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This is the thread to submit films for Year 6 of CAYOM 3.0! The release calendar is below. It's pre-filled with the specified films from the Advance Schedule Thread, but you will still need to make posts for those movies with details about them. You can also submit your fillers here. Note that, unless the film was a tentpole that was specified in the Advance Schedule Thread (and thus is already listed here), you are not allowed to post movies in this thread until they are completed - with full cast and release info and however complete a plot summary you plan on giving them. Keep in mind that directors are limited to one major film or two small films a year and that actors should be limited to a realistic number of projects as well.


To submit a film, make a post in this thread including the relevant information.

Required info includes:




Release Date:

Major Cast:

Theater Count:

MPAA Rating:


Production Budget:

Plot Summary: (Can be as short or detailed as you wish)


If you do not have all of this information finalized, you should not post the film in this thread until you do. Films posted without all this info will not be added to the release calendar in this first post.


You can also optionally include other relevant information like producers, composers, the name of the releasing studio (if you are using your own fictional studios), special formats for release (like IMAX or 3D), even custom taglines or posters if you wish. None of this is required to post your film and it can be added after you first post if you so choose.


Limited releases are allowed, and they can expand into additional theaters on a week-by-week basis. You will need to specify when the film expands and how many theaters it goes into each week, up until the final expansion that is the widest it will go.


I've included some typical midweek release dates around holidays and such. If you want to release a movie on a weekday in some other week, go right ahead and just specify it in the post for that movie. I'll add that day to the release calendar.


This post will be updated regularly with new additions. If available, you can click on the title of a film in the release calendar to go straight to its post.

The deadline for submissions is 11:59 PM EDT, Monday, September 23rd.

Titles listed in red have reserved IMAX status and will play in all IMAX theatres for two consecutive weeks, unless followed immediately by another title with this status or otherwise noted.




Friday, January 7

The Amityville Nightmare Part III - Horror - Directed by Nicholas McCarthy


Friday, January 14 (4-Day Martin Luther King weekend)

All Kinds of Bull - Drama - Directed by Glenn Ficarra & John Requa - 2,900 theaters

Flat Stanley - Family/Adventure - Directed by Marc Forster

Making Waves - Sports/Dramadey/Family - Directed by Sean McNamara - 3,120 theaters

Untitled Mole Sequel - Action - Directed by David F. Sandberg - In IMAX


Friday, January 21

The Academy - Drama/Period/Sci-Fi - Directed by Garth Davis - 2,781 theaters

SWAT Kats 3: Katastrophe - Animation/Action - Directed by Kevin Munroe


Friday, January 28

Brickleberry: Armoogeddon - Animation/Comedy - Directed by Roger Black & Waco O'Guin - 3,102 theaters

Expedition Everest - Adventure - Directed by Jon Turteltaub - In IMAX


Friday, February 4 (Super Bowl weekend)

High School Musical: East vs. West - Musical/Family/Romance - Directed by Kenny Ortega - 3,708 theaters


Friday, February 11
Chuck Norris and Liam Neeson vs. the Current Hollywood Landscape - Action/Comedy - Directed by Clark Gregg

Home Invasion Part II: Abduction - Action/Sci-Fi/Thriller - Directed by Juame Collet-Serra - 3,029 theaters - In 3D


Monday, February 14 (Valentine's Day)

No releases


Friday, February 18 (4-Day Presidents' Day weekend)

Pokémon: The Cinnabar Conspiracy - Fantasy/Adventure - Directed by Shawn Levy - In IMAX


Friday, February 25

No releases


Friday, March 4

Spark: A Hero's Promise - Sci-Fi/Action/Adventure - Directed by Jennifer Yuh Nelson - 4,588 theaters - In 3D, IMAX 2D+3D, Dolby Cinema, and Cinerama


Friday, March 11

No releases


Friday, March 18

Hoops 2 - Sports Drama - Directed by Charles Stone III - 2,879 theaters

Thermal - Disaster - Directed by Steven Quale - 3,812 theaters - In 3D, Dolby Cinema, IMAX & IMAX 3D


Friday, March 25

Eyes - Drama/Thriller - Directed by Jordan Peele

A Trip to the Moon - Fantasy/Comedy - Directed by Wes Anderson


Friday, April 1

Super Mario Bros. - Animation/Adventure - Directed by Mark Dindal - 4,457 theaters - In 3D, Dolby Cinema & IMAX


Friday, April 8

Children of Eden - Musical/Epic - Directed by Alfonso Cuarón - In IMAX (split with Super Mario Bros for first week)

Pandas - Nature Documentary - Directed by Drew Fellman - 2,450 theaters


Friday, April 15 (Easter weekend)

Earthsong Volume II: The Mandragora - Fantasy - Directed by Julie Taymor

The Lonely Haunts Club - Fantasy/Comedy/Horror - Directed by Alex Hirsch


Friday, April 22

Untitled Rescuers Sequel - Family/Adventure - Directed by Chloe Zhao - In IMAX


Friday, April 29

The Blushing - Horror - Directed by Jeremy Dyson & Andy Nyman - 2,852 theaters

The Family Guy Movie - Animation/Musical/Comedy - Directed by Seth McFarlane


Friday, May 6 (Mother's Day weekend)

Mass Effect: Ascension - Sci-Fi/Action/Adventure - Directed by Jack Bender - 4,207 theaters - In IMAX


Friday, May 13

Friday the 13th - Horror - Directed by Adam Green - 3,613 theaters

My Life - Biopic/Musical/Drama - Directed by F. Gary Gray


Friday, May 20

Facepaint - Horror - Directed by Ari Aster - 2,805 theaters

Lumberjanes: Secret of the Eye - Comedy/Fantasy/Adventure - Directed by Niki Caro - 3,522 theaters - In 3D

Nights into Dreams - Animation/Fantasy - Directed by Lee Unkrich


Friday, May 27 (4-Day Memorial Day weekend)
Green Arrow - Superhero/Action/Thriller - Directed by Chad Stahelski - 4,062 theaters - In 3D, Dolby Cinema & IMAX


Friday, June 3

Teyonnah and the Renegades: A Righteous Sextet (Limited Release) - Sci-Fi/Comedy/Thriller - Directed by Boots Riley - 15 theaters

Pikmin - Animation/Family - Directed by Claude Barras - 2,950 theaters


Friday, June 10

Teyonnah and the Renegades: A Righteous Sextet (Wide Expansion) - Sci-Fi/Comedy/Thriller - Directed by Boots Riley - 2,611 theaters

Street Sharks 2 - Superhero/Comedy - Directed by Brad Peyton


Friday, June 17 (Father's Day weekend)

Carmen's Voyage - Animation/Musical/Sci-Fi - Directed by Adrian Molina - In IMAX

Fortnite: Battle Royale - Rise of Noobmaster 9000 - Action/Adventure - Directed by Robert Rodriguez


Friday, June 24

The Formation - Horror/Fantasy - Directed by M. Night Shyamalan


Thursday, June 30

Bummer Camp - Comedy - Directed by Dennis Dugan - 3,736 theaters


Friday, July 1 (4-Day Independence Day weekend)

Heroes Within - Fantasy/Superhero - Directed by Dean Israelite - In IMAX

Yolanda Dreams of Yogurt (Limited Release) - Documentary - Directed by Morgan Neville - 4 theaters


Friday, July 8

Plus One - Romantic Comedy - Directed by Nicholas Stoller

Yolanda Dreams of Yogurt (Limited Expansion #1) - Documentary - Directed by Morgan Neville - 25 theaters


Friday, July 15

Star Fox - Animation/Sci-Fi/Action - Directed by Joaquim dos Santos & Lauren Montgomery - 4,106 theaters - In 35mm, 70mm, Dolby Cinema & IMAX

Yolanda Dreams of Yogurt (Limited Expansion #2) - Documentary - Directed by Morgan Neville - 132 theaters


Friday, July 22

Attack on Titan - Fantasy/Action/Horror - Directed by Matt Reeves - 3,952 theaters - In 3D, Dolby Cinema & IMAX 3D

Brian Almighty - Comedy - Directed by Ben Stiller
Yolanda Dreams of Yogurt (Limited Expansion #3) - Documentary - Directed by Morgan Neville - 525 theaters


Friday, July 29

Toons v Reality - Animation/Comedy - Directed by Chris McKay - 4,230 - In 3D & Dolby Cinema
Yolanda Dreams of Yogurt (Wide Expansion) - Documentary - Directed by Morgan Neville - 1,249 theaters


Friday, August 5

He-Man IV: The Sons of the Serpent - Fantasy/Action - Directed by Robert Stromberg - In IMAX

Yummy - Comedy/Thriller - Directed by Tony Yacenda


Friday, August 12

The Ancient Magus' Bride & the King of Cats - Fantasy/Romance - Directed by Destin Daniel Cretton - 3,275 theaters - In Dolby Cinema

Chasing Vermeer - Family/Mystery/Adventure - Directed by Brie Larson

You and I - Drama/Thriller/Sci-Fi - Directed by Rick Fukuyama


Friday, August 19

Hired Guns - Western/Action - Directed by David Michod - 3,427 theaters - In IMAX


Friday, August 26

Wallace and Gromit: A Data with Destiny - Animation/Comedy - Directed by Nick Park & Richard Starzak


Friday, September 2 (4-Day Labor Day weekend)

The Adventures of Tintin: Prisoners of the Sun - Animation/Adventure - Directed by Peter Jackson

The Feminist (Limited Release) - Biblical Epic - Directed by Lynne Ramsey - 4 theaters - In Dolby Cinema
London in Flames - Disaster/Historical Drama - Directed by Kenneth Branagh


Friday, September 9

Daughters - Drama/Sci-Fi/Adventure - Directed by Greta Gerwig - In IMAX

The Feminist (Limited Expansion) - Biblical Epic - Directed by Lynne Ramsey - 21 theaters - In Dolby Cinema

Wolves - Nature Documentary - Directed by Alistair Fothergill - 2,450 theaters


Friday, September 16

The Feminist (Limited Expansion #2) - Biblical Epic - Directed by Lynne Ramsey - 275 theaters - In Dolby Cinema

The Last Policeman - Crime/Drama - Directed by Cary Fukunaga - 3,213 theaters


Friday, September 23
Baseball Boy: The Base Thief - Animation/Family - Directed by Simon J. Smith - 3,100 theaters

The Feminist (Wide Expansion) - Biblical Epic - Directed by Lynne Ramsey - 850 theaters - In Dolby Cinema


Friday, September 30

The Feminist (Wider Expansion) - Biblical Epic - Directed by Lynne Ramsey - 2,590 theaters - In Dolby Cinema


Friday, October 7

Shiverin' Gulch - Horror/Western/Adventure - Directed by Carlos Lopez Estrada - 3,843 theaters - In Dolby Cinema & IMAX


Friday, October 14

Penpal - Drama/Thriller - Directed by Trey Edward Shults


Friday, October 21

Until Dawn - Horror - Directed by Vincenzo Natali


Friday, October 28 (Halloween weekend)

Fiesta Loca - Fantasy - Directed by Nacho Vigalando - 3,850 theaters

Voicemail - Horror - Directed by Jee-Woon Kim - 3,305 theaters


Friday, November 4

Hercules - Family/Fantasy/Musical - Directed by Guy Ritchie - 4,192 theaters - In 3D, Dolby Cinema & IMAX 2D+3D


Friday, November 11 (Veterans Day weekend)

In the Aeroplane Over the Sea - Biopic/Music - Directed by Bill Pohlad - 1,978 theaters

The Undoing Project - Biopic/Drama - Directed by Bennett Miller


Friday, November 18

Untitled Wright/Carnahan Film - Horror/Thriller - Directed by Joe Carnahan & Edgar Wright

XJ-9 - Sci-Fi/Action/Dramadey - Directed by Gore Verbinski - 3,958 theaters - In 3D, Dolby Cinema & IMAX


Wednesday, November 23 (Day before Thanksgiving)

Duck Hunt - Animation/Comedy - Directed by Carlos Saldanha

Paradise Island - Drama - Directed by Debra Granik

Thawed - Horror - Directed by Jason Zada - 2,784 theaters


Friday, November 25

No releases


Friday, December 2

Irreplaceable - Concert Film - Directed by Bruce Hendricks - 2,450 theaters - In 3D

Superhuman Samurai Syber-Squad v2 - Sci-Fi/Superhero/Comedy - Directed by Todd Strauss-Schulson

The Survivors Chapter 1: Prey - Sci-Fi/Action/Drama - Directed by Julius Avery


Friday, December 9

LucIId - Sci-Fi/Action/Thriller - Directed by Justin Lin - 3,892 theaters

Silent Hill: Rebirth - Horror - Directed by Jeremy Gillespie & Steven Kostanski - In IMAX


Friday, December 16

Gateways - Animation/Fantasy/Adventure - Directed by Pete Docter - 4,087 theaters - In 3D, Dolby Cinema & IMAX (IMAX beginning on December 23)

The Most Wanted Man in Great Britain - Adventure/Romance - Directed by Thomas Vinterberg


Friday, December 23 (Christmas weekend)

Jump Street: Forever - Comedy/Action - Directed by Phil Lord & Christopher Miller

The Orphan Master's Son - Drama/Epic - Directed by Chan-Wook Park


Sunday, December 25 (Christmas)

The Dreams We Live - Fantasy/Musical/Romance - Directed by Susanne Bier

The Neon Psalms - Sci-Fi/Drama - Directed by Scott Derrickson - 2,913 theaters - In Dolby Cinema



Edited by Xillix
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She rose to the occasion.


She found her way home.


She went beyond any human.


The conclusion of Alex Spark’s journey is finally here.


S P A R K:    A   H E R O ’ S  P R O M I S E


Director: Jennifer Yuh Nelson

Writers: Alison Tatlock, Liz Hannah, and Daron Nefcy

Producers: Shawn Levy, Dan Levine, Alison Tatlock, Aaron Ryder

Executive Producers: Matt Duffer, Ross Duffer, Daron Nefcy, Courtenay Valenti, and Michelle Haywood


Composers: Thomas Newman and Benjamin Wallfisch (Click here for score description)

Director of Photography: Claudio Miranda

Production Designer: Dennis Gasner

Editor: Kevin Ross

Costume Designer: Paloma Young

VFX House: WETA Digital


Major Cast: (**Indicates voice or 100% motion capture performance - all other aliens are done with a mix of practical makeup and motion capture)

  • Sasha Lane as Alex Spark, a human with powers to control and manipulate energy, 2.5-time galaxy savior.
  • Charlie Heaton as Kozar Alcana, a wolf-like alien who is Alex's closest ally and fiancé.
  • **Olivia Cooke as Xevarre, the young, newly crowned queen of a vicious, elite alien empire.
  • **Aubrey Plaza as Aera, Alex and Kozar's friend, a wheel/insect like alien. You’d best not mess with her.
  • Sarah Paulson as Altren, a strong-willed heroine and self-proclaimed leader of the resistance against the Soltarans.
  • **Justin Theroux as Vycas Tarek, a traitorous fiend who helped the Soltarans to get his revenge against Alex.
  • **Anthony Gonzalez as Mevino, an optimistic, spunky alien who also has infinite powers.
  • **Kyle Maclachlan as Dheamus, Xevarre’s advisor, committed to his peoples’ conquest.
  • With Sam Rockwell as Everett Spark, Alex’s disgraced father, who may be real this time?
  • And Michelle Pfeiffer as Agorava Naryani, a broken infinite who regains her will to fight back.


Minor Cast:

  • David Tennant as Dhagom, an incredibly strong infinite with a terrifying set of powers and a recklessness to match.
  • Rinko Kikuchi as Neshianu, A big-hearted infinite who helps the resistance.
  • Freida Pinto as Perthena Arvellian, a skilled rebel who feels a romance blooming.
  • **James Rollestone as Keryx, Xervarre’s chief guard and confidante, far more hesitant about the mission.
  • **Lesley Manville as Iphanya, a strict Soltaran advisor who assists Dheamus and Xevarre.
  • **Andrew Rannells as Hovi, an adorable yet snarky little creature who serves as Altren’s assistant.
  • **Laura Michelle Kelly as Ruh’ana, Xevarre’s mother and former queen of the Soltarans.
  • **Pixie Davies as a young Xevarre.


Hidden Cast (Uncredited and excluded from marketing): *SPOILER WARNING*



·       **Will Ferrell as Kipo, Aera’s father.

·       **Kristen Wiig as Zari, Aera’s mother.

·       **David Strathairn as Nimkarius, Xevarre’s father.

·       Chiwetel Ejiofor as Ezen Baklattan, Alex’s lizard-like stepdad.

·       Octavia Spencer as Katherine Spark, Alex’s mother.

·       **Matt Bomer as Qatav, a former infinite.

·       Laura Dern as Beatrice Powell, former president of the Summit of Unity.

·       Taron Egerton as Gavin Venchell, a former adversary of Alex Spark.

·       **Samantha Ireland as fight announcer.

·       Jane Goodall as herself

·       David Henrie as himself

·       Jake Gyllenhaal as himself

·       **LeBron James as an alien celebrity

·       **Lauren Mayberry as an alien celebrity



Genre: Sci-Fi/Action/Adventure/Epic/Dramedy/Romance

Release Date: Friday, March 4th, Y6

Theater Count: 4,588 (Including 3D, IMAX 2D/3D, Dolby Cinema, and Cinerama)

MPAA Rating: PG-13 for intense sequences of sci-fi action/violence including disturbing images, brief sexual content, thematic material, and language

Runtime: 183min (3hr, 3min)

Production Budget: $325 million


Previous Films:                                       

    • $94.5m/$325.1m/$881.4m
    • 15 Oscar Nominations, 7 Wins
    • $184.1m/$460.1m/$1.302b
    • 12 Oscar Nominations including Best Picture
    • $112.7m/$568.1m/$1.676b
    • 16 Oscar Nominations including Best Picture, 4 Wins


PREMISE: Alex and her allies join a massive resistance movement in a last-ditch effort to save the universe from the ruthless Soltaran empire, whose young queen begins to doubt everything she had been taught in her life.


In case you need a refresher on where Alex and her ilk are:



PLOT SUMMARY (~32.3k Words)



Green scenes are shot with Cinerama cameras. The rest of the film is shot entirely in IMAX.


Special thanks to @cookie and @YourMother the Edgelord for their support in this film's production.

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Posted (edited)

Endless Animation’s 


Studio: Endless Entertainment (through the Endless Animation division)

In association with Nintendo

Genre: CG Animation/Comedy/Adventure

Director: Mark Dindal

Producers: Genndy Tartakovsky, Rich Moore and Shigeru Miyamoto

Writers: Mark Dindal, Rich Moore, and Rebecca Sugar

Composer: Alexandre Desplat

Original Song: “1 Up” by Imagine Dragons

Main Voice Cast:
Oscar Isaac as Mario Mario

Jay Baruchel as Luigi Mario

Idina Menzel as Princess Peach

Liev Schreiber as Koopa King Bowser

Thomas Middleditch as Toad

Zoe Kravitz as Princess Daisy

Michael Jones as Kamek


Also starring:

Danny McBride as Wario

John Mulaney as Waluigi

Monica Bellucci as Sofia Mario

Armand Assante as Giuseppe Mario

Patrick Warburton as Strong Toad

Billy West as Professor E. Gadd

Jacob Tremblay as Young Mario

Iain Armitage as Young Luigi

Michael Pena as Reyes

Gabrielle Ruiz as Flora

Jane Lynch as Calamity Koopa

Tim Gunn as Croak


Release Date: April 1st, Y6

Theater Count: 4,457
Format: 2D (2.39:1), 3D (2.39:1), Dolby Cinema (2.39:1) and IMAX 2D (1.44:1)

Budget: $100 million
MPAA Rating: PG for comic action, thematic elements, and rude humor

Running Time: 121 minutes (including a 5 minute short)
Animation: Done in house by Endless Animation. This is a very cartoony CGI, think Hotel Transylvania lots of squash and squish technique is used, where it feels like a Looney Tunes cartoon in CGI.




Short: Flight School with Pigeon and Fluffles

The short is done in Paperman like animation. The characters are also silent

Rated: G


We see Fluffles, the lovable foodaholic tabby cat napping next to Silky an adorable Shi Tzu, as Bill Leon Bucks alert the two they’ll be going to vacation in the Carribean and have to fly on a plane. Fluffles is terrified of planes so he and Silky visit Pigeon, an idealistic pigeon and his best friend and Father Hawk, Pigeon’s stern father, a giant hawk. The first course is for Fluffles to expirence turbulence as with the help of Carl, a cardinal and Quiz, an owl, they put both of the housepets in Carly’s family tire tunnel as they move it around. Fluffles is terrified while Silky is having fun. However, the shaking become rough when a squirrel goes inside the tunnel as Silky chases it, causing the birds to be flung away and the tire tunnel breaking as Fluffles is caught in a tire and hits a tree. The next test is take off as they launch the pets in a swing slingshot as they safely reach the tree but Quiz’s design turns out flawed as the swing slingshot flings Fluffles into a telephone wire, electrocuting him. Quiz and Pigeon then decides to hypnotize Fluffles into anytime he gets too high with a video, he becomes fearless which works but as the birds leave for lunch they accidentally leave Fluffles with the video as whenever he hears loud noises, he falls asleep. The birds then decide to prove it by carrying the two pets in a pet carrier across the city which works but as they’re over a construction site, Fluffles falls asleep and toss and turns causing them to drop the carrier, which thankfully lands on a rising girder but the carrier becomes safely but recklessly knocked around the city forcing the birds to recuse their friends resulting into humorous injuries, Quiz gets his feet stuck in quick drying cement, Carl  winds up near a cockfighting arena, Father Hawk falls into a batch of hardening chocolate and eats his way out as Pigeon manages to call a flock of nearby pigeons to help them, as everyone flies home but Father Hawk has to be carried as he is bloated from the chocolate. Fluffles then wakes up ready for flying and happy but Bill Leon Bucks returns that they’re going on a cruise instead as Fluffles is scared of water and looks to his strained and tired friends for help as they panic.





Edited by YourMother the Edgelord
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Posted (edited)

Endless Animation’s  

               Toons V Reality

Studio: Endless Entertainment (through the Endless Animation division)

Lord/Miller Productions

Genre: CG-2D Animation/Comedy

Director: Chris McKay

Producers: Chris McKay, Phil Lord and Christopher Miller

Writers: Phil Lord, Christopher Miller and Chris McKay
Composer: Mark Mothersbaugh

Main Voice Cast:
Olivia Cooke as Ashley

Alec Baldwin as William H. Grubb

John Mulaney as Randy Raccoon

Danny Pudi as W0-RY

Niki Yang as Chai Chu

Sean Schemmel as Kai

Bex Taylor Klaus as Princess Amira

James Rolleston as Pete

Release Date: July 29th, Y6

Theater Count: 4,230

Format: 2D (2.39:1), 3D (2.39:1), Dolby Cinema (2.39:1)

Budget: $95 million
MPAA Rating: PG for thematic elements and rude humor

Running Time: 109 minutes (including a 7 minute short)
Animation: Done in house by Endless Animation. Worldmeander is used like in Don’t Let The Pigeon Drive, Medusa and The Unbeatable Squirrel Girl (which combines computer animation with hand drawn animation ala (Paperman/Feast/Pigeon/Medusa/Squirrel Girl) but is modeled where the human characters and human world are animated more like in Paperman but the cartoon characters and cartoon world are pure traditional animation


Plot: Soon

Edited by YourMother the Edgelord
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Posted (edited)


Studio: Endless Entertainment

Lin Pictures

Director: Guy Ritchie

Producer: Dan Lin

Executive Producer: Xavier B. Irving
Writers: Guy Ritchie and Allison Schroeder
Composer: Alan Menken
Songs by: Alan Menken and David Lippel

Director of Photography: Ben Davis

VFX: Industrial Light and Magic and WETA Digital

Cast: * indicates voice role

  • Liam Hemsworth as Hercules 

  • - Asher Angel as Young Hercules

  • Rachel Bloom as Megara

  • Robert Downey Jr. as Hades

  • Paul Giamatti as Philoctetes

  • Jeffrey Dean Morgan as Zeus

  • Carrie Anne-Moss as Hera

  • *Nick Kroll as Pain

  • *John Mulaney as Panic

  • Cynthia Eviro as Calliope

  • Danielle Brooks as Thalia

  • Hailey Kilgore as Melpomene

  • Tiffany Haddish as Clio

  • Renee Elise Goldsberry as Terpsichore


Release Date: December 16th, Y6

Theater Count: 4,192

Format: 2D (2.39:1), 3D (2.39:1), Dolby Cinema (2.39:1) and IMAX 2D+3D (1.44:1)

Budget: $185 million
MPAA Rating: PG for frequent action sequences/peril, off-color humor and thematic elements

Running Time: 122 minutes




We open in what seems to be a museum filled with memorabilia of Ancient Greek as we hear a narrator (Patrick Stewart) speaking about the greatest heroes in Greece, such as Odysseus and Achilles but known as great as Hercules as we center in on a vase with Hercules against the Nemean Lion as he is about to discuss the measures of a true hero as a voice tells him to stop.


The camera pans up to see The Muses (from left to right; the muse of comedy, Thalia (Danielle Brooks), the muse of dance, Terpsichore (Renee Elise Goldsberry), the muse of poetry, Calliope (Cynthia Evrio), the muse of history, Clio (Tiffany Haddish) and the muse of tragedy Melpomene (Hailey Kilgore)), a group of women in dazzling gold dresses. Calliope, the leader of the muses assure the narrator they have it from here as they’re the biggest fans of Hercules. Thalia corrects Calliope that it’s not Hercules but Hunk-cules, as the narrator retorts that they don’t even tell the story right and refuses to let them take the wheel. Calliope retorts that the way he does it boring. Melpomene, states as much as she loves the true and tragic tale, there’s like a decent of children here as well as nostalgic adults who refuse to watch the original for not being realistic. Clio assures the narrator this time, they’ll add more historic accuracies as Terpsichore tells the narrator to take a break and do something relaxing for a change. The narrator frustrated concedes.


Calliope then says that in order to tell the story, they must start from the beginning as she picks up part of the scroll on the vase as it transforms into a staircase as the Muses descend down and start to dance as they sing “The Gospel Truth” which explains that the Titans, cruel and dangerous giants ruled the Earth until Zeus, the son of Titan Chronos who tried to eat Zeus to prevent Zeus from usurping him, and a group of other Olympian Gods manage to banish them to the Underworld and the Olympian Gods took over.


The camera then ascends to Mount Olympus as we see Gods sneaking inside the temple as they reach a secret entrance only Gods can open as we see a giant Grecian utopia in a realm high above the heavens and filled with clouds. As we then stop at a house as we see the mighty god of thunder, Zeus (Kurt Russell) above a crib, fawning over his newborn son, the incredibly strong Hercules sleeping in his crib as Zeus tries to get his wife Hera (Carrie Anne-Moss), the goddess of childbirth, to see their son as Hera is rather distinct. It is revealed that Hercules isn’t Hera’s son at all and rather a demigod but the son of Alkmene, a mortal below the surface Zeus had an affair with as Hera is justly rather mad at Zeus. Zeus apologizes to Hera for his infidelity as Hera correct him as infidelities but Zeus reveals the woman died giving birth to Hercules and he couldn’t just abandon his son. Hera refuses until Hercules wakes up and affectionately calls Hera his mother as Hera begins to warm up to the child as she agrees to raise him and states Alkmene was gone anyway.


The two step outside with Hercules as we see a huge party full of all the Greek Gods having a baby shower for Hercules (we humorously see a god saying Zeus having another child is as rare as a day ending with y)...


Edited by YourMother the Edgelord
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Posted (edited)





Studio: New Journey Pictures           

Release Date: August 12th, Y6

Genre: Fantasy / Romance

Director: Destin Daniel Cretton

Theatre Count: 3,275 

Rating: PG-13 for Mild Language, Fantasy Violence, Nudity, and Disturbing Images

Budget: $115 Million

Format: 2D Dolby     

Runtime: 1 hr 51 m

Original Score: Junichi Matsumoto (The score is filled with grandiose swells and orchestral arrangements. The main theme is especially prominent, whether through its full triumphant blast or through a soft piano arrangement. An example of the kind of music in this film can be found in the video below.)




Major Cast

Lana Condor (Chise Hatori)

Ewen McGregor (Elias Ainsworth**)

Keira Knightley (Anjelica Varley)

Mia Goth (Silver)

Jamie Campbell Bower (Lindenbaum)

Eddie Redmayne (Simon Kalm)

Aidan Turner (Michael Renfred)

with Jennette McCurdy (Alice)

and Isaac Hempstead Wright (Joseph/Cartaphilus)


Minor Cast (in order of appearance)

Jeremy Irons (Nevin*)

Gwendoline Christie (Molly*)

Anna Popplewell (Mina)

Matthew Lewis (Matthew)

Catriona Balfe (Titania)

Keir Gilchrist (Oberon)

Domhnall Gleeson (Spriggan*)


*=Denotes a Voice Role.

**=Denotes a Motion Capture Role.



A disillusioned young woman has herself sold at an auction, and a monstrous mage buys her, hoping to make her his apprentice.



The New Journey Pictures logo comes and goes, and we cut to a wide shot which looks down at a vast, grandiose auditorium. The opening credits is gracefully presented during this shot, much like it is in the movie Roma; in this shot, individuals with masks and matching hoods raise signs, bidding for a large magical creature that is showcased onstage in a glass, water-filled cage.


Cut to a meeting room somewhere in the same facility. Our droopy-eyed protagonist (Lana Condor) signs a contract that essentially allows the company to put her up for auction. An eccentric man in formal clothes asks if she really wants to do this, and she verbally reiterates that she wants to go through with this—in her words, she is simply looking for a place to call home, and she doesn’t care what happens to her at this point. She signs a contract, and the signature reveals her name—Chise Hatori. (Pronounced chee-say ha-tour-ee.)


We cut between two things as the music starts to swell. The first thing is Chise preparation and transport—men place a mechanism that is both a collar and a pair of handcuffs onto her, and they put a white hood on her, and they walk her through a corridor that is filled with magical creatures ready to be showcased at a moment’s notice. The second thing is that of a robed man’s promenade through a city sidewalk—the man is tall, and his robe is black, and his cane is of an ornate quality—he taps the cane on the door, which is opened by a man in a tuxedo.


We cut to Chise onstage, a single stage-light cast over her body. An auctioneer announces the start of bidding for “the product they’ve all been waiting for”—starting at 500,000 pounds.


The number climbs higher and higher. Chise looks at the front door and sees the black-robed man walk through it. From Chise’s point-of-view, we see him walk down the pathway, and we hear the people around him murmuring as if they know who he is. He walks onto the stage and stands directly above Chise—a high-angle shot of the man highlighting his dominant stature. We see that the man is wearing a black veil over his head, and that there are long horns protruding from the sides of his head.


Cut to another establishing shot of the auditorium, where he utters this:




Gasps sound from all across the room. Chise stares wide-eyed at the man, and as the man’s veil is gently lifted by the breeze to reveal that his head resembles the skull of a wolf, he tells her that he will make her his apprentice. And under the stage-light, the two stares deeply into each other’s eyes as their clothes sway in the breeze.




In a reception room, the robed man signs a check and gives it to the eccentric man. Chise stares down as the eccentric shares details about her.


Eccentric Man: Age, eighteen. Ethnicity, Japanese. She’s docile, so she should be easy to discipline.


The eccentric man proceeds to tell the robed man that he’s supposed to follow the rules of the auction—more specifically, that he can’t waltz onto the stage during the auction—but the robed man denies this small talk. The walks over to Chise and, seeing that she’s staring into space and ignoring his words, grabs her firmly by the chain that is binding her, his body arched towards the girl.


Elias: You don’t need to keep your head down. Stand tall, and look forward. Understood?


Chise nods. The auctioneers grant the robed man permission to borrow the lobby room, and Chise follows the robed man through the corridor of magical creatures. As they walk, a small dragon-like creature flies near Chise, and Chise examines it. Behind one of the cages, two hooded figures discuss how they can’t believe they let “him” have the “Sleigh Beggy”. As Chise considers the meaning of that sentence, the robed man remarks that she can see the creatures, and asks her for her name.


They walk into the lobby, where the two of them are alone. The robed man removes his velvet veil, fully revealing his horned wolf skull head, complete with small red pupils shining from within the dark eyeholes. He introduces himself as Elias Ainsworth. (This is a motion capture performance by Ewan McGregor.)


Elias speaks to Chise excitedly, stating that she’s very fortunate to be able to see all of the fantastical creatures—it is not normal of a human being, for them to be able to do this. Chise lowers her head and frowns; we cut to quick edits of Chise as a child (the younger version of her played by Yin’s Megan Liu) as she reacts to ostracization and mistreatment from people around. We cut back to the room as Chise grits her teeth.


Chise: I’ve never once been fortunate!


The camera lingers on Chise for a moment. Elias walks up to her and stands by her side.


Elias: Then let’s make sure there’s good fortune in your future.


Elias thrusts his cane into the ground. The space around them fades to black as a bright blue light emanates from the floor beneath them.


Elias: Ring of Holly


Dark, thorny vines grow from the depths of the black, whipping around the characters as their robes flow in an invisible breeze. Chise is amazed while Elias is stoic and silent.


A bright light flashes, and they find themselves in an English hillside. A secluded cottage sits nearby, adorned with flowers around its exterior. The sky is blue, and the grass is green.


Elias explains that they are now near the city of London, and that this cottage is Chise’s new home. But before they go inside, Elias notices that Chise is still wearing the chain locked onto her by the auctioneers. He taps the device with his cane, and all of her chains—the collar and the handcuffs—combust into bright dust, releasing Chise from her bondage.


We cut to Chise submerged in a bathtub inside of the house (framed non-sensually, mind you). She quietly remarks to herself that it’s been a long time since she’s last had a bath, and that she’d never thought she’d be able to have one again. As she takes this bath, small female bird-like faeries (known as ariels) fly through an opening in a window near the ceiling; they introduce themselves to Chise and make remarks about Elias before flying away. (The lead one—I’ll address her as the Lead Ariel from here on out—is voiced by Natalie Dormer.)


We cut to Chise and Elias in the living room; a servant with white hair and an outdatedly dainty outfit, Silver (Mia Goth), serves them food and drink.


Elias: Have something to eat and drink so you can relax.


Elias tells Chise that he was “very lucky” today; “Sleigh Beggies” such as Chise are very rare in the world. He tells her that a “Sleigh Beggy” is a “queen bee” individual that attracts magical creatures such as fairies and spirits. These creatures bring fortune and misfortune onto an individual whether the individual can see them or not. It is very rare for a Sleigh Beggy to be able to see these creatures, as Chise can.


He tells her that he is a mage, and that, through apprenticeship, he is going to teach Chise to be a mage herself. A birdcage on the table opens, and a small wisp comes out of it; it flies around the room before it changes form and perches on Elias’ hand as a blazing phoenix—this is but one example of what a mage can achieve.


Chise asks if she has any right to refuse he apprenticeship. Elias does tell her that she can reconsider at any time; he pats her on the head and tells her that, now, she is like family to him. He places a stone necklace around her neck and ties it together for her—this “adder stone” is that of a circular emerald with a large hole in the middle. It is meant to protect her.


The sun sets over the hill. Chise is sleeping in her room when the Lead Ariel flies through the room and attempts, with her words, to lure her into the woods to see something. Chise sneaks out of the cottage and follows the ariel towards the woods; we see a shot of Elias, who is watching from inside the house.


Elias: Hmm… Well… I suppose this will make for a good learning experience.


We cut to Chise and the Lead Ariel as they walk through the dark woods. They come across a glowing stone in the middle of the woods—the Lead Ariel tells Chise that this is a portal to the world of the faeries, and she invites Chise to join them in their world. Chise steps toward the portal, reaching for it with her left arm as a sinister red glare emanates from the eyes of the ariels, but she stops herself by digging her nails into the arm—so hard as to draw blood. She tells the Lead Ariel that she’ll stay with Elias—while she doesn’t have a family, Elias has treated her like family, even if she’s lived with him for a short time thus far.


Elias appears, and the ariels shudder. He reveals that the stone on Chise’s necklace had been a tracking device the whole time. Elias tells the ariels that he’ll have fed to the salamanders the next time they try to lure Chise away. They ariels fly off, their plan having been foiled. Elias gently pats Chise on the head.


Elias: Many of the ariels make a habit of seducing us with sweet words. Be careful from now on.

Chise: I’m… I’m sorry…

Elias: No, I should have told you right away.


Elias awkwardly hugs Chise by pulling her into his chest.


Elias: It’s my duty to you, after all. You’re my apprentice. Depend on me.


Suddenly, Elias sweeps Chise off of her feet.


Chise: W-What are you doing?!

Elias: It’s easy to get lost in the forest at night. Let’s go home like this. To our home.


Elias carries Chise through the woods as they head back to the cottage. On the way, Elias lets the connotation ‘future wife’ slip out during dialogue. Chise asks him about this, and Elias stops under a ray of moonlight.


Elias: Oh, have I not told you yet? I bought you to be my apprentice, of course. But I also hope to make you my bride.


They stare into each other’s eyes. The forest stands still as Chise takes in this news.




We cut to Chise alone in her bed, clutching her pillow to her chest. Silver walks in with a folded sweater cradled in her arms; she looks at Chise and smiles.


Silver guides Chise to the kitchen. Elias is at the table drinking coffee; he says good morning and tells Chise she’s been asleep for two days straight. Chise asks about the mysterious maid Silver; according to Elias, she’s a being known as a “silky”; she finds enjoyment cleaning, cooking, and doing chores such as sewing—she was the one who sowed Chise’s sweater—and she is apparently unable to leave the cottage at all.


As Elias speaks, he finished writing a letter, and the letter transforms into a paper bird, flying out an open window towards its faraway recipient. He then turns to Chise that, on this day, they’ll be going on a “honeymoon”. Chise blushes, still very uneasy.


We cut to London’s Paddington train station. Elias gets off the train in an inconspicuous human form (Ewen McGregor without mo-cap), and Chise takes in her surroundings as she follows. On a city sidewalk, Chise asks Elias about the human form, and Elias replies that it’s a magical illusion used when he must go out in public settings such as this. They walk into what seems to be a bookstore—but Elias guides Chise further into the bookstore, where a secret room exists. Elias introduces Chise to a tomboyish woman in a tank top, beige shorts, leather arm braces, and braided hair—she is named Angelica Varley (Keira Knightley).


Angelica: This must be your new apprentice…


Angelica comically chews Elias out for having the nerve to buy an apprentice when he could’ve found one through other means, and she shoos him out of the work room so that she can teach Chise about the use of magic.


Angelica tinkers at a work table as she addresses Chise. Angelica tells Chise that she a mage artificier, and that she makes all sorts of magical items for the use of mages. She also explains the core difference between mages and sorcerers: mages are aided by spirits and fairies, while sorcerers seek magical abilities from darker forces.


Before she allows Chise to practice using magic, she pulls back her left arm brace and shows her a collection of blue crystals that have formed on her skin—this scar had come from a silly mistake on Angelica’s part, and it is the kind of thing that happens if a mage isn’t careful with their use of magic.


Angelica gives Chise a large crystal and tells her to practice her magic by imagining her favorite flower and forming an image of it from the crystal.


Angelica: There’s air around you. You are its pressure. Try to picture that.


Chise closes her eyes as Angelica backs away. The crystal begins to grow in the palms of her hands. The room darkens, and gusts of cold air blow against Chise’s body.


We cut to Chise’s younger self as she stands amidst a field of daisies. She looks around the field, and she sees her mother (Claudia Kim) who is down at the flowers. Her mother swoops down and begins to pick one of the flowers from the ground.


Elias: Chise!


Snap-cut back to the room as Elias covers Chise’s eyes with his gloved hand—he is back in his monstrous form.


Chise breathes in and out and Elias lets go of her. She looks down at the floor beneath her feet and sees that the crystal had spilled onto the ground, forming into a jagged, crystalized version of a portion of the entire field that was in her mind.


Angelica glares at Elias with her arms crossed. She scolds him for failing to tell her about the immense amount of power within Chise—let alone the fact that Chise was a Sleigh Beggy.


Chise apologizes to Angelica for making a mess and causing trouble. Angelica forgives her, and she comically blames Elias for being a ‘shithead’ and acting irresponsibly. As Chise walks out of the room, Angelica turns to Elias and tells him that she is going to charge him extra for his business.


Chise sits in the store’s waiting room, reading a book about magic. Elias tells her that these books were what they came to Angelica’s shop for—they’ll let her in on many of the things she needs to know as a mage.


Cut to a montage of shots as they travel by train out of London and into the English countryside. On the train, Elias asks Chise what she had seen when she was trying to form the crystal. Chise answers truthfully, about the flowers, and about her mother. Elias very coldly asks about her parents, but Chise laments that her having found a home is all that matters to her.


They walk through the woods to get back to the cottage, and Chise, unprompted, tells Elias more about her parents.


Chise: My father left the family when I was little. And my mother… she jumped off of the balcony.


She turns her head to Elias with a broken look in her eyes.


Chise: But that was a long time ago.


She walks ahead of Elias as he takes in what she’s said.




As they walk closer to the cottage, they begin to hear the voice of a man who is pleading to get into the cottage. Elias covers his head with the velvet veil, and they walk quickly to see what is up.


We cut to a man in glasses, a priest’s outfit, and a cross around his neck (Eddie Redmayne) as he pleads to the housemaid Silver for her to tell him where Elias has gone. Silver is comically stubborn and slams the door in his face.


Chise and Elias arrives, and the priest jogs up to them—he complains about how Elias’ housemaid despises him for who knows what reason. Elias and the priest talk to each other as if they’ve known each other for a long time. Finally, he notices Chise.


Simon: You must be the new apprentice I’ve heard about. I’m Simon Kalm. Pleasure to meet you!


We cut to the characters as they’re sitting in the living room. Simon and Elias have a discussion about the Simon’s position as the priest of the nearby village while Silver comically guards Chise from Simon—Silver really despises Simon, for who knows what reason.


Simon takes three envelopes out from his pocket and places them neatly on the table—these are jobs that only a mage like Elias can handle, and these are given as a penalty for participating in a black market auction.


Elias: I don’t think of myself as being managed by the church.

Simon: I know. I’d rather not bother with this either. We don’t want to mess with you mages who have already lived longer than we know.

Elias: How many centuries is it going to take before your superiors rethink their ways?

Simon: (sighs) If only God would write us a letter or two.


Chise asks Simon if this penalty is her fault; Simon tells her that it isn’t her fault—rather, it’s Elias’ way of obtaining her that is a problem with him and his church.


We cut to outside the cottage as Elias hands Simon his regular medicine; Simon thanks Elias, and he walks off.


Chise: I never would’ve imagined a priest thinking highly of you. Does he?

Elias: Britain is a land of ancient magic. Mages are an important part of life here.


Elias leaves the velvet veil over his head and ushers Chise into the house, telling her that it’s time for them to go on their ‘honeymoon’.


Chise: …You weren’t kidding about that, were you…




We cut to the grassy hills of Iceland—it pays for Elias to be able to teleport anywhere with his magic. They traverse the terrain as Chise takes in the sights.


Elias: Here, in Iceland, is the Dragon’s Nest. They’re on the verge of extinction, just like us mages. The handful of surviving breeds have been brought up here to be taken care of. It’s remote and scarcely inhabited, which makes it a perfect hiding spot.


Suddenly, a large silver dragon swoops into frame from below the edge of a cliff. It stares down menacingly at Chise before grabbing her with its mouth and flying off. Chise reaches out for Elias, and Elias reaches out for her, but they fail to reach each other.


A white-hooded figure with long blond hair, who is riding the silver dragon, grins mischievously at the mage. Elias’ velvet veil lifts up in the breeze, and we see his red pupil glaring back in anger. And the dragon flies off, having captured the girl.


In the sky, Chise looks up at the man riding the dragon. This man is Lindenbaum, or Lindel for short (Jamie Campbell Bower).


Lindel: His half-baked talent makes him cocky. He hasn’t changed much.


Lindel tells Chise to look at what’s up ahead. She sees a deep, vast valley, one full of lush vegetation—as well as many different species of dragons.


The dragon lands in the valley, close to the glistening lake in its middle—three young dragon hatchlings notice and run close as Lindel dismounts. Comically, the silver dragon throws Chise into the lake by accident as it lets her go. Lindel cringes, and shows great concern for her.


In the water, we see Chise as she sinks down to the bottom with a blank expression. From her submerged POV, we watch as the image of the sun fades to a match cut of a window—the drab light of an overcast day emanates from this window, and everything surrounding this window is black.


“Chise… Chise!”


Snap cut above the surface as Chise breaks above it, gasping for air. With newfound strength, she swims across the lake and pulls herself up on a collection of rocks.


She collects herself before looking up in awe at a giant moss-covered dragon. The dragon is that of a four-eyed triceratops with a rhino’s horn and dragon wings—that is the best way I can describe it. This is dragon is voiced by Jeremy Irons.


???: You smell like a mage… A sapling, to be precise…


Lindel approaches Chise skiddishly.


Lindel: Welcome, Daughter of Thorn. I must say, I do apologize for having you thrown in the lake.

Chise: …Daughter of Thorn? Do you know I’m an apprentice?

Lindel: The ariels make it so that rumors are carried by the wind.

Lindel: (addressing someone hidden) You arrived quickly this time around. When are you going to stop hiding in your apprentice’s shadows, Thorn? Or rather, Ainsworth?


Chise looks down at her feet, which are still submerged under the water; a dark circle of shadow swims around her leg, and the shadow rises up from the water and takes the shape of Elias, who lays his hand on Chise’s shoulder. He spends a good deal of time insulting Lindel for the mischievous behavior he’s displayed just now.


Lindel: You don’t want your apprentice to freeze to death.


Elias looks down at Chise, who is shivering after having fallen in the Icelandic lake. Despite Chise telling him she’s fine, Elias picks her up and casts a spell; small fire ariels buzz around Chise; they fly around Chise at such speed that their flames look like they’re wrapping around her body. When the magic dissipates, Chise notices that both her and her clothes are completely dry.


As Elias sets Chise down on the grassy plain, Lindel laughs to himself.


Elias: What are you grinning at?

Lindel: At this little brat acting like he’s all grown up.

Elias: Shut it.


Elias tells Chise that the man is Lindel—a mage who is the caretaker of the Dragon’s Nest. His duty is to keep the land of dragons hidden from ordinary humans. Despite his appearance, he’s even older than Elias himself.


The three young dragon hatchlings run up to Chise, pleading with her to play with them. They are excited to see a new face in the valley. As this happens, Elias and Lindel take to one another.


Elias: Has there been any trouble lately?

Lindel: (sighs) They’re making a fuss again, aren’t they? Food has been scarce. A number of dragons have been travelling far…


As they decide to move the conversation to a more secluded part of the valley, Lindel turns to Chise and asks her to spend some time with the hatchlings for a bit. Chise looks down at the eager hatchlings and asks what they might want to do. Comically, one of the hatchlings, one that is the same breed as the silver dragon that captured Chise, suggests that they could jump off the edge of the cliff and dive into the lake.


Hatchling: Humans can fly these days, right?


We see a short montage of Chise playing with these dragons before they’re quickly tired out. As they stop to rest, Chise wanders to the moss-covered dragon who is lying down in the field. The hatchlings walk close and introduce this dragon as “Uncle Nevin”. They tell Chise that his time is almost up—he is going to turn into a tree very soon.


Alarmed, Chise looks around at the valley; she notices that many of the hills in the valley are conspicuously shaped similarly to the type of dragon that Nevin is.


Nevin: We don’t fear death the way humans do. We live our lives to the fullest, so that we’re never left with any regrets.


Chise walks next to Nevin’s head. The dragon talks about the nature and the circle of life, and his contentment with the life that he’s lived. Chise begins to fall to her knees and begins to cry; we see a flashback with rapid-fire cuts of Chise’s past life—this includes the bullying she endured and Chise’s mother walking out and falling from the same window we had seen earlier. The last set of shots in this flashback shows Chise on a rooftop as she walks up to a gate and considers falling from the height of a building as her mother did.


Cut to Nevin’s wide dragon eye.


Nevin: The living shouldn’t envy the dead.


Chise’s eyes snap open in shock.


Nevin: You cannot fly, so it’s fortunate that you didn’t. He wouldn’t have known who to take as his apprentice if he hadn’t met you.

Chise: Were you going through my memories?

Nevin: That was a disrespectful thing to do to a human. I’m sorry.


Chise bows her head in sadness. Nevin offers to show her the flight of dragons, so that she can see what that looks like firsthand.


Nevin: I don’t have the strength to fly anymore. But I can show you the sky that I see in my mind.


Chise accepts; she lays a hand on Nevin’s head and closes her eyes, and she awakens within a vision of the Iceland during sunset. She floats next to Nevin as they soar through the orange sky together.


Outside of the vision, Lindel and Elias consider what Nevin is showing Elias with each other.


Lindel: It’s the same for dragons as it is for magic, isn’t it? We’re being pushed aside by the changing times and the growing number of humans.

Elias: If Chise becomes a mage, she may very well be of the last generation.

Lindel: Does that bother you?


Elias doesn’t respond. Lindel observes how Nevin is having his final dream, along with Chise and talks about how much Chise is helping Nevin at the moment. But he also brings up how a Sleigh Beggy’s power can hurt its wielder.


Elias: She doesn’t know how to hold back yet.

Lindel: Isn’t it your job to teach her?

Elias steps forward.

Lindel: She won’t last three years unless you stop her.

Elias: I know.

Lindel: Don’t let her out of your sight. There are countless people who want a Sleigh Beggy. The rumors these days aren’t encouraging.

Elias: She wasn’t easy to obtain. I won’t let her go that easily.


We cut back into the vision. Chise looks up, and a plethora of dragons are flying together in the sky.


Nevin: Your name has the character for “bird” within it. You must fly beneath this sky, in order to live.


As she looks back up at the pack of dragons above, her body dissolves into dragon’s scales that float away in the wind. Cut back into the real world; Nevin’s skin is cracking; stems and branches grow rapidly from Nevin’s back.


Nevin: Thank you, Chise. I am forever grateful that you were with me in my final moment.

Chise: (tearfully) But I didn’t do anything!

Nevin: …A little while ago, Lindel planted a seed inside my body. It’ll produce beautiful white flowers, I’m told.


The tree completely covers Nevin’s body as the body itself begins to give itself to the land.


Nevin: You’re a mage, are you not? You’ll need a wand, someday. Make one out of my branches. Good night, little mage…


Chise stares wide-eyed at the massive tree in front of her. The hatchling that is the same breed as Nevin tells the other hatchlings that he hopes to be a big tree just like Nevin one day. Elias and Lindel walk up to where Chise is.


Elias: Welcome back, Chise. Was it beautiful in Nevin’s sky?

Chise: Yes…

Elias: That was a rare thing you got to witness. Not many get to witness a dragon return to the earth. Lindenbaum… its beautiful white flowers are in bloom.

Lindel: (in lamentation) This is a work of nature. The dragons are at peace with being seedbeds for other life.


Elias explains to Chise that once it’s time for her to have a wand, she will come back for it. But until then, their business in the Dragon’s Nest is done.


Chise rises to her feet to follow Elias… But she holds her hand on her forehead, and she passes out on the ground. The image fades to black as Elias calls out to her.




We fade in as a faint meow bellows from with the soundscape. A bedridden woman (Anna Popplewell) sits up and pets a cat who is lying with her.


Bedridden Woman: You have nine lives, don’t you? Since you have so many… Why not spare one for me?


The cat turns to the camera. We cut to its eye as a man stumbles forward in its reflection.


Dissolve to an extreme close up of Chise, who is sleeping on a seat in the booth of a grandiose passenger train. A veiled Elias pulls back a curtain.


Elias: Morning, Chise.


Chise wakes up. As Elias addresses Chise’s collapse, Chise looks outside of the window—she sees a vast lake, green vegetation, and power lines.


Elias: I assume you remember the three missions given to us by the priest. We’re now headed to the first of them.


Someone knocks on the door, and Elias tells them to come in. A monstrous, lizard-like engineer glares down at them, informs them that they have a visitor, and walks off.Elias explains to Chise t hat this train is not at all meant for humans.


Chise looks down in the corridor and sees a black cat staring up at her. The cat greets her in English. He, too, understands that Chise is an apprentice.


Elias: Word travels fast.

Black Cat: Rumors spread a hundred miles a day in the cat world.


The cat leaps into Chise’s lap, and Chise skiddishly pets it. That cat says that he is currently living its seventh life, and Chise stares up at Elias in confusion.


Elias: Haven’t you heard? Cats have nine lives.


The cat leaps out of Chise’s lap and begins to trot away, telling them that the King of Cats awaits in the village Ulthar.


They arrive in a beautiful countryside and walk through Ulthar, a village with nice town homes aesthetically inspired by the cultures of its past. Chise and Elias see and interacts with many cats, and Chise realizes what a moniker such as the “Kingdom of Cats” entails for a place.


As they walk through the village, they pass by a young woman in a red hoodie—her name is Alice (Jennette McCurdy), though our protagonists don’t know this yet. She exchanges a stoic glance with Chise before continuing on.


When Chise asks where the King of Cats is, a voice calls to her from above. She looks up and finds a cat with long orange fur standing on the stone wall above her. This cat is further characterized by one blue eye, one hazel eye, and long lashes. The cat introduces herself as Molly (Gwendoline Christie).


Molly: I’m glad you’re here. I don’t know what I would have done if they’d sent a sorcerer instead.


Molly tells them that she already knows they were sent to this village by the church, and she admits to them that something is wrong with their land.


Molly: You’ll help us, right, mage?

Elias: That’s why I’m here, although I wish I weren’t.


A little girl bursts into the scene and excitedly greets Chise. Chise almost panics, afraid that the little girl will see Elias, but Elias has vanished. The little girl tells Molly that it’ll be time for dinner soon, and she runs off.


Molly explains that the little girl is her owner, and that she is as proud of the little girl as she would be for her own daughter.


Chise looks down at her feet and notices that Elias is swimming around her as a shadow.


Elias: I hate kids. They don’t even have magic, but they have the strong ability to perceive the essence of a being. Sometimes, they can see through me.


Comically, the cats claw at the shadow defensively, though Elias, of course, remains undamaged. The shadow slithers over the stone to investigate on its own—something doesn’t feel right to him.


Chise follows Molly and a few other cats into the forest. Molly tells Chise the story of a man who enjoyed killing cats many years ago. It was the first King of Cats who ended the man’s killing by gathering together all of the remaining cats and attacking him in the same vein as a swarm of rats. To this day, the cats sacrifice their lives in order to hold off the corrupted spirit of this man, which resides on a bay in the middle of the wide lake.


One of the cats leaps onto Chise’s shoulder and tells her to look at the bay for a moment. She sees a dark energy stewing on the land. She backs away in horror.


Molly resolves to rid her land of the spirit, even if it kills her.


Chise: For the girl’s sake?

Molly: What kind of mother wouldn’t protect her child? It would be unthinkable, at least to me.


Chise sees a quick flashback of her mother that appears and disappears from the screen. She stares down and thinks for a moment.


Suddenly, Alice appears and snatches Chise’s arm. She flashes everyone with a blue substance attached to a necklace, and she flies in the air with Chise in her grasp. She flies over the massive lake—“Don’t take this personally.”—and pushes her into the water. As Chise sinks lower and lower, a mysterious hand reaches for her.


The image of the water dissolves into an image of the sky. We to the inside of the cottage with the bedridden woman. A man (Matthew Lewis) walks into the room—“Mina,” he says to her. The woman looks up—“Matthew,” she says to him.


Matthew brings her yellow flowers and checks her fever. He shoos away the cat that is lying with her on the bed.


Matthew: There’s a wandering sorcerer in town. I’ll ask if they have any good medicine.


They embrace each other, and Matthew walks off as Mina looks at the flowers. The cat comes back to her, and she pets it.


Snap-cut back to the water. Chise floats down in the water as Mina’s voice discusses the events that Chise has just seen in her head—Chise turns around and sees Mina, who tells her that she herself is the core of the corruption.


Mina: This man is affixed to me. He won’t let go. It’s my fault that he’s become such an abomination.


Black goo—the manifestation of the corrupted spirit—simmers around them. Mina gently taps the black goo, and the black goo swims in rage, instinctively coming between the two women. The goo brushes past her almost lovingly.


Mina: This man. Matthew. My husband.


Cut to Chise’s face as Mina lifts it up with her hands.


Mina: For his sake, and mine…


Mina looks sternly into Chise’s eyes, and she whispers something into Chise’s eyes—and the pupils shrink in horror.




Cut to Chise coughing out water on the edge of the lake, her body held up by a concerned, unveiled Elias.


Elias: I’m sorry I didn’t come sooner.


A bit of time passes as the film skips ahead of Chise’s recovery, as well as the explanation of what just happened to her. Elias considers the information about the hoodie girl and states that someone is trying to get in their way. Elias helps Chise up, and he gives her the task of cleansing the spirit of the bay.


Elias: You haven’t had a chance to practice magic properly yet. But I believe you can do it.

Chise: (swallowing her fear) If you think I can… I’ll do it.

Elias: (to Molly) You heard her, King of Cats.

Molly: Understood. I’ll clear the place of as many people as I can.

Elias: At night, then, when there aren’t any people.


We cut to Alice as she hides behind a faraway tree, listening in. Renfred (Aidan Turner), a figure in a trench coat with black hair and a scar across his left eye and cheek, approaches her.


Renfred: When are they doing it?

Alice: At night.

Renfred: Good. That’s when we’ll stop them.




Night falls. Elias gives Chise the supplies she’ll need for the task.


Elias: This is a mantle purified with snowmelt. We use frankincense in the censer. Let’s use a branch of gorse in place of a wand. You would normally need your own chant and wand. But we’ll have to make do.


(Chise is basically wearing a fancy white hood jacket, and bracelets around her arms and ankles.)


The airless that interacted with Chise in the beginning of the film are here to help, as well—though, as the Lead Ariel says, they’re doing this for the village, not Elias.


Chise: Why is it me and not you?

Elias: I hate to admit it, but I’m not good at this kind of magic. My essence is shadow after all. I’m not compatible.


The submerged image of Mina flashes on and off the screen. Chise gasps, and Elias lifts her chin up.


Elias: It’s all right, Chise. All you have to do is picture it in your mind. Just wish for it to disappear, like a spring wind, blowing away the cold winter. The ariels will guide you from there.

Chise: Okay.

Elias: Chise. Love the world. The world you lived in may not have been your ally. But it wasn’t your enemy, either. Your key is already in the silver lock. All that’s left to do is open it.


The wind blows. Leaves scatter in the breeze. The hanging censer gently clangs. Chise’s hair is brushed back. Elias pulls the white hood over Chise’s head.


Elias: Then again, that’s just something someone told me.

Chise looks up at Elias with innocent eyes.

Elias: Do you love this place, Elias?

Elias takes a very long time to respond.

Elias: Sure.


We see a shot of them standing on the edge of the lake.


Cut to Chise taking her first step onto the water. We cut to a dutch angle shot—her lantern casts a serious mood on her face; it dawns on her that she is walking on water.


She steps across the lake as the Lead Ariel flies around her, spreading pixie dust which glistens against the backdrop of the night.


We cut to Chise’s face, which has never been more serious than it is now. Mina’s words enter the soundscape:


“For his sake, and for mine, kill us.”


She reaches the bay and looks up at the spirit, which boils in a slimy rage. The Lead Ariel tells her to stay calm. Chise swallows, and she brandishes the branch of gorse. She gears up for her job, and she takes a step…


But the hoodie girl comes out of nowhere and holds a knife to her throat. We hear pained grunts—the Lead Ariel is held by the gloved hand of the man in the trench coat.


Renfred: Sorry. We have a use for that thing. We can’t let you get rid of it.


The cats on the faraway shore line hiss in anger.


Elias: No wonder I smelled something familiar. Renfred.


Renfred turns toward Elias, who is standing on the faraway shoreline.


Renfred: It looks like you take good care of her. Is it because she’s your precious test subject, Pilum Murialis?


Chise turns to Elias for answers. Elias’ reaction shot shows him staring in the direction of the camera, his horned skull head perfectly symmetrical to the screen.


The Lead Ariel pleads for Chise not to listen to Renfred, who squeezes it tighter. He remarks that his glove is made of iron fibers—not good for ariels. Renfred reveals: he’s not a mage. He’s a sorcerer.


Elias and Renfrend accuse each other of giving false information.


Elias: We detest lies.

Renfred: Indeed. All you do is conceal the truth. That’s how you put this unfortunate child on a leash, to try to use her to satisfy your own curiosity. Why don’t you tell her of the fate that awaits a Sleigh Beggy? Of the death that will soon come to her?

Chise: Death? My death?

Alice: Sleigh Beggies are treasures, in that you create an unending supply of magic, but your bodies are very fragile. Just being alive, you relentlessly absorb and generate magic. Eventually, your body will buckle.


Renfred attempts to convince Chise that Elias is only toying with her to satiate his own curiosity. The Lead Ariel continues to squirm in his grip as Renfred approaches Chise.


Renfred: Chise, he has no feelings. You can’t expect human kindness from a sham of a human. He bought you with money and tied you down with that thing. (He points to Chise’s stone necklace.) He has a tracking spell on it. …You must have suffered…


Chise grits her teeth. The stone of the necklace lifts in the air magically and bursts into pieces. Chise shoves Alice off of her—the knife grazing Chise’s neck—and she pushes Renfred, so that the Lead Ariel is released from his grasp. The ariel falls to the ground, and Chise hurries to help. The cats rush to Chise’s side, and Molly hisses to the sorcerers that this is territory of the cats.


Renfred turns to Chise in confusion.


Renfred: Why? Don’t you want to be set free?

Chise: (standing up) From what? If you mean Elias, you probably wouldn’t understand.


Chise releases the Lead Ariel and turns to Renfred.


Chise: Even if he was lying, he was the only one to ever call me family. I don’t care whether you were lying or telling the truth. He was the first person to value me. So until Elias lets go of my hand, I belong to him.


The ground around her bell-braced ankle emanate a bright blue light. Thorn-covered vines wrap around her vicinity at swift speed. Renfred and Alice are forced to back away as the vines sprout towards them with defensive intent. Alice gets pricked on the cheek by as she retreats. A gloved hand brushes the hair of a wide-eyed Chise—Elias looms behind her, triumphantly, and faces the opponents.


Elias: Have you forgotten? I am shadow. I lurk in the shadow of thorns. I am what you call the Pilum Murialis.


Elias raises his cane and slams it into the ground. The vines part away like the red sea, disappearing into the night.


Elias sees the wound on Chise’s neck. Calling her reckless, he comically leans in and licks the wound with his tongue. The Lead Ariel scolds him for being late.


They turn to the ragin sludge as it starts to grow more restless. Elias tells Chise he’ll take care of the sorcerers while she cleanses the spirit.


Molly leaps into Chise’s arms and insists on going with her—“It’s the final duty of the King to see that the corruption is gone.”


Chise steps toward the spirit as Elias watches from behind. Shes places her hand onto the sludge, and is swallowed by it.




She snaps open her eyes, finding herself on the floor of a busy nighttime pub. She stands up and notices that her body is translucent The Lead Ariel surmises that they are inside of the corruption’s memories.


Chise watches as Matthew enters through the creaky wooden door. He treads through the tavern and approaches a mysterious cloaked young boy with long white hair (Isaac Hempstead Wright).


Matthew asks if this young boy is the wandering sorcerer. And of course, this young boy, with pure blue eyes and an unassuming smile, is the sorcerer.


The Sorcerer: Are you surprised that I’m so small?


The man tells the sorcerer that his wife is bedridden, and that he’s searching for treatment. The boy asks to see the wife in person. The man accepts and begins to guide the sorcerer to his home. Chise watches as a sinister smile grows on the boy’s face.


We cut abruptly to Mina’s room. The boy checks her as a doctor would and tells her to get some rest. The man follows the sorcerer outside of his home; Mina searches for her cat, which stares, unblinkingly, at the closed door.


We cut outside the home under the cover of the moonlight.


The Sorcerer: I don’t think she’ll get any better than she is. She won’t last more than a few years. She was born that way. Can’t be helped.


Desperation grows on Matthew’s face. He storms in front of the sorcerer, grabs his cloak, and pleads to the sorcerer that he’ll do anything to make her better.


The Sorcerer: Does your wife like cats?


The man looks up in bewilderment.


The Sorcerer: Does she? That’s perfect then! Have you heard that cats have nine lives?


We abruptly cut to the village at daytime—some time has passed. Mina is walking outside as other village women talk about how there’s been a lot of rats lately, and that the cats “haven’t been doing their job”. One of these women tells Mina she saw Matthew go into the forest with an ax.


Mina stares towards the path that leads through the woods. The image dissolves into a series of shots which track the overhead foliage (as if the trees in The Revenant had more leaves).


As Mona progresses through the woods, Chise, who’s been following all this time, stops and stares with a disgusted look on her face.


Lead Ariel: Are you okay? You look pale.


Mina continues to walk through the woods. The image dissolves to the shed deep within the woods. Its door is red.


Mina: Has there always been a shed here?


Chise tries to stop her from going into the shed, but when she tries to grab Mina’s hand, her own translucent hand passes right through it. Mina walks up to the shed and opens the door.


Inside the dark room, there are small cages stacked on top of each other; cats swipe their claws past the cage bars in rage and fear. Frenzied meows overwhelm the soundscape. Matthew stands at the end of the room, at a small table, his back turned to the door. Matthew raises a butcher knife into the air, and he swings down onto a creature that is just offscreen, and the blood of the creature splatters all over the place.


Mina stares aghast. Matthew turns to her a smiles with a crazed look in his eyes; he holds up a vial of red liquid and tells Mina he’s just finished making her medicine.


Matthew explains everything, including the fact that the sorcerer told him to use the cats as ingredients for a potion. Mina runs to Matthew a collapses into his chest.


Mina: What happened to you? How could you do such a terrible thing?! You aren’t the kind of person who could do this!

Matthew: I can. Because… It’s for your sake.


Mina suddenly realizes that she is unable to move.


The young corcerer stands in front of the open door, fully cloaked.


The Sorcerer: You don’t have to be scared. Drink that, and you’ll go from being weak to able-bodied. You might even be able to live forever.


The sorcerer forces open Mina’s mouth and pours the medicine down her throat. The very moment she swallows it, she collapses to the ground and writhes in agony.


Matthew: Mina, it’s okay. He says it only hurts in the beginning. Hang in there, Mina. You’ll be well after this.


Matthew kneels down and meets Mina at her level. Tears stream down Mina’s face as she gazes into Matthew’s eyes.


Her body collapses into a pool of black sludge. The sludge stains Matthew’s hands as it spreads across the stone floor. Matthew stares down in horror. Not a single recognizable feature can be seen within the sludge.


The Sorcerer: Oh dear. It failed. She lost her form. I suppose beasts are just beasts after all. They’re easier to process than humans but I guess their strong instincts means they have strong cures, too. Looks like I’ll have to go back to figuring out how to condense souls. Thanks for the valuable research data, mister.


Matthew stares down at his stained hands and falls into a mental breakdown as the sorcerer departs.


Matthew decides that he needs to kill more cats; he stumbles outside and finds Tim, Mina’s cat, staring up at him. Matthew attacks it with his axe, but the cat is quicker; it leaps off the ground and sinks his claws into his throat. Matthew falls to the ground, and the cat stands on his chest and speaks to him.


Tim: You’re not human anymore. You’re a demon. You were deceived by a demon into becoming a pitiful demon yourself.


Cut to a top-down image of all of the cats surrounding Matthew, who is struggling to breathe.


Tim: I can’t let you live, and I can’t let you die in peace. I was chosen to be king. I also do this for those who died.


The footage dissolves multiple times, meandering from the sky, to the water as Matthew’s dead body falls into the lake, to the Matthew body being overcome by the black sludge, to Chise as she stares down, stone-faced, within a black void—tears are falling from her eyes like waterfalls.


Mina stands behind her, wearing the villagers’ outfit she had worn on her last day. She apologizes for making Chise see all of that, and she reveals that Chise’s task is for her erase both of them.


Mina: Make us not exist. The souls of all living things are part of a cycle. But Matthew and I have forgotten how to return. As have the cats.


Chise refuses to this—Matthew and Mina were only deceived—they don’t deserve to be erased.


Mina: You must. You have to. All that waits for us if we lose our chance now is an even more painful, endless void. You’re the only one who can help us right now.


Molly offers to guide them to where they belong. She reveals that this is her ninth life, and that she has nothing to lose.


Chise stammers that Molly’s owner will be sad, but Molly nonetheless insists.


Molly: The last king, and the one before, all sacrificed their souls to hold off the corruption. Compared to that, being a guide isn’t difficult. I take solace in the good memories I’ve had with my owner. That’s all I need.


Molly and Mina start to walk off into the black void.


Chise begins to cry. Then an image of flowers flashes onscreen, and she gets an idea. She tells the Lead Ariel to use her wind powers, and the Lead Ariel asserts her admiration for the cleverness of humans. The Lead Ariel begins to fly around the black void, pixie dust trailing from behind.


Chise takes Mina by the hand and insists that no one will be erased. Chise guides Mina with her warm words, telling her to picture, in her mind, the way dandelions are carried by the wind. A strange breeze enters the scene and the Lead Ariel continues to fly.


We abruptly cut to a field of blue flowers. Mina’s hair a dress float gently in the breeze. Mina looks around with a smile and sees Matthew standing in the distance. Matthew sees her, and runs to her, and takes her in his arms. Chise watches in the distance as she holds Molly safely in her arms, and Mina thanks her as their two bodies transform into blue flower petals that float on and on in the gentle breeze.


We cut back to the scene at the bay, where the black goo is still bubbling.


Renfred: How irresponsible. You don’t care if she dies or succeeds?

Elias: She won’t die, and I don’t intend to let her. She was expensive, after all.

Renfred: You can neither become human, nor return to being a fairy, you filthy creature. Do you really think you’ll be forgiven for buying a human?

Elias: It seems you’re still as much of a human supremacist as ever Renfred. Why do you know about Chise? You’ve never liked auctions, have you? That event is strictly private. What happens there is to be kept secret. Besides, what use do you have for this mass of human rage and regret?

Alice trembles, and Elias glares at her.

Elias: I see.


Elias takes a step towards Renfred, and Alice jumps in-between them to protect Renfred. Elias looks down and notices (as eagle-eyed viewers may have already noticed) that one of the sleeves of Renfred’s trenchcoat is swaying in the breeze without any structure within.


Elias: Who took that arm of yours?


Before Renfred answers, the black goo dissolves into glowing blue flower petals that float away in the air. Chise emerges from the disappearing mass, holding Molly to her chest.


Elias compliments her for her work; he steps next Chise, and he admires the flower petals in the air. Chise releases Molly, and the other cats run to Molly, to see that she is okay.


Elias: Flowers, huh? That was clever.

Lead Ariel: Chise isn’t all about destruction the way you are.


Renfred sighs in relief. He takes Alice and leaves without telling Elias anything else about his arm or why he was there in the first place.


Renfred: I don’t care how you use the girl. Be careful. There are countless people interested in her.


The disappear in a flash of bright blue.


Elias: (to Chise) Renfred is infamous for his distaste of mages. He still had both arms the last time I saw him. Something’s going on.

(During the last two sentences of that dialogue, we see footage of Renfred and Alice walking through the woods—they meet with none other than the sorcerer who had deceived Mina and Molly.)


Chise collapses in Elias’ arms. Elias surmises that her magical circuits have been exhausted, and he tells her that she can get some sleep.


Elias carries Chise in his arms as he walks across the moonlit lake. Wearily, Chise asks Elias a question.


Chise: Elias? When am I going to die?


A long silence, that which is punctured by an establishing shot of the lake illuminated by the moonlight.


Elias: You haven’t forgotten, huh?


We cut to a shot of the three cats sitting near the water in peace, before cutting to a shot of the water—a reflection of the stars is seen in the water.


Elias: In three years, maybe, if nothing’s done about it. I’ve thought of a way to prevent it. You don’t have to worry.

Chise: Why didn’t you tell me?

Elias: Because there was no reason to. Your death isn’t a part of my plans.

Chise: So your experiment is to see if you can keep me from dying?

Elias: Sure. To see what will happen if I have a Sleigh Beggy around me, a reservoir of limitless magic.

Chise: But you don’t need more magic, do you?


Elias stops and standing in the middle of the lake.


Elias: I’m half-baked—neither human, nor fairy, nor spirit. I’ve lived for a long time, and seen many humans, but I still don’t quite understand any of them, including you. I can understand your thoughts, but I can’t empathize. I can understand the reasons behind your tears, anger, and laughter, but I can’t make them my own. I bought you because it was advantageous of me… That’s all. Because you had nothing, and you couldn’t depart from the non-human that is me. I let you hear the words that you wanted to hear, and gave you shelter, food, knowledge, and attention. I thought you might learn something if I raised one of you myself. I did plan on telling you after you’d become completely attached to me. Though I had to do it earlier, thanks to Renfred.


Chise reaches her hand up to his head.


Elias: I know. If you don’t need this memory, I can destroy it for you.


Chise’s hand reaches the muzzle of the skull. She runs her fingers across the ragged teeth, smiling calmly as Elias stares down in surprise.


Chise: There’s no need to be scared. I’ll stay by your side.


Chise drifts to sleep. Her body falls back, and Elias swiftly catches her, bringing her close to his chest. The cats jest with each other about the love that is blooming, while Elias mumbles to himself that this is the first time Chise has ever touched him. Molly tells Elias that she’s happy he’s found what he’s searched for.


Elias: …Shall we return to our home, Chise?




We cut back to the inside of Elias’ cottage. Silver waits at the front door with a basket; Elias takes the basket, stares down at the servant, and departs from the house. He walks through the hills and through the forest until he comes across a massive tree stump. Chise sleeps in a massive white silk hammock, accompanied by magical creatures of a docile nature. The river flows gently as Elias sits close to the hammock, waiting patiently.


Suddenly, the birds fly away, and a bright light shines in the middle of the woods. A celtic forest goddess by the name of Titania (Catriona Balfe) approaches them on a white horse. She is accompanied by three black wolves and a midget creature with a rock helmet named Spriggan (Domhnall Gleeson). Titania’s playful husband Oberon (Keir Gilchrist)—a forest god with untamed green hair and antlers, awakens Chise with his forest magic. As the forest people depart, the servant Spriggan turns to Chise and warns her never to follow them into their land.


We cut to the passageway between the village and the cottage as the sun begins to set and the sky adopts a warm shade of orange. Chise stands by Elias’ side as he gives Simon is dosage of medicine; Simon celebrates that Chise is awake after two weeks, before he checks his watch and runs off.


Elias: Simon hasn’t changed at all in ten years.

Chise: …I wish you’d bought me ten years ago.

Elias: Even though we’re spending far more than ten years going forward?

Chise: …I hope your experiment succeeds.


Elias sweeps Chise off of her feet and stares into her eyes with conviction.


Elias: It will.


Chise wraps her arm around Elias’ neck, and the two share a moment of embrace.


Chise: (chuckling) Will it?

Elias: We’ll make it. Now, Silver is waiting on us. Let’s go home.


The two of them begin the short journey back to the cottage as the screen fades to black. The message CHISE AND ELIAS WILL RETURN is displayed before the credits. The original song “Show Me Where It Hurts” by Weyes Blood plays over the credits.





Edited by Slambros
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Blue and Gold: Black 2 The Future 

Studio: Endless Entertainment
DC Entertainment
Tencent Pictures

Director: Peyton Reed

Producer: Peyton Reed
Executive Producer: Xavier B. Irving
Writers: Chris McKenna and Erik Sommers
Composer: Mark Mothersbaugh

Director of Photography:

VFX: Industrial Light and Magic

VFX Supervisors: Unknown for now


Main Cast: (** indicates voice performance)

Asa Butterfield as Michael Carter/Booster Gold

Jake T Austin as Jaime Reyes/Blue Beetle
Michelle Rodriguez as Black Beetle

Jessica Barden as Young Elizabeth Carter

Jimmy Tatro as Gregory Carter/Warhead

Antonio Banderas as Chiller


Kevin Hart as Timekeeper

Cierra Ramirez as Rita Gutierrez

Ian McKellen as The Narrator

** Kevin Michael Richardson as Starro The Conqueror


Michelle Pfeiffer as Elizabeth Carter

Genre: Superhero/Comedy/Sci-fi/Adventure/Romance
Release Date: May 27th, Y6

Theater Count: 4,295 (including 405 IMAX theaters)
Format: 2D (2.39:1), 3D (2.39:1), Dolby Cinema (2.39:1) and IMAX 2D+3D (1.44:1)
IMAX: Select sequences shot in 70mm IMAX (1.44:1). Footage cropped to 1.9:1 on digital IMAX screens.
Budget: $155 million
MPAA Rating: PG-13 for intense sequences of action violence, thematic material, crude humor and a brief rude gesture
Running Time: 145 minutes (2 hours, 25 minutes)




We open with a montage of what happened in Blue and Gold ala the opening of 22 Jump Street as the narrator (Ian McKellen) says it’s been a year and our heroes are preparing for their most difficult trial yet… scoring dates for Prom but first here’s some exposition that will stop them.


We see Black Beetle hiding in the sewers but suddenly a green light hits her. She turns into a bunch of particles and is whisked into space inside a spaceship. She is approached by a green insectoid like human. The alien introduces itself to her and explains that if she wants the Blue Beetle dead, he’d like to help gifting her a container but says he wants the Scarab back. The container opens and reveals a black and red Scarab. The alien says due to her history, he’s made altercations for her. Black Beetle smiles at the camera as once she fuses with her Scarab as she prepares to time travel.


We then show Metropolis in utter destruction as Starro The Conqueror, a giant starfish is invading the city, spurting our parasitic starfishes that latch onto citizens faces, brainwashing them. Suddenly, heroes Blue Beetle, sporting a blue suit of scale like armor with blue bug like wings, a pair of antennae on his back come out, with a black face with piercing red eyes and Booster Gold, with a gold and blue jumpsuit with a flight ring, a force field belt, and energy blasting gauntlets arrive with a boombox.


Blue Beetle warns Starro to seize his actions or he’ll be the next menu item at Red Lobster. Booster Gold says his villain trash talk is improving, which Blue Beetle thanks his friend for the compliment. Starro looks rather annoyed but before he can speak, Blue Beetle searches for their battle music, as he and Booster Gold bicker until they find the perfect song.






Everybody by Backstreet Boys blares as the opening credits roll while Blue Beetle and Booster Gold fight Starro. The teamwork of the duo has improved during the last movie as Booster Gold blasts the starfish off the brainwashed citizens without hurting them as Blue Beetle fight Starro and stopping him from spreading more parasites, while showing more control over the Scarab. The two also save each other multiple times and Blue Beetle takes a parasite for Booster Gold as the two are forced to fight each other but Booster Gold luckily gets the parasite off of his best friend. As the song ends, the two combine and fire a powerful blast at Starro’s eye, killing the villain as the two celebrate before getting covered in blue and purple goo.


Blue Beetle quickly notices they’re late as he and Booster Gold quickly race to Metropolis High as they do a Ferris Bueller Day Off style run, as they land in a pool to clean of the goo, as they sneak into the men’s locker room at school and undress (Jaime’s suit retracts into his back) and go back into their civilian alter egos: Jaime Reyes and Michael Carter. The two then make sure the boom box is okay as they head into the gymnasium as their fellow seniors are preparing decorations for Homecoming. The two are warmly greeted by their peers, with one joking they’re a few minutes earlier than usual but still late. Michael says they got caught in traffic as a classmate notices blue goo on their boom box which Jaime quickly wipes off saying that they stopped for food on the way as an excuse.


The two are on ladders hanging up a banner, Michael express excitement over Prom, remembering his days in high school and all of the chicks there but before he can start making colorful innuendos Michael notices Jaime is staring off into space at his crush, the new girl as well as cheerleader and member of the chess club, Rita Guiterrez. Michael encourages Jaime to talk to her but he refuses as he doesn’t think he has what it takes. It is revealed that although the two are somewhat popular, Jaime has been viewed in some sorts of ways as Michael’s sidekick/shadow which Jaime is somewhat insecure about. Michael says he’s a great guy but he just needs confidence as Jaime retorts he has confidence but has other things to focus on. Michael “accidentally” knock over his ladder as Jaime falls down doing some oober gymnastics instead of using the Scarab to avoid suspicion which impress everyone especially Rita. Jaime chuckles as he quickly glares at Michael, calling him a dick.


After a normal day at school, Jaime and Michael then head to Jaime’s house for a surprise birthday party for Jaime’s father, which thanks to some faulty fireworks as candles, causes the cake to explode all over the house...


Edited by YourMother the Edgelord
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Studio: New Journey Pictures

Release Date: December 25th, Y6

Genre: Sci-Fi / Drama

Director: Scott Derrickson

Theatre Count: 2,913

Rating: PG-13 for Language, Suggestive Themes, and Thematic Elements

Budget: $45 Million

Format: 2D Dolby

Runtime: 1 hr 38 m

Original Score: Henry Jackman (Incorporates eccentric electronic flourishes in a similar way that Jackman used them in Pokemon Detective Pikachu.)



Gugu Mbatha-Raw (Josephine Graves)

Winston Duke (Simon Graves)

Caleb McLaughlin (Harris)

Taliah Webster (Maya)

Evan Peters (Eric Strauss)

Matthias Schoenaerts (Pastor Barnabas)

with Lizzy Caplan (Publishing Agent)

and Jasper Pääkönen (Mauler)


Notice on Costuming

All performances are performed in real robot suits rather than motion capture, expect for one obvious example from a non-major role, which is shown in CGI. The standard model for the robot is definitely more robotic than it is human; if you’ve seen Love, Death, and Robots, the standard robot is like the tall bipedal silver one in the first episode—albeit looking much less like a punk. All of the main characters wear this standard model unless otherwise stated. 



In a future where all of humanity has uploaded their consciousness into robot bodies, a university overpass collapses in the city of Neo Paradys; to cope with the event, religion professor Josephine Graves sets forth to write a book of poems inspired by the Davidic Psalms.


(work in progress; feedback appreciated)



We begin with an opening credits sequence that displays modern-day footage of major advancements in the field of robotics. It is set to the song “Hello World”.


The song’s final chord plays, and we fade into an establishing shot of the city of Neo Paradys. The camera as if it were looking down from a balcony; rows of sleek, silver skyscrapers decorate the borders of the screen, and Blade Runner-esque holographic advertisements litter the sides of the buildings. People of all walks of life are walking out and about on the street below; a robot businessman in a suit and hat trots down the sidewalk with a suitcase in his hand, and a robotic young couple laugh together as they walk down the other sidewalk. You might think that the sky is overcast and grey; quite the contrary—it’s strikingly blue, and completely cloudless.


We cut to street level and pan from a flower vendor on a corner to a straight view of a road—and far away, above the road, rests a walkway where pedestrians and cross over the street. Suddenly, the walkway creaks, before collapsing onto the street below, crushing the futuristic cars underneath. One car that we see heading towards the wreckage puts on its breaks, stopping by the skin of its teeth. All of the pedestrians on the sidewalks peer towards the walkway, gasping in concern.


Emergency vehicles drive to the rubble, and policemen and firemen hurriedly rush to the scene as a crowd begins to form. They try to take remove as much rubble as they can as part of their rescue effort.


Police cars with specific university designs come to the scene as well. One of these robots in particular has modeled himself after the classic, blocky, stereotypical toy robots—the name of this robot is Simon Graves (Winston Duke). He runs as fast as he can to the scene and finds a female police officer.


Simon: Can we help you guys?

Officer: Yes. We need all the help we can get.


They remove all the rubble they can. Simon looks down and sees the front of a red car that’s been crushed underneath the overpass; he takes off all the rocks he can—a process aided by the inherent strength and precise calculative mind of the robot body—and he sees a metallic body of a young man inside. The body is damaged beyond repair, but the man is still holding on to life.


Simon: I found someone!


Other first responders come to Simon’s aid as they pull the body out of the car. The paramedics come with a foldable table; they place it on the ground, and the first responders lay the body down. The paramedics agree that this body is damaged beyond repair and that the man isn’t going to last much longer.


One of the paramedics hurriedly straps a transmission device onto the man’s head. We cut to the point-of-view of the man as the paramedic leans towards him and tells him that they’re going to transfer his consciousness into one of the temporary replacement bodies that is stored inside of the hospital. The man asks the paramedic if his family will be able to recognize him, and the paramedic assures them that they will.


Simon holds the man’s hand and tells him that everything is going to be okay. The paramedic presses a button, and the consciousness leaves the body, and all of the body’s lights fade away.




We cut to a vibrating communication signal below the hearing mechanism on the side of a violet robot’s head. We cut to the robot, Josephine Graves (Gugu Mbatha-Raw), as she turns to a class of students.


Josephine: I… I’m getting an emergency call.


The students whisper nervously amongst each other as Josephine holds her finger on the signal and turns toward the whiteboard.


Josephine: This is Ms. Graves… Yes… Oh… Okay… Thank you… I will… Bye now…


Josephine turns toward the class.


Josephine: Um… The walkway… It’s just collapsed.


This alarms the students. They talk amongst each other as Josephine stands in silence.


We cut to Simon as he enters an apartment. Josephine is pacing around the living room, but she stops when she sees Simon. The two robots walk slowly towards each other, and they hold each other close.


We cut to news footage from their holographic television as it displays an in-depth report on the collapse, including the cause of the collapse (something not initiated purposefully by any individual or organization, something caused by a fault in the structure), and the finalized tally of lives lost—ten total.


Josephine and Simon sit on the couch, and we can see that chords coming from their arms are plugged into outlets in the wall—they are recharging. They talk to each other about what happened that day; Simon describes the harrowing events he saw in detail, while Josephine tells him about her class and how they reacted to the news.


The bridge had belonged to the university, Josephine laments; virtually, they had just built it. She hopes out loud that, the next time they build a walkway, they build it as properly as they can. They both agree with each that they have to trust in God after an event such as this.


Josephine is finished with her recharge much sooner than Simon (who had just gotten to the apartment). So Josephine goes into her work room and sits at her desk. She opens a notebook, grabs a pen, and rests her chin on her hand.


Josephine: I have to respond. But how?


The stares down at the notebook for a moment before turning on her holographic computer. She flips through the applications until she comes across an app that contains translations of the Bible. She hesitates before pressing it, and she finds herself flipping through the books before coming across the book of Psalms. She flips through all of the Psalms, and, suddenly, she gets an idea. She looks down at her paper and, at the top, she writes:


The Neon Psalms


Josephine sets down her pen. She stares at the words, and the words stare back.




In the classroom, Josephine attempts to write on the whiteboard with an electronic writing device, but it fails to work. Frustrated, she puts it on a charger and grabs another one. She writes the question: “Why do bad things happen.” Once she’s done, she turns to the students.


Josephine: Why do bad things happen? Throughout time, people of all cultures and all religions have attempted to answer this question. They’ve asked themselves this question after war, famine, plagues, death. Of course, we invented a way to upload the consciousness of a human into a robot body, for the very purpose of mitigating the power that these bad things can hold over us. And even now, we see that bad things can still happen to us. Our bodies can be destroyed before our minds can be sent to another body—once that happens, the mind is gone forever. And even in an idyllic city such as our own—Neo Paradys—villains in the undercurrents of society can capture you; they can transfer your consciousness to another body for their twisted purposes, or they can alter your memories, your personalities, your train of thought. Such is the most probable reason for the recent missing persons cases we see on the news. Of course, there are still bad things of a smaller scale that affect our lives even in this era—breakups and divorce, poverty and homelessness, being laid off from a job. Life not going the way you want it to. But none of this changes the fact that we still need an answer to our central question. Why do bad things happen? Furthermore, if there is a god, why would he allow these bad things to happen?


A blue robot (Caleb McLaughlin) raises his hand.


Josephine: Yes, Harris?

Harris: Why even ask that question about God? Didn’t the First Transfer debunk the concept of the human soul?

Josephine: Ah, yes. A very popular belief in this day and age. Is there a soul within our bodies if our bodies are no longer flesh and blood? There are no wrong answers to this question, as there are no wrong answers to our central question.


Harris states that wrong answers do exist. A scarlet robot (Taliah Webster), who is sitting across from Harris, twitches her eye.


Maya: How could you say that?

Harris: Well, some answers are inherently flawed and foolish.

Maya: That shouldn’t mean people don’t have the right to have their own answers.

Harris: So if someone told you that you have a soul within your body, you’d be okay with that?

Maya: I mean, I don’t believe it, but I’d be okay with that.

Josephine: That’s enough, you two. This is an environment for exploration and open-mindedness, not for arguments. You wanna argue, get yourself two podiums and a stage. Otherwise, listen to the lecture and stay on topic. Alright? Now, where was I…


Harris and Maya exchange looks as Josephine writes more words on the board.




We cut to Josephine as she walks through the streets of Neo Paradys. She walks past robots of many types and sees many advertisements, vendors, and overall vibrance. A voice-over begins of her reciting a poem about contentment with one’s place within the span of time. We cut to Josephine reading the poem aloud to Simon in the apartment, just as she finishes the last line. Simon tells her, half-jokingly, that the poem sounds like a psalm, and Josephine tells him that that’s exactly the point. She’s writing these poems as a creative side project in order to address the role of biblical faith in their robotic era. Each ‘psalm’ is written in a way that expresses worship while simultaneously incorporating era-appropriate topics. Simon tells Josephine that it sounds like a good idea and that he supports it, but his response is notably reserved and unconfident.


We cut to Josephine giving her students another lecture. This time, the lecture is a general introduction to the religion of Christianity (the topic chosen on the grounds that Judaism had been covered during the last session); the lecture contains information about the central figure (that being Jesus of Nazareth), the crucifixion and resurrection, core beliefs of the faith, and statistics regarding the amount of Christians in the world then and now. Josephine tells the students that the amount of Christians in the world has generally decreased despite the worldwide peace brought forth by the First Transfer and its consequences. One student raises their hand and asks if she thinks that is a good thing or a bad thing. Josephine dodges the question by suggesting that such a conclusion is up to the discretion of each and every individual. As the bell rings, she tells the students that they need to remember to answer their daily ‘quiz questions’.


After class, Harris and Maya meet each other in the hallway. They officially apologize to each other for the way they acted to each other on the day after the bridge collapse. Harris invites Maya on a date, and she accepts.


We cut to Josephine as she grades papers in her office. Another robot professor with a grey, skinny, ‘antique’ body (Evan Peters) walks into the room.


Josephine: Dr. Eric Strauss. Still in the old model, I presume?

Eric: They don’t call me a hipster for nothing, dear.


Eric saunters into Josephine’s office and falls into the guest chair. He asks her how she’s been keeping, and she tells him she’s been doing alright. He asks her how she’s been handling the bridge collapse—since it’s happened, it’s cemented itself as a talking point among the people of Neo Paradys—and Josephine reveals that the bridge collapse spurred her idea to write the Neon Psalms.


Eric stands up and saunters closer to Josephine.


Eric: I bet you have a great way with words, Jo.


Josephine glares at Eric.


Eric: What? Normally, you’d be laughing at my compliments.

Josephine: Eric. You’ll always be my friend. But you can’t be acting like that towards me.

Eric: Aw, come on, now. You didn’t have any problem with it before.

Josephine: Yeah. I didn’t. Then the collapse happened.

Eric: (sarcastically) Don’t tell me you’re falling back in love with that security guard.

Josephine: He’s my husband, Eric. And he’s my husband for a reason. I love him, and I need to be spending as much time with him as possible. So do yourself a favor and stop flirting with me.

Eric: (sarcastically) Okay, Jo. Whatever you say.

Josephine: You’re still a good friend in my eyes, just so you know.

Eric: Sure, sure. Reassure the lover that he’s in the friend zone.


Josephine laughs to herself and continues working as Eric walks out of the room.




Josephine is walking across the university campus when he sees Simon in his security uniform (which really just consists of a hat and a badge) talking with a small orange hovercraft robot far off in the distance. Josephine does not call out to Simon; she very simply walks towards him at considerable speed with a happy look on her face.


The hovercraft robot thanks Simon and glides away. Then, Simon turns to Josephine with a cheeky smile.


Simon: Josephine. Pleasure to see you here!

Josephine: As is you.


They give each other a hug.


Simon: Headed back to the apartment already?

Josephine: Yes, I’m all finished with classes.

Simon: I’m still on patrol for a while. But I’ll be there as soon as I can.

Josephine: Glad to hear you’ll hurry there.

Simon: Of course. You’d probably wanna read another poem to me. I wouldn’t ever wanna miss that.

Josephine: Oh, you’re just saying that.

Simon: No. Really.


The conversation continues for a little while and ends when Simon asks if she’s still going to church on Sunday—to which she replies ‘of course’. Simon unfortunately can’t go because—as Josephine undoubtedly knows by now—he has to testify in court as a witness in regards to the bridge collapse. He doesn’t really want to do it, but he understands that he must.


We cut to Sunday morning as Josephine is hunched at the desk in her apartment, trying to write a poem—it’s clear that she’s been afflicted by writer’s block. She noticed the time and, amazed by how long she’s been staring at a blank page, she rushes out of the room.


She walks into the church many minutes after the service has already begun. An electronic organ is playing during the service. Robots of all types are inside of the church. Josephine sits down in one of the pews, and she looks up to the front of the sanctuary, and in a cubicle, two white, gender neutral bodies wade through the water that is inside of the cubicle. The pastor (Matthias Schoenaerts) warmly guides the other robot through the confession, and he lifts his hand in the air.


Pastor Barnabas: Upon your profession of faith and in accordance with the Lord’s command, I baptize you, Samantha, in the name of the Father, the Son, and of the Holy Spirit. Buried in the likeness of his death…


The pastor dips the robot into the water and raises him up.


Pastor Barnabas: Raised to walk in new life.


The churchgoers applaud the baptism. Josephine nods her head in joy.




After the service, Josephine decides to visit Pastor Barnabas. She walks into his office and sees that his regular body—one with a charcoal black standard model—is sitting lifelessly in the office. Josephine begins to panic.


Josephine: Oh god, oh god, oh god…


She reaches for the door to get help when a voice stops her.


Pastor Barnabas: You mustn’t take the Lord’s name in vain, Josephine.


Josephine turns to the pastor, who is perfectly alive.


Josephine: Pastor Barnabas… You…

Pastor Barnabas: Not to worry, Josephine. I was only transferring from the body I used for the baptism. In the event that someone who wants a baptism does not have a waterproof body, they are given a simple waterproof body from the church, and I wear the same body so that they don’t feel afraid. Does that make sense?

Josephine: Yeah… It does. I’m sorry for panicking…

Pastor Barnabas: It’s okay. It happens. What is it that you’re here for?


Josephine tells him about the Neon Psalms that she is writing and wants advice from him. Pastor Barnabas asks to read the work she’s done so far; he does, and says that the work is excellent, but he gives her a word of warning: she must be careful not to exploit the words of the Bible. Josephine is confused in regards to what he means by ‘exploit’. Pastor Barnabas reiterates that she shouldn’t be rewording the book of Psalms for her own purposes. Josephine tells him that’s not what she’s doing at all—the poems are inspired by the psalms, and she’s only paying homage to them. Pastor Barnabas shakes his head and tells him that she’s walking a fine line; Josephine tells him that she disagrees, and she walks out.


At the apartment, Josephine talks to Simon about her conversation with Pastor Barnabas as they charge their batteries together. She tells him that she has no idea what she’s going to do about it.


Simon: You’ve been using your own voice, right?

Josephine: I’m not trying to write like myself, Simon. I’m trying to write like God would.

Simon: Well, maybe that’s the issue.

Josephine: What do you mean?

Simon: There’s more than enough of God within your work, but there might not enough of your own voice?

Josephine: I have to be honest, I’m really scared that my own voice might overcrowd the message I’m trying to convey through the work.

Simon: Well, consider this. God will take care of the ‘message’ part of the process. All you have to do is write the words. You can write them any which way you want. Don’t be rigid. Be free. I promise you it’ll work out.


Josephine’s charging is finished, so Simon playfully shoos her off, so that she can go write. Josephine sits down at her desk, and from her voice-over, we here that she’s writing a psalm about love and its place in society. The voice over is juxtaposed with scenes of Harris and Maya as they go out on their date during the nighttime, when the city streets light up with neon signs and the people are hustling about in search of a good time. They do a variety of things together, and the date culminates when they go to see a movie—where actors are transferred into bodies specially made for the story of the film. This particular film is about a cowboy in the wild west, and on the screen, we see that he saving a woman who is tied to the train tracks. Harris and Maya, well, their eyes are practically glued to the screen. We see that the cowboy pulls the maiden off the tracks just before the train runs her over, and in the seats of the theater, Harris and Maya laugh together and embrace each other.


We cut to the city sidewalk as Harris walks Maya back to her apartment. Harris goes to unlock the door for her, and he struggles for a good moment to unlock the door. Once he does, he turns towards Maya…


But Maya has vanished.


Harris runs around the apartment building and finds Maya in an alleyway. Robots with bodies modeled after grey anthropomorphic wolves are tying her up and putting her inside the back of a black van. One of these wolf-bots glares at Harris with dark eyes—sinister red pupils amidst black screens. Harris begins to back away, but the wolf-bot continues glaring, his stare unwavering.


Harris: I’m so sorry, Maya…


Harris hastily abandons the scene as the wolf-bots finish their job.




We cut to Josephine’s class. She notices that Maya’s chair is empty. She looks over at Harris and notices that he has his head down in sadness—he’s not taking notes like the other students. The bell rings, she dismisses the students, and the students funnel out of the room; she attempts to ask Harris what’s wrong, but Harris walks past right past her. Josephine knows that he is trembling in fear.

We cut to Josephine sitting in her office, thinking to herself. Harris walks into her office and sits down at the desk. Josephine asks him what’s wrong, and Harris buries his face in his hands.


Harris: Maya was captured by the Hounds and it’s all my fault.


Harris tells Josephine about the Hounds—they are an organization that are infamous for capturing young robots for nefarious purposes. He tells her that he ran from the scene like a coward and could’ve done so much more to help her. Josephine asks Harris if he saw the license plate number of the van, and Harris, by searching through his recent memories, is able to tell her the number. Harris continues to tell Josephine how much he hates himself for letting them take Maya, but Josephine tells him that everything is going to be okay.


We cut to Simon, who is driving a patrol car throughout the university, receives Josephine’s communication call.


Simon: Hey, Jo!

Josephine: 3YD-H104.

Simon: …Is that a license plate?

Josephine: Put it in the system. Hurry.

Simon: (speaks as he types) What’s going on?

Josephine: One of my students was kidnapped by a gang called the Hounds.

Simon: …Describe what she looks like to me.

Josephine: Modern standard body, like mine, but scarlet red. And with a long brunette wig.


Simon messages the other policemen that there’s been a kidnapping, and he drives off madly.


We cut back to Josephine as she sits in her office and struggles to keep her composure. Eric walks in and asks her what’s wrong, and Josephine looks at him.


Josephine: Let me ask you something. Professor to professor. Suppose one of my students is kidnapped.

Eric: …Oh my god. You don’t mean—

Josephine: It’s exactly what I mean. A girl—her name’s Maya—she went missing yesterday night.

Eric: Sheesh… Well, I hope they find her.

Josephine: Define ‘they’.

Eric: Well… You know… The police… The authorities…


Josephine takes a communication call from Simon, who tells her that, through drone technology, they found where the Hounds’ secret base is: a basement-level business within the red light district.


Simon: The police need time to organize a raid against this specific group. The bodies of the Hounds are specially designed for violent encounters.

Josephine: …Then I’ll get her myself.

Simon: What? No, that’s—


Josephine ends the call and stands up from her desk. She walks past Eric, who is astounded.


Eric: You’re going there yourself? That could be suicide! You could be captured yourself!

Josephine: I’m not leaving my student in the line of fire.




We cut to Josephine as she takes a crowded subway train, swamped in dread and fear.


We cut to her as she walks through the city at night. The neon signs permeate the landscape, and the signs get more and more promiscuous as she walks. She suddenly finds herself in the red light district—and she is wearing a new determination on her face. She walks past the robots who are stumbling around, the ones who are trying to gain something from her—they hold no power over her.


She finds the staircase and descends down. She rings the doorbell, and a grey antique body, one with neon-colored spray paint plastered all over the body, answers the door for her.


Josephine: I have business with the Hounds.


The man lets her inside the room. She walks into the room and stops—the Hounds stand around her in a circle, blocking her from escape.


A Hound with jagged spikes acting as a long headdress of metallic hair (Jasper Pääkkönen) sticks his red pupils onto Josephine. He introduces himself as Mauler and asks her what she’s here for.


Josephine: You kidnapped my student. I’m here to take her back.

Mauler: (snickering) Are you now?

Josephine: Try me.

Mauler: Well, we didn’t kidnap her. You can ask her yourself. She came to us by her own volition. She wants to be here. So

Josephine: Bullshit. I have a witness.

Mauler: …Mrs. Josephine Graves, is it? Maya’s said a lot of things about you.

(Josephine grimaces.)

Mauler: Trust me when I say that she’s enjoyed what we’ve been doing to her.

Josephine: Only because you’ve brainwashed her.


Mauler paces around. Then he looks back at Josephine.


Mauler: Tell you what. We’ll let you ask her three questions. You find definitive proof we’ve wiped and replaced her memories, we give her back to you. You don’t find proof, you leave emptyhanded. You ask her more than three questions, we devour you. You try to take her without any proof, we devour you. If you leave without her and show your face here again, we devour you. You’re not the first person who’s found our hideout and tried to get their loved one back. And not a single person’s succeeded with this system. So I’ll give her to you out of sheer amazement if you manage to find evidence. Do we have a deal?


We cut from Josephine and Mauler glaring at each other to Josephine walking through a short hallway. She looks through the small windows of closed doors and sees young robots sitting alone under red light. Eventually she finds Maya’s room. Maya’s body is scratched and bruised. Josephine steps in and shuts the door behind her.


Josephine: Maya.

Maya: (slowly standing up) …Mrs. Graves? How nice of you to visit!

Josephine: How’ve you been doing in this place?

Maya: Omigosh! I love it here! The Hounds do all sorts of things to me, and I can’t get enough of it! It’s like a home away from home!


Josephine recoils in disgust as Mauler chimes in from the communication call.


Mauler: That’s one question. Two left.


Josephine composes herself.


Josephine: You’d really rather be here than in my class?

Maya: There’s no place I’d rather be than here with Mauler. Not with you. Not even with Harris.

Mauler: You have one question left.


Josephine’s eyes widen.


Josephine: Then let me ask you a ‘quiz question’. For old time’s sake.

Maya: As long as I get to stay here forever. I’ll do anything.

Josephine: …Who is Jesus of Nazareth?


Maya fails to come up with an answer.


We cut Josephine as she opens the door of the room and drags Maya out. Maya pleads to Josephine, asking frantically where she’s being taken. As they head for the door, the Hounds stand in front of them and block their escape. Mauler, who is standing in the corner of the room with the spray-painted robot, motions them out of the way.


Mauler: Out of her way, dogs. She got it.


The Hounds are bewildered and shocked, but they step out of their way nonetheless.


Mauler: Why’d you ask that question, if I may ask?


Josephine turns to Mauler.


Josephine: I had just taught her who Jesus was in my class—all the historical information about him. I know she didn’t believe, but everyone deserves to know exactly who Jesus is. You wiped him from your memory to eliminate any shred of hope she might have been able to have. You’re evil. I pray that you find it in your heart to change.


Maya hobbles to Mauler and wraps her arms around him.


Maya: Please don’t do this to me. I don’t want to leave you.

Mauler: Maya. In a minute, you’ll see why this is happening. Just go. I’m not who you think I am.


This devastates Maya. Josephine takes her by the hand and drags her out of the building. One of the Hounds asks Mauler why they can’t chase after them, and Mauler says that even if they wanted to, it’s raining outside, and they aren’t waterproof.


Josephine and Maya walk on the sidewalk through pouring rain until they’re safely out of the red light district. They stop walking, and a squad of police cars drive past them at blistering speed. Maya screams at Josephine and tells her she’s stolen her away, and she continues to scream as Josephine reaches around to the part of her body just below her head. Josephine opens a compartment and taps a few buttons, and Maya’s mind is switched back to the way it was. Maya comes to her senses, and she falls into Josephine’s chest, wailing in her arms.


The scene ends with a voiceover of one of Josephine’s poems; this time, it’s talking about the wicked, as many of the psalms do; and this poem is juxtaposed with footage of the police in indestructible bodies raiding the base, arresting the Hounds, and curing the other captives.




Josephine and Simon talk to each other in the apartment as they recharge their battery. Josephine describes the harrowing experience; Simon asks her why she felt compelled to go get Maya herself when she knew the police was going to get them. Josephine tells him that something came over her, and that she needed to ensure that Maya would be okay. Simon tells her that he’s proud of her and that she’s probably a better policeman than he is—of course, Josephine shoots the compliments back to Simon by reminding him how he helped save lives after the bridge collapse. They embrace one another.


Harris goes to Maya’s house, and her parents let him in; Harris tells the parents that he’s ashamed of what he’s done, and the parents forgive him. He finds Maya sitting on the couch; she’s in a new standard model body, one that’s bright pink. Harris rushes to her and embraces her; he tells her that he’s sorry for what he did, and that he’ll try to become someone who protects her and keeps her by his side from now on. They embrace one another.


Josephine sits in a high-rise office where a female publishing agent with a green standard model body (Lizzy Caplan) is talking with her about the poems. The publishing agent asks her why she’s choosing to publish the poems in a modest poetry magazine when she could just as easily self-publish her own book and gain a lot more notoriety; Josephine’s answer is that the poems aren’t about her. The agent asks her to read a poem aloud, and Josephine stands up in front of the desk and reads a poem about God’s love, mercy, and majesty. The poem is clearly inspired by the experience she had saving Maya. The agent is very impressed with the work and surmises that there’s a real story behind the words.


We cut to Josephine walking through the hallway of the university; Eric sees her and tells her that he’s read the poems and that he’s really enjoyed them. We cut to Josephine in the classroom; she writes words on the whiteboard and looks out at the students, specifically at Harris and Maya. Maya hastily and joyfully takes notes, while Harris simply stares blissfully at Maya from across the room.


We cut to Josephine as she walks through the city streets once more. All of the activity she sees fills her with joy. We cut to a similar overhead shot to the one that we started with in the beginning of the film as Josephine continues walking down the sidewalk.


Josephine: (voice-over) If you asked me before if I believed we have a soul within these robot bodies, I would’ve said a simple ‘yes’. Now, it’s not just a ‘yes’. Now, it’s an ‘absolutely’.


Cut to black. Credits are accompanied by the original song “I Need Something More” by Art Garfunkel and Daft Punk.





Edited by Slambros
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Posted (edited)

Friday the 13th

Release Date: May 13, Y6

Studio: Red Crescent Pictures

Genre: Horror

Director: Adam Green

Theater Count: 3,613

Shooting Format: 35mm Academy Flat

Aspect Ratio: 1.85:1

Release Image Formats: 4K DCP

Release Audio Formats: 5.1, 7.1, Dolby Atmos

Production Budget: $15 million

MPAA Rating: R

Running Time: TBD

Major Cast: TBD


Plot Summary:

A loose remake of the 1980 film of the same name by screenwriter Victor Miller, with some elements from the sequels as well.





FRIDAY, MAY 13TH, 1994


The film opens with a prologue. Someone opens a creaky wooden drawer in a kitchen, sorting through its contents, searching for a particular utensil. They settle on a large steak knife, its serrated edge gleaming into the lens. The camera pulls back and we see it is Pamela Voorhees, a redheaded woman in her late 20s, working in the kitchen of a summer camp. She uses the knife to slice up a slab of roast beef to make sandwiches for the campers.


A middle-aged man, Sean Christie, enters the kitchen to ask her if lunch is ready yet – but Pamela admits she’s a bit behind. She apologizes, explaining it is her son Jason’s birthday – and she took the time to make him a special treat. Sean, her boss and the camp’s owner, says that’s fine – but she’ll need to hurry up, as the kids are getting hungry. Warm and understanding, Pamela nods and happily gets back to work.


Cut to lunchtime – the children and counselors are gathered around picnic tables near the camp’s large main cabin, eating their sandwiches. Pamela is carrying two sandwiches and a small paper bag, wandering through the dining area searching for Jason – but she can’t find him. She stops and asks Sean where he is, and he replies he hasn’t seen him – but that he was supposed to be in a group of kids with a counselor named Betsy. Come to think of it, Sean realizes, he hasn’t seen Betsy either. He does know her group was up by the lakeshore before lunch.


Pamela goes to the group’s last location along the shores of Crystal Lake, calling out Betsy and Jason’s names. She doesn’t see either of them – but she does hear sounds coming from a small cabin nearby. When she knocks on its door, there’s no answer, but she can hear people inside. The door is unlocked, so she enters to find Betsy and one of the male counselors, hurriedly re-dressing themselves after an intimate encounter. They swear they weren’t doing anything, but Pamela doesn’t buy it. She begins scolding them, but before she can finish her tirade, she interrupts herself by demanding to know where Jason is.


Betsy insists that Jason is at lunch. She’d had one of the more responsible kids round up the others and take them there. But when pressed, she admits she didn’t actually see Jason leaving. Furious and terrified, Pamela storms back out of the cabin, screaming her son’s name as she searches the area frantically. Finally, the faint sound of splashing catches her attention. She turns her gaze to the lake.


Far from shore, her newly 8-year-old, deformed son Jason is struggling to stay afloat. His misshapen head bobs in and out of the water, his arms flailing about as he panics. Pamela shrieks, dropping the food she’s carrying; a candle-adorned cupcake rolls out of the paper bag onto the sandy shore. She runs out onto a nearby dock and dives into the water, swimming as fast as she possibly can toward her drowning son. But he disappears beneath the surface before she can reach him.


For a few moments she continues on, desperate, diving under to try and find him – but the water is dark and murky. She resurfaces, glancing around hysterically, but there is no sign of Jason. Pamela lets out an agonized, almost inhuman wail of grief – and her eyes lock on Betsy, who is now standing by the shore, staring out at her in shock and disbelief. Pamela falls silent. The camera gradually zooms in on her eyes as she glares at Betsy with a quiet, murderous rage. The camera zooms all the way in on her iris, then her pitch-black pupil fills the screen. From out of the darkness flies the title, which races toward the viewer until finally coming to a stop as it collides with a previously-invisible pane of glass and shatters it, the shards flying out of frame.




Edited by Xillix
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Studio: New Journey Pictures

Release Date: May 20th, Y6

Genre: Horror

Director: Ari Aster

Theatre Count: 2,805

Rating: R for Language, Sexual Themes, Nudity, and Disturbing Images

Budget: $15 Million

Format: 2D Dolby

Runtime: 1 hr 35 m



Alden Ehrenreich (Silas)

Emmy Rossum (Amy)

Jared Harris (Pastor Gabriel)

and James Earl Jones (The Entity*)


*=Denotes a voice role.



A young couple puts on facepaint that doesn’t come off, and they begin to turn into the things they’ve been painted to be.



As the opening credits appear onscreen, a young man named Silas (Alden Ehrenreich) walks into an indoor flea market that’s filled with a whole bunch of antique knick-knacks. He walks past other people and looks at other things in the room until he comes across a brown, rusted box with strange designs engraved on it. He opens the box and sees that it’s a face-painting kit with tools and a wide range of colors. He examines the attached price tag—zero dollars. And just like that, through a brief montage, we see Silas taking it through the cashier line, setting the box down in the passenger seat of his car, driving through busy city roads, and parking in front of a quaint apartment building with a smile on his face.


He hurries up the stairs and walks into his apartment—the living room walls are orange, and there is a kitchen, a bedroom (with a bathroom further inside), and another room that is being used as a makeshift art studio. Silas walks into this studio and finds Amy (Emmy Rossum), who is busy painting on canvas. They greet each other, and Silas gives her the case of face paint—“Happy Anniversary,” he says. Amy examines the case, and before Silas can finish a frenzied spiel about the validity of the face paint as a gift, Amy leans in towards him, and they kiss. Amy tells Silas that she wants to use the face paint that night, much to Silas’ surprise.


We cut to Amy as she applies the finishing touches onto Silas’ face. Amy has painted the features of a lion onto Silas’ face. We see that Amy’s face has stripes of many colors on her face—like the colors of a rainbow—and this is because she had invited Silas to paint her face, and Silas is much less experienced when it comes to the arts.


As Amy applies the finishing touches, Silas, a musician for a church worship band, tells her that he’s really confident in the band’s setlist for the next Sunday’s service, and that he’d love to see her at the service sometime. Amy lovingly tells Silas that she simply doesn’t feel the same way about religion as he does.


As Amy finishes, she looks at the paint in the case and notices that the amount of paint in the case has remained the same—there’s no evidence that any paint has been used. Silas suggests that it is a good problem to have. Amy jokes about how the case might be cursed in some way. Silas shrugs off the notion.


We cut to a sex scene. Amy is lying on the king sized bed; Silas leaps onto the bed and crawls toward Amy. Amy asks Silas what his pride is, and Silas tells her that she is his pride. They indulge in their pursuit of pleasure; the camera dollies away as it watches them from top down, and the setting around the bed dissolves from a sparse bedroom to a lush jungle.


We cut to the next morning as the sun rays shine down from the windows. Silas rises from the bed, the paint still on his face, and he sneaks to the bathroom, so he does not wake up Amy. He turns the shower on and hops in; after some time, he rubs his face and notices that the paint on his face is completely unaffected by the water. Silas turns the shower off and rushes to the bathroom mirror; the paint is exactly as it was when it was first painted onto his face—no water damage, no friction damage from his towel. Silas wakes up Amy, who tries to use makeup remover to get the paint off. But the makeup remover isn’t working either. So without a way to take off the paint, they’re forced to wear it for the time being.


Silas anticipates not being able to go out in public very much, and he makes a quick run to a grocery store to buy things they need—this spree includes obtaining two raw steaks. Silas notices that he’s receiving dirty looks and snide remarks from other people in the store, but he does his best to shake them off. He walks up to the cashier, and the cashier tells him that she likes the whiskers that are on his face—a ‘very nice detail,’ she says. Silas feels the whiskers, understands what is happening, and begins to panic.


We cut to Amy as she tries more ways to get the makeup off of her face—all of the them fail. Her phone vibrates, and she sees frantic text messages from Silas telling her what is happening. Suddenly, a voice calls for her from within the studio. She walks from the bathroom to the studio, and she finds that the case of face paint, which sits on a small retractable table in the middle of the room, holds an invisible entity which speaks directly to her with a menacing voice (James Earl Jones). The entity tells her that there is no reversing the curse, and that she should just accept it. So she does.


Silas comes back to the apartment with the groceries—he accidently drops a glass jar of grape jelly on the floor, and it shatters. He rushes into the studio and finds that Amy is completely nude; she is using the paint in the case to continue the color pattern of her face on all of the parts of her body. Silas is very upset by this, and the scene ends with him running to the bathroom and crying to himself.


We cut to the apartment at nighttime. Silas is alone on the couch—he’s sleeping on the couch tonight. Amy shows him her fully-painted body, and she tells him that she’s not sorry about painting herself—it’s her body, and she can do what she wants with it. She can accept what’s happening if she wants. With a sigh, Silas tells Amy that he is going to talk to his pastor tomorrow to see if there’s any advice he can give.


We cut to the next morning as Silas sheepishly walks into the furnished office of Pastor Gabriel (Jared Harris). Silas is wearing a hoodie and a baseball cap to hide the fur that’s grown on his face. He sits down, and they talk about the curse, and about Amy. Pastor Gabriel tells Silas that he shouldn’t come to the services until they are back to normal. Silas takes great offense to this, feeling like he’s being banished from the congregation. Pastor Gabriel tells Silas to try and find the good in the situation, and he strides out of the room and Silas pulls down his hat to hide his tears.


We cut to Amy in the studio as her skin is becoming to become like fabric. The entity tells her that she isn’t becoming a sentient being like Silas is. Rather, she is going to become what amounts to a pile of multicolored ribbons. The entity jokes that Amy will become something that is worthless. Amy is devastated by this. She tries to open the case, but the contact speeds up her transformation, and her body becomes much more springy. At this point, Emmy Rossum is now doing a motion-capture performance.


We cut to Silas as he sets one of the trays of raw steak down on the kitchen countertop. He breathes in and out, and he rips open the packaging. He tears into the meat and tries to chew it, but it’s too much for him; he vomits into the trash can under the sink. And he slumps down onto the floor, sweating profusely.


Amy comes out of the room and sees Silas on the ground. She chastises him for eating the steak raw when she could’ve cooked it for him. Silas stands up and tells her that she looks like a rainbow mummy, and they get into an ugly argument, where they’re swearing at each other about petty things they find to be irritating about the other person. Silas mutters the word worthless under his breath, and Amy tearfully demands to know why he ‘called him worthless’. Silas ‘swears to God’ that he was telling himself that the conversation itself was worthless, and that Amy is the most important thing in the world to him. Amy collapses into Silas’ arms and cries. After a moment, Amy collects herself, and she lets an unassuming Silas know that he has a tail.


We cut to nature shots of the lush jungle. Silas and Amy hold each other close as they lie down on the bed that is now within the jungle. Amy tells Silas that the entity within the case has been speaking to her. Silas tells her that he’ll always love her no matter what. Amy’s essence dissipates, and her body collapses into a pile of ribbons. The jungle fades away, and the bed is in the drab bedroom once more. Silas runs the ribbons through his padded hands, and he wails like a child, crying out to God for mercy.


We cut to Silas as he stands in front of the bathroom mirror. He splashes cold water onto his face. The transformation is taking more and more of a hold on him—he almost look unrecognizable. He stares at his lion eyes in the mirror, and he gains conviction.


He storms into the studio, where the case is on the floor, and a black essence has spread onto the floor around the case. Silas tells the entity that he is going to end its tyranny. The entity tells Silas that he is only dooming himself if he does such a thing. Silas tells the entity that he could care less, and he pounces onto the case. Silas tries to tear the case in half with his hands. The entity attacks him, and Silas’ body becomes more and more like that of a lion’s. Unfortunately for the entity, Silas is also gaining the strength of a lion. Silas applies one more burst of strength, and the case bursts apart into many pieces. Some of the paint splashes around the room, and that paint evaporates as if the floor was lava.


Silas collapses onto the floor, and his body rapidly completes its transformation. Amy’s voice whispers ‘thank you’ to Silas, and Silas shuts his eyes.


We cut to the jungle. The sky is somewhere in the realm between magenta and pink. A lion lies down on the soft dirt path. After a moment, it stands up on all four of its paws and struts along the dirt path before it. The lion looks ahead and finds rows of multicolored ribbons lying on the path. The lion leaps toward the ribbons as a housecat would leap towards yarn, and it plays with the ribbons with its front paws. The lion looks ahead and notices that the ribbons on the path are all leading to a shining light in the distance, and the lion therefore follows the guiding ribbons as it trots toward the light.


Fade to black.


(The following selection of music is simply mood music.)





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  Image result for xj9 logo  X J 9:  R E B O O T


Director: Gore Verbinski

Writers: Kelly Marcel and Sue Smith

Producers: J.J. Abrams, Gore Verbinski


Composers: Ludwig Goransson

Director of Photography: Simon Duggan

Production Designer: Kevin Kavanaugh

Editor: Tatiana S. Riegel

Costume Designer: Mary Zophres

VFX House: Industrial Light and Magic


Major Cast: (**Indicates voice or 100% motion capture performance - all other aliens are done with a mix of practical makeup and motion capture)

  • **Natalia Dyer as XJ-9/Jenny Wakeman, a teenage robot left unpowered for 20 years.
  • Bradley Cooper as Brad Arbuckle, Jenny's former friend and a bit of a washout.
  • Jordan Gavaris as Tuck Arbuckle, Brad's younger brother, a bit more straight laced.
  • Damian Lewis as Clancy Sharp, Sheldon's mentor with dark ulterior motives.
  • Ana de Armas as Pilar Fernandez, Nora Wakeman's protege and a robotics genius
  • Florence Pugh as DeCiM, A lethal android with a secret.
  • Lance Reddick as Gideon Stockwell, Sheldon's close advisor, albeit one with a secret
  • Yaya DaCosta as Brittany Crust, A former bully turned social media elite
  • Stephanie Beatriz as Tiffany Crust, Brittany's bestie, another social media elite
  • Jete Laurence as Ivy Arbuckle, Brad's daughter.
  • with Rami Malek as Sheldon Lee, Jenny's former friend and an eccentric billionaire.
  • and Lily Tomlin as Nora Wakeman


Genre: Sci-Fi/Action/Adventure/Dramedy

Release Date: Friday, November 18th, Y6

Theater Count: 3,958 (Including IMAX and Dolby Cinema)

MPAA Rating: PG-13 for sequences of sci-fi action, peril, and some frightening images

Runtime: 147min (2hr, 27min)

Production Budget: $180 million       


PREMISE: Teenage robot, Jenny Wakeman (XJ-9) is mysteriously rebooted after 20 years of shutdown. Desparate to find out why, she finds that the world, and her friends, have radically changed.



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Posted (edited)


Release Date: October 28, Y6

Studio: Red Crescent Pictures

Genre: Horror

Director: Jee-Woon Kim

Theater Count: 3,305

Shooting Format: Digital 3.4K (Arri Alexa SXT)

Aspect Ratio: 1.85:1

Release Image Formats: 4K DCP

Release Audio Formats: 5.1, 7.1, Dolby Atmos

Production Budget: $30 million

MPAA Rating: R

Running Time: TBD

Major Cast: Morena Baccarin (Yara), Joseph Gordon-Levitt (Harold), Dalila Bela (Natalie), Megan Charpentier (Coco), Esme Creed-Miles (Nadine/Miranda)


Plot Summary:

A loose remake/reimagining of the 2003 Japanese film Chakushin Ari by director Takashi Miike and screenwriter Minako Daira, previously remade in English as 2008’s One Missed Call by director Eric Valette.





We open on an early autumn evening at a nondescript American high school. The sun has just set, leaving the scene bathed in the eerie, purplish glow of dusk. A student is sitting by the front steps to the building’s entrance, waiting for her ride home following an afterschool program. She’s texting away on her phone, asking her mother how much longer she’ll be. An indication that her mother is typing a response appears, lingering for several seconds before vanishing. She waits and stares, the phone idling long enough for the screen to turn itself off. In the black mirror, careful viewers will spot the silouhette of a human figure standing above her, on the roof of the school. Frustrated, the girl wakes up her phone and begins writing another text – only to be distracted by the sound of her mother’s car pulling up to the curb. She stands up and begins to walk towards the unremarkable minivan-


And suddenly the body of another teenage girl falls from the roof and slams down on the pavement directly in front of her. The student shrieks as she is splattered with blood, dropping her phone to the pavement. The camera zooms in on its cracked, glitching screen, which displays the opening credits and title card:





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Studio: New Journey Pictures Classics

Release Date & Theater Count:

-        September 2nd (4 Theaters)

-        September 9th (21 Theaters)

-        September 16th (275 Theaters)

-        September 23rd (850 Theaters)

-        September 30th (2,590 Theaters)

Genre: Biblical Epic

Director: Lynne Ramsay

Rating: R for Violence and Gore

Budget: $30M

Format: 2D Dolby

Runtime: 1 hr 16 m

Original Score: Dustin O’Halloran (An epic orchestral score with various tones.)



Thandie Newton (Deborah)

Diego Luna (Barak)

Florence Kasumba (Jael)

Nonzo Anonzie (Heber the Kenite)

Amr Waked (Lappidoth)

Hafþór Júlíus Björnsson (Shamgar)

with Rodrigo Santoro (King Jabin)

and Nathan Jones (Sisera)


Abstract: A cinematic enactment of the Biblical story of Deborah and Barak.



We open with an army of hundreds of Philistines marching along a cliffside. The army stops at the sight of Shamgar (Hafþór Júlíus Björnsson), who wields an oxgoad and stands imposingly in front of the path of the Philistine army. The army gears up, and they rush to attack him. In very bloody fashion, Shamgar slays the Philistine army, warrior by warrior, until those are left turn away in fear. Shamgar wipes off his mouth with his fist and walks toward the camera until he’s so close that the screen is black. The title card appears on the black screen.


We cut to ‘Many Years Later’ in the streets of Israel. The nation is doing evil in the sight of the Lord; this is shown through a tracking shot that shows the Israelites worshipping idols, practicing promiscuous behavior, stealing from each other, and fighting with each other. Suddenly, a trumpet sounds, and the Israelites turn towards the sound. On top of a hill that overlooks the Israelite city, the commander of King Jabin’s army, Sisera (Nathan Jones) rallies his troops and charges toward the city. We see elongated scenes of violence and carnage against the Israelites.


King Jabin (Rodrigo Santoro) stands before the captured Israelites. He explains that he is King of Canaan, and that, from that moment on, the Israelites are now under the command of his nation. Jabin explains that his army has nine hundred chariots that are fitted with iron, and that any Israelite who opposes him and his nation will be put to death.


We cut to a montage of enslavement and oppression against the people of Israel. We cut to a scene where Israelites are building a large stone bust of King Jabin’s head—‘twenty years later’ appears in the shot. A Canaanite in menacing armor walks up to the stone bust and states, without a reason, that the bust doesn’t look right. He kills all but one of the workers and tells the survivor to assemble a new crew to finish the work. The Canaanite struts off without fear of punishment. The survivor falls to his knees and cries out to God for mercy on the Israelites.


We cut to the leaves of a palm tree as they sway against a clear blue sky. We cut to a woman—Deborah (Thandie Newton)—as she sits under the tree; the tree as on a hill which stands near the town of Ephraim. Two women approach her; they are the recently widowed wives of a farmer, and they’ve come settle a dispute over who gains ownership of a goat. The first wife claims she should own the goat solely because she was the first wife of the farmer. The second wife claims she should own it, because she was the one worker with the farmer as a servant in order to make use of the goat. Deborah rules that the second wife should own the goat. Before they leave, Deborah asks them if either of them know the whereabouts of Barak, son of Abinoam from Kedesh in Naphtali. One of the women does know, and Deborah tells her that he needs him to visit.


At night, inside the home of Lappidoth (Amr Waked) and Deborah, they engage in small talk about the day they’ve had. Deborah reveals to Lappidoth that God desires to use her to rescue Israel from King Jabin’s army. Lappidoth goes quiet at first, but he tells her that she’s been such a vessel to God that he’d be foolish to restrain her from the endeavor. Lappidoth is scared and uncertain, but he allows her to be used by God. They give each other a hug.


On the hill, Deborah sits under a palm tree, and Barak (Diego Luna) trudges up to the hill to meet her—him walking up to the hill is drawn out. Deborah tells him this: “The Lord, the God of Israel, commands you: ‘Go, take with you ten thousand men of Naphtali and Zebulun and lead them up to Mount Tabor.  I will lead Sisera, the commander of Jabin’s army, with his chariots and his troops to the Kishon River and give him into your hands.’”


A breeze swoops in. Barak hesitates in anxious fear. He tells her, “If you go with me, I will go; but if you don’t go with me, I won’t go.”


In response, Deborah replies, “Certainly I will go with you. But because of the course you are taking, the honor will not be yours, for the Lord will deliver Sisera into the hands of a woman.”


They stare at each other for a moment. We cut to a scene where Barak and Deborah are departing from the land, and Lappidoth watches their departure from a distance.


We cut to a couple who is sleeping in a tent—Heber the Kenite (Nonzo Anonzie), and his wife, Jael (Florence Kasumba). Suddenly, Heber sits up in alarm. Jael asks him what is the matter, and Heber tells that they need to travel to a specific place away from home. We cut to the morning as Heber disassembles his tent while Jael watches—Jael tells Heber that she doesn’t understand why they need to leave the place they’ve lived for so long, and Heber tells her that they need to trust in God. We see breathtaking footage of them traveling across the land; Jael rides on the donkey and looks on uneasily as Heber trudges through the sandy plains before him. Eventually, we cut to the couple as they reach a big leafless tree standing alone. There are other tents and other people around them.


Heber says, “This is a great tree of Zaananim. We are near Kedesh. This is where we are supposed to be.”


As Heber pitches the tent, Jael looks at her surroundings. The camera whirls around gently, cutting every so often, as uneasiness and uncertainty overwhelms her.


We cut to Barak as he stands with Deborah before a multitude of men. He goes into a long rallying speech, pleading with the Israelites that they need to fight for their freedom—that the God who struck the walls of Jericho will assure their victory, no matter how few men they may have. Barak points his sword towards Deborah and claims that the presence of the prophetess is proof that this uprising is truly meant to take place. The men are uplifted by this speech, and they join Barak’s cause.


We cut to Sisera as he is being given a canteen of stream-water for him to drink. One of his men tells him that they need to talk. They head back into a tent, and the man tells Sisera that the Israelites are organizing an uprising and are headed towards Mount Tabor. Sisera asks him who it is that is leading the rebellion. The man answers: “Barak son of Abinoam… and the prophetess Deborah.” Sisera laughs in the man’s face, tickled pink by the idea that a woman could lead a successful rebellion. He stomps out of the tent, raises his sword in the air, and yells out loud, to anyone who is near enough to listen, that he shall gather his entire army and all his iron chariots, and he will punish the Israelites for their rebellion against King Jabin.


We cut to Barak’s army, one only 10,000 strong, as the army marches solemnly up the winding passageway to the top of Mount Tabor. They reach the top and stare down the steep hill they stand upon. Barak tells the men their strategy: as the top of the hill is a height advantage, they will wait for Sisera’s army to appear before them in the valley below. Once the army appears, they will wait instructions from Deborah. We cut to a shot of Deborah as she stares down into the valley, her white clothes dancing in the breeze.


We cut to the village near the great tree of Zaananim as Sisera’s tens of thousands of troops trudge right through the village. Jael finds herself in the middle of the army as they march past her in an unorganized, almost lawless fashion. Within the mass of men, Jael looks up at one of the chariots and sees that Sisera is driving one of them. Her and Sisera make eye contact—Jael’s wide-eyed gaze met with Sisera’s menacing glare. Jael is struck by fear, and she searches frantically for a way out of the horde of men. Just before she is struck to the ground by an oncoming chariot, she manages to push her way out, and she runs to her husband Heber the Kenite, who had been standing off to the side, worried for her safety. They embrace each other; Heber’s face is flushed with relief while Jael begins to sob.


We cut Barak’s army as they rest for the night. The men eat food and enter a state of rest. Barak treads away from the other men, and he comes across a tree that stands singularly at the top of the mountain. Deborah is sitting beneath the tree, examining the stars. She addresses Barak without looking his direction.


Deborah: You do not believe me.

Barak: What do you mean?

Deborah: You do not believe me when I say that Sisera will not be given to your hands.

Barak stares down at her sternly.

Deborah: Am I not correct?

Barak doesn’t know what to say to her, so he steps away.


We cut to Heber and Jael as they sleep together. Heber tells Jael what all of the villagers no doubt know by now: there will be a fight between the Israelites and Sisera’s army. Jael whispers sweetly to Heber that she knows Sisera was the one who glared at her, and that, in the event Sisera shows his face inside their tent, she will kill him herself, and she knows exactly how she would prefer to go about such an action. Heber warns her that, because there is peace between their family and King Jabin of Hazor, such an action would break such peace. Jael tells Heber that Sisera is a murderer, and that he is a fool to stand against the Israelites—had he not considered the many legends describing the power and might of their God? Because Heber does not believe that Sisera will be coming into the tent, so he simply tells Jael to get some sleep.


We cut to daytime. Barak, having been sleeping on the hill, is awakened by the sound of a bugle from the valley below. Barak and his troops stand up. A loud voice from within the valley—Sisera’s—screams at Barak to gather his troops and face upon their swords. Barak gathers the men and turns to Deborah.


Deborah: Move on, for this is the day the Lord has handed Sisera over to you. Hasn’t the Lord gone before you?


Sisera’s troops lick their lips from within the valley. Sisera, upon his chariot, cracks a wide smile. It is clear that Sisera’s army outnumbered Barak’s army by a wide margin.


Barak turns to his men and yells that it is time for them to fight—a final rallying cry. Then he stands before Sisera’s army… and he pulls out his sword. The sword scrapes against his sheath as he whips it out, and that scraping sound cancels the soundscape. Sisera’s army is unnaturally affected by the sound of the scrape; they all cover their ears in agony. The sound that reintroduces the soundscape is Barak’s scream—"CHARGE!!”—as he runs down the hill, and his army follows. Sisera’s men, with terrified faces, enter a state of confusion and begin to kill each other instead of focusing on the oncoming threat. Barak’s troops pour down the mountain—they rush past Deborah, who is standing stoically, and the wind of their feet causes her white dress to dance in the air.


The Israelites begin to crash into Sisera’s army, and they begin to slaughter them. Not a single Israelite is slain by Sisera’s men. Sisera begins to understand the gravity of the situation, and he calls for a retreat. Many of his men are still fighting each other in confusion, but a good portion of them turn back. Sisera is told by a petrified solider that his iron chariot is stuck in the rocks. He does not tell any of his men what he is planning to do; he simply leaps out of the chariot and flees in fear of Israelites.


The Israelites continue to chase and kill the men of Sisera’s army for several minutes. Sisera runs with all his might, and he pushes anyone in his way to the ground. It begins to rain, and the chariots begin to get stuck in muddy passageways. The Israelites, given faster speed than the enemies, overtake many of the men. As Sisera continues to run past his men, his men begin to curse him with their words, telling him that he is leaving them to die. All of Sisera’s army is overtaken, but Barak continues run; he is the only man chasing after Sisera. Sisera runs like a machine through the muddy terrain, his eyes displaying maximum fear. Barak slows down, saddened by his failure, as the Israelites behind him, finishing off the last of the enemy troops, are overwhelmed by the spirit of victory.


Back in the village, Heber tells Jael that he must go for the moment, and he leaves. Jael sits alone in her tent. We cut to Sisera as he runs through the village—though we can see that he is thoroughly exhausted and on the verge of running out of stamina. He peers, through the corners of his eyes, at the villagers around him; they stare in amazement at his solitary presence.


Jael walks out of her tent and sees that Sisera is running for her tent. Jael feigns a smile.


Jael: Come in, my lord. Come in with me. Don’t be afraid.


Sisera hobbles into her tent, and he falls down onto his knee. Jael covers a blanket around him. Sisera takes a moment to catch his breath.


Sisera: Please give me a little water to drink, for I am thirsty.


Jael looks down at Sisera for a long time, and Sisera stares back at her. Sisera is no longer glaring at her; his eyes are practically that of puppy-dog eyes.


Sisera: Please.


Jael searches the tent and finds a container of milk. She holds it up to Sisera’s lips and pours the milk gently into his mouth. Sisera drinks from the container, and he is satisfied. Jael covers Sisera with another blanket, and Sisera looks up at her with pleading eyebrows.


Sisera: Stand at the entrance to the tent. If a man comes and asks you, ‘Is there a man here?’ say, ‘No.’


We cut to Jael as she stands in front of the tent for a moment. She peers back into the tent and finds that Sisera has passed out from exhaustion.


She sneaks into the tent with a tent peg in one hand and a hammer in the other.


She crouches over Sisera’s body.


She positions the tent peg over Sisera’s forehead.


She breathes sporadically.


She raises the hammer into the air.

She strikes. She strikes again. Blood spurts throughout the tent. She strikes again and again and again and again. She strikes until the peg is lodged into the ground.


The hammer falls between her fingers onto Sisera’s corpse. Jael looks up towards the sky, shuts her eyes, and cries.


Heber comes back from where he had come from and sees Jael stumbling out of the tent. He looks inside of the tent and stares aghast at the sight. We cut to Barak as he storms through the village with two of his men behind him; Jael and Heber are standing outside of the tent as they approach.


Jael: Come, and I will show you the man you are looking for.


Barak pushes past her and peers into the tent. He sees the dead body of Sisera, and terror and sadness grow on his face. He looks at Jael, who stares at him with teary eyes. The two men who came with Barak begin to joke about how Deborah had been correct. Barak runs further from the tent, falls to his knees, and cries to himself.


We cut to a slow motion shot as Israelite soldiers rush toward King Jabin, who is sitting defenseless in his throne room. The soldiers pierce him with their swords, and the king dies.


We cut to a nighttime celebration around a campfire, dollying out from a tambourine that is being hit by a woman. The woman sings a song in the Hebrew language as she hits the tambourine. The Israelite soldiers dance around the campfire in victory. Barak sits alone near the fire, and Deborah sits beside him. Barak does not look at her. Deborah holds Barak’s hand.


Deborah: Barak. God is given the highest glory. But neither of us are left without honor.


Bark looks at Deborah and smiles. We cut to a shot of Deborah and Barak as the two of them stare at the flame while the Israelites continue to dance around it.


We cut to a lengthy montage:


  • Hannah, the mother of Samuel, fervently praying for a child.
  • Rizpah, a mother during the time of King David, protecting the corpses of her seven dead sons from scavenging vultures.
  • Esther walking into a room and sitting down with King Achashveirosh and his mischievous servant Haman; gulping, steadying herself, and preparing to speak.
  • Mary sitting on a donkey, travelling with Joseph across the desert towards Bethlehem.
  • A woman rubbing the feet of Jesus with perfume.
  • Mary Madgalene traveling on a rocky path with two other women.
  • Phoebe, one of the individuals given a proverbial ‘shout-out’ by Paul at the end of Romans, accepting people into a church gathering.
  • Joan of Arc rallying troops.
  • Harriet Tubman leading escaped slaves through the Underground Railroad.
  • Elsie Bowerman helping row a lifeboat away from the sinking Titanic.
  • Rosie The Riveter flexing her muscle and smirking.
  • A digitally de-aged Jodie Foster shaking the hand of director Jonathan Demme as she walks onto the set of The Silence of the Lambs.
  • A group of young women sitting in a circle, studying the Bible, and praying together.


We cut to Barak and Deborah as they stare at the flame. Barak rests his head on Deborah’s shoulder. Our final shot is on the other side of Deborah and Barak as they continue to observe the dancing.


Cut to black.


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Posted (edited)

Once upon a time in the Lylat System...


star fox.001.jpeg


Release Date: July 15th, Y6

Directed by: Joaquim Dos Santos and Lauren Montgomery

Soundtrack List: TBA

Additional Original Music by: Nicholas Britell and James Murphy

Cinematography Consultant: Roger Deakins

Edited by: Joe Walker

Based on: The video game series created by Shigeru Miyamoto and published by Nintendo.

Studio: Alpha Pictures and Hollywood Animation Studios

Genre: Animation / Science Fiction / Adventure / Space Western

Animation Format: Digital animation done in the style of traditional cel animation — a hybrid of both 2D and 3D technology

Premium Formats: IMAX 2D, Dolby Cinema, 35mm and 70mm

Aspect Ratio: 1.44:1 (IMAX with Laser — all scenes), 1.90:1 (Digital IMAX), 2.20:1 (70mm prints), 2.39:1 (standard & 35mm prints)

Image Formats: 2K DCP, 4K DCP, 4K Dolby Cinema DCP, 2K IMAX Digital DCP, 4K IMAX with Laser DCP, 35mm prints, 70mm prints

Audio Formats: 5.1, 7.1, Dolby Atmos, IMAX 12-Channel

Production Budget: $150 million

Theater Count: 4,106 (including around 350 IMAX locations)

MPAA Rating: PG-13

Running Time: TBA



Wyatt Russell as Fox McCloud

Winston Duke as Falco Lombardi

Jimmy O. Yang as Slippy Toad

Tim Blake Nelson as Peppy Hare

Brian Tyree Henry as Wolf O'Donnell

Douglas Hodge as Pigma Dengar

Jesse Plemons as Leon Powalski

Steven Yeun as Andrew Oikonny

Tessa Thompson as Fara Phoenix

Simon Pegg as Lieutenant William T. Grey

Jennifer Jason Leigh

Walton Goggins

Jean-Claude Van Damme


Bruce Greenwood as General Pepper

Kyle MacLachlan as Andross

Kurt Russell as James McCloud






Edited by Alpha
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Posted (edited)

LESEDI: The Phoenix Princess

Studio: Endless Entertainment
Village Roadshow Pictures
Lin Pictures
Director: Gina Prince-Bythewood

Producers: Dan Lin and Travis Knight
Executive Producer: Lauren Montgomery
Writers: Gina Prince-Bythewood, Christina Hodson, David Callaham and Shannon Tindle
Composer: Dario Marianelli
Director of Photography: Henry Braham
VFX: Weta Digital and Industrial Light and Magic
VFX Supervisor: Philippe Rebours

Cast: *indicates motion capture performance, ** indicates voice performance

  • Kiersey Clemons as Lesedi

  • Saoirse Ronan as Ira

  • *Gerard Butler as Alvaros

  • *Zhāng Ziyi as Tora

  • Tye Sheridan as Evan

  • Michael Fassbender as

  • *Bobby Moynihan as Ignus


  • Ana de Armas as

  • Daveed Diggs as

  • Chiwetel Ejiofor as

  • *Jon Hamm as


  • *Helen Mirren


Genre: Fantasy/Adventure/Action/Comedy-drama
Release Date: November 4th, Y6

Theater Count: 4,352 (including 405 IMAX theaters)
Format: 2D (2.39:1), 3D, Dolby Cinema and IMAX 2D+3D (1.44:1)
IMAX: Select sequences shot in 70mm IMAX (1.44:1). Footage cropped to 1.9:1 on digital IMAX screens.
Budget: $190 million
MPAA Rating: PG-13 for intense sequences of fantasy action violence, thematic elements, frightening images, and mild language
Running Time: 150-160 minutes (2 hours, 30 minutes to 40 minutes) (estimate)



Edited by YourMother the Edgelord
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Posted (edited)


Genre Horror/Action

Director Joe Cornish

Written by David Slade and Joe Cornish

Release date 10/21 y6 

Major cast:

Aaron Taylor-Johnson as Alucard

Daisy Ridley as Integra Hellsing

Lucy Boynton as: Seras Victoria

Ben Mendelsohn as Walter Dornez

Gerard Butler as Father Alexander Anderson

Daniel Brül as The Major

Oscar Isaac as Tba


Theatre Count:4113

Budget: 75 million

Format: IMAX 2d+3d Cinerama Dolby cinema 2d+3d 

Mmpa rating: R for intense Violence and gore, disturbing images and language.


Edited by Reddroast
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Reserved for The Lugosi Heist (this is the Edgar Wright/Joe Carnahan joint)

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Posted (edited)

High School Musical: East vs West


Studio: Endless Entertainment

Release Date: 2/11/Y6

Genre: Family/Romance/Musical/Dramedy

Director: Kenny Ortega

Rating: PG for thematic elements and rude humor

Budget: $35M

Theatre Count: 3,708

Format: 2D

Runtime: 111 minutes


Auli’i Cravalho

Cameron Boyce

Daniel Hurtlestone

Taliah Webster

Julian Dennison

Nicholas Hamilton

Sabrina Carpenter

Lin Yun


Hugh Jackman

Ben Platt


Lucas Grabeel


Plot: WIP

Edited by YourMother the Edgelord
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