The Batman, Matrix, Jurassic Park, and more. These are just a few of the movies that have been made into games in recent years. Games like these can be found on consoles and mobile devices everywhere. However, they’re not always the best games.
The dinosaur exhibits near me is a list of dinosaur names. There are also other lists about the Batman, Matrix, Jurassic Park, and more.
(Photo courtesy of CinemaCon 2021)
CinemaCon drew movie theater owners, studio officials from most of the major studios, and members of the press to Las Vegas during the week of August 23. The event took place at Caesar’s Palace and served as an annual preview of future film slates for the Caesar’s Colosseum. The tenth CinemaCon was scheduled for 2020, however the event was canceled due to the worldwide pandemic. The movie industry now feels compelled to assemble for the event, partly as a sign of good faith from themselves and the studios producing major pictures that assembling for a theater experience is still an important element of film distribution.
From Monday through Thursday, presentations beginning with Sony Pictures Entertainment and ending with Lionsgate showcased films that would be released in cinemas soon. Disney, Warner Brothers, Universal, Paramount, and other studios contributed film to the event, which was often accompanied by messages from cast and crew. With the exception of Warner Brothers, which sent solely executives, CinemaCon usually features in-person introductions from Hollywood’s greatest actors. Warner Brothers opted for an all-digital presentation, with executives, cast members, and directors participating in a lengthy video presentation.
Despite the fact that the event was not as spectacular as past years, with no musical performances or red carpet interviews generating headlines, the video indicated a bright future for the film industry. In droves, blockbuster franchises and fresh, unique concepts are making their way to the big screen. We’ve compiled a list of some of the highlights from the 2021 CinemaCon presentations!
Resurrections of the Matrix
(Photo courtesy of WARNER BROS)
The title and first look at the fourth Matrix film were perhaps the most eagerly awaited revelations. Warner Brothers debuted The Matrix Resurrections to the Colosseum audience on Tuesday night, with plenty of styled action in the initial video.
At least half of the film’s plot was eventually disclosed. Keanu Reeves is back as Neo, this time with long hair and a small beard. Neo has no recollection of his previous existence, but shards of Zion are slowly finding their way back to him. Still, at the opening of the film, the existence we saw in the first Matrix trilogy two decades ago is not something he is consciously aware of. Instead, he has no idea when Carrie Anne Moss’ Trinity asks, “Have we met?” He doesn’t recognize the lady he once loved, but that won’t last long.
The original Matrix movies’ creative spirit seems to have returned. At the very least, Lana Wachowski has achieved an amazing mix of skillful use of filmmaking technology for distinctive action scenes similar to those seen in the original films, as well as new-age possibilities. Neo and Carrie Anne Moss’ Trinity sprang into action in beautifully filmed beats, whether it was jumping off a motorbike, waving away an oncoming rocket, or leaping from the top of a building in a stunning, golden slow-motion picture. Reeves slid immediately back into the character, stopping bullets with a simple raising of a hand and bringing Neo’s attitude to the screen, as the audience’s nostalgia for the original trilogy floods back.
Batman is a superhero who protects the city from
(Photo credit: DC / WB)
The Batman, a frontrunner to be the most eagerly awaited film of 2022, presented an extensive behind-the-scenes look to CinemaCon that was exclusively seen to the attendees. Director Matt Reeves spoke more about his personal approach to the DC Comics hero in the video, which was dark, dirty, and gorgeous. He claims that this will be the “most intimate” Batman tale ever told in a film.
The featurette began with Bruce Wayne strolling to the sound of Michael Giacchino’s menacing piano music. “Batman has always stood out as one of the great figures of the twentieth century,” said the film’s star Robert Pattinson. The film’s tones are largely black and grey, staying gloomy and dismal to establish the tone for Gotham. We see him in the cowl, removing it, and the film’s tones are heavily black and grey, remaining dark and hopeless to create the tone for Gotham.
Reeves says that this film will be “radically different” from previous Batman films. How? We haven’t seen anything that “grounds it the way Year One does,” says Reeves. The filmmaker describes it as “Batman in his early days, full with anger and finding his way,” rather than “Batman in his early days, filled with rage and learning his way.” Meanwhile, video shows Batman brutally beating up thugs in what seems to be a gloomy jail set illuminated only by a frightening red light. The video is filled with explosions, police officers, and black mayhem.
Pattinson remarked, “He’s really working out this anger.” “It seems like all of the conflicts are extremely personal.” He beats down opponents with a variety of weapons, including pipes. For the short image, we get our first glimpse at Andy Serkis as Alfred, a dapper guy dressed in a vest over his button-down shirt, standing charismatically with a glass in one hand. Other highlights include witnessing the Batmobile tear through a major street in thrilling manner and driving with flames pouring from its exhaust.
“We can’t wait for you to see The Batman next year in cinemas,” Reeves says. This results in a somewhat modified version of the original video (available here) from 2020’s DC FanDome event, with a little more action featuring Catwoman, a red “2022,” slate at the conclusion, and a voice over from Riddler: “You’re a part of this, too.” “How am I a part of this?” Bruce asks over the black screen. “You’ll see,” says the narrator. It was fantastic.
(Photo courtesy of Sony Pictures)
To start things off, Sony Pictures went big. Because the Spider-Man: No Way Home trailer was about to be published online, I decided to stay in on Monday night and record a special edition of the Phase Zero podcast to talk about it. Sony, on the other hand, had much of interesting video to show.
Morbius seems to have won the Sony Pictures presentation in terms of material that was not published online, based on what I’ve heard from colleagues. Many people are dismissing this Marvel picture starring Jared Leto since it is not a Marvel Studios film with established ties to the Marvel Cinematic Universe. Members of the press, on the other hand, spent hours at CinemaCon receptions gushing over the footage. Words like “action-packed” and “amazing” were used to describe it, with one reporter remarking on how “shredded” Leto is in search of the part. Although this video was not made public, it seems to have created a very favorable impact on reviewers who viewed it.
Sony Pictures also screened the full Ghostbusters: Afterlife, which received excellent feedback on social media.
Dominion is the sequel to Jurassic World.
(Universal Studios photo)
Universal Studios wrapped off their presentation with a lengthy featurette for Jurassic World: Dominion. It was one of the most thrilling parts of the whole CinemaCon week, and it was greeted with thunderous ovation.
Jurassic Park director Stephen Spielberg discusses a mosquito to a young cast member in video from the set of the first Jurassic Park film. The ensemble recalls the “energy on set,” as Laura Dern described it, as a sign that they were working on something unique from the start. It’s something Jeff Goldblum recalls. Chris Pratt recalls seeing it. Bryce Dallas Howard recalls, “The first time I saw dinosaurs, I wept.”
Jurassic World: Dominion director Colin Trevorrow stated, “Jurassic World: Dominion is a celebration of the series.” “It brings to a close a narrative that Stephen Spielberg began in 1993.”
“It’s all we could have dreamed for and more,” said Dern. In many cases, the video depicts the original cast, known as “legacy characters,” interacting with the “World characters.”
The film will pose the question, “Would you be safe if dinosaurs lived among us?” Trevorrow elaborated. “And the response is a resounding ‘No.’” In this exciting first look, a mosasaur rises from the sea to devour a whole helicopter, cutting just as it smashes its mouth on the plane. A raptor flies over the rooftop of a building, leaping from one to the next. A T-Rex has been discovered in a city! Like an exciting sizzle reel, stunts, people falling, cars tumbling, and more mayhem fill the screen. In the woods, Sam Neill and the rest of the group seem to come face to face with a T-Rex.
Perhaps the most interesting aspect of it all is the extensive video of Neill, Goldblum, Dern, Pratt, Howard, and others. The crossover between the old cast and the new cast will be spectacular. The dinosaurs are wonderfully brought to life, with contemporary visual effects apparently merging with real possibilities to have a manufactured T-Rex on set and in camera. It was a vibrant, exciting teaser for the 2022 picture.
The Unbearable Burden of Great Talent
(Photo courtesy of Brandon Davis / )
Lionsgate wrapped up CinemaCon on Thursday afternoon with a sneak peek at its future projects. This featured Nolan Emmerich’s Moonfall, Daniel Stamm’s The Devil’s Light, and Zachery Levi’s Kurt Warner biography American Underdog. The Unbearable Weight of Tremendous Talent, on the other hand, is the one that has everyone talking.
Nicolas Cage starring in the new picture… as Nicolas Cage. Cage’s Hollywood career is on the decline in the first trailer for the film (which has yet to be published online). Acting chances are dwindling, and he’s on the verge of telling trade publications, “Well, it was a nice run.” (Paraphrasing.) This is until he receives a call proposing he make a paid appearance at a super fan’s birthday celebration. He reluctantly agrees, fearful that it would be a strange transaction with someone looking for sexual favors or something else. The big fan turns out to be Pedro Pascal’s character from The Mandalorian, and he loves Cage’s work so much that he has his weapons from Face/Off.
As a consequence, the trailer generates a lot of chuckles. It’s all fun and games for Cage until Tiffany Haddish’s character appears. She’s a CIA agent, and she’s given Cage’s Cage a mission: bring in Pascal’s character, a wanted drug king.
It’s as crazy as it sounds, and this film has a lot of potential to be fantastic.
Soho’s Last Night
(Photo courtesy of Focus Features)
During their joint presentation on Wednesday afternoon, Universal Pictures and Focus Features gave a sneak peek of Last Night in Soho. It seems to be an exciting, mind-numbing journey from Edgar Wright, the legend. It’ll be fascinating to see whether he can score this one, since the new teaser revealed a lot about the film’s enigmatic and ambitious concept.
A little girl goes on vacation to London in this one. She declares that this is her favorite location on the planet, with the only thing that might possibly improve it being living there in the 1960s. She is enthralled by all she has learned about this place over the last six decades. In a case of be careful what you wish for, she begins to dream about being in London to the point that she is unsure whether she is awake or sleeping. However, she begins to see the same scenario play out in her nightmares, culminating to the death of a rich character played by Anya Taylor-Joy, who was murdered by a guy played by Matt Smith.
This little girl, portrayed by Thomasin McKenzie, believes she has seen a genuine murder in the current day. She now has to find the perpetrator, who seems to be nothing short of a nasty creature in his old age. Wright seems to have created an unique tale that is both fascinating and exciting.
One of the biggest shocks at CinemaCon was Ambulance. It seems to be a lot of fun, particularly for those who like straight-up action movies. In terms of tone and scale, Michael Bay seems to be returning to his Bad Boys efforts with Ambulance, but this one may not be aiming for quite the same degree of hilarity. Yahya Abdul-Mateen II plays a military veteran who receives no assistance when his wife requires surgery and caring for her and their kid becomes more difficult. He goes to Jake Gyllenhaal’s eccentric, wealthy persona out of desperation, only to find himself engaged in a high-stakes bank heist that pays him millions of dollars more than he expected. Below is an explanation of the footage displayed!
The trailer begins with Yahya Abdul-Mateen II on the phone, attempting to obtain assistance. He is a military veteran who is not receiving any assistance since he is responsible for his wife and child. He visits Gyllenhaal’s character, who owns a garage full of lavish exotic automobiles. Gyllenhaal’s character is arrogant, shouting a joke at the top of his lungs “You have no right to be in here! When you walk in here suddenly, it makes the rich folks feel bad!” Yahya says that he needs assistance, but Jake goes above and above. He intends to steal a bank for a million-dollar payday. Yahya joins the bank robbery team despite his reservations. When a police officer approaches the bank entrance, the robbery is in full swing. Jake slams the door and greets him with a pleasant, smooth demeanor before attempting to shoo him away. He will eventually have to allow him in and then add him to the captives.
In the video, Gyllenhaal, who is dressed in a suit, is slick and elegant at moments, but also erratic and energetic in the part. When another policeman outside witnesses what’s going on, the job goes awry. Then there’s gunfire. Robbers are no longer wanted. Then there’s an escape. Jake’s character has a run-in with the first policeman. The cop must be shot by Yahya. Jake notices the error right away. Jake wants to flee, but Yahya wants to assist the policeman. When the second policeman discovers him, he hurries over to Eiza Gonzalez, who portrays a medic attempting to save the injured officer.
A search follows, complete with a barrage of gunshots. It’s action-packed and filmed in an ambitious manner, as you’d expect from a Michael Bay picture. Yahya and Jake’s characters attempt to flee in the ambulance together. Jake maintains that all he wants to do is bring everyone back home. They must determine whether or not to let Eiza’s medic to assist the policeman in saving them from accusations of murdering an LAPD cop, a seemingly insignificant issue given all of the other gunshots and actions of these individuals, but one that drives their efforts nevertheless. They have taken over the ambulance and are holding the medic and injured cop as hostages. Jake’s character ends up assisting the medic in her efforts to heal the cop in the back of the ambulance, which helps the cause. Jake’s character says, “That hostage and that policeman are keeping us alive.” Despite Eiza’s best efforts, he will not let her go. Helicopters and other police vehicles are pursuing them. There seems to be no way out of this situation. Jake’s character ultimately breaks down, opening fire in a haphazard manner, and the pursuit ends with Jake and Yahya physically battling each other as the escape options seem to be limited. As their ambulance smashes past a barricade of police vehicles, ‘Ambulance’ takes across the screen.
Maverick from Top Gun
At CinemaCon, Maverick showed out the first 13 minutes of Top Gun: Maverick. It began with the wonderful melody of Top Gun’s theme song playing over the credits, and it drew acclaim as its title, intended to mirror the layout of the original Top Gun film, appeared on the screen. Below is a spoiler-filled summary of the first 13 minutes.
As “Danger Zone” took over, a golden sea scene showed pilots launching their planes from a ship. In the present, Maverick is looking after an aircraft. He includes pictures of himself and others from the original film, as well as a portrait of Miles Teller’s new character. He dons his vintage jacket, hops on his Kawasaki motorcycle, and heads out into the desert. The soundtrack from Top Gun resurrects all of our fond memories of the original film.
Maverick is told that his program is being shut down at a hangar. The scene is situated next to a black stealth aircraft. Mach 10 is what the higher-ups desire. Before the crew comes to shut them down, Maverick thinks he can “give them Mach 10.” In a black outfit that resembles that of an astronaut, he rapidly trains his body, suits up, and prepares to fly. After being told that he does not need to go faster than Mach 10, he packs into the lane. “Not 10.1, but Mach 10,” says the narrator. The aircraft begins to take off. With its jets, the speakers and bass scream across Caesar’s Palace’s Colloseum. Admiral Chester Cain arrives as Maverick prepares to take off. Maverick wants “one more ride,” and he believes he owes it to others to complete the job. Ed Harris wants to terminate the program. After Maverick flies directly over his head, leaving angel wings of dust behind, Harris’ Admiral enters the control room. Maverick flies above the clouds while pretending that his communications are cut off. He has a score of 7.3. Pushing the number eight. Beautiful aerial views show an aircraft ripping across the screen against a background of clouds and the land. 9.0 mph. “He’s the fastest guy alive,” says a buddy. “Talk to me goose,” Maverick says as the light rises. He’s doing 9.3 mph, and the lane is becoming hotter. 9.4, 9.5, 9.6, and 9.7. The windshield is becoming too hot to handle. The craft’s surface temperature is increasing. 9.8. 9.9. Maverick begs for a bit more. “Come on! Come on!” says the narrator. The speedometer is still at 9.9 until… Mach 10!
The control room erupts with applause. Maverick, on the other hand, is looking for more. He says, “Just a little shove.” Throttle forward. 10.2 and 10.1 The aircraft is making a beeping noise. Master Caution turns on the light. The jets cut off at 10.4. The vessel has been damaged. He loses communication with the control room. The exploding spacecraft seems to be a meteor bursting colorfully into the sky at dawn from the ground. In his jumpsuit, Maverick walks inside a restaurant. “Where am I?” he wonders, coated in ash and dust and accepting water from a waiter.
“Earth,” a little kid says, eliciting a roar of laughter from the audience, which was followed by applause as the video finished.
The Phone in Black
A first peek at one of Universal’s forthcoming horror films was thrilling. With The Black Phone, Doctor Strange filmmaker Scott Derrickson returns to his sinister roots for an original new tale. Ethan Hawke appears in the film, which he was quick to characterize as terrifying, saying the screenplay alone scared him. A complete trailer for The Black Phone was shown at CinemaCon but has yet to be released online. A complete description may be found below!
Kids argue over whether or not a rumor of a missing child is true. In front of a little boy called Finney, Ethan Hawke exits from a vehicle, dropping groceries and his top hat (Mason Thames). He describes himself as a “part-time magician.” His face is covered with white paint. “Would you want to witness a magic trick?” he inquires. Kid, it was a bad idea…
Cut to the kids’ school, where they learn that Finney Blake has been kidnapped. The kid attempts to use a black phone in a cellar but is met by Hawke’s character wearing a white devil mask. He is unconcerned and unconcerned with Finney’s effort at self-defense. Later, he receives a call, and another kid screams, “Don’t hang up,” as the bleeding ghost spirit of this new youngster appears alongside Finney. The youngsters who were abducted by Hawke’s frightening kidnapper are now attempting to assist Finney in escaping.
Outside, Finney’s buddy looks for him. Bottles are thrown from nowhere across the room, smashing on the wall surrounding Finney, in this dark, brown, rotting cellar. The ghosts on the other end of the phone urge the kid to use the phone as a weapon and seem to be physically teaching him on how to flee. He has to stand up for himself, so he attempts to escape via the front door, but it is locked. Hawke’s figure wakes up on a chair behind Finneey, his opened eye visible through the mask, as Finney enters the code.
(UNIVERSAL PICTURES/UNIVERSAL PICTURES)
During the Universal presentation, Jamie Lee Curtis approached the stage and shared some of her fondest movie experiences. She stated of her 1978 Halloween debut, “I was just 19 years old.” “I treasure the time I spend at the cinema watching movies. Making movies is difficult, but viewing them is a joy and an escape that we all need. Nothing will be able to put a halt to the theatrical experience. We need to come together and laugh, rejoice, weep, scream, and hide from the Boogeyman, as in my case.” She was sending the message from a theater in Ketchum, Idaho, one of her favorite places. It was part of a one-of-a-kind presentation by Universal, which urged people to patronize the places where stars love going to watch movies. “I was there for Halloween and Knives Out, and I want to see you all again next year for Halloween Ends, the conclusion of our story.”
For the CinemaCon audience, footage from Halloween Kills was shown. Below is a detailed explanation of it!
At night, children are swinging on a set of swings. A lady asks whether they’re alone, but they explain that a guy in a scary white mask has been playing hide and seek with them. She notices Michael Myers waiting beside a vehicle, encouraging the youngsters to go as soon as possible. The passengers are terrified, and a lady runs out of ammunition while attempting to stop him by shooting through the windows. Michael calmly demonstrates that they are doomed just by being there, and the three individuals in the vehicle seem to be killed.
On the screen is the home fire from the last film. We witness Myers chopping someone down with a huge handsaw when Judy Greer discovers he survived. Many of Michael Myers’ survivors are reuniting, thanks to the screen being set up for them between then and now. They come upon corpses. They come upon a map. A map of Michael’s boyhood home is included in the bodycount. In Greer’s house, there is a quarrel, and she urges Michael to take her. In a medical gown, Laurie says, “I want to pull his mask off and watch the life leave his eyes.” To close the trailer, she wrestles with his mask in another scene.
(Photo courtesy of Warner Bros.)
Dune provided an unexpectedly in-depth look into the picture, including a behind-the-scenes documentary and a longer trailer. It’s a film that seems to be banking on either nostalgia for its original material (a novel that was turned into a film more than three decades ago) or star power, with director Denis Villenueve among the cast. While the ensemble includes Jason Momoa, Josh Brolin, Zendaya, Oscar Isaac, Timothee Chalamet, David Dastmalchian, Dave Bautista, Rebecca Ferguson, Javier Bardem, and others, Villenueve is the undisputed star of the film. Despite the fact that Dune will be accessible on HBO Max on the day of its debut later this year, the marketing (and Villenueve himself) promote it as a film that should be seen in cinemas. This seems to be accurate after watching a short part of the movie on a large screen.
The numerous large, realistic sets were seen in the behind-the-scenes documentary. The footage displayed amazing realistically constructed cars, immersive clothing, and the transformation of scenarios from concept drawings to physical sets. The sets made David Dastmalchian’s mouth drop, with similar comments from Dave Bautista and Javier Bardem. Silhouettes are visible in action scenes, illuminated by different hues and frequently surrounded by actual flames, leading to David Dastmalchian stating the sets made his jaw drop.
Early in the footage, Zendaya says, “I was immediately engaged in the characters.”
“This film is truly like a heroic trip,” Chalomet said. Oscar Isaac mentions how many tales have been influenced by the original Dune novel, citing Star Wars and Game of Thrones as examples.
“It’s about planet Earth and cultural clashes,” Isaac said of the film’s plot. The actors and director brag about how much fun they’re going to have on the big screen. The documentary concludes with an action-packed, blazing sizzle reel. Jason Momoa said, “Trust me, you’re going to have a wonderful time.” All of this leads to a longer trailer for the film. Our Warner Bros. panel report, which was published live during the event, has a detailed explanation of the clip played at CinemaCon.
Mission: Impossible 7 is the seventh installment of the Mission: Impossible franchise.
(Photo courtesy of Paramount)
Tom Cruise shared a video from the set of Mission: Impossible 7 since he was unable to attend CinemaCon this year because the film was in production. He’s in a vehicle with Hayley Atwell in the video, and director Chris McQuarrie pulls up beside him. They drive along a street while chatting to the camera, with McQuarrie eventually performing his own stunt to turn the vehicle around before showing video of an extremely insane stunt.
“This is by far the riskiest thing we’ve ever done,” Cruise remarked. “It’ll be a base leap into a motorbike jump off a cliff. It’s something I’ve wanted to do since I was a child. Everything boils down to one factor: the audience.” Cruise is shown soaring into the air, skydiving, and base jumping. Cruise says, “Don’t be cautious, be confident,” and crew members praise Cruise’s spatial knowledge.
Many crew members and Cruise had to master specific abilities in order to prepare for this new feat. Drones are used by the crew masters to track Cruise and attach cameras on him. Cruise’s training is never-ending, with 30 jumps out of the sky each day. For him, the preparation included more than 500 skydiving jumps and 13000 motorcross jumps.
Cut to a huge ramp built on the brink of an even larger precipice in Norway. It has a fast roll in, a lengthy straightaway, and a jump. It’s similar to an X-Games Mega Ramp, except there’s nothing to land on save the fog after the mountain and, ultimately, Earth. Cruise inspects the location from a helicopter, eventually practicing his base jumping feat by leaping from the aircraft. On repetition, he opens his own shot and lands. Everything needs to be exactly right: the clouds, the weather, the light.
The crew and Cruise are prepared on the day of production. The stakes are clearly stated… he may die. Cruise lines up the leap and rides down the runway on a motorbike. Cameras monitor the action from every angle, even above. From their tents, the team keeps an eye on everything. Cruise ascends, leaves the bike, and flies into the air, arms at his sides, gliding with his body. Everyone watches as gravity drags him back down and Cruise opens his chute, as though the moment would last a lifetime. Everyone on the film claps, as does the audience in Caesar’s Colosseum, where the clip is being shown.
Cruise proclaims that he can “hold the bike longer” in the air after landing… so he does it five times more. It’s one of the most impressive things an actor has ever done on camera… at least, since Tom Cruise last presented a reel at CinemaCon.
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