Beginning today, March 9th at www.kernel.com/assassinscreed, Kernel is affording Assassin’s Creed fans the opportunity to immerse themselves in the highly anticipated movie release with exclusive film merchandise, one-of-a-kind experiences, revealing behind-the-scene sneak peeks and more.

Long before the Assassin’s Creed trailer premieres and nine months before the movie’s debut,Kernel’s is offering passionate fans of the franchise a first look of key elements from the film, including the hoodie and gauntlet worn by Callum Lynch’s/Aguilar (played by Michael Fassbender),limited-edition collectibles, apparel and accessories, the film script, advanced movie tickets, tickets to San Diego Comic Con and more.

To satisfy fans’ intense interest in their favorite entertainment franchises and characters, Kernel works directly with studios, filmmakers and distributors to give visibility to the entire creative process, from script to screen.  The Santa Monica-based company has redefined fan engagement with offers such as movie ticket pre orders, access to exclusive digital content, and customized VIP-experiences.
Kernel co-founder Andy Martinez says: “We’ve curated bundles at all levels but the most important item included in each purchase is the ticket. That’s the shared piece that binds and connects all of us as Assassin’s Creed fans since the day we first plugged into the Animus and thought to ourselves,  ‘wow, this would make a great movie!’”

Part of what is unique about Kernel and this program is that it is a real honest-to-god collaboration between the movie Fox, Ubisoft, New Regency, and of course the product creators like TriForce and McFarlane whose contributions traditionally wouldn’t be surfaced until much later.

The Assassin’s Creed movie, based on Ubisoft’s best-selling franchise, stars Michael Fassbender and Marion Cotillard.  The film premieres December 21, 2016 from Fox Filmed Entertainment and New Regency.

Kernel’s Assassin’s Creed packages range from $15 to $1200. Once fans purchase a package, they’ll be treated to additional behind-the-scenes content, more exclusive movie merchandise and experiences that will continue to become available in the months leading up to the film’s release.

Some of the early items curated by Kernel include:

Spanish Crossbow from Ubi Workshop – Kernel Exclusive

Only available on Kernel, this 15th century crossbow is an exact 1:1 scale replica of the weapon featured in the Assassin’s Creed movie. Created by famed Hollywood weapon’s master Tim Wildgoose, the crossbow is 18” long and features scenes from Medieval Spain, as well as motifs from Assassin’s Creed lore. Handcrafted, numbered and limited to an edition size of 20, this piece is a worthy centerpiece of any Assassin’s Creed or movie prop collection. Comes with a signed letter of authenticity. This package also includes a ticket to see Assassin’s Creed in theaters, a digital copy of the script, and behind-the-scenes extras.  Priced at $1200.

TriForce Aguilar Premier Scale Statue

The officially licensed Assassin’s Creed: Aguilar Premier Scale Statue, masterfully sculpted, hand-finished and hand-painted to precision quality by the artisans at TriForce.  The limited-edition statue, crafted and cast in polystone, the most authentic on the market, portrays Aguilar posed on top of a 15th Century Spanish rooftop.  The package includes a ticket to see Assassin’s Creed in theaters, a digital copy of the script, and behind-the-scenes extras.  Priced at $500

Official Assassin’s Creed Hoodie – Kernel Exclusive

Only available on Kernel, Ubi Workshop’s hoodies offer fans an early look at Callum Lynch’s hoodie in the upcoming movie. The original costume was created by famed BAFTA nominated costume designer Sammy Sheldon Differ and worn by Michael Fassbender in his starring role. With its modern fit and unique hood, this unisex Hoodie is made from 100 percent polyester, features two side pockets, metal snap buttons embossed with Assassin’s Creed logo and a YKK zipper.  The packages includes a ticket to see Assassin’s Creed in theaters, a digital copy of the script, and behind-the-scenes extras. Priced at $100.

McFarlane Toys Aguilar Hidden Blade – First Look!

Assassin’s Creed fans can bring the movie to life with McFarlane’s new screen-accurate Hidden Blade role-play item, offered as an exclusive first look only on Kernel. Used by Aguilar, the 15th century Assassin played by Michael Fassbender, the blade is highly detailed, intricately sculpted and true to the original design.  An early unpainted sculpt is currently shown on Kernel, giving  fans a rare glimpse of McFarlane’s creative process. The final product will be fully painted and functional, including a button-activated play-action and extending hidden blade. This package also includes a ticket to see Assassin’s Creed in theaters, a digital copy of the script, and behind-the-scenes extras. Priced at $60.

T-Shirt + Movie Ticket + Script

Live the Creed in this exclusive Assassin’s Creed movie T-shirt with the iconic words “Work in the dark to serve the light.” T-shirt is made of 100 percent pre-shrunk cotton and features a round neck and relax fit. This package also includes a ticket to see Assassin’s Creed in theaters, a digital copy of the script, and behind-the-scenes extras. Priced at $25.

Movie Ticket + Collector’s Watch + Script + Aguilar & Maria Temporary Tattoos – One Week Only!

Fans can arm themselves with everything needed to countdown to the Assassin’s Creed movie release, including a smooth printed LED Collector’s Assassin’s Creed watch (with silicone band, digital readout, and month/year function), replicas of Aguilar and Maria’s tattoos as featured in the movie, an official digital copy of the script delivered on the day of the film’s release, and behind-the-scenes extras. Priced at $15, the special introductory package is available for one week only.

Synopsis:

Through a revolutionary technology that unlocks his genetic memories, Callum Lynch (Michael Fassbender) experiences the adventures of his ancestor Aguilar, in 15th Century Spain.  Callum discovers he is descended from a mysterious secret society, the Assassins, and amasses incredible knowledge and skills to take on the oppressive and powerful Templar organization in the present day.

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Stallone in Tampa, 1976

Let me start off my saying that Sylvester Stallone and I are not friends.  Though we’ve spent countless hours together in the dark, it’s been almost four decades since we last spoke.  But as Oscar night is almost upon us, and Stallone is nominated, I thought it would be a good time to talk about my favorite films of his and share the memory of when we first met.

I’ve been in the movie “biz” since the mid-1970s.  I started out as a theatre usher when I was 16.  In 1976 I was a junior in high school.  I joined the staff of the school paper under the guise of wanting to write reviews.  In all honesty, the main reason I joined was because the time we were allotted to work on the paper was right before lunch time.  Many times, we would have to leave campus, under the guise that we were going to try and sell advertising.  But actually it was a great excuse to pass up the school cafeteria and pay a visit to Steak and Shake, Subway or Arthur Treachers.  For those of you under the age of 40, Arthur Treachers was a very popular Fish and Chips restaurant chain, long before Long John Silvers showed up.  To my knowledge, there is only one Arthur Treachers left, located in the food court of the Christiana Mall in Delaware.  But I digress…

In late November of 1976, I was contacted by Steve Otto, who was the film critic of the Tampa Times.  Steve was a former graduate of my high school and had been quite helpful whenever I had a question.  There was an upcoming press junket scheduled for Tampa to highlight a new film coming out called Rocky.  Would I be interested in accompanying him?  Would I have to miss school?  Heck yeah!  For those who aren’t familiar with the event, a press junket is a gathering of film critics who get to see a film early and then spend time with some of the talent.  Most of them take place in New York or Los Angeles these days, though on occasion there are still some regional ones, especially to get the word out on smaller films.

Steve and the others in attendance had seen the film a week before so they had their questions prepared.  I hadn’t, so I just sat quietly and listened.  First up was actress Talia Shire, who I recognized from The Godfather Part II.  She was very polite and answered every question with a smile.  After she had answered every question put to her we were told that “Sly will be here shortly.”  Sly?  Who the hell is Sly?  A few minutes later one of the reps brought in a guy who seemed to be nervous.  The first thing I noticed was that he was shorter than I was.  As he sat down behind a long table the rep said, “Ladies and Gentlemen, the writer and star of Rocky, Sylvester Stallone.”  For the next 30 minutes I listened to Stallone talk about his life.  How he felt connected to the character of Rocky Balboa because, like Rocky, his life was changed by a stroke of fate and some amazing good luck.

For those who aren’t familiar with the story, here is a quick rundown.  On March 24, 1975, Heavyweight Boxing Champion Muhammad Ali took on a boxer named Chuck Wepner.  The fight was held at the brand new Richfield Coliseum in Ohio.  Wepner, nicknamed “The Bayonne Bleeder” due to his ability to take a punch, was a true underdog.  Before the fight, Ali declared that he would win in three rounds.  Surprisingly, Wepner stood toe to toe with the champ, finally losing by Technical Knock Out with nine seconds left in the 15^th and final round.  The fight was televised via closed circuit and in Los Angeles, one of the people watching the fight was Stallone.  A writer as well as an actor, Stallone was inspired by Wepner’s courage and sat down at his typewriter.  Three days later he had the first draft of Rocky.

When the script was circulated around Hollywood, producers jumped over each other in an attempt to purchase it.  But there was a condition.  Whoever bought the script had to agree to let Stallone play Rocky Balboa.  The studios were appalled.  They wanted the script so they could feature Ryan O’Neal, James Caan or Robert Redford.  The bidding got as high as $350,000 but Stallone held firm.  Finally, producers Robert Chartoff and Irwin Winkler agreed to his terms.  Stallone was paid a total of $25,000 for writing and acting in the film.  But, like Rocky, his 100-1 shot paid off.

As the press event ended Steve and I walked up to Stallone and said hello.  I told him that I, too, was an actor and I hoped to one day be in the same position he was in.  He reached into a folder and removed a photo of himself.  On it he wrote, “May your dreams come true.”  And he signed it “Sly.”  My first autograph, which I still have and cherish to this day.

Of course, Rocky went on to make over $100 million – very unheard of at the time – and won three Academy Awards, including Best Picture.  Stallone was nominated both for his screenplay and for Best Actor, losing the script award to Paddy Chayefsky and the acting award to Peter Finch, both from the film Network.  The only thing he took home that night was a new notebook and a gold pen, given to him by Chartoff and Winkler, who told him, “now go home and write the sequel.”  And the rest, as they say, is history.

Here is a list of my 10 favorite Sylvester Stallone films.  Some you may agree on while others you may scratch your head.  Scratch away, my friends.  It’s MY list.

ROCKY
Where it all started.  For a long time this film battled with Jaws for the honor of my favorite film.  I saw the film many times while it was in the theatre and listened to the soundtrack album constantly.  In fact, if you play the music heard during the fight in the film I can tell you almost punch for punch what is happening on screen.  The script is top notch and contains some great lines.  My favorite line in the film takes place after the fight, when Rocky is being peppered by questions.  Calling for his lady love, Adrian, Rocky doesn’t want to acknowledge the reporters surrounding him.  Finally he snaps, “Oh come on, I’ve had enough things in my face tonight.”

F.I.S.T.
The studios lined up at Stallone’s door in the hopes that he would make his next film with them.  The winner was United Artists, who signed Stallone to play Johnny Kovaks, a fictionized version of Jimmy Hoffa.  Stallone also earned a screenplay credit, though, according to co-writer Joe Eszterhas, he didn’t write a word.  There is a great telling of the story in Eszterhas’ book, “Hollywood Animal.”

PARADISE ALLEY
This is Stallone’s directorial debut, working on a script he wrote.  The story deals with the Carbone brothers and their lives in New York’s Hells Kitchen.  Entertaining as hell and featuring Stallone himself singing over the end credits.

FIRST BLOOD
The first appearance of John Rambo, who here is a much more vulnerable than the later Rambo movies.  Stallone did extensive work on the script, including changing the ending of the original novel, in which Rambo dies.

STAYING ALIVE
Technically this is a Stallone film in name only as he co-wrote and directed it.  The film stars John Travolta as Tony Manero and is a sequel to Saturday Night Fever.  However, Stallone does appear in the film as the fur coat wearing gentlemen Travolta bumps into while walking on the sidewalk.  One of my “films I like that no one else does,” I really highlight it to point out how cognizant Stallone was of the Broadway theater scene.  In the film, Tony stars in a new spectacular show called “Satan’s Alley.”  Stallone somehow was able to predict that Broadway would soon be a place where shows were HUGE and over the top.

RHINESTONE
The second film on my “films I like that no one else does” list.  In it, Stallone plays a New York cab driver who becomes the man in the middle of a bet between country singer Dolly Parton and her sleazy manager, played by Ron Liebman.  Here Sly gets countrified and I still laugh every time I hear him pronounce the word “dog” and making it sound like it has two syllables:  “Da-og.”  On the down side, Stallone’s singing is best summed up by co-star Richard Farnsworth, who, after hearing Sly tackle a song, replies, “why that was scary, son.”

TANGO & CASH
Whoever dreamed of teaming up Stallone and Kurt Russell was a genius.  This is a fast and fun film with some great writing and on-screen action.  Extra points to Sly for having a sense of humor.  When one of his fellow law officers chastise his style, saying “he thinks he’s Rambo,” Ray Tango casually replies, “Rambo is a pussy!”

COP LAND
Stallone gained 40 pounds and worked for scale in this drama and, in the process, held his own on screen alongside actors like Robert DeNiro, Harvey Keitel and Ray Liotta.

ROCKY BALBOA
After the disappointment that was Rocky V, Stallone resurrected his most famous character and gave him back his dignity.

CREED
Stallone turned down writer/director Ryan Coogler’s request to play Rocky Balboa again for several years before he finally said yes.  In doing so, he becomes the sixth actor to receive (2) Academy Award nominations for playing the same character.  If there is any justice, on Sunday night the Oscar will be going home with Sly.  I warn you, if you’re sitting near me, please have some tissues handy.  If Stallone’s name is called I do believe I may shed some tears of joy.

If you’ve made the right decision this Valentine’s Day weekend and have checked out Deadpool then you may not have heard Greg LaSalle but you definitely saw him. Sort of. LaSalle is one of the tech wizards behind the Academy Award winning MOVA Facial Performance Capture system used in bringing Deadpool’s X-men reinforcement, Colossus, to the screen. While Colossus’s body and voice were provided by actor Stefan Kapicic, LaSalle stepped in front of the MOVA cameras to give the metallic facial performance.

The morning after Deadpool made its New York debut amidst a Deadpool fan costume contest, I sat down with LaSalle for a conversation on Deadpool, other Marvel films and this amazing process used to bring characters such as the Incredible Hulk and Thanos to life.

Lauren Damon: Did you go to the fan premiere last night?
Greg LaSalle: Oh yeah, that was a lot of fun.

How many Deadpools showed up?
LaSalle: Oh you mean the people who dressed up? Oh I don’t know, I think there were quite a bit. I think they chose like seven of them or something, it was pretty funny. One in a tutu, I mean…it was hysterical.

Are you someone who goes to conventions in general seeing that?
LaSalle: No–
“Avoid them like the plague!”
LaSalle: [laughing] No, it’s not that, you know it’s just I have so many things to do. I don’t get a chance to do that very often.

Can you talk about what MOVA Facial Performance Capture is?
LaSalle: I’ll start by telling you first a little bit about what motion capture actually is–which is where you would wear the reflective markers. And that system, those systems were actually developed to deduce where a skeleton is moving. So as those cameras became higher resolution, people started shrinking the dots and gluing them to people’s faces. The data set you get from that is only like 200, 250 points. So a friend of mine in the bay area decided that he would fund the development of research to find out how to actually capture the entire surface of the skin deformity and that’s where MOVA comes from. That development.

So it’s super high resolution, it captures about 7000 data points, all the wrinkles, all the subtlety of the performance is captured. So it’s basically like capturing a scan per frame of the film of the actor. And then about two years ago Digital Domain developed a technique to take those and apply them mathematically to a computer generated character. So the entire performance gets carried over so it really looks, you know, all the performance is captured.

I heard that it’s captured through paint instead of dots?
LaSalle: We apply, it’s invisible makeup in white light that just is applied as a random pattern and then the system has strobing black lights and white lights. So certain cameras take a picture when the black lights are on and all they see is this random pattern makeup. And that’s what’s used to create the scans and track the points across the face.

Seeing as you worked on both Avengers and Age of Ultron and a couple years had passed between them, did the process for capturing the Hulk change? If you worked on the Hulk?
LaSalle: I did, in the first Avengers that’s what it started out as actually, it was before filming was working with Industrial Light and Magic to capture Mark [Ruffalo] to see how he would move as the Hulk. On set they used a bit of different technology so this new technology that we used for Colossus is actually the first time it’s been used. This mathematic transferring of the performance. Things like in the past, like in Avengers, we surveyed the actor. We’d get all the information about how the actor’s face would move and then companies would build a rig which is just a way of animating and when you run a slider, the lip goes up and it goes up as if it was the actor. But it doesn’t have all the subtlety and nuance of the variation in a performance. The new technology the does.

Did you have any hand in that Hulk-smashing-Loki scene?
LaSalle: Well we only specialize in the facial stuff, so only the expressions part of–but that was my favorite part of the first Avengers movie. That ‘boom boom boom!’ [LaSalle does some pretty accurate Hulk smashing motions] It’s a shame though to see Tom Hiddleston beat up like that because he’s such a nice guy.

You captured his face for that? Wasn’t it just grunting?
LaSalle: Yeah yeah…It’s so many years ago now and we’ve done so many things that I can’t remember exactly what we did. If I remember correctly, they put a pipe with some foam on the end and they kept [jabbing motions, laughing] like they’re pushing the back of [Tom’s] head so that he’d [jerks his head]…It was very strange!

What did you work on for Age of Ultron?
LaSalle: Actually I only did the–Thanos. Working with Josh Brolin.

Also on Guardians of the Galaxy too?
LaSalle: Mhmm.

I don’t know if Marvel would let me ask you but when is he coming back?!
LaSalle: That’s really funny because I was convinced while we were filming Age of Ultron that they’re gonna–I just have this feeling that something will happen. I mean he’s like the baddest dude in the whole universe and they have to do something–

Yeah coming up of course we have [Captain America] Civil War, that’s Earth-bound but [Thor] Ragnarok is coming and that’s out there! He’s waiting in the wings…
LaSalle: I mean I wish I could say. I’m not privy to those kinds of things to begin with. But it would be really cool to see a bad ass movie with Thanos. I mean they have so many characters and so many things to do. Kevin Feige–he’s the president of Marvel–knows this universe probably better than Stan Lee and he has this all mapped out in his head. He knows exactly what he’s doing.

Do you keep up with the other projects in between what you’re working on?
LaSalle: I don’t actually like actively keep up. I look for within the industry, what we could work on and how we could pull things off.

So working as Colossus, you’re performing his scenes and they just transfer your face into his?
LaSalle: Yes, in simple terms, yes. It creates a scan first and then this fancy math transfers that by figuring out where–you teach it ‘Okay, this is where the center of my cheek is and this is the center of where Colossus’s left cheek is’ and it mathematically calculates what else is going on in that area. It transfers it.

How did it come to be this split performance where you’re on the face and Stefan Kapicic provides the body and voice?
LaSalle: Tim Miller understands this technology really well, so he figured he could take the best of what different people had to offer and Frankenstein all that together. And he was adamant about having an authentic Russian voice. I believe he even recorded another and he just didn’t like it and then he found Stefan. And I think it works extremely well. It’s a pretty cool way of using the technology.

What was the most fun about being Colossus?
LaSalle: Well I’ve known Tim for a long time and I just like working with him. He’s fun, he’s actually a lot like Deadpool in his comedy and the way he’s sarcastically funny. So I enjoy working with him on that. But I also did the tests which we did like six years ago so it’s been really awesome to see it finally get made. So just the general overall feeling of being happy about that.

Was Tim involved at all in how Deadpool was treated in [2009’s] Wolverine?
LaSalle: No

Was there discussion about just getting away from that entirely?
LaSalle: Tim is a huge comic book fan. He reads a ton, he likes graphic novels. He knew that he wanted to take what’s on the page and have that be what’s in the film. He wasn’t going to mess with it, he wanted to–as a fan he knew that that’s what everybody wanted to see. That’s what he wanted to do.

How instrumental was Ryan Reynolds also in getting this?
LaSalle: I think it was a collaborative effort because they all have their understanding of the character so they–and Tim is great that way. I know he had people that they discussed it: ‘This is what I’d like to see, this is what you’d like to see’ and then they figured out a way to get that all to happen.

This is your second time in front of the camera [after an appearance Night at the Museum: Secret of the Tomb] is this what you’d like to do more of?
LaSalle: Well I think it’s fun, I’ve been acting for a while and that’s why Tim gave me the part. But I like to do both. I think it’s fun to play the computer generated characters because you get to do really wacky stuff. And then but I also like really small, intimate type live action things. So I’ve been shooting a few short things.

What’re some of your favorite films this past year?
LaSalle: Oh, I liked the Big Short, I liked Trumbo if you’ve seen that. I thought Trumbo was really good.

Yeah, it was weird to watch that in the context of “Award season” since there’s so much of Oscar in the storyline…
LaSalle: I know! You gotta block all that stuff out. Well it’s so interesting too. I mean it’s doubly cool that it’s true.

Do you have more acting roles coming up?
LaSalle: I just finished filming, ironically with Blake Lively [married to Reynolds]. A movie with her called All I See is You which there’s what we call invisible effects. It’s a live action movie but they wanted to use this new technology to drive her newborn baby being born and a character that she sees in her head. So I played both of those parts.

Playing a fetus?!
LaSalle: Not the fetus! As soon as it’s born I had to do the scenes of taking the first breath of screaming and crying and opening the eyes and looking around. They wanted all this subtlety. They figured a live performance would do that more than trying to animate all that subtlety into it.

[This next question features discussion of a specific Deadpool moment, so for the SPOILER-shy, skip down past this one!]

Does that mean you had anything to do with Deadpool regrowing a baby hand? [A brilliant moment after Deadpool cuts his off to escape Colossus’s handcuffs]
LaSalle: (Laughs) No! No. It’s so funny because I’d known that he cuts his hand off for a very long time but I never go to see anything–I only knew because Colossus ends up with his hand. And I never knew what happened. So when he cut his hand off, the first time he saw the movie it was like ‘OK now how does it grow back? How does it grow back?’ And then they even made that funny, it was awesome. I didn’t know what to expect because I don’t like to see the movie until they’re completely done because there’s just so many things that pull you out of it, you know? So I wanted to wait til it was done and I think that all this talk–the blood and the guts and the R-rating, it’s perfect. I don’t care!

It would be weird if you had this much violence and then just no blood, it’s annoying when PG-13 movies do that–
LaSalle: Plus it’s there because it needs to be, a couple of short seconds and it’s not gross. It’s just real.

[Spoiler over!]

Back to Deadpool , considering there are so many films now in the ‘Marvel Universe’, what do you think is most appealing about this character, what does he bring?
LaSalle: Well I think his authenticity to the original character. And the comedy. I mean I think there’s a lot of funny stuff in the Avengers movies and some of the other stuff, but that’s what Deadpool’s character is built around. And I think that that just makes it’s different and stand out.

If Deadpool had to be pitted against any of the Avengers, who do you think would win out?
LaSalle: Oh…This might sound bad but I think Deadpool is way smarter than those other characters. So I think he’d win a lot of stuff. Because he thinks differently than they do.

Review by Mike Smith
Starring: Ben Stiller, Owen Wilson and Will Ferrell
Directed by: Ben Stiller
Rated: PG 13
Running time: 1 hr 42 mins
Paramount
Our Score: 2.5 out of 5 stars

The film Zoolander is remembered for a couple of things. First, the awesome “pose” that is called Blue Steel. That is a good thing. It was also the first film to be released after September 11, 2001 in which images of the World Trade Center were digitally removed from the finished film. That’s a bad thing. Something tells me Zoolander 2 is going to be remembered for only one thing. And it ain’t good.

It’s been almost 15 years since we last saw Derek Zoolander. He had just finished building his school “for kids that can’t read good.” As we catch up to him now, he is a pariah, the school collapsing due to poor construction (Derek had the school built out of the same materials used to build the model – including popsicle sticks and rubber cement), killing his wife. He is soon found to be an unfit father and loses custody of his son. A mysterious designer has summoned Derek (Stiller) and Hansel (Wilson) to Rome to model a new line. Hoping it will resurrect their careers they jump at the chance. Sadly it doesn’t. They’d have been better off doing a sequel to a film that no one was asking for a sequel to.

No they wouldn’t.

I find it hard to believe that four people helped write this film. I’m thinking that three of them just wrote “put in awesome cameo here” on their pages. Unlike some films, like Anchorman, where the occasional cameo is not only expected but appreciated, this is like Anchorman 2, where there were so many cameos it took you out of the story. Zoolander 2 gives you, just off the top of my head, Keifer Sutherland, Susan Sarandon, Joe Jonas, Ariana Grande, Billy Zane and Benedict Cumberbatch as a model named “All.” Not that cameos are bad. But when they seem to be the one thing driving the plot – Justin Bieber, Susan Boyle, M.C. Hammer, Tommy Hilfiger and one of the Kardashian gals – it just becomes boring.

Stiller and Wilson give their all (it’s obvious that they enjoy working together), but it’s not enough to save this film. Their fans may like this film. I’d rather send them to the Derek Zoolander School for Actors Who Can’t Read Scripts Good.

Review by Mike Smith
Starring: Ryan Reynolds, Ed Skrein and Morena Baccarin
Directed by: Tim Miller
Rated: R
Running time: 1 hr 48 mins
20th Century Fox
Our Score: 4.5 out of 5 stars

Sometimes you know a few minutes into a film what the tone is going to be. Deadpool sets it almost immediately when, during the opening credits, the Producer is identified as: SOME ASSHAT! Thank you, Mr. AssHat, for making one hell of a film.

One of the lesser known (to me anyway) of the Marvel Comic characters (think Spider-man in red without the webs), Deadpool (Reynolds) is a foul-mouthed fool who enjoys his work a little too much. And when I say “foul-mouthed,” I’m talking filthy. He makes Hit Girl in Kick Ass look like Little Miss Sunshine. Known to his friends as Wade Wilson, he earns his money by taking down local bullies. Things are going well for Wade. He’s just found the perfect woman of his dreams (Baccarin) when he learns he has cancer. He is offered a chance for the cure if he becomes part of a mercenary team. Instead he is greatly disfigured by the treatments he receives and decides to just disappear from those that love him (“please don’t make the suit green or animated,” he tells his handlers, pointing fun at Reynold’s last attempt as a hero, “Green Lantern”). If smart-assed sarcasm is your cup of tea, then Deadpool will quench your thirst.

As a character, Deadpool is unlike any “hero” you’ve ever seen. He has no qualms with blowing a bad guys head off with his pair of nine-millimeter pistols or cutting them off with his twin katanas, he’s mixing it up with both the on-screen baddies and the audience. Between breaking the fourth wall and dropping little “inside” quips – when told he needs to go see Professor Charles Xavier he asks, “Stewart or McAvoy?” If I have to explain that comment to you, stop reading now. You don’t want to see this movie.

A superhero film is only as good as the actor playing him and, if ever an actor was meant to play Deadpool, it is Ryan Reynolds. Ever since “Van Wilder” he has spent his career trying to re-capture that “smart-ass” charm. He fits the bill here perfectly. He is surrounded by some strong co-stars, including Skrein as a fellow mercenary and Baccarin who is as tough as she is loving. And I’m sure Stan Lee will agree with me when I say this is his “best cameo EVER!” Throw in a couple of X-men and you’ve got a damn good escape for the weekend.

Writer/director Justin D. Chambers has released an advance trailer for his upcoming film, “American Bred,” which will debut in March at the D.C. International Film Festival. MovieMike got an early peek at the film and loves it. Look for his complete review soon.

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LOS ANGELES, CA (January 12, 2016) – Fans of all ages will rejoice as Twentieth Century Fox Home Entertainment’s THE PEANUTS MOVIE arrives on Digital HD Feb. 12 and Collector’s Edition Blu-ray™ & DVD March 8, 2016. Every underdog has his day in this fun, family film hailed by critics as “clever and charming” (USA Today), “the year’s best family film” and “funny and heart-warming” (CBS Radio News).

And for a limited time, get a Snoopy Flying Ace plush toy with THE PEANUTS MOVIE DVD,
Blu-ray™ and Digital HD combo pack on March 8 making it the perfect gift for Easter baskets.

In THE PEANUTS MOVIE, good ol’ Charlie Brown, Snoopy, Lucy, Linus and the rest of the beloved Peanuts gang appear as you’ve never seen them before in a brand-new feature film from the imagination of Charles M. Schulz and the creators of Ice Age. Join everyone’s favorite eternal optimist, Charlie Brown, as he embarks on a heroic quest, while his beagle pal Snoopy takes to the skies to pursue his arch nemesis, the Red Baron. It’s a hilarious and heart-warming adventure!

THE PEANUTS MOVIE is directed by Steve Martino (Dr. Seuss’ Horton Hears a Who!) and produced and written by Bryan Schulz, Craig Schulz and Cornelius Uliano. Paul Feig (Spy, The Heat) and Michael Travers are also film producers.

With the Collector’s Edition Blu-ray™, DVD and Digital HD fans can go deeper into the world of THE PEANUTS MOVIE with these fun-filled special features! Watch all-new Snoopy Snippets, check out the delightful documentary about the film’s extraordinary journey from the comics to the big screen, learn to draw Peanuts characters, sing along to music videos, choose your favorite songs from Snoopy’s Playlist and more!

THE PEANUTS MOVIE Blu-ray 3D™, Blu-ray™ & Digital HD includes:

Feature film in high definition
Special Features:

• Snoopy Snippets – Can’t get enough of your favorite Peanuts characters? These six all-new Snoopy Snippets will brighten your day!
• You Never Grow Up Charlie Brown – In this fascinating documentary, you’ll learn about Charles Schulz, the history of the Peanuts gang, and their journey to the big screen!
• Snoopy’s Sibling Salute – It’s a Snoopy family reunion as The Peanuts Movie filmmakers introduce viewers to Snoopy’s siblings: Andy, Olaf, Spike, Belle and Marbles.
• Learn To Draw Snoopy, Woodstock and Charlie Brown – Director Steve Martino provides fun, step-by-step tutorials on how to draw Snoopy, Woodstock and Charlie Brown.
• Get Down With Snoopy and Woodstock Music Video – Clap, dance and sing along with Snoopy, Woodstock and Charlie Brown to an all-new version of everyone’s favorite Peanuts song!
• “Better When I’m Dancin’” Meghan Trainor Lyric Video – The Peanuts gang is dancing up a storm with moves like you’ve never seen before—and on-screen lyrics so you can sing along.
• “Better When I’m Dancin’” Meghan Trainor Music Video – Escape to a wonderful, whimsical world with Meghan Trainor’s music video for her hit song “Better When I’m Dancin’.”
• Behind The Scenes of “Better When I’m Dancin’” – Meghan Trainor takes you on an exclusive tour behind the scenes and on the set of her “Better When I’m Dancin’” music video!
• Snoopy’s Playlist – Now the music from the movie is at your fingertips—use Snoopy’s Playlist to jump directly to your favorite songs.

THE PEANUTS MOVIE DVD includes:

Feature film in standard definition
Special Features:

• Snoopy Snippets – Can’t get enough of your favorite Peanuts characters? These six all-new Snoopy Snippets will brighten your day!
• Learn To Draw Snoopy, Woodstock and Charlie Brown – Director Steve Martino provides fun, step-by-step tutorials on how to draw Snoopy, Woodstock and Charlie Brown.
• Get Down With Snoopy and Woodstock Music Video – Clap, dance and sing along with Snoopy, Woodstock and Charlie Brown to an all-new version of everyone’s favorite Peanuts song!
• “Better When I’m Dancin’” Meghan Trainor Lyric Video – The Peanuts gang is dancing up a storm with moves like you’ve never seen before—and on-screen lyrics so you can sing along.
• “Better When I’m Dancin’” Meghan Trainor Music Video – Escape to a wonderful, whimsical world with Meghan Trainor’s music video for her hit song “Better When I’m Dancin’.”
• Behind The Scenes of “Better When I’m Dancin’” – Meghan Trainor takes you on an exclusive tour behind the scenes and on the set of her “Better When I’m Dancin’” music video!
• Snoopy’s Playlist – Now the music from the movie is at your fingertips—use Snoopy’s Playlist to jump directly to your favorite songs.

Just one year after taking home the awards for Best Picture and Best Director for his film, “Birdman,” Alejandro G. Inarittu finds himself back in the race as his new film, “The Revenant,” led all films nominated today for the 88th Annual Academy Awards with (12) nods, including Best Picture and Best Director. The film also scored nominations for Leonardo DiCaprio for Best Actor and Tom Hardy for Best Supporting Actor.

George Miller’s “Mad Max; Fury Road” follows with (9) nominations, also including Best Picture and Best Director. Other Best Picture nominees, with their total nominations, include “The Martian” (7), “Spotlight” (6), “”The Big Short” and “Bridge of Spies” with (5) each, “Room” (4) and “Brooklyn” (3). “The Big Short,” “Room” and “Spotlight” also earned Best Director nominations.

Joining DiCaprio in the Best Actor race are Bryan Cranston (“Trumbo”), Matt Damon (“The Martian”), Michael Fassbender (“Steve Jobs”) and last year’s Best Actor winner, Eddie Redmayne (“The Danish Girl.”

The Best Actress race includes two previous winners of the award and includes Cate Blanchett (“Carol”), Brie Larson (“Room”), Jennifer Lawrence (“Joy”), Charlotte Rampling (“45 Years”) and Saoirse Ronan (“Brooklyn”).

Along with Hardy, nominees for Best Supporting Actor are Christian Bale (“The Big Short”), Mark Ruffalo (“Spotlight), Mark Rylance (“Bridge of Spies”) and Sylvester Stallone (“Creed”). With this nomination Stallone joins Cate Blanchett, Bing Crosby, Paul Newman, Peter O’Toole and Al Pacino as the only actors to be nominated twice for playing the same character. He was previously nominated as Best Actor in 1977 for playing boxer Rocky Balboa in “Rocky.” He also received a nomination that year for writing the script for the Oscar-winning Best Picture.

Best Supporting Actress is a mixture of veteran actresses and newcomers and include Jennifer Jason Leigh (“The Hateful Eight”), Rooney Mara (“Carol”), Rachel McAdams (“Spotlight”), Alicia Vikander (“The Danish Girl”) and Kate Winslet (“Steve Jobs”).

Joining Inarritu and Miller in the Best Director race are Adam McKay (“The Big Short”), Lenny Abrahamson (“Room”) and Tom McCarthy (“Spotlight”)

Nominees for Best Animated Feature are “Anomalisa,” “Boy and the World,’ ‘Inside Out,’ ‘Shaun the Sheep” and “When Marnie Was There.”

“Star Wars – Episode VII: The Force Awakens” earned (5) nominations, primarily in the technical categories.

For a complete list of nominees go to www.oscars.com. The 88th Academy Awards will be handed out on Sunday, February 28th.

Thank you to all of the fans who either posted their choices or emailed them in. Another great response from our great readers. For the first time we had a category with a tie.

The awards were voted on and chosen by both the readers and staff of MediaMikes.com. (10) random entries have been selected to receive a nice selection of 2015 Movie Swag and they will be notified shortly by email. A big “thank you” to our friends at Allied Integrated Marketing in Kansas City for providing prize items.

And now, the envelopes please:

BEST PICTURE: (tie) “The Revenant” and “Star Wars – Episode VII: The Force Awakens”

BEST DIRECTOR: Ron Howard, “In the Heart of the Sea”

BEST ACTOR: Leonardo DiCaprio, “The Revenant”

BEST ACTRESS: Brie Larson, “Room”

BEST SUPPORTING ACTOR: Mark Rylance, “Bridge of Spies”

BEST SUPPORTING ACTRESS: Rooney Mara, “Carol”

BEST ANIMATED FEATURE: “Inside Out”

BEST ORIGINAL MUSICAL SCORE: John Williams, “Star Wars – Episode VII: The Force Awakens

BEST ORIGINAL SCREENPLAY: Alex Garland, “Ex Machina”

BEST ADAPTED SCREENPLAY: Drew Goddard, “The Martian”

BEST DOCUMENTARY FEATURE: “The Wrecking Crew”

Now that the calendar has turned over to 2016, some of our critics decided to compile their annual “Best of/Worse of” lists of the films of 2015. You can listen to them list their choices, as well as their reasons, on this week’s “Behind the Mikes” Podcast – http://behindthemikes.podomatic.com/entry/2016-01-03T02_32_33-08_00

Michael Smith

Before I list my favorites, I have an honorary film, “Star Wars – Episode VII: The Force Awakens.” It narrowly missed being a part of my Top 10 but, as the most anticipated film of the year, it delivered everything I wanted and more. My “Best of” choices:

1. The Revenant
2. Bridge of Spies
3. The Connection
4. Creed
5. The Gift
6. Mad Max: Fury Road
7. Sicario
8. Spotlight

9. Here I chose (3) smaller films that didn’t gain a wide release but are still “must sees” in my book:

5-7 – A sweet, May-December romance starring Anton Yelchin and Berenice Marhloe that I called, “cleverly acted by a cast that believes in the material.”

The Looking Glass – A well written, thoughtfully directed character directed film, featuring strong performances by veteran actress Dorothy Tristan, who also wrote the script, and newcomer Grace Tarnow.

Radio America – the story of two men, friends since childhood, who pursue their musical ambitions and learn that sometimes having your dreams come true is costly. Also has a great soundtrack of original music.

10. Straight Outta Compton

Thankfully I was spared many of this years stinkers. My bottom four:
1. Love the Coopers
2. The Last Witch Hunter
3. The Kingsman: The Secret Service
4. Tomorrowland

Jeremy Werner’s Top 10
1. Inside Out
2. Mad Max: Fury Road
3. Sicario
4. Star Wars – Episode VII: The Force Awakens
5. It Follows
6. The Look of Silence
7. Spotlight
8. The Martian
9. Room
10. Carol

And the stinkers:
1. Point Break
2. The Human Centipede 3
3. Hitman: Agent 47
4. The Fantastic Four
5. The Ridiculous Six

Lauren Damon’s Top 7:
1. (tie) Crimson Peak and Ex Machina
2. The Hateful Eight
3. What We Do In the Shadows
4. The Martian
5. Jurassic World
6. Mad Max: Fury Road
7. Cinderella

And Lauren’s terrible 2:
Self/Less
Blackhat

Podcast Contributor Loey Lockerby’s Top 10:
1. Room
2. The Martian
3. Inside Out
4. The Big Short
5. It Follows
6. Ex Machina
7. The Hateful Eight
8. Carol
9. Star Wars – Episode VII: The Force Awakens
10. Mad Max: Fury Road

Loey says they were spared having to watch anything horrible this past year. You can read Loey’s full reviews at www.suchacritic.com

[Editor’s note, an earlier version of this post had Lauren lacking worst picks. She had them.]

Quentin Tarantino’s eighth film, the aptly titled Hateful Eight, is now open in its limited release ‘Roadshow’ engagement for the next two weeks across the US and Canada. For film lovers, Tarantino is harkening back to a style of movie presentation in ultra wide 70 millimeter film that comes complete with a musical overture and intermission. It’s a must for Tarantino fans and I can’t wait to revisit this shocking murder mystery in the old west very soon.

Hateful Eight centers around ‘Hangman’ John Ruth (Kurt Russell), a bounty hunter chained to his bounty, the devious Daisy Domergue (played with absolute venom by Jennifer Jason Leigh). The angry pair’s stagecoach is stranded in a blizzard in the mountains of Wyoming en route to Domergue’s date with the gallows. They take shelter at the only inn midway to their destination where they are locked in with a host of other shady stragglers bearing their own secrets. Tarantino ratchets up the claustrophobia and tension from an extremely strong screenplay in the hands of a brilliant cast.

Seven of the Eight joined director Tarantino and moderator Josh Horowitz (MTV) prior to the film’s release at their New York press conference where the enthusiastic director discussed his thoughts behind the roadshow format and basically received high praise from his all-star cast including Russell, Leigh, Bruce Dern, Tim Roth, Michael Madsen, Demian Bichir and Walton Goggins.

Tarantino, an emphatic supporter of film over digital described how he and The Weinstein Company set up the Roadshow:

QUENTIN TARANTINO: The Weinstein Company has done an amazing thing–Just to put it in perspective, Warner Brothers put their entire weight behind Christopher Nolan when he did Interstellar. Never the less, they only played in about 11 venues in the course of his 70mm run, we are playing in 44 markets in 100 theatres with our roadshow. And not only that, they literally are some of the biggest and funnest big movie palaces still left. Like you know, The Music Box in Chicago, The Hollywood Theatre in Portland…I think it’s the Fox Theatre in Detroit, Cinerama Dome for 2 weeks in Los Angeles…It’s just really wonderful. And the places that didn’t–all the places that have 70mm capabilities we utilized them, but then other places we just moved the screens in. And moved them in and created it and I remember even talking about it when we first had a discussion. It was like ‘We should be like Neil Diamond coming into town…we should be like Book of Mormon coming into town!’ We go into big venues and maybe they don’t even show movies anymore but we’ll set up our big screen and we’ll set up our projectors and we’ll let ‘er rip! And I mean it has been a herculean effort but they pulled it off. We are screening in 100 theatres between US and Canada. I’m very very proud…

We’re trying to do this like the old school roadshows where…the normal version of the movie that plays, the normal release version–which, by the way when you think of movies like Laurence of Arabia or Ryan’s Daughter or anything, we’ve all probably seen the regular release version–but the roadshows had an overture, they had an intermission and they were a little longer. Ours is about 7 mins longer just for the roadshow version. But you also get…really cool programmes. And they all come with their own pin up ready for your locker of different Hateful Eight people.

Past Oscar nominees Bruce Dern and Demian Bichir were thrilled to be working with Tarantino for the first time and spoke about the opportunity to do so:

DEMIAN BICHIR: I think you know, the first that you’re curious about [is] how everything is gonna work out. Not only because you have this huge director’s name in front of you but with this amazing cast of actors. I remember the first time we had this table reading, you always want to one day say a Tarantino line on film, so I was already very happy and excited about it. But then to listen to every single line in the mouths and bodies of all this group of fantastic actors, that was beautiful. And not only that, I remember at the first reading that we had at this hotel back in Los Angeles, going back home and telling my girl everyone is so damn fucking nice! Because you know, a small fish can be lost in a big ocean unless they embrace you, unless they treat you well. And the first thing that made me very happy when I actually met Quentin was to find a warm man, a very generous loving man, and then you know, the whole thing was a confirmation of whatever I’d thought always. You know, the biggest artists are the nicest.

BRUCE DERN: I’ve been very lucky in my career but this guy, he does a couple things the others of the people I’ve worked with didn’t do: He has the greatest attention to detail I’ve ever seen…The other thing he does is he gives you an opportunity as an actor and everybody behind the camera as well a chance to get better. A chance–his material is so good, so original, so unique if you will, that the big part of it is you’re so excited that he chose you and NOT Ned Beatty or Jimmy Caan [laughs] So that you’re excited to go to work every day. And like with Mr Hitchcock for a few days, I had this every day with Quentin. You’re excited to go to work every day because he just might do something that’s never been done.

Later DERN added: I think that if there’s one thing I might say, the man obviously has a magnet. And what the magnet does to actors is you’re so drawn to him. And we haven’t brought up my main reason why is his reverence for what went before. His respect for the industry…is just mind boggling. And he means it. And if you dared question him, he will put you in your place and tell you facts about stuff that you never even knew was made. And that was the delight for me. And there’s that kind of thing you don’t get very often.

Joining Tarantino again were former Reservoir Dogs Tim Roth (also of Pulp Fiction) and Michael Madsen (featured in both Kill Bills). These ‘vets’ talked about re-teaming with him.

TIM ROTH: Well, I mean the man is the same. But yeah, I was around sort of at the very beginning and then I have this huge break from working with him. So I did get to see in a highly impactful way how his world has changed. How his, the set has changed…and the kind of circus atmosphere that kind of exists on his set. The crew has so much more knowledge of cinema and how to tell his stories. So I saw that big leap. And that was very exciting. It’s different, when we made Reservoir Dogs, I think we made it in about five weeks or so.

TARANTINO: In particular the case of Reservoir Dogs, I was probably the–along with the PAs–I was the least experienced person on the set. Tim and Michael both made a lot of movies by that time. I was just getting through the process.

ROTH: Well you did pretty good!

MICHAEL: Thanks Quentin, I wouldn’t even have a career if it wasn’t for you.

MADSEN elaborated on how he viewed his role as the shady ‘cow puncher’ Joe Gage: I read a biography of James Cagney and he said that if you play somebody who’s very noble, you should probably try to find a mean streak in that person. Or something dark that they’re carrying around. And if you play somebody who’s very evil you should probably find something good in that person. So there’s always a duality of what you do. And the best thing about making a picture for Quentin is that he let’s your character have a duality. If you’re capable of doing it.

Death Proof‘s KURT RUSSELL spends much of Eight chained to Tarantino newcomer JENNIFER JASON LEIGH, Russell explained working within this dynamic.

KURT RUSSELL: Well, first when Jennifer and I started to rehearse, we didn’t really think there would be much of a problem with the chain. We didn’t think it would represent anything much either and nothing could have turned out to be further from the truth. Everything that we did was informed by how that chain was dealt with. And so we had to learn to sort of get the Fred and Ginger of it all together. And that informed their relationship. So for me there was John Ruth and for Jennifer there was Domergue and together we were gonna be this team. Which we felt there was, like anything else, if you’ve been chained together for a week-week-and-a-half, 24/7, you’re gonna know about that person. And the Stockholm syndrome’s gonna set up pretty fast. And it did. In fact over a five month period of time, the Stockholm Syndrome between Jennifer and I set up. It informed everything that we did…
I just want to say one other thing and we haven’t said this but, it was an unspoken thing, this will be the first time she’s heard me say this: Because of who John Ruth was, everything when that clapper goes bang, shouts ‘Action’, that chain is MINE. I own it. Because of that, I felt that as soon as ‘Cut!’ that chain was HERS. We had to have a balance. And boy, I’ll tell you something, I really appreciated what she was going through. You turn that chain over to the other person, it wasn’t easy.

JENNIFER JASON LEIGH: I’m not as good a dance partner!

LEIGH elaborated on delving into the character of Daisy:
So much of it obviously is on the page because you’re dealing with such a great script and such a great character. With Daisy there’s a lot that’s mercurial and we had to find. And we wanted to find it together. And so much of Daisy is informed by John Ruth because she is always reacting with him because of what he’s done–The chain, the hits–what might she get from that. Where, you know…she thinks she’s a lot smarter than John Ruth, and actually she is. [Laughter] But there was–she kind of feels like she’s playing him a lot of the movie but there’s this one moment in the movie– and this is what’s so great about doing a Tarantino movie and what’s so great for all of us actors is that we’re always being surprised by everything–There’s a moment where it all shifts. Where John Ruth isn’t just a putz. You know, like a fool that she is just so much smarter than. He’s suddenly very smart and very dark. When he goes and gathers all the guns from everyone. And then she has to rejudge him, just like everyone else in the movie. Everyone in the movie is terrible and hateful. Everyone in the movie you also care for, they have their…maybe their weakness is the good part of them in a certain way…And I just remember the day we shot that scene ’cause Daisy is having a blast. I mean, yeah, she’s going to the gallows but she knows she’s not going to the gallows. She’s got it figured out. But in that moment, it’s not so clear anymore. And that was so exciting as an actress, to not know that was coming. To read it on the page and yet when I felt it happen in the room, I swear my blood went cold. And it was just like phenomenal.

WALTON GOGGINS, who plays Chris Mannix, the new Sheriff of the town (and in my opinion the MVP of the Eight if we had to choose one) also praised Tarantino’s scripts when asked if there was ever any improv of alternate line suggestions:
GOGGINS: There’s no improv in this press conference. He wrote everything. [Laughter] No, no, why would you mess with perfection? You know, we say that because it is. You know it’s every actor’s dream to get an opportunity to say a Quentin Tarantino monologue. Or a line of dialogue. But there is no need to change it. Even to add a ‘the’ or an ‘and’ or a comma, it really is perfect the way that it comes out of his imagination.

Eight actually went through a few drafts, especially after a live read was held in 2014 featuring much of the cast. I asked Tarantino how that live read affected how the film ultimately turned out:
TARANTINO: Well we altered a lot because it was only the first draft. And one of the things about the movie is I wanted to actually do three different drafts of the film. And so this live read was just from the first draft. Which is different than I normally do. Normally I write these big, long unwieldy novels and there’s the beginning and here’s the middle… And the middle’s always great because now you’ve committed to writing so much now you know more about the characters than you ever could before you start writing. And then there’s the end and kind of, by that point the characters have just taken it. So they always dictate the ending to me.
I mean, I’m doing genre movies, so I have an idea where I’m going at the end. I mean at the end of Kill Bill, I thought it was very possible she would kill Bill, alright? [Laughter] But how? Why, exactly? How you feel about it, that was very open to question. But that’s the good thing–one of the reason’s I like genre is because I can explore a lot of different things, but I still kind of have a road that I’m traveling to some degree or another. But this one I wanted to do differently. I wanted to spend time with the material. More time than I normally spend ie through the beginning, middle and end. So I wanted to you know, even go through the process of telling the story three different times.
And I can just give you an example: In the first draft, the Lincoln letter, which is a motif that plays out through the film, it was only dealt with once. And it was in the stage coach. Now, I knew I wanted to do more with it but I wasn’t ready. And I didn’t have any obligation to have to do it in the first draft. I could kind of find it on my own. And then in the second draft, it appeared at the dinner table scene. And in the third draft, it appears later the way you see it in the movie.
But just to give you another example, Daisy’s end in the third draft–which is what is in the movie–was where I thought I wanted to go in the first draft. But something stopped me from going there with her in that first draft. I almost felt I didn’t have the right to do that to her yet. Because I didn’t know her well enough. Not by just the first draft. So the second draft, and not in a tricky way almost just in an emotional way just as far as I was concerned, I wrote the whole second draft from Daisy’s perspective. Alright, just emotionally. Not in a tricky prose way, but just an emotional way. So I could really get to know her. I wanted to be on Daisy’s side for an entire draft of the story so I could really feel I knew her. And then after I feel I knew her, I could do what I needed to do to her.

To find out just what Tarantino did to Miss Daisy Domergue, go catch the roadshow while you can. It’s a thrilling movie mystery experience and one of my favorite films of 2015. Tickets and more information are available at: Tickets.TheHatefulEight.com/
Meanwhile, the regular release goes wide on December 31st.

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Mad Max: Fury Road was chosen as the Best Film of 2015 by The Kansas City Film Critics Circle, the 2nd oldest critics group in the country. The winners were announced this afternoon during a ceremony at the Alamo Drafthouse Theatre in Kansas City. Among the voters were MediaMikes own Michael Smith and Jeremy Werner.

The film, which had been nominated in four categories by the group, also took home the Robert Altman Award for Best Director for George Miller and Best Actress for Charlize Theron. The film was the only multiple winner announced by the group. The directing award is named in honor of seven-time Academy Award nominee and Kansas City native Robert Altman.

Leonardo DiCaprio was named Best Actor for his work in The Revenant. In the supporting categories, Michael Shannon received the Best Supporting Actor prize for 99 Homes while Alicia Vikander was named Best Supporting Actress for Ex Machina. PIXAR’s Inside Out was named the year’s Best Animated Feature.

Below is a complete list of winners:

BEST PICTURE: Mad Max: Fury Road

ROBERT ALTMAN AWARD FOR BEST DIRECTOR: George Miller – Mad Max: Fury Road

BEST ACTOR: Leonardo DiCaprio – The Revenant

BEST ACTRESS: Charlize Theron – Mad Max: Fury Road

BEST SUPPORTING ACTOR: Michael Shannon – 99 Homes

BEST SUPPORTING ACTRESS: Alicia Vikander – Ex Machina

BEST ORIGINAL SCREENPLAY: Josh Singer and Tom McCarthy – Spotlight

BEST ADAPTED SCREENPLAY: Charles Randolph and Adam McKay – The Big Short
BEST ANIMATED FEATURE: Inside Out

BEST FOREIGN LANGUAGE FILM: Phoenix (Germany)

BEST DOCUMENTARY: Amy

VINCE KOEHLER AWARD FOR BEST SCIENCE FICTION, FANTASY or HORROR FILM: Ex Machina

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Kansas City, Missouri – The Kansas City Film Critics Circle, of which both Moviemike and Jeremy Werner are members, and the second oldest film critic organization in the country, released their nominees for the 50th Annual James Loutzenhiser Awards, recognizing the best in film for 2015.

Sicario, a fall release that addressed the war on drugs in both the United States and Mexico, led all films with five nominations including Best Picture and Best Director for Denis Villenueve. The film also earned nods for Emily Blunt for Best Actress, Benicio Del Toro for Best Supporting and Original Screenplay.

Right behind are the summer action film Mad Max: Fury Road and the upcoming Leonardo DiCaprio film, The Revenant, which each earned four nominations, including Best Picture. Also earning Best Picture nominations: Room and Spotlight. DiCaprio was nominated as one of the year’s Best Actors, along with Steve Carell (The Big Short), Bryan Cranston (Trumbo), Michael Fassbender (Steve Jobs) and last year’s Academy Award winner in this category, Eddie Redmayne (The Danish Girl).

Charlize Theron was nominated as Best Actress for her role as Imperator Furiosa in Mad Max: Fury Road. Nominated alongside her and Blunt are Cate Blanchett (Carol), Bel Powley (The Diary of a Teenage Girl) and Saoirse Ronan (Brooklyn).

Besides Del Toro, the list of nominees for Best Supporting Actor include Tom Hardy (The Revenant), Mark Rylance (Bridge of Spies), Michael Shannon (99 Homes) and Sylvester Stallone, reprising his role of Rocky Balboa in Creed. In 1976 the group named Stallone the year’s Best Actor for playing Balboa in Rocky.

Blanchett’s Carol co-star, Rooney Mara, earned a nod for Best Supporting Actress, alongside Elizabeth Banks (Love and Mercy), Jennifer Jason Leigh (The Hateful Eight), Alicia Vikander (Ex Machina) and Kate Winslet (Steve Jobs).

Directors joining Villenueve in competition for the Robert Altman Award for Best Director are Alex Garland (Ex Machina), Alejandro Gonzalez Inarritu (The Revenant), Tom McCarthy (Spotlight) and George Miller (Mad Max: Fury Road).

The group also handed out nominations for Best Animated Feature, Original Screenplay, Adapted Screenplay, Foreign Film, Documentary Feature and for the Vince Koehler Award, which is chosen as the year’s best Science Fiction, Horror or Fantasy Film.

Winners will be voted on and the results released this Sunday, December 20th.

Below is a complete list of nominees:

BEST PICTURE: Mad Max: Fury Road, The Revenant, Room, Sicario, Spotlight

ROBERT ALTMAN AWARD FOR BEST DIRECTOR: Alex Garland (Ex Machina), George Miller (Mad Max: Fury Road), Alejandro Gonzalez Inarritu (The Revenant), Denis Villenueve (Sicario), Tom McCarthy (Spotlight)

BEST ACTOR: Steve Carell (The Big Short), Bryan Cranston (Trumbo), Michael Fassbender (Steve Jobs), Leonardo DiCaprio (The Revenant), Eddie Redmayne (The Danish Girl)

BEST ACTRESS: Cate Blanchett (Carol), Emily Blunt (Sicario), Bel Powley (The Diary of a Teenage Girl), Saoirse Ronan (Brooklyn), Charlize Theron (Mad Max: Fury Road)

BEST SUPPORTING ACTOR: Benicio Del Toro (Sicario), Tom Hardy (The Revenant), Mark Rylance (Bridge of Spies), Michael Shannon (99 Homes), Sylvester Stallone (Creed)

BEST SUPPORTING ACTRESS: Elizabeth Banks (Love and Mercy), Jennifer Jason Leigh (The Hateful Eight), Rooney Mara (Carol), Alicia Vikander (Ex Machina), Kate Winslet (Steve Jobs)

BEST ORIGINAL SCREENPLAY: Ex Machina, The Hateful Eight, Inside Out, Sicario, Spotlight, Trainwreck

BEST ADAPTED SCREENPLAY: The Big Short, Carol, The Martian, Room, Steve Jobs

BEST ANIMATED FEATURE: Anomalisa, Inside Out, Minions, The Peanuts Movie, Shaun the Sheep

BEST FOREIGN LANGUAGE FILM: The Assassin, Goodnight Mommy, Phoenix, Son of Saul, The Tribe, White God

BEST DOCUMENTARY: Amy, Best of Enemies, The Look of Silence, Where to Invade Next, The Wrecking Crew

VINCE KOEHLER AWARD FOR BEST SCIENCE FICTION, FANTASY or HORROR FILM: Ex Machina, Goodnight Mommy, It Follows, Mad Max: Fury Road, The Martian

We all know that when we’re playing our favorite video game, all that we want is to win. When we’re playing our favorite strategy games, fighting games or RPGs, winning rests on our skill and knowledge of the game. However, casino games are another thing altogether – here the rules of probability can help us a bit when we’re trying to win. But how does probability work in different casino games?

It isn’t called gambling for nothing you know – of course there’s never a guarantee, or else casino or bingo sites would never make any money! Although this is the case – there are definitely some probabilities that if you are aware of could tip some of the bets in your favor!

Bingo Probability
Where you have frequented Luke Hartley’s Top 10 Online Casinos or not, we all know you have asked yourselves how much you could win whilst playing your favorite bingo and slot games, right? At an established online bingo site – the average return to a player is somewhere between 40 and 50%. Essentially that should tell you that bingo should be played as a pastime rather than as a way to win money. As the probability of you leaving a bingo site with a profit is low – it’s a good idea for you to spend only what you can afford.

Dice Probability
When playing a dice game it’s definitely a good idea to try and figure out the probability of each throw to allow you to make an informed decision when betting. There are a total of 36 combinations and the probability ranges from 2.78% up to 16.67% – as you can see there is quite a difference there – so it’s best to swot up! What is also handy to calculate is the “House Edge”. For example in Craps the field bet is even money, however on the next throw if a 3, 4, 9, 10 or 11 comes out – it would double the bet on a 2 and treble the bet on a 12. The average probable return for craps is quite low as for every $1 a player spends – they can expect to lose 28 cents – and of course whatever the player loses – the house gains.

Casino and Table Games
A common technique used when playing Blackjack is what is known as card counting. It tends to be very experienced gamblers that do this and it’s a way for them to try and gauge the probability of a winning card coming out the pack. The object is to get your hand as close to 21 as possible without boing “bust”. To count cards – you would need to keep track of the cards that are already dealt – to see what could be coming next. This could be useful as the probability will change depending on the cards that are dealt.

Roulette is completely different. There are 38 spaces and after the wheel is spun a ball will be dropped into one of them. You can bet on colours, numbers, combinations, odd and even and ranges. The safest bet would be to bet on a colour or odd and even as they are evens.

One thing both video games and casino games have in common is the ability to find help online. There are hundreds of thousands of sites out there that give you cheats and walkthroughs of the video game you’re obsessed with. Maybe you’ll be surprised to learn that there are similar casino and bingo sites, that offer advice on your favorite games. Good luck, and remember that playing online games isn’t all about winning – it’s also about enjoying the game.