Here’s a first look at the upcoming historical drama THE UPRISING.
From director Paul Greengrass, Andrew Garfield stars as the legendary leader of a ferocious rebellion against the tyranny of King Richard II. As war burns across England, he forms an army of the people to face the King’s might in a fight for justice and survival.
Andrew Garfield, Jamie Bell, Stephen Dillane, Tom Hollander, Cosmo Jarvis, Thomasin McKenzie, Jonny Lee Miller, Woody Norman, Katherine Waterston, Sky Yang star.
Wow – this looks epic. Has the BRAVEHEART vibe running through it as well as the true story of the the Peasants Revolt in 1381. “Triggered by economic hardship and oppressive taxation, the uprising briefly shook the foundations of the feudal system. Though the rebellion lasted less than a month and was violently suppressed, it fundamentally altered the socio-economic landscape of medieval England.”
Garfield is no stranger to war movies. He starred in Mel Gibson’s HACKSAW RIDGE in 2016. It was a film that was well received and garnered Oscars for Best Film Editing and Best Sound Mixing. The film received a total of six Oscar nominations, including Best Picture, Best Director (Gibson), and Best Actor (Garfield).
Greengrass’ most recent project is The Lost Bus (Academy Award-winner Matthew McConaughey and Academy Award-nominee America Ferrera) for Apple Original Films, which premiered at the Toronto International Film Festival. It’s refereshing to see Blumhouse with a film that’s not horror.
Jason Blum is producing through Blumhouse, alongside Gregory Goodman, Joanna Kaye and Greengrass. Lars Sylvest will also produce through Thank You Pictures and Joe Neurauter will produce through Supernix.
Focus Features will release THE UPRISING in theaters on September 11th.
Though January is notorious as a movie “dumping ground” with several forgettable big studio releases (often a mediocre horror flick), it’s also when many of the “indie” studios give a wide release to some of their “award hopefuls”, after getting a quickie end-of-the-year Oscar-qualifying “run’ on both of the coasts. And that’s surely the case with this thought-provoking and conversation-starting motion picture. ALL OF US STRANGERS (the title is appropriately vague) takes us into a dreamy “netherworld’ for 105 minutes, before sending us back into the jolting harsh reality. The focus of the film is an aspiring writer named Adam (Andrew Scott) who is nearly numb from the routine of “cocooning” in his comfy condo (or it may be an apartment) in a brand-new high-rise on the outskirts of London. Ah, but he’s been noticed by a neighbor, a friendly fellow named Harry (Paul Mescal) who knocks on Adam’s door, wondering if he’d like to share a cocktail. Adam realizes that Harry wants more than just a “drinking buddy” and rebuffs him. The next day Adam boards a train and his gaze zeros in on a rugged man with a mustache around his age. The men hop off the train, and Adam follows him to a familiar house. “Mr. ‘Stashe” invites him inside and then we learn that the place belongs to Adam’s Dad (Jamie Bell) and Mum (Claire Foy). Again, they’re all the same age. We learn later, when Adam finally gets together with Harry, that his folks were killed in a car crash over thirty years ago. Soon Adams makes a near-daily pilgrimage to visit the “ghosts”. Just how will this affect the budding intimacy between him and the charismatic Harry? Perhaps he can rescue Adam from the comfortable though unhealthy fantasy. Or will he join in?
After several high-profile supporting film roles (“C” in SPECTRE) and acclaimed TV work in “Fleabag” and “Sherlock”, Scott is given the chance to command the screen as the troubled Adam. The lonely (probably “self-imposed”) screenwriter has a real dual persona in the first act of the story. In meeting Harry, he is reticent, shy, and a bit aloof as it becomes clear that the tipsy guy at the door is trying to “chat him up”. And then there’s the inner child inside Adam when we realize that he’s been given a “second chance” with his “folks”. Scott shows us that conflict in his pleading eyes and hesitant delivery, barely able to contain his joy at this “reunion” while his intellect tells him that this isn’t right, that he may be drifting and perhaps drowning in “wish fulfillment”. Somehow this unlocks his inhibitions and leaves him open for a new relationship. As the man trying to get into Adam’s home and heart, Mescal adds another solid characterization to his growing recent resume. Sure, he’s fronting a hunky, smoldering bravado, but that evolves into a deep concern for his budding romantic partner, with Mescal trying to be Scott’s steady “tether” to reality. Bell is quite commanding as Adam’s gruff, but surprisingly understanding father, proud but not unyielding, and even regretting that he didn’t stand up for his boy when the bullies pounced on him. The true “scene-stealer” might be Foy as the loving, nurturing matriarch whose endearing ignorance of her son’s life is tempered by her deep devotion to him, with Foy perfectly capturing the confusion of this still-learning woman of the 1990s.
This modern-day mix of love and regret is deftly spun by director Andrew Haigh, who also wrote the screenplay adaptation of Taichi Yamada’s novel “Strangers”. Even before Adam returns to his childhood home, Haigh puts us into a kind of “dreamscape” with his images of the desolate tower (almost a fairy tale castle) where Adam lives above the teaming urban populace. Is it an afterlife, or a “waiting room” limbo, since the building seems nearly vacant? But then Adam ventures outside to drop into a “time vortex” by crossing the doorway of his old shuttered house, with his folks alive and still exiting in that era, down to the hairstyles, fashions, and furniture (a nifty record player). Later in the film, we see them attending to their holiday rituals (like the Dickens yuletime tale, the ghosts aid the living), which sends Adam to his last day with them. But then Haigh propels us back to the present with Adam and Harry “letting loose” in a club full of flashing lights, throbbing beats, and ample flesh. It all culminates with Adam being pushed by the past parents and new love to forge ahead instead of being sucked into the pit of “what ifs”. By the final moments, we are left to ponder what is real and what is coming out of Adam’s bruised battered psyche. But what is certain is the excellent performances led by Scott and the superb storytelling that Haigh displays in the wistful and passionate fable, ALL OF US STRANGERS.
3 Out of 4
ALL OF US STRANGERS is now playing in select theatres
Searchlight Pictures has released a first look at the upcoming film ALL OF US STRANGERS, from director Andrew Haigh (45 YEARS and LEAN ON PETE).
One night in his near-empty tower block in contemporary London, Adam (a screenwriter, played by Andrew Scott) has a chance encounter with his mysterious neighbor Harry (Paul Mescal) that punctures the rhythm of his everyday life. As Adam and Harry get closer, Adam is pulled back to his childhood home where it appears his long-dead parents (Claire Foy and Jamie Bell) are both living and look the same age as the day they died thirty years before.
With a screenplay by Andrew Haigh and produced by Graham Broadbent, Pete Czernin, Sarah Harvey, ALL OF US STRANGERS will open in cinemas December 22, 2023.
TOM CLANCY’S WITHOUT REMORSE is an action film origin tale for John Clark, who Tom Clancy fans will recognize as one of the characters in the best-selling author’s Jack Ryan universe. Our hero John Kelly (Michael B. Jordan) is a Navy SEAL whose team is betrayed on its opening rescue mission, costing one life under much heavier fire than the CIA led them to expect. At home three months later, two members of his unit are murdered; then the attempt at getting him leads to losing his pregnant wife. Who’s behind all of this? What are the hidden agendas? Can Jordan get the answers and avenge these losses?
No matter how many times one sees action movies with this premise, whether in contemporary spy and crime fare; vintage Asian martial arts, or Spaghetti (and domestic) Westerns, viewers can generally find satisfying entertainment, and even catharsis, if the characters are strong and the action is sufficiently visceral. In many cases, as is true here, the other piece is for the plot to be arcane enough to be unsure just who the villains actually are. All three boxes are adequately checked in a brisk production, that is just confusing enough for the right amount of suspense.
So there is nothing new to be found in this one. TOM CLANCY’S WITHOUT REMORSE is just a solid entry into the genre, like dozens of others, that can be perfect for anyone craving this sort of cinematic snack. With all the problems and upheavals of the past few years, this is a timely bit of escapism that may nourish the frustrated spirit.
TOM CLANCY’S WITHOUT REMORSE opens streaming only on Friday, April 30, exclusively on Amazon Prime Video,
An elite Navy SEAL uncovers an international conspiracy while seeking justice for the murder of his pregnant wife in Tom Clancy’s WITHOUT REMORSE, the explosive origin story of action hero John Clark — one of the most popular characters in the best-selling author’s Jack Ryan universe. When a squad of Russian soldiers kills his family in retaliation for his role in a top-secret operation, Sr. Chief John Kelly (Michael B. Jordan) pursues the assassins at all costs. Joining forces with a fellow SEAL (Jodie Turner-Smith) and a shadowy CIA agent (Jamie Bell), Kelly’s mission unwittingly exposes a covert plot that threatens to engulf the U.S. and Russia in an all-out war. Torn between personal honor and loyalty to his country, Kelly must fight his enemies without remorse if he hopes to avert disaster and reveal the powerful figures behind the conspiracy.
WAMG is offering our readers the premiere screening opportunity for the upcoming Amazon Studios film, WITHOUT REMORSE, releasing globally exclusively on Amazon Prime Video on Friday, April 30th.
WITHOUT REMORSE offers the two different prizes including a grand prize to the Virtual World Premiere. Grand Prize winner will attend the same event that talent, filmmakers and other VIP’s will be attending.
1 Grand Prize to the Virtual World Premiere on Thursday, April 29th
5 secondary winners selected to attend the Standard Virtual Screening on Thursday, April 29th
Leave you name and email address in the comments section below.
No purchase necessary. Open to U.S. residents only.
Amazon Studios and Michael B. Jordan’s Outlier Society are expanding on the production banner’s existing deal to now feature an exclusive overall relationship in television and a first-look film deal. Under the film pact, Outlier Society will produce and acquire elevated films showcasing diverse, bold filmmakers and talent for the studio’s ever-growing original movies slate.
This deal comes in the lead up to the release of Tom Clancy’s Without Remorse, starring and produced by Michael B. Jordan, launching globally on April 30, 2021 on Prime Video in over 240 countries and territories.
This 360-degree creative relationship with Jordan and Outlier Society will see cross-collaborations within Amazon’s vast businesses, from fashion, Audible to music and more – including the debut of Jordan in Amazon’s Alexa big game ad yesterday. The spot, which played into Jordan’s title as People’s Sexiest Man Alive, where he was the body of Alexa, premiered during the 4th quarter of the game.
“We’re excited to deepen our relationship with Outlier Society! Michael, Liz and the team will be key partners in our efforts to showcase compelling, ambitious and addictive content that can reach our global audience. They share our passion for amplifying new and exciting voices with an emphasis on diversity both above and below the line,” said Jennifer Salke, Head of Amazon Studios. “We can’t wait for everyone to see Without Remorse, our next chapter in the Tom Clancy universe – it’s an action-packed thrill ride fans will love.”
“Bringing Outlier Society’s slate of film, television and multi-media content all under the same roof is an exciting next chapter for us,” said Michael B. Jordan, Outlier Society CEO. “Amazon’s global and expansive reach offers us the ability to entertain and engage our audience in innovative ways, while maintaining our commitment to supporting a wide range of stories and storytellers. I’m thrilled to be kicking off the partnership with Without Remorse this Spring.”
An elite Navy SEAL uncovers an international conspiracy while seeking justice for the murder of his pregnant wife in Tom Clancy’s Without Remorse, the explosive origin story of action hero John Clark – one of the most popular characters in author Tom Clancy’s Jack Ryan universe. When a squad of Russian soldiers kills his family in retaliation for his role in a top-secret op, Sr. Chief John Kelly (Michael B. Jordan) pursues the assassins at all costs. Joining forces with a fellow SEAL (Jodie Turner-Smith) and a shadowy CIA agent (Jamie Bell), Kelly’s mission unwittingly exposes a covert plot that threatens to engulf the U.S. and Russia in an all-out war. Torn between personal honor and loyalty to his country, Kelly must fight his enemies without remorse if he hopes to avert disaster and reveal the powerful figures behind the conspiracy. Tom Clancy’s Without Remorse stars Michael B. Jordan, Jamie Bell, Jodie Turner-Smith, Lauren London, Brett Gelman, Jacob Scipio, Jack Kesy, Colman Domingo, and Guy Pearce.
Tom Clancy’s Without Remorse is directed by Stefano Sollima, from Paramount Pictures, Skydance and New Republic Pictures. The film is produced by Weed Road Pictures, The Saw Mill and Outlier Society. The screenplay is penned by Taylor Sheridan and Will Staples. Producers are Akiva Goldsman, Josh Appelbaum, André Nemec and Michael B. Jordan, and executive producers are David Ellison, Dana Goldberg, Don Granger, Brian Oliver, Bradley J. Fischer, Valerii An, Alana Mayo, Denis L. Stewart and Gregory Lessans.
Jordan recently anointed Elizabeth Raposo as President of Outlier Society. The former Paramount President of Production will be responsible for overseeing all production and development aspects of the shingle alongside Jordan. Jordan launched Outlier Society in 2016 with the goal of bringing diverse stories and voices to market. The impressive slate of upcoming projects includes the Denzel Washington-directed feature Journal for Jordan with Jordan starring and producing; Creed III, the third installment of the Rocky franchise for MGM which will see Jordan reprise his role as Adonis Creed, and DC property Static Shock.
Hey hard-rockin’ film fans, better hope the sound system at your local multiplex goes well past eleven because it’s musical biography time once more. Sure popular musicians have been recreated on screen through the years, Surprisingly the lives of Al Jolson and Fanny Brice inspired two hit films and a couple of sequels (THE JOLSON STORY begat JOLSON SINGS AGAIN while the great Streisand starred in FUNNY GIRL then FUNNY LADY). Ah, but late 2018, a little over six months ago rock and roll ruled the box office (and garnered 4 Oscars) with the story of Queen in BOHEMIAN RHAPSODY. And a fictional music flick, the fourth iteration of A STAR IS BORN, inspired by real performers and showcasing the acting debut of a current music superstar, grabbed a gold statue and lots of filmgoers. Plus earlier this year Netflix got into the act with a “biopic” of those heavy metal hellions, Motley Crue, called THE DIRT. Now comes another “early Oscar contender” based on the life of a true rock and roll icon. But unlike Freddie Mercury (the main focus of BH), this is a still “ongoing” life. And he’s a producer of this work. Ladies and gentlemen, let’s make some noise (wait, this is a movie theatre, not an arena or stadium, so silence, please) for Sir Elton John, the ROCKETMAN.
As we first meet EJ (Taron Egerton), he’s in a full flamboyant Elton-style outfit (perhaps designed by Bob Mackie), but in a somber, unlikely setting. This is where he begins to tell his story, starting with the early fifties childhood of middle-class lad Reginald Dwight in Pinner, Middlesex. He’s raised mainly by his free-spirited mum Sheila (Bryce Dallas Howard) and his nurturing maternal ‘grandmum’ Ivy (Gemma Jones). Reg yearns for the attention of his long-absent military man dad Stanley (Steven Mackintosh), who is just as absent when he finally returns home, acting cold and aloof around his boy. Luckily Reg can concentrate on his love of music becoming a piano prodigy. And with the help of his ‘two mums’, he gets a scholarship at the prestigious Royal Academy of Music. In his teen years, Regs plays jazz and bebop down at the neighborhood pub. But he’s got bigger dreams, spurred by that new sensation Elvis, and answers a classified ad which leads him to Dick James Music. There a young ambitious assistant named Ray (Charlie Rowe) books him as a back-up keyboard for some touring US music groups. Later, in a bit of kismet, Ray gives Elton (much flashier than the name Reg) a batch of song lyrics by Bernie Taupin (Jamie Bell). The two click immediately, but just professionally. Around this time Elton realizes that he’s gay, but tries to stay in the closet. Despite the grousing of Mr. James (Stephan Graham), the duo cut an album which begins to climb the record charts. The now supportive James books Elton and his band a gig…in America at LA’s Troubadour. It’s a sensation, to say the least. That night, at a wild 1970-style afterparty. Elton meets the enigmatic and handsome music producer John Reid (Richard Madden). Eventually they become business and romantic partners, with Reid running everything (even trying to arrange a “girlfriend/beard” for Elton). But with the pressure of stardom come the excesses of booze and drugs. As tensions mount between Elton and Reid, even alienating Taupin, will this new pop sensation survive his success, or will he be yet another victim of fast fame?
Though he’s known for his lead role in the KINGSMEN action franchise, this is the star-making dramatic role of a lifetime for the talented Egerton. He brings an exuberant infectious energy to the big musical numbers, whether it’s a flashy epic concert. a big set piece with gyrating extras, or an intimate duet. And yes, he does his own singing (sorry Rami), very well, even clearing up some of the often garbled lyrics (so the beloved TV star of “Taxi’ and “Who’s the Boss” is not name-checked in a pop ballad). Plus Egerton can more than handle the emotional demands, showing us a performer that’s pure confidence on stage who nearly breaks under the weight of a dark childhood and a toxic relationship. Elton lashes at in anger (especially at Taupin) ), but his real fury is directed inward as he gulps cases of booze and pills to deaden the pain. Speaking of Taupin, Bell brings a quiet dignity to the role of the “word-man”, often the voice of reason for Elton, sharing great mutual respect for the talents of each man. As for the other man in Elton’s life, Madden brings a silky sense of menace to the role of the lover we think our hero deserves, but who shows his true colors when given the “keys to the kingdom”. Dallas seems to be having some wicked fun as Elton’s “hot to trot” (in the words of Eric Idle, “Say no more, say no more”) outgoing mum, but she too possesses a casual cruelty toward the son whose talent provides her with everything (even a private island, since she’s embarrassed by him). Plus some great comic relief is provided by Graham as the coarse, vulgar James who has no taste for Elton and Bernie’s work, nearly withholding it from the public that will fill his pockets (shades of Mike Myers in BH). In one terrific scene, Elton begins playing soon-to-be hit singles from his new albums, but after a few notes, James cuts them short with insults (“That’s s#*t!! Next!!”). Plus American actor Tate Donovan scores some big laughs as the oh so mellow owner of the Troubador, being the right blend of hippy surfer dude and cut-throat capitalist (“Four shows! Four!”).
Actor turned director Dexter Fletcher, who worked with Egerton on the crowd-pleasing sports underdog bio EDDIE THE EAGLE, gets to step out of the shadows (he finished up the troubled BH last year…without credit) and delivers a bubbly nostalgic romp, at least in the film’s first two acts. He expertly establishes the decades, finding the right tone for the 50s through the early 80s. Fans of the rock and roll flicks mentioned earlier may be startled to discover that this is not merely a string of concert songs, but a true “old school” MGM-style musical with characters bursting into John/Taupin standards (hence the marketing phrase “musical fantasy”). These sequences almost feel lifted straight from recent hits like LA LA LAND and THE GREATEST SHOWMAN, though the choreography is often too “busy” with frenetic dancers doing intricate hand gestures and steps that distract rather than enhance the tunes. This made me wonder, several times, whether this was originally intended as a flashy Broadway extravaganza ala “The Jersey Boys” or “Beautiful: The Carol King Musical” (I imagined a truck just for Elton’s wardrobe for the touring company). One creative number just showcases Egerton as some neat CGI effects have him changing those incredible costumes as the camera spins around the piano (the lid takes up the screen, then…more crazy specs). But, much as with BH and ASIB, the fun screeches to halt as the substance abuse and hard-partying takes root, as Lee Hall’s screenplay covers some awfully familiar territory. Still, kudos to the filmmakers from not shying away from the main character’s struggles with his sexuality (no CRUISING-style montage, like BH). Plus his second marriage (to a woman) is covered (and dealt with dramatically). Unfortunately, BH takes the prize for the final act with the AIDS reveal and the triumph at Live Aid, since John’s tale finishes up with a shot-for-shot recreation of a 1983 MTV video (yes, it keys into his rehab, but just seems listless). This doesn’t take away from the stunning performances from the cast headed by Egerton, the sly bits of humor (Elton is needled about his receding hairline by his mum), and the amazing art direction and sets. And all in support of those timeless tunes. Those splendid songs are what make ROCKETMAN truly take flight.
ROCKETMAN is an epic musical fantasy about the incredible human story of Elton John’s breakthrough years.
The film follows the fantastical journey of transformation from shy piano prodigy Reginald Dwight into international superstar Elton John. This inspirational story – set to Elton John’s most beloved songs and performed by star Taron Egerton – tells the universally relatable story of how a small-town boy became one of the most iconic figures in pop culture. ROCKETMAN also stars Jamie Bell as Elton’s longtime lyricist and writing partner Bernie Taupin, Richard Madden as Elton’s first manager, John Reid, and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.
Check out the brand new trailer from Paramount Pictures.
Elton John won the Academy Award for Best Original Song for “Can You Feel The Love Tonight” from 1994’s THE LION KING.
ROCKETMAN OPENS IN THEATRES MAY 31, 2019
Taron Egerton as Elton John in Rocketman from Paramount Pictures.
FILM STARS DON’T DIE IN LIVERPOOL is based on Peter Turner’s memoir of the same name, about his relationship with 40s Hollywood star Gloria Grahame. If one is expecting a biopic on the Oscar-winning Grahame’s career, you won’t find it here. Instead, this is about love and friendship that grew out of a chance meeting and unlikely love affair between an older woman and younger man. Although the affair didn’t last, the fondness did.
Aspiring young actor Peter Turner (Jamie Bell) did not even know who Gloria Grahame was when he met her at a British boarding house the catered to actors. Grahame was appearing in a local theater and although middle-aged, still beautiful. When she asked the young actor to help her practice her dancing, he couldn’t say no. Peter was smitten by the older woman but quickly learned about her mercurial nature when he mentioned her age. Gloria’s reaction suggested she imagined herself as a perpetual 28-year-old and ran in terror from any hint she was aging. Yet, love quickly followed. After a move to New York, love quickly dissipated, through misunderstandings, jealousy and secrets.
Peter had already fallen for the charming sexy older woman when the landlady told him Gloria had once been a Hollywood star but was in decline. “A big name in black and white films, not doing too well in color,” as she put it.
So Peter was shocked to get a call years later, telling him that she had collapsed at a Lancaster theater where she was performing, refused medical treatment and asked only for him. Peter took her back to his parent’s modest working class home in Liverpool.
Gloria Grahame won an Oscar for her supporting role in THE BAD AND THE BEAUTIFUL, playing the type of role she often did, what Jamie Bell’s character describes as “a tart with a heart.” She might be best known to modern audiences for her role as Violet in IT’S A WONDERFUL LIFE. However, audiences should not expect to learn much about Grahame’s career in this film. The focus is on her later life and particularly her touching relationship with Turner. This is more Turner’s story, an ordinary guy who meets an extraordinary person, a more universal story in many ways while still unique to them.
Director Paul McGuigan’s previous films include LUCKY NUMBER SLEVIN and WICKER PARK. The screen adaptation was written by Matt Greenhalgh who wrote the scripts for CONTROL and NOWHERE BOY, and some of the strengths of those films as personal storytelling surface in this one.
Bell’s performance is what really makes this story. The gifted Jamie Bell is heart-wrenching as Peter, drawing out a complicated array of feelings about Gloria, an elusive soul with a complex history. Annette Benning, in what is more a supporting role, is likewise excellent as Gloria, an opaque person more focused on presenting a certain image, even to the point of self-delusion, than honesty, yet surprisingly charming and charismatic. Despite her flaws, Gloria is surprisingly sweet. She is charmed by Peter’s working class Liverpool home and wins the hearts of his family as she won his. When she needs some care, she wants to be with them. Benning’s performance is just as charming, a far more approachable character than the one she played in last year’s TWENTIETH CENTURY WOMEN. It is a bit surprising she did not garner much awards notice for the character but more surprising that Bell didn’t.
Hollywood does plenty of romances with an older man and younger woman but rarely the reverse. Even then, the older woman is often portrayed as foolish or worse, although older men are rarely shown that way, which makes this (true) story of younger man who truly loves an older woman all the more remarkable, and moving. The real Grahame did have a penchant for younger lovers, which the film touches on, something that society has long accepted for men but not women.
That role reversal gives the film a little feminist boost but that is not the film’s point nor even Grahame’s view. In the film, Grahame’s capacity for self-deceit is startling, and she is more a female Peter Pan (a common syndrome among men) than anything, if a remarkably touching one.
FILM STARS DON’T DIE IN LIVERPOOL might disappoint someone looking for a Gloria Grahame biopic but this film is a touching, sometimes funny, sometimes heart-breaking, tale about the power of friendship and love, even if it is based on the true story of a real Hollywood movie star.
Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell discuss their respective characters in four new featurettes for 20th Century Fox’s FANTASTIC FOUR.
FANTASTIC FOUR, a contemporary re-imagining of Marvel’s original and longest-running superhero team, centers on four young outsiders who teleport to an alternate and dangerous universe, which alters their physical form in shocking ways.
Their lives irrevocably upended, the team must learn to harness their daunting new abilities and work together to save Earth from a former friend turned enemy.
Directed by Josh Trank (CHRONICLE), FANTASTIC FOUR hits theaters everywhere August 7.
