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Spider Man: Jackson disappointed in Promoters.

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African-American actor and film producer, Samuel Leroy Jackson has expressed displeasure in the producers and promoters of the Spider-Man: Far From Home movie, as the newest marketing materials was marred with some series of errors.

The Marvel star reprises his role as former S.H.I.E.L.D. boss and flerken friend Nick Fury in the upcoming Spider-Man movie (in theaters July 2). Posters and trailers for the film have teased the first major meeting between Fury and Tom Holland’s Spider-Man, but as Jackson pointed out on Instagram, at least one poster portrays Fury with a major mistake

Jackson shared a side-by-side comparison of two Spider-Man posters, each with Fury’s signature eyepatch on a different eye. (For the record, as Jackson reiterates, Fury’s eyepatch belongs on his left eye, as that was the one he lost in a not-so-savage battle with Captain Marvel’s cat/flerken, Goose.)

© Instagram Samuel L. Jackson calls out Spider-Man: Far From Home poster that flips Fury’s eyepatch

Far From Home marks Jackson’s 11th onscreen appearance as the super-spy, and the film follows him as he introduces Spider-Man to a new ally, Jake Gyllenhaal’s Mysterio. “It was great to have [Jackson] on set intimidating everyone,” director Jon Watts previously told EW, laughing. “It was just like Nick Fury was actually there, keeping everyone on their toes.”

And, according to film producers Naomi Ellen Watts, Far From Home also finds Fury struggling to pick up the pieces after the events of Avengers: Endgame.

“He’s been gone for five years, too,” Watts said. “He’s the guy who’s always known everything about everything. He’s the guy who created the Avengers, and now here he is, returning after five years and seeing a very, very different world. So that’s a situation we’ve never seen him in before. The guy who’s always been in control not having the same level of control is interesting.”

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Eddie Murphy Poses With All 10 Of His Kids For The First Time.

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A good looking bunch! Eddie Murphy’s, daughter, Bria, sent Instagram into a frenzy when she shared a Christmas photo of the 57-year-old comedian posing with all 10 of his children. It marked the family’s first public photo together. 

In the portrait, the Beverly Hills Cop actor held Izzy, 2, while Butcher cradled their sleeping 3-week-old son, Charlie. The parents were surrounded by their moms and Murphy’s children from previous relationships: Eric, 29, Christian, 28, Angel, 11, Bella, 16, Zola, 19, Shayne, and Miles, 26.

https://www.instagram.com/p/Br0bsU2A6Cq/?utm_source=ig_web_copy_link

Earlier this month, Us Weekly exclusively revealed that Los Angeles-based Murphy is caring for Angel while her mother, Mel B, recovers from emergency for two broken ribs in England. “Angel is very well cared for,” a source told Us at the time. “Eddie and Angel have been spending a lot of time together in recent months.”

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The Spice Girls singer and Murphy dated for nine months in 2006. When the Brit became pregnant with Angel, Murphy demanded a DNA paternity test, which confirmed he was the father. But the exes have come a long way since then.

“He’s such a loving, caring, respectful person,” the America’s Got Talent judge gushed on Steve Harvey’s syndicated talk show in December. “It took a while to get there because we broke up not in the happiest circumstances.” 

Murphy and Butcher starred in Big Momma’s House 2 in 2006, but they did not start dating until six years later. The Coming to America actor’s rep confirmed to Us in September 2018 that the pair were engaged.

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Dwayne Johnson, Emily Blunt Go Wild In First Jungle Cruise Trailer.

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https://youtu.be/ydnzilTiBcY

Dwayne Johnson and Emily Blunt are ready to welcome you to the jungle. The pair star in the first trailer for Disney’s Jungle Cruise, an early 20th-century adventure that follows riverboat captain Frank (Johnson) and scientist Dr. Lily Houghton (Blunt) as they venture into the wilderness.

Neither Johnson nor Blunt are strangers to the Disney family — he voiced Maui in 2016’s Moana, while she played the magical nanny in last year’s Mary Poppins Returns — and Jungle Cruise is based on one of Disney’s oldest and most enduring properties. The original Jungle Cruise Disneyland ride opened in 1955, and during Disney’s D23 Expo in August, both Johnson and Blunt promised an adventure that puts a new spin on the ride (think Pirates of the Caribbean meets Indiana Jones).

© AP

“We’re just so moved, so honored to be in a movie like this because we both grew up madly in love with Indiana Jones, Romancing the Stone,” Blunt said onstage at D23. “So to be a part of something like, this same spirit, just makes my heart race.”

The Shallows’ Jaume Collet-Serra directs Jungle Cruise, which also stars Jack Whitehall, Edgar Ramirez, Jesse Plemons, and Paul Giamatti. It’ll, um, cruise into theaters July 24, 2020.

a man standing in front of a giant elephant: If there’s one thing that theme park fans know about Disney, it’s that when they really try, they come up with top-notch attractions. Since Disneyland opened its doors in 1955, Imagineers have been churning out game-changing attractions that truly are the best. And these, well, they’re the absolute best of the best.Luckily, all of these rides are still open and operating around the world, and many of them are brand new experiences using the best technology and effects that Imagineering has ever been able to dream up. Flagship rides such as 20,000 Leagues Under the Sea at Tokyo DisneySea, Pirates of the Caribbean: Battle for the Sunken Treasure at Shanghai Disneyland, and Flight of Passage at Disney’s Animal Kingdom prove that no matter what, Disney attractions are the best in the biz.But don’t think you need flashy effects to be an all-time great Disney attraction. Fan favorites like “it’s a small world,” Space Mountain, and Haunted Mansion prove that the fine folks at Disney have known what they’re doing for a long time.These 20 rides make up a Disney World bucket list of sorts. They’re spread across all 12 theme parks around the world, from Pirates of the Caribbean in California to Pooh’s Hunny Hunt in Tokyo Disneyland and plenty of fun in between.

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Ang Lee Puts Will Smith Through The Digital Wringer in The Dizzying Gemini Man.

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It isn’t enough for Ang Lee to just make movies. Not anymore. At this point in his career, he apparently feels he has to push the boundaries of everything the moving picture format can do and be. The Taiwanese director’s 2012 film Life of Pi heralded the arrival of a new era for him, a period of big-budget experimentation that’s yielded as many bafflements as wonders. His adaptation of the book club favorite went well enough, winning four Oscars for its spectacular menagerie of CGI beasties. His big gamble with Billy Lynn’s Long Halftime Walk in 2016 didn’t pay the same dividends, though. Lee’s foray into 120 frames-per-second shooting, combined with depth-of-field-obliterating 3D cinematography, made for a perfect storm of visual disorientation. It was the kind of ride that makes viewers clutch at their armrests, desperate to escape.

Lee claims to have worked out the kinks in the process for Gemini Man, his latest attempt to blow open the walls of cinematic hyperreality. This time around, he’s having another go at 120fps, and the 3D projection has had three years to play technological catch-up with Lee’s futuristic vision. But the most e-ink has been spilled over his successful cloning of Will Smith. Smith stars in the film opposite his early-twenties self, de-aged to his Fresh Prince years with the help of cutting-edge motion-capture technology.

Will Smith as "Junior" in Gemini Man from Paramount Pictures, Skydance and Jerry Bruckheimer Films.

Of Lee’s many gambits in Gemini Man, the digital character-doubling works the best. Smith the Younger emotes with an organically recognizable humanity from under his weird digital mask, and Smith pitches his voice up a few semitones to play his younger self, which takes viewers over the age of 18 right back to his West Philadelphia days. Smith has chemistry with himself, particularly in the scenes of hand-to-hand combat. (They’re a welcome reminder that nearly 20 years ago, Lee gave us the world-class wuxia epic Crouching Tiger, Hidden Dragon.)

The same praise can’t be heaped on the eyeball-searing camerawork, which suggests an unholy cross between a white-knuckle telenovela and high-octane VR porno. In theory, running more images at a faster rate should make for more fluid images, rendering the gap between the movie and actual vision so small as to be negligible. In practice, it feels like watching TV on your parents’ new flat-screen that came with auto-activated motion smoothing. (Which is still bad.) The judder of good ol’ 24fps may be a “flaw” in the most rigid sense of the concept, but that imperfection has been integrated into the moviegoing public’s innate understanding of the medium. Lee’s quixotic efforts to drag multiplexes into the next dimension have forged an off-putting visual artifice that makes it nearly impossible to get lost in a film — or even just get into it.

Some of the film’s issues, though, might be owed to a thick-headed script that clashes with the forward-thinking industry intellect applied to its production. Audiences at theaters other than the dozen or so featuring 120fps projection will have a slightly easier time sifting for the story buried in here somewhere, a thin science-fiction-inflected potboiler pitting an assassin against his own genetic duplicate.

Smith gives off an “I’m getting too old for this shit“ vibe as Henry Brogan, an expert operative for a shadowy government agency. He’s ready to hang up his sniper scope, but a hit squad shows up just after he announces his retirement, and they’re soon followed by the Ghost of Flat-Tops Past. Henry gets the sense that his former handlers aren’t just trying to stiff him out of a pension, but the film primes viewers for a revelation that never really comes. Its meaningful progression isn’t in Henry’s secrets, but in the development of his relationship with his doppelgänger, “Junior.”

While Junior’s controller, Clay (Clive Owen) pushes to keep his mission on track, Henry and Junior gradually, reluctantly take up a father-son dynamic that vacillates between absurd (particularly in the incongruously mushy final act) and poignant (as the older Smith muses on regret and chances not taken). For a film fine-tuned in pursuit of audiovisual perfection, this thing is full of narrative glitches, story elements that half work and half don’t.

Henry’s primary operative partner Dani (Mary Elizabeth Winstead), for instance, feels like a romantic interest stripped of the romance during the latest rewrite of this 20-year-old script, due to the glaring age disparity between the stars. Benedict Wong shows up as comic relief, delightful in a film that has no use for him beyond his purely functionary capacity as tension-breaker. Every moment staged as a big reveal either turns out to be something the audience already knew, or had most likely intuited.

But an effects showcase like this is supposed to come alive in the kinetic sequences, and for 10-second stretches at a time, Lee’s mad dream of an evolved cinema appears to be within his reach. Applied sparingly, 120fps’ complete lack of motion blur can have an exhilarating artistic effect. One impressive tracking shot slides frictionlessly through a tight alley with the full-body lurch of Star Wars’ jump into hyperspace. It’s easy to see why the promotion foregrounded the first confrontation between Henry and his double. It’s a bravura face-off with no-holds-barred fight choreography that culminates with Smith somehow firing a motorcycle at his older self.

It’s enough to make viewers long for the days when Lee knew better than to put the technical cart before the creative horse. Crouching Tiger, Hidden Dragon let the director pursue his wildest gravity-defying whims, without using the screenplay solely as scaffolding for his fancy gadgetry. Lee sometimes gives the impression of a virtuoso guitarist, needlessly gussying up his act with double-necked axes and pyrotechnics. When a filmmaker has skills like Lee’s, all the bells and whistles just seem to get in the way. God willing, his acoustic days aren’t totally behind him.

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Kerry Washington Joins Meryl Streep & Nicole Kidman In Ryan Murphy’s ‘The Prom’

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Kerry Washington is heading to The Prom. The Emmy-nominated Scandal star has joined the A-list cast of Ryan Murphy’s feature adaptation for Netflix. Deadline broke the news in June about the casting of Nicole Kidman, Meryl Streep, Awkwafina, James Corden, Keegan-Michael Key and Andrew Rannells.

Streep will star as Dee Dee Allen, a two-time Tony winner who teams with Corden’s Barry Glickman in a flop musical about Eleanor Roosevelt. After career-ending reviews, they decide — along with Broadway babies Angie Dickinson (Kidman) and Trent Oliver (Rannells) — to champion a cause to rehabilitate their careers. They find one in Emma, a high school senior in Indiana who isn’t allowed to take her girlfriend to the prom.

Bob Martin and Chad Beguelin wrote the screenplay, which Murphy, Alexis Woodall, Bill Damaschke and Dori Berinstein are producing. Music and lyrics are by Beguelin and Matthew Sklar, based on the original concept by Jack Viertel.

Washington is headlining the action drama Shadow Force, along with Sterling K. Brown, which landed at Lionsgate. She’s also set to co-star in the Hulu limited series Little Fires Everywhere, opposite Reese Witherspoon, and recently premiered her film American Son at TIFF. It will be available to stream on Netflix in November.

Washington is repped by Washington Square Arts, CAA and attorney Gretchen Rush.

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