Birds Of Prey Drops A First-Look Video At The Entire Cast And It’s Wild

With the massive success of Aquaman, the time has come for DC fans to look to the future. There are a handful of exciting projects coming down the pipeline for DC, including Cathy Yan’s Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn). The upcoming ensemble projects will unite a handful of DC femme fatales, while also serving as a spinoff of sorts for Suicide Squad favorite Harley (Margot Robbie). 

Fans have been wondering how the possibly R-rated project would unite its group of characters, and now the first glimpse of the ensemble of actors in costume has arrived. And it didn’t disappoint.

Does anyone else have chills? Birds of Prey has been a mysterious presence in the DC Universe for quite some time, so it’s exciting to finally get a glimpse of the characters that will ultimately be populating Cathy Yan’s upcoming movie. And that first look was epic.

Is The Dude’s Beer Commercial An All-Time Great Ad Or Just Plain Weird?

Recently, audiences got a sneak peek at Jeff Bridges in his iconic garb, seemingly to play Jeff “The Dude” Lebowski. Once the tease published the date of February 3, everyone assumed that it was for a Super Bowl commercial. Well, you guessed right. Only, The Dude isn’t shilling for Kahlua, the key ingredient in his beloved White Russian. He’s back for a beer commercial. Check it out:

I’ll grant them this. The concept behind the ad is clever. It features two iconic pop culture figures who are identified – in addition to a bunch of other features – by their signature cocktails. Sarah Jessica Parker appears at the start of the Stella Artois advertisement, once again playing Carrie Bradshaw, her famous Sex and the City character. Carrie’s known for enjoying cosmopolitans, so when she passes up one for a Stella, it causes a commotion.

The same goes for The Dude (Jeff Bridges), who enters this particular drinking establishment in the midst of the chaos caused by Carrie’s drink switch. Lebowski approaches the bartender, who asks if he’d like a White Russian. Because the Dude LOVES his White Russians:

Naturally, because this is a Stella Artois Super Bowl ad – which we are getting an early look at – The Dude passes on his White Russian, and orders a bottle of the sponsoring beer. He mispronounces the name, though, doesn’t he? Is that a subtle dig?

Personally, this isn’t how I wanted to see The Dude brought back into the national conversation. In fact, I don’t think I ever wanted to see The Dude back. He’s perfectly encapsulated in the Coen Brothers’ The Big Lebowski. Did they sign off on this? If so, that’s all the more heartbreaking.

Then again, perhaps nothing is sacred in this world anymore. Jeff Bridges IS The Dude. If he’s fine bringing his most famous character back to sell a beer, then we as fans have to cut the ad some slack. Do we not? Bridges doesn’t need the money. He sure doesn’t need the exposure. Maybe, like we said at the top of the article, he found the concept clever enough to play along. The Dude Abides with this Stella commercial. It really ties the room together.

What about you guys? Are you OK with Jeff Bridges taking The Dude out of the mothballs for the benefit of a beer commercial? Or would you have preferred to see Bridges keep the character’s integrity, and maybe only bring him back for that movie about the Jesus that John Turturro has been teasing for years? Either way the commercial is out now, so head to the comments section where we can discuss.

Mindy Kaling’s New Movie Sold For One Of The Highest Sticker Prices Ever At Sundance

The Sundance Film Festival isn’t just a place to see great movies, it’s also a place where those movies are part of big business deals. More than simply screening movies to be judged on their quality, that quality can also help independent films land distribution deals with major studios, and the quality of Mindy Kaling‘s movie Late Night just made a massive deal as Amazon has shelled out $13 million to be the platform that brings this movie to the public.

There are always a few films every year at Sundance that instigate a bidding war and the word is theat’s what happened here, as four different companies were reportly fighting over Late Night. Sundance only barely just got started so this could be a harbinger of things to come.

Late Night screened Saturday morning at the festival in Park City, Utah. The deal was announced later that day, which shows just how quickly these things can move and how sought after this movie was.

Late Night was produced and written by Mindy Kaling and she also stars as the only woman in the writers room of a late night television show. It co-stars Emma Thompson and John Lithgow and was directed by Nisha Ganatra.

The $13 million deal isn’t the biggest in Sundance history, but it’s close. In 2016 Fox Searchlight paid $17.5 million for the rights to Birth of a Nation. It is, however, the most Amazon has paid for a movie. It paid $12 million for Kumail Najiani’s The Big Sick. That film went on to gross over $40 million and earned its writers an Oscar nomination for Best Original Screenplay.

The deal is also the biggest ever for a film that only includes U.S. distribution rights. All the deals that have been larger have included some foreign distribution.

I certainly noticed the portion of Film Twitter attending Sundance praising Late Night in a big way as soon as the screening concluded. A lot of people felt it was a strong movie and several seemed quite sure some studio would be snatching it up quickly. That certainly happened.

In recent years, streaming services like Amazon and Netflix have been major players at Sundance. They both are basically swimming in money and thus can afford to spend it on projects like this. Netflix’s big purchase two years ago was the Dee Rees directed, Mudbound, for $12.5 million that went on to earn four Oscar nominations. In a statement, Kaling, via CNET, said that she’s spent a lot of money with Amazon, so it was nice to see the company return the favor.

This likely won’t be the last big deal at Sundance, the festival still has a week to go and that means there are a lot of movies left to be seen.

Do We Even Need A Star Wars: Episode 9 Super Bowl Trailer?

The Super Bowl is this Sunday and for movie fans, that means trailers. Many of the year’s biggest movies will look to make a splash with trailer debuts during the big game while the whole country is watching. 2019 has no shortage of huge movies we want to see trailers for, but since we’ve already seen the first trailer for Avengers: Endgame, there’s no question which movie trailer we’re most itching to see next.

While a contest of good versus evil is taking place on the field, will we get our first glimpse at the final battle between light and dark in a galaxy far, far away?

There have naturally been rumors that we will see the first teaser for Star Wars: Episode IX during the Super Bowl; one rumor even had there being three 30-second spots across the broadcast to make up a full teaser trailer. Nothing is confirmed at this point so we are left to speculate, but while I think it is safe to say that we all want to see something from Star Wars: Episode IX, including a title, it is a separate question of whether or not we need it at the Super Bowl.

Do we even need a Star Wars: Episode IX Super Bowl trailer? And a slightly different question, but perhaps just as important, does Star Wars: Episode IX need a Super Bowl trailer?

“Need” is a strong word and in theory, none of us will die of broken hearts like Padmé Amidala if we are denied a trailer on February 3. There will be more than enough trailers to sate our movie-fan desires during the big game. That is the nature of this platform and it is also one of the reasons why we don’t really need a Star Wars: Episode IX trailer this Sunday.

Up until last year’s Solo: A Star Wars Story, none of the previous Disney-era Star Wars films have had trailers during the Super Bowl. Though, Solo had a ton of work to do to drum up awareness and interest for its May release as opposed to the movies that opened in December. None of the Star Wars movies that skipped the Super Bowl have suffered at the box office, and trailer or not, Star Wars: Episode IX will still make a ton of money.

There is also the argument that, as Star Wars fans, we might not really want the first trailer we see to be during the Super Bowl. This is the conclusion of the Skywalker Saga, the culmination of 40 years of storytelling in the biggest franchise ever. Do we really want our first look at this pivotal moment in cinematic history to come between commercials for watered down swill and luxury automobiles?

Moreover, we want our first look to be more than 30-seconds. The first teaser trailer for Star Wars: The Force Awakens from fall of 2014 was a minute and a half. Sure Disney could pony up for a longer spot or multiple commercials, but that is far from the ideal experience for our first look at this film. And while Star Wars would obviously be the biggest talking point (unless we get another longer look at Endgame), there will be competition for attention, from Disney itself among other movies. Episode IX should be the story, not part of it.

The release of a Star Wars trailer is an event unto itself and will garner plenty of fanfare whether it is released during Super Bowl 53, the next day, on a random Tuesday afternoon in the coming months, or at Star Wars Celebration in April. All that said, would I be excited as hell if we get a trailer during the Super Bowl? Absolutely.

Now, we may not need to see the first trailer for Star Wars: Episode IX during Sunday’s Super Bowl, but we do need a trailer. This isn’t Avengers: Endgame where we joke about how the film would still make $1 billion easy with no trailer at all. Sure, J.J. Abrams’ sequel trilogy conclusion should still crush without one, but I don’t think the franchise is in so confident a place right now that we would joke about it not having a trailer at all.

Because of where the Star Wars franchise is at right now, it needs a trailer and during the Super Bowl might be the best place to air the first one.

The reason that Super Bowl ads are so expensive (over $5 million for a 30-second spot according to Business Insider) is the sheer number of people watching, 103.4 million last year, gives brands, products and movies massive exposure. Star Wars: Episode IX might need that exposure to drive awareness and excitement.

Chances are if you read this site, you know exactly when Star Wars: Episode IX comes out, but not everyone reads this site or follows these things (losers!). By the time Star Wars: Episode IX releases, it will be a year and a half since the last Star Wars film (Solo) and two years since Star Wars: The Last Jedi. That’s a fair bit of time and it wouldn’t hurt to make a lot of people aware very quickly that this movie is on the way.

Beyond that, the last two movies haven’t exactly been universally beloved. Star Wars: The Last Jedi was divisive and Solo: A Star Wars Story clearly didn’t interest all audiences based on its disappointing box office. This franchise needs to change the narrative and get people excited again.

There may be a benefit to delaying the gratification of a trailer to build excitement, but if there is awesome footage that is 100% ready to go, why not show it to the widest audience possible and start to build momentum? If J.J. Abrams is really righting the ship, a killer trailer could begin the process of letting fans, that feel tired of Star Wars or sour about the last films, know what awesomeness is awaiting them at year’s end.

Personally, if we are to get something, I would prefer a teaser with entirely old footage before a title reveal and a date for the first trailer release. That would drive awareness and excitement, but save the first look at the film for a platform where Star Wars would be the focus.

So no, we don’t need a Star Wars: Episode IX trailer at the Super Bowl and there’s even reason not to want one. But it might be a smart idea.

Star Wars: Episode IX opens in theaters on December 20. For all of this year’s biggest movies, check out our release schedule.

Do We Need A Star Wars: Episode IX Trailer During The Super Bowl?

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Margot Robbie Shares First New Image As Harley Quinn

The DC Universe is on a high streak right now, with Warner Bros. celebrating the critical and financial success of James Wan’s Aquaman. While the shared universe has had both peaks and valleys, things to be on the upswing– with a handful of very exciting projects hitting theaters over the next two years. Chief among them is Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn), which will bring Margot Robbie’s Harley Quinn back into live-action for the first time since Suicide Squad.

Fans are eager for any information regarding Birds of Prey‘s contents, as Cathy Yan’s upcoming blockbuster will see Harley colliding with Gotham City favorites like Huntress, Black Mask, and Black Canary. Robbie just revealed the first glimpse of Harley in the upcoming ensemble film, check it out below.

Harley is back, and she’s got a few new looks to show off in Birds of Prey. While Suicide Squad was focused on just one mission, audiences mostly saw Margot Robbie’s character in the ensemble that inspired countless Halloween costumes. But that’ll change when Birds of Prey finally arrives in theaters.

This first image of Harley comes to us from Margot Robbie’s personal Instagram. The social media account has actually become the go-to place for new Birds of Prey information, as Robbie uses her massive following to help announce exciting updates for the upcoming blockbuster. In fact, that where the film’s full title was announced, with her character’s importance becoming clear with (And the Fantabulous Emancipation of One Harley Quinn).

Harley is shown wearing a way more colorful outfit than what she rocked in David Ayer’s Suicide Squad, and one that doesn’t appear to have direct comic book roots. Instead, she’s wearing pink and some sort of crazy jacket with streamers attached. Although there’s one detail from the Birds of Prey costume that fans are focusing on.

If you zoom in, you’ll notice that the dog tag Harley is wearing has the name “Bruce” engraved. This has sent DC fans spinning, with perhaps the most obvious connection relating to Bruce Wayne. Does this mean that Ben Affleck’s character has abandoned his secret identity? Or maybe Birds of Prey will kill off that version of Batman, therefore giving Warner Bros. the chance to recast if Affleck is inching towards the door.

Another possibility is that the Bruce in the dog tag is simply an easter egg related to Bruce Timm. Bruce Timm is one of the minds behind the beloved Batman animated series from the 1990s, which is where Harley Quinn made her first ever appearance across any mediums. As such, he’s the architect of her signature harlequin look, so Harley’s dog tag might be a great way to pay tribute to her character’s co-creator.

Answers should arrive when Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) arrives in theaters on February 7th, 2020. In the meantime, check out our 2019 release list to plan your next trip to the movies.

Watch Chadwick Boseman’s Beautiful Speech After Black Panther Won The Top SAG Award

There isn’t a Best Picture award at the annual Screen Actors’ Guild awards. Instead, the organization recognizes Best Ensemble, and places its emphasis on a total cast. It’s the equivalent of a Best Picture win, and last night, the award went to Ryan Coogler’s Black Panther – a massive victory on the superhero thriller’s ambitious quest to win the top Oscar. We’ll get to the history of the moment later, but first, enjoy this spectacular speech from King T’Challa himself, Chadwick Boseman:

I laughed hard at Lupita Nyong’o reminding Chadwick Boseman to thank Marvel President Kevin Feige while at the mic, and Boseman stating, “I gotta save the best for last! I’m not going to forget Kevin Feige.” But from that moment on, Boseman did a fantastic job of reminding people of the importance of Black Panther, especially outside of the awards race.

As Boseman notes, everyone in the cast – including Andy Serkis, who gets a comical shoutout – knows what it’s like to be told by studio executives that because of the color of their skin, there isn’t a place in a major motion picture to be “featured.” Or, as the actor succinctly put it, “We know what it’s like to be the tail, and not the head.”

Ryan Coogler’s origin story for Black Panther has been a juggernaut. It sailed past a billion dollars at the box (earning $1.34B, to be specific). It made history by becoming the first Marvel Studios superhero film to earn a Best Picture nomination – cracking through a genre-based glass ceiling that many believed would be tough to penetrate. And it feels like it’s warming up.

Let’s talk about the impact of this SAG win on the Oscar race. The SAGs are given out by actors, and the actors make up the largest voting branch of the Academy when it comes to the Oscars and Best Picture. Success at the SAG awards in the Best Ensemble category CAN spell Best Picture success at the Academy Awards… but it’s no guarantee. Yes, films like Spotlight, Birdman and Argo took home both distinctions. But one need only to look at last year, where Three Billboards Outside Ebbing, Missouri won at SAG, but it lost to The Shape of Water (which wasn’t even nominated at SAG).

Basically, this morning, Disney and Marvel have a narrative they can push. Black Panther topped some powerful films at the SAGs, and hopes to continue its momentum. Do you think Black Panther has a legitimate shot at a Best Picture win? Vote in our poll below!

Can Black Panther win a Best Picture Oscar?

This Rotten Week: Predicting Miss Bala Reviews

Meanwhile, I didn’t have any early reviews on Serenity (Predicted: 60% Actual: 22%), and it showed with the prediction falling well away from the mark. Critics panned Steven Knight’s psychological thriller about a fisherman on an island played by Matthew McConaughey. who is asked by his ex-wife (Anne Hathaway) to chuck her new, abusive husband (Jason Clarke) to the sharks. Reviews used words/ phrases like, “terrible,” “infuriating mess,” “insane,” “wacky,” and “terrible” to name a few. Critics really, really didn’t like this one, and my prediction was way, way off.

Why Justice League 2 Shouldn’t Be Made Anytime Soon, According To Patty Jenkins

Not only is Wonder Woman director Patty Jenkins not interested in directing Justice League 2, she doesn’t think anybody should be focused on another Justice League movie for a while. She shared her thoughts in reference to DC fans suggesting Jenkins or Aquaman director James Wan as the best options to helm Justice League 2:

Good answer. Justice League was challenging for the DCEU at large. Zack Snyder started it, Joss Whedon finished it, Warner Bros. micromanaged it, and then almost everyone crapped on it, as if it was a surprise that making a movie that way might not produce the best result.

It sounds like WB/DC have taken some lessons from Aquaman‘s success and they’re slowing things down, especially on the shared universe front. They are treating each movie as its own thing, and focusing more on the directors’ vision. That’s the plan, anyway.

Right now, DC is high on the $1 billion-plus success of Aquaman. It’s the first DCEU film to join The Billion Club, and it even just passed The Dark Knight Trilogy to take the title of top DC Comics film of all time. Wonder Woman is still the top film at the domestic box office.

So it does make sense to think either James Wan or Patty Jenkins would be the best choice for Justice League 2. That said, James Wan hasn’t even signed on for Aquaman 2, for some good reasons, and Jenkins is busy with her sequel Wonder Woman 1984, with plans for Wonder Woman 3.

As Patty Jenkins just told The Hollywood Reporter, now is a good time for the individual characters to have a moment to shine. The Justice League already gave Superman his own Man of Steel movie, and it’s not clear what’s next for him — with or without Henry Cavill.

Right now, Patty Jenkins should be happy, because the focus is on individual movies. Aquaman’s first solo film was a hit, and we’re about to meet a brand new guy for the DC world with Shazam! Shazam isn’t part of the Justice League, and he doesn’t have much of a connection to the existing DC universe, although Henry Cavill was supposed to cameo at one point. The movie looks like a lot of fun, though, and a perfect follow-up to Aquaman. Shazam! arrives in theaters April 5, as one of the many films to look forward to in 2019. Wonder Woman 1984 is scheduled to open in theaters June 5, 2020.

Glass Box Office: M. Night Shyamalan Is Number One Again As New Releases Stumble

It was long predicted that M. Night Shyamalan’s Glass would be the biggest new release of January 2019, and while it’s technically under-performed compared to early estimates, it has successfully earned that title. In its second week of release it has won the box office crown for a second time – though it’s worth noting that the film didn’t exactly have much in the way of competition from new releases. You can check out the numbers from the Top 10 performers in the chart below, and join me after for analysis!

1. Glass

$19,049,000 Total: $73,589,135

LW: 1

THTRS: 3,844

2. The Upside

$12,240,000 Total: $63,144,846

LW: 2

THTRS: 3,377

3. Aquaman

$7,350,000 Total: $316,554,074

LW: 3

THTRS: 3,134

4. The Kid Who Would Be King*

$7,250,000 Total: $7,250,000

LW: N

THTRS: 3,521

5. Spider-Man: Into The Spider-Verse

$6,150,000 Total: $169,040,116

LW: 5

THTRS: 2,383

6. Green Book

$5,413,000 Total: $49,003,486

LW: 14

THTRS: 2,430

7. A Dog’s Way Home

$5,225,000 Total: $30,834,525

LW: 6

THTRS: 3,081

8. Serenity*

$4,800,000 Total: $4,800,000

LW: N

THTRS: 2,561

9. Escape Room

$4,275,000 Total: $47,915,074

LW: 7

THTRS: 2,192

10. Dragon Ball Super: Broly $3,600,000 Total: $28,958,823

LW: 4

THTRS: 1,105

Considering it was made for only $20 million million, Glass can definitely be called a financial success at this point, thanks not only to the domestic numbers, but also its performance abroad. The movie is playing in theaters in 55 other markets, and to date that has resulted in an extra $89.1 million being added to the worldwide total, which currently stands at $162.7 million. It’s not exactly The Sixth Sense, which made $672.8 million before it was done with its global theatrical run back in 1999, but it’s a nice chunk of cash.

What may be seen as a disappointment for the folks at Universal Pictures is that the movie also isn’t quite performing as well as Split – which is the only reason Glass was given the green light in the first place. It’s not uncommon for a trilogy capper to get a certain box office bump, as audiences feel compelled to see how the larger story ends, but that doesn’t appear to be the case this time. Split was a huge hit when it was released in January 2017, as it was able to follow up a $40 million opening by only dropping about 36 percent in its second week, and going on to make $278.5 million worldwide. Glass actually made a few hundred thousand more than its predecessor in its first three days, but it took a much steeper 53 percent fall in week two, resulting in the numbers you see above.

So what’s the big difference? The answer pretty much has to be buzz. Not only did Split get a much warmer critical reception than Glass, but it also got a half-grade higher on CinemaScore (a “B+” vs. a “B”). The first Unbreakable sequel also rode into theaters with a great deal of talk about its fantastic twist ending, and people wanted to see it for themselves before getting spoiled – while this most recent release had none of that going on. Given the circumstances, and the anticipated titles set for theaters in February, it will be interesting to see if the 2019 movie can surpass After Earth ($243.8 million worldwide) and become M. Night Shyamalan’s seventh most successful feature.

Being number one for two weeks in a row definitely looks good on paper for Glass, but it should also be noted that the film wasn’t exactly facing off against a new Marvel or Jurassic Park film. In fact, there were only two new wide releases in theaters this weekend, and neither of them did particularly well. Admittedly there weren’t exactly massive expectations in play, but at the same time you always hope that fresh features will land higher than 4th and 8th place.

Admittedly Joe Cornish’s The Kid Who Would Be King very nearly nabbed third place, as it opened just $100,000 behind James Wan’s Aquaman, but still it fell just a tad short. It’s a shame because it’s one of the best movies that is playing on the big screen right now, and a legitimate delight as a family film. It’s definitely being appreciated, as it got a “B+” from opening weekend audiences, according to CinemaScore, but the numbers aren’t super impressive. One could argue that one bright side is that the feature has already made about seven times as much money as Cornish’s directorial debut, Attack The Block, so that’s something to hang a hat on. It wasn’t until Baby Driver that Cornish’s frequent collaborator Edgar Wright finally connected with American audiences, so maybe his next title will be the one that becomes a huge box office sensation.

There are unfortunately fewer positive things that can be said about Steven Knight’s Serenity – which got points from critics for trying something new, but ultimately slammed for not being able to effectively execute its big ideas. There was surely a lot of hope that the movie would be able to put asses in seats thanks to the fact that it is headlined by two Academy Award winners – Matthew McConaughey and Anne Hathaway – but that plan didn’t really work out. The $4.8 million it made was barely enough for it to top Adam Robitel’s Escape Room in its fourth week of release, and very much adding insult to injury is the act that it’s rocking a “D+” on CinemaScore. It would seem people are not appreciating what is definitely a super oddball feature.

The last big development to point out from these numbers is the resurgence of Peter Farrelly’s Green Book, which made its way back into theaters nationwide this weekend in hopes of capitalizing on Golden Globes and Academy Award buzz. The feature initially got a slow rollout in November 2018, making about $44 million during its first release window, but now its added a nice bit of extra money to that total after Universal pushed it back into more than 1,500 theaters. It’s worth noting that it never fully disappeared, as from January 18-20 it was still in 900+ theaters and in 14th place, but still people definitely took advantage of this expansion.

Looking ahead, Glass will be trying to three-peat, but in order to do so it will have to outperform the Gina Rodriguez thriller Miss Bala, the Clive Owen-led Three Seconds, and the chilly adventure Arctic with Mads Mikkelsen. As always, we’ll be back next Sunday with our full box office report to see how it all shakes out and go over the numbers, so be sure to tune in next week.

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James McAvoy Brings Mr. Tumnus To SNL As Sex Symbol For ‘Lazy Hermione’ Types

NARNIA. Man, it’s still happenin’ for Saturday Night Live. SNL gave us the “Lazy Sunday” digital short in honor of The Chronicles of Narnia, and just gave host James McAvoy a sketch dedicated to the unexpected appeal of Mr. Tumnus.

James McAvoy played the faun in The Lion, the Witch and the Wardrobe back in 2005. Now that nearly 14 years have gone by, some of the women who saw that movie as adolescents are now adults who still have a thing for Tumnus. SNL really saw those “lazy Hermione” women in the “Mr. Tumnus” sketch.

First, Cecily Strong’s character arrived at Mr. Tumnus’ home in Narnia to fawn over the faun. It was nothing new for him.

Then two of her friends showed up and propositioned Mr. Tumnus, who was basically expecting it.

Kate McKinnon’s character said she felt seen, and confirmed the “frizzy hair, no spells” nature of her lazy Hermione status. She also added this chestnut:

CLASSIC. Hermione Granger would never be that forward in Harry Potter, but maybe Narnia is the nastier cousin. In the end, when the ladies saw that Mr. Tumnus was gay, they weren’t surprised. So they settled for the rebound of Neville Longbottom.

That hits a little too close to home for me, but well done. I’m half-proud, half-ashamed to be a lazy Hermione type.

Chronicles of Narnia is kind of making a comeback, with Netflix set to develop new TV shows and films based on the C.S. Lewis fantasy novels.

James McAvoy hosted the Saturday, January 26 episode to promote his film Glass, which is now in theaters and once again topped the box office in its second weekend. Here’s what else is playing in theaters right now. Saturday Night Live returns February 9 with Halsey as host and musical guest. Check out more sketches from McAvoy’s episode, including the cold open with Steve Martin.