‘The End Of The F***ing World’ Trailer: Teens Get Nihilistic In New Netflix Series

It is a fairly certain fact that the end is nigh. Whether it’s a sudden nuclear attack, or a somewhat gradual descent into anarchy remains to be seen, but there’s no debate that it’s just about the end of the fucking world. But let’s all hope we aren’t obliterated before the debut of a new Netflix show, appropriately titled, “The End of the Fucking World.”

Netflix has partnered with E4 for the upcoming series based on Charles Forsman’s 2013 wildly beloved, critically acclaimed, and award-winning comic book series, titled – you guessed it – “The End of the Fucking World.” According to Digital Spy, director Jonathan Entwistle calls it “a live action version which will transport Charles’s visions of the US to a nihilistic, recession-laden UK.”

Channel4 gives us a delightfully moody taste of what to expect:

James, 17, is pretty sure he’s a psychopath – emotionally detached, cold and disdainful, he’s decided he’s ready to graduate from killing animals. He thinks it might be interesting to kill something bigger…a human. And he’s got the perfect person in mind…

Alyssa, also 17, is new in school – cool and moody, she’s existential angst made flesh. But despite being popular at school, she still feels like she doesn’t belong. Spotting James one day at school, however, she thinks she may have found a soulmate…

When things come to a head at home between Alyssa, her mother and stepdad, she leaves and persuades James to join her in search of her real father. And so begins a journey of discovery that becomes progressively ominous as James’s urge to act on his sociopathic and violent inclinations increase while Alyssa, blinded by young love, remains wilfully ignorant of the consequences that lie at the end of the road. One night, however, the pair find themselves caught up in events that lead them down an ever more menacing and surreal path.

Jessica Barden (“Penny Dreadful“) and Alex Lawther (“Black Mirror“) star in the project with Charlie Covell serving as the writer. Jonathan Entwistle and Lucy Tcherniak will direct, with Kate Ogborn as producer. “The End of the Fucking World” launches on Channel 4 in the U.K. on October 24th and hopefully Netflix won’t take too long to bring it to the rest of the world.

  • Fernando Almeida

    He gives me Sheldon Cooper from hell vibes

‘The Punisher’ Trailer: Frank Castle Violently Faces The Truth

Comic book fans are getting Christmas one month early. November will bring the big screen launches of “Thor: Ragnarok” and “Justice League,” while on the small screen, the highly anticipated “The Punisher” will finally be unleashed. And it looks like it means business.

READ MORE: 11 TV Shows To Watch In October

Jon Bernthal finally comes out of the shadows from “The Defenders,” with the ex-Marine using his best Batman voice, getting every gun that he can, and waging a personal war on… well, it looks like everybody. Deborah Ann Woll‘s Karen Page will be the connection to the rest of the Netflix MCI, but the rest of the ensemble are new faces to that world, including Ben Barnes, Ebon Moss-Bachrach, Amber Rose Revah, Daniel Webber, Jason R. Moore, Paul Schulze, Jaime Ray Newman and Michael Nathanson. Here’s the official synopsis:

After exacting revenge on those responsible for the death of his wife and children, Frank Castle (Jon Bernthal) uncovers a conspiracy that runs far deeper than New York’s criminal underworld. Now known throughout the city as The Punisher, he must discover the truth about injustices that affect more than his family alone.

“The Punisher” hits Netflix on November 17th.

‘Jean-Claude Van Johnson’ Trailer: Jean-Claude Van Damme Goes Undercover

I feel like I’ve been hearing about “Jean-Claude Van Johnson” forever by this point, so I’m kind of surprised to learn that the first season hasn’t arrived yet. At any rate, the high concept comedy literally packs a punch, and it’ll be interesting to see how Jean-Claude Van Damme pokes fun at his action hero legacy.

Created and written by Dave Callaham (“The Expendables“) and directed by Peter Atencio (“Keanu“), with Ridley Scott surprisingly among the producers, the series follows Van Damme (playing “himself”), who uses his Hollywood fame as cover for dangerous, undercover missions. It all looks appropriately goofy, though the budget looks… modest, at best. Here’s the official synopsis:

READ MORE: ’24 Hours To Live’ Trailer: Ethan Hawke Flick Is Like ‘John Wick’ Meets ‘Flatliners’ Meets ‘Jason Bourne’

‘Jean-Claude Van Johnson’ stars global martial arts & film sensation Jean-Claude Van Damme playing “Jean-Claude Van Damme,” a global martial arts & film sensation, also operating under the simple alias of “Johnson” as the world’s most dangerous undercover operative. Unhappily retired, a chance encounter lures him back into the game, forcing him to confront the greatest enemy he’s ever faced.

Co-starring Phylicia Rashad, Kat Foster, and Moises Arias, “Jean-Claude Van Johnson” hits Amazon on December 15th.

David Fincher Explains Why HBO’s ‘Utopia’ Fell Apart & Updates Status On ‘World War Z’ Sequel

It’s not unusual for shows not make it through the development process and land a series order, but it’s not often that they are as high profile as David Fincher‘s “Utopia.” The proposed HBO series was a remake of the Brit series on Channel 4 series which follows a group of people who get their hands on a cult graphic novel called “The Utopia Experiments,” which has predicted no shortage of disasters. An organization known only as The Network hunts them down as the group tries to prevent the next disaster foretold in the pages of the manuscript from happening. It’s high concept stuff, and talent was top shelf, with “Gone Girl” writer Gillian Flynn penning the scripts, Rooney Mara slated to star, and Fincher himself set to direct the entire first season. But ultimately, HBO said no. So, what happened?

On the Empire podcast, the director revealed that at the end of the day, it was all about dollars and cents. His budget was just slight over what HBO was willing to spend, and with neither side willing to compromise, it fell apart.

“I thought we had really, really good scripts and a great cast and we were getting ready to do that and you know it came down to $9 million. In the end, when you actually kind of lay it all out, $9 million in the scheme of things doesn’t sound like a huge discrepancy between what we wanted to do and what they wanted to pay for,” Fincher explained. “But when you cut $9 million out of $100 million, 10% is not 10% in filmmaking. In filmmaking terms, you’re gonna have the same amount of drivers, you’re gonna have the same amount of accountants, you’re gonna have the same amount of costumers, you’re gonna have the same amount of stunt people. The only area that’s going to have to shrink by 10% is the amount of time that you have with the actors.”

The British version of “Utopia” was almost certainly operating with less money, but Fincher had massive ambitions for his version, essentially aiming to create a blockbuster-sized TV show.

“…our version of it was we were attempting to do something that would allow HBO to run something in the summer during kind of you know spandex blockbuster tentpole time, and I wanted to make a show that would sort of rival the tentpole movies maybe not in terms of the CG or how much the universe is gonna explode, but in terms of twists and turns,” Fincher said. “The material—Gillian Flynn wrote the scripts and you know it’s a road movie. They go from one place to the next place, they burn that place to the ground, they go to the next place and they shave their heads and dye their hair and get tattoos and then burn that place to the ground. It wasn’t ‘Cheers.’ It wasn’t like you build a bar, and then generate some pages and the cast comes in and reads some lines. Which was enormously difficult. This was inherently chronological. Any time that you sort of impose a chronology to film production things become—because you literally can’t go to the next scene until you finish the scene in the kitchen that burns do the ground. You have to make sure you have it done, then you can burn it to the ground.”

Essentially, it sounds like “Utopia” wasn’t the easiest material to tweak to fit a budget, so in the end, everyone walked away. It’s a shame, but I suppose had “Utopia” gone forward, we might not currently be enjoying the brilliant “Mindhunter.”

As for Fincher’s next big screen outing, he’s currently attached to the undated and still developing sequel to “World War Z,” however it hardly sounds like everything is locked into place with that one.

“I’ve been working for about a year now with [the writer of the original ‘Utopia’] Dennis Kelly on ‘World War Z’… We’re hoping to get a piece of material that’s a reason to make a movie not an excuse to make a movie,” he said.

That’s the Fincher thoughtfulness we know and love and it’s good to know that he’s not going to jump into anything until he was a script he can believe in. Listen to the full chat below. [via Collider]

Mark Ruffalo & Derek Cianfrance Team For ‘I Know This Much Is True’ At HBO

Peak TV is gonna Peak TV, and the latest project to get the wheels turning at HBO brings together an auteur, a superhero, and some critically acclaimed source material.

Derek Cianfrance has signed up to direct the limited series adaptation of Wally Lamb‘s acclaimed “I Know This Much Is True.” Mark Ruffalo will pull a James Franco, playing dual roles in the drama about twin brothers, and their lives across the 20th century. Here’s the book synopsis:

On the afternoon of October 12, 1990, my twin brother, Thomas, entered the Three Rivers, Connecticut, public library, retreated to one of the rear study carrels, and prayed to God the sacrifice he was about to commit would be deemed acceptable. . . .

One of the most acclaimed novels of our time, Wally Lamb’s I Know This Much Is True is a story of alienation and connection, devastation and renewal, at once joyous, heartbreaking, poignant, mystical, and powerfully, profoundly human.

Cianfrance has penned the adaptation, and while there is no start date yet, it’s promising stuff. The director’s wheelhouse has always been familial relations (“Blue Valentine,” “The Place Beyond The Pines,” the underrated “The Light Between Oceans“) and the opportunity for Cianfrance to work on a bigger narrative canvas is exciting. As for Ruffalo — who can complain about having more than one of the actor? [Deadline]

Stream ‘Stranger Things’ Season 2 Soundtrack By Kyle Dixon & Michael Stein

In the realm of iconic TV show themes, “Twin Peaks” likely remains at the top of the mountain. But for Kyle Dixon and Michael Stein, Emmy winners for their work on “Stranger Things,” they aimed high and no one would argue they’re getting pretty close to the top, as well.

“We wanted [our music] to have that kind of impact,” Stein told Billboard earlier this year.

With sold out concerts for the duo and their band S U R V I V E in the wake of the series, and the music becoming such an integral ingredient to the show’s success, it’s safe to say they’ve succeeded. Now, they’re back for season 2 and the synths are all warmed up. While you might find Dixon and Stein adding some new colors to their template, such as in the more romantic “Walkin’ In Hawkins,” you won’t be hearing anything that’s too far afield from their playbook.

“I don’t know if any of the characters are calling for a guitar to come out,” Stein joked.

The “Stranger Things” season 2 soundtrack is now available digitally.

Duffers Warn You Might “Damage The Experience” Watching ‘Stranger Things’ Season 2 Trailer Too Much

It’s one week until we all go back into the Upside Down, and while you can listen to the soundtrack right now, I presume most of us are waiting for the total “Stranger Things” season 2 experience. In the year since the show debuted, it has become a phenomenon, and a merchandising bonanza. This means the marketing has had to step it up a notch, but the magic of season one was that everyone knew very little going in. However, it looks like creators Matt and Ross Duffer are working hard to keep secrets intact for season 2.

Speaking with THR, the duo mused about the roles trailers play in promoting movies and TV shows, and while they’re mostly happy with the promos cut for “Stranger Things,” they warn that the latest trailer is something best viewed one time.

“The first trailer doesn’t show as much as you might think, because marketing only had the first couple of episodes with a few shots from later stuff when they put that together. There were just a few things where we had to be like, ‘No, don’t do that.’ It’s becoming a debate as we move forward. Whether it’s through social media or another trailer, how much do you give away? What can the fans piece together with this information?” Ross Duffer said. “We want the fans to be surprised as much as they can when they actually watch the show. We also want to get new people to watch the show.”

“One reason why season one worked was because it was a discovery for a lot of people. They knew nothing when they started watching. I don’t think many people have even seen that trailer, but I definitely want to be careful,” Matt Duffer added. “I’m not into trailers that tell you the full story. I do not like the approach to trailers, which is like, ‘Let me summarize the entire movie for you before you go in!’ Some people seem to like it. But, to me, it’s like reading the last page of a book before you start the book.”

As for the new trailer, you can reassured that, “…most of the show is not in that trailer. I have a problem with trailers, because I love them too much. I’m one of those nerds that watches them on repeat. There’s a danger to that. I think it’s very safe to watch the trailer through once. If you watch it multiple times, then it can start to damage the experience. But it’s hard for me to scold people for doing that, because I do the same thing,” Ross Duffer said.

So, you’ve been forewarned. Maybe steer clear of all things “Stranger Things” before we all dive back in on October 27th.

‘The Dark Tower’ TV Series Will Be “A Complete Reboot”

Even as summer season flop “The Dark Tower” took major hits from critics, and stories emerged about its fractious post-production, everyone involved put on their game faces. Just days before the critically slammed picture opened, “The Walking Dead” showrunner Glen Mazzara was hired to work his magic on the developing TV series. The plan before the movie opened was create a cinematic universe (obviously) that would tell Stephen King‘s epic story on both the big and small screen, with everything linking up together. However, it looks like their pivoting a little bit.

Speaking with Vulture, King shared what he thought were the challenges that faced “The Dark Tower” movie, and revealed that the TV show is still brewing, albeit it sounds like it’s giving the franchise a facelift.

“The major challenge was to do a film based on a series of books that’s really long, about 3,000 pages. The other part of it was the decision to do a PG-13 feature adaptation of books that are extremely violent and deal with violent behavior in a fairly graphic way,” the author said. “That was something that had to be overcome, although I’ve gotta say, I thought [screenwriter] Akiva Goldsman did a terrific job in taking a central part of the book and turning it into what I thought was a pretty good movie. The TV series they’re developing now … we’ll see what happens with that. It would be like a complete reboot, so we’ll just have to see.”

There’s no reason why they shouldn’t give “The Dark Tower” another shot from scratch, and frankly, a series probably makes way more sense for that epic material. And if the show were to go into premium cable, there would be no need to worry about violence (remember, King had hoped that a big screen sequel would’ve gone R-rated).

We’ll see how this plays out, but it’s not a big surprise. Everyone wants a piece of King to call their own these days, and the writer is more than happy to oblige.

Claire Foy On Jumping From ‘The Crown’ To ‘Breathe’ And What’s Next [Interview]

The last time I spoke to Claire Foyit was the night before her final day of shooting “The Crown.” She played Queen Elizabeth II for two seasons on Peter Morgan’s acclaimed Netflix series and earned Emmy, BAFTA, SAG Award and Golden Globe Award nominations for her performance. The second season debuts December 8, but in the meantime Foy is focused on her burgeoning movie career.

Foy plays Diana Cavendish, the wife of disabled persons advocate Robin Cavendish (Andrew Garfield) in Andy Serkis’ “Breathe.” It’s another impressive, if not period piece turn for the Brit even if the reviews are probably not as pleasant as U.S. distributor Bleecker Street was hoping for. She’ll soon begin filming Damien Chazelle’s “La La Land” follow up “First Man” opposite Ryan Gosling. On this day, however, it was almost all about “Breathe.”

READ MORE: Andrew Garfield & Claire Foy ‘Breathe’ Deep For History [Review]

Spoiler alert: There is a vague discussion of a major, final scene in the film.

_____

Gregory Ellwood: So, the last time we spoke you were about to finish shooting “The Crown.”

Claire Foy: Oh my gosh. Was I mental?

No, you were very focused, you were like, “I’m sort of sad.” But anyway, let’s talk about this movie! I was so impressed with both your and Andrew’s performances. People think this is Andy Serkis’ first film, but it’s not.

Oh yeah, we’ve beaten them to the part, “The Jungle Book” is. We’re the first ones [out though].

I don’t know if you’ve worked with first time filmmakers before there’s always that, like…

Yeah.

Was that what it felt like with Andy?

No, I mean that man has a vast amount of experience in this industry. As an actor, as a director – you know he’s directed things before – he lives and breathes it. I think he really really understood that he, Andrew and I all had very different approaches to things. So, we were approaching it as actors and he was approaching as a director and it just became kind of like, three of us throwing everything into the pot together really to be honest. And also he left us alone a lot. He was very very trusting and I think a certain point during the film he suddenly realized that me and Andrew made something between ourselves, that I don’t even know what it is. But it has its own energy and we were communicating. In a short hand, and we were able to be really really close to each other and, you know, be physically really close to each other and it was never awkward or weird. We became really kind of each other really, in a weird way.

Was this a project you where you felt like you had to rehearse before hand? Or was this something, where because you had that short hand, you could just go on set, figure it out?

No, we had to just do it by doing it. We didn’t have much amount of rehearse. We only had six weeks before we started shooting and that was, to do everything, to do all the prep for it. And there was a lot of work in the sense there. You go through it, there were lots of periods of time. There was a lot of makeup. There was all sorts of different things that Andy had to sort out. Me and Andrew just did as much on our end that we could as possible. Andrew was on it all the time, all the time. He put everything into it. He was constantly researching or meeting people or going places. Or you know practicing or rehearsing. And I did as much as I possibly could. And you know we just had to dive in. But I don’t think that it wasn’t until we were actually doing it, that we were able to kind of get that bond in that place.

So you have, if I’m correct, you had two people who were still alive. Your character-

Diana.

Did you meet her beforehand?

Oh yeah, yeah, yeah.

Was there one thing that you took away from meeting here where you thought, “I need to remember this for my performance”?

It was more. I just was like, “My God, I need to be more like her in my life.” The main thing I took away was, “don’t you dare over-sentimentalize.” Don’t you dare kind of go, “If I was there be feeling this” Don’t you dare do that, cause I’d have to step out away. It’s not about me. Diana was there. And she didn’t pay for that. “She had a different set of values and she had a personality and you bloody observed that.” I just had to just constantly think “what would have Diana would have done? ” And you know that was there, but [screenwriter] Will Nicholson already understood her. You can’t act against the dollar and he understood her as well. I was very very lucky. I had, I mean, what more could I ask for really.

And her son was also one of the producers.

Yeah.

Was that weird at all?

It was weird because it wasn’t weird. That’s why this film, I cry my eyes out even thinking about it, because it was the most special, [because] to be allowed into someone’s life like that and to meet someone like Jonathan. And it wasn’t work being with him. And him allowing you to play his mother and father. And know how much they loved each other and be able to relinquish all control over it. And to be able to watch you perform, and not be judgemental over you and not own it. It should’ve been weird, it should’ve really been like, “Oh this uncomfortable oh this is strange.” The only time it was uncomfortable is when Andrew [was around for the] almost sex scene. He was like, “I’m going to see the production manager. And talk about some stuff.”

Wait was that the scene where like you just get in bed with him and it looks like you’re just giving him sort of hug?

Yeah, I mean it’s like tang. But that was too much for him he was like, “Gross gross get off. Stop it.” He couldn’t take it. Hilarious.

So, in context of the movie itself, obviously it’s a historical narrative, a lot of decades are being covered. Did you guys have to jump back and forth during filming?

We did it chronologically, they were really nice.

That’s very rare.

It was so important. We had to because the aging makeup took Andrew 5 hours [to put on]. Andrew was up at like 3 o’clock in the morning having his prosthetics put on. It really helped cause we were never ahead of the story and we were always in it and there and not going “What’s happening? What’s gonna happen?” But the final [few] weeks when we were in the house and I knew what was gonna happen I was absolutely aside myself. Like just ridiculous. I just I couldn’t give myself a stern talking to. There was no help for me. I was just gone.

Andrew-Garfield, Claire-Foy, Breathe

How hard was that final scene?

It was just hard cause I was. I couldn’t act it out on screen so therefore off screen I was just a mess.

Because she didn’t then?

Yeah. Jonathan seen his mother cry once.

Really?

[Mm-hmm] and it wasn’t about anything to do with that. It was about Christmas presents.

Well, let’s circle back to your career. You’re done with “The Crown.” This movie is coming out. Do you know what you’re doing next?

Yeah, check this out I gonna go have dinner with Damien Chazelle and Ryan Gosling. And then I’m going to break both my legs and have some bad fortune. Because otherwise it’s ridiculous. That’s what I’m gonna do, I’m gonna be in “First Man,” it’s about Neil Armstrong.

So, who are you playing in it?

Janet Armstrong.

Oh my.

Unless I just made that up, I just feel like maybe that’s just too ridiculous.

[Publicist]: You know nothing.

You know nothing.

I know nothing, yeah.

“Breathe” is now playing in limited release.

Get Freaked Out By A New Trailer For ‘Killing Of A Sacred Deer’ With Colin Farrell

Compared to his previous films, Yorgos Lanthimos’ “The Lobster” was a pretty tame affair — there was only the occasional blinding or dog-kicking, with a rather sweet love story and some bone-dry humor the dominant notes. But expect the balance to be redressed, as the title might suggest, with his new movie, “The Killing Of A Sacred Deer.”

Reuniting the Greek helmer of “Dogtooth” with star Colin Farrell (with Nicole Kidman and “Dunkirk” breakout Barry Keoghan joining the cast), Jess described it in Cannes this year as “a film of clean hands, cold heart, and near-Satanic horror,” and also as being “absolutely fucking brilliant.”

While it revolves around the intrusion of Keoghan’s malevolent teen into the life of Farrell’s surgeon, it doesn’t paint the character as a pure villain. “We didn’t set out to create such a specific association or atmosphere — it was mostly about trying to make this young boy, this teenager, feel both as a young, innocent boy and as someone who’s very mature, with tremendous power over other people,” Lanthimos told the Atlantic. “We’re trying to create a balance, which you don’t find every day in life. We didn’t want him to appear as evil or naïve; we wanted an ambiguity, with elements that you understand. Up to a point, you go with him, and you identify with him and his pain.”

And you can get more from the movie, which is also screening at TIFF this week, thanks to a new trailer released by A24 today. We can’t wait, and the best news is we’ll be getting more Lanthimos in 2018, with his period drama “The Favorite,” starring Emma Stone and Olivia Colman, already in the can.

Read the official synopsis, and see the trailer for “The Killing Of A Sacred Deer,” below. The film opens on October 27th.

Dr. Steven Murphy (Colin Farrell) is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife Anna (Nicole Kidman) and their two exemplary children, 12-year-old Bob (Sunny Suljian) and 14-year-old Kim (Raffey Cassidy). Lurking at the margins of his idyllic suburban existence is Martin (Barry Keoghan), a fatherless teen who Steven has covertly taken under his wing. As Martin begins insinuating himself into the family’s life in ever-more unsettling displays, the full scope of his intent becomes menacingly clear when he confronts Steven with a long-forgotten transgression that will shatter the Murphy family’s domestic bliss.