Latest news with #Wachowskis
Metro
26-07-2025
- Entertainment
- Metro
9 thriller movies we'll probably never get to see – and the reasons why
Link is copied Comments Whether you're a fan of gritty crime dramas, tense courtroom encounters, psychological shockers or murder mysteries, the thriller is one of the widest and most popular genres in cinema. All types of movies fall under this banner (and it's a genre which has kept us glued to the screen for decades, and has continued to do so in 2025), from the likes of Black Bag and Drop through to the upcoming remake of The Running Man and the big screen version of best-selling novel The Housemaid. But for every dose of thrills keeping us on the edge of our seat, the path is littered with those that never quite made it. Here's 10 from all sub-genres of thriller that once could have been box office gold, yet never saw the light of day... (Picture: REX/Shutterstock) First up, we have this intriguing sounding action thriller which was all set to be made courtesy of Lethal Weapon producer Joel Silver, with Wesley Snipes taking the lead. Sandblast, which was originally tipped to star Eddie Murphy, told the story of a landmine expert navigating a dangerous desert. But despite the interesting premise and big name cast, it never became a reality, and the reason isn't clear. However YouTube channel TheItalianStallion has taken a closer look at the film that never was, citing everything from its similarity to 90s movie Broken Arrow, to creative issues around co-star Jean-Claude Van Damme (Photo by) The Wachowskis have given the movie world hits such as the Matrix franchise, Cloud Atlas and the 90s indie gem Bound. But one project of theirs which never became a reality was their adaptation of Joseph R Garber's 1995 best-seller Vertical Run. Kurt Russell had been tipped to star in the movie about an executive who has the work day from hell, after his boss - and everyone else he meets - tries to kill him. But despite all the big-name talent attached, and the backing of Warner Bros, this one never made it past pre-production. It's not clear why, but we can't pretend this wouldn't have made a cracking film (Picture:) Nothing to do with the social media behemoth, Tick-Tock was originally announced in 2001 with a stellar cast that included the likes of Samuel L Jackson and Jennifer Lopez. The plot centred on an amnesiac who wakes up in the custody of the FBI and finds out he is the prime suspect for a string of bomb attacks in Los Angeles. The film was set to go into production in early 2002, however reports at the time suggested it was shelved following the 9/11 attacks that same year. Filmmaker Stephen Norrington, who was attached to the project, went on to make The League Of Extraordinary Gentlemen, but has since retired from directing (Picture: John Nacion/Variety via Getty Images) Vince Vaughn has been a familiar face on screens over the past few decades thanks to his roles in the likes of Dodgeball, The Wedding Crashers, The Break-Up and recent Netflix smash Nonnas. But one movie he was attached to that we never got to see was the big-screen version of Ridley Pearson's suspense thriller The Risk Agent. The actor was announced in 2012 to have acquired the film rights to the novel, about a military contractor who joins forces with a Chinese intelligence officer to investigate a kidnapping. All of which sounds like cinematic gold. Except, 13 years later, we're still waiting to see it, with reports suggesting it's still 'in development'. Could it happen? In theory, yes, but with no release date or production date forthcoming, who knows if it'll ever become a reality (Picture:) So this one might tip into the realms of romance, but it's a romantic thriller more than anything else, so we'll include it. The Bodyguard, which stars Kevin Costner as a former Secret Service agent turned reluctant bodyguard to a superstar singer (Whitney Houston), was pretty much imprinted on the brain of anyone who grew up in the 90s. Mainly for Houston's smash hit track I Will Always Love You, of course. And it was so huge that it's not surprising there were plans for a sequel, which this time would have featured Costner starring alongside the late Princess Diana. Following her tragic, premature death in 1997, however, plans ground to a halt. And while that put an end to all plans for a sequel, the Bodyguard has lived on as a hit stage musical - and Deadline revealed in April a remake of the original is in development (Picture: Warner Bros) You'd think a filmmaker as revered as Alfred Hitchcock would have no problem getting a movie before the cameras, right? Well, that's where you're wrong. The creative genius behind such classic films as Psycho, Vertigo, Rear Window and Strangers On A Train did have some projects which never made it to screen. Notably, 1967's Kaleidoscope, the dark tale of a New York bodybuilder-turned-serial killer, who lures his female victims to their deaths near water. Unfortunately, we'll never know what might have been with this low-budget effort - as executives at MCA/Universal turned the script down, deciding it was just too explicit for them. Hitchcock went on to make espionage thriller Topaz instead, before releasing serial killer thriller Frenzy in 1972 (Photo) Spike Lee's 2006 crime thriller starring Denzel Washington and Chiwitel Ajiofor was a critical and commercial hit when it was released, scoring an impressive 86% rating on Rotten Tomatoes - and becoming the director's highest-grossing movie ahead of previous champion Malcolm X. So it's no surprise that a sequel was planned for the movie, which centred on an elaborate bank-heist turned hostage drama on Wall Street. However, Lee himself revealed in 2011 that plans for the follow-up had been shelved as he could not secure funding. 'Inside Man was my most successful film, but we can't get the sequel made,' he said at the time. Instead, film fans had to make do with a belated follow-up, 2019's Inside Man: Most Wanted, with a whole new cast and director. You can see that one on Netflix, while being left to wonder how Lee's version might have been (Picture: Lee/Universal/Kobal/Shutterstock) Now here's one that had a pretty top-notch cast attached, with the likes of Gerard Butler, Matthew McConaughey and Sam Worthington all reported to be on board at the time. The film, based on the novel Thunder Run - The Armored Strike to Capture Baghdad by David Zucchino, about the capture of the Iraqi capital by US forces in 2003, was originally announced in 2011. And aside from the cast, it promised some pretty impressive visuals too, with the movie set to be shot in 3D and feature CGI motion-capture technology. It never became a reality, though. Why, we're not sure, but we can't pretend we're not a little disappointed by its non-appearance (Picture:for Tribeca Festival) Considering his track record in action thrillers over the decades, Jason Statham seems like the perfect choice to topline a movie based on a novel by Andy McNab. And so it was that the Beekeeper star was revealed to be starring as an SAS agent in Echelon, based on McNab's book Firewall. Except the author revealed in 2011 that scheduling clashes had forced the star to quit. 'There are so many films he's got lined up, there wouldn't be a slot for him to do it,' he told Digital Spy. We've not heard a peep from this adaptation since then, so whether or not it'll get made, with Statham or another star, remains to be seen (Picture: Max Cisotti/Dave Benett/WireImage) Next Gallery
The Guardian
19-06-2025
- Entertainment
- The Guardian
Gina Gershon: ‘Tom Cruise was tickling me in bed. I nearly broke his nose'
Gina, you are a spectacular and artistically brave woman and movie star. How do you rationalise – and, hopefully, enjoy – the fact that your audiences often encounter you as a beacon of beauty, sexuality and eroticism? Geroellheimer People can see me in whatever ways they want. As long as what I do brings them joy or helps them think about things, I don't contemplate how they view me – it's too abstract. When people share their opinions about me with me, I wonder who they're talking about, but I go along with it to be polite. How do you move on and decompress after playing such intense roles? mansurz After Showgirls and Bound, I had so much residual energy that I ended up going to Greece, cut off some of my hair and released it into the sea. I thought: 'This is very Greek.' There was a lot of energy that came with playing Donatella Versace. When I played Nancy Sinatra, I don't want to say 'I channelled her', but I tapped into her energy. The next thing I knew, I had all these stomach ulcers. I asked her about it. She said: 'I've had seven or eight of those.' I thought: 'Oh my God, really?' What do you think of your status as a gay icon? Kooooonan I think it's fabulous. I'm just happy it's brought so many people so much joy. A lot of women have come up to me and told me how Bound helped them either come out or accept certain things. So that feels nice, you know? Did the Wachowskis invite you to audition for The Matrix? Glozboy They wanted to do The Matrix before they did Bound, but they needed to prove themselves. Once we started working on Bound, they told me about The Matrix. I said: 'That sounds insane – and great.' The storyboards all had my face on, so I naturally assumed I was playing Trinity. Then I guess they fell in love with Carrie-Anne Moss and I didn't do it. It was kind of heartbreaking. Did 'the joke' of Showgirls go over the rest of the cast's heads, or were you all on the same page? Rjoepenk I was a big Paul Verhoeven fan. I loved Turkish Delight and Spetters, so I knew it was going to be very heavy and intense. I went deep down into Cristal, thinking I'd be playing Margo instead of Eve [in All About Eve], thinking about Aphrodite. It felt as if I was preparing for a Wagner concert or something. When I walked on to the set, it was a Technicolor pop concert of jewels and feathers. There was a moment when I was hanging on a rope in an S&M outfit, looking down at a load of naked bodies dancing around me, where I had this weird existential moment. I thought: I studied the classics! I wanted to play Medea. I wanted to do Chekhov. How did I get here? I thought: I better be really, really good in this, or else my career is over before it begins. As it turned more campy, I decided not to take things so seriously and thought: the drag queens will love me and want to dress like Cristal on Halloween. Your cameos in Curb Your Enthusiasm were hilarious. How hard is it not to laugh? Galdove19 Playing Hannah the Horny Hasid, as I like to call her, was some of the most fun I've ever had. I had no idea what I was getting into. When they called, I was sitting with [the music producer] Rick Rubin. I said: 'I don't really have time. I'm doing a movie. I'm doing a TV show.' He said: 'If there's only one thing you should do all year, it's Curb Your Enthusiasm.' When I got on set, I assumed I was playing myself. They said: 'No, we want you to play the Hasidic Jew.' Larry [David] said: 'Can you think of an accent?' I thought about my waxer, Rochelle – a French-Israeli woman who lived in the Bronx. I always loved her voice, so I just did her. Larry was laughing so hard. Any time you do something that makes Larry laugh, you feel great. But it's not so great when you're shooting, because they say: 'We have to do it again because you laughed.' But then you just want to make him laugh, because it feels so satisfying to make him break. What was it like working on the truly absurd Face/Off? If you could swap faces with anyone, who would it be? Bauhaus66 I'd like to swap faces with my cat, because he's so handsome. He's called Lord Louis. Lord Louis Zuzu the Magnificent. He's a 28lb [13kg] bundle of handsome love. He's part African savannah domestic and looks like a lion. I wouldn't mind having Benicio del Toro's face; I just saw him in the new Wes Anderson movie [The Phoenician Scheme]. I could watch his face all day long. Did you feel you were on track to become a femme fatale after your guest stint on Melrose Place? Kal_85 Can I tell you the only thing I remember about Melrose Place? I was in Toronto with a bunch of people and we went to a strip club, like you do in a weird location. It was pretty tame and actually quite sweet. This dancer came walking down the runway, doing her bit. She looked at me, pointed her finger and went: 'Melrose Place!' I thought I was going to die. I'd never been pointed out like that before. I can't even remember who I played on Melrose Place. Is that terrible? What was it like being part of a typically alpha-dog Michael Mann environment working on The Insider? leroyhunter I always thought I was too young. I said to Michael at the audition: 'I'm too young to be believable. We're talking about a 40-year-old woman.' She seemed so ancient to me. I thought: should I have grey in my hair? I walked on to set with no makeup, looking like a kid. I remember Al Pacino looking at me, as if to say: 'What the fuck? How is she going to play this person?' I said: 'Don't, worry. I'm gonna age up quickly.' My first scene was with the great Christopher Plummer – the scene where he yells at me right in the face. He was so intense. It was the first time I felt: wow, I don't even really have to act. When you're working with someone so great, you just stay present and it becomes electric. What was it like ordering a multiple orgasm from Tom Cruise in Cocktail? TopTramp I almost broke his nose. I had never done a love scene before and it was going to be with Tom Cruise. I thought: God, I get paid for this. He was so cute. I had a crush on him immediately. He was very protective and very much a gentleman, saying: 'Let's keep you covered.' He was very concerned. Originally, we were supposed to be running around naked, but I thought: I don't wanna do that. That seems dumb. I suggested: 'Why don't you go down on me under the covers? Then when you pop up, it'll be a surprise.' He loved the idea, but I'd told him I was very ticklish, because he had started to tickle me earlier. I said: 'Just don't do that. I lose control because I was tortured as a child by my brother.' Right before the take, he was down there and grabbed my waist in a tickly, sweet manner. I didn't mean to, but I had a kneejerk reaction right into his nose. It was full of blood. I thought: I just broke Tom Cruise's nose. I will never work in Hollywood again. I was mortified because I really kicked him good. I didn't mean to. He said: 'Nope. My bad. You warned me.' I remember thinking: this guy is a movie star. He deserves everything he gets. He was just so kind and so sweet with me in a situation where I was quite vulnerable. I'm glad he was my first. High Rollers is on digital platforms
Geek Tyrant
16-06-2025
- Entertainment
- Geek Tyrant
Will Smith Admits He Passed on Christopher Nolan's INCEPTION Because 'I Didn't Get It' — GeekTyrant
Will Smith is no stranger to turning down major movie roles, but in a recent interview with Kiss Xtra (via HuffPost), he revealed a surprising addition to that list… Christopher Nolan's Inception . Smith confessed that the mind-bending sci-fi thriller just didn't click for him at the time. He explained: 'Chris Nolan brought me Inception first and I didn't get it. I've never said that out loud. Now that I think about it, it's those movies that go into those alternate realities… they don't pitch well. But I am hurt by those, too.' Leonardo DiCaprio eventually stepped into the lead role and the film went on to become one of Nolan's biggest box office hits, raking in $839 million globally and earning eight Oscar nominations. Smith, meanwhile, added Inception to a short but brutal list of projects he regrets turning down, right alongside The Matrix and Django Unchained . Back in 2019, Smith broke down his reasoning for passing on The Matrix . Smith recalled the Wachowskis pitch, telling him: 'We're thinking like… imagine you're in a fight. You, like, jump. Imagine if you could stop jumping in the middle of the jump. But then, people could see around you 360 degrees while you stop jumping. We're going to invent these cameras… It hurts too bad to talk about.' Smith obviously has an issue seeing the big vision for these massive projects. It's so funny that he passed on these films, but then jumped on board a movie like Wild Wild West . As for Django Unchained , Smith has always maintained that the creative direction just didn't align with his vision. Though Quentin Tarantino initially approached him for the lead role, which eventually went to Jamie Foxx, Smith previously said: 'I didn't want to make a slavery film about vengeance. To me, it's as perfect a story as you could ever want: a guy that learns how to kill to retrieve his wife that has been taken as a slave. 'That idea is perfect. And it was just that Quentin and I couldn't see [eye to eye]. I wanted to make that movie so badly, but I felt the only way was, it had to be a love story, not a vengeance story.' In the end, even some of the biggest movie stars can't see or grasp the vision of smart filmmakers... especially when it's buried in a dream within a dream within a dream.
The Guardian
30-05-2025
- Entertainment
- The Guardian
Post your questions for Gina Gershon
Gina Gershon has been on our screens for nearly 40 years, during which she has starred in scene-stealing roles opposite some of Hollywood's biggest actors. In her more likable moments, she orders an orgasm from cocktail-maker Tom Cruise in Cocktail ('How many would you like?' 'Multiple' – fnar fnar) and takes a bullet for Nicolas Cage in Face/Off. In her less likable (but equally scene-stealing) moments, she receives a lapdance from – and gets pushed down the stairs by – Elizabeth Berkley in Showgirls, chops Val Kilmer into small pieces in Breathless, gets murdered under the supposed watch of Arnold Schwarzenegger and Jim Belushi in Red Heat, and is forced by Matthew McConaughey to simulate oral sex on a chicken drumstick in Killer Joe. Ahem. Now Gershon stars as the wife of Vegas thief John Travolta in High Rollers, although, from the trailer, in which she gets kidnapped to force Travolta to work, it's hard to see if we're dealing with a nice or nasty Gina. But that won't stop her having plenty to talk about; ask her anything. Maybe her first bit part in 1986's Pretty in Pink or becoming a gay icon for starring as a lesbian ex-con in the Wachowskis' first film, Bound in 1996. Or there's that time in Curb Your Enthusiasm where she offers to have sex with Larry David as his birthday present from Cheryl. She has also parodied Melania Trump on more than one occasion. And perhaps most bizarrely of all, she played the jaw harp on the second Scissor Sisters album. Please get your questions in for Gina by 6pm BST Monday 2 June, and we'll print her answers in Film & Music later in June. High Rollers is on digital platforms from 16 June
Campaign ME
30-04-2025
- Entertainment
- Campaign ME
Beyond the billboard: The evolution of outdoor advertising
In a world saturated with content, capturing consumer attention has become a high-stakes game. While traditional outdoor advertising – billboards, bus shelters, transit ads – once relied on big visuals and catchy taglines to make a splash, today's most effective campaigns are embracing a more immersive, narrative-driven approach: transmedia storytelling. Transmedia storytelling is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies. Each medium contributes uniquely to the narrative, adding depth and engagement while encouraging audiences to actively participate in the story. This concept isn't new – it actually has deep roots in Hollywood, where some of the biggest blockbuster franchises pioneered the approach long before marketers caught on. The Hollywood origins Transmedia storytelling first gained traction in the entertainment world, with franchises such as Star Wars and The Matrix setting the gold standard. George Lucas's Star Wars universe expanded not only through its films, but also through novels, animated series, comic books, video games and even theme park attractions – each medium adding layers to the story and building a richer world. Similarly, The Matrix didn't just live on the big screen. The Wachowskis extended their narrative through animated shorts such as The Animatrix, video games such as Enter the Matrix and interactive web content – all essential to understanding the larger storyline. This interconnected method of storytelling laid the groundwork for the way brands and creators now think about engaging audiences across multiple channels. When applied to outdoor advertising, transmedia turns static spaces into dynamic entry points for a larger, multi-platform narrative journey. From static to story: The evolution of outdoor advertising A standalone billboard can only say so much. But what if it could lead audiences into a world they could explore further – through mobile interactions, social media, augmented reality, or even real-world activations? Enter transmedia outdoor campaigns. Rather than being the story itself, the billboard becomes a gateway. For example: A mysterious QR code on a mural leads to a character's Instagram account. An interactive bus shelter features a riddle that ties into a branded online game. A digital screen shows only a glimpse of a film's backstory, inviting viewers to unlock the full narrative via an app. These experiences don't just advertise; they invite audiences to co-create and live the story. Why it works: Layered stories, loyal fans Transmedia storytelling works by allowing different parts of a story to unfold across multiple platforms – each offering a unique piece of the narrative puzzle. A billboard might introduce a mysterious character, while social media reveals their backstory, a mobile game lets users step into their world and a short film deepens the emotional arc. This layered approach creates a more holistic, immersive experience that feels less like advertising and more like meaningful engagement. It's especially effective for younger audiences who prefer to discover content organically rather than be interrupted by traditional advertisements. By inviting them to explore, participate and piece together the story on their own terms, brands earn attention rather than demand it. Real-world wins: Transmedia in action Netflix's Stranger Things Season 4 used urban projections, missing person posters and themed pop-ups to create an eerie presence in cities before the show aired. The story unfolded across social media, augmented reality filters and on Spotify tailored to fans' viewing habits. Nike's You Can't Stop Us campaign combined outdoor murals with geotagged Instagram posts, fitness app challenges and real-time user-generated content that added layers to the core story of resilience and community. HBO's Westworld took it a step further with a city-wide scavenger hunt in Austin during the South by Southwest (SXSW) festival, featuring cryptic signage, in-world experiences and a fully interactive website that tied back to outdoor placements. How brands can use transmedia in OOH Start with the story, not the space: What is the narrative you want to tell? Who are the characters? What's the conflict or mystery? Your outdoor creative should tease or ignite the journey. Connect the dots with tech: Use QR codes, near field communication (NFC) chips, AR filters, or geolocation tools to transition users from physical to digital. Make each platform additive: Avoid simple duplication. Let each touchpoint (poster, video, app, live event) contribute uniquely to the story. Encourage user participation: Let fans interact, unlock secrets, or even shape outcomes. This boosts emotional investment and viral sharing. Plan for long-term engagement: Transmedia storytelling isn't just a one-off stunt – it's a narrative arc. Design your campaign to evolve over days or weeks. The bottom line From the galaxies of Star Wars to the mind-bending reality of The Matrix, transmedia storytelling has long captivated audiences by building immersive, interconnected worlds. Now, that same magic is reshaping how brands use outdoor advertising. Transmedia turns passive moments – waiting for a bus, walking down a city block – into moments of discovery. In an age when attention is the ultimate currency, turning a billboard into a gateway to the story isn't just smart – it's essential. Outdoor media can either be a powerful standalone platform for transmedia storytelling or seamlessly integrated with indoor, digital and experiential channels to create a cohesive, multi-sensory narrative journey. Whether it's the entire stage or just one scene, outdoor has the power to move the story forward. The future of advertising isn't just about being seen. It's about being experienced. By Dr. Stavroula Kalogeras, MBA Programme Director, Edinburgh Business School, Heriot-Watt University Dubai
