Jay Sits Down With Director Alfonso Gomez-Rejon and Writer Jesse Andrews to Talk ‘Me and Earl and the Dying Girl’

Me and Earl

by: Jay Carlson

I was fortunate enough to speak with Me and Earl and the Dying Girl director Alfonso Gomez-Rejon as well as writer of the source novel and screenplay Jesse Andrews when they passed through Boston recently. Gomez-Rejon might not be a name you know yet but he’s certainly on the come lately after the Sundance success of Me and Earl and the Dying Girl. He’s had an interesting trajectory up to this Alfonso Gomez Rejonpoint, with one of his earliest credits as an intern on the excellent Alexandre Rockwell indie film In the Soup starring Steve Buscemi and Seymour Cassel. From there, he moved on to work as a PA on projects such as Casino with Martin Scorsese and 21 Grams with Alejandro González Iñárritu. All the hard work finally got him gigs directing second unit footage on movies like Babel and Argo and finally settling in as a director with American Horror Story and remake of The Town That Dreaded Sundown.

Alfonso Gomez-Rejon: Working for Scorsese shifted everything. The people you’re exposed to, that knowledge of film history… All of a sudden you’re watching these films with him and he just sets the bar. The three years of PA’ing before (directing) prepare you to keep that job. Going back and talking about this is so weird, you know? I was so young, it was so surreal. As surreal as being at Sundance and there is Scorsese and you’re with him, you know? And you’re just watch like a ninja. You’re just quiet and taking everything in and if he needs something, you’re there with whatever he needed.

Jesse Andrews: (To AGR) You drove him around, right?

AGR: On weekends.

JA: You’re not great with directions. (laughing)

AGR:  I’m good with lefts and rights. (laughing) His teamster would be working nights on Casino. Friday he’d take off after dropping Scorsese off and then I would drive him home Saturday morning and keep the car for that weekend for whatever Marty wanted. That means driving home Saturday morning because usually teamsters with night shoots (Mimes someone leaning and sleeping)… So I’m on set, I’m working 16, 18 hours or whatever. (And I have) to get Marty home and you’re driving home at eight in the morning and you’re doing this (mimes droopy head bob behind the wheel). It was so hard… And then you get lost. That’s the worst part. I drove in to an ally one time and he’s like, “What is this, a rubout?”

I was driving Alejandro (González Iñárritu) on 21 Grams… Benecio, Alejandro, Sean Penn, Naomi Watts… All the assistants drove the actors. It was also a fairly small movie. There I am in Memphis and what do I know about Memphis? And I’m working 20 or 21 hour days and I was on seven days a week, to the point that I physically didn’t think I could finish the job. It was that taxing on me physically because there was no down time. Sometimes he’d be 45 minutes late to the set because I would literally stop and say, “Alejando, I don’t know where I am.” I’d put it in production reports and get yelled at by producers. I’d be like, “Don’t have me drive the director then!” (laughing)

Another time on 21 Grams Alejandro says that he wants me to take his family, his parents who have flown in from Mexico City, his wife and kids and take them all to Graceland. I got lost. (laughs) I’m not kidding. I end up at a dead end with a highway over me and the family is there and Graceland closes! So then I have to drive them all back.

Now I can sense that if someone’s driving me and took a wrong turn… I know what they’re feeling and I’m like, “Don’t worry about it, I know. Don’t worry about it. It’s going to be ok!”

The success of Me and Earl and the Dying Girl has been a whirlwind for Writer Jesse Andrews. Me Jesse Andrewsand Earl is Andrews’ first published novel but he’s been at it for a bit.

JA: When I started writing this book I had already written two books that hadn’t gotten published and were never going to be published so I had no certainty that this wasn’t going to be another of those books. Maybe I’m just doing that for the rest of my life, and that’s fine. I just became much more wedded to process over the outcome.

Indie Revolver: How much of Me and Earl was drawn from your own experiences?

JA: This is not literally my story. I didn’t have a classmate who went through this. Where it comes from is that when I set out to write this book my grandfather was terminally ill. He wasn’t going to be around much longer and I was just thinking a lot about grief, about how incomplete and frustrating any exchanges with someone who is going through something like that… you know someone who is not going to be here that much longer. You never say the thing you wished you had said. You never do the thing you wished you had done. You’ll always recriminate yourself because it wasn’t enough, it wasn’t complete. I saw my mom going through this, too, her father was dying. I knew if I could take that and make something funny out of it and hopeful too, but not unreal. If I could find something in there… that would be something and that was my goal. I had no confidence that I was necessarily going to get there.

IR: So did you set out to adapt your own book? Was that part of the deal when you sold the rights?

JA: I didn’t build that in. It didn’t even really occur to me that that was something that I could do. I just wrote a book… I was ecstatic just to have a book published. Then the selling of the film rights was this very abstract unreal thing to me until my agent put the manuscript in front of this guy Dan Fogelman.

In an interview with Dan Fogelman a couple months ago about his first directorial effort, Danny Collins he spoke a little about his experience on Me and Earl and the Dying Girl.

Dan Fogelman: I just did this movie that was in Sundance, it’s my most recent thing and it just won all of Sundance. It won the whole thing. I produced it, Me and Earl and the Dying Girl. It’s exceptional, the movie is exceptional. This director is so talented. He’s going to be my generation’s next important director. I think 25 years from now he’s (going to be) my generations Scorsese. I think he’s that good. I didn’t write the script, the novelist (Jesse Andrews) adapted his own book and I taught him how to write the screenplay. We worked through the script together over the course of years and I put a lot into it. The director then took it and made his own version of it. It was such a cool process watching this. The first time I saw it I was like “Whoa.” He took it an elevated it and did it all differently and it’s artistic and cool and I Love that. It’s really something else.

JA: (Regarding Dan Fogelman) He’s a beast. He’s just like this pure beautiful human being and incredibly talented. It was kind of his idea and also my agent’s idea to, if they could, give me the first crack at adapting it. (Producers) Indian Paintbrush was crazy enough to take us on. I think the project became much more appealing once it had Dan packaged in with it, but the arrangement was that he would guide me through the writing process and really make himself available in a way that I think is unusual for a producer/writer relationship. So I got to learn from this total master of his craft. I just tried not to screw it up. (Fogelman’s part in getting the film to the screen) wasn’t a small part. This film wouldn’t exist if it wasn’t for him. I certainly wouldn’t have been able to write it without someone like him and there’s only one person like him, it’s him and I got to hang out with him. So it’s amazing.

IR: Alfonso, what brought you to the film?

AGR: My dad had passed away and I was having trouble trying to understand it. Then I got this beautiful gift by Jesse that allowed me that opportunity deal with it and give it a shape and do it through this beautiful, weird sense of humor. That’s why I felt very connected to it. I thought the script dealt with (illness and grief) beautifully and elegantly and age appropriate, whatever that means because it was age appropriate for me.

IR: It’s a bold move to jump into making a film about illness and dying when you’re going through something like that personally. I would have been trying to make anything but something dealing with illness and dying.

AGR: I had been doing that for four years. Until you finally have to deal with it. The only way I could express it was through images and movies and doing what I think I was meant to do, I don’t know. This gave me that opportunity.

IR: Going through that stuff is so relatable. It’s Universal. The film really broke my heart. My son just found out one of his best friends has Leukemia this week and he has a friend that kind of reminds me of Earl. Seeing this film really hit home.

AGR: Hopefully it’s not a downer because the script handled it with such grace and so much humor and that was very important to me.

IR: It didn’t break my heart in a bad way. It’s just such an affecting, well-made film and you really cared for each of those characters.

AGR: It was comforting to me, making the film. Hopefully people feel that. It captured adolescence and I saw myself in Greg before the Bernthal scene and after the Bernthal scene.

IR: How great was Bernthal in this, by the way?

AGR: Isn’t he?

JA: He was great. He’s incredible. He’s a great ad-libber, too. He was one of the few who every take was different and it was good shit. Him and Molly Shannon did some amazing ad-libbing.

IR: Jesse, you’ve written a novel and now a screenplay, what’s the plan going forward? Screenplays? Books? A little of both?

JA: Yeah, both. It’s really creatively fulfilling to get to leverage each one against the other, going from one world to the other and back. They’re so different. The economy and discipline in writing a screenplay… you don’t have a lot of space and you have to choose your words very carefully and that’s energizing but then after a while you want to really stretch out and to go to a book is great. You can just babble for a really long time, relatively speaking. When I write dialogue in a book I like to put in a lot of umms and ahhs and repetition and really try to give a naturalistic feeling to make it sound like kids talk. You can’t really do that in a movie. There are other ways to make it feel real or hyper real but not through that. Not through space. So I’ve done both actually since this. I’ve done a couple adaptations of other books, I wrote my own script and then I wrote my second young adult book first draft which just got bought by Abrams and I’m about to go into revisions. Hopefully it comes out spring of 2016.

IR: Alfonso, What’s next? You’re casting a movie now? (News had broken days before that Collateral Beauty would be Gomez-Rejon’s next film and had landed Hugh Jackman and Rooney Mara)

AGR: Possibly. Yeah, that was leaked to the press. It’s not real yet. I’d rather not talk about it because it might be something else. There’s like three things that could potentially go and that is one of them. If the script comes together then that would go quickly (probably) in the winter but it could be something else. I don’t know who leaked that probably some bullshit producer who wants it to be real. It’s uncomfortable when that happens. So there’s a lot of stuff, who knows what it’s going to be? I know we’ll have food on the table for at least a year.

JA: Eight months.

AGR: (laughing) Eight months, tops. As opposed to the years prior. There’s a lot of opportunities now.

IR: How has the success of Me and Earl changed your lives?

JA: More opportunities. I spend a lot more time now hitting refresh on the twitter search for mentions of this movie. I’m a young adult author technically and I have less than two thousand followers which is mortifying. It’s so embarrassing that my media presence is appallingly nothing. For me it’s a huge amount of work to agonize over a tweet and it gets two favorites then it disappears into the abyss. But yeah, better opportunities. I got to a point where I had made peace with the idea that I would never get here, or even approaching here and now stuff is happening.

AGR: My life changed, I think both of our lives changed after that screening at the Eccles Theater. As a filmmaker now.. people are listening because they’re able to see something that is closer to your own voice and they’re liking it and now they have some trust in you as a director. That as a filmmaker is wonderful. When all you want to do is make movies and you need millions of dollars it’s tough to be able to talk and speak through your movies, so now it’s an opportunity to do more of that and that’s nice.

IR: Thanks guys. I really loved your film

AGR: Jay, thanks a lot.

JA: Thanks, Jay.

I had a wonderful time speaking to Alfonso Gomez-Rejon and Jesse Andrews. Stay tuned for part two of our Me and Earl and the Dying Girl interviews with Olivia Cooke, Thomas Mann and RJ Cyler.

I highly encourage you to get out to see the film tomorrow, June 12th in select cities with a bigger rollout in the weeks following. To see exactly when the film is hitting your neck of the woods click HERE.

INDIE REVOLVER EXCLUSIVE: A Very Detailed Plot Synopsis for Paul Feig’s GHOSTBUSTERS Revealed!

by: Steve Sullivan

Relatively speaking, filmmaking is a medium still in its infancy, and as a uniquely expensive popular art form it has spent the entirety of its formative years shackled to industry. Economic and creative interests rarely coincide, but Hollywood has spent a century seeking harmony between great storytelling and larger profits. The studios’ batting average has climbed and dropped throughout the seasons, and from time to time they’ve stepped up to smash one over the fences. Ghostbusters was a grand slam when it was released in 1984, one of the most beloved films that Hollywood has ever produced.

For twenty-five years, hopes for a third entry in the series were at lifted upon waves of Dan Aykroyd’s enthusiasm only to be smashed each time upon the rocks of Bill Murray’s inhospitable shores. The former has more invested in the property; the concept was his brainchild and Ghostbusters represents a distant high point in his career. While Peter Venkman may be Bill Murray’s most famous role, the eccentric actor has found new success and late-career validation in offbeat indies and dramatic parts. Together with director Ivan Reitman and their co-star/writer Harold Ramis, the two were said to exercise veto power over the Ghostbusters franchise and seemed eternally out of sync on its future. Sony Pictures, who inherited Ghostbusters by purchasing Columbia Pictures while the second film was still in theaters, remained hesitant throughout to revive Ghostbusters without Murray’s involvement. It wasn’t until Ramis passed away in February of 2014 that the studio began to consider the viability of new directions.

In October, Sony announced that they’d chosen Bridesmaids’ Paul Feig to write and direct the next installment of Ghostbusters. Feig revealed that the new film would be a hard reboot set in a world without Egon Spengler, Ray Stantz, Peter Venkman, and Winston Zeddemore, and that the new ghostbusting team would be comprised entirely of women. The director found himself facing intense and immediate backlash, and has responded to the criticisms with public statements about his detractors’ misogyny and oversensitivity.

“It’s so dramatic,” Feig said in a Variety interview published this week. “Honestly, the only way I could ruin your childhood is if I got into a time machine and went back and made you an orphan.”

The reboot’s naysayers do not all belong to the camps which Feig has called out. In sniping back at the bored Twitter fringe, he addresses tangential social issues but sidesteps the growing frustration with the way Hollywood executives make creative decisions. It’s unsurprising that Feig’s not able to summon a strong defense for his approach. He wasn’t interested in the job, but former head of Sony Pictures Amy Pascal kept pushing to bring him on board.

“I was courting him for like a year,” Pascal told Jenelle Riley. She was convinced that the project needed “somebody who was going to do an entirely different idea, equally brilliant and completely their own thing.”

Sony Pictures is home to precious few dependable franchises. While James Bond is enjoying a critical upswing, the studio has somehow managed to misfire on three consecutive outings with Spider-Man while fast-tracking a second Smurfs sequel which nobody wants. Pascal and Sony saw Feig as a sure thing in the wake of the director’s impressive run at the box office, and their business-first approach led them to pursue a talent who admitted he had no clue how to approach the property. When Feig eventually suggested that he could deliver his usual brand of female ensemble comedy wallpapered with the Ghostbusters brand, Sony celebrated that they’d signed their man.

The problem with the new Ghostbusters is not that Feig wrote his story around a team of women. What’s troubling is that Sony hired a director who’s got a limited comfort zone and force fit an iconic property into that mold.

Filmmakers have been reinterpreting stories in movies and television from the beginning. The lack of respect often shown to remakes by critics is not always reflected at the box office, as familiar brands continue to fill theater seats. Nor can it be said that a derivative film can’t be an interesting exercise. Alfred Hitchcock and Michael Mann each revisited their own stories in order to improve upon them. Gus Van Sant attempted to relive Hitchcock’s Psycho experience shot-for-shot. For most, the titles of Ocean’s Eleven and The Maltese Falcon conjure images of their impressive remakes over the originals. When a talented filmmaker has a bold vision for a new direction, it’s often worth giving them the opportunity to try. Sadly, that doesn’t appear to be the fate for Ghostbusters.

Recently, we had an opportunity to read a breakdown of the reboot’s story. Far from being inspired or confident, the outline of the new Ghostbusters film represents a departure from the familiar story in mostly unimportant ways. The scientists who strike out on their own business venture are, of course, women instead of men. Their adventure begins at Columbia, the real-life school which stood in for the university which banished Venkman, Stantz, and Spengler to the private sector. The script goes out of its way to reference the original film unnecessarily – a realtor shows the women a firehouse before they find their ultimate headquarters above a chinese restaurant (where one might assume they’ll spend “the last of the petty cash”). The movie promises an origin story for a reinterpreted Slimer; their company car is an old white hearse. If the film is going to spend so much time winking at its predecessor, why discard its solid foundation to begin with? Ghostbusters was a concept ready-made for expansion, as an eager Venkman once promised that “the franchise rights alone” would make them rich beyond their wildest dreams.

Pascal was reassigned within the Sony Pictures organization after hackers released her private emails featuring racist jokes about President Obama and complaints about working with Angelina Jolie. In the months since her departure, Sony has projected a confused image on the Ghostbusters front. With Feig’s film in pre-production, the studio let slip that another team (including Channing Tatum and Chris Pratt) was also developing their own Ghostbusters script. It may be too much to hope that Pascal’s replacement, the notoriously penny-pinching Tom Rothman, is reconsidering the Feig project for creative reasons, but it would certainly be welcome.

The true magic of great comedies rarely lives on the page, but is revealed only when the writing, direction, performances and editing succeed together. Paul Feig’s attempt at Ghostbusters may ultimately be funny when it elbows its way into theaters in July of next year, but being funny alone will not earn it a place with the original.

The story outline (which we’ve confirmed is legitimate) is reprinted in full below. This is a lazy treatment for a treasured property. Ghostbusters deserved better.

______________________________________________________________________________

  • Kristen Wiig will be playing Erin Gabler, a science professor at Columbia University, who years prior co-authored a book with Abby Bergman, played by Melissa McCarthy, titled “Ghosts From our Past: Both Literally and Figuratively – The Study of Paranormal Knowing.“
  • The two have not spoken in years but are brought together when Erin is approached by a gentleman looking for help with a haunting. It’s during this interaction that Erin learns that Abby has made their book available online. Erin fears what the book could do to her credibility if it’s discovered and approaches her old friend to take the book out of circulation. Abby agrees only after she offers to bring her and her colleague Jillian Holtzmann (Kate McKinnon) along to look into the haunting.
  • Abby is a professor of paranormal studies at a third-rate university in the Bronx where she works with Jillian.  Jillian is the Egon of Feig’s story. She’s invented a PKE Meter that she brings to test during this first investigation.
  • At the site of the haunting they encounter slime followed by the ghost of a young girl who proceeds to slime Erin. (Sound familiar?) Abby catches the incident on film. The video goes viral but the majority of the public doesn’t believe the video is real. The circumstances around the situation cause Erin to lose her job at Columbia.
  • Abby proposes the three set up a business investigating paranormal disturbances. Erin reluctantly agrees and the three embark on setting up a paranormal extermination business.
  • They next need to locate an office for their new business. The realtor shows them a perfect spot, a renovated fire house that is way too far out of their price range. They instead end up in an apartment above a Chinese restaurant.
  • We are next introduced to Patty Tolan, played by Leslie Jones, who works in the tunnels under New York City. While underground she encounters the film’s villain Rowan Elgin (The role Peter Dinklage is rumored for) carrying a device. She pursues Tolan but he gives her the slip. After losing him, she stumbles upon his device attached to the wall. A ghost in clothing from the 1600’s appears from the device and chases Patty until a train appears and hits the ghost, causing it to vanish.
  • Meanwhile, Erin, Abby and Jillian and their new intern named Kevin are brainstorming ideas for a logo for the business website when Patty arrives. Patty brings them down to the tunnel to show them the device.
  • Patty proposes that they let her join the team, offering them the use of her uncle’s vehicle for the business, an old white hearse.
  • The newly formed team gets their first official gig at Rockefeller Center where they are hired to get rid of the ghost of a fat Mafioso. They test out Jillian’s newest invention, the Proton Pack, on the ghost. The pack ends up shooting off the ghost’s arms, legs and torso, leaving only a disembodied green head (Yup, Slimer). The head manages to get away.
  • Much like their previous video, the video of their fight with the fat green ghost again goes viral, but again it’s viewed as a hoax. The evening news reports on the event, jokingly referring to them as the Ghostbusters.
  • The team’s next call brings them to a comic convention where they arrive dressed in old underground maintenance uniforms provided by Patty carrying Proton Packs, blending in with all the other cosplayers. A battle breaks out when they locate the demon-looking ghost. The crowd cheers, thinking it’s all part of the convention.
  • The Ghostbusters eventually deduce that the rise in paranormal activity is the result of Rowan who has ties to very old secret society and has been working on building a machine that will release all the ghosts in the city to facilitate the release of an ancient Sumerian god of darkness who will bring about the end of all humanity.
  • They get to Rowan too late as his machine has created a large supernatural cloud that begins to rain slime. The Army arrives to provide assistance but the raining slime causes them to become possessed. The team must find a way to stop Rowan as his machine begins to release a horde of ghosts from all periods of New York history.  While there is no Stay Puft Marshmallow Man, there is a ghost T-Rex.

New Images for Pride and Prejudice and Zombies

pride-and-prejudice-and-zombies

by: S. Scott Stanikmas

Before he wrote about Honest Abe being a bad-ass vampire killer (the book is way better than the film), author Seth Grahame-Smith gave us a little gem known as Pride and Prejudice and Zombies. This Victorian period piece reimagines the classic Jane Austen novel with an undead twist.

A film version has been in the works ever since the novel debuted in 2009. And in 2016 we’ll finally see the movie hit the big screen. But first it needs to hit San Diego Comic-Con.

Before it even hits SDCC, EW managed to grab a few stills that show us just a little bit of what we have in store:

It’s a little disappointing that we don’t get more of the zombies, but I get why. You need to save a little for the sizzle reel at Comic-Con. But the images do look promising.

I’m liking how director Burr Steers’ approach to the project:

The idea was that it was Pride and Prejudice set in this alternate world and then for everyone to play it straight. The movie’s big wink is that there is no big wink. It’s definitely not camp.

I’m looking forward to this. As a zombie aficionado I’m always on the lookout for anything that tries to do something different with the genre. Screen Gems must see something in the film, as they have it lined up for Hall H, where all the biggest and best in film and pop culture go.

Pride and Prejudice and Zombies, which stars Lily James, hits theaters February 5, 2016.

Ava DuVernay Says “No Thanks” to the Marvel Cinematic Universe

Black-Panther-Logo-Official-550x220

by: S. Scott Stanikmas

About a week ago Marvel Studios head Kevin Feige said that they were closing in on directors for Black Panther and Captain Marvel. In the same blurb he also mentioned meeting with Selma director Ava DuVernay regarding a possible project in the Marvel Cinematic Universe. With rumors that Angelina Jolie is being looked at for Captain Marvel, the good money was on DuVernay getting Black Panther.

But it looks like that pairing wasn’t meant to be.

In an interview with Essence, DuVernay confirmed that Marvel DID want her for BP, but the conditions just weren’t right:

I’m not signing on to direct Black Panther. I think I’ll just say we had different ideas about what the story would be. Marvel has a certain way of doing things and I think they’re fantastic and a lot of people love what they do. I loved that they reached out to me.

In the end, it comes down to story and perspective. And we just didn’t see eye to eye. Better for me to realize that now than cite creative differences later … I love the character of Black Panther, the nation of Wakanda and all that that could be visually. I wish them well and will be first in line to see it.

I think it’s better that DuVernay realizes this now rather than later. In the end, the MCU movies serve a double purpose – as their own standalone films meant to entertain but also to connect to the overall picture and fit as a piece of a much larger puzzle. If she couldn’t project her own story onto the screen I wouldn’t want to see her compromise her artistic integrity just for the sake of a paycheck.

Essence did report that just because DuVernay said no to Black Panther doesn’t mean she isn’t keeping busy. She’s currently in New Orleans prepping her next film. The director will re-team with her Selma star David Oyelowo on a “love story and murder mystery” set against the backdrop of Hurricane Katrina.

No matter who directs Black Panther is still slated to claw its way into theaters November 3, 2017.

New Deadpool Images Surface!

Deadpool

by: S. Scott Stanikmas

After the horrendous way the character was treated in X-Men Origins: Wolverine, Ryan Reynolds is determined to make the upcoming Deadpool flick a success. With the videos and images that have been released so far, the film looks like it’s on the way to finally doing DP some justice.

Recently EW and Empire got a hold of what looks like some actual official set pics from the film – one of which gives us another look at the character Negasonic Teenage Warhead!

Reynolds shared a pic of Brianna Hildebrand as NTW back in April. She looks just as surly and uninterested here as she did a few months back. And I like the picture of DP with the paper. If you look really closely, you can make out crude child-like drawings. My guess? Deadpool’s battle plans written out by the man himself.

Producer Simon Kinberg and director Tim Miller have promised a “hard R” rating and a very unique experience that is unlike any other mutant movie FOX has put out.

Deadpool is looking to warm your heart on Valentine’s Day dates when it hits theaters February 12, 2016.

The Official Synopsis for ‘Star Wars: Shattered Empire’ the Story That Fills in the Gap Between Return of the Jedi and The Force Awakens is Here!

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by: S. Scott Stankimas

Disney and Lucasfilm are set to tell us what happened in the thirty years between Return Of The Jedi and The Force Awakens. They plan to do so with a series of novels, comics and books aimed at kids and young adults – and they’ll all be official canon.

One of those comics that will be released is Marvel’s Star Wars: Shattered Empire.. Through PREVIEWSWorld, the comic book giant has just released the synopsis for the limited series. The meat-and-potatoes of the reveal had some very interesting things to say:

Emperor Palpatine’s twenty-year reign of terror came to an abrupt and fiery end in the skies above the forest moon of Endor. A decisive victory for the Rebel Alliance, to be sure, but even with the loss of its leadership, the Empire’s Moffs and regional governors retained their hold on important systems from the Core to the Outer Rim, thanks to the might of the Imperial Starfleet. Now, with a power vacuum atop the Empire, those Moffs will jockey for position and control, and the heroes of the Rebel Alliance will soon discover that a wounded and fractious Empire may be more dangerous than any threat they faced before!

Written by Greg Rucka with art provided by Marco Checchetto, the first issue of four is set to hit comic book stores on September 2 this year. If all goes as planned with the shipping schedule, the trade paperback collection should hit November 17 – just in time for Black Friday and the holiday shopping season.

I know I probably won’t be waiting that long. Odds are good I’ll be in my local comic shop each Wednesday that each new issue gets released.

Lex Luthor With Hair! Bat-Signal! Zack Snyder! New Batman V Superman Images Emerge!

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by: S. Scott Stanikmas

With the ultimate in comic book and pop culture mania, San Diego Comic Con, just around the corner, little news nuggets have started to spill out. Entertainment Weekly usually throws SDCC some pretty good coverage both before and after the event, and this year is no different.

The most recent cover of EW’s pre-Comic Con issue showcases Warner Bros next big thing – Batman V Superman: Dawn of Justice. Not only is it the cover story, there are a slew of new images included inside as well:

So does Luthor start off with the hair or is that a wig? Does Bruce Wayne know he’s dancing with Wonder Woman / Diana Prince? And where are Bruce and Diana that there dressed to the nines? So many questions!

EW even managed to grab a snippet from Batman himself, Ben Affleck regarding his take on the Dark Knight:

We accept that he’s played by actors with different interpretations. He’s at the end of his run and maybe the end of his life. There’s this sort of world-weariness to it…He’s on the verge of being swallowed up by the anger and the rage that we see haunt this character in the other manifestations of it, but this guy is further down the line and has become more embittered and cynical.

With the film only nine months away and SDCC a few weeks off, you just know more and more is bound to come out to tantatlize us.

Batman V Superman: Dawn Of Justice is set to swoop into theaters March 25, 2016.

Paul Thomas Anderson To Write and Possibly Direct Robert Downey Jr’s Pinocchio!

 

 

 

Paul Thomas Anderson

by: S. Scott Stanikmas

When you say the name Paul Thomas Anderson, you tend to think complex plots, beautiful shots and meaty characterization. What you wouldn’t think is movies for kids.

But that’s exactly what PTA may have up his sleeve.

The Hollywood Reporter has the good word that Anderson will do a rewrite of a Pinocchio script for his buddy Robert Downey, Jr. This is a project that RDJ has apparently been working to get going for quite some time, with the actor lined up to play the role of Geppetto.

But it doesn’t stop there. Rumors are swirling that Paul Thomas Anderson may also direct as well.

The scripts have had a few drafts done so far, by names like Bryan Fuller and Jane Goldman. Anderson will be working off of the first draft that was passed in by screenwriter Michael Mitnick. With names like that, you can tell Downey was shooting for a more mature story of the wooden puppet who longs to be a real boy.

Tapping PTA was an interesting choice. He and Downey are pretty close though, so it’s not too surprising. RDJ was the original choice for the lead in Inherent Vice before Avengers: Age of Ultron pulled him away.

With the success of live-action adaptations of animated classics and beloved fairy tales, Downey and Anderson would be wise to get the ball rolling on this one, before Disney gets their version announced.

 

Peyton Reed Wants More Ant-Man… But Which One?

Ant-Man_Teaser_Poster

by: S. Scott Stanikmas

Marvel Studios isn’t in the habit of making “one-and-done” movies (unless you count Incredible Hulk), so it wouldn’t come as a surprise if more Ant-Man movies were slated to come out if the first one does good.

When director Peyotn Reed spoke to variety at the film’s premiere, he said he’d come back for more if Marvel would have him. “If we’re fortunate enough to do another Ant-Man movie, I would love to do it,” he said.

With the good word that this film is getting, I wouldn’t be shocked if we did get a sequel. James Gunn has even said that after Guardians of the Galaxy and Iron Man, this is his favorite Marvel movie.

In an interview with ComicBook.com, Reed elaborated a little more about just what he’d like to do for a sequel…or possible prequel:

Listen, if we were lucky enough to be able to do a sequel or a prequel, I’d be way into it. I’ve really fallen in love with these characters. I was always in love with the characters in the comic book world, but there’s a lot of story to tell with Hank Pym.

When Peyton Reed did an interview with Marvel.com, he spoke about his love of the Hank Pym character. This could be his chance to explore Pym’s past and introduce some characters from Marvel’s past.

As of now, Captain America: The First Avenger and the Agent Carter spin-off have been the only properties to explore the Marvel Cinematic Universe’s past. Studio head Kevin Fiege has said that other future films could possibly show us the history of the MCU. But there’s no guarantee that we’ll even get a sequel, let alone a prequel film.

Ant-Man hits theaters in just a few weeks on July 17.

Kong: Skull Island Loses Michael Keaton and J.K. Simmons

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by: S. Scott Stanikmas

The trip hasn’t even started and there are already casualties to the crew in search of the legendary King Kong.

J.K. Simmons and Michael Keaton have officially dropped out of Kong: Skull Island. This is a major blow to the film. These two offered up a little bit of prestige, especially after Oscar noms for both this past year (and for Simmons, a win).

Deadline is reporting that it’s nothing to do with any behind-the-scenes shenanigans. The most likely reason is scheduling. The film was supposed to start shooting this fall, but production has been delayed by several weeks. Unfortunately this means Simmons and Keaton had to drop something from their schedules and Kong was on the chopping block.

Legendary and Universal are already saying that the search is on for replacements. They need to look quick. Even though the film isn’t set to hit theaters until March 10, 2017, a date like that will sneak up on you quickly.

John Gatins and Max Borenstein are still providing the script and Jordan vogt-Roberts is still attached to direct.

Let’s hope we don’t hear news about contract negotiations and King Kong dropping out next!

First Official Image of Bruce Campbell in New ‘Evil Dead’ Series!

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by: S. Scott Stanikmas

It’s as if time stood still and we’re living in a perfect moment.

There’s been nothing of substance released for the upcoming Starz show Ash vs Evil Dead. It’s been title cards, behind-the-scenes shots or extreme close ups. But we know have something that makes me giddy inside.

EW managed to get the first official image of Bruce Campbell and company on the set of the upcoming horror series:

So it looks like Bruce has gotten the party started early. The picture shows him with costars Ray Santiago and Dana Delorenzo, who play Pablo and Kelly, respectively.

When pressed for some info, The Chin had this to say:

It’s The Searchers with carnage and mayhem. I’m relegated a little bit into the John Wayne mode these days with my team—the young, virile, evil fighters who will pair up with Ash and take on this nemesis: this never ending, ever evolving nemesis.

And it’s good to know that we can expect the same old Ash when the Deadites come to the small screen:

He was perfectly happy doing basically nothing: telling lies about how he lost his hand in bars late at night. That was basically his MO. So, he’s not really the guy who should be dealing with this right now. But…he is. He’s our guy!

From the chainsaw hand to the iconic blue shirt, I’m glad they didn’t change too much. I can’t wait to see how Ash has matured (or not) over the years.

This New ‘Power Rangers’ Movie… WTF?!?!?!

Power Rangers Movie

by: S. Scott Stanikmas

Lionsgate is moving forward with a Power Rangers film directed by Project Almanac helmer Dean Israelite. With Hunger Games ending this year, the studio is looking for its next big franchise to hang its hat on.

Heroic Hollywood managed to get their hands on a script (or at the very least a detailed treatment) that gives the basic rundown and it sounds…atrocious.

We start in the Cretaceous period, as Zordon and his group of Power Rangers battle Rita Repulsa. To stop her, Zordon activates a black hole, ending the fighting and the prologue.

The film moves forward 65 million years to the present day. Here we meet Jason, Billy, Kimberly, Zack and Trini – an unlikely group of teenagers that somehow will merge together to help save the world.

Essentially, Jason and Billy find the fossil of a T-Rex skeleton on Google Earth (because that’s how these things are found) and manage to find five coins emblazoned with the original MMPR logos:

The film just gets sillier from here. A meteor shower hits the moon, causing massive waves and crazy tidal activity. The five teenagers must use the coins (and their inherent powers) to save a mother from watery danger.

Meanwhile, in a teleportation room, Zordon and his original group reappear, as the black hole ripped them through time and space, dumping them in our present day. But Rita Repulsa also returns, reappearing in Russia and looking to steal as much gold as she can to reform her giant, golden thug Goldar.

By now, the coins have merged with the five teens. For some reason, they only have 71 hours (?) to stop the villain’s plans. It would normally take years to train them for the task at hand, but they only have days to gel as a team. Unsure they have what it takes, Zordon will need them to come together and stop Rita Repulsa.

From the sounds of it, they plan on using the names of the original characters from the first version of the American TV show. So it’s a reboot of sorts.

This sounds crazy, but in a bad way. It reads like a two hour pilot for a bad children’s TV show. Now it makes sense that this got dumped into a January release date.

Radcliffe, Dano and Winstead Join the Cast of ‘Swiss Army Man’

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by: S. Scott Stanikmas

The upcoming film Swiss Army Man sounds like a pretty crazy idea. Deadline reports the film’s premise as “a hopeless man stranded in the wilderness befriends a dead body and together they go on a surreal journey to get home.” Add to that the fact that Daniel Radcliffe, Paul Dano and Mary Elizabeth Winstead have all signed on and you’ve got a decent cast as well.

Announced about a year ago through Sundance Labs, this will mark the feature film writing and directorial debut of Daniels (the team of Daniel Kwan and Daniel Scheinert). The pair, whose most well known work is for music videos like “Turn Down For What,” said that this started off as a crazy idea and blossomed into something so much more:

Swiss Army Man started out as a silly short film idea years ago involving a stranded guy riding a dead body’s farts off of an island like a jet ski. That was it. Then we started trying to come up with some sort of story that would give us an excuse to do that in a movie and we accidentally wrote a really deeply personal story. Now it’s become this puzzle of a story that still fascinates us. And it’s sort of the ultimate feature-sized example of the narrative and visual roller coaster movies we’ve been working on the past few years together. It’s gonna’ be our Apocalypse Now, where we disappear into the forest for weeks and lose our minds and discover who we are as men.

We’re making a movie where one guy is dead but has a disembodied voice and the other guy is in drag half the movie and then we’re trying to mix drama, crass comedy, sincere nostalgia, and survival thriller moments all into the same scenes.

No word yet on who would play what part, but with the three actors mentioned earlier I’m in no matter what happens now.

Daniels could start filming as early as July to get the film into Sundance for next year.

A ‘Back to the Future’ Remake Will Only Happen Over Robert Zemeckis’ Dead Body!

Back to the Future

by: S. Scott Stanikmas

Back to the Future is one of the greatest movie series ever. It’s not perfect in any sense but it’s a wonderful couple of movies that tell an excellent story.

So thankfully we won’t have to sit through the indignation of a remake any time soon.

The Telegraph recently sat down with Robert Zemeckis and he was pretty straightforward about his feeling regarding any possible remakes:

“Oh, God no. That can’t happen until both Bob and I are dead. And then I’m sure they’ll do it, unless there’s a way our estates can stop it.”

“I mean, to me, that’s outrageous. Especially since it’s a good movie. It’s like saying ‘Let’s remake Citizen Kane. Who are we going to get to play Kane?’ What folly, what insanity is that? Why would anyone do that?”

There it is. Zemeckis is repulsed by the idea of a remake. And who can blame him? I would hate to see these movies remade. While the name alone would probably generate cash, it would probably get ripped to shreds by fans and critics alike.

Zemeckis also expressed his displeasure in the Romancing the Stone remake. Unfortunately, he doesn’t hold any sway in that one getting redone.

For now, we can at least count on the fact that a remake of BTTF will literally happen over Zemeckis’ and Gale’s dead bodies.

Michael Fassbender, Seth Rogen and Kate Winslet In the First Amazing Trailer for ‘Steve Jobs’

 

Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, Steve Jobs takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter.

Steve Jobs is directed by Academy Award® winner Danny Boyle and written by Academy Award® winner Aaron Sorkin, working from Walter Isaacson’s best-selling biography of the Apple founder. The producers are Mark Gordon, Guymon Casady of Film 360, Scott Rudin and Academy Award® winner Christian Colson.

Michael Fassbender plays Steve Jobs, the pioneering founder of Apple, with Academy Award®-winning actress Kate Winslet starring as Joanna Hoffman, former marketing chief of Macintosh. Steve Wozniak, who co-founded Apple, is played by Seth Rogen, and Jeff Daniels stars as former Apple CEO John Sculley. The film also stars Katherine Waterston as Chrisann Brennan, Jobs’ ex-girlfriend, and Michael Stuhlbarg as Andy Hertzfeld, one of the original members of the Apple Macintosh development team.

The First Trailer for Rocky Spinoff ‘Creed’ Looks AMAZING!

 

From Metro-Goldwyn-Mayer Pictures, Warner Bros. Pictures and New Line Cinema comes award-winning filmmaker Ryan Coogler’s “Creed.” The film explores a new chapter in the “Rocky” story and stars Academy Award nominee Sylvester Stallone in his iconic role. The film also reunites Coogler with his “Fruitvale Station” star Michael B. Jordan as the son of Apollo Creed.

Adonis Johnson (Jordan) never knew his famous father, world heavyweight champion Apollo Creed, who died before he was born. Still, there’s no denying that boxing is in his blood, so Adonis heads to Philadelphia, the site of Apollo Creed’s legendary match with a tough upstart named Rocky Balboa.

Once in the City of Brotherly Love, Adonis tracks Rocky (Stallone) down and asks him to be his trainer. Despite his insistence that he is out of the fight game for good, Rocky sees in Adonis the strength and determination he had known in Apollo—the fierce rival who became his closest friend. Agreeing to take him on, Rocky trains the young fighter, even as the former champ is battling an opponent more deadly than any he faced in the ring.

With Rocky in his corner, it isn’t long before Adonis gets his own shot at the title…but can he develop not only the drive but also the heart of a true fighter, in time to get into the ring?

“Creed” also stars Tessa Thompson (“Selma,” “Dear White People”) as Bianca, a local singer-songwriter who becomes involved with Adonis; Phylicia Rashad (Lifetime’s “Steel Magnolias”) as Mary Anne Creed, Apollo’s widow; and English pro boxer and former three-time ABA Heavyweight Champion Anthony Bellew as boxing champ “Pretty” Ricky Conlan.

Coogler directs from a screenplay he wrote with Aaron Covington, based on characters from the “Rocky” series written by Sylvester Stallone. The film is being produced by Robert Chartoff, Irwin Winkler, Charles Winkler, William Chartoff, David Winkler, Kevin King Templeton and Sylvester Stallone, with Nicholas Stern executive producing.

Joining Coogler behind the scenes are director of photography Maryse Alberti (“The Wrestler”) and costume designers Antoinette Messam (“Orphan”) and Emma Potts (“127 Hours”), as well as his “Fruitvale Station” team: editors Michael P. Shawver and Claudia Castello; production designer Hannah Beachler; and composer Ludwig Göransson.

Metro-Goldwyn-Mayer Pictures and Warner Bros. Pictures present, in association with New Line Cinema, a Chartoff Winkler Production, “Creed.” Opening on November 25, 2015, the film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, with select international territories as well as all television distribution being handled by MGM.

Where can you Expect to see the First Footage From ‘Captain America: Civil War’?

captain America Civil War Logo

by: S. Scott Stanikmas

With a premiere that is a little over 10 months away, Captain America: Civil War will be here before we know it. But we may only have to wait a few weeks to see the first actual footage from the upcoming film that’s being touted as Avengers 2.5.

/Film recently got confirmation from Marvel Studio’s own Kevin Feige that one of the two Ant-Man bumper scenes during the credits is an actual scene from the upcoming Civil War.

Feige said that “Yes, that is material shot for Civil War,” stating that the scene may be shown from “different angles” and it may be “different takes” but it will be our first look at the next film from Marvel Studios and the starting point of Phase Three.

Many are comparing it to the Thor’s hammer scene at the end of Iron Man 2.

I haven’t seen it yet and I’m trying to stay away from spoilers on this one until I can see it properly on a big screen, so I don’t know exactly what the scene will entail, but if it’s in the vein of introducing a major piece of the Marvel Cinematic Universe that we haven’t seen yet, I’m all for it.

You can see the scene when Ant-Man hits theaters July 17.

What are This Season’s Best Dressed Paranormal Experts Wearing… and Shooting? Take a Look at the Suits and Proton Packs of Paul Feig’s ‘Ghostbusters’ Reboot!

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by: S. Scott Stanikmas

Fans of the original Ghostbusters are very divisive and vocal about their support (or lack thereof) for the new version being directed by Paul Feig and starring Kristen Wiig and Melissa McCarthy. Just the other day I had a GB shirt on and was stopped by a fellow fan as I was picking up lunch and got into a conversation about how little faith he had in the upcoming remake.

But at least Feig is giving a nod to the old school in his version.

Recently Feig tweeted a photo of the new outfits the quartet of ladies will be using when they suit up to bust ghosts. He accompanied it with #whatyougonnawear:

They look like raincoat versions of the old ones Venkman, Stantz, Spengler and Zeddemore used to wear. There’s a couple of orange stripes here and there and it doesn’t look like there are any identifying name tags (which could lead to a funny scene with Wiig and McCarthy mixing up suits), but other than that, Paul Feig is keeping it pretty DIY looking in his interpretation of the ‘busting suits.

Feig also released the first shot of his updated version of the iconic Proton Pack with the hashtag . The original version is easily one of the greatest and most original looking movie props in the history of film. This new one pales in comparison to that original version.

I would imagine this will be followed by an image of the team tomorrow or the very near future with the hashtag #whoyougonnacall. My assumption is that this is because there are some planned shoots outside in Boston coming up and they’d rather unveil the team themselves rather than a paparazzi shot.

Now we just have to see how they look with slime or marshmallow on them and we’ll really know how “original” they look.

Curious what the plot of Feig’s film will be? Click HERE to see our exclusive full breakdown of Feig’s upcoming Ghostbusters film.

News on Upcoming ‘Sandman’ and ‘Justice League Dark’ Films

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by: S. Scott Stanikmas

So there have been some major developments over at Warner Bros regarding their non-mainstream comic book adaptations.

First is the news that Sandman will be moving from Warner Bros proper to the New Line brand. With Joseph Gordon-Levitt set to produce and direct (and rumored to star as well), this could be good news for the quirky comic.

Much loved by a rabid fanbase, many feared that being under a big studio banner would mean the film version would probably lose some it’s offbeat and underground flair in favor of big-budget, committee mandated corporate schlock. With New Line more known for its genre films (albeit at a smaller budget), this could be just the break Sandman needed to thrive.

This also seemingly bodes true for any future adaptations of Vertigo comic properties. Being a more mature and off-the-wall offshoot imprint of DC Comics, it only makes sense that Vertigo comic films go to Warner Bros genre and offshoot film company.

So where does this leave Justice League Dark, a film with many Vertigo mainstay characters like John Constantine, Swamp Thing and Zatanna? The Hollywood Reporter is saying that JLD will stay right at Warner. With DC Comic integrating many of those characters into the regular DCU, it only make sense to keep any movies there as well.

But the bad news is that Guillermo del Toro is no longer involved in the development of that film.

Seeing as del Toro has a pretty full docket of projects in front of him already, it’s not really shocking to hear this. It is a bit of a bummer, though. GdT would have been perfect for the project, mixing comedy with horror like he’s done on so many projects before.

It looks like Justice League Dark may not even see the light of day. This film is so low on Warner Bros’ priority list, it would be shocking if they even remembered they were developing it. Which is a shame. This along with Suicide Squad could have been DC’s and WB’s versions of Guardians of the Galaxy – something no one expected that was unlike anything Marvel Studios had done up to that point in time.

Guardians of the Galaxy Official Title and Story Tone Revealed

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by: S. Scott Stanikmas

James Gunn’s little movie that could, Guardians of the Galaxy, was such a great piece of storytelling. It had drama, action, comedy and heartfelt tear-jerking moments (if you weren’t moved by “WE are Groot,” then I feel bad for you). So how does Gunn top this film? By just doing what he does best and upping the ante.

First let’s start with the title. During an Ant-Man press junket, Marvel Studios head Kevin Feige let the title slip and a little later on James Gunn confirmed the official title:

Guardians of the Galaxy Vol. 2.

This makes sense for a couple of reasons. The way that comic books name their trade paperback collections is usually in volumes. With this being the second film, Vol. 2 does fit. Also, at the end of the first film, Star-Lord finally opens the gift his mom gave him back in the day, and it’s AWESOME MIX VOL.2. So with a new tape we get a new story and a new direction for the film to possibly go in.

James Gunn was super relieved that someone other than him finally blabbed a bit of news about the upcoming space-action-drama-comedy. The filmmaker is known for accidentally dropping little hints on social media that I’m sure the studio probably wishes he wouldn’t.

As far as story goes, we know that Chris Pratt has read the script and it made him cry. James Gunn elaborated a bit on what we can expect when we finally get to see the Guardians return to the big screen:

“It’s gonna be exciting. I think it’s a more emotional movie. I think it’s both a bigger movie and a smaller movie ‘cause we focus more intensely on some of the characters. We get to learn a lot about fathers in the second movie, and I think we focus a lot on that…”

“[T]he new script is actually funnier than the first script, or at least seems to be from the reactions. I don’t have to introduce a bunch of new characters so it gives way more room for development – emotional stuff and humorous stuff. It’s very freeing.”

In superhero movies, more often than not the sequels are excellent due to the first movie having to be an origin story. But films like Superman 2, Captain America: The Winter Soldier, The Dark Knight, Sam Raimi’s Spider-Man 2 and X2: X-Men United have all proven to be wildly successful second chapters in their respective franchises. Could James Gunn join this list of fan favorite films?

We’ll find out when Guardians of the Galaxy Vol. 2 hit theaters May 5, 2017.

New ‘Spider-Man to Channel John Hughes

Spiderman

by: S. Scott Stanikmas

Now that Spider-Man has been cast and a director has been found, the story is next thing most fans are worrying about. Recently /film caught up with Marvel Studios head honcho Kevin Feige and asked him to nail down just what kind of Spider-Man movie when the franchise gets rebooted for a second time.

The studio head told the website that “Spider-Man will be a ‘John Hughes’ movie.”

So what that tells me is that we’ll get something in the tone of what Hughes did in his high school set films like Pretty in Pink, The Breakfast Club, Weird Science and Ferris Bueller’s Day Off. This means a ton of heart and hopefully some lighthearted laughs…well, as many as can be expected from a kid whose uncle died because he refused to use his powers for good.

There were also rumors that we’d see a villain that we haven’t seen before. With a clean slate on this reboot, Feige felt like it was time to tell a personal story with someone we haven’t seen yet.

Could this mean Mysterio? Kraven the Hunter? Or someone else completely that fits in with the vibe of high school-age Peter Parker? This could be a chance to tell the story of someone who doesn’t want to rule the world – just someone that is misunderstood and doesn’t care that his actions hurt people.

Whatever the case may be, we’ve got Tom Holland signed on to don the red-and-blue tights with webs in the armpits. It’s going to be hard to top the pinnacle of Spider-Man films for me – Sam Raimi’s Spider-Man 2. Hopefully Holland can bring a Hughes-esque performance to director Jon Watts’ vision.

The rebooted Spider-Man film from Marvel Studios and Sony is expected to hit theaters in the summer of 2017.

Important Character in ‘Ant-Man’ History Will be Shown in Upcoming Film

Ant-Man_Teaser_Poster

by: S. Scott Stanikmas

This definitely has some SPOILER material in it, so I’ll use my usual spaces for those that want to go in on July 17 and see Ant-Man completely fresh…

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Still with us? Awesome!!

So as many astute comic fans know, Hank Pym was originally married to Janet Van Dyne in the Marvel Comics universe. The two were a superhero team, with Pym being Ant-Man and Van Dyne taking on the role of the diminutive Wasp.

Now with Michael Douglas playing an aged Hank Pym, questions were swirling as to what role (if any) Janet Van Dyne would play in the upcoming film.

Collider’s Matt Goldberg had a chance to visit the set last year and here’s his report on the status of the Wasp:

“In Ant-Man, we see her briefly, although they didn’t cast a name actress for the role because you only get a close-up on her eyes. Wasp, who is Pym’s wife in the movie, appears in a flashback, and while we don’t know if she dies or gets lost in the microverse, Pym blames S.H.I.E.L.D. and resents superheroes. It’s a clever motivation for why Pym hasn’t been active as a superhero for decades, and it also explains why Wasp isn’t a main character in the movie. Furthermore, if she’s been “lost” and isn’t dead, it opens the door to bring her back later even though, like Pym, she’d be much older unless the microverse slowed down time or something.”

Add to that Marvel Studios head honcho Kevin Feige’s comment to website ScreenRant:

“It factors in, in a number of spoiler-ish ways, but we will see Janet Van Dyne in action in this film. And part of sort of what happened to her. And then we will understand why that is the reason that he doesn’t want his daughter to follow in those footsteps. One of the reasons why he’s always so upset about superheroes in general, dismissive of them in general and also a reason why he doesn’t want her to put on the suit. Because another very logical question in the movie is, why are you hiring this ex-con to put on your suit and do this? The answer is, because he has abilities in cracking security networks and in pulling off heists that nobody else has. Which is really why he needs to do it. But Hope is infinitely more capable of actually being a superhero in the beginning of this film, and we learn sort of that that’s ultimately when Hank reveals for the first time for the audience, and even the first time to Hope, what actually happened in the past and why he’s so nervous about putting on that suit. But there are things that we see towards the end of the film that indicate she could, she could get one of her own.”

So at least we know that Janet Van Dyne didn’t just get written out of existence – Marvel is just waiting for the right time to debut her on the big screen.

Ant-Man opens in theaters July 17.