In celebration of this past Friday’s lucrative release, IT Chapter Two cast members are taking to social media to give fans a glimpse behind the scenes of the bloody sequel. Finn Wolfhard, who plays the young Richie Tozier, posted a delightful photo showing just how much he has grown since the first film, James McAvoy (Bill Denbrough) shared a handful of selfies in front of notable locations and Jessica Chastain took the time to post a hilarious and blood-filled image of herself.
Despite its mixed reviews that resulted in a 63% on Rotten Tomatoes from critics and an 80% from the audience, IT Chapter Two dominated the box office with a $91 million opening in North America. Although it is far short from its record-setting first installment which had a $123 million debut, it is a promising start for the follow-up, and the cast is feeling the excitement.
Stranger Things star Finn Wolfhard posted an image from the early days of shooting in which he couldn’t fit in his first film’s wardrobe. In the caption he said this.
“Start of filming IT Chapter Two. We had to let out the sleeves a little from Richie’s jacket from IT Chapter One. #practicaleffects #slowclap #StanleyUrisBarMitzvahWeekend”
James McAvoy (Split, X-Men: Days of Future Past), on the other hand, posted a stream of photos. The actor has a busy year of films, so he even slipped a few from his other projects, Dark Phoenix and The Disappearance of Eleanor Rigby, both of which he stars alongside Beverly Marsh portrayer Jessica Chastain.
Related: IT Chapter Two Is Ready for a Monstrous $200M WorldWide Debut
The most recent peek behind the camera comes from Chastain (Molly’s Game) herself with the following caption.
“Yes, I’m as shook as I look! Thanks for making IT Chapter 2, #1 in the world this weekend!”
With a bloodied face and a look of silly surprise, Chastain garnered the comments. Some even came from her colleagues including The Rock who simply said, “congrats!!!” beside clapping hands, a quick series of celebratory memes from Dark Phoenix director Simon Kinberg, and Michael Gandolfini who added, “You’re the biggest inspiration, thank you for inspiring me.”
While the stars continue to celebrate, the 2 hour and 49 minute movie plays across the country. IT Chapter Two picks up 27 years after the evil clown Pennywise was seemingly defeated by the members of the Losers Club. Yet, he comes back to terrorize the town of Derry, Maine. The childhood friends have gone their separate ways, but once people start disappearing, the now adult Losers Club return to stand against the evil shape-shifter once again. Wrought with pain and trauma, their deepest fears will haunt them while Pennywise grows more powerful than ever.
The horror flick stars Bill Skarsgård as Pennywise, Jessica Chastain as Beverly Marsh, James McAvoy as Bill Denbrough, Isaiah Mustafa as Mike Hanlon, Bill Hader as Richie Tozier, Andy Bean as Stanley Uris, Jay Ryan as Ben Hanscom, and James Ransone as Eddie Kaspbrak as well as the original actors who portrayed the younger versions of each character.
The film was produced by New Line Cinema and Vertigo Entertainment. It was released across the United States by Warner Bros. Pictures on September 6, 2019. These images were kicked off by Jessica Chastain on Instagram.
The Russo Brothers are confident that they will work with Marvel Studios again in the future. After the epic success of Infinity War and Avengers: Endgame, the directing duo are taking a break from working with Marvel to focus on smaller scale projects. They are currently out promoting their latest movie Mosul, which was shot completely in Arabic and pretty far away from the Marvel Cinematic Universe. With that being said, the story behind the movie was introduced to the Russos by Avengers: Endgame co-screenwriter Stephen McFeely. But what would excite the directors enough to come back to Marvel Studios?
Joe and Anthony Russo feel very fortunate about the amount of work they were able to do with Marvel Studios. “We love that level of filmmaking that Marvel afforded us,” says Anthony. He also stated that he and his brother are going to get back into switching between big movies like the MCU projects and smaller ones, like Mosul. As for what could bring them back to Marvel, Joe had this to say.
“I grew on up [John] Byrne’s X-Men run. Ben Grimm was a favorite character growing up, the Thing. And Fantastic Four is now in the Marvel fold. There’s a lot. Silver Surfer is an amazing character. Going really big in cosmic would be a lot of fun. So there’s a lot of things that could attract us.”
The Russo Brothers had previously talked about wanting to come back to Marvel Studios for a potential Secret Wars movie, which would be huge. As for taking on more projects with Marvel, the directors will more than likely jump back into making epic movies instead of doing something for the Disney+ streaming platform. Joe Russo had this to say about their love of taking on huge projects.
“I think after you go on the journey that we went on -because there is a comprehensive narrative, an overarching story from Winter Soldier all the way to the end of Endgame that involves Tony and Cap, through Civil War, through Infinity War – I think that scale of ambition in storytelling is a bug that’s bit us. And we’re compelled to tell more stories on that scale, with that sort of years-long ambition to them.”
Joe Russo also talked about how close he and Anthony are with the whole Marvel Studios crew. Kevin Feige, Louis D’Esposito, and Victoria Alonzo are like family to the Russos. “We’re all very, very close to one another, and we miss each other,” Joe said with a laugh. He went on to state, “So I’m sure we’ll find something that we can do together soon.” This will more than likely be welcoming news for fans of the Russo Brothers and their work with Marvel.
The Russo Brothers have proved that they can pretty much take anything on within the MCU, so it will be very interesting to see where they end up next and what characters they end up working with. For now, there’s quite a bit to look forward to and the Phase 5 movies will be revealed in the next few years, so we might see the Russos back sooner, rather than later. The interview with the Russo Brothers was originally conducted by SyFy.
Here’s what’s happening in the world of television for Thursday, September 12. All times are Eastern.
Mr. Inbetween (FX, 10 p.m.): Perhaps you missed Mr. Inbetween’s first season. No shame in that! There’s a lot of TV out there, and this half-hour comedy from creator-star Scott Ryan and director-executive producer Nash Edgerton, which centers on a lethal criminal-for-hire and attentive father trying to find some work-life balance, isn’t as flashy as some of the other shows on FX. But two quick notes: First, you could watch the entire first season in less than three hours; second, such an endeavor would be well worth your time.
An additional inducement: Check out this exclusive clip, in which Ray Shoesmith (Ryan) does some light negotiating with a client, played by Once Upon A Time… In Hollywood and Mindhunter’s Charles Manson, Damon Herriman.
The second season, which FX recently upped to 11 episodes, premieres tonight. So go on, get caught up. You’ve got plenty of time.
DuckTales (Disney Channel, 3 p.m.): second season finale
The I-Land (Netflix, 3:01 a.m.): The complete first season of this Neil LaBute-created series lands today. In it, 10 strangers wake up on an island (Get it? An I-land?) without any memory of how they got there. But also, maybe it’s not really an island? And Kate Bosworth seems kind of nefarious?
No screeners for this puppy, but our sense is that it’s maybe doing a Lost-meets-The Matrix-meets-Lord Of The Flies situation. If that appeals, The I-Land awaits.
Aquarela‘s singular focus is the unrelenting power of water. Filmed at a mesmerizing 96 frames per second, Aquarela spans the globe showing the effects of climate change to life’s primary element. Russian director Victor Kossakovsky takes you on a stark and visceral journey. His documentary has zero narration, mere crumbs of dialogue, and no cohesive plot structure. It can be hypnotic and terrifying at times, but also noisy and overly abstract in long stretches. Aquarela is certainly a unique cinema experience.
The film begins with striking imagery of glaciers crumbling into the sea. The high frame rate allows for ultra crisp slow motion shots. Sheets of ice smash into each other and the water with thundering booms. The visuals are accompanied by exquisitely detailed sound. Suddenly the scene changes to the ice road along Lake Baikal. Emergency personnel struggle to pull a car out of the water. They scream at another driver who has foolishly ignored warnings of the thin ice. A heavy price is paid for this folly.
Aquarela then shifts its viewpoint to massive ocean waves. The gargantuan tides rock to a ferocious heavy metal soundtrack. The pounding surf and rapid fire kick drum pummels your senses. It’s chaos and cacophony as the screen convulsives. The onslaught ends with a calm respite on the other side of the world. Aquarela transports you to the Angel Falls in Venezuela. The towering mists billow into a faint rainbow. The sway between idyllic and violent continues. From a street ride through Hurricane Irma to the shimmering shadows of light passing through ice flows, Aquarela‘s only character makes its presence constantly felt.
Victor Kossakovsky’s camera work, cinematography, and sound mixing deserve recognition. Aquarela‘s immersive filmmaking techniques succeed in making the audience a part of the action. You feel the glaciers groan, shudder, and then crack into mini tsunamis. My stomach roiled as a desperate deckhand struggles to steer her lurching ship through savage waves. If only the film had spread the wealth evenly.
Aquarela is too disjointed in its approach. The scenes that grip are bunched together. Excitement builds, rewards, and then wanes considerably over significant periods. Kossakovsky loses interest in these quiet lulls. Four audience members walked out of the film halfway through. Aquarela isn’t long, just ninety-minutes; but drags when you’re staring at water flow. Kossakovsky would have benefited from the ten pages and a bang method. Take the spicy bits and sprinkle at weak points during the runtime. A background narrative could have built around the car accidents on Lake Baikal. The ice thawing earlier each year reinforces the climate change theme, and adds needed structure to the film.
Aquarela will be shown at 48 frames per second in high-end movie theaters. The film must be seen in a state of the art theater to truly appreciate the experience. The sound and visuals are stunning, worth the price of admission over narrative issues. Aquarela may be uncomfortable to some audiences, but film is meant to test boundaries and challenge conceptions. Aquarela is in limited release now, and will be rolled out to new markets over several weeks. Aquarela is produced by Participant Media and distributed by Sony Pictures Classics.
The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Movieweb.
Could someone do us a favor and go check on Hasbro, please? Ostensibly one of the most boring companies in the world—give or take a quick acquisition of the Tupac catalog here or there—the board game giant has taken a sharp, highly unsettling veer into the political of late, wandering into instances of trouble that’ve been decidedly non-pop-a-matic in nature. A few weeks ago, the internet reacted in collected befuddlement and horror to the company’s release of Monopoly: Socialism, ostensibly an attempt to use the classic “Fuck All Landlords” past-time to model the tenets of socialism for kids, but practically a mean-spirited series of lazy jokes with a decidedly pro-capitalist bent. That’s to say nothing of Monopoly For Millennials, with all the industry-ruining, avocado-toasting hackwork you could want.
No less bizarre (albeit slightly less immediately objectionable): Today’s announcement of Ms. Monopoly, a board game meant to draw attention to the obvious and actual real-world evils of the gender pay gap by positing a world where women both start with, and receive, more money than men. (Also: Aging plutocrat Mr. Monopoly has been replaced by the titular Ms. Monopoly, a “self-made investment guru” who’s also “an advocate whose mission is to invest in female entrepreneurs.”)
And while the idea of making people think about gender pay disparities in a straightforward context—like playing the world’s most boring board game together—is actually a neat one, the “How do you do, fellow kids” energy is strong with this one. Rather than buying up property, for instance, players invest in women-led innovations like “WiFi, chocolate chip cookies, and bulletproof vests,” and make their way around the board by hopping into the waiting, widely deregulated backseats of rideshare services. (And now we’re thinking about “Gig Economy Monopoly,” an idea that comes complete with the grim specter of looming death.) There are also weird little touches like the game’s Chance and Community Chest cards, which offer different cash values based on gender; women only get $50 for going to see a women-led superhero movie, for instance, while men get $100, presumably as…insurance against their impending emasculation?
Anyway, this whole thing seems designed to give someone an aneurysm, although we’ll be damned if we can figure out who. Ms. Monopoly is out in stores later this week.
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At the end of the ninth episode of this season, Franklin found himself in a position that he knew was coming: staring down the barrel of a gun, and then bleeding out on the floor after Mel shot him. He always knew that his actions would eventually have consequences, even as he walks around with all the swagger and confidence in the world. Getting shot was always a distinct reality of this business, and when Franklin murdered Andre, he knew he’d crossed into uncharted territory, forging a path much more dangerous than before.
Snowfall has spent two seasons charting the ebbs and flows of Franklin’s entry into the game, but it’s this third season that’s truly been dealing with the consequences. Franklin ended up in prison last season, suffering his own consequences, but it’s the collateral damage that weighs on him in this year’s 10 episodes.
What “Other Lives” posits is that perhaps things didn’t have to be this way. The finale passes over any story involving Gustavo (thankfully), and only rounds out Teddy’s season in the very last scene. Instead, the focus here is on an alternate timeline, an imagined scenario where Franklin accepts his offer to the college in the very white, affluent area, and doesn’t skip that to start selling weed. The Snowfall title card appears 34 minutes into the episode, and the previous 33 minutes is a stirring, pointed, emotional look at what Franklin’s life might have been.
The episode begins with a literal conversation about alternate lives, with Franklin sitting in on a class that discusses various potential realities in an infinitely expanding universe. “What would you be doing?” asks a classmate after class. “Probably back in Africa,” replies Franklin, “my people never chained and brought here in the first place.” The white, female classmate can only stare. “Took a fun game and kind of fucked it up, eh?” laughs Franklin. The interaction is a poignant one in terms of what Snowfall is doing. Franklin has always been aware of his people’s history, and he cares about his community; the trouble is, there’s no easy, expedient way to combat the history of oppression. In the real timeline, he sees the drug game as a way to profit off a system that typically keeps black men down. In this alternate timeline, he’s trying to get out of his community so that he can maybe one day come back and make it a better place.
“Other Lives” is so smart and heartbreaking, using the weight of history and the otherness of the black body to show how trapped Franklin is. In this alternate timeline, he’s done everything by the books. He’s gone to college, studied hard, put his head down and fought for his place. And what does he get in return? He gets stares from all the white boys that look exactly like Bradley Cooper in Wedding Crashers. He gets evicted from his dorm based on a mistake on a W-2 form. He corrects that mistake, brings it to financial aid, and is still evicted because now his loan is under review and he can’t pay out of pocket. “If our financial requirements are such a burden, perhaps this isn’t the best place for you,” says the financial aid officer.
And that’s really the crux here: that no matter what Franklin does, no matter how hard black boys work to pull themselves out of difficult situations, they still have a seemingly insurmountable number of obstacles to contend with. From racism to bureaucracy to racism disguised as bureaucracy, there’s simply no clear path for someone who looks like Franklin. He’s literally bused back home, his opportunity to transform himself vanishing as the night creeps in.
It’s powerful stuff. Back home, Franklin wanders around his community, turning down Jerome’s offer to get in on the weed business, and then receiving a visit from Teddy, who tells him that if he ever wants to work for the CIA, he’d be there to help him along. The possibilities here are intriguing, and there’s at least the hint of another, more positive life. Turning down Jerome is just the first step though, and there’s no telling where Franklin will end up. In this alternate timeline, he still ends up with a gun in his face, though this time around Andre is there to save him.
In “Other Lives,” we’re given a vision of Franklin pursuing the American Dream the way the averafe American is told too, by working hard to earn their spot in the grand meritocracy of the United States. But it’s all a dream, a fabrication. Not even an alternative timeline can give Franklin his freedom, because there are too many people above him invested in keeping him down. So, he goes back to what he knows. He’s ready to take this drug game to another level, no matter how many lives it’s ruined. The system’s swallowed him whole and closed off any opportunity for escape. Now all he can do is exploit that system to his individual advantage.
The obscene C-3PO trading card from A New Hope has been a mystery for over 40 years now. Lucasfilm employees have tried to explain what happened. Now Anthony Daniels has just revealed the real reason behind the popular card. To cash in on the popularity of the franchise, Topps created a set of trading cards for the movie in the late 1970s. It gave fans a wealth of knowledge that they had been missing, including how to properly spell character names and find out who the actors were.
However, card 207 of the original Star Wars set is very popular for another reason. One doesn’t have to look very hard to see that C-3PO has an extra appendage, which appears to be male genitalia. The droid is coming out of his oil bath and the picture has everything on full display. According to the official Star Wars website, it was just a mistake that made it into the final image because of perfect (or imperfect) timing. They had this to say.
“(It) appears that the extra appendage is not the work of an artist, but rather a trick of timing and light. The untouched archive photo shows the image just as it appears on the card. The current theory is that the instant the photo was snapped, a piece fell off the Threepio costume, and just happened to line up in such a way as to suggest a bawdy image. The original contact sheets from the photo shoot attest to this. They are not retouched in any way, yet still contain the same image. Whatever the real explanation is, the ‘mischievous airbrush artist’ scenario simply doesn’t fit.”
Many fans were under the impression that the work was done by an airbrush artist, but as Lucasfilm attests, it was not. While the Star Wars site stands by their answer, Anthony Daniels provides the truth, along with some background information from the scene. Daniels says they had him in actual vegetable oil, which the crew heated up for him. This led to the problem occurring. He explains.
Related: Disney Nixes Star Wars FanX Panel with Hayden Christensen for Fear of Spoilers?
“It really was oil. I stood on a platform that gently lowered me into the green liquid. The crew had been kind enough to warm it. Not as much as was indicated by the steam. That was achieved with two electric kettles hidden behind me. The oil permeated the inner spaces between me and the costume legs as I chatted with my new master, Luke Skywalker [Mark Hamill]. I eventually rose again, dripping but without incident. Or so I thought.”
He goes onto explain how the image actually happened.
“At that time, the pants section of the costume was in two pieces of thin plastic. Front and back. A strip of gold-colored tape fixed them together, (which was) fine. But being immersed in vegetable oil dissolved the adhesive and the two parts sprung apart. At the same time, Threepio’s left leg dropped down over the shoe. The combination led to an over-exposure of plastic in that region. It left a bulging crease.”
So there we have it. The vegetable oil was the main culprit, which gave C-3PO the extra appendage. All of the conspiracy theories can be laid to rest. As for how the image made it into the Topps Star Wars cards to begin with, many believe that the company was overwhelmed with the production after combing through hundreds of images. However, the infamous C-3PO card was discovered by parents who were outraged.
Topps had to take the card and do some creative airbrushing to fix it, while taking the original 207 card out of circulation. Despite the card being taken out of circulation, it is actually quite easy to find these days, costing anywhere from $30 to $100, depending on the condition. “If you see one signed on the surface by me, it is a forgery,” says Anthony Daniels, who refused to ever sign the X-rated card. The actor still thinks that a mischievous Topps employee may have altered the photo with the crease, helping to accentuated this phalic imagery so that it appeared larger, along with some additional anatomical flourishes. He claims Lucasfilm varified this account. Anthony Daniels went onto say this about his history with the card.
“I would never autograph it. Call me humorless, but, clever though the artwork was, I find it an insult to a good friend of mine who cannot speak for himself on this planet. As a protocol droid and skilled in the niceties of etiquette, Threepio would never, ever appear as excited as that in public. And that is a fact.”
The interview with Daniels was originally conducted by Mental Floss.
Well, unfortunately for Jackson, he’s gonna lose this game of chess. Cliff could get to a final 3 with Jackson and Holly, and then promptly lose to the showmance who will stick together even if they are on the rocks. Nicole may be going rogue on the Final 4 alliance, but she’s taking Cliff (her Week 1 partner) on the ride with her. Jackson isn’t offering anything Cliff isn’t already on track to get, except in his first scenario he has his Day 1 partner with him.
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In a TV landscape awash in returns and reboots, we have to give BH90210 credit for meta-ing up the place. Instead of a draggy, 30-years-later plot showing the travails of the David and Donna Silver marriage and Brandon taking over Nat’s role at the Peach Pit, we only see those possibilities via dream sequences and fictional TV scripts. Instead, seven actors playing elaborate, caricatured versions of themselves attempt to get a 90210 reboot off the ground, which is also the theme for said reboot. As long as you don’t think about it too hard, it works perfectly.
That’s up to and including the finale of this six-episode season, which ties up some plot threads, leaves others wide open, and basically goes for broke. The camp element of the show was there from the premiere, when the gang gets arrested after some Vegas hijinks—now, with the fate of BH90210’s future up in the air, the show comes up with some twists that 1970s-era Days Of Our Lives would envy. The mysterious Matt is not Brian Austin Green’s son, but is possibly Jason Priestley’s (actually, they do kind of look alike…). Ian Ziering accidentally sleeps with a mother and a daughter, and the mom in question is Denise Richards, playing herself. And in an absolutely WTF moment, the show addresses the occasional non-sibling chemistry between onscreen twins Shannen Doherty and Priestley, having the two almost kiss in a dream sequence. That’s when you can picture the moment someone in the writer’s room came up with that, crowing, “Hey, you know what? Why the fuck not?”
Why the fuck not indeed, since the future of BH90210 remains uncertain. While this reboot has received many solid reviews, and the debut is Fox’s most-streamed summer debut of all time, the ratings have been on a pretty solid slide downward since the premiere. Shannon Doherty told US Weekly that she’s considering these six episodes a mini-series, because “I think we should just focus on the six because—no projecting into the future.”
Especially when the past is such fun. The main draw of 90210 in the first place was that even rich and beautiful teens had problems, making them relatable to the millions of non-rich, non-beautiful teens who tuned in. Granted, maybe those problems were a bit more glamorous than the average teen’s, but it was the relatability of Brenda, Brandon, et al. that transcended even their tony zip code. So now to reach their similarly aging audience, the BH9010 cast veered toward relatable again: cranky teen daughters, deadbeat husbands, still grappling for success at an age when you feel like you should have received it already. Is it any wonder that at such an age, you would gravitate toward the people you grew up with during what could be considered your glory years?
That doesn’t mean that the cast can’t make fun of those glory years: This episode opens with a dream sequence in which an adult Ziering counsels his younger self to toss his midriff-bearing shirts and change his hair: “Having a mullet is no way to go through life.” Doherty still fruitlessly rails against her character’s bad reputation—“Brenda wasn’t a trouble-maker! Kelly was!”—and shows up for a public event covered in the blood of a possum she just saved on the street, in a nod to her BH90210 earth mother status. The show’s main competition on the Fox schedule comes from a reboot of The OC, which includes an offscreen Mischa Barton (the resurrected Marissa Cooper) flipping tilapia for 48 hours at a Bait Shop pop-up—how can a Peach Pit pop-up possibly compete? When the network insists on shooting the show in Toronto, Fox exec and former cast member Christine Elise cautions, “Now’s not the time to get precious about zip codes,” even though that’s the theme of the entire original series.
In a meta-meta move, this episode the cast even reads the comments that reveal what the test audiences think about them, bringing all of their worst fears and traits to the surface (Ian Ziering represents “toxic masculinity,” Brian Auston Green’s hotness is “unexpected,” while Tori Spelling is “polarizing,” and no one knows what that means). Again, all of these lampoons land because they’re so spot-on: Jennie Garth is embracing her status as a spoiled actress who never really grew up, and it is surprising how dorky David Silver grew up to become one of the hunkiest guys in the cast. And, it must be said, the best actor: His rages with his BH90210 wife are heartfelt, and his easy hangs with his castmates have the effect of making the viewer think they’re getting a peek backstage. When Ziering brags that he can still have sex whenever he wants, Green chides dubiously, “Please… really? Still?” He also has a fun, flirty chemistry with Doherty, a pairing that rarely popped up in the original series.
Which constitutes the best part about BH90210: It pulls back the curtain to reveal all the machinations that set the artifice in motion in the first place. And it’s so well-sold, is it any question that Tori Spelling finds her current husband lacking, when she had the near-perfect onscreen boyfriend for several years? Spelling can hardly differentiate whether she filmed a scene in bed with “Brian” or “David,” but no matter: In the murky area where reality blurs into fiction on BH90210, there’s scarcely a difference.
It’s not all perfect: A promising spooky stalker plot fizzled offscreen a few episodes back, while Gabrielle Carteris’ also-intriguing exploration of her sexuality amounted to sleeping with practically the first gay woman she came across (played by Elise, who also played Emily Valentine on the original show). It’s straight-up annoying that Spelling’s husband only appreciates her professional efforts after he hears validation from the male members of the cast. Priestley is sent off on an ill-advised vacation, but that’s only because he’s spending time behind the camera to direct the actual episode.
But these sticking points likely hardly mattered to viewers caught up in BH90210’s fake/real-life soap opera. Somehow, the new show pulled off being both a valentine to fans and a send-up of the show they fell for in the first place. If these six episodes are all we get, well, there are probably even more meta nods and wisecracks to catch on the rewatch. This final episode pointedly starts with Ziering’s reference to the “legacy key,” a 90210 season-three plot device in which Steve received unrestricted access to West Beverly’s archives. It’s a perfect example of the reboot’s meta-ness—the legacy of the legacy key—as well as a nod to the new legacy that BH90210 offers the original show: an over-the-top 90210 wrapup that was almost as fun as it was unexpected.
Antoine Fuqua’s Infinite has cast Chiwetel Ejiofor in the villain role. The action thriller is based on D. Eric Maikranz’s 2009 novel The Reincarnationist Papers. Ejiofor is set to star alongside Mark Wahlberg, Dylan O’Brien, and Sophie Cookson, who were just recently announced. Lorenzo di Bonaventura (Transformers) is on board as producer with Mark Vahradian and Bellevue Productions’ John Zaozirny. The project is set to begin production later this month in London, which is just right around the corner.
Infinite is about a group of near-immortal men and women who are reincarnated over the centuries and are known as “the Infinite.” Mark Wahlberg plays the troubled main character Evan Michaels, who suffers from schizophrenia and is a man haunted by memories of two of his past lives. Michaels later stumbles upon the centuries-old secret society of people similar to himself who make up the Cognomina. The Cognomina is a secret society of people who possess total recall of their past lives. Michaels wants to be accepted by the group and attempts to join.
Chiwetel Ejiofor will play a member of the Infinite who has “found a way to stop the reincarnation process and plans to use it on his own kind.” His character has been described as a villainous mastermind. The Infinite screenplay was written by Ian Shorr and originally had Avengers: Endgame star Chris Evans in the lead role. However, Mark Wahlberg was announced as his replacement in late June when it leaked that he was in talks with Paramount. It is unclear why Evans had to back out of the project, though many attribute it to scheduling conflicts.
Chiwetel Ejiofor was last heard in Disney’s Lion King remake, where he voiced the villainous Scar. He’ll be seen next in Maleficent: Mistress of Evil and just recently wrapped production on The Old Guard. Ejiofor is arguably best-known for his role as Solomon Northup in 12 Years a Slave, which earned him a Best Actor Academy Award nomination. He also starred as Vincent Kapoor in 2015’s The Martian, Karl Mordo in 2016’s Doctor Strange, and Dr Watson in 2018’s Sherlock Gnomes. Infinite has an intriguing story and should have a pretty big impact on the box office upon its arrival next summer.
Infinite is all set to hit theaters on August 7th, 2020. In addition to Mark Wahlberg, Chiwetel Ejiofor, Dylan O’Brien, and Sophie Cookson, the movie also stars Jóhannes Haukur Jóhannesson and Kae Alexander. More casting news will more than likely be revealed in the coming weeks since production is all set to begin in at the end of the month. There is now plenty of time to go back and read D. Eric Maikranz’s The Reincarnationist Papers to prepare for the big screen adaptation, which might be a wise decision to get some more information on the Cognomina. Chiwetel Ejiofor’s casting was originally announced by The Hollywood Reporter.