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“Future Man” picked up for Season 2 on Hulu / Music by Harmonic’s Halli Cauthery

When Is ‘Future Man’ Season 2 Coming Out?

 

Now streaming on Hulu, the raunchy hybrid series stars Josh Hutcherson as a janitor by day gamer by night who defeats an unbeatable video game that, whoops, is actually a recruitment tool sent back in time to find the one person who can save the world from utter annihilation. A fun, nostalgia-laden homage to the sci-fi genre, Future Man is an entertaining hodgepodge of comedy that features elements of Back to the Future, The Last Starfighter, The Terminator, and NBC’s Chuck.

Joining Future Man on his quest to save the world are Eliza Coupe and Derek Wilson, who portray time-travelers Tiger and Wolf, respectively. The three leads share a fun, chaotic chemistry as the R-rated comedy series does a stellar job of combining all of its disparate elements into one cohesive, entertaining story. Now that you’ve streamed all thirteen Season 1 episodes, you might be wondering if and when to expect a second season.

Here’s everything we know about Future Man Season 2.

WHO’S IN THE CAST OF FUTURE MAN?

Executive produced by Seth Rogen and Evan Goldberg, Future Man stars Josh Hutcherson, Eliza Couple, and Derek Wilson. The series features an exceptional supporting cast that includes Ed Begley Jr., Keith David, Britt Lower, Haley Joel Osment, Paul Scheer, the late Glenne Headly (in one of her final roles).

WILL THERE BE A FUTURE MAN SEASON 2?

*** UPDATE *** Future Man has officially been renewed for Season 2!

Since Future Man only premiered on November 14th, it’s still way too early for any official word regarding Season 2. That said, the series currently boasts an 8.1 rating on IMDB and 76% Tomato Meter Score and 87% Audience Score on Rotten Tomatoes.

Historically, Hulu isn’t shy about giving their original shows additional seasons (Chance, Shut Eye, Freakish, Difficult People, Casual), and considering the number of high-profile names attached to this project, I’d be very surprised if Future Man isn’t renewed for Season 2.

Photo: Hulu

WHEN CAN WE EXPECT TO SEE FUTURE MANSEASON 2?

In order to predict a premiere date, let’s take a look at Hulu’s recent history with sophomore seasons.

Difficult People
Season 1: August 5, 2015
Season 2: July 12, 2016

Casual
Season 1: October 7, 2015
Season 2: June 7, 2016

Additionally, both Freakish and Chance debuted in October of 2016 and had their Season 2 premieres in October of 2017. Future Man, however, seems to be a bit more intricate in terms of production value (thanks a lot, time travel). While it’s impossible to predict other commitments Josh Hutcherson or Seth Rogen may have, our best guess would be a December 2018 or early 2019 premiere for Season 2.

WHAT DOES THE EXECUTIVE PRODUCER OF FUTURE MAN THINK ABOUT SEASON 2?

In short, he’s on-board! Executive producer Ben Karlin told SYFY Wire that Season 2 of Future Manwould be a “completely new story.”

“We definitely want each season to be a contained story,” Karlin said. “We end the Season 1 story that we set up in the pilot in the finale, and use the elements we seeded throughout the season to build up Season 2. But Season 2 would be a completely new story. Also…with time travel it can be a different world.”

Decider will update this story as it develops.

“Future Man” Review / Music by Harmonic’s Halli Cauthery

Review: Hulu’s sci-fi ‘Future Man’ is a bawdy good time

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The future may be bleak, but at least it hasn’t lost its sense of humor.

Hulu’s Future Man (streaming Tuesday, ★★★ out of four) is a bawdy stew of sci-fi tropes and pop-culture references. It all comes together as a light and giddy comedy that lovingly pokes fun at an often self-serious genre.

The series is produced by Seth Rogen and Evan Goldberg, who collaborated on raunchy films Superbad and This is the End. Their fingerprints are easily spotted in Future Man, which tells the story of an underachieving twentysomething janitor, Josh Futturman (Josh Hutcherson), who defeats a seemingly unwinnable video game.

More: In Hulu’s ‘Future Man,’ Josh Hutcherson goes back to the future to save the world

When Tiger (Eliza Coupe) and Wolf (Derek Wilson) show up in full warrior gear, Josh discovers they sent the game back in time as a recruitment tool. Tiger and Wolf enlist Josh to help them stop the world from ending, which just happens to involve preventing a scientist from discovering a cure for herpes.

Streaming in November: ‘Longmire, ‘Future Man,’ ‘Marvel’s Runaways,’ ‘Mudbound’

If that sounds a little bit like The Last Starfighter or The TerminatorFuture Man will be the first to tell you. It’s a parody that’s in on its own joke, as Josh rattles off the names of sci-fi classics when trying to explain what’s happening to him, or figuring out his next move. The net effect is more amusing than derivative, with far more ejaculation jokes than Back to the Future.

The series smartly balances sci-fi and comedic elements, and uses raunchy humor judiciously. Racy jokes don’t cross the line, and they land because of the spot-on delivery of the three stars, who have great chemistry and timing.

Hutcherson is uniquely suited to the role of Josh (and not just because they share a first name). The series endlessly (and joyously) echoes Hutcherson’s Hunger Games character Peeta, and mocks Josh’s height, his lack of fighting skills and his lack of ambition. The actor’s manic energy is a perfect complement to Coupe and Wilson, who play their dystopian characters deadpan, as when they express a taste for rats.

Tiger is a natural for Coupe’s hard-edged brand of humor. The actress was a standout on ABC’s canceled-too-soon comedy Happy Endings, and the new role feels tailor-made for her deep voice and piercing glares.

The pilot is a bit shaky, but the show quickly finds its groove, and later episodes, with tongue-in-cheek titles like “A Riphole Through Time,” pay homage to sci-fi movies or tropes.

Future Man is an uncomplicated and often hilarious escapist comedy. Josh Futterman may be in over his head, but it’s a lot of fun for the rest of us.

Film Review: “Early Man” / Music by Harmonic’s Tom Howe

Film Review: ‘Early Man’

In his first feature since ‘The Curse of the Were-Rabbit,’ animation talent Nick Park endearingly celebrates the cruder side of stop-motion.

Director:
Nick Park
With:
Eddie Redmayne, Tom Hiddleston, Maisie Williams, Miriam Margolyes, Timothy Spall, Rob Brydon, Richard Ayoade.
Release Date:
Feb 16, 2018

1 hour 29 minutes

Official Site: http://www.imdb.com/title/tt4701724/

It’s been nearly three decades since Aardman Animations star Nick Park completed his first Wallace and Gromit adventure, “A Grand Day Out,” and in that time, the medium has advanced so much that those first shorts look downright primitive by comparison to what stop-frame animators can accomplish today (with the aid of computer graphics and 3D printers). Perhaps that’s where the Oscar-winning director got the idea for his latest feature, “Early Man,” an endearingly old-school comedy that speculates on the origins of soccer and how a caveman named Dug (voiced by Eddie Redmayne) captained the most exciting match in all of pre-history.

Though equipped with digital cameras and all sorts of tools he never could’ve dreamed of at the outset of his career, Park and his team instead embrace the relatively rough, hand-crafted style upon which Aardman built its brand, as opposed to the more polished yet somehow more impersonal look of “The Pirates! Band of Misfits” and other more CG-heavy titles of recent years. The result is a welcome return to a form of stop-motion that takes pride in the technique’s inevitable imperfections (such as thumbprints in the modeling clay), while putting extra care into the underlying script, with its daffy humor and slightly-off characters.

As far as European audiences are concerned, Aardman hopes to take early advantage of whatever excitement may be building in the lead-up to the 2018 World Cup, orchestrating an elaborate under-Dug story in which the cavemen must defend their turf from a far more advanced team of Bronze Age bullies. In the U.S., however, where the sport isn’t nearly so popular (and where Aardman’s “Shaun the Sheep Movie” became the company’s lowest grossing feature, earning less than $20 million), the film will be a decidedly trickier sell for Lionsgate, who are distributing Stateside.

Fortunately, “Early Man” is as charming as they come, bursting with the kind of daffy humor and off-kilter characters that have earned the company a worldwide following. From the opening inside-joke (a title card announcing the Neo-Pleistocene Age, which sounds an awful lot like Plasticine, the material from which Aardman characters are sculpted), Park and screenwriters Mark Burton and James Higginson lean heavy on the puns — although what the creative team appears to love most are the tiny throwaway gags that crowd the margins and background of the frame, making this the kind of detail-rich movie that ought to reward repeat viewings.

“Early Man” introduces dinosaurs just long enough for them to go extinct, then reveals how our ancestors (molded from clay, like the Good Book says) turned a natural disaster — a spectacular asteroid strike — into a kind of “sacred game” by kicking about the still-smoldering Goldberg polyhedron that had fallen from the heavens. Flash forward a few centuries, and the sport has been all but forgotten by Dug’s tribe, who instead focus their energy on bunny hunting and gathering (a perfect excuse for Park to insert an adorable animated rabbit, who pops into frame and squeaks whenever the script needs an easy laugh).

In their primitive naïveté, they’re no match for Lord Nooth (Tom Hiddleston, whose hammy Gallic accent recalls the French guards in “Monty Python and the Holy Grail”). A beak-nosed Bronze Age blowhard, Nooth intends to take over their land and transform it into a giant mine, where Dug and company will be forced to dig for precious metals. Somehow, this tiny group of near-Neanderthals (one caveman shy of a soccer team) were left in the dust as civilization moved forward without them, and they’re still using Stone Age-tools — and in some cases, barely able to string a sentence together — while their invaders live in elaborate walled cities complete with gladiator-scale sporting arenas (whose elaborate crowd shots no doubt demanded CG assistance, but never call attention to themselves as such).

That’s what makes “Early Man” such an appealing addition to the Aardman oeuvre: Though it benefits from the latest digital advances, the CG effects have been so seamlessly integrated that the film maintains the illusion that it was made almost entirely by hand. Both the cavemen and their Bronze Age counterparts have that blobby, googly-eyed, Chiclet-toothed look fans associate with Park’s most popular character, world-famous inventor/cheese aficionado Wallace — an aesthetic that diverges strongly from the fine-limbed, elaborately colored designs introduced by Laika (“Coraline,” etc.) to the medium of stop motion in recent years.

If “Early Man” seems crude by comparison, that’s kind of the point. Consider this: 2013’s computer-animated hit “The Croods” was initially intended as an Aardman production (developed under the working title “Crood Awakening”) before DreamWorks Animation decided to make it as a flashy CG family movie instead, seizing full advantage of the roller-coaster potential of stereoscopic 3D. “Early Man” may as well be the opposite approach, in which Park takes the bare-bones caveman concept as an opportunity for a more lo-fi, character-driven project (though it should be said that the film is lit more radiantly than any of the studio’s previous toons).

In addition to Dug and Nooth, standouts among the ensemble include the vain Bronze Age soccer stars, as well as a young woman, Goona (Maisie Williams), whose advanced civilization shortsightedly forbids her from playing soccer. That gives Goona reason to switch sides and assist the Stone Age team, while making her into the sort of female role model America Ferrara voiced in “How to Train Your Dragon.”

And then there are the adorably ugly animals, which range from a ridiculous T. Rex-sized duck (complete with teeth, a requirement for any Aardman creature) to Lord Nooth’s colorful message bird (Rob Brydon), who dutifully takes dictation, parroting back even the most inappropriate of messages, like some kind of Flintstones-era answering service. The most Gromit-like is Dug’s pet Hognob, a woolly, orange boar of sorts, with giant tusks and spindly legs who desperately longs to join the team.

When it comes to the big soccer championship, “Early Man” doesn’t offer many surprises (which probably explains why Aardman has downplayed the sports-movie aspect of the project in trailers), though its creators have crammed the film so full of jokes, both visual and dialogue-based (the latter doubly amusing on account of the accents involved), that scarcely a minute goes by without some clever gag to crack a smile. On one hand, it’s strange to think that Park’s career was leading up to this, while on the other, it’s a treat to regress to the kind of inspired silliness “Early Man” unapologetically has to offer.

Film Review: ‘Early Man’

Reviewed at Wilshire Screening Room, Los Angeles, Jan. 12, 2018. Running time: 89 MIN.

PRODUCTION: (Animation — U.K.-France) A Lionsgate (in U.S.), StudioCanal (in U.K., France) release of an Summit Entertainment, StudioCanal, BFI, Aardman Animations presentation. (International sales: StudioCanal, Paris.) Producers: Carla Shelley, Richard Beek, Peter Lord, Nick Park, David Sproxton. Executive producers: Alicia Gold, Ron Halpern, Didier Lupfer, Danny Perkins, Ben Roberts, Natascha Wharton.

CREW: Director: Nick Park. Screenplay: Mark Burton, James Higginson; story: Burton, Nick Park. Camera (color): Dave Alex Riddett. Editor: Sim Evan-Jones. Music: Harry Gregson-Williams, Tom Howe.

WITH: Eddie Redmayne, Tom Hiddleston, Maisie Williams, Miriam Margolyes, Timothy Spall, Rob Brydon, Richard Ayoade.

Professor Marston Review- Collider

‘Professor Marston and the Wonder Women’ Review: A Sexy Origin Story

      OCTOBER 11, 2017

professor-marston-wonder-women-slice

[NOTE: This is a re-post of my review from the Toronto International Film Festival; Professor Marston and the Wonder Women hits theaters this weekend]

How does one of the most iconic feminist characters in pop culture history get created? The true story is stranger than fiction, but captured in compelling, compassionate, and loving fashion in Professor Marston and the Wonder Women. This tale of Wonder Woman creator William Moulton Marston chronicles how the psychologist and his wife’s polyamorous relationship with another woman paved the way to Wonder Woman, but more importantly it’s a film about love, acceptance, and feminism. Anchored by a powerhouse performance from Rebecca HallProfessor Marston and the Wonder Women clips by at a rapid and compelling pace, and while the narrative gets a bit rushed when it’s time to actually tackle the comics character’s creation, the character work that precedes it brings this thing home in emotional fashion.

Written and directed by Angela Robinson, the film begins in 1928 as we’re introduced to Professor William Moulton Marston (Luke Evans), who teaches psychology alongside his wife Elizabeth Marston (Hall), a brilliant woman who continues to be denied her PhD because, frankly, she’s a lady. The Marstons are presented as intellectual, curious, and flirty, and they take a particular interest in a student named Olive Byrne (Bella Heathcote), who becomes Professor Marston’s Teaching Assistant and befriends the duo. Olive’s beauty is unparalleled, and indeed in a standout scene early in the film, the Marstons watch Olive from afar as Elizabeth assess how her beauty—psychologically—is both an asset and a burden for the young girl. It’s a brilliantly written, directed, and acted scene that serves to underline the dynamics present through the film.

Olive aids the Marstons in their experiments and is personally responsible for a breakthrough in their invention of the lie detector, which they test out on each other and which is used in dramatic fashion to lay bare everyone’s true feelings. After some hesitance, tears, and a bit of fighting, the trio consummate their relationship—it’s made abundantly clear that all three are in love with one another, and we see as they try to build a life together (which includes children) in a world that does not accept their relationship.

professor-marston-wonder-women-luke-evans-rebecca-hall-bella-heathcote

Image via Annapurna Pictures

What really stands out about Professor Marston and the Wonder Women is how different the film might have been if it had been made by a male director. The prospect of a threesome relationship could easily be fetishized, especially in the sex scenes, but Robinson is intensely focused on ensuring that every shot and frame reinforce the genuine love these people have for each other. Don’t get me wrong, the love scenes are downright sexy, but there’s no male gaze here—the focus is always on the pleasure of the women, not of the man, and that goes a long way towards expressing the dynamics in play.

Indeed, Marston himself came up DISC theory to describe relationships, which establishes titles like dominance, inducement, submission, and compliance, and even before we get to the sex scenes, we see that Elizabeth is the dominant one in their relationship. It is vital that we understand Elizabeth approves of (and desires) this polygamous relationship, lest the story come off like William was simply a dude who wanted two wives. Again, I think having a female writer and director steering this story makes a huge difference, and Robinson uses every tool at her disposal to tell this tale visually in an engaging and encouraging way.

As for the performances, Luke Evans does a swell job bringing Marston to life in a colorful form, but this movie is really far more interested in Elizabeth and Olive, and the actresses completely deliver. Hall in particular is a standout, and it’s clear from the opening scenes that she’s going to own this movie. She navigates complicated emotional territory as she must weigh the cost that living this kind of life has on her family and children, while also finally finding acceptance in acting on feelings she’s had bottled up inside.

professor-marston-wonder-women-rebecca-hall-luke-evans-bella-heathcote

Image via Annapurna Pictures

That’s a big part of what this movie’s about. That the relationship at the center of Professor Marston is polygamous is beside the point—it’s simply that it’s “out of the ordinary,” and thus I feel the film makes a welcome addition to the growing library of queer cinema. The performances of Hall and Heathcote are rich with complexity, capturing small moments of acknowledgement or desire here and there in the early parts of the film.

When the story finally gets to the creation of Wonder Woman, the film gets a bit too rushed and the timeline a little muddled, but it’s fascinating to see how the influence of these two strong, confident, and different women quite literally gave birth to a feminist icon. Marston makes not effort to hide the fact that he wants to get his ideas of DISC and feminism across to readers subconsciously, and that bleeds into the images and storylines that permeate the first Wonder Woman comics.

Moreover, the film’s rich exploration of the ideals of William, Elizabeth, and Olive, also helps to explain the seemingly anachronistic idea of a feminist superhero “wearing a bathing suit.” The trio discusses and debates what it means to be feminist, and the balance between beauty, intelligence, and power. It adds to the richness of the film and will hopefully help get across the idea that feminism is not just one thing.

Love is love is love is love, but we take for granted that some spend their lives afraid of expressing that love. Professor Marston and the Wonder Women is a terrific story of finding acceptance, challenging the norm, and debating ideas in an intelligent instead of belligerent manner, while also celebrating the diversity and resilience of the female gender. And, of course, how all of this resulted in the creation of one Diana Prince.

Rating: B+

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“Professor Marston and the Wonder Women” added to slate for Toronto 2017

“Professor Marston and the Wonder Women,” which will now be distributed by Annapurna Pictures on its new distribution arm, will premiere October 12, 2017 at the Toronto International Film Festival.

Tom Howe scoring Professor Marston and the Wonder Women

Composer Tom Howe is scoring Boxspring Entertainment and Topple Productions’ Professor Marston and the Wonder Women, from writer/director Angela Robinson.  Marston is a biopic depicting the true story of the unconventional family that launched the famed Wonder Woman comics in the 1940’s.  Marston will star Luke Evans as Professor Marston, with Rebecca Hall as his wife, and Bella Heathcote as their lover.  Film is due for release by Sony Pictures in late 2017.

Halli Cauthery scoring Future Man

Composer Halli Cauthery is scoring Sony Pictures Television’s half hour comedy Future Man, executive produced by Seth Rogen and Evan Goldberg and starring Josh Hutchinson. Hulu has picked up all 13 episodes slated to be released in 2017.  Future Man is the story of a video gamer/janitor who must save humanity by traveling through time.