Wolf Man is deeply atmospheric but unsatisfying. Things get ugly between Justin Baldoni and Blake Lively. And what is Jack Black and Paul Rudd doing on the Gold Coast? All this and more in the Rushcutter Entertainment Report.
Hey everyone. I’m Rhiannon Elizabeth Irons and welcome to the Rushcutter Entertainment Report. We’ve got a lot to get through this week so let’s head to the movies and check out Wolf Man.
Monster movies generally fall into three categories: werewolf films explore the beast within every man, vampire stories reflect our fears of the unknown, and Frankenstein tales caution against playing God. Blumhouse’s 2020 reboot of The Invisible Man cleverly blended these themes, focusing on a woman escaping an abusive relationship. Its success led Universal to consider reviving other classic monster films, including a reimagined Wolf Man.
Originally envisioned with Ryan Gosling, the project has now transformed into a slower, more introspective film starring Christopher Abbott as Blake Lovell. Directed by Leigh Whannell, Abbott portrays a devoted father grappling with his temper, which he fears may harm his family. In a poignant moment, he tells his daughter, Ginger, that sometimes parents can unintentionally become the source of their children’s scars. This insight reflects modern parenting concerns but feels overly explicit, reducing the audience's opportunity for interpretation.
The screenplay, co-written by Whannell and Corbett Tuck, opens with a childhood memory of Blake, raised by a stern father, Grady. Grady’s harsh lessons on survival in werewolf-infested woods shape Blake’s character and foreshadow his transformation into a beast. The narrative suggests that Grady’s tough love may have been too severe, motivating Blake to strive for a gentler approach as a father.
Blake’s desire to protect his family leads them to a remote home, where his wife, Charlotte, must act decisively during crises. While this protective instinct adds depth, it lacks the compelling flaws typical of effective horror characters. The film attempts to connect with the original Universal classic, where Lon Chaney Jr. portrayed a man cursed to harm those he loves. The remake compresses this tragedy into a single night of transformation, yet it feels predictable as Blake battles his monstrous change.
Despite its promising themes, Wolf Man fails to engage like The Invisible Man, which used psychological tension to enhance its horror. The film’s creature effects, essential for any werewolf story, disappoint. Whannell opts for practical effects, but the realism undermines the fantastical elements of the genre. The film alternates perspectives between Charlotte and Blake, attempting to create an immersive experience, but it often feels gimmicky.
The sound design, crucial for building tension, falls flat, with indistinguishable noises blending into the score. In terms of scares, most are revealed in the trailer, and the film’s drawn-out narrative leads to an inevitable climax.
I give Wolf Man a 4/10. Ultimately, the movie struggles to convey its themes of inherited aggression and mental illness, leaving Blake more pitiable than profound. It’s really a step down for those who had high expectations of Whannell after the success of The Invisible Man. My recommendation is to wait for this one to head to streaming services.
The legal conflict between Blake Lively and Justin Baldoni continues to intensify, marked by a series of lawsuits and public statements that have captured media attention. This high-profile dispute has become as much about public perception as it is about legal proceedings.
The drama began when Lively filed a detailed complaint with California’s Civil Rights Department on December 20, alleging sexual harassment and retaliation during the filming of It Ends With Us, a film that deals with the complexities of domestic abuse. This complaint was followed by a lawsuit from Justin Baldoni, seeking $400 million, which claims defamation and extortion.
Baldoni's legal team, led by attorney Bryan Freedman, responded to Lively's allegations by filing a comprehensive lawsuit filled with evidence that they claim disproves Lively's accusations. Freedman criticized Lively's legal strategy, asserting that her team is resorting to "heinous pivots" and false allegations to undermine Baldoni's reputation.
In a statement to Deadline, Freedman emphasized that Lively’s approach reflects a desperate attempt to attack Baldoni while ignoring the evidence presented against her claims. He argued that Baldoni has not retaliated publicly against Lively for her actions and has instead aimed to maintain professionalism during their collaboration. Saying, quote, “The mere fact that Ms. Lively feels that she can publicly destroy Mr. Baldoni’s reputation in an attempt to devastate his future career and then deny him or his team their own ability to defend theirselves against her is preposterous. Mr Baldoni never once publicly attempted to call Ms. Lively out for her own many wrongdoings during filming, he kindly addressed all her concerns during filming in the correct manner despite the fact that he wholly disagreed, he himself was committed to do things differently and to keep the peace as she specifically admitted to in her own lawsuit. We will not only continue to defend our clients against Blake’s power, privilege and all out lies, but we will now fight even harder for the voiceless in the DV community who are unfairly suffering while she continues to push on her own self-serving and selfish vendetta in the media.”
Lively’s attorneys fired back, labelling Baldoni's lawsuit as part of an "abuser playbook," suggesting that he is attempting to shift blame onto her while she focuses on addressing the alleged abuse she faced. They maintained that the strategy of attacking Lively is ineffective and does not negate the evidence in her favour.
Both parties have cited the impact of this legal battle on their careers and business interests. Lively's lawsuit highlights how negative social media campaigns have harmed her brand, particularly her haircare line, Blake Brown. According to her claims, the launch of Blake Brown was marred by derogatory comments online, leading to a significant drop in sales—between 56% to 78%—despite initial positive projections.
Baldoni, on the other hand, argues that the allegations have severely damaged his career, claiming that Lively and Reynolds have effectively "stolen" his movie from him. The fallout from these accusations has left Baldoni feeling that his professional future is at stake.
Adding another layer to the conflict, Freedman has raised concerns about a character named Nicepool in Deadpool & Wolverine. He speculated that this character, believed to be a late addition to the film, may be intended as a mockery of Baldoni. Freedman sent an evidence preservation letter to Disney CEO Bob Iger and Marvel president Kevin Feige, hinting at potential lawsuits related to this character and suggesting there may be unsubstantiated claims against Reynolds as well.
As the legal battle unfolds, both sides appear poised for further filings and public statements, indicating that this conflict will continue to dominate headlines. The interplay between personal grievances and professional ramifications highlights the complexities of navigating public life in Hollywood, where reputations and careers are intricately linked to personal disputes.
What year is it? No seriously, what year is it? I asked this last week when the realisation hit me that we have both a Scream movie and I Know What You Did Last Summer movie in the works. But now, both Jack Black and Paul Rudd have been spotted on Australia’s Gold Coast, bracing themselves for battle against a giant anaconda as a reimagining of the 1997 movie is in the works.
Photo taken by Rhiannon Elizabeth Irons on the Gold Coast, Queensland Australia
Thandiwe Newton and Steve Zahn have also joined the cast.
The original Anaconda featured Jennifer Lopez, Owen Wilson, Ice Cube, and Jon Voight, following a National Geographic crew that encounters a deadly snake. The new story reportedly revolves around a group of friends facing mid-life crises who decide to remake their favourite childhood movie in the rainforest, only to confront natural disasters, giant snakes, and violent criminals.
In the film, Jack Black plays a wedding videographer who once directed films, while Rudd portrays an actor whose Hollywood aspirations are fading. Newton and Zahn join as childhood friends on their perilous adventure.
Filming is currently underway in Australia, supported by the Queensland Government through Screen Queensland’s Production Attraction Strategy. Yeah, because that’s all we need here in Australia – another giant deadly snake. Don’t we have enough?
The movie is produced by Fully Formed, led by Brad Fuller and Andrew Form, with a planned release date of December 25th.
The Frasier revival, which premiered in October 2023 on Paramount+, will not continue after two seasons, according to Variety. CBS Studios plans to shop the series around to other platforms.
Kelsey Grammer, who led, and executive produced the revival, aimed to create a new, "sillier" version of the beloved sitcom, hoping to produce at least another 100 episodes.
The original Frasier, a spinoff of Cheers, aired from 1993 to 2004 and won 37 Primetime Emmys. While the revival received three nominations in its first season, it did not win any awards. Although produced by CBS Studios, it is unlikely to air on CBS due to their existing lineup of comedies, including The Neighborhood and Ghosts.
Both seasons of the revival, along with the original series, are available for streaming on Paramount+.
And finally, Gwen Stefani’s band, No Doubt, is reuniting for the FireAid benefit concerts aimed at raising funds for those affected by the recent wildfires in Los Angeles. Scheduled for January 30, the event will take place at both the Intuit Dome and Kia Forum. The concert will feature an impressive lineup, including performances from Billie Eilish, Lady Gaga, John Mayer with Dave Matthews, Stevie Nicks, and Joni Mitchell.
Additional artists set to perform include Earth, Wind & Fire, Green Day, Katy Perry, P!nk, Rod Stewart, Sting, and many others, with more acts and special guests expected to be announced shortly.
Tickets for both concerts will go on sale on January 22 at noon via Ticketmaster. The concerts will be streamed live across multiple platforms, including Apple Music, Netflix, YouTube, and SiriusXM, among others. iHeartRadio will serve as the national audio partner, broadcasting the event on its 860 radio stations.
To ensure that all proceeds go directly to those in need, the LA Clippers are covering all expenses associated with the event. This allows funds raised from ticket sales and donations to be allocated toward rebuilding efforts in affected communities and implementing preventative measures for future disasters. The Annenberg Foundation will assist in distributing the contributions to ensure they reach the intended recipients.
This concert not only aims to provide immediate relief but also emphasizes the importance of community resilience in the face of natural disasters. The collaboration of these renowned artists highlights a collective effort to support those impacted by the wildfires.
We have included links to where you can donate to the wildfire relief in the description below.
And that’s it for this week. Thanks so much for tuning in. Remember you can find me on Instagram and TikTok with @rhiannonelizabethirons for more entertainment news as well as cool behind the scenes snippets from the Rushcutter Entertainment. And while you’re at it, be sure to give Richard a follow on Instagram and TikTok too with @richardlovegrove.
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TIKTOK ADDITION
The TikTok ban in the US was lifted less than 24 hours after it was enacted, which temporarily disabled the app for its 170 million American users.
On Saturday, TikTok ceased operations and was removed from app stores due to a new law mandating its shutdown. Users received a message referencing President-elect Donald Trump, who suggested he would likely grant a 90-day reprieve.
By Sunday evening, TikTok announced its return, thanking users for their patience and indicating that Trump's efforts had reinstated the app. It remains unclear whether this reinstatement is part of the temporary extension or a permanent solution. The unprecedented ban, passed overwhelmingly by Congress, grants the incoming Trump administration significant authority over Chinese-owned apps, including TikTok's parent company, ByteDance. Other ByteDance apps like CapCut and Lemon8 were also unavailable during the ban.
Now with Trump officially in power, the question will be is TikTok here to stay for the US? What do you think? Sound off in the comments below.
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