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Adam Sandler Confirms That He Has ‘Heard Chatter' About ‘Grown Ups 3' Happening

Adam Sandler Confirms That He Has ‘Heard Chatter' About ‘Grown Ups 3' Happening

Yahoo22-07-2025
The long-awaited 'Happy Gilmore 2' celebrated its premiere in New York City on Monday, July 21 at Jazz at Lincoln Center, along with a massive array of talent including stars Adam Sandler, Julie Bowen, Benny Safdie, Bad Bunny, and Kid Cudi, to name a few. Sandler reprises his role as the titular unsuccessful ice hockey player turned unlikely golf pro.
Sandler's 'Grown Ups' co-star Kevin James revealed that a third installment may be on the horizon. 'I think you can keep hope alive,' James told The Direct. 'I can say that. I would keep a lot of hope alive. And I think it's happening—something's happening. I can say that.'
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'It would be fun, that would be fun,' Sandler told IndieWire on the 'Happy Gilmore 2' carpet. 'We're always thinking of some shit and trying to get us all together. I've heard chatter.' As for if he is down for 'Grown Ups 3,' Sandler says, 'When it happens, I've got to let you know. I just don't know what the fuck we're doing right now, but we're trying to figure out stuff.'
We also had a chance to catch up with Safdie, who's next project, 'The Smashing Machine,' releases in theaters on October 3 from A24. The biopic follows UFC legend Mark Kerr, led by Dwayne Johnson. 'It was one of the most incredible things to witness,' Safdie told IndieWire of Johnson's unrecognizable transformation.
'He was just so committed and amazing,' he continued. 'To see him walking amongst, like, 400 people, and everybody being like, 'When's Dwayne going to get here?' He's just walking amongst everybody. Everything about him changed. It was really, really cool.'
'You really understand the fears, the love, the sadness, the happiness,' Safdie previously said of just how great Johnson is. 'If somebody's open to doing that and talking about that stuff, then they're going to be able to give a great performance. Because of how physically strong he is, I don't know if a lot of people give him that opportunity.'
'Happy Gilmore 2' is directed by Kyle Newacheck ('Workaholics,' 'What We Do in the Shadows'), who also previously helmed Sandler's 2019 film 'Murder Mystery.' Sandler cowrote 'Happy Gilmore 2' with Tim Herlihy, who also cowrote the original.
It premieres July 25 on Netflix. Check out the trailer here.
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Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant
Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant

Geek Tyrant

time4 minutes ago

  • Geek Tyrant

Mr. Fantastic and His Powers Were Underutilized in THE FANTASTIC FOUR: FIRST STEPS; He Deserved Better — GeekTyrant

The Fantastic Four: First Steps missed a huge opportunity with one of Marvel's most visually creative superheroes. Reed Richards, aka Mister Fantastic, is supposed to be a stretchy powerhouse with abilities that defy the laws of physics. In the film, though, those powers are barely touched. What should've been a display of inventive, wild, and over-the-top visuals turned into a muted, limited showcase that felt more like an afterthought than a highlight. Now, credit where it's due, the film did a decent job of portraying Reed's intellect and leadership. He's thoughtful, composed, and clearly the brain of the group. But that's only half the picture. In the comics, Reed has a subtle charm and awkward charisma that makes him both relatable and admirable. That side of his personality was barely explored. He didn't need to crack jokes or go full Tony Stark, but a bit more emotional depth and nuance would've made him feel more alive. The biggest letdown, though, was how the film's creative team handled his powers. Mr. Fantastic can stretch, mold, twist, flatten, inflate… you name it. There are comic book moments where he's used his body as a net, wrapped himself around massive cosmic entities like Galactus, and turned into practically any shape needed to solve a problem. But in the film, his powers a very underutilized and limiting. At one point in the film we are watching Galactus strech Mr. Fantastic like a rubber band and he's screaming in pain. When you see how far is stretching ability goes in the comics, Galactus stretching him like that shouldn't have been an issue for him because it was nothing compared to what we've seen him do in the comics! We barely see any of those cool visuals from the comics in this film. His action moments are stiff and uninspired. Instead of showing Reed's resilience, it just made him look weak. The movie ignored everything fans know about how cool and versatile his powers really are. The creativity behind Reed's abilities is what makes him stand out in the superhero landscape. His power set should be a director's playground. You can do so much with the elasticity and adaptability of his body, yet the movie seemed afraid to go there. We didn't see him shape-shift in creative ways, use his body as a shield or slingshot, or even do something as simple as multitask with extended limbs in a high-stakes moment. They kept his abilities small, which is the opposite of what Mr. Fantastic should be. At the end of the day, The Fantastic Four: First Steps didn't give Mister Fantastic the treatment he deserved. His powers were underused, his moments of brilliance were too few, and his potential was left on the table. Reed Richards is a genius, yes, but he's also a one-man Swiss Army knife of superpowers. Hopefully, future film will fully embrace what makes Mister Fantastic truly fantastic.

If Charmaine Lee loses focus during a concert ‘this whole thing can collapse'
If Charmaine Lee loses focus during a concert ‘this whole thing can collapse'

Washington Post

time5 minutes ago

  • Washington Post

If Charmaine Lee loses focus during a concert ‘this whole thing can collapse'

Think of all the things a musician can produce by contorting their vocal cords, from operatic wallops and birdsong trills to percussive raps and wordless scats. Now think of the voice as a tool used to express the gasps, gurgles, glottal stops, murmurs and mumbles that fill the space between words, like a Foley artist for the spoken word. As an artist, Charmaine Lee is closer to the latter, speaking through a musical language of her own creation and using her voice in a way she says has been compared to 'Charlie Parker with a bunch of broken keys.' While sonically reminiscent of experimental electronics and noise music, Lee's practice is actually an extension of her training as a modern jazz vocalist, growing out of a formal approach to free improvisation that she studied at the New England Conservatory. 'I'd always had this yearning for something weirder, a context that was stranger than I had previously had any real life experience in,' Lee says over Zoom. 'A lot of that lived in free improvisation … in the very few experiences I had, it was incredibly liberating and the most authentic way that I could express myself.' Lee has spent a decade chasing that feeling, approaching composition and improvisation as creating obstacle courses to conquer in real-time and bringing herself to 'the edge of nowhere.' Her process has reached its apotheosis on her most expansive record to date, 'Tulpa,' which is due out on Oct. 31 via her new label Kou Records. 'Tulpa' is the result of four days in the studio with her partner, Randall Dunn, a producer known for his work in the worlds of black and drone metal that Lee describes as 'a master of amplification and feedback and tone.' Dunn set up an array of vintage tube amplifiers around Lee, splitting her signal through the amps to create different colors and shifts of feedback. The album takes its title from a term in Tibetan Buddhism that refers to the conjuring of an alternate being. 'This music feels like its own organism … and stretches me into new directions in ways that I've never done prior to that,' Lee says. 'To bring myself to that place where, if I lapse in focus or commitment, this whole thing can collapse … I find that very thrilling, life affirming and exciting.' In concert, that experience is heightened by the existence and participation of an audience. Lee describes her performances as a 'wasabi shot' that wakes both artist and attendee to something that requires presence and invokes psychedelia. And after years at day jobs that never left much room for touring, Lee is hitting the road for a daunting schedule that will take her to all 50 states for more than 60 shows and nearly 100 days on the road. Lee sees the tour as a durational performance that will evolve over the course of the tour, an opportunity to collaborate with like-minded artists in far-flung cities and a chance to learn about the country beyond the reductive conclusions driven by digital algorithms. 'This music, for me, is such a social practice. It's live, it's risk-taking, it requires a level of energetic participation and it's very specific to that exact context,' she explains. 'I want this tour to be larger than the act itself.' Aug. 14 at 7 p.m. at Rhizome DC. $15-$25.

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