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Robert Englund’s Unproduced A Nightmare on Elm Street Sequel Sounds Wild

A Nightmare on Elm Street is one of the most popular and crazy franchises for the horror genre, but even though the film has a number of ridiculous sequels, it sounds like producers should have listened to Freddy Krueger himself for ideas, as Robert Englund wrote a sequel script back in the ’90s.

Ever since acclaimed horror auteur Wes Craven introduced Freddy Krueger and the Nightmare on Elm Street universe to unsuspecting movie audiences, they’ve become staples of the genre. There are plenty of horror series that have survived over the decades, but there are few that go in as weird directions as the Nightmare on Elm Street series. The films take some interesting risks, not all of which pay off, but it leads to some growing pains as Freddy continues his rampage on clueless teens.

Related: Who Could Direct A Nightmare On Elm Street’s Reboot

There are seven A Nightmare on Elm Street films, one remake of the original movie, and a crossover showdown with Jason Voorhees. The films all attempt to follow the same chronology and, as a result of this, the later films in the series suffer from this baggage and can crumble under their own weight. The horror sequels continually feature strong performances from Robert Englund, entertaining special effects, and creative kills, but they struggle to find the right direction for the series. However, Robert Englund has recently spoken out about an idea he had for a sequel, which sounds like it could have completely reinvigorated the franchise.

A Nightmare on Elm Street 3: Dream Warriors was a major turning point for the series and it was during a time where the studio was considering many different approaches for where to go with the series. Robert Englund himself was one of the several people to submit a script, with his sequel titled “Freddy’s Funhouse”, which followed Tina’s older sister from the first film. Tina’s sister would be back, now much older, and on a mission to figure out what happened to her deceased sister. In essence, she would effectively become a paranormal Nancy Drew of sorts as Englund’s script incorporated more of a hard-boiled detective quality to the horror series. Englund was also adamant that the main character in the franchise always be a female that’s in distress, as that dynamic is baked into the series. However, he wanted to empower his heroine a little more than usual.

Englund’s script is a very novel and satisfying continuation of the films’ lore, but he admits that since it was written back in the ‘90s, it faces a number of hurdles due to the many advancements that have taken place since then. Englund specifically cites that the detective methods used in the script were inventive back in that decade, but wouldn’t work anymore because of how far technology has come. The script would definitely need updates to address these issues. However, if those areas are improved upon, there’s really no reason that this premise still couldn’t work, only with Tina’s sister now even older than she’d be in the ‘90s.

Englund isn’t exactly optimistic that his script idea will be a viable option, but A Nightmare on Elm Street has really struggled to come back to life as of late. With all of the successful legacy sequels that have been happening, especially within the horror genre, perhaps “Freddy’s Funhouse” could still be the best angle for the Nightmare on Elm Street films, since it was designed to be work as a direct sequel to the original film.

Next: The X-Files: Freddy Krueger’s Cameo Role Explained


2020-03-20 20:00:26

Daniel Kurland

Star Wars: What Chewbacca Really Sounds Like (In English)

Star Wars Chewbacca is undoubtedly one of the most iconic characters in cinematic history, but have you ever wondered what he’d sound like if he spoke English? Ever since his first appearance in the original Star Wars, Chewie has been an irreplaceable part of the franchise, appearing in tie-in comics, books, and video games. According to the previous movies’ timelines and up until Star Wars: The Last Jedi, he is currently 234 years old. In his early life, he was married to Mallatobuck and has a son named Lumpawaroo.

Many a fans’ curiosity is piqued when watching everyone’s favorite Wookiee grunt, howl and trill in his native Shyiiwook tongue and be understood by Han Solo or Rey. However, what audiences hear when they’re in the theater is not what the actors hear during filming. In fact, Chewie is able to have conversations with his co-stars because he’s speaking their language.

Related: George Lucas Explained Why Chewbacca Didn’t Get A Medal In 1977

Yes, Chewbacca can speak English – or at least the costumed actor playing him on set does. Peter Mayhew is the voice behind this legendary Star Wars character. Film critic Marshall Julius shared a rare behind the scenes video with fans on Twitter, in which Mayhew can be heard shouting at Han Solo in his normal voice. This is a great moment during the filming of the original Star Wars trilogy, and definitely worth checking out.

Not only does Chewie speak English, but he does so in a distinctive Yorkshire accent as he argues with his friend and partner in crime. After hearing this glimpse of the real conversations having on set, Peter Mayhew’s voice will ring in the back of fans’ minds whenever Chewbacca “talks” to Han Solo during their adventures on the Millennium Falcon.

Chewbacca was originally inspired by George Lucas’ dog, an Alaskan malamute called Indiana, who acted as an unofficial copilot by often sitting in the passenger seat of his car. Peter Mayhew’s height helped him land the role in the movie, since he was a whopping seven feet and three inches tall. The original actor behind the Chewbacca mask sadly passed away in April 2019, and Chewie has been played by Finnish actor Joonas Suotamo from Star Wars: The Force Awakens onwards.

Mayhew was not only an actor but the author of two books, Growing Up Giant and My Favorite Giant. He enjoyed being a part of Hollywood’s most popular franchise and also shared his literary talents with the world – quite an impressive legacy. He will always be remembered as the “fuzzball” whose voice became one of the most distinctive sounds of the Star Wars universe.

Next: Star Wars 9 Theory: Luke’s Green Light Saber Redeems Kylo Ren


2020-02-22 04:02:10

Monique Howard

Colin Trevorrow’s Star Wars 9 Sounds Better Than Abrams’ Rise of Skywalker

Former director Colin Trevorrow’s treatment for Star Wars: The Rise of Skywalker has made its way online, and it sounds so much better than the one audiences got from J.J. Abrams. Originally hired to finish the sequel trilogy, Trevorrow was in the process of working on the film’s script when it was announced in September 2017 that he exited the project due to creative differences with Lucasfilm. Not long after that when it was revealed that Abrams was returning to take on the mantle after he kicked off the ongoing story via Star Wars: The Force Awakens in 2015.

It would be an understatement to say that The Rise of Skywalker‘s filmmakers had their work cut out for them. Not only did the film need to be a satisfying culmination of the Skywalker saga, but it also had to work around the untimely death of Carrie Fisher, whose General Leia Organa was supposed to be a major focus of the movie. Plus, it needed to wrap up the sequel trilogy’s story revolving around Rey, Kylo Ren, Finn, and Poe Dameron.

Related: The Rise Of Skywalker Is What Star Wars Fans Always Feared From Disney

Fast forward to 2019, Abrams’ Star Wars: The Rise of Skywalker was met with divisive response from the public for a string of different reasons. And with the leak of Trevorrow’s unused script for Star Wars: Episode IX, comparing it to what’s officially canon, is inevitable. Based on what’s been revealed thus far, it also sounds like a better story than what we got on the big screen.

A version of Trevorrow’s script leaked online (and has been confirmed by various outlets), giving fans a sense of what his plans were for Star Wars 9 before his departure from the project. The most recent version of the treatment was finished just after Fisher’s death in December 2016, explaining why there’s not much about Leia in the story. Titled “Duel of the Fates,” the script has several key differences from The Rise of Skywalker, including giving Rose Tico (Kelly Marie Tran) a proper arc. She joins Finn (John Boyega), C-3PO, and R2-D2 for an adventure of heir own – going to Coruscant in the hopes of recruiting more allies to the Resistance.

Another glaring difference is the handling of Rey’s (Daisy Ridley) lineage, who is not a Palpatine in this version of the story. While the story did include Emperor Palpatine (Ian McDiarmid), his appearance was only through a holocron that Kylo Ren (Adam Driver) discovered, setting off his path through the whole movie. Kylo Ren’s story arc panned out very differently as he gets entangled with Tor Valum – a 7,000-year-old ghoul who apparently trained Darth Sidious. In the end, he wasn’t redeemed, although he also suffered the same tragic fate. As the brainchild of Trevorrow, Duel of the Fates unsurprisingly also didn’t include new Star Wars characters like Zori Bliss (Keri Russell) and the fan-favorite Babu Frik (voiced by Shirley Henderson).

Related: Why Last Jedi Fans Don’t Like Star Wars: The Rise Of Skywalker

The Rise of Skywalker received varying responses from the public, but there are a few story choices that Abrams and his co-writer Chris Terrio made that were the source of displeasure for some. One of which is the decision to link Rey to Emperor Palpatine. The Rise of Skywalker walked back on Star Wars: The Last Jedi‘s reveal that Rey was a nobody who only happens to be Force-sensitive and disclosed that she’s the granddaughter of Emperor Palpatine.

This understandably turned off those who found Rian Johnson’s bold take on a leading Star Wars character refreshing. Some also perceived it as a knock on Rey’s powers – as if the only reason she’s so powerful with the Force is because of her familial connection with the Emperor. Duel of the Fates avoided this problem by not making Emperor Palpatine such a massive part of the story. Instead of questionably surviving his supposed death in Return of the Jedi and masterminding a whole elaborate plan to lure Rey to the dark side, Trevorrow’s film only gave him a minuscule role, in which his primary purpose was seemingly to tie all three trilogies together.

Related: How Palpatine Returned In Star Wars 9 (According To Rise of Skywalker Visual Dictionary)

Duel of the Fates would’ve also featured a bigger role for Luke Skywalker’s (Mark Hamill) Force ghost. Instead of only appearing in two instances – first during Rey’s return to Ahch- To and at the end with his and Leia’s Force ghost appearance before Rey on Tatooine, he would’ve also had interactions with Kylo Ren. This means that aside from providing guidance for Rey as she continued to hone her skills as a Jedi, Luke would’ve also had the chance to lure his nephew back to the light side. As previously mentioned, Rose would’ve also had something to do instead of being totally sidelined, which was a major criticism of The Rise of Skywalker.

After the release of The Rise of Skywalker, fans were quick to point out how it either glossed over or totally backtracked some elements from The Last Jedi. Some notable examples are the truth about Rey’s lineage and Kylo Ren’s path to becoming the trilogy’s true main villain after he killed Supreme Leader Snoke (Andy Serkis). Finn and Rose’s dynamic was also totally forgotten as there’s no mention of their potential love connection teased at the end of The Last Jedi. While Trevorrow’s Star Wars 9 didn’t pick up every plot thread left by Johnson’s film, it at least didn’t directly contradict what was established in it. This, in turn, would’ve made it a true sequel to The Last Jedi.

For instance, Rey being a nobody stuck – in fact, Duel of the Fates even built on it when Kylo Ren revealed that he murdered her nameless parents, which was a mandate from Snoke. Seemingly showing no remorse at the crimes he committed, Kylo Ren maintained his allegiance to the dark side, which continued the path The Last Jedi set out for him. Force ghost Luke Skywalker haunting his nephew, on the other hand, paid off the legendary Jedi’s parting words to Kylo Ren – “see you around, kid” – before his Force projection vanished on Crait. Finally, while Duel of the Fates doesn’t appear to directly address Finn and Rose’s potential romance, it furthered their relationship by sending them on a mission.

Related: Star Wars: The Rise Of Skywalker Contradicted Its Own Setup

Given all that we know about Trevorrow’s Star Wars 9, what are the chances that it would’ve actually been better than Abrams’ The Rise of Skywalker? It’s difficult to tell considering that things can change during the execution of the script. Trevorrow doesn’t necessarily have the best track record now with the critically-panned Book of Henry as his last directorial project. This reported leaked script also didn’t divulge much of how it would’ve handled Leia in the film, which is a pivotal element of the movie – and quite frankly, an aspect that The Rise of Skywalker did quite well. While Duel of Fates sounds full of potential, its translation on the big screen may not have been as smooth as everyone imagines it would be.

Nevertheless, judging purely on what’s in his script, it sounds that Trevorrow’s movie had a more concise story than Star Wars: The Rise of Skywalker. Aside from not actively backtracking on what’s established in The Last Jedi, it seemed focused on closing out the narrative, acknowledging that there’s already plenty of stories to tackle for a satisfying conclusion to the Skywalker saga. So instead of introducing entirely new plot lines that makes it feel like a blatant course correction from Lucasfilm, following the response from its predecessor, it picked up on where the story left off and worked from there to give fans the culminating movie they were promised.

More: Star Wars: Rise of Skywalker Proves How Good Avengers: Endgame Is


2020-01-15 03:01:04

Ana Dumaraog

How Once Upon A Time In Hollywood’s Death Sounds Were Made

Once Upon A Time In Hollywood‘s foley artist has revealed how he created the sounds of the movie’s brutal ending deaths. Quentin Tarantino’s ninth film was released to numerous rave reviews this summer, praising the film’s passionate depiction of a bygone era.

Unlike almost all of the famed filmmaker’s previous work, Once Upon A Time in Hollywood offers a more sensitive examination of its characters, eschewing the multi-chaptered aesthetic and blatant violence seen in other Tarantino films like Pulp Fiction, Kill Bill Volumes 1 and 2, Inglourious Basterds or Django Unchained. Instead, audiences are treated to a depiction of Los Angeles (and particularly Hollywood) in the final year of a decade that had been rife with serialized TV, drugs and an increasingly commercial hippie standard.

Related: Quentin Tarantino Confirms Retirement After Two More Films

The climax of Once Upon A Time In Hollywood is as blood spattered and brutal as much of Tarantino’s previous work, though in more concentrated dose. Tarantino has always been a stickler for detail, and Once Upon A Time’s ending was no exception. Speaking to Vulture, the film’s supervising foley artist Gary A. Hecker revealed that he used a multitude of techniques to get just the right sounds for what turned out to be a vicious ending. According to Hecker, the sound of Cliff Booth’s (Brad Pitt) dog tearing the clothes of Manson family members upon the start of the film’s final battle was simply a matter of physically tearing “different pieces of jeans and thick pants, sweats — big tears and yanking on the cloth.”

As the battle progressed, things became more complex, of course, and Hecker pounded a 1960s-era phone into a wooden desk in order to create the sound of on e Manson family member’s head being repeatedly driven into the wall phone by Booth. As this assault continues, Booth takes the Manson family member and begins smashing his head into a wooden mantle. Hecker imitated this rather nauseating sound by smashing the “meaty part” of his palms on a cement slab – an act that physically hurt him. The sound of teeth smashing in the victim’s skull were created by snapping sticks of celery and the grand finale involving Rick Dalton (Leonardo DiCaprio) and a flame thrower was done with sound effects.

When seen and heard on screen, everything adds up to a perfectly executed symphony of pain and brutality – one that audiences can’t help but cheer on. Indeed, Once Upon A Time In Hollywood may not have been Tarantino’s most typical film, but it certainly provided fans with a new take on a filmmaker whose love for cinema has never wavered. And, as is the case with all the films on the Oscar-winning director’s resume, Once Upon A Time In Hollywood, despite its different style and pace, very much holds its own place in a legacy that can only be described as Tarantino-esque fun.

Next: What’s Up With Quentin Tarantino and Feet?

Source: Vulture


2019-09-18 04:09:23

Mike Jones

Shang-Chi Star Sounds Off on SNL Racism Controversy | Screen Rant

Simu Liu, star of Marvel’s upcoming Shang-Chi and the Legend of the Ten Rings, has responded to the controversy of racism surrounding Saturday Night Live’s hiring of Shane Gillis. Comedian Gillis was recently announced as a new cast member on NBC’s long-running sketch comedy show.

Since Gillis’ hiring, a series of broadcasts from Gillis’ podcast show, Matt and Shane’s Secret Podcast, have come under fire for the comedian’s use of racist and sexist humor. This includes derogatory remarks about Asians (using mock Asian-American accents no less), as well as women and the LGBTQ+ community. The irony of Gillis’s addition to SNL’s lineup comes alongside that of Bowen Yang, the show’s first cast member of East Asian-descent, is hard to miss.

Related: Saturday Night Live’s Shane Gillis Casting Controversy Explained

In a tweet by Liu, the actor remarks of Gillis’ podcast, “It wasn’t funny then and it sure as hell isn’t funny now.” Liu, who is best know for his role as Jung on CBC’s Kim’s Convenience, hit pay dirt when he was cast as the titular hero in Marvel’s Shang-Chi, becoming the MCU’s first Asian superhero. You can check out Liu’s full response to the controversy of Gillis’ hiring, below.

Part of Marvel Studios’ grand Phase 4 for its cinematic universe, Shang-Chi is based on the comics conceived by Marvel to capitalize on the new popularity of kung-fu films in 1970’s America, brought about by Bruce Lee and other Asian martial arts actors. Shang-Chi is an unparalleled martial arts master originally trained to be a villain, but who was won over by the fight for good. As the first Asian actor to take center stage in a Marvel movie, Liu has a lot riding on his shoulders as far as carving out a place for his community in the American comic book movie machine.

He’s off to a fine start, standing against the propagation of racist remarks like any good hero should. Referring to a hateful slur used by Gillis in his podcasts, Liu stated, “This word has been used to dehumanize my people for over 150 years. You don’t get to use it in the name of edgy comedy.” Spoken like a true force for good.

The pressure is now on NBC and the powers behind SNL to decide what to do with Gillis. They may discard him before the show’s next season, and apologize for his employment in the first place. Or they may stand behind their hire and, in the least, curb his offensive humor to a respectful degree. With Liu and a host of other Hollywood personas coming out to speak against the advancement of those who make their living belittling others, good money is on the former.

More: New SNL Cast Member Shane Gillis Responds to Racism Controversy

Source: Simu Liu/Twitter



2019-09-15 05:09:22

Jason Robbins

Young Sheldon Fined by FCC for Misusing Emergency Alert Sounds

Young Sheldon has been fined by the FCC for misusing the Emergency Alert System tone. Created by Chuck Lorre and Steven Molaro, CBS’s Young Sheldon is a spinoff prequel to The Big Bang Theory. Following Jim Parson’s character, Sheldon Cooper, in his socially challenging adolescent years, Young Sheldon stars Iain Armitage as the titular boy. 

Infused with easter egg references to the original series, Young Sheldon has stood on its own as a successful sitcom. The series has been renewed up to season 4. An episode from season 1, however, is facing backlash from the FCC (Federal Communications Commission) for evoking the Emergency Alert System tone. Designed as a national public warning mechanism, the Emergency Alert System provides a platform to address the public in the event of a national emergency, dangerous weather conditions, and Amber Alerts. The pulsing high-pitched buzz is captivating and distinct. Young Sheldon’s episode, “A Mother, A Child, and A Blue Man’s Backside”, featured a character watching Looney Tunes that’s interrupted by a tornado watch. Bearing a striking resemblance to the EAS tones, the sound effect could cause Young Sheldon a hefty fine.

Related: Young Sheldon: Who Played The Big Bang Theory Cast As Children 

According to CNBC, Young Sheldon has violated the rules of the FCC. CBS claims the tornado warning sound effects were concealed by character dialogue and modified as to not present EAS tones themselves. Claiming misuse of the Emergency Alert System, the FCC proposes a $272,000 fine against the network. The FCC clarified the reasons why the tones should only be used in actual emergencies or authorized tests.

Unauthorized use of the EAS Tones undermines the EAS and presents a substantial threat to public safety. The underlying policy concern is not limited only to potential listener confusion at the moment of the improper broadcast of the EAS Tones; the Commission also has warned that the use of simulated or actual EAS Tones for non-authorized purposes – such as commercial or entertainment purposes – can lead to a dangerous ‘cry-wolf effect’ or ‘alert fatigue.’

Moving forward, the FCC is allowing CBS a grace period to respond and will consider legal arguments to resolve the matter. Young Sheldon is not the only series to strike a wrong chord with the FCC. Last month, ABC’s Jimmy Kimmel Live received a $395,000 fine for simulating alert tones in a skit. AMC’s The Walking Dead also breached FCC rules and was fined $104,000 for using the tone – a noise that would no doubt allure zombies.

The FCC appears to be cracking down on uses of emergency alerts in television shows. Given the recent events of horrific weather conditions and potential dangers, the distinctive sound could confuse viewers. Overall, the hefty fines on high-profile shows serve as a cautionary tale for series contemplating storylines that might include the Emergency Alert tones. The seasoned creative team behind Young Sheldon could’ve no doubt formulated a solution to translate the authenticity of an emergency to the screen, without invoking the distinctive tones in question.

Next: CBS’ Next Big Bang Theory Spinoff Should Be Young Howard

Source: CNBC


2019-09-10 04:09:04

Bethany Guerrero

Overwatch’s New Anti-Cheat System Sounds Great in Theory

Blizzard released another developer update for Overwatch last week, detailing a number of changes for the summer season of the game and a new anti-cheat system. An update video like this has been expected, with the upcoming annual Summer Games event and a rumored thirty-first playable hero on the horizon.

Ever since the release of the game in 2016, Blizzard has been trying to combat the influx of Overwatch‘s cheaters and toxic players. Given the longstanding popularity of Overwatch, it’s not surprising that these elements of the player base continue to be a problem for the rest of its community. But this problem is still a top priority for Blizzard, and the developer has been diligent in working out ways to deal with it, including a streamlined reporting feature and the implementation of a rating system for players with good behavior.

Related: The Best Overwatch Fan Forums

The latest video in director Jeff Kaplan’s ongoing series of updates highlights Blizzard’s most recent attempt to curb cheaters: an automatic shutdown system for matches where cheating is detected. If the server picks up on any kind of illicit actions that break the fundamental rules of the game, such as aimbots or wallhacks, it will automatically shut down the match. None of the players on either team will be penalized for the match shutdown, so their ranks and ratings will not be impacted in competitive modes. This feature has been live on Overwatch‘s Public Test Realm for a little while, but Kaplan says it will be added to the full version soon and that it will be the next major evolution of cheat detection in the game.

The idea has gotten a broadly positive reception within the Overwatch community, many of whom are no strangers to playing with (and against) cheaters. A Reddit post discussing the feature is filled with the comments of people sharing their thoughts and experiences with cheating, and their gratitude to Blizzard for its uncommon dedication to keeping the game as fair as possible. However, others have raised legitimate doubts about this feature; many are afraid of false positives within the system and worry about how it could be exploited.

While this may be the most comprehensive anti-cheat method that Overwatch has had yet, it remains to be seen how effective it really is. As any sufficiently popular multiplayer game ages, it will attract more and more cheaters looking for holes in the system. It’ll be great if this system can consistently identify and shut down cheating properly, but it will get very frustrating very quickly if it gets too many false positives.

Next: Blizzard Working on Diablo 4 and Overwatch 2, Cancelled StarCraft FPS

Source: PlayOverwatch/YouTube, Reddit


2019-07-15 01:07:43

Connor Trinske