Category Archives: Neil Turitz
Does Lucasfilm have itself a Director Problem? Because let’s face it — at this point, what has become obvious is that the vision to be fulfilled, from here on out, is Kennedy’s, and woe be to any director who thinks differently.
Things aren’t perfect at STX, far from it. But considering how long it’s been around, and how far it’s come in that time, things could be a whole heck of a lot worse, with a future that doesn’t look anywhere near as bright as STX’s does.
Ultimately, any time you’re telling a story based on something that actually happened, it’s a delicate balance. Inherently, there has to be some fictionalization involved, but there should also be an adherence to the spirit of the truth. The use of Jada Pinkett-Smith in All Eyez on Me, instead, feels exploitative.
Recently, a Spider-Man: Homecoming spoiler was revealed thanks to the movie’s novelization. But when a studio like Sony is so secretive about its product, thus buying into the idea of Spoiler Culture, it cannot be nearly as careless about the marketing and licensing attached to said product.
The relentless pursuit of video game movie adaptations, despite a proven track record that they don’t work for the most part, falls back on the famed definition of insanity, that being the repetition of behavior and expecting a different result. But at some point doesn’t there have to be a communal understanding these projects don’t work?
Sony announced this week that it will soon be making “Clean Versions” of its movies available to consumers at the same time that the original versions are. The panicked reactions to this new venture, however, are extremely short-sighted.
Universal is chock full of the successful partnerships and franchises so key to success in today’s marketplace that it’s continually vying for the top spot alongside current Hollywood powerhouse Disney. Could it dethrone the Mouse House this year? Not likely, but it’s still set up for a tremendous year nonetheless.
Between WGN canceling Underground and turning away from scripted TV overall as well as Netflix canceling a plethora of shows, the bubble is in the process of bursting, as it had to do. After all, there’s no such thing as permanent growth. But this isn’t the end of quality TV, simply the end of the boom.
It’s tough to imagine that Gal Gadot can break out and where her career will go now, for various reasons, including, quite simply, she is now tied forever to the role that is making her a star. For better or worse, she is Wonder Woman.
Similar to Paramount, Sony hasn’t had the easiest go of things lately and they need to find something major to turn the ship around. Spider-Man: Homecoming will be a good-sized win for the studio but while their film division — made up of Columbia Pictures, TriStar Pictures, and Screen Gems — isn’t going anywhere, it needs to become a more productive part of the company.
There are skeptics and cynics who will scoff at the whole turn of events around the Lupita Nyong’o and Rihanna movie and wonder where we went wrong. Pay them no mind. They will just end up on the outside looking in, like those poor suckers Rihanna and Lupita are about to scam out of their shorts.
Paramount, CEO Jim Gianopulos, and the team are currently facing a challenge to take a once great institution that has fallen on hard times and return it to its past glory. Perhaps the best way to do this will be to find the Next Big Thing, according to Neil Turitz.
In examining the newest Spec Book, Neil Turitz finds that for the second year in a row, there were more specs put on the market and, more importantly, more sold, than the year before. This means there are more opportunities for the writers themselves, and for the companies making the movies to bring fresh voices to their product.
Yesterday, Amazon debuted its Amazon Charts as a sort of competitor to the New York Times Best Seller List, which is a welcome addition to the medium, an egalitarian move, and not unlike the landscape of blockbusters and indie titles in the movie world.
The Studio Series turns to Fox this week to see how its success with the X-Men franchise, beginning in 2000 with Bryan Singer’s initial X-Men film, has allowed the studio to try its hand at other types of fare.
Contributor Neil Turitz takes a look at what has made Amy Schumer a success but whether or not she is ultimately the box office draw execs believed after the success of Trainwreck.
If we’re going to bring something back from the dead, shouldn’t we be given a chance to actually miss it first? One has to genuinely wonder what it is about this new American Idol series that will draw viewers in a way that the original one simply was no longer capable of doing.
There was a time, not so long ago, when Warner Bros. was the model studio in town. They had great filmmakers making excellent movies that earned a lot of money and set box office records and produced some of the most beloved films and television shows ever created. Oh, how the people toiling under the iconic water tower long for those halcyon days of yore.
Netflix was recently hacked and neither them nor the industry at large had much of a response, which was initially puzzling, but upon closer inspection, seems like the best possible response Netflix could have had.
Jimmy Kimmel’s recent monologue gave us all something to think about and gave us a personal prism through which to view it, thus allowing us to truly feel something genuine and true, while also forcing us to ponder how it is we react to such a thing. There’s something refreshing about that,
when entertainment can do more than just entertain.
Neil Turitz brings back last year’s Studio Series for the summer of 2017 to look at the film industry, studios, indies, and any in between. And where better to launch the series than with the biggest and most successful studio in Hollywood? Disney.
The possibility of a second season for the Netflix series 13 Reasons Why shows a possibly larger and more alarming trend at the streaming giant: that it’s not as creator-friendly as it seems and has the same greed as other networks.
We are less than a week away from the Writers’ Guild of America potentially going on strike if they cannot reach a deal with the studios by the time the clock strikes midnight on May 2. Neil Turitz looks back at the last strike to make a prediction about how he thinks the next few days will play out.
Neil Turitz is taking a look at the long shots and outsides for the Emmys this year. He examines the shows that have no real chance to be nominated, even though they are doing things that no one else on TV is doing, and doing them exceedingly well.
With Warner Bros. spending most of its time focusing on its larger films, its subsidiary New Line Cinema has fallen by the wayside. Neil Turitz takes the opportunity to figure out what should be done with this company that is consistently producing underwelming content.
Since the inception of the Cinematic Universe, Marvel has been hiring character-driven directors to ensure that its films are lead by its characters and not its plot. This trend was continued as Anna Boden and Ryan Fleck signed on to co-direct Captain Marvel. Neil Turitz evaluates Marvel’s decision in contrast with previous ones along with comparing this hire to many of DC’s hires.
The summer is when fortunes are made and lost, careers are built and destroyed, and audiences escape from the heat in a movie theater for a couple hours. With that in mind, here are five movies this summer that have especially large question marks beside them.
It goes without saying that Stephen King is the godfather of horror, but why is the celebrated author suddenly going through something of a Hollywood renaissance? Neil Turitz previews the upcoming adaptations of his works and ponders why it’s happening now.
Why do studios insist on remaking films that were successful the first time? They most likely will not be as good as the original, which just leaves a bad taste in everyone’s mouth. Neil Turitz proposes that studios should try remaking films that that were great ideas but suffered from poor executions and give them the artisitc realization they deserved.
Even with only having seen one film of The Fast and the Furious franchise, Neil Turitz has observed the power and legacy of these films and examines, from an outsider’s perspective, how and why they’ve done so well and what’s in their future.