Could Michael Keaton Really Return As Batman?

There’s been an unlikely-sounding rumor circulating around Hollywood in recent weeks, and if you hadn’t heard it before, you’ve just heard it in the title of this article Allegedly, Michael Keaton is in talks to return to the role of ‘Batman.’ Keaton is 68 years old. He hasn’t played Batman since “Batman Returns” in 1992. More importantly, someone else has the official job of being the DC Universe’s version of “Batman.” Could there be something behind this unexpected story, or is it nonsense? Let’s see if we can separate the fact from the fiction.

First of all, we know that Robert Pattinson is Batman. The former “Twilight” star won the role last year after Ben Affleck’s short and uninspiring time in the Bat-suit, and he doesn’t make his debut as the character until his movie “The Batman” comes out next year. It’s public knowledge that he’s contracted to more than one appearance as the character, and fans are already openly speculating about whether the timeline of the on-screen universe could be twisted enough to allow Pattinson’s Batman to come up against Joaquin Phoenix’s gritty and compelling version of the Joker in a film for the mid-2020s. Pattinson is a young, strong man, and won’t be giving the role of a lifetime up any time soon unless his debut in the famous costume is a box office bomb. That seems unlikely.

This Michael Keaton film, if rumors are to be believed, won’t have anything to do with the Pattinson films and won’t pollute the existing DC Comics timeline. In fact, it won’t even be a standalone movie in its own right. Instead, Keaton’s big comeback would be for a cameo role in the upcoming film “The Flash,” starring Ezra Miller as title character Barry Allen. Those of you who hoped that the trend for superhero movies might have come to an end after the last “Avengers” film hit the big screen are in for a disappointment. There are plenty more to come, and “The Flash” is just one of them. According to insiders who claim to have seen the script and are familiar with the project, it calls for an appearance by a senior Batman, accompanied by Michelle Pfieffer, who will apparently reprise her role as Catwoman from “Batman Returns” alongside the star.

If the thought of bringing back Keaton for a throwaway performance upsets you, don’t lose hope just yet. Look away now if you don’t want to see a potential spoiler, but apparently, this new “Flash” film will create an alternative reality within the DC Comics universe, allowing Keaton’s Batman to exist independently of Pattinson’s. Keaton would then appear as Batman in a number of other DC Comics projects, and may eventually get a new film as the fabled Caped Crusader in his own right. At this point, all of this is little more than speculation, but the news has been reported in so many different publications that it would be rational to assume that there’s at least some fire to go with all the smoke. One publication that’s gone a step further than all the others is the Hollywood Reporter, which claims that Keaton’s Batman will be a mentor figure to other superheroes right across the DC Universe, not dissimilar to the role Nick Fury plays in Marvel films.

The idea of an older Bruce Wayne or Batman is a fascinating one, and one that we’ve never seen explored on the big screen before. Presumably, he’d be disinclined to put the Bat-suit on unless the situation becomes excessively grim, but the concept of a Batman who has spent an entire lifetime fighting crime and is now headed for retirement is an interesting one. We’re even more interested in the idea of him having some kind of late-life domestic bliss with Selina Kyle, who will presumably also have said goodbye to her days of wearing a latex catsuit. The idea opens up a series of possibilities that couldn’t be explored within an ordinary “Batman” movie, and it’s original. Originality doesn’t come along often in superhero films, and so when it does, it ought to be applauded.

The fact that there’s been so much buzz among fans about the possibility of seeing Keaton as Batman again should be enough to confirm to DC that the idea is worth pursuing. Part of the appeal will be down to nostalgia. With few exceptions, the older “Batman” films are more widely appreciated by the public than the newer “Dawn of Justice” era films. While we won’t pretend that online slots websites are a perfect measure for this, if you checked one, you’d see what we mean. You’re highly likely to find Crime online slots based on “Batman Begins,” and the old Adam West “Batman” series. You’re far less likely to see anything featuring Ben Affleck’s face. The companies who make those online slots know which incarnations of Batman are likely to tempt people into spending their money, and if they know it, movie producers know it as well.

Keaton’s relationship with Batman over the years has been complicated. It’s been said of the character that it either makes your career or destroys it. Christian Bale’s acting career reached the apex of Hollywood after his “Batman” appearances. Val Kilmer’s was utterly destroyed. George Clooney got away with it because he demonstrated that he had a sense of humor about the dire “Batman” film he made, and Keaton seemed to disappear for a while after 1992. For the rest of the 1990s, he complained that the movies had painted him into a corner and made him typecast. Within the past decade, though, he’s had a late-career resurgence and even felt comfortable performing a pastiche of both himself and the character in 2014’s Oscar-winning film “Birdman.” If he’s entered into talks about becoming Batman again, it’s a sign that he’s finally at peace with the role and his own past.

DC probably wanted to keep this information under wraps, and they’ll be annoyed that it’s leaked, so don’t expect confirmation about Keaton’s involvement from them any time soon. Until we get solid news, excited fans will be projecting the Bat sign into the sky and hoping Keaton answers it.

Streaming Review: “You Don’t Nomi”

YOU DON’T NOMI
Directed By: Jeffrey McHale
Starring: Elizabeth Berkley, Paul Verhoeven, Adam Nayman, April Kidwell
Runtime: 92 mins.
RLJE Films

My introduction to Paul Verhoeven’s Showgirls was definitely by accident on some random childhood afternoon on a local network because my memories are of a hazy mishmash of ‘why does Jesse-from-Saved by the Bell looked Like That?’ and laughing at the crude 90s tech that they used to ‘paint’ dodgy cgi bras over very naked chests. So in tackling McHale’s documentary You Don’t Nomi, I knew I’d have to take another look. I don’t regret it as such but I was not converted into the cult that this doc’s trailer alluded to. That doesn’t mean You Don’t Nomi isn’t worth a look for the uninitiated. On its surface, You Don’t Nomi may appear a puff piece on something so-bad-it’s-good but it puts in a surprising amount of work to show not only Showgirls’s second life as a camp crowdpleaser but also how a critically reviled film evolves over time–even in the eyes of its filmmakers.

There is no better way to describe the 1995 critical reception to Showgirls than dog pile. It was brutal in that way that it becomes a sport unto itself to find the snarkiest pull quotes. It tanked Elizabeth Berkley’s transition from sitcom actress to the big screen and took the sexual thriller momentum that Verhoeven had in the US off of 1992’s Basic Instinct and sent him back to the more marketable sci-fi with Starship Troopers (Instinct was preceded by Total Recall and Robocop). The doc delves deep into Verhoeven’s career and finds parallels and themes that connect Showgirls back into his work in Europe before he escaped to Hollywood. Unfortunately the documentary did not manage to include modern interviews with any of the creative forces on the film but again, in diving into archived footage, the documentary exposes how Verhoeven and Berkeley in particular have decided over time to try and sell that they knew all along that their film was camp. As one of the speakers in the doc says, camp is “failed seriousness,” so I don’t really buy their attempt to control that narrative but as a storyline in the documentary, it’s very amusing.

Despite the box office flopping, Showgirls found a second life in midnight screenings, drag shows and an off-broadway musical. For me, Nomi hits its stride by zeroing in on the experience that the actress who played Nomi in the musical parody had and the difference it made in her life. Watching her account, as well as those of the drag hosts of sold out midnight showings I kept thinking about that speech from Pixar’s Ratatouille where critic Anton Ego says “the average piece of junk is probably more meaningful than our criticism designating it so.” -Hey if McHale can take a campy stripper movie seriously, I can defer to the wisdom of the cartoon rat movie. Even though I couldn’t relate to their obsession, I can certainly pinpoint pop culture hills I will die on and on that level I enjoyed hearing from such a well researched niche.

You Don’t Nomi is now streaming On Demand and digital, an additional review by Mike Gencarelli was posted earlier here

TFF 2020 Shorts: Animated

Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library meant we could still offer coverage of this year’s selections. Tribeca is also participating in the We Are One global film festival, whose streams are being uploaded through June 7th.

Every year the Tribeca Film Festival showcases a wealth of short films from across the globe in all different mediums. Where animation is concerned, the fest turns to acting legend Whoopi Goldberg to curate their lineup. Due to the unprecedented postponement of the festival in New York, I screened this collection from the comfort of my home and would like to highlight my favorites of Goldberg’s picks.

Personal Favorite: Beyond Noh

Beyond Noh

Patrick Smith’s 4 minute foray into every mask you could think of is mesmerizing. The setup is a simple black space with masks from every culture and time around the world rapid-fire shuffling through to a rhythmic drum beat. It’s so simple but so deftly made. This short doesn’t stick to just the fine arts either with detours through American Halloween masks, and the quite topical medical field to boot, it covers all the faces–err, bases.

Award Winner: Friends

Friends

Florian Grolig’s deceptively simple Friends took home the prize for Best Animated Short from the Tribeca Film Festival’s jury and it was well-deserved. It’s just two characters–one very small and one so large we only see its massive hand or foot for most of the runtime– interacting despite the challenges of their massive gap in size. For me, it’s the one that most celebrates the medium of animation. With its simplistic line work morphing through a blank white void accompanied by perfectly pitched breathing from its giant, the scope is clearly conveyed.

Most Star-Studded: The Tiger Who Came to Tea

The Tiger Who Came to Tea

Clocking in at 24 mins, Robin Shaw’s adaptation of Judith Kerr’s story is the longest of the program and starts very slow before evolving into something much more fanciful. We watch the cute morning routine of a British family ending with sending the father (Benedict Cumberbatch) off to work for the day while mother (Tamsin Grieg) and daughter (Clara Ross) are home to receive an unusual visitor. The titular tiger voiced by David Oyelowo politely invites himself to their afternoon tea and proceeds to scarf down the whole pantry. The animation on the tiger is utterly charming.

Historic and Beautiful: Kapaemahu

Directors Hinaleimoana Wong-Kalu, Dean Hame and Joe Wilson delve deep into Hawaiian history to tell the tale of transgender healing spirits that are behind a landmark often passed by in Waikiki Beach. The use of native voices and music bolsters some gorgeous and warm animation as the tale transcends across time.

Kapaemahu

Additional program titles included “Umbrella” and “Grandad was a Romantic”, which both mine true stories for some lovely animation, and “Bathwell in Clerkentime” which is third in a series whose bouncy black and white animation couples with a soundtrack that may drive you as cuckoo as the birds it follows. (Note: “To Gerard” from Dreamworks artist Taylor Meacham was also selected however was not available to me in the press library at the time of the festival)

TFF 2020 Shorts: LOL

Among the sections I most look forward to each year at the Tribeca Film Festival are the comedy shorts. This year the lineup, titled collectively under “LOL” were presented online in lieu of the postponed festival. Here are my thoughts on this year’s program:

Personal Favorite: I Can Change!

Jim Jenkins’s plays with time travel creatively and with perfect deployment of brief special effects. John Hoogenakker stars as a groom who is gifted the ability to stop time and uses it ostensibly to “better” himself for his bride-to-bride. How? Well he freezes his bride and their friends in time at their wedding chapel while he disappears to the outside world for a blink of an eye and returns a whole new man having spent the time, for example, training to be a doctor. The simplistic way the “time travel” is achieved recalls some of the clever shortcuts something like Bill & Ted used–ie just stating their time travel intent means we immediately get to the consequences, sparing us the time trip. The pacing of the escalation in Hoogenakker’s jumps until the film taps into a big sci-fi finale is really fun.

Second Fave: Query

Jay and Alex spend nine minutes mulling over sexuality–both their own and its larger place in society–as they hang out. It’s nothing Earth shattering, but the natural rapport between the two leads (Justice Smith and Graham Patrick Martin) is really charming and it’s nice to see a pair of young guys just delving into their thoughts on the matter not in some overwrought or homophobic manner, but just chilling, and with enough friendly mocking to keep things funny. And to bolster this strong duo, you also get a brief run in with Call Me By Your Name’s Armie Hammer!

Overlong: John Bronco

Walton Goggins stars as a disgraced cowboy car pitchman John Bronco in a star-studded, but overlong mockumentary. I was excited for this one, generally always glad to see Goggins get to play over the top, but the film gets to the core of what the joke is with John Bronco relatively early and hammers on it over and over instead of advancing the plot. It’s 36 minute runtime could have been halved and achieve the same beats, though I understand why the filmmakers may have been reticent to cut any of the big cameos they got. Kudos for getting the MicroMachines pitchman (John Moschitta Jr) back on screen with his rapid-fire speech patterns though!

Additional program titles included the clever meet cute of One Last Heist–a romcom wrapped in a robbery from Canada, A Piece of Cake starring “Glow’s” Rich Sommer as a desperate dad and Egg which takes viewers from a simple diner and spirals it into a grand adventure.

Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
Check out all our TFF 2020 coverage HERE

WE ARE ONE: A GLOBAL FILM FESTIVAL ANNOUNCES THE FIRST-EVER CO-CURATED PROGRAMMING LINEUP FEATURING 21 OF THE MOST PROLIFIC FILM FESTIVALS IN THE WORLD

10-Day Digital Festival, Produced and Organized by Tribeca Enterprises and YouTube, will Feature Programming from Festivals including Berlin International Film Festival, Cannes Film Festival, and Venice Film Festival

Highlights Include Online Premiere of Ricky Powell featuring Natasha Lyonne and LL Cool J, Global Premiere of Third Eye Blind’s Motorcycle Drive By, Talks Including Francis Ford Coppola with Steven Soderbergh, Song Kang-ho with Bong Joon-ho, and Jackie Chan and a DJ set by Questlove

NEW YORK, NY– May 26, 2020 – Tribeca Enterprises and YouTube announced today the programming slate for We Are One: A Global Film Festival, which will feature over 100 films co-curated by 21 prolific festivals, hailing from 35 countries, in addition to talks, VR content and musical performances. The 10-day digital event will celebrate global voices, elevate films that have the power to create change and bring audiences from around the world together to create meaningful connections. Assembling some of the world’s most talented artists, storytellers and curators around a central effort to provide entertainment and offer relief in the form of supporting organizations responding to the COVID-19 pandemic, the festival will run exclusively on YouTube May 29 – June 7 at YouTube.com/WeAreOne.

We Are One: A Global Film Festival will give audiences an opportunity to experience different cultures through an artistic lens – each official selection was handpicked for inclusion to highlight the singularities of each participating festival, while also providing a voice to filmmakers on a global stage. Many of these titles will have significant debuts at the festival, with programming consisting of over 100 films, including 13 world premieres, 31 online premieres, and five international online premieres.

A truly international festival, the programming will represent over 35 countries and will include 23 narrative and eight documentary features, 57 narrative and 15 documentary short films, 15 archived talks along with four festival exclusives and five VR programming pieces. 

Notable film presentations will include Ricky Powell: The Individualista documentary about legendary street photographer Powell featuring interviews with Natasha Lyonne and LL Cool J; the online premiere of Eeb Allay Ooo!a unique satire about professional “monkey repellers” and winner of the Mumbai Film Festival’s Golden Gateway Award; and the world premiere of Iron Hammera compelling documentary feature directed by Joan Chen about legendary Chinese Olympic volleyball star Jenny Lang Ping, a true trailblazer who forged connections across the globe. Audiences will have access to over 50 narrative and documentary shorts with exciting entries such as the world premiere of Japanese narrative short Yalta Conference Online [working title], created exclusively for the festival by Director Koji Fukada; the global premiere of the Third Eye Blind documentary short Motorcycle Drive By, as well as the first short pieces made by Dreamworks Animation, BilbyMarooned and Bird KarmaEpisodic programming features the world premiere of Losing Alice, an Israeli female-led neo-noir psychological TV thriller and And She Could Be Nexta two part documentary series on the experiences of women of color running for office, including Stacey Abrams and Rashida Tlaib.

We Are One: A Global Film Festival will host a number of specially-curated talks, both archived from past festivals and brand new discussions, that will offer viewers a chance to revisit important moments in film. Talks will feature Francis Ford Coppola with Steven Soderbergh, Song Kang-ho and Bong Joon-ho, Guillermo del Toro, Jane Campion and Claire Denis. 360 VR selections will feature Emmy-nominated documentary Traveling While Black and Alterationasci-fi narrative starring Bill Skarsgard, as well as additional titles with notable talent including John Legend, Oprah Winfrey and Lupita Nyong’o. There will also be special musical performances, including a 30 minute DJ set by Questlove.

“We are so excited to share the combined efforts of our festival partners and YouTube with the world this week,” said Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal. “Together, we were able to curate a compelling slate of programming that succinctly reflects the subtle variations in style that make each festival so special. We Are One: A Global Film Festival will offer audiences an opportunity to not only celebrate the art of film, but the unique qualities that make each story we watch so memorable.”

“One of the beautiful things about films and other visual content is the ability to tell stories and bring people together, no matter where they live or where they’re from. This is a phenomenon we’ve seen at YouTube throughout the years but especially today, as people look to connect and be entertained,” said Robert Kyncl, Chief Business Officer, YouTube. “The programming coordinated by Tribeca Enterprises for We Are One: A Global Film Festival has that magical ability to transport viewers from all around the world to a special moment in time, through the unique lens that our esteemed festival partners bring.”

The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam (IFFR), Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastian International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.

“Cinema is not only a collective work, but also a shared experience. In these times of social distancing, the spirit of cooperation and a sense of community are needed more than ever before. Therefore, we are happy to participate in the We Are One initiative. We wish all those wonderful artists that their audiences will be able to see their work on the big screen again soon,” said the Berlinale Director Duo Mariette Rissenbeek and Carlo Chatrian.

“We are honored and happy to join We Are One, as a sign of friendship and solidarity for our friends of Tribeca, at the same time offering to the worldwide audience a taste of what we do in Venice in order to support new filmmakers concretely,” added Venice Film Festival Director Alberto Barbera.

True to its mission, We Are One: A Global Film Festival will seek to bring artists, creators and curators together around an international event that celebrates the exquisite art of storytelling. In doing so, it will aim to provide not only solace and entertainment for audiences during a time when it’s needed most, but also opportunities for these individuals to give back through donations to the World Health Organization (WHO), UNICEF, UNHCR, Save the Children, Doctors Without Borders, Leket Israel, GO Foundation and Give2Asia, among others. Audiences will be able to donate to COVID-19 relief efforts through a donate button or link on every film page.

The full festival schedule is available at www.weareoneglobalfestival.com.

About Tribeca Enterprises
Tribeca Enterprises is a multi-platform storytelling company, established in 2003 by Robert De Niro and Jane Rosenthal. Tribeca provides artists with unique platforms to expand the audience for their work and broadens consumer access to experience storytelling, independent film, and media. The company operates a network of entertainment businesses including the Tribeca Film Festival; the Tribeca TV Festival; and its branded entertainment production arm, Tribeca Studios.

About YouTube 
Launched in May 2005, YouTube allows billions of people to discover, watch, and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube is a Google company.

About We Are One
The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam, Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastián International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.

All programming will be screened globally on YouTube at no cost. Audiences will be able to follow along via scheduling listed on official We Are One channels with a full festival schedule at www.weareoneglobalfestival.com.

TFF 2020 Review: “The Trip to Greece”

THE TRIP TO GREECE
Directed By: Michael Winterbottom
Starring: Rob Brydon, Steve Coogan
Runtime: 103 mins.
IFC Films

Through no fault of its own, The Trip to Greece is arriving on VOD today with some extra baggage. Seeing as this release comes at a time when the world doesn’t know how and when we might resume the kind of care free international tourism that stars Steve Coogan and Rob Brydon enjoy, it’s hard to judge how this film might hit you. Is armchair tourism at this juncture escapism or masochism? At this point in the series, given this is the fourth time around with this specific formula, that might be the only factor in your decision making. As with their first three trips–starting in England the duo then hit Italy and Spain–the vistas are gorgeous, the food looks delicious and the impressions are plentiful. What sets this one apart, fittingly for ancient Greece, is the injection of some tragedy within the film’s “plot” separate from the context of its release. The result of this turn is a film that is more an admirable finale than the hilarious joyrides that its predecessors were.

The setup is slim, as always, with the comedians ostensibly working on some article while retracing the trail covered in The Odyssey from modern day Turkey to Ithaca. Ten years of Odyssey condensed into six days of jet setting. The structure sets their agenda but then Brydon and Coogan’s conversations go off the rails as needed. This time around, Coogan has recently received dramatic accolades for his portrayal of Stan Laurel in Stan & Ollie and a lot of their comedic tension comes from Coogan trying to emphasize his newly minted dramatic chops while Brydon firmly still categorizes his buddy as a comedian. If there were an Olympics for negging, these two would surely medal. The guys are hilarious at oneupmanship whether it’s picking up on a Mick Jagger impression and doing their own take or attempting to turn the the mundanity of a restaurant check into a game show round. In these sequences this series always hits its stride and credit must go to director Michael Winterbottom and his editor Marc Ricardson for often wringing another laugh out of a moment by just cutting on the right beat.

The film does do that shift for the dramatic though by adding in ominous black and white dream sequences rooted in Greek myth for Coogan and introducing a family health crisis as well. I haven’t been able to suss out if that part was based on something in Coogan’s actual life or entirely fabricated for the film but if the latter, it seems an odd choice. At one point they also take a detour to a refugee camp after coming across a former colleague of Coogan’s who’s based there. While it is, as I said above, admirable that this series of extreme-first-world tourism actually takes a moment to observe the realities of a host country, it comes off more as momentary lip service rather than genuine reflection. Eventually the back home problem for Coogan split the comedic duo apart for the remainder of the film much to its detriment. Where the pair end up does have the air of finality, which this installment supposedly is, so I understand the choice. Overall I enjoyed Brydon and Coogan’s competitive company as I always have, just wish that this finale could have focused more on the series’ strengths as it headed off into the sunset.

Note: The Trip To Greece was due to make its North American premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!

TFF 2020 Review: “Inheritance”

Note: Inheritance was due to make its world premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!

INHERITANCE
Starring: Lily Collins, Simon Pegg, Chace Crawford, Connie Nielson, Patrick Warburton
Directed by: Vaughn Stein
Runtime: 111 mins.
Vertical Entertainment
Not Rated

Early on in Inheritance, the will of deceased banker Archer Monroe (Patrick Warburton) is read out to his district attorney daughter Lauren (Lily Collins) and her congressman brother William (Chace Crawford). While the campaigning son takes a massive twenty million dollars, his sister “only” gets one million. If you think that’s the main source of strife in this family then oh boy, strap in because that difference barely scratches the surface of Lauren’s problems. Director Vaughn Stein’s new thriller releasing on VOD this week after having been a 2020 Tribeca Film Festival selection, takes a hard turn into its potential-horror setup but doesn’t fully embrace it with leads who can’t sell it.

The monetary discrepancy between Lauren and her brother quickly gives way to Lauren receiving her actual inheritance in the form of a mysterious key and a video from her late father urging her to keep the truth buried. Not to be too cynical but it’s pretty expected that a wealthy family like these Monroes–populated with bankers, lawyers and politicians–is going to have its share of skeletons in its closet. Stein’s film does this cliché one better by Archer leaving his daughter a full grown man chained up in a bunker. Thanks, dad. The bunker man is named Morgan (Simon Pegg) and seems to know everything about Lauren who desperately wants to know the whys and hows of Morgan’s disgusting situation. More than that, Lauren must face a crisis of conscious whether to heed her father’s will, especially in the middle of her brother’s re-election or release the bedraggled, pitiable Morgan with his trove of family secrets.

Simon Pegg has long been one of my favorite actors, whether in leading the “Cornetto trilogy” or popping up in larger fare like Star Trek or even better the Mission: Impossible series, but saddled in this film with the heavy wig and grime of Morgan’s imprisonment and, worse, a ropey American accent, and he is utterly wasted. The main tension in Inheritance should come from whether Lauren can muster enough pity for Morgan to release him or Pegg can be sufficiently menacing in his blackmail of the Monroes to achieve his ends. But in their contained scenes, the dynamic never coalesces into real tension. Where you’re expecting someone to actually strike, they just keep talking in circles. And I can’t underscore enough how badly Pegg’s US accent hobbles how threatening his character could have been. There are later parts in the film where I imagine Pegg was really having fun with it, but too much of the runtime for his character is leaden stuff. Collins, 31, for her part as a DA in Manhattan is much too young to hold such a role and comes off as someone playing dress up. It was hard to take either of them seriously in these parts.

For a movie where the crux of the problem is a man chained up in a basement, Inheritance is just overall way too bland. Outside of Pegg and Collins, the Monroe family and their posse come off as stock soap opera characters. Chace Crawford, so good on “The Boys,” is as ridiculous as a hot-shot congressman as Collins is as the DA. Ultimately their rich people problems–and secrets–aren’t as shocking as the film wants them to be.

Inheritance is available on DirectTV and releases on VOD on May 22nd

Giant Pictures Set To Release Sci-Fi Thriller “Volition”

Giant Pictures has acquired the U.S. rights to the sci-fi/thriller VOLITION. The film will be released in theaters, on Apple TV, Prime Video and other Digital Platforms on July 10, 2020. 

VOLITION is the feature directorial debut for Tony Dean Smith (Rakka), who co-wrote the script with his brother and producing partner Ryan W. Smith (Next Gen).  The film stars Adrian Glynn McMorran (The Revenant), Magda Apanowicz (You), John Cassini (The Possession), Frank Cassini (Watchmen), Aleks Paunovic (War for the Planet of the Apes), and Bill Marchant (Godzilla).  It was produced in association with Paly Productions and Smith Brothers Film Company.

“A great debut for the Smith Brothers, VOLITION is sure to deliver thrills and a mind-bending experience to sci-fans everywhere,” said Courtney Cox, Manager of Content Acquisitions & Marketing at Giant Pictures.  “We are thrilled to be bringing it to digital platforms.”

VOLITION is a time-bending cerebral science-fiction thriller where a man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder. Awarded as best feature at the Philip K. Dick Film Festival, among a slew of other awards and critical acclaim, VOLITION is a tightly-wound puzzle of a ride.  

The deal was negotiated by Courtney Cox, Manager of Content Acquisitions & Marketing from Giant Pictures, and Smith Brothers Film Company and Paly Productions on behalf of the filmmakers.

ABOUT GIANT PICTURES:

Giant Pictures is a boutique digital distributor based in NYC and Los Angeles, which is dedicated to elevating the digital experience. We work directly with filmmakers and rights owners to distribute movies and TV shows to VOD & OTT platforms in North America and worldwide. Giant is a division of Giant Interactive, an award-winning digital media and technology services company. Giant is an iTunes Preferred aggregator and encoding house. Recent movie and documentary releases include: ‘Love, Antosha’ (Dir. Garret Price, Sundance 2019), ‘Matangi/Maya/M.I.A.’ (Dir. Steve Loveridge, Sundance 2018), ‘In Reality’ (Dir. Ann Lupo, LAFF 2018, Austin FF 2018). Visit us at: www.giant.pictures

ABOUT PALY PRODUCTIONS:

Paly Productions, Inc. is a U.S.-based investment fund, focused on high-quality artistic projects for the world market.

ABOUT SMITH BROTHERS FILM COMPANY

Smith Brothers Film Company is the creative partnership of brothers Tony Dean Smith & Ryan W. Smith.  As an independent film company, it produces high-quality, character- and story-driven film and television content for the global market.

Available in Theaters and On Digital Platforms on July 10, 2020

Film Review: “South Mountain”

SOUTH MOUNTAIN
Starring: Talia Balsam, Scott Cohen, Andrus Nichols
Directed by: Hilary Brougher
Runtime: 85 mins.
Breaking Glass Pictures

Behind the stillness of a home in the rural Catskills is a wealth of roiling emotion beautifully realized in writer-director Hilary Brougher’s South Mountain. The feature, which debuts on DVD and VOD today stars Talia Balsam who gives an achingly vulnerable central performance.

On a summer evening, Lila (Balsam) is having a cookout with her family and friends as she preps for her daughters to leave her with an empty nest. And if there’s a subtle tension between Lila and her husband, Edgar (Scott Cohen), well that may be because Edgar is sneaking off within this very household to video call a mistress actively giving birth to his child under the guise of a “work call.” Yikes.

What’s remarkable about Brougher’s film is the situation has all the potential to wade into overwrought melodrama but it never does. Instead, Balsam plays Lila with a fragility that occasionally tips over into flashes of rage but remains thoroughly grounded. Cohen too, whose philandering intro really gives him an uphill battle with the viewers, manages to wrangle sympathy as Edgar in the sensitivity he brings to the more fraught scenes with Balsam. Their dynamic of him knowing it is over versus her not quite ready to let go is compelling.

The lovely performances are all given solid support from Brougher’s production and sound design which really evoke both the encroaching summer and Lila’s isolation. The lush greenery and rustic house are their own character which composer Herdis Stefansdottir subtly accents with a sparse musical score that knows when to take a backseat to the chorus of birds, insects and rumbling clouds. Ultimately, Brougher’s film achieves a beautiful balance between the permanence of Lila’s place in the mountain and the ever shifting circumstances of her life and most intimate relationships.

“Friends: The Complete Series” Available Now to Own Digitally

On September 22, 1994 the first episode of Friends aired on NBC, and since then the series, characters and its infamous taglines have become a global phenomenon. After 236 episodes and its ten season run on-air, the beloved series went into syndication episodes on a number of networks, and in 2015 Netflix acquired the exclusive rights to stream the original broadcast episodes; eventually becoming one of most watched shows on the platform, until the close of 2019!

So where have your “Friends” been, now that its 2020? According to Ross and Rachel, “We Were On A BREAK!” from streaming – but have no fear, you can still get all of your favorite original episodes commercial free on Digital, Blu-ray and DVD today! All individual seasons and compilation sets of Friends are available to purchase here: www.OwnFriendsTV.com.  All seasons are also available to own at all major digital retailers; including iTunes, VUDU, Amazon Prime, and Google. DVD and Blu-ray sets can be purchased from all major retailers – including Amazon, Target and Walmart.

If it hasn’t been your day, your week, your month…or even your year…we are here for you with an amazing offer for you or your readers! In honor of the iconic series, and our #OwnFriendsTV campaign – we wanted to offer you or a lucky reader of choice a Blu-ray set of Friends: The Complete Series. This collector’s set is for the ultimate fan, and features over 110 hours of content – including all 236 original broadcast episodes, plus 20 hours of special features. All 10 seasons have been completely remastered in stunning 1080p high definition video with a 16×9 widescreen format and 5.1 audio.  The Friends:  The Complete Series Blu-ray box set is presented in highly collectible packaging consisting of a lenticular box cover, a hard-cover book that holds 21 Blu-ray discs, plus a 32-page episode guide!

The only way to get Friends: The Complete Series commercial free is on Digital, Blu-ray and DVD today! All individual seasons and compilation sets of Friends are available to purchase here: www.OwnFriendsTV.com.  All seasons are also available to own at all major digital retailers; including iTunes, VUDU, Amazon Prime, and Google. DVD and Blu-ray sets can be purchased from all major retailers – including Amazon, Target and Walmart.

You can never get enough of Friends! Own them today – own them forever!

IFC Midnight’s “The Wretched” hits VOD May 1st

Whenever I see a film being released by IFC Midnight, it immediately gets my attention. “THE WRETCHED” is about a witch that moves in next door, definitely catches my interest. It is directed and written by Brett and Drew Pierce and stars John-Paul Howard and Piper Curda. It opens May 1st on Digital Platforms and VOD and is sure to be a real winner.

Here is the film’s official premise:
Following his parents’ separation, a rebellious teenage boy, Ben, is sent to live with his father for the summer and work at the local marina in order to gain some form of discipline. The idyllic tourist town offers little solace for him, however, as he is forced to deal with the local, privileged teens and his father’s new girlfriend. Ben’s problems grow increasingly disturbing when he makes a chilling discovery about the family renting the house next door. A malevolent spirit from the woods has taken ahold of the parents and starts playing a sinister game of house, preying upon the children and wiping away any trace of their existence. Ben’s suspicions of the supernatural horrors go unheeded and he launches a perilous crusade in order to put an end to the skin-walking witch’s reign of terror.

The film has been getting rave reviews from critics across the net. After reading that premise and watching the trailer (see below) it doesn’t seem to be a big gamble for this film. While you watch you can also check out bob casino to not only win big with this killer film but also in real life. If you need more proof here are a few of early reviews:

“A polished, well-paced nightmare [with] a playfully Hitchcockian suspense approach… likable performances keeping us emotionally grounded.”

  • Dennis Harvey, VARIETY

“A viciously good time.”

  • Kristy Strouse, FILM INQUIRY

“In the vein of Disturbia or Rear Window with a dark fairy tale makeover.
The witch is worth the price of admission alone.”

  • Meagan Navarro, BLOODY DISGUSTING

Here is a little bit about the filmmakers Brett and Drew Pierce:

The Pierce Brothers are the writing/directing team behind the zombie cult hit DEADHEADS. From childhood they have been obsessed with the horror genre, having grown up amid the production of Sam Raimi’s cult classic THE EVIL DEAD, for which their father served as the photographic effects artist. Previously, Drew Pierce has worked as an animator and storyboard artist on various projects such as “Futurama,” THE INTERVIEW, and THE HAPPYTIME MURDERS. Brett Pierce has worked in production as well, most recently in the development department on various reality shows for Netflix, History Channel and A&E. This is their second feature film.

Media Mikes Awards in the Mail

Due to the current situation in the world it took some time for the 2019 Media Mikes award certificates to be printed but they are now on their way to the winners.

Last year the readers and staff of Media Mikes awarded certificates to such films as “1917,” “Joker,” “Once Upon a Time…in Hollywood” and “Parasite.”

Congratulations again to all of our winners!

RoboCop Is Being Rebooted Again

As much as cinema-goers might complain that they’re bored of seeing reboots of old movies rather than new ideas, Hollywood studios are going to keep making reboots so long as people carry on paying to go and see them. Somewhere between five and ten years ago, it felt like we’d seen reboots or re-imaginings of just about every classic film it was possible to re-boot or re-imagine, and we began to wonder what was next. Now, it seems we have our answer. After being rebooted just six years ago with a 2014 movie, classic science-fiction-meets-action-movie franchise ‘RoboCop’ is going to be rebooted all over again.

The question of how many films or TV series there have been in ‘RoboCop’ lure already is hard to answer. It depends on whether you want to focus on feature films that made it to the cinemas, or you also want to include the movies that went directly to video. Should the animated series be counted, or the two live-action Canadian television series that were made off the back of the fame of the original movie? This is clearly a question that the producers of the new film struggled with, because they’ve made a decision that’s bound to delight and dismay fans in equal measure – it’s going to be a direct sequel to the very first film from 1987. Nothing else that’s happened since is going to be taken into account.

Based on this decision, it appears that the new origin story and new continuity established by the 2014 reboot is null and void. Had that movie been more successful, a sequel would have been ordered and made, but plans for a sequel to be released in 2018 were abandoned when the film failed to excite critics or film followers. It generated a small profit at the box office and attracted reserved praise from some reviewers, but the general impression it left was one of trying to ape all the things that made the 1980s film such a success without every truly managing to capture the zeitgeist. Sadly for those of you who did enjoy that film and would have liked to see more, it appears that the world it created is gone for good.

In truth, for a franchise that gets so much attention and adulation, ‘RoboCop’ is little more than one good film and a series of failed sequels. The original was a huge hit, inspiring a toy range, video games, and even an official game at online slots websites two decades after its release. It’s probably telling that the official ‘RoboCop’ slots is based on that 1980s original, and not the far more recent 2014 version. It’s also a little ironic that the online slots game has almost certainly made more money than the sequels ever did. ‘RoboCop 2,’ released in 1990, barely broke even at the box office. ‘RoboCop 3,’ released three years later in 1993, was a box office bomb that stalled the franchise for more than twenty years. Even now, with a studio as large as MGM committed to the project and a pledge to cut away the fat from the story and go back to the start, there’s no guarantee that it’s going to make money.

Given the fact that MGM will presumably throw a lot of money at this production, they’re going to need some capable hands at the helm and a cast and crew who are capable of nurturing the tale from script to screen. To that end, they’ve hired director Abe Forsythe of ‘Little Monsters’ fame to sit in the chair. Forsythe is still a comparatively young director seeking to establish his name and reputation in Hollywood circles, but many studios have been impressed by what he was able to accomplish on a modest budget with ‘Little Monsters.’ The new RoboCop film – which is tentatively titled ‘RoboCop Returns,’ but will almost certainly be given a better name than that further down the line – will be his biggest-budget project to date.

If the Hollywood Reporter’s sources are to be believed, then the connection between this film and the original ‘RoboCop’ movie will be more than just skin (or steel) deep. Michael Milner and Edward Neumeier – the writers of the very first script and therefore the creators of the ‘RoboCop’ character – have signed up to produce the new film. They fulfilled a similar role on the set of the 2014 film too – so this doesn’t necessarily mean that they won’t deviate from aspects of their past creation. As fans have already been promised that the original ‘RoboCop’ suit will be used in this new story, there will presumably be a greater focus on authenticity and faithfulness to the text on this occasion. Ir’s understood that the script was actually written several years ago and was originally to be shot in 2018 with Neill Blomkamp directing, but Blomkamp dropped out of the project, and it entered the dreaded ‘Development Hell’ for a further two years. 

While it’s too early to predict what the plot might involve, or who might be cast in the lead role, the idea of following on from the original tale more than thirty years later makes it possible for Peter Weller to return to the iconic character that he played in the first two films. Weller, in his 70s, is still acting and still involved in both movies and television, and the idea of a much-older ‘RoboCop’ facing the end of his mechanical life and retirement is potentially compelling. It would be a bold choice for the production to go with after such a long time, but if the purpose of the film is to appeal to fans of the original, it would likely please them. As and when we hear more about the film in the months to come, we’ll be sure to bring you casting information and any other news or gossip we can find on the subject.

No matter how many years have passed, there’s always space in Hollywood for a hero who fights on the side of law and order – and we’re excited to see new life being breathed into ‘RoboCop’ after what feels like a very long time. Let’s hope that this new film succeeds in a way that every film since the very first one has failed to!

Film Review: “It Started as a Joke”

Starring: Eugene Mirman, Kristen Schaal, Michael Ian Black, Kumail Nanjiani, Mike Birbiglia
Directed by: Julie Smith Clem and Ken Druckerman
Unrated
Running Time: 76 mins.
Gravitas Ventures

A couple weeks ago, right as the news in and around New York was starting to turn towards where we are now and I was sort of sick myself (different reason), I saw one of my favorite Tribeca Film Fest movies on a dvd display and knew I had to get it. It was Mike Birbiglia’s 2016 comedy Don’t Think Twice. I hadn’t seen it since enjoying it at Tribeca but it was exactly the thing I needed right now. That film follows a close-knit improv group in New York (including Birbiglia, Keegan-Michael Key and Chris Gethard) as one of their number rises to a new level of fame and the others do their best to deal with what that means to the group while also contending with where they are in their personal lives. It’s incredibly heart-warming, honest and very very funny.

Why have I launched into a mini review of Don’t Think Twice at the beginning of this review? For a start, Birbiglia was credited as being part of the “joke” that directors Julie Smith Clem and Ken Druckerman’s new documentary, It Started as a Joke references in its title–many of the stars of Don’t Think Twice were also veterans of the Eugene Mirman Comedy Festival that it focuses on–so I think they won’t mind. Secondly because they both show how cathartic comedy can be when navigating the uncertainties of life. As one of the doc’s interviewees says, “comedy helps cope.” It’s coincidence that It Started as a Joke landed in the film release marketplace such as it is, but that message would be valid even in the best of times. It Started as a Joke evolves from a showcase of a wealth of comedic talents into something much more intimate and touching. Through the access Mirman grants into how the festival came about and how eventually he used it as an outlet for coping with his wife’s cancer diagnosis, Clem and Druckerman have captured something special.

The documentary does a great job at building up what a specific and joyful time the EMCF was for a certain ‘class’ of Brooklyn comics. It features a big lineup of talents that are now household names: Kumail Kanjiani credits Mirman for helping him to stay in NYC, “The State” members Michael Ian Black and Michael Showalter are on hand as well as Mirman’s “Bob’s Burgers” co-star Kristen Schaal, even NPR’s Ira Glass wound up shit-faced at the fest’s “Drunk Show”. Not something I expected to see!

Throughout all the hilarious content of the fest, the interspersed interviews with the talent really illuminate what a unique comedic presence Mirman was and continues to be. He didn’t arrive with traditional observational humor, rather with highly absurdist riffs and things like visual advertisements for shapes (“FUCKEDUPAGON! Let’s PARTY!” is a fave of mine). It struck a chord with his peers and out of that came his comedy festival which, while parodying ‘actual’ comedy fests of the time, grew into something too large to be a prank anymore and had a successful run from 2008-2017.

The subject of Mirman’s personal life was not something he really delved into in his acts but when his wife Katie was diagnosed with breast cancer, it became clear that his work could also be an outlet for some of the fear and frustration. The doc follows Mirman as he develops a bit based on pitch black greeting cards for people with cancer for example–all with his wife’s support, of course. As Mirman opens himself up, so to do his peers which is where this doc really shines. Clem and Druckerman capture many moments of comics letting their guard down both on stage and off. Based on the talent involved with this film, I knew going in I could count on plenty of laughter, but I came away also appreciating the tears that came with them.

It Started as a Joke is now available on iTunes

IMPRACTICAL JOKERS: THE MOVIE GETS EARLY DIGITAL RELEASE

Following a Successful Theatrical Run, truTV’s First-Ever Feature-Length Film is Arriving Early on Digital April 1

BURBANK, CA (March 27, 2020) Warner Bros. Home Entertainment is bringing the pranks into homes this April Fool’s Day with the early digital release of Impractical Jokers: The Movie on April 1, 2020, only five weeks after its successful theatrical debut. The film, an extension of the wildly successful Impractical Jokers series, was directed by Chris Henchy (Daddy’s Home, “Eastbound & Down”). A truTV original production and produced by Funny Or Die, Impractical Jokers: The Movie carries a suggested retail price of $19.99 for the Digital ($24.99 in Canada) and is rated PG-13.

“Impractical Jokers raised the stakes bringing their hijinks to the big screen and we couldn’t be more proud of their impressive box office debut,” said Brett Weitz, General Manager for TNT, TBS, & truTV. “The unwavering support of their fans prove that this comedy franchise continues to provide endless laughs and entertainment that we are pleased to bring into homes.”

“Impractical Jokers first premiered on truTV to much fanfare in December 2011 and quickly became a hit, especially among young adults,” said Mary Ellen Thomas, WBHE Senior Vice President, Originals, Animation & Family Marketing. “The power of the loyal fanbase has proven the sky’s the limit for this comedy franchise, and we are eager to bring home the laughter and antics of their first feature film for the whole family to enjoy.”

“For all our wonderful fans who’ve been requesting, we’re happy to announce that Impractical Jokers: The Movie will be available in your homes to watch digitally on April 1st”, said The Tenderloins. “Hoping we can provide some laughs to families and friends at a time when we can all surely use some.”

Impractical Jokers: The Movie stars James “Murr” Murray, Brian “Q” Quinn, Joe Gatto, and Sal Vulvano, also known as the comedy troupe The Tenderloins, playing themselves in a fictional story of a humiliating high school mishap from the early nineties. Featuring appearances from Paula Abdul, Jaden Smith, and Joey Fatone, the movie combines the fictional narrative with real life footage of over-the-top punishments and callbacks to classic moments from the series. Once the Impractical Jokers hit the road, they compete in hidden camera challenges for the chance to turn back the clock and find redemption.

Impractical Jokers: The Movie is produced by Gatto, Murray, Quinn, Vulcano, Henchy, and Funny Or Die’s Jim Ziegler and Buddy Enright. Executive producers include Jack Rovner and Funny Or Die’s Mike Farah and Joe Farrell. The Impractical Jokers series has aired eight seasons with over 200 episodes to date and remains a top three original cable comedy series with ratings that continue to grow. New episodes of Impractical Jokers keep truTV in the top 10 ranking among cable networks in primetime.

About Warner Bros. Home Entertainment Inc.
Warner Bros. Home Entertainment (WBHE) brings together Warner Bros. Entertainment’s home video, digital distribution and interactive entertainment businesses in order to maximize current and next-generation distribution scenarios. An industry leader since its inception, WBHE oversees the global distribution of content through packaged goods (Blu-ray Disc™ and DVD) and digital media in the form of electronic sell-through and video-on-demand via cable, satellite, online and mobile channels, and is a significant developer and publisher for console and online video game titles worldwide. WBHE distributes its product through third party retail partners and licensees.

About truTV
truTV, a WarnerMedia Entertainment brand, is a bold, fresh entertainment network that gives viewers audacious content with laugh-out-loud moments and relatable characters. With millions of engaged fans across linear, digital and social channels, the cable network features a growing roster of critically acclaimed and fan-favorite, premium scripted, non-scripted and hybrid series, such as Impractical Jokers, Adam Ruins Everything, At Home with Amy Sedaris, I’m Sorry, Tacoma FD, The Carbonaro Effect, Paid Off with Michael Torpey, Hot Ones: The Game Show, based off the popular digital series, and more. truTV is also a partner in airing the NCAA Division I Men’s Basketball Championship each year.
Website: www.trutv.com

About Funny Or Die
Funny or Die is a premiere entertainment brand and comedy studio that creates award-winning comedy. Known for its celebrity driven and political content, Funny Or Die reaches a global audience of more than 40 million people, and is the #1 comedy brand on both Facebook and Twitter. Funny Or Die’s Emmy Award-winning long-form division produces shows like the critically-acclaimed Brockmire for IFC, Emmy nominated Billy on the Street, the Peabody award-winning American Vandal for Netflix, the Emmy nominated Sarah Silverman series I Love You, America for Hulu and No Activity for CBS All Access, and Between Two Ferns: The Movie for Netflix. FOD also makes award-winning TV commercials and Branded Content for all verticals and many Fortune 500 Companies from soft drinks to automobiles and toilet paper.

About The Tenderloins
The Tenderloins is a New York-based comedy troupe, whose four members – Joe Gatto, James Murray, Brian Quinn and Sal Vulcano – are the Creators, Executive Producers, and Stars of truTV’s hit series, Impractical Jokers. Now in its ninth season, Impractical Jokers follows The Tenderloins as they compete to embarrass each other while being filmed by hidden cameras, all the while showcasing their longstanding camaraderie. Their newest TV show – TBS’s “The Misery Index” hosted by Jameela Jamil – premiered as a top rated cable comedy in 2019 and recently wrapped production on its second season. In addition to TV success, The Troupe has toured steadily over the last six years with its wildly popular live show, performing for over one million fans in the US and UK, including six sold-out nights at Radio City Music Hall, a sold-out Madison Square Garden, and six sold-out shows at London’s O2 Arena. Natives of Staten Island, NY, Vulcano, Gatto, Murray and Quinn met while attending high school and later formed The Tenderloins Comedy Troupe in 1999. After years of performing live improv and sketch comedy, The Tenderloins crossed over to the web, garnering millions of views for their internet sketches, eventually creating the runaway success Impractical Jokers for truTV. In addition to success in the US, Impractical Jokers is the #1 show on Comedy Central in the United Kingdom and India.

Copyright: MediaMikes.com © 2020 · Powered by: nGeneYes, Inc. · Login

All logos and images used on this website are registered trademarks of their respective companies. All Rights Reserved. Some of the content presented on our sites has been provided by contributors, other unofficial websites or online news sources, and is the sole responsibility of the source from which it was obtained. MediaMikes.com is not liable for inaccuracies, errors, or omissions found herein. For removal of copyrighted images, trademarks, or other issues, Contact Us.