
‘Incredibles 3' is in the works, and Pixar has hired a director
Peter Sohn, a longtime Disney Pixar creative whose comedy 'Elemental' helped jump-start the Emeryville-based animation company's revival in 2023, has been tapped to direct 'Incredibles 3,' which continues the story of the superhero Parr family.
Brad Bird, who directed the first two 'Incredibles' movies, is writing the screenplay and will co-produce, according to a report in the Hollywood Reporter. Sohn has worked with Bird since the late 1990s, when he worked on the animation for Bird's first feature, ' The Iron Giant ' (1999), for Warner Bros.
Both moved to Pixar in 2000. While Bird established an illustrious directing career with 'The Incredibles' (2004), ' Ratatouille ' (2007) and ' Incredibles 2 ' (2018) — with the live-action ' Mission: Impossible — Ghost Protocol ' (2011) and ' Tomorrowland ' (2015) in between — Sohn has worked as an animator, storyboard artist and voice actor for several Pixar films.
Sohn's first film as director was ' The Good Dinosaur ' (2015), which was generally well received by critics but became Pixar's first box-office failure. He got another chance as director with ' Elemental,' a personal story inspired by his youth as the son of immigrants in New York during the 1970s and '80s.
The unlikely love story of water and fire at first seemed like another box-office bomb after Pixar's first theatrically released film post-pandemic, ' Lightyear,' tanked in the summer of 2022. But 'Elemental' became a sleeper hit, picking up steam after its June 2023 release. By mid-August, it had become a certifiable smash, pulling in nearly half a billion dollars at the global box office and was nominated for an Oscar for best animation feature.
The first two 'Incredibles' movies have taken in nearly $1.9 billion combined at the global box office. Voice cast members returning for 'Incredibles 3' include Craig T. Nelson, Holly Hunter, Samuel L. Jackson and Sarah Vowell. No release date has been set.
Pixar's next film, ' Elio,' directed by Madeline Sharafian and Domee Shi, is set for release on June 20.
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CBS News
24 minutes ago
- CBS News
Couple elope at Chickie's & Pete's in Northeast Philadelphia: "It's about who you're with"
Crab fries, crab legs and true love set the stage for the elopement of newlyweds Heather Hanson and Eric Ghegan. Instead of going with a traditional wedding, they opted for a venue near and dear to their hearts: Chickie's & Pete's on Roosevelt Boulevard in Northeast Philadelphia. The source of inspiration for the couple? They said it was their desire for a personal, intimate wedding amid rising costs. "It's not about how much money you spend or how big the party is, it's about who you're with," Hanson said. Chickie's & Pete's is a Philadelphia-based restaurant and bar known for its "Crab fries." The restaurant serves as a fan hub, especially for Philly sports fans on game days. But on a fateful Saturday night, a booth turned into a wedding venue. Chickie's & Pete's "Growing up, I never thought my wedding would be at a local restaurant. Every girl wants that big fairytale wedding, but it was absolutely beautiful. They made it feel so special," Hanson said. The newlyweds grew up as best friends and officially began dating following Ghegan's time in the Army. "It ended up lining up. We hit it off. We actually went to Chickie's & Pete's straight from the airport ... it's like he never left," Hanson said. The whole elopement was captured on video, racking up thousands of supportive comments. Some big-name witnesses even made an appearance on the day. Heather Hanson "So, the original Pete's grandson, Pete, and the GM — they were all so excited and so enthusiastic when we told them they had to sign our stuff. Obviously, they had never done that before," Hanson said. The elopement will forever live on in Chickie's & Pete's history — photos of the milestone will hang on a wall inside the restaurant. "I recommend everyone do it because it was a good time, it really was," Ghegan said. CBS News Philadelphia intern Sydney-Leigh Brockington contributed to this story.
Yahoo
39 minutes ago
- Yahoo
‘It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics (‘Heathers,' ‘True Romance') to TV hits (‘Mr. Robot,' ‘Dexter: Original Sin')
When Christian Slater made his purported "comeback" on Mr. Robot in 2015, winning a Golden Globe for the eponymous role, he didn't think he had gone anywhere. He had been steadily working onscreen for 30 years, since his film debut in 1985's The Legend of Billie Jean. Sure, most of the films and television series he made over the first decade-plus of the 2000s weren't smash hits out of the gate, but neither were many of what would ultimately be his most memorable projects. Heathers, Pump Up the Volume, True Romance, Very Bad Things — all box-office failures-turned-cult classics. More from GoldDerby 'Elio' reviews knock Pixar for 'repeating itself' with 'forgettable' space adventure 'F1: The Movie' reviews: Brad Pitt burns rubber with 'macho panache' in a high-octane thrill ride Could '28 Years Later' contend for Oscars? Here's the complete awards history of the '28' franchise. The fact that Slater has so few blockbusters on his résumé (his highest-grossing movie is 1991's Robin Hood: Prince of Thieves) yet has remained such a beloved figure in Hollywood for 40 years now is a testament to his both his undeniable talent and enduring appeal. He just has a presence that's unforgettable. Since Robot, Slater has done high-profile projects like The Spiderwick Chronicles (for which he earned a Children and Family Emmy Award) and Dexter: Original Sin, the Paramount+ prequel series that was just renewed for a second season. In our latest edition of The Gold Standard, Slater talks through his greatest hits, even if you wouldn't necessarily call them hits. After making his television debut at the age of 8 on the ABC soap One Life to Live and starring on Broadway at 11, the New York native became a fixture in Hollywood with roles in The Legend of Billie Jean, The Name of the Rose (1986), and the dark teen favorite Heathers. I was living in Los Angeles, I was 18, 19 somewhere around there. I had my first place in the Hollywood Hills, a little one-bedroom that I loved. I would have parties and just never really took anything too seriously. I read the script called Heathers and thought it was kind of fun. I really did get into it, went in, auditioned, met with [director] Michael Lehmann and Winona [Ryder]. I think having done The Name of the Rose with Sean Connery gave me a good foot in the door. … I think I'd also done Tucker: The Man and His Dream at that time. I was working, so it opened the door for me to get in and do something else. Heathers was considered a total failure. When it opened up here, it was not successful at all. I mean, I think people in Los Angeles saw it. But as far as it being a real juggernaut of a movie, [it wasn't]. And I don't know if it is today, but it definitely has taken on several lives since then and been rediscovered and has become a musical. All these fun things have happened with it, which I love and think is very, very cool. But yeah, when it came out, not successful, I think the for the people [in the industry] who did see it in Los Angeles, it was good to get other gigs, and it made getting other movies produced a lot easier. Slater showed a penchant for dark teen movies when he played a rebel radio DJ 'Hard Harry' in this early '90s favorite, for which he earned an Independent Spirit Award for Best Actor. Pump Up the Volume was the next script I read, and it came together [easy] like, 'Whatever you want to do, kid, you can do it. The world is your oyster.' And fortunately, I had read a good script. And that was really my favorite movie. But again, it didn't break any box-office records. It was a nice elegant movie to have done and a great character, and more of an acting opportunity for me, to kind of get to play two different characters in a way. So that was something I really enjoyed. And I got to work with Samantha Mathis, who's great. I've gotten the chance to work with her several times, so I feel very, very blessed. It is [my favorite to a certain degree]. It was just a really special time. I was so excited to do it and really loved working with the people on it. And I felt like it was a very special movie, I just liked the heart of the character, how he reacted to the people he spoke to on the radio. It was more unpredictable. He didn't judge people. He was more embracing. … I thought it was great. So it's definitely one of my favorite movies. Following 1988's Young Guns, Slater was the new guy on set joining other rising stars Kiefer Sutherland, Emilio Estevez, and Lou Diamond Phillips in the Western sequel. As Slater became a bigger and bigger star, however, the temptations of Hollywood were catching up with him and he was arrested for drunken driving in 1989. It absolutely was [as fun as it looked]. If you ever get a chance to do a Western, it's the best, man. I had such a good time. I loved working with those guys. It was remarkable. Pump Up the Volume hadn't come out yet. Going into Young Guns, putting on a cowboy hat and strapping on a couple of six-shooters and spending time rehearsing with my horse, it was the best. I just had a great relationship with that animal, and shooting guns and being a kid was so much fun. It was incredible. There were certain things that the stunt people asked me to do that I was unwilling to do. I was willing to jump through the glass into a store, and be like a bull in a China shop on my horse. But there was one stunt they wanted me to do where I was like, 'No, I want to live. I'm good. I don't want to do that.' It was some crazy stunt. And they let Lou Diamond Phillips do it. And I was like, 'Let him do it.' I think he broke his arm doing it. Not that I wish him ill, but I think I made the right choice. I got into a little bit of trouble right before doing Young Guns, too. And I got sober. I got sober and stayed sober for a few years. But there was pressure and anxiety. Certainly being that age, what success does to the people around you is a little bit confusing and a little bit confounding. It just it changes things and to a certain degree makes you feel less safe and less trustworthy of people. It's like, why are they really there? What do they really want? And dating is tricky. And so all of that is a little bit confusing and you can end up feeling more alone. I did stay sober for a few years, but then I think the anxiety finally got to me, and I needed to escape again. Which I did. And I did that through alcohol and some other substances. And it was fun for a while, until it wasn't. It always starts out fun. It always feels like a relief. But then it always turned on me, it got hard, got very difficult to deal with. So there were absolutely challenges, struggles, hurdles, personal hurdles to overcome, lessons to learn. His star still rising, Slater joined Kevin Costner, Morgan Freeman, and Alan Rickman for what would become one of the biggest movies of 1991 — even if critics thrashed it and Slater earned a Razzie nomination for his role as Will Scarlett (shared with his turn as Lucky Luciano in Mobsters). I mean, look, you can't have everything. I'd had a nice run of some critical successes, I think. And some very complimentary people saying nice things about me. And then, yes, Robin Hood struggled a little bit with the critics. But you know what? It was a fun movie. I loved it, getting to be one of the scoundrel Merry Men was a lot of fun. And we actually shot in Sherwood Forest, which was pretty authentic and pretty amazing. And I'd always been a fan of Robin Hood. I mean, I guess my version of Robin Hood was Errol Flynn, which is just weird. And now here I am on the set with these other merry men dancing around and just having a great time. I love [director] Kevin Reynolds. I loved Alan Rickman. Kevin Costner is a legend. Morgan Freeman, we were friends, so it was a really special, special time. Slater teamed with Patricia Arquette, whom he remains close friends with today, for the Quentin Tarantino-penned, Tony Scott-directed crime thriller about a couple on the run with a suitcase of drugs stolen from the mob. So it was only around the beginning, during rehearsals, [that I met Tarantino]. And Patricia [and I] only had one meeting with him from what I recall, where he talked about what he thought these characters were like and how he based Clarence on himself. And when I heard that, I just thought, 'Well, thank you.' That really gives me some insight and some knowledge into who this guy is and his level of obsessiveness. You can just tell with Quentin Tarantino, he's got a particular energy and particular passion that is unmatched. So I think that is what I wanted to be able to try and accomplish, conveying that uncomfortable in his own skin sort of character, but full of passion, full of life, full of love and determined to do the next right thing. Yeah, I wanted to [channel Tarantino] for sure. I think this is where Tony Scott and I at times had mixed opinions, because Quentin was just sort of becoming well-known. And I don't think he developed the coolness factor that he now has to such a degree. So I think my desire to play the character exactly as being Quentin Tarantino kind of freaked him out a little bit. He was more interested in me being like the character from Heathers, who was a little bit cooler and a little bit smoother. Slater was cast as the interviewer Daniel Molloy alongside Tom Cruise and Brad Pitt after the tragic death of River Phoenix, who was originally hired for the role. It was tragic for sure. River Phoenix was a legend and somebody that I was extraordinarily competitive with. I just thought, "This guy's such a good actor." We're both growing up at the same time, and I just thought we'd be competing for roles for the rest of our lives. I thought we'd be trying to get one job from the next, and battling back and forth, for our whole lives. So I think we lost a great actor. I feel like eventually he and I would have become really good friends. I feel sad about it every day. I tried to make it, to a certain degree, more comfortable for myself by donating the salary from that movie to River Phoenix's charities that he was involved with. Just because there was just a part of me that didn't feel like I wanted to take any money for the job. It happened in such a tragic way that I wanted to honor him in any way that I could. So that's what I did. The majority of my work was with Brad. And I think I was catching him at the end of a long shoot [laughs]. It was a good, long six month shoot. And I feel like he was at the end of his rope at that point. I think he was sick and tired of getting his face painted with those little veins and wearing fangs. But you know what? He was a professional. He was great. Certainly in the role. He did it. … He still showed up. 100 percent. But I just thought it was funny that he was so sick of it by that point. He was just over it. And Tom was amazing. I mean, he's Tom Cruise, and he's a phenomenal human being. He heard somebody else say this about working with a vampire. 'Once a vampire bites you, once you share that experience, you're connected for life.' And he did swoop down on me in that Mustang and he did bite me, and I'll never forget it. That was a special night. I mean, we closed down the Golden Gate Bridge to shoot that scene. So it was just me and Tom going around and around on the Golden Gate Bridge. So again, another moment that I just will always cherish and remember for the rest of my life. He is incredibly generous. He gave each and everybody a beautiful photo album. Like not just a photo album, but high end, probably each one of them cost $1,000. I have it somewhere. … Oh, I think I see it. It's in the bookshelf. Slater had stopped drinking again when he made the debaucherous dark comedy about a bachelor party gone very wrong with Jeremy Piven, Jon Favreau, and Daniel Stern. It was [a good experience]. I got in sober again, so that felt better. It felt better to show up and actually be present on a movie set. I've always felt like I was able to participate. I always felt like I was showing up and giving 100 percent. But you just end up feeling better when you're not drinking the night before. Like, for example, that movie Hard Rain (1998) I did. That was a tough shoot. It was six months. We were shooting in this huge airplane hangar in the dark every day, and it was wet. It was gross … not one of the more fun experiences. Definitely challenging, but I think there was an element of, I'm not going to say needing to have a drink while making it, but there was a great deal of need to escape. It was just a hard one. So anyway, Very Bad Things … I mean, it was Jon Favreau, Jeremy Piven, Daniel Stern, some legends again, that have become more legendary since then and are just people I was grateful to work with. Fantastic, crazy character. To a certain degree, I felt like I was trying to do something that I had done before in a movie, so I wasn't 100 percent comfortable with that. I felt like, 'I'm trying to be the nut again.' But now I really don't judge it, you know? Now I don't put that kind of pressure on myself today. After a string of underseen film and television projects released in the 2000s and 2010s, Slater landed his biggest role of the millennium with the eponymous anarchist who recruits Rami Malek's hacker to his cause in Sam Esmail's Emmy-winning cyber thriller. Yeah, it [felt special from the beginning]. It started off with me and Rami sitting in the Wonder Wheel doing all those scenes together. And that was the perfect way to start it. It put us together in close quarters where we couldn't help but get to know each other and how it was we both like to work. So that was a wonderful accident. Whoever organized that did a great job. Did the same thing on Dexter, too. … It was exciting. And it just drew the two of us together. So I think it just helped with our chemistry throughout the show. Well, I mean, [as far as it being called my comeback], I definitely had done some other TV shows. I was giving it a shot in the TV world a few times, always with the best of intentions. And no matter how they performed, it's not like I was used to huge successes initially, anyway. I was never really used to having huge successes right out of the gate, right? Like a lot of the things that I've done have become popular over time, not initially. ... So when it came to a [movie] or a TV show not really necessarily working out? It didn't disturb me greatly. I just looked at it as an experience. And that somebody will get it later down the line. That's what kept happening, right? But I don't think they're going to be doing a musical of The Forgotten [Slater's short-lived 2009 detective series], unfortunately, but that's OK. But Mr. Robot, it was wonderful to be on that ride. I was definitely proud of the show. You just never know. There's no guarantee something's going to turn up. You just got to keep showing up and not give up. And have the faith that, at some point, people are going to find something interesting and exciting. And I'll find something interesting and exciting to be a part of and just keep swinging. Babe Ruth it, man. Slater has drawn more strong reviews for playing Harry Morgan, the role originated by James Remar in Showtime's long running hit Dexter — a Miami detective who trains his homicidal son (Patrick Gibson) to become a vigilante serial killer. I was a huge fan of Dexter, the original series. So to get the chance to be a part of that show in this capacity was very exciting for me. Dexter was the type of show you watch, and especially if you're an actor, you're like, 'God, I wish I could be on that show.' You just talk to yourself that way. And I loved it. To get to fill James Remar's shoes, who I've always been a huge fan of … and to get to play this character and to get some more insight into the Harry character was very, very fun. And I think Clyde Phillips, the creator, does such an amazing job. It's just a great team. So it made it very special. I just I can't wait to get back to it. Best of GoldDerby Sam Rockwell on Frank's 'White Lotus' backstory, Woody Harrelson's influence, and going all in on 'this arc of Buddhist to Bad Lieutenant' Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible From 'Housewives' overload to the 'shadiest queens' alliance: The dish on 'The Traitors' Season 4 lineup Click here to read the full article.
Yahoo
40 minutes ago
- Yahoo
‘Elio' reviews knock Pixar for ‘repeating itself' with ‘forgettable' space adventure
Pixar is once again returning to the stars for its latest family-friendly adventure, Elio, which stars Oscar winner Zoe Saldaña, Yonas Kibreab, Remy Edgerly, and Brad Garrett. But according to the reviews that have just gone online, the cosmos do not seem to be aligned for the studio's new offering. In theaters on Friday, Elio tells the story of a young boy (Kibreab), who develops a fascination with outer space and yearns to be abducted by aliens in the wake of his parents' deaths in an accident. The set-up offers that signature Pixar blend of whimsy and tragedy, but according to Vanity Fair's Richard Lawson, Elio may have stuck too close to the recipe. More from GoldDerby 'F1: The Movie' reviews: Brad Pitt burns rubber with 'macho panache' in a high-octane thrill ride Could '28 Years Later' contend for Oscars? Here's the complete awards history of the '28' franchise. 'The Pitt' heads back into production, DC finds its Clayface, and more of today's top stories "I do wonder if Pixar—long the standard bearer of American animation — may be reaching the bottom of its thematic barrel," he writes. "The studio's latest film, Elio, has all the lush and lively imagery one expects from the company. But the film's effort to do the other Pixar trick — delivering a wistful, homespun treatise on some universal emotional matter — runs aground on all-too-familiar shores. Pixar has begun doing what it once seemed it never would: repeating itself." Later in his review, Lawson calls out Elio's confused thematic messaging, which seems to be a struggle for screen time between "grief" and "self-acceptance." In her review, Vulture's Alison Willmore picks up on that same divide and wonders if the issues behind the scenes led to a hodgepodge of morals. "Elio, which itself began as the baby of Coco writer Adrian Molina, only to then be ceded to directors Domee Shi and Madeline Sharafian, plays like something that was imperfectly assembled from its component parts, as though its creative team couldn't figure out a way to align its visions of candy-colored intergalactic diplomacy with its emotional themes of empathy and learning to think about what's going on inside those around us," she writes. IndieWire's Wilson Chapman drew an interesting connection between Elio and the protagonist of another recent cosmic Disney adventure. "In the original 2002 animated film that introduced her, Lilo won the hearts of viewers because she was such a specific, sharply written weirdo," Chapman writes. "She was rough around the edges, bratty and mean, and with eccentricities — a love of Elvis Presley, a belief that a fish on her nearby beach can control the weather — that were singular to her and her alone. Elio is a teddy bear in comparison: he's too instantly sympathetic to ever get properly annoyed at, and his obsession with aliens feels more banal and less personal, a way of acting out after the death of his parents rather than a real passion inside himself. He's easy to like, a sweet kid voiced winningly by spirited child actor Yonas Kibreab. But, like the movie that bears his name, he's a bit too forgettable to fall in love with." And while The Hollywood Reporter's Angie Han also noted some of the retreads present within the movie, the experience of watching it was pleasant enough to be serviceable. "Elio feels just a tad too familiar in its sights and story beats to seem totally fresh," she writes. "Directed by Adrian Molina, Madeline Sharafian and Domee Shi, Elio is a perfectly nice kiddie sci-fi adventure that does everything a movie with that description is supposed to do. But much like Elio, I frequently found myself longing for the more transportive experience, of the sort that Pixar used to make a house specialty." But considering this is Pixar, a studio known for its big emotions, mileage can certainly vary with how resonant those feelings are with its viewers. IGN's Carlos Aguilar certainly responded, awarding Elio a 9 out of 10 in his rave. "With incisive humor, radiant, eye-catching animation, and peculiar alien characters, there's enough entertainment value in Elio to satisfy viewers who are the protagonist's age or younger," Aguilar writes. "But it's the heartfelt insight about universal (literally and figuratively) sorrows and joys that make this one of the studio's most poignant projects to date – even if it leaves you wishing some of its imaginative concepts and creations would have received more screen time." Among the review aggregation sites, Elio currently has an 83 percent "fresh" rating on Rotten Tomatoes and a 61 percent "generally favorable" on Metacritic. Best of GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') 'It almost killed me': Horror maestro Mike Flanagan looks back at career-making hits from 'Gerald's Game' to 'Hill House' to 'Life of Chuck' Stephen King movies: 14 greatest films ranked worst to best Click here to read the full article.