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CS Video: Jovan Adepo & Mathilde Ollivier Talk Overlord Film

CS Video: Jovan Adepo & Mathilde Ollivier talk Overlord film

Overlord cast members Jovan Adepo and Mathilde Ollivier spoke with ComingSoon.net about Paramount Pictures and J.J. Abrams’ Bad Robot upcoming war horror film. Check out the video below, and catch the movie in theaters this Friday!

RELATED: New Overlord Clip Highlights An Intense Aerial Battle

Overlord is set on the eve of D-Day, a group of American paratroopers are dropped behind enemy lines to carry out a mission crucial to the invasion’s success. But as they approach their target, they begin to realize there is more going on in this Nazi-occupied village than a simple military operation.

The film is directed by Julius Avery (Son of a Gun) and is based on an original idea by The Hunger Games screenwriter Billy Ray and Abrams. The film’s screenplay is co-written by Ray and Mark L. Smith. Lindsay Weber and Abrams are the producers with Jo Burn, Jon Cohen, and Cory Bennett Lewis serving as executive producers.

The Overlord cast includes Jovan Adepo (The Leftovers), Wyatt Russell (Everybody Wants Some!!), Jacob Anderson (Game of Thrones), Dominic Applewhite (The King’s Speech), Pilou Asbaek (Game of Thrones), Iain de Caestecker (Marvel’s Agents of SHIELD), John Magaro (The Big Short), Mathilde Ollivier (The Misfortunes of Francois Jane) and Bokeem Woodbine (Fargo).

OVERLORD

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Robin Hood & Little John talk about their plans in new clip

Lionsgate has released a brand new clip from their upcoming action-adventure film Robin Hood, featuring Jamie Foxx as Little John and Taron Egerton as the titular hero having a conversation about the continuation of their plans, while Egerton deals with the pain of his injury. The film will arrive in theaters on November 21. Check out the video below!

RELATED: New Robin Hood Featurette Reveals Taron Egerton’s Archery Training

Robin Hood follows the story of a war-hardened Crusader and a Moorish commander mount an audacious revolt against the corrupt English crown in a thrilling action-adventure. Packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance, which is a never before seen story of how our titular hero became the icon and legend as we know him today.

The cast includes Taron Egerton (Kingsman: The Secret ServiceEddie the Eagle) as the title hero, with Jamie Foxx (Django UnchainedRay) as Little John, Jamie Dornan (Fifty Shades of Grey) as Will Scarlet, Eve Hewson (Bridge of Spies) as Maid Marion, Tim Minchin (Californication) as Friar Tuck, and Paul Anderson (Peaky BlindersThe Revenant) as Guy of Gisborne.

RELATED: Robin Hood Inspires the People in Final Trailer

Described as having a “gritty tone,” the film finds Robin Hood returning from The Crusades to discover a Sherwood Forest rife with corruption and evil. Teaming with a band of outlaws, he takes matters into his own hands to set things right, with very little merry-making along the way.

Robin Hood is directed by Otto Bathurst (Peaky BlindersBlack Mirror) from a screenplay by Joby Harold (AwakeKing Arthur: Legend of the Sword). The film is produced by Leonardo DiCaprio, Jennifer Davisson Killoran, Basil Iwanyk, Tory Tunnell and Joby Harold.

Robin Hood (2018)

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Malcolm D. Lee to direct hip-hop comedy Real Talk

It was revealed by The Hollywood Reporter that director Malcolm D. Lee (Night School) will be reuniting with Universal Pictures to develop an old school hip-hop comedy titled Real Talk. Radha Blank (EmpireShe’s Gotta Have It) has been tapped to write the screenplay.

The general premise developed by Lee is that Real Talk follows the story of an old-school rapper who attempts to reunite his group to reclaim their past glory as one of the most influential hip-hop acts ever.

Lee will also be producing the film under his production company, Blackmaled Productions. Melanie Clark of Blackmaled Productions will oversee the film alongside Kristin Lowe and Mika Pryce of Universal.

This project will continue the collaborative relationship Lee has with the studio, after working on films such as the sleeper hit Girls Trip and the soon to be released Night School. Night School is set to debut in theaters tomorrow, September 28.

(Photo Credit: Getty Images)

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If Beale Street Could Talk Synopsis

Set in early-1970s Harlem, *If Beale Street Could Talk *is a timeless and moving love story of both a couple’s unbreakable bond and the African-American family’s empowering embrace, as told through the eyes of 19-year-old Tish Rivers (screen newcomer KiKi Layne). A daughter and wife-to-be, Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny (Stephan James). Friends since childhood, the devoted couple dream of a future together but their plans are derailed when Fonny is arrested for a crime he did not commit.

Through the unique intimacy and power of cinema, *If Beale Street Could Talk *honors the author’s prescient words and imagery, charting the emotional currents navigated in an unforgiving and racially biased world as the filmmaker poetically crosses time frames to show how love and humanity endure.

If Beale Street Could Talk Credits

Starring:
KiKi Layne, Stephan James, Regina King, Colman Domingo, Teyonah Parris, Brian Tyree Henry, Michael Beach, Ed Skrein, Diego Luna, Dave Franco, Pedro Pascal

Written By:
Barry Jenkins

Directed By:
Barry Jenkins

Produced By:
Megan Ellison, Barry Jenkins, Adele Romanski, Sara Murphy, Jeremy Kleiner, Dede Gardner

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If Beale Street Could Talk trailer & poster from Oscar-winner Barry Jenkins

Annapurna Pictures has revealed the first full trailer and poster for If Beale Street Could Talk, the latest from Oscar-winning writer/director Barry Jenkins (Moonlight). Check out the If Beale Street Could Talk trailer below, along with the poster in the gallery!

RELATED: If Beale Street Could Talk Teaser From Director Barry Jenkins

Based on the James Baldwin novel of the same name and set in early-1970s Harlem, If Beale Street Could Talk is a timeless and moving love story of both a couple’s unbreakable bond and the African-American family’s empowering embrace, as told through the eyes of 19-year-old Tish Rivers (screen newcomer KiKi Layne). A daughter and wife-to-be, Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny (Stephan James). Friends since childhood, the devoted couple dream of a future together but their plans are derailed when Fonny is arrested for a crime he did not commit.

Through the unique intimacy and power of cinema, If Beale Street Could Talk honors the author’s prescient words and imagery, charting the emotional currents navigated in an unforgiving and racially biased world as the filmmaker poetically crosses time frames to show how love and humanity endure.

The film, which is produced by Plan B Entertainment and Pastel Productions and distributed by Annapurna Pictures, stars KiKi Layne in the lead role of Tish, as well as Stephan James (Race) as her fiancee Fonny, Regina King (Seven Seconds) as Tish’s mother and Colman Domingo (Fear the Walking Dead) as Mr. Rivers, as well as Teyonah Parris (Chi-Raq), Brian Tyree Henry (Atlanta), Dave Franco (The Disaster Artist), Ed Skrein (Deadpool), Michael Beach (The 100), Finn Wittrock (American Horror Story), Aunjanue Ellis (The Help), Diego Luna (Rogue One: A Star Wars Story), Pedro Pascal (Kingsman: The Golden Circle) and Emily Rios (The Bridge).

Critically-acclaimed after its debut at the Toronto International Film Festival, If Beale Street Could Talk opens in theaters on November 30.

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CS Interview: Brian Azzarello and Lee Bermejo Talk Batman: Damned

CS Interview: Brian Azzarello and Lee Bermejo talk Batman: Damned

DC Comics has provided ComingSoon.net with the chance to talk to the creative team behind this week’s Batman: Damned #1, Brian Azzarello and Lee Bermejo. Check out the full interview below, and click here for our exclusive sneak peek at the new limited series!

RELATED: Batman: Hush Animated Movie Leads DC Animation’s 2019 Slate

From writer Brian Azzarello and artist Lee Bermejo, the creative team behind 2008’s Joker, the bimonthly supernatural horror story Batman: Damned follows Batman and DC’s outlaw magician John Constantine as they hunt the truth of who killed The Joker through a Gotham City hellscape.

The Joker is dead. There is no doubt about that. But whether Batman finally snapped his scrawny neck or some other sinister force in Gotham City did the deed is still a mystery. Problem is, Batman can’t remember…and the more he digs into this labyrinthian case, the more his mind starts to doubt everything he’s uncovering. So who better to set him straight than…John Constantine? Problem with that is as much as John loves a good mystery, he loves messing with people’s heads even more. So with John’s “help,” the pair will delve into the sordid underbelly of Gotham as they race toward the mind-blowing truth of who murdered The Joker.

DC Black Label, a new publishing imprint from DC Entertainment, gives premier talent the opportunity to expand upon the canon of DC’s iconic Super Hero comic book characters with unique, standalone stories that are outside of the current DC Universe continuity. An all-star lineup of creative teams will craft their own personal definitive DC stories in the tradition of compelling literary works like Batman: The Killing Joke, DC: The New Frontier and Watchmen.

RELATED: Watch the Remastered Batman: The Animated Series Opening

ComingSoon.net: The story pairs up Constantine and Batman. In recent years Constantine has had a bit of his edge shaved off so he could be more integrated into the mainstream DC titles and TV shows, but this book takes him back to his Vertigo roots. What do you think is the purest form of Constantine?

Brian Azzarello: The purest form of Constantine? “Swamp Thing.”

Lee Bermejo: Yeah, “Swamp Thing,” which was pre-Vertigo, actually.

Azzarello: Yeah, yeah. When he had the hair like Sting in “Dune.” It has that feel to it.

Bermejo: He would come in and shake things up and be a monkey wrench, a magical monkey wrench.

Azzarello: In “Swamp Thing.” And then, in Vertigo, he’s just the narrator of the magic odyssey and because I’m getting into his head it’s not very surprising. The character itself, once you’ve learned more about the monkey wrench, you know how it works. And so, we’re kind of going further with knowing who the monkey wrench is. Right now, Batman’s the monkey wrench in this.

CS: Right from the get-go the story portrays Batman in a way we rarely see him: Vulnerable. For a man with so many strengths, what do you think is the quickest way to weaken and cut to the core of Bruce Wayne?

Azzarello: He does not know what the fuck’s going on. It’s that simple. Put him in a situation where he doesn’t just have the answers, but he’s denying the truth.

Bermejo: Yeah, I think that’s a pretty human quality, too, his denial, and specifically he demands a very large set of blinders on him. He’s got tunnel vision, you know what I mean? Batman is not a character that—at least in my mind, and this is kind of what drives me crazy about all these different interpretations is this kind of—he always had answers and he’s unstoppable. And he’s eight moves ahead of everybody else. You know, he’s a psychotic individual, and I think that there’s a large amount of denial involved in his specific set of trauma.

CS: There’s always been this weirdly symbiotic relationship between Batman and The Joker, that somehow they’re two halves of the same coin, and that deep down one can’t live without the other. Is that something you’re going to explore in this story?

Bermejo: Could they live without each other? Yes, they can live without each other. Symbiotic relationship? I don’t know. I don’t know about that. I think the reaction—I think they are very specifically related in the sense that one reacts to the other, and yeah, I think that it’s fair to say that no one can get a reaction out of Batman like The Joker, and vice versa.

Azzarello: Oh yeah, no, I completely agree.

CS: I think so, yeah. In terms of the framing there’s a lot of extreme, high and low angles that accentuates Bruce’s anxiety. Is there ever a point where you’ve found you’ve pushed the style too far and have to reign it back, or does Gotham lend itself to these oppressive vistas?

Azzarello: I don’t know. I think that’s more of a question for Lee, because they had their own experiences. Some people get affected more than others by that kind of claustrophobia, but I personally like a world that’s closing in on Batman. I think that’s part of his psychosis. And I like that aspect is something that’s unavoidable.

Bermejo: I’mlooking at all the art right now. It’s on the wall. It’s a double-page spread that’s going to be in issue two of Gotham City. And Gotham City’s is the ultimate version of Gotham City.

CS: I kind of had the same feeling when I was reading the book. There’s one panel where Gotham City is so vast that it literally just blocks out the sky. That was really, really cool.

Bermejo: Right. Yeah, but again, it’s a book about perspective, you know? You’re going to see that in issue 2 and issue 3 a lot more, too, is that it’s rare to see things from Batman’s point of view. And I mean that like, literally, you’re in his eyes. You see a lot of Batman books where he’s the narrator and he’s controlling the story more, but you don’t get a lot of that where you’re actually—I mean, you know, just have him coming up out of the water, where he’s looking around. It’s blurry. And you know, there’s a lot of that kind of stuff in the book, where I really want to play around with almost being able to see this world in that same way. And that shot that you’re talking about, the purpose of that was just when you’re rolling on the ground and revealing Gotham City, the first big shot of the city you get, again, I want it to seem un-escapable. There’s no way out, it’s labyrinthine.

CS: Does Lee’s art ever inspire changes in the story you originally set down? Do you ever see maybe the rough pencils and something clicks in your head and you’re like, what if we change this or change this line or something like that?

Azzarello: Oh yeah, yeah, you mean like dialogue changes? Yes, yes. Yeah, of course it does.

CS: You have many of the key members of Justice League Dark in the first issue. Will the team play a part? Is that just kind of an outgrowth of the fact that it’s just a lot of the supernatural characters from the universe?

Azzarello: Yeah. Well, I mean, I think Lee and I both thought it doesn’t seem like they’re being used to their full potential. They try to make a team up of these characters. These are characters that don’t work teaming up with anybody. Listen, Dark means you’re a loner, all right?

Bermejo: Yeah, I definitely see that these kind of more supernatural characters, number one, they’re some of my favorites in this universe by far. But there’s also something about Batman being in this world that he completely does not understand. I mean, he’s all about logic and I mean, I hate to say it, but he’s supposed to be the main character, which is funny to say, but that’s supposed to be, at his core, something human, right? So it’s great to put him in his world that he really is the character who knows nothing about anything.

CS: Right. You have him out of his element.

Bermejo: Exactly.

CS: The idea of a Black Label is kind of an extension of the Elseworlds concept. What is the appeal for you guys of being able to tell a story outside of continuity and for a more adult audience?

Azzarello: I think Black Label has nothing to do with Elseworlds. Nothing. And we are not trying to tell an Elseworlds story here. This is not Elseworlds.

Bermejo: Yeah, I think that everything we’ve done together pretty much has been a Black Label book, pretty much. And those books have been Elseworlds. I mean, we’ve been battling that book to a certain extent. None of those were technically Elseworld stories. They were just stories that I could give them to readers to figure out where they think they should fit and they do fit. I don’t think it’s our job, and personally, I don’t want to try to figure out how to morph something into fitting into the rest of the company. I would much prefer to find a compelling story using the true core of these characters, who these characters are, and then try to evolve them, try to make some characters feel more modern, try to make other characters feel more like the core of who they are. I think that mission statement more than anything is Black Label.

CS: Do you have ideas for other Black Label projects after this one?

Azzarello: Can we finish this one first? Yeah, I think the Black Label is the best place for us to be, for sure, just for various reasons. And I’ve kind of, like I said before, it’s kind of what I’ve always done. But yeah, I mean, I have built out something else for Black Label, but right now, I just have to finish this thing.

Batman: Damned #1 is available now at comic book retailers.

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Lionsgate Debuts the Trailer for Sci-Fi Thriller Kin

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“Everything needed to have a level of sophistication that was credible,” says Josh Baker, co-director of the upcoming gritty sci-fi movie Kin. “That was, above anything else, commercial success, casting, that was at the forefront of our minds.”

Kin, the feature film starring James Franco (The Deuce), Carrie Coon (Fargo), and Jack Reynor (Detroit), started off as a short film, Bag Man, which he co-wrote and directed with his brother, Jonathan Baker, in 2014. The story follows Eli (Myles Truitt), a young boy living in Detroit who happens upon a mysterious, otherworldly weapon in an abandoned building. After his brother, Jimmy (Reynor), comes home from a stint in prison, the two find themselves on an unexpected road-trip, with this mysterious weapon along for the ride.

Even before Bag Man started to gain traction on the festival circuit in 2015, both Josh and Jonathan were preparing for the chance to make a feature. “When we were in the edit process with the short, we said to each other ‘Look, we probably should have a longer version of what this turns into because we’re probably going to be asked,’” recalls Jonathan. “That’s the climate we live in right now. There’s obviously producers out there buying up material.”

Working together, the Jonathan and Josh started fleshing out a story big enough for a feature film. “We came up with the themes and the characters that we were interested in telling, and quite quickly it moved into a brother story, which shouldn’t be a surprise to anybody. We worked it out on a beach in Costa Rica in 2014, so we kinda put it on the shelf and just said ‘We’ll wait until we get asked.’ And we started to get asked.” Jonathan explains.

Related: Lionsgate Debuts Trailer For Sci-Fi Movie Kin

Once Bag Man started making the rounds, Jonathan explains that the two started “getting a little bit of heat. We were getting those emails and calls from producers saying ‘Guys, loved the short, what’s the movie version? We should talk!’”

New Kin Clip Highlights Bond Between Boy and Space Gun

Before long, the Baker brothers were taking pitch meetings all around Hollywood. “We did 30 meetings in one week,” says Jonathan. “By the end of 30, you’ve got it right down to a science.”

They opted to work with 21 Laps, who Jonathan describes as “similar filmmakers.”

“They liked the same stuff, they wanted to do something different, they had a good range of stuff that they worked on, all the way from Spectacular Now to Arrival, with comedy in the middle. They do a lot of different stuff, so it felt like a good home. Dan Cohen and Shawn Levy understood what the short was, but didn’t really get where we were gonna go with a movie until we came in and pitched it to them and they were like ‘Okay, sounds like you know exactly what you’re doing.’”

“They’re great, supportive producers,” says Josh. “Shawn is a great director in his own right, but doesn’t force his aesthetic on the filmmakers he works with. I think he prides himself on developing great talent and getting those stories out there. We certainly knew the tone of the film we wanted to create. Tone was pretty much everything. We wanted to mashup maybe three or four different styles of movies, from road-trip to family drama, there’s a crime aspect in there, there’s sci-fi. Big concepts, but it’s all treated very grounded and very gritty and very relatable.”

When it came to drawing influences from other works, Jonathan explains that Mud came up often, mostly as an example of it being an adult-oriented movie with a child as the lead character. “That’s something we were very adamant about. This is not gonna be a kids film, this is gonna be an adult film, made for us. This was the film we wanted to watch. Big, solid wish-fulfillment films from the 80s.”

With their ideas in place, the brothers reached out to screenwriter Dan Casey to help round out their feature-length script. “We specifically wanted more of his crime drama and family drama work, not his sci-fi work,” says Jonathan. “We didn’t want to get too glossy and get some giant blockbuster script that he’d written before. We wanted to make it a lot more intimate than that.”

“They knew, for the most part, how they were going to turn the short into a feature,” explains Dan. “When I went in there, it was really just about trying to have a conversation and vibe a little bit. They were at a crossroads with something, that just had the right kind of story piece to fit in there. Personality-wise, we just sort of clicked.”

Jonathan cited Dan’s knack for character-driven stories as to why they were drawn to work with him. “I think it was about perfecting arcs and landing an end; a third act that pays off in the way you want it to. If you’ve seen Bag Man, it’s all about starting one way, and then flipping it on its head and doing something completely different that you don’t see coming. And we did want to do that on Kin as well, a third act that blows your mind a little bit and goes into a different place.”

“There’s something fun as a director to use the pre-conception of an audience against them,” adds Josh. “They think they know where it’s going, and then you flip it. That was the real pleasure with Bag Man, where everyone almost got to the point of boredom and then it’s like ‘BAM!’ We love rewarding an audience with stuff like that.”

With the script in place, next came the task of casting the film. “It’s a daunting task,” says Josh, “but I think we always approach our stuff with the highest bar we can, and we get to a point where we just accept we’re making a movie right now, and yes that’s stupid and nuts and who would have ever thought we’d get there? But, we’re here and we’re doing it so we may as well go hard and aim at the top of the top.”

“It’s kind of two sides of a coin,” says Jonathan. “You’ve got, on one side, ‘We need the biggest actor possible to sell the movie. Then on the other side is, ‘You may not get a big actor.’ That came up a lot. So, for every role, we’re balancing this level of how big should we go, how big can we go. With someone like James Franco for our bad guy, his name came up fairly quickly, and it’s a fine line that character, Taylor, is dancing in the film. There are not many actors that can dance that line, and James Franco, once his name got brought up, was like ‘Wow, he might be able to pull this off.’”

“One that we were attracted to is Spring Breakers and his role as Alien. That’s probably the far-out whacky version of some of the stuff he’s done there, but we wanted to do something that was iconic for James Franco, and fingers crossed we did that. By putting a mullet on him,” says Jonathan, laughing. “We photoshopped an image of him early on with an English football haircut and sent it to him and he’s like ‘Hey man, I’m down. Whatever you want to do to me.’”

Of course, filmmaking is known for its curveballs, and Kin was no exception.

“Day one, shot one, the Taylor character swept a table with cigarette trays and weapons with his arm and tossed it across the room,” says Josh. “It’s a scene that didn’t even make it in the movie. But he had a gash on his arm about an inch and a half wide.”

“A piece of ceramic hit the wall, shattered, came back, and cut a decent sized cut in James Franco’s arm,” adds Jonathan.

“So, he’s bleeding everywhere,” resumes Josh, “and we’re looking at each other like ‘Oh, my goodness, we just broke James Franco!’ Then, six days later, we’re like ‘How’s the arm?’ and he’s like ‘Aw, I forgot about that thing.’”

With its late-summer release date, Kin will not only be facing the usual competition at the box office, but as a stand-alone, mid-budget film with a sci-fi element, it’s facing a world of mega-budget franchise movies and an endless stream of sequels, spinoffs, and reboots. To make Kin stand apart, Jonathan says the conversation was more about restricting things than embellishing them.

“[It’s] not about how far can we go. In a way, you want there to be big ideas, you want there to be exciting scenes, but we didn’t wanna go just so ham with this thing that it ended up just feeling like every other blockbuster out there. But at the same time, you have these giant ideas, and that was the balance, man. That was the dance on this movie. Balancing those two tones together. There’s a duality to this film that comes up a lot, with characters and with the weapon being all shiny and clean, but we had these gritty locations. It’s always about putting those two contrasting things together, and hopefully having something that feels fresh.”

“We live in a world where there’s a new Star Wars movie every single year, sometimes two,” says Dan. “We’re competing against all these massive branded entities, and they’re always going to outspend us no matter what. It was the brothers’ aim to make sure that we’re telling a human story that could essentially exist without the sci-fi weapon. That was a big priority for them.”

“There’s a hunger for other things,” says Jonathan, “and we’re big fans of projects that aren’t sitting in just one box. There’s a time and a place for films that are doing a little more than just one thing.”

“There needed to be a level of intimacy to these characters, to this world,” adds Josh. “Obviously, it’s a personal film for us, but when someone comes up and says I love nostalgic sci-fi, I love grounded crime films, you’ve got all this in there, it’s like you made it for me.”

Audiences seem to be reaping what the brothers have worked to sow. Ahead of Kin’s theatrical release, the two have been traveling to advance screenings around the country to gauge audience reactions to their feature film debut. “It’s an audible gasp in the theater,” says Josh about the handful of audience reactions, particularly after their big third-act reveal. “It’s fuckin’ delicious.”

Kin is in theaters everywhere Friday, August 31.

KIN

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20th Century Fox just dropped the new trailer for the all-star crime thriller Bad Times at the El Royale, so ComingSoon.net is giving you our exclusive video interview with cast members Jeff Bridges, Dakota Johnson and Jon Hamm. Check out the interview in the player below!

RELATED: Drew Goddard Talks Bad Times at the El Royale… On a Yacht

Bad Times at the El Royale takes place in the 1960s at a rundown hotel, centering on a cast of characters whose own shady agendas will violently collide: “Seven strangers, each with a secret to bury, meet at Lake Tahoe’s El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption… before everything goes to hell.”

Alongside Chris Hemsworth (Avengers: Infinity WarThor: Ragnarok), the film stars Jon Hamm (Mad MenTag), Jeff Bridges (The Big LebowskiKingsman: The Golden Circle), Dakota Johnson (Fifty Shades series), Cynthia Erivo (Widows), Nick Offerman (Parks and Recreation) and Cailee Spaeny (Pacific Rim Uprising).

Bad Times at the El Royale serves as a reunion between Hemsworth and Goddard, who previously collaborated on the 2012 horror movie The Cabin in the Woods.

Bad Times at the El Royale is set to hit theaters on October 12.

Bad Times at the El Royale

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Better Call Saul Season 4 Episode 4 Recap

It’s time to once again check in with Better Call Saul! In last week’s episode, Kim had an unexpectedly emotional reaction when Jimmy read Chuck’s farewell letter. Naturally, Kim and Jimmy dealt with it the way they always handled difficult emotions…by running away from them. In Better Call Saul season 4 episode 4, both Jimmy and Kim went to great lengths to avoid their feelings. But there’s inevitably heartache ahead.

Killing Cousins

Gus’ plans for expansion came together when he arranged for the Espinozas to get the stolen drugs taken from Nacho and Arturo. Nacho participated in the frame up by identifying the Espinozas as his attackers. Nacho could barely believe it when the cousins attacked the Espinoza compound in broad daylight without backup. Reluctantly, Nacho followed them inside but they barely needed the assist. However, the incident attracted so much attention that the Cousins were forced to return to Mexico.

Nacho’s wounds were reopened during the shoot out, but he still reported to Gus afterwards. Gus seemed impressed that Nacho figured out his real plans, but he told Nacho that he’s not done yet. With nowhere else to go, Nacho turned to his father for help and a brief respite.

Can’t Lie To Mike

Mike briefly thought of a happy memory with his son, Matty, at the beginning of the show. He also briefly reconnected with Anita, his friend from therapy. Anita revealed that she was concerned about Henry, another member of their group. To her surprise, Mike revealed that he knew Henry was lying about his dead wife’s existence. Mike even made a small wager with Anita to prove it.

At therapy, Mike’s daughter-in-law, Stacey, shared a sad story about missing Matty. When Henry followed with his own sob story, Mike couldn’t resist exposing his lies. Henry left in shame, while Mike alienated the group. Later, Mike was summoned to meet Gus, who pretended he was angry with him. Mike immediately saw through the BS, and told Gus to tell him about “the job.”

The Verdict

Kim was worried about Jimmy’s state of mind, so she tried to refer him to a therapist. To get out of it, Jimmy told her he had taken a new job as a cellular phone salesman. It was a lie, considering that he actually turned down the gig. But Jimmy quickly reconsidered after speaking to Kim. Meanwhile, Kim went down to Judge Munsinger’s courthouse and observed a few cases.

Privately, Judge Munsinger tried to entice Kim with a juicy story, but she immediately recognized it as the plot of The Verdict. Judge Munsinger told Kim that she wasn’t the first lawyer who tried to rekindle their passion for the law by finding a case in his courtroom. He told her that he’d put her to work as a public defender if she returned to his courtroom. Much to his surprise, Kim ignored the warning and returned to watch the rest of the cases.

Privacy Sold Here

Jimmy got the offer for his new cell phone supervisor gig super early in the morning, and he turned it down. After changing his mind, Jimmy was dismayed to discover that his new store was practically abandoned. Bored out of his mind, Jimmy left the store unattended while he met with Ira. Jimmy was shocked that the collectible they stole fetched a much higher price than expected, and that Ira was honest about it. Ira also gave Jimmy a moment of inspiration.

After returning to the store, Jimmy painted the following message on the store’s windows: “Is the man listening? Privacy sold here.” Essentially, he’s targeting a shadier clientele, and it may actually work.

What did you think about Better Call Saul Season 4 episode 4? Let us know in the comment section below!

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Russo Brothers talk Infinity War plot hole & Happy Hogan cameo

With the home video release of Marvel Studios‘ summer’s blockbuster Avengers: Infinity War, the Russo Brothers are revealing more of the film’s secrets. For starters, they clarify a gaping Infinity War plot hole involving Gamora and Thanos, and also reveal a deleted cameo from Jon Favreau as Happy Hogan!

Click here to purchase Avengers: Infinity War on Digital HD!

On a commentary track from the Digital release (via The Wrap), co-director Joe Russo and co-screenwriter Stephen McFeely reveal why Thanos (Josh Brolin) used intermediaries like Loki and Ronan and didn’t just go after the Infinity Stones himself until now.

“The catalyst for the whole movie was when Thanos figured out where the Soul Stone was, because he captured Nebula on his ship and rooted around in her brain and found out that Gamora knew where the Soul Stone was,” revealed McFeely.

“The reason why he has not gone after the stones before is because the minute he does, the forces of the universe are gonna line up against him,” added Joe Russo. “If he doesn’t know where the Soul Stone is then what is the point.”

Of course this brings up another Infinity War plot hole, namely that the Guardians happen upon the Asgardian distress beacon and Thor seemingly by chance. Did Thanos really meticulously align things so Gamora (Zoe Saldana) would wind up on Knowhere? Why didn’t he just take the Guardians’ ship by force like he did with Thor’s? Basically, the whole Thanos/Gamora plot came together because of a series of coincidences, but it’s presented like it was an intricate part of The Mad Titan’s master plan all along. But, given the sheer number of rewrites and deleted scenes, it’s possible there was some small detail to explain all this that didn’t make the draft of the final film. It’s also possible this will all make perfect sense when the as-yet-untitled Avengers 4 comes out next summer.

Meanwhile, the Russos have also discussed a special cameo (via Entertainment Weekly) from none other than Iron Man director Jon Favreau as Happy Hogan that wound up on the cutting room floor.

“There is a deleted scene where Jon Favreau/Happy and I make an appearance in the park,” Joe Russo said. “The movie was really long and we were looking for places to pace it up in the opening and unfortunately that was one of the things we had to cut. But I was willing to cut my own cameo in the movie so it shows how much we really needed to get that park scene moving.”

“Yeah. It was also really hard to cut Jon as he is such a funny performer and we loved working with him,” added Anthony Russo.

AvengersInfinity War is directed by Emmy Award-winning directors Anthony and Joe Russo from an original screenplay by Christopher Markus & Stephen McFeely. Kevin Feige produced the film, with Louis D’Esposito, Victoria Alonso, Michael Grillo, Trinh Tran, Jon Favreau, James Gunn and Stan Lee serving as executive producers.

Avengers: Infinity War

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