pictures.
Warner Bros. Pictures Canada x Mr. Will are thrilled to give Readers a chance to win Advance Screening passes to see THE FLASH!
SCREENING DETAILS:
Toronto | 06/14 | 7:00 PM | Scotiabank Toronto |
Vancouver | 06/14 | 7:00 PM | Scotiabank Vancouver |
Montreal | 06/14 | 7:30 PM | Scotiabank Montreal |
Calgary | 06/14 | 7:30 PM | Scotiabank Chinook |
Halifax | 06/14 | 7:00 PM | Scotiabank Halifax |
SYNOPSIS
Warner Bros. Pictures presents “The Flash,” directed by Andy Muschietti (the “IT” films, “Mama”). Ezra Miller reprises their role as Barry Allen in the DC Super Hero’s first-ever standalone feature film.
Worlds collide in “The Flash” when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian… albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?
“The Flash” ensemble also includes rising star Sasha Calle, Michael Shannon (“Bullet Train,” “Batman v Superman: Dawn of Justice”), Ron Livingston (“Loudermilk,” “The Conjuring”), Maribel Verdú (“Elite,” “Y tu mamá también”), Kiersey Clemons (“Zack Snyder’s Justice League,” “Sweetheart”), Antje Traue (“King of Ravens,” “Man of Steel”) and Michael Keaton (“Spider-Man: Homecoming,” “Batman”).
“The Flash” is produced by Barbara Muschietti (the “IT” films, “Mama”) and Michael Disco (“Rampage,” “San Andreas”). The screenplay is by Christina Hodson (“Birds of Prey,” “Bumblebee”), with a screen story by John Francis Daley & Jonathan Goldstein (“Dungeons & Dragons: Honor Among Thieves,” “Spider-Man: Homecoming”) and Joby Harold (“Transformers: Rise of the Beasts,” “Army of the Dead”), based on characters from DC. The executive producers are Toby Emmerich, Walter Hamada, Galen Vaisman and Marianne Jenkins.
Joining director Muschietti behind the camera are director of photography Henry Braham (“Guardians of the Galaxy Vol. 3,” “The Suicide Squad”), production designer Paul Denham Austerberry (“IT Chapter Two,” “The Shape of Water”), editors Jason Ballantine (the “IT” films, “The Great Gatsby”) and Paul Machliss (“The Gentlemen,” “Baby Driver”), and costume designer Alexandra Byrne (“Doctor Strange,” “Guardians of the Galaxy”); the score is by Benjamin Wallfisch (“The Invisible Man,” the “IT” films).
Warner Bros. Pictures presents a Double Dream/a Disco Factory production of an Andy Muschietti film, “The Flash.” It will be distributed worldwide by Warner Bros. Pictures and is set to open in theatres in North America on June 16, 2023 and internationally beginning 14 June 2023.
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(Photo/video credit: Warner Bros. Pictures Canada)
Warner Bros. Pictures Canada presents “The Flash,” directed by Andy Muschietti (the “IT” films, “Mama”). Ezra Miller reprises their role as Barry Allen in the DC Super Hero’s first-ever standalone feature film.
Worlds collide in “The Flash” when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian… albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?
“The Flash” ensemble also includes rising star Sasha Calle, Michael Shannon (“Bullet Train,” “Batman v Superman: Dawn of Justice”), Ron Livingston (“Loudermilk,” “The Conjuring”), Maribel Verdú (“Elite,” “Y tu mamá también”), Kiersey Clemons (“Zack Snyder’s Justice League,” “Sweetheart”), Antje Traue (“King of Ravens,” “Man of Steel”) and Michael Keaton (“Spider-Man: Homecoming,” “Batman”).
“The Flash” is produced by Barbara Muschietti (the “IT” films, “Mama”) and Michael Disco (“Rampage,” “San Andreas”). The screenplay is by Christina Hodson (“Birds of Prey,” “Bumblebee”), with a screen story by John Francis Daley & Jonathan Goldstein (“Dungeons & Dragons: Honor Among Thieves,” “Spider-Man: Homecoming”) and Joby Harold (“Transformers: Rise of the Beasts,” “Army of the Dead”), based on characters from DC. The executive producers are Toby Emmerich, Walter Hamada, Galen Vaisman and Marianne Jenkins.
Joining director Muschietti behind the camera are director of photography Henry Braham (“Guardians of the Galaxy Vol. 3,” “The Suicide Squad”), production designer Paul Denham Austerberry (“IT Chapter Two,” “The Shape of Water”), editors Jason Ballantine (the “IT” films, “The Great Gatsby”) and Paul Machliss (“The Gentlemen,” “Baby Driver”), and costume designer Alexandra Byrne (“Doctor Strange,” “Guardians of the Galaxy”); the score is by Benjamin Wallfisch (“The Invisible Man,” the “IT” films).
Warner Bros. Pictures presents a Double Dream/a Disco Factory production of an Andy Muschietti film, “The Flash.” It will be distributed worldwide by Warner Bros. Pictures and is set to open in theatres in North America on June 16, 2023 and internationally beginning 14 June 2023.
Review by George Kozera for Mr. Will Wong
In the interest of full disclosure, Marvel’s “Ant-Man” movies tend to be my favourites. They proudly wear their B-Movies and classic TV serials sensitivities/inspirations on their sleeves and Paul Rudd has to be one of Hollywood’s funniest and cinematically charming actors. At a Disney industry event last November, they showed a preview of the latest in the Series and I was immediately intrigued with its darker tone and imagery. Not only does ANT-MAN AND THE WASP: QUANTUMANIA deliver with visual impunity, the storyline is brisk and succinct and the performances from the multi-talented cast (which include Bill Murray playing, essentially, himself) genuinely exceed expectations.
In the interest of full disclosure (part deux…and please don’t judge me on this!), when I watch Marvel movies and I hear jarring talk of multiverses and quantum doodads and hyper whatchamacallits, the part of my brain that should deal with those just shut down and I concentrate on the performances, Art Direction or the Cinematography. So when having a family dinner after Scott/Ant-Man (Rudd) bails his daughter Cassie (Kathryn Newton) from jail for protesting, the young lady is eager to show Hope/The Wasp (Canada’s own Evangeline Lilly) and Hope’s parents Hank (Michael Douglas) and Janet (Michelle Pfeiffer) some Quantum Realm doohickey and the next thing you know, they all get sucked into this new world by some cosmic vacuum cleaner on steroids where Scott and Cassie are separated from the rest of their family.
We are now fully entrenched in “Star Wars” territory, from stormtroopers to spaceships to astonishing creatures and it all works brilliantly. Much like the last Doctor Strange movie was influenced by Horror movies from the past, ANT-MAN AND THE WASP: QUANTUMANIA pays homage to the George Lucas classics with an originality and panache. Like any Sci-Fi movie worth its salt, this Movie has a villain that is genuinely terrifying.
That personification of pure evil is Kang the Conquerer (Jonathan Majors in a career-defining role that will speed up the Actor’s trajectory into a global superstar status and may just land him the distinction of being the second ever performer nominated for an Oscar in a Marvel movie). There is another homicidal character called MODOK (Mechanized Organism Designed Only for Killing) but the less said, the better as the performer’s name is not in the Credits, so this surprise was an unexpected joy and this character elicited laughter from the audience every time this huge head in a tiny body organism appeared.
On topic of laughter, ANT-MAN AND THE WASP: QUANTUMANIA may not be as consistently humorous as the previous two, but it did provide me with belly laughs and smiles. I can’t think of anything I’d like to change or see that would enhance my viewing pleasure of this epic. It is insanely entertaining. Just make sure you stay behind to see the two scenes played during the End Credits; they surely whet my appetite.
Marvel Studios Canada release ANT-MAN AND THE WASP: QUANTUMANIA February 17, 2023.
A new Teaser Poster just arrived for THE FLASH and during tonight’s Big Game we got a first look at the new Canadian Trailer for this latest entry into the DC universe!
Synopsis:
Warner Bros. Pictures presents “The Flash,” directed by Andy Muschietti (the “IT” films, “Mama”). Ezra Miller reprises their role as Barry Allen in the DC Super Hero’s first-ever standalone feature film.
Worlds collide in “The Flash” when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian… albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?
“The Flash” ensemble also includes rising star Sasha Calle, Michael Shannon (“Bullet Train,” “Batman v Superman: Dawn of Justice”), Ron Livingston (“Loudermilk,” “The Conjuring”), Maribel Verdú (“Elite,” “Y tu mamá también”), Kiersey Clemons (“Zack Snyder’s Justice League,” “Sweetheart”), Antje Traue (“King of Ravens,” “Man of Steel”) and Michael Keaton (“Spider-Man: Homecoming,” “Batman”).
“The Flash” is produced by Barbara Muschietti (the “IT” films, “Mama”) and Michael Disco (“Rampage,” “San Andreas”). The screenplay is by Christina Hodson (“Birds of Prey,” “Bumblebee”), with a screen story by John Francis Daley & Jonathan Goldstein (“Dungeons & Dragons: Honor Among Thieves,” “Spider-Man: Homecoming”) and Joby Harold (“Transformers: Rise of the Beasts,” “Army of the Dead”), based on characters from DC. The executive producers are Toby Emmerich, Walter Hamada, Galen Vaisman and Marianne Jenkins.
Joining director Muschietti behind the camera are director of photography Henry Braham (“Guardians of the Galaxy Vol. 3,” “The Suicide Squad”), production designer Paul Denham Austerberry (“IT Chapter Two,” “The Shape of Water”), editors Jason Ballantine (the “IT” films, “The Great Gatsby”) and Paul Machliss (“The Gentlemen,” “Baby Driver”), and costume designer Alexandra Byrne (“Doctor Strange,” “Guardians of the Galaxy”); the score is by Benjamin Wallfisch (“The Invisible Man,” the “IT” films).
Warner Bros. Pictures presents a Double Dream/a Disco Factory production of an Andy Muschietti film, “The Flash.” It will be distributed worldwide by Warner Bros. Pictures and is set to open in theatres in North America on June 16, 2023 and internationally beginning 14 June 2023.
Warner Bros. Pictures Canada release THE FLASH June 16, 2023.
(Photo/video credit: Warner Bros. Pictures Canada)
Review by Justin Waldman for Mr. Will Wong
The Marvel Cinematic Universe fatigue is real, there is no denying that fact. It was real before Avengers: Infinity War and Avengers: Endgame but there was a clear payoff after a decade. With Phase Four of the MCU, we’re recoiling from the events of Endgame still while our heroes are trying to move on with their lives, figure out what’s going on, and just trying to live as best they can. However, fans are hitting a wall. There is simply too much content, with every month there being something new whether it comes in the form of a Film or a Television Program on Disney, there is always something Marvel down the pipeline. There is no denying that fans still are going to move in droves to see Thor: Love and Thunder upon release, but the general public who may be at their breaking point may be slowly falling away. However, Thor: Love and Thunder does truly stand on its own, isn’t completely grounded amongst several Disney+ projects and doesn’t feel like a universe-building movie and doesn’t contain a sky beam of death so the welcomed change of structure is certainly for the positive.
Thor (Chris Hemsworth) has finally gotten back into shape after his dubbing of “Fat Thor” and is the last resort help for when the Guardians of the Galaxy, consisting of Drax (Dave Bautista), Star-Lord (Chris Pratt), Groot (Vin Diesel), Rocket (Bradley Cooper), Mantis (Pom Klementieff)Â and Nebula (Karen Gillan), need help Thor comes in, phones in his saving and takes Stormbreaker, wreaks havoc and then leaves. The love Thor once had for being a God and a protector of the world is truly gone now. This leads to a heart to heart with Star-Lord which essentially tells him it is better to have loved and lost than to have never loved at all. This makes Thor re-examine his previous relationship with Jane Foster (Natalie Portman) and have a new outlook on life.
When a new threat poses itself in the form of Gorr The God Butcher (Christian Bale) as he is slaying Gods left, right and center, Thor decides to recruit his team of buddies to stop Gorr before all Gods are extinct. His Team consists of Korg (Taikia Waititi), King Valkyrie (Tessa Thompson) and the newest addition, Jane Foster. Together, they devise a plan to take down Gorr, but not without their obstacles that they must overcome. For instance, they need the help of the God of Gods, Zeus (Russell Crowe), and that doesn’t pan-out the way that Thor and his team hopes.
Thor: Love and Thunder doesn’t quite reach the heights of Thor: Ragnarok, that is not to say that the newest addition to the Thor Franchise is bad, it just isn’t that campy, bright, unexpectedly hilarious joyride that Ragnarok was. Thor: Love and Thunder certainly brings some hilarity to the forefront but it seems that this latter half of Phase Four of the MCU is going in a much darker tonal shift than previously experienced. It could be argued that Thor: Love and Thunder is in fact darker than Doctor Strange in the Multiverse of Madness, which was the darkest entry into the MCU up to that point. Director and Writer Taika Waititi crafts the Movie in his signature style with a new added flare that is sure to wow its audience. There is a solid portion of the Film that is in monochrome and derived of almost all colour, that brings forth a new element to the Film and the MCU that truly is a visual delight. It is so eye-catching and stunning and flows with the darker tone of the Movie. However, his signature levity and humour is not lost throughout the Film, as there are still plays within the Film and some genuinely hilarious moments, which brings a much needed humour to the Film overall.
The Cast in Thor: Love and Thunder have certainly grown with their characters, and it is evident in their performances. These are not the same characters we were introduced to the first time around, they’ve all seen some serious stuff, including the loss of Asgard, and they’ve all grown and developed, sometimes for the worse, and their performances certainly reflect these changes. However, it is the performance by Christian Bale as Gorr the God Butcher that needs to be highlighted here. It is rare for a villain, especially in the MCU to get the chance to be absolutely menacing and full-fledged terrifying, but Christian Bale got that opportunity and fully ran with it. There are genuine moments in his portrayal of Gorr that shows what he took away from the great Heath Ledger when they worked together, but there are also the passion of Alfred Molina in Bale’s inspired performance.
Thor: Love and Thunder may not be the homerun that fans or Marvel were hoping it would be, but it still knocks it out of the park, just only rounds it to third instead of a homer. To make a movie, that nonetheless is 30-odd entries into the Franchise, managing still to feel fresh, inventive and original is a feat in itself, thanks to Korg thinking of those who might need to be filled-in. It balances darkness while carefully balancing lightness in its Comedy, tying-up loose ends from previous installments, giving us a memorable villain, something that the MCU usually lacks. Thor: Love and Thunder will delight and terrify you simultaneously, as it cements itself in the higher ranks of MCU cannon but doesn’t break the barriers of God tier MCU films.
Walt Disney Studios Canada release THOR: LOVE AND THUNDER Friday, July 8, 2022.
JURASSIC WORLD DOMINION for a second straight week demolishes the competition. In its second weekend, it pulls-in $66.2 million, a total $257.3 million from 4,697 theatres for Universal Pictures.
LIGHTYEAR which was expected to take the crown in its debut brightens up the Box Office settles for #2 at $55 million from 4,255 theatres for Disney, This origins story for the hero who inspired the Toy Story character and voiced by Chris Evans, gets 78% on the Tomatometer. Though not a a part of the Toy Story franchise, by comparison 2019’s Toy Story 4 opened with $120 million in North America.
TOP GUN: MAVERICK still is in-flight with $46.5 million from 4,035 theatres for Paramount Pictures, taking it to $468 million in its domestic run.
DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is in fourth with $3.8 million for Disney, a total $404 million grossed to date.
Fifth spot goes to THE BAD GUYS with $4 million in its eighth weekend for Universal Pictures.
JURASSIC WORLD DOMINION completely dominates the Box Office in its debut with $142 million from 4,676 theatres for Universal PIctures. This latest installment gets 31% on the Tomatometer. The biggest opening for the Franchise still belongs to 2015’s Jurassic World with $202 million.
Knocked off its throne is TOP GUN: MAVERICK which still is going well with $50 million from 4,262 theatres in its third weekend for Paramount Pictures, taking it to $393 million thus far domestically.
Third spot goes to DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS with $5 million from 3,345 theatres for Disney, a total $398 million grossed.
Landing in fourth is THE BAD GUYS with $2.4 million for Universal Pictures, taking its run to $91.6 million.
THE BOB’S BURGERS MOVIE closes out the Top Five with $2 million in its third weekend for 20th Century Fox, a total $26.75 million.
Universal Pictures Canada x Mr. Will want to give Readers a chance to win Advance Screening Passes to see THE BLACK PHONE.
Screenings take place as follows:
Synopsis:
The phone is dead. And it’s ringing.
Director Scott Derrickson returns to his terror roots and partners again with the foremost brand in the genre, Blumhouse, with a new horror thriller. Finney Shaw, a shy but clever 13-year-old boy, is abducted by a sadistic killer and trapped in a soundproof basement where screaming is of little use. When a disconnected phone on the wall begins to ring, Finney discovers that he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney.
Starring four-time Oscar® nominee Ethan Hawke in the most terrifying role of his career and introducing Mason Thames in his first ever film role, The Black Phone is produced,
directed, and co-written by Scott Derrickson, the writer-director of Sinister, The Exorcism of Emily Rose and Marvel’s Doctor Strange.
The film’s screenplay is by Derrickson & C. Robert Cargill (Doctor Strange, Sinister franchise), based on the award-winning short story by Joe Hill from his New York Times bestseller 20th Century Ghosts. The film is produced by Derrickson & Cargill’s Crooked Highway and presented by Universal and Blumhouse. Jason Blum, Scott Derrickson and C. Robert Cargill are producers on the film, which is executive produced by Ryan Turek and Christopher H. Warner.
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Universal Pictures Canada release THE BLACK PHONE in theatres June 24, 2022.
(Photo/video credit: Universal Pictures Canada)
It should come as absolutely no surprise that TOP GUN: MAVERICK dominates again a second week, this weekend with a stellar $84.5 million from 4,751 theatres for Paramount Pictures. Over two weekends it grosses $290 million domestically.
Second is DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS with $8.8 million from 3,765 theatres. It has just been announced that this will arrive on Disney+ June 22, 2022. This brings its domestic total to $388 million for Disney.
In third is THE BOB’S BURGERS MOVIE with $4.7 million from 3,425 theatres for 20th Century Studios, a total over two weeks of $22.5 million.
THE BAD GUYS is have a great run, now in fourth with $3.3 million, taking it to a total $87.2 million.
DOWNTON ABBEY: A NEW ERA is at the bottom of the Top Five, with $3 million from 3,451 theatres for Universal Pictures/Focus Features. It has made $35.7 million to date in North America.
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