Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Hi, Welcome to InviteHawk. Have a good time.

Welcome to InviteHawk. Have good time.

Welcome to InviteHawk. Have good time.

Welcome to InviteHawk. Have good time.

Welcome to InviteHawk. Have good time.

Welcome to InviteHawk. Have a good time.

CRITICS SAY MALEK'S PERFORMANCE IS ELECTRIC AND THE MUSIC IS FULL OF ENERGY, BUT THE FILM OVERALL FOLLOWS A TOO-FAMILIAR TEMPLATE. According to the first wave of reviews for Bohemian Rhapsody, the Freddie Mercury rock biopic is loud and full of energy, at least in the concert scenes, but it lacks character development and isn’t much more than a play-by-play collection of big moments. If anything, it’s Rami Malek‘s performance as Mercury and a depiction of Live Aid that are worth the price of a ticket. Here’s what critics are saying about the movie: DOES IT LIVE UP TO EXPECTATIONS? The movie isn’t un-enjoyable to watch…But if you were expecting anything out of the ordinary, you might be disappointed. – Anne Cohen, Refinery29 The movie is just a conventional rock flick, one all too ordinary for a man and a band that exemplified the extraordinary. – Brian Truitt, USA Today The movie, as it is, is fine. But it could have been so much more… I couldn’t help but feel disappointed. – Joanna Langfield, The Movie Minute DOES RAMI MALEK KILL IT AS FREDDIE MERCURY, THOUGH? He is absolutely brilliant. – Caroline Preece, Den of Geek Start engraving that academy award. – Tara Brady, The Irish Times Malek gives an incredible performance and is honestly the only reason to keep watching the movie. – Jason Guerrasio, Business Insider What Bohemian Rhapsody does have is an electric performance from Rami Malek as Freddie Mercury. – Russ Fischer, Birth.Movies.Death. He goes big and bold… But it’s the small moments and expressions that truly elevate his performance. – Kimber Myers, The Playlist It’s a satisfying, hammy turn in a movie with no other meat on the bone. – David Ehrlich, IndieWire

Harley Quinn and Wonder Woman have been named the most popular Halloween costumes this year as DC fans pay ode villain and superhero, respectively. This is just one example of the long lasting influence of both characters, as its been over two years since the release of Suicide Squad and more than a year since Wonder Woman premiered. DC's Wonder Woman finally provided a proper footing for the female superhero, in a film led by Gal Gadot and directed by Patty Jenkins. Together, the duo explained the origin story of Wonder Woman – Princess Diana of Themyscira – amidst intense action sequences and understated comedic moments. The overwhelming affection fans had for the film and the character quickly became apparent, as everyone from grown women to young boys wanted to be Wonder Woman. On the more nefarious side of things, Margot Robbie portrayed Harley Quinn, ex-psychiatrist and love interest for the Joker in the character's first appearance in a live-action film, Suicide Squad. DC has already capitalized on her influence by developing multiple Harley Quinn-related projects. With a little help from Google, Insider reports that Wonder Woman and Harley Quinn top the most popular Halloween costumes in several states in the U.S. Harley Quinn came out on top in three states, impressive considering the amount of time since Suicide Squad hit theaters; however, Wonder Woman swept this competition as the most popular Halloween costume in 21 states. wonder-woman-gal-gadot.jpg This is not the first Halloween where one could stumble upon a crowd of Wonder Women or Harley Quinns, yet it likely won't be the last as both Gadot and Robbie plan to reprise their popular roles in upcoming projects. A Joker and Harley Quinn-focused film, The Joker and Harley Quinn, is currently in the works, as is Birds of Prey and the Suicide Squad sequel. Gadot will again play Wonder Woman in Wonder Woman 1984, which was recently pushed back from its planned November 2019 release date to June 2020. Ever since the characters made their DCEU debuts in 2016, they've been popular subjects for cosplayers as well as people dressing up for Halloween - and their popularity doesn't appear to be diminishing anytime soon. And with Cathy Yan's Birds of Prey and Patty Jenkins' Wonder Woman 1984 both releasing in 2020, it's possible that they'll get even more popular in due time (along with several other female comic book characters, like Brie Larson's Captain Marvel). KEY RELEASE DATES Aquaman (2018) release date: Dec 21, 2018 Shazam! (2019) release date: Apr 05, 2019 Joker (2019) release date: Oct 04, 2019 Birds of Prey (2020) release date: Feb 07, 2020 Wonder Woman 1984 (2020) release date: Jun 05, 2020

Sony's Grudge reboot will now be released two months earlier in summer 2019. The Grudge films revolve around people who are haunted by a ghost that died while experiencing powerful rage or sorrow. The first film was a Japanese horror film released in 2000 called Ju-on: The Curse. There have been many films in the Ju-on series, including an American remake called The Grudge that starred Sarah Michelle Gellar. In recent years, The Grudge series has crossed over with The Ring films, like in 2016 when Sadako vs. Kayako was released. Back in 2014, Sony also announced they were rebooting The Grudge series, with Jeff Buhler writing the screenplay and Sam Raimi producing. With little to no updates for years, it was then revealed in 2017 that the reboot was again moving forward with Nicolas Pesce attached to write and direct. Demian Bichir and Andrea Riseborough have been cast in the film, along with Insidious star Lin Shaye. While it was previously reported that Grudge would get a summer 2019 release date, Sony has moved their horror film up by two months. Deadline reports that Sony has chosen to move Grudge from August 16, 2019 to June 21, 2019. While the exact reasoning for the change is still unknown, it's likely that Sony is attempting to make the horror film available to as many moviegoers as possible. By changing the release date to June 21, though, Sony will have some tough competition at the box office. Woody-Buzz-and-Bo-Peep-in-Toy-Story-4.jpg Most importantly, Grudge will now be going head to head with Disney's Toy Story 4, which will be about Buzz Lightyear and Woody venturing to find Bo Peep. It's also important to note that X-Men: Dark Phoenix and Chris Hemsworth's Men in Black will also still be relatively new by the time Grudge is released. On the old release date of August 16, Grudge would have gone up against the comedy Good Boys and the animated feature The Angry Birds 2. Even though releasing the film at the beginning of summer rather than the end may make the film available to more audiences, it's a questionable move to pit the film against Toy Story 4. Although the fourth Toy Story has already gotten some heat since the third film ended so perfectly, it's unlikely that Toy Story 4 will bomb at the box office. It's still a Disney film featuring immensely popular characters with a story that actor Tim Allen says is very emotional. That being said, some horror films that come out in August have done incredibly well. Don't Breathe and Annabelle: Creation made a lot of money, both of which had August release dates. While the Grudge series does have a loyal fan base, it's still worrisome that it will now be going up against such an anticipated title in June. However, a horror film and animated sequel don't exactly attract the same crowd. Grudge (2019) release date: Jun 21, 2019

The pic, to be directed by William Brent Bell for STXfilms and Lakeshore Entertainment, is a follow-up to the 2016 hit 'The Boy.' Katie Holmes is set to star in The Boy 2 for STXfilms, a division of STX Entertainment and Lakeshore Entertainment. The follow-up to 2016's The Boy, which starred Lauren Cohan and Rupert Evans and grossed $68 million worldwide, will see Holmes fill the role of Liza. Genre filmmaker William Brent Bell (The Devil Inside) will return to direct The Boy 2 after he first helms the Rupert Friend-starrer Separation. Cameras are set to start rolling on The Boys 2 in Victoria, British Columbia, in early 2019. The horror thriller centers on a young family moving into an estate, where their young son soon makes an unsettling new friend, an eerily lifelike doll he calls Brahms. The Boy 2 was written by Stacey Menear and will be produced by Lakeshore’s Tom Rosenberg, Gary Lucchesi and Eric Reid, as well as Matt Berenson, Jim Wedaa and Roy Lee. "Following the success of The Boy, we are thrilled to be working on the next chapter of this chilling Brahms story with Stacey and William," Lakeshore’s Lucchesi said Tuesday in a statement.

Rami Malek stars as Queen lead singer Freddie Mercury in a biopic tracing the British rock quartet's first 15 years. Extra incisors — that's how a young Freddie Mercury, played with magnetism and breathtaking physicality by Rami Malek, explains his four-octave vocal range to prospective bandmates. The moment arrives early in Bohemian Rhapsody, a film that doesn't share Mercury's surfeit of incisors; it has none. Which is not to say this conventional, PG-13 portrait of an unconventional band offers nothing to chew on. Or that it doesn't acknowledge the tale's darker facets. It does, ever so lightly, all the while fervently emphasizing what's sweet and upbeat about it. Someday another feature about Queen might go deeper. That might or might not make for a better movie. Who says every rock 'n' roll biopic has to wallow in Behind the Music confessionals? The involvement of bandmembers Brian May and Roger Taylor, as consultants and executive music producers, has more than a little to do with the gentle sheen that tamps down unruly narrative possibilities. But their involvement also amps the material's musical authenticity. To the filmmakers' credit, and even though they don't entirely avoid the clunky factoid-itis that often plagues the genre, this is a biopic that favors sensory experience over exposition. It understands what pure, electrifying fun rock 'n' roll can be. The pop-opera-epic black swan of a 1975 single that gives the feature its name — the likes of which radio had never heard before and hasn't since — is smartly peppered through the narrative: the first songwriterly instincts, beginning with the melody; the exuberant, wacky and seriously inventive recording session; the momentous performance at 1985's Live Aid benefit concert for Ethiopia. That last bit arrives in the bravura sequence that caps the film (and which, remarkably, was the first to be shot). Bryan Singer, who was replaced by Dexter Fletcher (Eddie the Eagle) well into the shooting schedule, is the movie's credited director, and his affinity for large-scale spectacle is evident. Picking up the pieces, Fletcher — no stranger to the subject, having been involved in an earlier iteration of producer Graham King's long-gestating biopic — builds upon the work of an ace production team and spirited cast. The finished product is energetic, if not always smooth, its affection for Mercury and Queen indisputable even when the drama is undernourished. Anthony McCarten's screenplay, from a story by him and Peter Morgan (known for writing about another queen), doesn't so much flow as leap from one aha moment to the next. It begins in 1970 London, where art student Farrokh Bulsara has already changed his given name to Freddie, to the pained disapproval of his traditional Parsi father (Ace Bhatti). (One of the clunkier instances of information posing as dialogue relates the Bulsaras' emigration from Zanzibar when Freddie was a teen.) The further switch to a stage-friendly surname is just a few aha moments away. Stepping into the void left by a local quartet's departing singer, Freddie is the spark igniting a whole new level of ambition for guitarist May (Gwilym Lee), drummer Taylor (Ben Hardy) and bass player John Deacon (Joseph Mazzello) — all of whom, unlike Freddie, have a Plan B if the music thing doesn't work out. As to the indefinable, transcendent something known as band chemistry, the movie doesn't quite penetrate the mystery. The lads call themselves misfits playing for misfits, which hardly captures what makes them unique among rock acts. But when Bohemian Rhapsody zeros in on their musical give-and-take, it's clear that four creative spirits have joined forces. When it clicks, the humor, both scripted and improvised, effortlessly underscores the characters' bond. The actors are convincing in the musical sequences, which rely on Queen recordings (and sometimes use Malek's voice in the mix). At crucial points in the offstage story, though, the performances of Lee, Hardy and Mazzello are reduced to reaction shots. Given the easy camaraderie and charged artistic mission that these performers conjure, there are too many wasted dramatic opportunities. As a result, the group's tensions and rifts don't register with the intended force, and Mercury's growing imperiousness never truly feels like a threat to the band's cohesion. That's no fault of Malek's. Taking on a daunting task, he more than delivers. Though he's only an inch shorter than Mercury was, he generally comes across as smaller and more delicate, and with his distinctive, enormous eyes, he'll never be a ringer for the frontman. But, outfitted with the famous overbite and an exquisite array of costumes by Julian Day, and moving with a ferocious, muscular elegance, Malek is transformed. Alluded to but left offscreen is Mercury's tabloid-fodder walk on the wild side, which Sacha Baron Cohen, earlier cast in the project, has said he'd hoped to explore. Malek's devouring gaze suggests Mercury's sexual appetites but also an aching innocence. Barely out of his 20s when Great Britain decriminalized homosexuality, the singer isn't eager to attach a label to his way of life. He's not interested in being a symbol or a spokesman. And McCarten's screenplay is more concerned with Mercury's profound love of performing, and the identify he forges onstage. It's all there in the way the newbie rocker wrestles with the mic stand, awkwardly at first and then taming it like a beast. From there, his confidence soars along with the band's fame, his look morphing from haute hippie to harlequin catsuit to the stylized machismo of the gay leather scene. In the group's ever-changing tonsorial parade, the even-tempered May's Baroque-composer curls are the only constant. The outstanding contributions of makeup and hair designer Jan Sewell are as essential as Day's fashions and Aaron Haye's rich production design. And fashion is a vital component of Mercury's biography: He and fiancee Mary Austin (Lucy Boynton, of Sing Street) fall for each other in Biba, the trendsetting boutique where she works, and where she tenderly encourages his inner diva. Their love story is the most complicated and best developed relationship in the film, leaving no doubt as to why, well after truck-stop trysts have awakened Freddie's attraction to men, Mary remains his dearest and most steadfast friend. They remain neighbors, too — his lamplight signals to her a desperately hopeful riff on Gatsby's green light. But many scenes of the sad rich boy, alone on the satin sheets in his Kensington mansion, can't shake off the whiff of cliché. That goes too for the over-the-top bacchanalia that Mercury throws, with the movie trying way too hard, much like its host-with-the-most protagonist, to be shocking — without tipping into R-rated territory. After the treacheries of Mercury's personal assistant (Allen Leech) have unfolded in an overly obvious way, an unexpected lesson in self-worth from a kind acquaintance (Aaron McCusker) is a welcome page in this rock-star saga. The music-biz elements of that saga strike a lighter note, as you might expect when Mike Myers is tapped to play an EMI exec, a quarter-century after Wayne's World put this movie's title song back on the charts. A nearly unrecognizable Myers is the hit-hungry money guy who once championed the group and now just doesn't get the genre-bending, six-minute "Bo Rhap," as a take-no-prisoners Freddie, bouncing about the office like a frog, calls their new song. The scene is a strained bit of burlesque-meets-manifesto, somewhat redeemed by its ultimate punchline, many scenes later. Bo Rhap the movie is on its surest footing in the music sequences. The experiments in the studio are joyous, the concerts properly loud, and John Ottman's editing connects them fluidly, as when a bass-line doodle segues without a moment's breath from the studio to Madison Square Garden. Call it pandering or love, but Queen built at least one song, "We Will Rock You," around the idea of audience participation, and the movie is, most memorably, a celebration of what's shared, whether the band is warbling about Beelzebub and the inscrutable "Galileo figaro magnifico," or thousands of ticket holders are chanting an anthem's chorus of one-syllable words. The celebration reaches a thrilling crescendo in the final sequence, a powerful rendition of the band's galvanizing — and money-raising — Live Aid set, which has been called the greatest live rock performance of all time. Swooping from a rapturous overhead shot of Wembley Stadium (Haye re-created the defunct venue's stage, to scale, at an airfield) to the intimate onstage interplay of the musicians, out to the rapt crowd and back again, Newton Thomas Sigel's dynamic camerawork is a high-voltage language of communion. The rough edges of Freddie Mercury's story might be smoothed over in this telling, the indulgences and debauchery sugarcoated. Is this the real life? Is this just fantasy? It's a little bit of both. But, caught in a landslide of dispiriting headlines, at a moment when connection, curiosity and openheartedness feel like endangered species, the lingering exhilaration of that concert scene is pretty darn magnifico. Production companies: New Regency, GK Films Distributor: 20th Century Fox Cast: Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aidan Gillen, Allen Leech, Tom Hollander, Mike Myers Director: Bryan Singer Story by: Anthony McCarten, Peter Morgan Screenwriter: Anthony McCarten Producers: Graham King, Jim Beach Executive producers: Arnon Milchan, Dennis O'Sullivan, Justin Haythe, Dexter Fletcher, Jane Rosenthal Director of photography: Newton Thomas Sigel Production designer: Aaron Haye Costume designer: Julian Day Editor: John Ottman Composer: John Ottman Casting director: Susie Figgis Rated PG-13, 134 minutes

Take a look at the new Klingon design of L'Rell in a Star Trek: Discovery season 2 photo. In the first season of Discovery, the Klingon Empire served as primary antagonists but were ultimately thwarted thanks to Michael Burnham, the mirror universe's Philippa Georgiou and a strategically placed explosive that threatened all of Qo'nos. The detonator to the bomb was ultimately placed in the hands of the Klingon L'Rell, who was given the unenviable task of uniting all of the various Klingon houses into an uneasy peace. Perhaps the biggest criticism of Star Trek: Discovery was that it didn't always seem to adhere to established Trek canon, both in terms of story and visual design. One particular issue raised by fans was the series' Klingon design - a bald and pale look that didn't share much in common with the Klingons seen previously in the franchise. Ahead of season 2 however, Discovery's producers have promised that the show will begin to align itself with Trek's history and, to this end, the Klingons are set for a makeover in the show's second outing. Discovery fans can now get a good idea of what this updated design will look like thanks to L'Rell actress Mary Chieffo, who posted a picture of her character's new look on Twitter. Now officially Chancellor of the Klingon High Council, L'Rell is dressed in more formal attire than in season 1, but the most notable change is undoubtedly the addition of a long mane of hair. Star-Trek-Discovery-Season-2-Klingon-LRell.jpg Certainly, the addition of hair brings Discovery's Klingon look far closer to that seen in previous Star Trek series and movies and is sure to please fans who felt the original design was too much of a departure. However, this isn't simply a case of the show's visual team adding a hairdo and hoping no one asks too many questions. Instead, it has been confirmed that the 'shaved head' look was an appearance that the Klingons of the time adopted in periods of war and, now that peace has been (mostly) restored, they are free to grow out their locks once again. Discovery's new Klingon design seems to be part of a wider attempt by the show to build stronger ties to the franchise's past and therefore address a problem that many hardcore fans had with season 1. Aside from new visuals, season 2 will also see the introduction of both Spock and Christopher Pike from the original series, a familiar ship design and fans can also expect other continuity inconsistencies to be addressed. Star Trek: Discovery season 2 premieres January 17, 2019 on CBS All Access.

Steve Carell is the latest actor to sign on to one of Apple’s seemingly imaginary television series, as the former star of The Office joins the cast of the as-yet-untitled morning talk show drama alongside Jennifer Aniston and Reese Witherspoon. Although it has yet to produce a single show, Apple has been gathering top-notch talent for what someday soon may be a lineup of television shows fans of Apple’s products can watch for free on any number of devices. This latest bit of casting news is for one of the tech company’s longest-in-development series, which was given a 20-episode order in 2017. The morning show series is one of several Apple has in the works. It joins the troubled reboot of Steven Spielberg’s Amazing Stories, as well as Chris Evans’ legal drama, Defending Jacob, an Emily Dickson drama starring Hailee Steinfeld, and Ron D. Moore’s sci-fi drama, starring Joel Kinnaman (Altered Carbon), Sarah Jones (The Path), and Michael Dorman (Patriot), which is reportedly titled For All Makind. This is in addition to Little America, from creators Kumail Nanjiani and Emily V. Gordon, a future-set drama starring Jason Momoa, and an adaptation of Terry Gilliam’s Time Bandits, to name a few. With news of Carell’s casting, it’s worth wondering how close the series is to beginning production, or, perhaps just getting a title. As reported by TVLine, Carell will play Mitch Kessler, a morning show host who, unsurprisingly, finds himself struggling with the expectations of an ever-changing television news industry. The series will be Carell’s first time back on television following his departure from The Office, which was then followed up by roles in films like Foxcatcher, The Big Short, Battle of the Sexes, and this year’s Beautiful Boy, opposite Timothée Chalamet. Maura-Tierney-and-Steve-Carell-in-Beautiful-Boy.jpg With the talent already attached to the series — not to mention the other purported Apple television series — it’s not too surprising to see Carell take a break from feature films for this project. His casting is certainly another vote of confidence that the untitled drama is going to be a worthwhile endeavor, for the stars involved, for Apple, and for potential viewers. Whether or not this means those potential viewers will be seeing more details — or actual footage — from these series anytime soon is another question altogether. For now, Apple seems satisfied just building the idea of content and releasing casting announcements and other press releases. Hopefully there will be more than that in the very near future.