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Universal Studios has released the second trailer for Jurassic World Rebirth, arriving at a theater near you this summer. Watch it here!
The trailer for Jurassic World Rebirth is here, blessing us with the Tyrannosaurus, the Velociraptor and Mahershala Ali. Watch it here!
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Forbes
21 minutes ago
- Forbes
What Format Should You Choose For How To Train Your Dragon 2025?
How To Train Your Dragon will be getting an HDR by Barco release for true HDR presentation but with ... More only a few capable screens worldwide IMAX and Dolby Cinema will be major quality choices. The How to Train Your Dragon franchise has been a great success story for director Dean DeBlois in the animated world, but taking a leaf out of Disney's playbook, it has now taken the leap into the realm of live action. It retains Gerard Butler as Stoick the Vast, with Mason Thames as Hiccup Horrendous Haddock III and Nico Parker as his love interest, Astrid Hofferson. Among the other cast members, we also get Nick Frost as Gobber the Belch, who was also recently announced as Hagrid in the upcoming TV remake of the Harry Potter franchise. Resembling to my eyes, a child-friendly version of House of the Dragon, the new How to Train Your Dragon is big, bold family entertainment, so it's no wonder that it is being released in a plethora of formats, so we'll run through them here to help you decide which one to choose. With a behind-the-scenes trailer IMAX to accompany it, DeBlois says that the film has been made 'specifically with IMAX in mind.' Captured using the Arri Alexa 35 and Arri Alexa LF IMAX, both of which are 'Filmed For IMAX' certified, for over 50 minutes of its runtime, the film will expand to the 190:1 aspect ratio in all IMAX screens. This is likely to be for the big action sequences. Note, though, that this isn't the full-fat IMAX experience that you'll get with films shot with IMAX film cameras with 1.43:1 aspect ratio sequences, but there's no doubt that the flying sequences will be impressive on the extra-large IMAX screens. Also, note that not all IMAX screens are equal. The best ones will use laser projectors for a brighter picture, and most of these will also have 12-channel sound, which does better with overhead effects for more immersiveness. The movie will also get an IMAX 3D release, but my local cinema only has two showings in this format, so you'll have to hunt for this if you're a fan of stereoscopy. Sadly, I found IMAX 3D to be disappointing for the recent Marvel Thunderbolts movie, but technologies such as TrueCut Motion can help with motion blur and perceived brightness, so unless it's confirmed that this tech has been used for this release, I wouldn't recommend 3D in this case. What can be confirmed is that it has had an HDR by Barco grade —the projection technology that makes full use of the dynamic range that the digital cameras used are capable of capturing. As such, this will be the top choice for image quality. Sadly, the projectors are only available in six screens worldwide, and not all of them are showing the movie on their HDR-capable screens. This includes Cineworld London Leicester Square, which is instead showing the new Ballerina movie (which does have an HDR by Barco grade at least) and Mission: The Final Reckoning, which is top draw but doesn't have an HDR grade. At least you'll get more consistency if you choose to see it at a Dolby Cinema. Having seen the trailer in this format at the Dolby screening room in its London HQ (more on this coming soon), I can attest that the intense colors from the greenery and the dragon flames make it a delight for the eyes, while the Dolby Atmos audio is a great match for the swirling flight scenes. If you can't get to IMAX or Dolby screen but still want a large image and great audio, then seek out a premium large-format screen. Every chain has its own branding for these, so look out for Cinemark XD, Cineplex UltraAVX, Xtreme Xscape, Prime at AMC, Regal RPX, and in the UK, Odeon iSense and Cineworld Superscreen. These will all give you 4K laser projection, Dolby Atmos, and decent seats, so it's worth the extra. If you want something really fun, though, consider 4DX, which, for How to Train Your Dragon, is combined with 3D. As such, you might not mind the motion blur as you'll be being thrown around by the moving seats in time with the on-screen action, with rumblers in the seats will make you feel every crash landing, which to me sounds like a ton of fun. ScreenX is also available, which offers extra footage shown on screens that run down the sides of the auditorium. Save for Grand Turismo, where the side-screens were amazing for the cockpit scenes, I've yet to be convinced by ScreenX—though I could see how it could all to the immersiveness of the flying scenes. Aside from this, there's regular RealD 3D in standard screens, but there's a danger it will be an aging Xenon bulb, which could hurt the experience by delivering a dim picture. Personally, you know there's a laser projector in play in your particular chosen screen; if you're not going to choose one of the above formats, I'd avoid it and stick with regular 2D. But with so many other, much more exciting ways of seeing How to Train Your Dragon, it would seem a shame not to take advantage and jump aboard one of them.
Geek Tyrant
23 minutes ago
- Geek Tyrant
Mike Flanagan on THE LIFE OF CHUCK: Dance, Death, and Defying Genre Expectations — GeekTyrant
Mike Flanagan is no stranger to horror. Over the past decade, he's built a fiercely loyal fanbase through intimate, unsettling explorations of grief, trauma, and the supernatural, usually with a Stephen King book in one hand and a camera in the other. But his latest film, The Life of Chuck , is something else entirely. It's still strange. It's still King. But it's also joyous, hopeful, and, packed with dancing. Speaking with Variety, Flanagan explained how the story arrived at a moment of personal crisis, and how its emotional impact altered the course of his creative path. 'This story came into my life at a very interesting time, because I read it in April 2020. The pandemic lockdown is a month old... it hit close to home, to the point that I was initially reluctant to finish reading it. I didn't know if I could take it.' But something shifted. 'By the end of it, I was shocked that I'd been taken from that place into a whole different headspace of optimism, gratitude and joy. I was crying, and not tears of sadness.' That emotional shift became the foundation of The Life of Chuck , a movie Flanagan describes as possibly his most personal work. 'If I could make it into a film that could do that for one other person... then what an incredible opportunity,' he said. Tom Hiddleston leads the film as Chuck, whose life is told in reverse across three acts—beginning at the end of the world and unraveling toward childhood. The narrative structure is unconventional, and Flanagan was adamant about preserving it. 'Life only makes sense when you look back. If you started with his childhood and worked it all the way up, it doesn't seem to hold that same wisdom... the catharsis of looking back and seeing the connections.' That insistence on nontraditional storytelling was a major reason Flanagan made the movie independently. 'I'm certain that if we had tried to do this through the traditional studio system... it would have been mandated to make it far more ordinary.' The film features a major dance sequence with Hiddleston and co-star Annalise Basso, choreographed by Mandy Moore and scored by live drumming, and it was intimadating. Flangan said: 'My favorite movie of all time is Bob Fosse's All That Jazz. I wasn't going to presume to tell Mandy Moore how to choreograph... My job was to capture them creating this spontaneous, joyful experience.' To prepare, Flanagan and cinematographer Eben Bolter studied dance scenes from the silent film era all the way through Hollywood's Golden Age, crafting a sequence that 'would ideally dance with them.' 'It wasn't even so much in the filming of it, but in the editing. Finding a way for me, as the editor, to try to become the Invisible Dancer... It's one of the most complicated sequences I've ever been involved in.' Of course, no Flanagan project based on a King story would be complete without the King himself. The director described their creative partnership as respectful, loose, and built on trust. 'He's very serious that the book is the book, and the movie is the movie, and he doesn't want to influence your creative expression. 'He gets approval on all casting. He's reading the scripts and sending his thoughts... but mostly he backs off and then we talk extensively about it after the fact.' By the time Chuck came along, King gave him the green light without hesitation. 'He was very much like, 'You do you,' and he loved the movie.' As for what's next, Flanagan's tackling Carrie as a series—and that took a bit more convincing. King's initial response? ''Why?' His first response was, 'Leave her alone. She's been through enough.'' But once Flanagan laid out his vision, King changed his tune. 'Then he said, 'Ohh, now I'm interested, just as a fan.'' The Life of Chuck might not look like a Mike Flanagan film on the surface, but beneath its dance beats and surreal optimism is the same deep empathy and strong storytelling that's always defined his work. It's still about confronting mortality. It's just doing it with a little more joy.
Washington Post
33 minutes ago
- Washington Post
Turnstile's new album sounds awesome, empty and irrationally inspiring
Flex your head and this new Turnstile album will feel vacuous. Here goes the reigning band in contemporary hardcore punk, refusing to articulate what they stand for or against, delivering empty gestures with tidal force. But once you get your body involved, the Baltimore quintet's fourth full-length, 'Never Enough,' becomes undeniable. This music is all rush, all urgency, a crushing avalanche of sensation, ballistic and beautiful. Why resist that? Life is short, pleasure is irrational, and if there are any mosh-like reflexes encoded in your physiology, these songs can quite literally remind you how to move through life itself. Yet, as the pit churns, peripheral clumps of lookie-loos continue to ignore this Cartesian riptide, preferring to blab on social media about the scalability of punk, the laws of gatekeeping in a digital age and whether a hardcore band should be allowed to make us feel happy the same way an Incubus song might. Does the material success of Turnstile still bum out hardcore purists? Or have hardcore's purest been quietly rooting for them all along? And what are we really gaining from this endless, tail-chasing talk about popularity and reach? Wondering whether Turnstile is bigger than Bad Brains, Black Flag or Minor Threat feels as exciting as comparing TikTok to fire, stone tools and the wheel. What's most exciting about 'Never Enough' is that it's a massive-sounding album about what isn't there. The opening title track is a vague meditation on feelings of inadequacy, somehow sung with an ardency that should instantly make anyone within earshot feel 10 feet taller. Then everything melts into homework-playlist synth ambiance, foreshadowing the dreamy confusion that lingers for the rest of the ride. On the very next track, the breakneck 'Sole,' bandleader Brendan Yates sings about feeling 'so high, there's nowhere left to lean, when everything is out of your control.' What does he mean? Unclear. But he sounds like he means it with the entirety of his being. This has to be the closest hardcore gets to skydiving, right? Massive thrills in a big emptiness. So with the help of drummer Daniel Fang, bassist Franz Lyon, and guitarists Pat McCrory and Meg Mills, the intensity and meaninglessness continue to accrue as 'Never Enough' unfolds — with much of the credit/blame falling on Yates as he makes his lyrics more aerodynamic, minimizing his consonants, going full-throttle on the vowels. It's easy to get a sense that words — or even worse, the ideas that words tend to contain — might clog up the sonic catharsis, leaving every lyric to aspire to the power of 'whoa.' Incredible singer, though. Yates can move a melody like Sting, then scream in a blazing monotone like Zack de la Rocha, toggling between modes as if redirecting the part in his hair. His sense of melody feels increasingly colorful, economical and fingerprinty in the wake of Turnstile's terrific 2021 album 'Glow On,' and he loves delivering his rainbow notes in groups of five. 'Slow Dive' has a refrain of 'oh-oh-oh-oh-oh'; on 'Dreaming,' the word 'know' grows into 'know-oh-oh-oh-oh'; throughout 'Time Is Happening,' each line lasts five syllables — and while that titular phrase is almost comically vapid, Yates makes it feel as heavy as life and death. There's a profound yearning to be felt every time he opens his throat, and if anything tethers Turnstile to the greater ideology of hardcore, maybe it's that. Or, if not, should all of this band's gorgeous nothingness be parsed as a new iteration of punk nihilism? From the Sex Pistols on down, punk's rage against our doomed future has always been underscored by a latent yearning for peace and justice. Where does Turnstile currently stand in that continuum? Who knows? But at a moment when plenty of punks are out in the street protesting rising authoritarianism and senseless war, it feels baffling for the most celebrated band in all of hardcore to be this politically inert. Regardless, the musical zeal of 'Never Enough' at least earns it Rorschach-blot status. Listen closely to these songs, then to yourself. Maybe you hear loud, friendly, exhilarating 21st-century rock music that's easy to feel, easy to feel a part of. Or maybe you hear Turnstile's blank-slated spaciousness as a gesture of possibility, inspiration and empowerment. To do what? That's on you. But whether it's out of an airplane, into a mosh pit or into the streets, this music will push you if you don't jump.
