Carol Unleashes Her Powers In A Brand New ‘Captain Marvel’ Trailer

“The story follows Carol Danvers as she becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.  Set in the 1990s, “Captain Marvel” is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe.”

Directed by: Anna Boden, Ryan Fleck

Cast: Brie Larson, Gemma Chan, Lee Pace, Samuel L. Jackson, Jude Law, Djimon Hounsou, Ben Mendelsohn, Clark Gregg, Mckenna Grace

Release Date: March 8th, 2019

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‘Ralph Breaks The Internet’s $25m Weekend Makes It 14 Number 1’s In 2018 For Disney: Box Office Report

Written by Dapo Olowu

Just the one wide release this weekend in ‘The Possession of Hannah Grace’ meant that ‘Ralph Breaks the Internet’ faced little in the way of competition, ending Sunday night atop the Box Office charts.

Its $25.6m gross was a little on the low side of our $30m forecast, giving it a domestic total of $119.1m – now behind ‘Moana’ in the same point in its run ($119.8m), but ahead of ‘Wreck-It Ralph’ by almost $20m at the same stage. ‘Moana’, of course, went on to earn a remarkable $248.8m stateside, while ‘Wreck-It Ralph’ grossed $189.4m in 2012.

Ralph Breaks the Internet’s weekend marked Disney’s 14th Box Office #1 of 2018 from just 5 films (afterBlack Panther’, ‘Infinity War’, ‘Solo’, andAnt-Man 2’), leaving the studio well clear of nearest competitors Universal and Warner Bros, who both boast 9 weekend winners apiece.

Just 4 weekends remain until 2018 draws to a close, and Disney aren’t finished yet, with ‘Ralph’ looking for a 3rd straight win in a week’s time, and ‘Mary Poppins Returns’ opening on the 19th. Internationally, ‘Ralph’ made $33.7m from 27 countries, including snatching first place in the U.K. This gives the film a worldwide total of $207.1m after just 2 weeks in release, with more to come by the end of the year.

There was a closer fight than expected for second place, involving ‘The Grinch’ and MGM’s ‘The Creed II’. ‘The Grinch’ ultimately won this round, earning $17.9m against ‘Creed II’s $16.6m, but the latter can take solace from the fact that it’s just $20m away from passing the century mark domestically, $30m away from beating its predecessor ‘Creed’s domestic total, and $50m away from becoming the biggest boxing movie in U.S. history.

The Grinch’, meanwhile, crossed $200m in the U.S, sneaking in at 10 on the biggest grossing films of the year list with $203.7m. Now in its 4th weekend, it’s survived threats from ‘Ralph’ and ‘Fantastic Beasts 2’ and can now look to establish itself as the year’s second-biggest animated hit, behind the record-breaking ‘Incredibles 2’.

Finally, the only new release of the weekend came from Sony, as ‘The Possession of Hannah Grace’ haunted audiences across the States to earn an impressive $6.4m from just 2,000 cinemas. Its 17% on the Tomatometer and C- on Cinemascore hint at a film that wasn’t adored by critics or audiences alike, but from just a $9.5m budget, its reception may not prove to be as important when its run is over.

With ‘The Grinch’ working its way into the top ten domestic hits of the year, can it stay there once ‘Aquaman’, ‘Mary Poppins’, and ‘Spider-Man: Into the Spiderverse’ come around? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

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Lionsgate’s Vestron Collector’s Series Gets Three New Additions!

Lionsgate UK have announced three more cult classics joining their Vestron Collector’s Series. Originally released by Vestron Video, these classic horror and sci-fi titles are restored and remastered on Blu-ray™ and packed with hours of special features.

 

CLASS OF 1999 (1990)

The time is the future, and youth gang violence is so high that the areas around some schools have become “free fire zones” into which not even the police will venture. When Miles Langford (Malcolm McDowell), the principal of Kennedy High School, decides to take his school back from the gangs, robotics specialist Dr. Robert Forrest (Stacy Keach) provides “tactical education units”. Human-like androids have been programmed to teach and are supplied with weapons to handle discipline problems. These kids will get a lesson in staying alive!

SPECIAL FEATURES

  • Audio commentary with producer/director Mark L. Lester
  • ‘School Safety’ – interviews with director/producer Mark L. Lester and co-producer Eugene Mazzola
  • ‘New Rules’ – an interview with screenwriter C. Courtney Joyner
  • ‘Cyber-Teachers From Hell’ – interviews with special effects creators Eric Allard and Rick Stratton
  • ‘Future of Discipline’ – an interview with director of photography Mark Irwin
  • Theatrical trailer
  • TV spots
  • Still gallery
  • Video promo

Pre-order on Amazon: https://amzn.to/2zEoh7o

PARENTS (1989)

Meet the Laemles. Dad’s got a great job. Mom has all the modern conveniences a happy homemaker could ask for. And ten-year-old Michael has neat new friends and two parents who kill him with kindness. They’re the all-American family… or are they? Michael can’t figure out why his family serves leftovers every night. “Leftovers? Well, what were they before they were leftovers?” questions young Michael. “Leftovers-to-be,” smiles dad. Dad’s bringing home the bacon… and a whole lot more. Michael’s parents are getting away with murder – making home where the horror is!

SPECIAL FEATURES

  • Audio commentary with director Bob Balaban and producer Bonnie Palef
  • Isolated score selections and audio interview with composer Jonathan Elias
  • ‘Leftovers To Be’ – with screenwriter Christopher Hawthorne
  • ‘Mother’s Day’ – with actress Mary Beth Hurt
  • ‘Inside Out’ – an interview with director of photography Robin Vidgeon
  • ‘Vintage Tastes’ – with decorative consultant Yolanda Cuomo
  • Theatrical trailer
  • Radio spots
  • Still gallery

Pre-order on Amazon: https://amzn.to/2KSSMuL

THE UNHOLY (1988)

In New Orleans, a city with a dark underside of black magic and satanic worship, two priests have been brutally murdered at St. Agnes Church. Now The Unholy reigns, only to be challenged by the purest of mortal souls. Father Michael (Ben Cross), believed to be spiritually blessed, is appointed to the ungodly parish. Is he really the “chosen one”, strong enough to fight such ravishing temptation, such raw evil? Or is he simply the third to die? Some say Father Michael hasn’t got a prayer.

SPECIAL FEATURES

  • Audio commentary with director Camilo Vila
  • Isolated score selections and audio interview with composer Roger Bellon
  • Audio interview with production designer & co-writer Fernando Fonseca, featuring isolated selections from his unused score
  • ‘Sins of the Father’ with Ben Cross
  • ‘Demons in the Flesh: The Monsters of The Unholy’
  • ‘Prayer Offerings’ with production designer & co-writer Fernando Fonseca
  • Original ending featuring optional audio commentary with producer Mathew Hayden
  • Theatrical trailer
  • TV spots
  • Radio spots
  • Original storyboard gallery
  • Sill gallery

Pre-order on Amazon: https://amzn.to/2Rw7D0R

 

All three restored cult classics will be released February 25th 2019! 

REVIEW: Creed II (2018)

Directed by: Steven Caple Jr.
Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Dolph Lundgren, Florian Munteanu

Written by Cameron Frew

“If he dies, he dies,” said Ivan Drago (Dolph Lundgren) in Rocky IV, arguably the finest entry in the series outside the all-time classic original. It was a film that captured the essence of its time; the ultra-machismo, the air-punching music, a self-aware corniness, post-Cold War observations. But Creed II, the follow-up to 2015’s acclaimed spin-off, is a much different beast from its ancestor.

After Adonis Creed (Michael B. Jordan) becomes world champion, Drago, the man who killed Creed’s father, and his brutish son, Viktor (Florian Munteanu) challenge him to a fight. Against Rocky’s (Sylvester Stallone) better judgement, Creed takes the bout, sparking repercussions that will affect his life at home with Bianca (Tessa Thompson).

Lundgren’s mournful icon opens the picture, from the frosty-blue filtered snowscape of Kiev, awakening his boy for what we can only assume a long, hard day of montage-worthy training. It’s not long before we see the terrifyingly hulkish Viktor, deftly handled by Munteanu, in action in the ring. One thing is established fast; Viktor shares one huge trait with his dad – a lack of compassion.

Director Steven Caple Jr, taking the gloves from Ryan Coogler, plays a tension-raising little game – we’re reacquainted with Creed and co fairly quickly (in a sneakily modest one-take). Rocky says to him: “Are you here to prove something to other people, or prove something to yourself?” The triumphant spirit that helped give the first film a surprising strength is back, but Caple Jr is keen to remind you that there’s definitely a storm coming, and there’s only so far a good man can go against someone “who was raised in hate”.

Stallone earned himself an Oscar-nom for the (formerly) titular role, and here he’s on similarly excellent form. There’s a really interesting narrative in play between him and Drago throughout; the latter broke things in Rocky “that ain’t ever been fixed”, but he also lost everything and was exiled by his wife – and country – following his homeland defeat. Lundgren is fantastic here, bringing a cautious vulnerability and real, hard vindictive streak in a fractured, immensely satisfying performance that makes these two titans meeting again feel more than an exercise in cheap memories.

The moral conflict is meaty; Rocky is against Creed fighting Viktor because of the past, because of how dangerous he knows Drago’s son is and, obviously, because he can’t face watching the son of the man whose life ended at the hands of his Russian foe, also die. But Rocky fought Drago out of guilt, so if Creed wants to fight his son after Drago has the brass neck to challenge him, can he be blamed? It’s a tale as old as time – testosterone firing on all cylinders. Thankfully, writers Sascha Pem, Juel Taylor and also Stallone keep the story rooted in harsh reality; Creed II is more of a story about finding oneself in the shadow of our parents, and the need to let the past go to become who you really want to be. That, and some tellingly obvious comments on toxic masculinity, takes this a little further than more surface-level genre efforts.

Thompson and Jordan are a fabulous duo that endures a heart-wrenching plight – the writing in this regard excels at not romanticizing their lives (aside from the dreamy L.A flat they acquire just like *finger snap*).  With the exception of a small number of truly moving moments, their narrative is filled with foregone conclusions. In fact, the film itself is excessively formulaic, almost going exactly the way any relatively clued-up moviegoer would predict.

But that’s the thing; Creed II only works if you’ve got skin in the game, if you have more than a floating investment. You need to care and believe in the stakes and the people. If you don’t, the clichés will hit harder, but if you do, there’s much to be enjoyed here as both a series veteran and newbie.

The fight scenes are intense and muscular, shot with a firm hand and never, as the trap less adept efforts fall into, disorientating to enjoy. However, the choreography is miles behind decades-earlier movies; not just Rocky, but also Raging Bull, or even Warrior in 2011. There’s a certain lack of distance afforded to the viewer, always cinematically in amongst it instead of taking a step back. In a boxing picture, that would seem like a detrimental flaw – but Caple Jr is slick enough to carry it off.

Returning to compose is Ludwig Göransson, who separates this work even further from its family tree, weaving the soundtrack with a hip, modernized flare that rarely taps into that classic theme (oh boy when it does, though), exhibiting a rare confidence in the culture of sequels. The music makes for a thrilling accompaniment to Kramer Morgenthau’s raw, evocative cinematography; a natural at both establishing the emotional range of an intimate environment and accenting a brilliant montage. A little more recognition of its roots would have carried it that extra stretch (don’t wait on Drago saying that famous line), but this is a cool, unruffled entry in a franchise that would be welcomed back again.

Gripping and poignant, Creed II marks the humble passing of the mantle. Just need Mr. T’s son for next time.

 

Cameron’s Verdict:

4

REVIEW: Dog Days (2018)

Directed by: Ken Marino
Starring: Nina Dobrev, Vanessa Hudgens, Finn Wolfhard

Written by Elena Morgan

Set in sunny Los Angeles, we follow the lives of multiple dog owners and their beloved fluffy pals. When these human and canine paths start to intertwine, their lives begin changing in ways they never expected…

Dog Days is in the same vein as Garry Marshall’s Valentine’s Day, New Year’s Eve and Mother’s Day. However, it doesn’t have quite the A-List cast those three films have, and instead of being set around one day, dogs are what connect all the characters and their stories. All the characters have dogs in their lives, and a lot of them find romance and friendship thanks to their furry friends. There’s Nina Dobrev’s TV host who meets a former NBA player and Vanessa Hudgens’ barista Tara who fancies the sexy vet who works across the street, while Finn Wolfhard’s pizza boy helps an elderly professor find his lost dog. There’s a lot more characters and plots than that but if I listed them that’d take up this whole review.

Contrary to what the film’s title might suggest, the focus of Dog Days is on the humans rather than their canine counterparts. The cast all give decent performances and those whose character’s stories involve a romance, generally they have good chemistry with their love interest. The characters themselves are all pretty cliché and there’s no characters that stand out, for good or bad reasons. The various character’s stories are incredibly predictable but sometimes it’s nice to watch a film that’s nice and fluffy – in more ways than one!

Dog Days is a rom-com with dogs. The romance can be sickly sweet, and the comedy is a bit hit or miss with most jokes merely raising a smile rather than a proper laugh, but all in all it is satisfyingly sentimental. I’m a soppy dog lover so naturally there were a few moments that made me tear up, and there was one moment in particular that made me cry like a baby. In amongst the romance and friendship drama, these characters all love dogs and the relationships they build with their four-legged friends does tug on the heartstrings.

Elena’s Verdict:

3

 

We’re currently running a competition to win a Blu-ray copy of the film!

TV REVIEW: The Durrells (Seasons 1, 2 & 3)

Written by Fiona Underhill

The Durrells is the latest television show to adapt the autobiographical novels of the naturalist Gerald Durell, known as the Corfu Trilogy. The first and best known of the novels is My Family and Other Animals and was made into a TV series of the same name in 1987 (which I was very fond of as a child). The saga tells the story of Durrell’s childhood, specifically a five year period spent on the island of Corfu, which is where the widowed Louisa Durrell moved with her children Leslie, Margo and Gerry. In real life, they went there to join her eldest son Lawrence Durrell, who was already living there with his wife, however, this is changed in the book and the shows (Lawrence’s wife is never mentioned). Whilst on Corfu, Gerry became greatly interested in the local fauna and started collecting animals to study at home, aided by local man Theo Stephanides.

The Durrells stars Keeley Hawes as Louisa Durrell, Josh O’Connor as Larry Durrell (who is about 21 when the series starts), Callum Woodhouse as Leslie (18), Daisy Waterstone as Margo (16) and Milo Parker as Gerry (11). On Corfu, they immediately befriend a local taxi driver Spiros (Alexis Georgoulis) and they hire a helper for the house Lugaretzia (Anna Savva). There is a supporting cast of mostly eccentric local people, including a British Doctor’s wife, Florence (Lucy Black), the booze-soaked Captain Creech (James Cosmo) and a French Countess (Leslie Caron) who hires Margo. In the first season, Larry enthusiastically sets about trying to get his Mother laid (one of the many things I love about this show), with varying degrees of success. Her main love interests in the first two seasons are the Swedish Sven (Ulric von der Esch) and the British Hugh (Daniel Lapaine). Larry is a struggling writer, Leslie is gun-obsessed and Margo is discovering feminism whilst also desperately wanting a boyfriend (relatable).

The Durrells follows in the footsteps of My Family and Other Animals by appearing on the surface to be a light-hearted, heart-warming and cosy Sunday tea-time treat of a show (and there is absolutely nothing wrong with that). I strongly associate the 80s TV series with being in a nightgown in front of the fire after a bath and having a supper of tea and toast. However, The Durrells is not as frivolous as it first appears. Yes, a big part of the appeal is the stunning location. The Durrells move into a huge ramshackle villa directly overlooking the sea, it is white with green shutters and has the peeling wallpaper look which is greatly coveted by hipsters now. Of course, it is absolutely sun-drenched and it is impossible not to be jealous of the cast and crew who got to work in this incredible place with incredible people. However, the show also tackles issues such as homosexuality being illegal at the time, unwanted pregnancy and is generally much sexier and more riské than one might expect. Louisa Durrell (played by a beautiful and sexy actress) is treated as a complex human being, torn between trying to ensure her children are successful and happy and also trying to stave off her own longing and loneliness. It is one of the best depictions of motherhood I have seen on television – Louisa is quite open, honest and frank that at times she finds her children stupid and annoying. The dialogue is incredibly fresh and hilariously funny, with the banter exchanged between this bickering family being sharp, witty and dripping in sarcasm.

My favourite aspect of the show is the relationship between Louisa and her oldest son Larry (played by one of Britain’s best young actors – Josh O’Connor – don’t believe me? Watch God’s Own Country). Larry takes on the role of a confidante of Louisa’s, she seeks advice from him on how to cope with the younger children and their scenes together are incredibly genuine, tender and with fantastic natural chemistry between the two actors. Something else I love about this show is that it handles tonal shifts so skillfully. Clunky American sitcoms such as Scrubs, How I Met Your Mother or Big Bang Theory will spend half an hour trying to make you laugh and then hold up a signpost saying; “now we are going to deliver a heartfelt message, dripping in sentimentality.” The Durrells can go from a biting and caustic wit to heart-wrenching scenes, where the family go from being at each other’s throats to supporting one another in a completely natural and believable way. The writing and acting is incredibly strong for an ITV period drama and it certainly exceeded my expectations.

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The design of the series is very strong, from the opening titles, modelled on 1930’s railway or tourism posters, through to the overall production and costume design. From Larry’s signature Breton stripes or his burnt orange spotted dressing gown paired with boxer shorts, through to the knitted swimsuits, Louisa’s high-waisted trousers and the Countess’ stunning green dress which she gives to Margo (reminiscent of the famous green dress from Atonement) – the costumes are a feast for the eyes. Gerry’s collection of animals is obviously a source of delight, with a particular highlight being the mating pair of otters that he acquires.

The nuanced depiction of motherhood is not just confined to Louisa Durrell. Louisa’s friend Florence becomes pregnant after over a decade of trying, but when the newborn comes, the show portrays the realities of sleep deprivation and her other struggles. She also has an amusingly cavalier attitude to the baby, frequently forgetting about him and mislaying him. Lugaretzia is quite brazen about picking favourite children, which she does with the Durrells and her own. The portrayal of Louisa as a young widow is also extremely moving (my own mother was widowed at the age of 33 with three young children). Louisa is still very much in love with her husband and struggles to move on. There is a heart-breaking episode where they use a medium to try to contact him.

O’Connor’s acting, particularly in scenes with Hawes, is sublime and deserves to be compared to his performance in God’s Own Country. Just because it has humour and charm and dare-I-say, whimsy, does not mean that there is not a lot going on behind it. Firstly, comedic performances are vastly underrated and undervalued to begin with – people underestimate how hard it can be to be funny on screen. But there are scenes where Larry is much more vulnerable and O’Connor emotes with his eyes so well – communicating that there is a lot going on under the surface with Larry. In an interview with Seventh Row, O’Connor notes that his character in God’s Own Country and Larry Durrell are more similar than they first appear: “I think Larry is a really interesting parallel [to Johnny Saxby] – the way he hides it isn’t like Johnny, where Johnny just closes himself off entirely. Larry hides it with abuse and anger. I think there are a lot of similarities between Larry and Johnny, emotionally.”

Daisy Waterstone and Milo Parker both deliver the matter-of-fact, frank and blunt dialogue superbly. Even in the short time the series has been on, Gerry has gone from a little boy to a teenager (his mother throws him a disastrous 13th birthday party) and I believe Parker is closer to 16 now, so you are watching these people drastically change and grow before your eyes. The gun-toting Leslie is also more layered than he first appears – it is obvious that he misses a male role-model the most of the children and Woodhouse’s acting as Leslie tries to cope with getting a girl pregnant is really affecting. You will become heavily invested in these characters and this family – you will be willing for them to succeed in their life on Corfu and for Louisa to find love.

I was expecting to find The Durrells to be a pleasant distraction, but it has ended up being so much more than that. Truth be told, I have ended up binging the three seasons in little more than three days and I plan to go back and watch the whole thing from the start again. It completely drew me in, I became involved with this family and I am now waiting with baited breath for the fourth season. I have been fretful that O’Connor might not carry on with it, but sincerely wish that he will because his Larry Durrell is one of my favourite TV characters now. I highly recommend giving The Durrells a chance, I don’t think you’ll regret it.

You can watch The Durrells on ITV in the UK, and PBS/Amazon Prime in the US

Don’t forget to check out Fiona’s TV reviews for The Night Manager and The People vs OJ Simpson too!

It’s Time For A Killer Comeback In The First Trailer For ‘Happy Death Day 2U’

“Jessica Rothe leads the returning cast of HAPPY DEATH DAY 2U, the follow-up to Blumhouse’s (Split, Get Out, The Purge series) surprise 2017 smash hit of riveting, repeating twists and comic turns. This time, our hero Tree Gelbman (Rothe) discovers that dying over and over was surprisingly easier than the dangers that lie ahead.”

Directed by: Christopher Landon

Cast: Jessica Rothe, Israel Broussard, Ruby Modine

Release Date: 14th February 2019

‘Creed II’ Goes For The Title Whilst ‘Ralph Breaks The Internet’ Remains Top In Slow Weekend: Box Office Predictions

Written by Dapo Olowu

As the tumbleweed rolls through this barren Box Office weekend, you may be forgiven for asking why just 1 film is opening wide on Friday (and none 7 days later). The post-Thanksgiving weekend is one of historical dryness – this time last year saw 0 films open in over 600 cinemas, although it did welcome the release of award-fodder ‘The Disaster Artist’ and ‘The Shape of Water’ in a few theatres each.

Why? The mid-December onslaught, which in 2018 includes ‘Aquaman’, ‘Spider-Man: Into the Spider-Verse’, ‘Bumblebee’, and ‘Mary Poppins Returns amongst many others, leaves studios in a difficult scheduling position, where they’re forced to contend with both the Thanksgiving’s leftovers, as well as the upcoming competition.

Leaving this release date alone is almost always preferred – the 2-week theatrical guarantee means that most big films have a fortnight in the cinemas before their screen counts drop. Of course, this would swallow up most releases in the upcoming weekend, leaving Sony’s low-budget horror ‘The Possession of Hannah Grace’ as the only new film to torment cinemagoers from around 2,000 theatres. The film follows the story of an ‘exorcism gone wrong’, and stars Shay Mitchell (‘Pretty Little Liars’), Shana Katic (‘Castle’), and Grey Damon (‘Aquarius’).

Much like 2016s ‘Incarnate’, which opened to $2.5m on its way to a $4.8m domestic finish, ‘The Possession of Hannah Grace’ won’t seriously trouble many in the top ten, and its forecasted $2.6m gross may even be too optimistic, as the strong Thanksgiving weekend holdovers will leave this supernatural thriller needing more than just some holy water.

Ralph Breaks the Internet’, last weekend’s winner, will remain on top, pulling in a solid $30m to bring its domestic total close to $120m. Although its ahead of both ‘Coco’ and ‘Moana’ at the same point in their runs, ‘Ralph 2’ will be lucky to finish close to the latter’s $248.8m total – sequel-itis can be unforgiving. The front-loaded nature of franchises can be seen with ‘Fantastic Beasts 2’, which will struggle to reach a $200m domestic total (while ‘FB1’ hit $234m). The ‘Harry Potter’ spinoff should earn around $15m this weekend for 4th place.

The same can’t be said for ‘Creed II’ however, who after less than 2 weeks of release is just $40m off ‘Creed’s entire domestic gross. The film stands currently bells in as the 10th biggest boxing film in U.S. history, and an $18m this weekend gross will see it leapfrog predecessor ‘Rocky Balboa’ into 9th spot. The fighter student has become the master trainer, it seems, but Michael B. Jordan and co. won’t be stopping here, as its sights are fittingly set on ‘Rocky IV’s record $127.9m total. Whether or not it’ll deliver that knock-out gross, we’ll see.

The DiCaprio-produced ‘Robin Hood’ gets an honourable mention here too, as it grasps to remain in the top ten. A film likely to litter many a ‘Box Office Bombs of 2018’ list (including ours), its $3.9m weekend should see it pass the $20m mark domestically but not much else, with a likely finish of $30m in store.

In a more uneventful Box Office weekend, ‘Ralph Breaks the Internet’ has the opportunity to extend its stronghold, while ‘Creed II’ has eyes on the title belt. Will the latter make it, and will ‘Ralph 2’ best that of ‘Coco’ and ‘Moana’? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

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Hugh Jackman Announces A World Tour!

Hugh Jackman has been teasing a special announcement lately and it’s had his fans going crazy at what it could be. Well, earlier today the man himself announced his plan of a world tour in 2019 in which he will perform songs from The Greatest Showman, Les Miserables, and more hits from Broadway and film.

The tour will kick off with 12 shows across Europe and the UK beginning Monday, May 13th in Hamburg, Germany at Barclaycard Arena, with stops in Amsterdam, Paris, Manchester, Dublin, and London, with two shows at The O2 Arena. The 22-city North American leg will begin Tuesday, June 18th at Toyota Center in Houston, TX, with stops in Chicago, Toronto, Boston, Las Vegas, and New York, with two shows at Madison Square Garden, as well as two performances at the Hollywood Bowl in Los Angeles.

Tickets for his one man tour go on sale 9am Friday 7th December and are available from the official tour website.

This is a show we definitely don’t want to miss!

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