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jeen-yuhs: A Kanye Trilogy Directors Told Ye ‘He Had to Step Back’

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jeen-yuhs: A Kanye Trilogy Directors Told Ye ‘He Had to Step Back’

The three-part Netflix documentary about Ye, formerly known as Kanye West before his successful petition for a legal name change last fall, jeen-yuhs: A Kanye Trilogy, is coming to Netflix on February 16, 2022. Before hitting the streaming platform, the first episode premiered virtually at the Sundance Film Festival on Sunday night. But like anything with the Ye, something unexpected happened, with the rapper taking to Instagram just prior to the film’s Sundance premiere to demand directors Clarence “Coodie” Simmons and Chike Ozah “open the edit room” for him to give his “final edit and approval.” But the rapper’s friends did not abide, and the first episode premiered as planned. Simmons and Ozah’s jeen-yuhs is about Ye’s life, covering everything from the 2007 death of the rapper’s mother Donda West to his mental health to his failed presidential bid in 2020.

Speaking to The Hollywood Reporter before Ye took to Instagram to demand final edit and approval on the trilogy, Simmons recalled conversations with the rapper about jeen-yuhs (pronounced “genius”) documentary when it was in earlier stages. “When it came down to making it, I had to let him know to make this film authentic, he had to step back,” said Simmons, who co-directed the doc with Ozah. “I had to take control of this narrative that God created — we didn’t create this. And he said he trusted I would do a good job on it.”

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The documentary charts Ye’s rise as a young producer and wannabe rapper to a 22-time Grammy winner and one of the world’s best-selling musicians with over 160 millions records sold. The trilogy begins in 1998, with Simmons, an aspiring filmmaker and host of the Chicago public access show that he co-founded Channel Zero, conducting an interview with a young Ye at Jermaine Dupri’s birthday party. From there, a friendship formed between Ye, Simmons, and Ozah and the rapper hired the young filmmakers to document every step he took on his rise to stardom.


After Ye won the Grammy for best rap album for his 2005 multi-platinum debut album, The College Dropout, Simmons thought it was the perfect end to his documentary since the rapper was at the top of his game. “It seemed like, at that moment, it could have been over,” he remembers, but “Kanye wasn’t ready and, of course, if we did put this out then, it wouldn’t have had the same impact.”

Simmons and Ozah Didn’t Film Ye for 10 Years

Shortly after Simmons and Ozah lost access to their subject for over a decade, reconnecting with the Donda rapper in 2016 to finish filming the documentary. Reconnecting after the musician’s public breakdown the same year, which included the infamous Sacramento show where Ye insulted everyone from Mark Zuckerberg (probably deserved it) to Beyoncé (definitely didn’t deserve it) before walking offstage. The rapper was later hospitalized and diagnosed with bipolar disorder. According to early reviews, when jeen-yuhs addresses these public mental health episodes, its always from the perspective as a concerned friend with the filmmakers even opting to stop filming when Ye starts to spiral in order to persevere his reputation.


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The filmmakers, on the other hand, have a much different opinion on their impartiality toward their friend and subject. Simmons explains:

I always thought he was just going off. I didn’t think it was anything to do with mental health. And in our community, we don’t pay attention to mental health, so we didn’t understand it. To lose his mom, Donda West, in public like he did, you just don’t know what that would do to a person.

We can’t go around anything that happens in life. Things happen, and we were filming it. We have to be authentic to what happened.

Throughout his years filming Ye, Simmons’ captured an array of moments like conversations between Ye and his mother, the aftermath of the rapper’s 2002 car accident, and even a clip of “West analyzing the media coverage of his first presidential campaign rally where he cried onstage while talking about his views on abortion,” according to THR. Although not arrested, the rapper was recently named a suspect in a battery report that led to an investigation by the Los Angeles Police Department, following an incident outside the Soho Warehouse, a members-only club.


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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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