At the age of 28, Logan Lerman's career has already hit impressive s. He's worked alongside some of the most iconic actors in critically acclaimed hits like 3:10 to Yuma and crowd-pleasers like Fury and The Patriot. Further, his coming-of-age hits include Perks of a Wallflower and the Percy Jackson franchise, among other projects. Fast forward to 2020, and Logan's enjoying second billing behind the legendary Al Pacino in Amazon's Hunters series, which is executive produced by Jordan Peele. It's not a bad place to be.
Logan stars in Hunters as Jonah Heidelbaum, a young man who experiences a great tragedy that's not unlike the plight of Peter Parker. Soon enough, Jonah crosses paths with Al Pacino's financier character, who recruits Jonah into his ragtag band of Nazi hunters. The show largely takes place in '70s New York, and it's heavy on the Quentin Tarantino vibes as well as the comic book references. Logan was gracious enough to discuss his role, which involved both a transformation as well as weapon-wielding skills and dancing not at the same time. He described an intense production, but fortunately, Pacino made the experience more than worthwhile for his onscreen protégé.
The Hunters premise has made a lot of people think of Inglorious Basterds.
Of course, naturally, yeah.
For the curious, would you distinguish the two works?
Oh, they're very different tones and subject matter. I haven't thought about Inglourious Basterds enough to tell you what makes this different, but they take place in different time periods, and there's more truth in what's happening in Hunters. This is definitely a big, over-the-top show that's not grounded in reality, but it is grounded in truth in the sense that Nazis were given immunity after World War II and some were living in the U.S. And it plays into that situation, but the center of the series really revolves around a question about morality, about evil and how to combat it. Like, do you have to be evil in order to fight evil. Do you need to become a bad guy in order to fight the bad guys? That's what we're really exploring at the center of the series. That's not the question at the center of Inglourious Basterds, so that's the biggest difference.
And that morality struggle comes up in conversation between Jonah and his friends about Batman and going to the dark side.
Yeah, it's interesting because people are thinking about Inglourious Basterds, but this is much more like a comic book film. It's very much more along the lines of Spider-Man.
We don't want to spoil which side Jonah goes to, but if you personally could be a Batman or a Spider-Man type, who would you pick?
They're both pretty cool characters. I really don't know, to be honest. I haven't read the comic books,...
Netflix has released the first trailer for Extraction. This one, on paper, has a whole lot going for it. For one, it's one of few new blockbuster-level releases viewers will be able to watch this month, as movie theaters all around the country remain closed. It also features Chris Hemsworth in the lead. To top it all off, he's reunited with Joe and Anthony Russo, the directors of Avengers: Endgame, who are producing the original thriller. And, based on this first trailer, this could certainly be something to look forward to this month.
The trailer opens up with Chris Hemsworth doing some intense cliff diving/meditation before some of the action kicks in. We get the sense that Hemsworth has something of a death wish. We then get to the heart of the matter, which sees this man having to rescue the son of a drug lord, who was kidnapped by a rival drug lord. Things escalate, to say the very least of it, and Hemsworth is left trying to fight off impossible odds to keep this kid safe. This does seem to lay everything out on the table, seemingly not leaving much up to the imagination, but it's an impressive trailer. Lots of action. Real stakes.RELATED: Netflix's Extraction Poster Shows Chris Hemsworth as a Deadly Black Market Mercenary googletag.cmd.pushfunction ;
New Netflix original Extraction centers on a hardened mercenary's mission, which becomes a soul-searching race to survive when he's sent into Bangladesh to rescue a drug lord's kidnapped son. The cast also includes Rudhraksh Jaiswal, David Harbour, Derek Luke and Golshifteh Farahani. Taking to Twitter, Chris Hemsworth expressed his excitement in sharing the trailer, especially at this moment in time, given what's going on in the world.'So happy to finally be able to share the trailer for Extraction with you all! This has been a difficult few months for all of us, and we hope this will provide a bit of entertainment while we are all staying home.'
This trailer arrives after an Extraction poster proved to be quite popular after it was unveiled. Netflix has been ramping up its work with A-list filmmakers in the past few years and this is a huge example of that. The Russo brothers, coming off of Avengers: Infinity War and Avengers: Endgame, have been busy producing a number of high-profile projects. In this case, Joe Russo wrote the screenplay and is producing alongside his brother, Anthony Russo. Re-teaming them with Hemsworth, who plays Thor in the Marvel Cinematic Universe, makes this an impressive package deal.
Sam Hargrave, a longtime stunt coordinator who has worked on quite a few massive blockbusters in his day, including Captain America: Civil War with the Russo brothers, is making his feature directorial debut. Hargrave also worked on Atomic Blonde, The Hunger Games series and Suicide Squad, as well as a few other MCU titles like Thor: Ragnarok. So he knows his way around a big...
When Hunters was first announced, I remember feeling invigorated by its concept. I didn’t really look into it too much beyond series creator and co-showrunner David Weil, and felt at ease knowing there would be a Jewish person of my generation helming the project. The knowledge that Jordan Peele was on board as a producer meant it would likely be subversive and challenging. Then we got the first trailer and I was all-in.
However, nothing could prepare me for how this series would reflect my personal experience as a Jewish woman living in North America today. What Weil and his team have accomplished is remarkable; they’ve created a series that straddles the trauma of our most recent past alongside the threat of our imminent future, while lovingly and angrily embodying the very essence of the contemporary Jewish experience.
This article contains some spoilers for the first season of Hunters.
I’m shaking as I write this. You see, it’s impossible for me to talk about this show without getting personal, much like it’s impossible for most Jewish people to disconnect from our shared generational trauma as a culture. In a recent interview with Variety, the cast and crew discussed the show’s significance at a time when the visibility of latent antisemitism is on the rise. Near its conclusion, the show’s creator, David Weil, talks about growing up Jewish in America, surrounded by subtle forms of antisemitism. “Small acts,” he says, “a joke about Jews in ovens that I heard when I was in college or a swastika being spray-painted on the front lawn of my high school growing up.” I wince. I know exactly what he’s talking about because I’ve experienced nearly the exact same things.
When I was 16 years old working at the local movie theatre, a co-worker stopped me to tell me a joke. He led with “you’re Jewish, so I think you’ll like this.” I gave him the go-ahead, not sure where this was going. “What’s the difference between a Jew and a pizza?” I didn’t answer. I stared at him in stunned silence, which he took to mean I was waiting for the answer. He continued. “Pizzas don’t scream when you put them in the oven!” He laughed as if he’d told a real knee-slapper. I started shaking and, in my anger and hurt, I yelled at him. I told him that wasn’t funny, and he told me to lighten up. After all, it had been a long time since the holocaust, he said. I proceeded to tell him about my Abuelito, my mom’s father, and shame him for ever thinking that kind of joke was okay. He apologized, though defensively. I walked slowly to the staff washroom and proceeded to cry there, alone, shaking as I am now.
When I was in University, I got really used to being the only Jewish person for miles. Typically, if we’re not in a predominantly Jewish area, we’re usually the only ones in a...
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...