Like the animal of its title, “The Wolf of Wall Street” (Paramount) is a vicious and predatory piece of cinema that inculcates values directly antithetical to those of Scripture and sacred tradition. As such it represents a deeply reprehensible misuse of the considerable talents involved in its making.

This vile exercise in immorality charts the fact-based rise and fall of penny-stock swindler Jordan Belfort (Leonardo DiCaprio). Together with his closest associates — most prominently personified here by a character called Donnie Azoff (Jonah Hill) — Belfort played on the unrealistic aspirations of naive small-time investors to make himself rich. He then used his ill-gotten gains to fund a decadent lifestyle full of narcotics, status-symbol toys and casual sex.

Not surprisingly, a similar callousness to that shown toward his victims seems to have guided Belfort’s personal life, as we see when he dumps his earnest first spouse Teresa (Cristin Milioti) to marry his mistress Naomi (Margot Robbie), a trophy wife if there ever was one.

Anything but a cautionary tale, director Martin Scorsese’s screen version of Belfort’s memoir revels in greed, criminality, substance abuse and bedroom behavior straight from the barnyard. It also sends viewers the resentment-fueled message that capitalism is a con game and that only fools and drones try to make a living honestly.

Thus the diligent work of straight-arrow FBI agent Patrick Denham (Kyle Chandler), who eventually succeeds in bringing Belfort down, is shown to be largely pointless: Though stripped of his assets, Belfort has the last laugh when he’s consigned to a minimum-security prison with the facilities and atmosphere of a posh country club.

Given that Belfort is a real-life felon who presumably ruined the financial security of many of his duped investors, the fact that Terence Winter’s screenplay invites audiences to root for his wrongdoing — and to take pleasure in the excesses it financed — is troubling to say the least. Moviegoers dedicated to Judeo-Christian morality should avoid subsidizing this repentance-free and socially irresponsible project.

The film contains a benign view of sinful and illegal actions, domestic violence, strong sexual content, including graphic aberrant and adulterous sexual activity and full nudity, drug use, frequent profanities, pervasive rough and crude language and a few obscene gestures. The Catholic News Service classification is O — morally offensive. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

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Achieving a high level of authenticity and believability in a film is no easy task and as easy as it is to praise the work of Brie Larson and John Gallagher Jr. in writer/director Destin Cretton’s Short Term 12 where they play two employees at a foster facility for troubled teens, it’s the actors playing the teens that make everything feel so honest and altogether heart-breaking as much as it is heart-warming. While Cretton isn’t able to avoid all stereotypical trappings of a film of this sort, he does know how to deal with the more heightened dramatic beats in ways that don’t cause the film to lose that well-earned realism and he found just the right cast to pull it all together.

The story is told through Larson’s character, Grace, a twenty-something staffer who we learn is living with and dating her co-worker Mason (Gallagher Jr.), but little does Mason know, she just found out she’s pregnant. At the outset these are just merely character-establishing details. It’s obvious they’re going to play a role in the film, because how could they not? Workplace relationships and the revelation someone is pregnant just don’t come about in movies and go untouched for the duration. The question is How will these details be dealt with? and the answer is what makes Short Term 12 a winner.

Grace is a complex character in ways most feature film screenwriters overlook. Many will pile drama on a character to absurd levels, looking for an immediate and over-the-top reaction. Because heightened drama in movies is, for whatever reason, preferred over subtlety. Or a character will be written as a newbie and their reactions are immature rather than well-reasoned. Just like superhero movies, the wont to tell an “origin story” bleeds over to drama as well.

However, Grace has been doing her job for several years. She’s seen a lot and you can tell immediately how long she and her co-workers have been at it by how they react and work with the kids in their care. For the newcomer perspective, Cretton offers Rami Malek as Nate, a character that provides perspective and understanding at just how good Grace, Mason, Jessica (Stephanie Beatriz) and others are at their jobs by how terrified he is in his new role. It’s understandable, these kids are broken, but as the film will soon prove, so are we all.

One of the storylines Short Term 12 focuses on is that of Marcus played superbly by Keith Stanfield. Marcus is about to turn 18-years-old and his time in the foster home is coming to an end, but you can see just how much he doesn’t want to leave. Whether these kids have been beaten, abandoned or molested, they’ve all been asked to grow up too soon and to deal with emotions even adults aren’t prepared to handle. So in a situation where an 18-year-old kid is forced to leave the one place he has been able to call home, the effect is incredibly powerful, especial when you’re looking in Stanfield’s eyes or through Grace and Mason’s.

A second storyline brings Grace’s history to light through a new teen entering the home. We don’t know much about Jayden (Kaitlyn Dever) when she first arrives, but her character’s story will take us through the end of the film as she grows closer to Grace and Grace is forced to confront her own inner demons and her unknown future.

Short Term 12 is bookended by two fantastic stories told by Mason and Gallagher Jr. nails the cadence, just as much as he makes your heart weep midway through during a speech at his foster parents’ anniversary party. As much as this movie plays heavily on the drama, it’s a film that grows and swells into something more. Something about the good in people and the need for those around us to help fight the battles that may prove too much for one person to take.

Certainly the issues the characters in Short Term 12 are elevated above those most of us face on a daily basis, but the actors’ ability to create sympathetic characters and Cretton’s ability to portray them as real people rather than stereotypes places their concerns on our shoulders. By the time the final scene fades into a sun-kissed run across the home’s front lawn, you can’t help but feel you’ve seen something special… Because you have.

A spoonful of sugar and all the cheap sentiment and facile whimsy it represents are precisely what author P.L. Travers abhors in “Saving Mr. Banks,” a richly rendered, engrossing dramatization of Walt Disney’s efforts to adapt Travers’s novel “Mary Poppins” into one of his confectionery extravaganzas.

Played by Emma Thompson in a deliciously brittle turn, Travers emerges in the film as a humorless, imperious, unfailingly prim martinet, who when she arrives at the Disney studios in 1961 to collaborate on the script, insists that everyone — even Uncle Walt — address her as “Mrs. Travers.”

Reluctant to hand over Mary Poppins — never just “Mary,” please — Travers wages a two-week war of attrition on the screenwriter and composers assigned to bring the magical governess to the screen, wearing the boys down with constant criticisms and suggestions, all to keep her most cherished creation from becoming yet another casualty of Disney-fication, “cavorting, twinkling . . . careening toward a happy ending like a kamikaze.”

Thompson, her perfectly powdered face topped with a crown of angry curls, her mouth carefully drawn into a disapproving crimson grimace, tucks into such succulent dialogue with relish, dousing every line with an extra drop of vinegar for acidic good measure. The irresistible force to her unmovable object is Tom Hanks, whose Walt Disney is all soft-spoken Midwestern ma­nipu­la­tion, unctuous and shrewd in equal parts.

Unimpressed by the balloons and Mickey Mouse plush toys that greet her at the Beverly Hills Hotel, “positively sickened” by the prospect of visiting Disneyland, bored by California (Los Angeles smells of “chlorine and sweat,” she announces upon her arrival at the airport), Travers is impervious to Disney’s cajoling and flattery. To paraphrase a flinty sister-under-the-skin, albeit from another era, the lady’s not for turning — on one of Disney’s carousels, or otherwise.

Even with Thompson’s delectably dyspeptic portrayal of Travers, she’d be a difficult protagonist to root for, were it not for the back story of “Mary Poppins” that “Saving Mr. Banks” is really about. What comes to light in the flashbacks that constitute their own period-piece-within-a-period-piece is that Poppins was a product of Travers’s own childhood in Australia, where she grew up as Helen Goff at the turn of the century, the favorite daughter of an alcoholic bank manager named Travers Goff (played in a sad-eyed, sympathetic turn by Colin Farrell).

Compulsively toggling back and forth between 1960s L.A. and a Goff family farmhouse mired in addiction and financial worries, “Saving Mr. Banks” doesn’t always straddle its stories and time periods with the utmost grace. But the film — which John Lee Hancock directed from a script by Kelly Marcel and Sue Smith — more than makes up for its occasionally unwieldy structure in telling a fascinating and ultimately deeply affecting story, along the way giving viewers tantalizing glimpses of the beloved 1964 movie musical, in both its creation and final form.

In addition to the evocative scenes of Travers’s simultaneously idyllic and horrifying childhood, the best moments of “Saving Mr. Banks” occur in the Disney rehearsal room, where screenwriter Don DaGradi (Bradley Whitford) and songwriters Robert and Richard Sherman (B.J. Novak and Jason Schwartzman) endure Travers’s constant stream of invective. When the Shermans try out a little ditty for Dick Van Dyke that rhymes “constable” with “responstable,” she immediately notes that “responstable” is not a word. “We made it up,” they tell her. “Well, un-make it up,” she snaps. (It’s revealing that the person Travers is kindest to, a chauffeur played by Paul Giamatti, is the film’s only fictional character.)

How on earth could this marriage be saved? In “Saving Mr. Banks,” it’s Disney himself who comes to the rescue, when the genial, mustached Hanks delivers a moving, if cloyingly self- righteous, speech about the role of storytelling (read: Hollywood) in healing primal wounds. It’s a self-serving moment, easily dismissed as studio-sanctioned mythmaking. Still, thanks to the particular story it tells and the marvelous actors channeling it, “Saving Mr. Banks” succeeds in proving Disney’s point. Catharsis is powerful medicine, whether it’s delivered by way of a mouse with big ears, a sharp-elbowed woman allowing bitterness to melt into long-buried grief or that dreaded, delightful spoonful of sugar.

For Woody Allen fans, watching his recent films has been like prising your eyes open after an earthquake. Will everything be just as it once was? Or will it look like ‘Cassandra’s Dream’, his 2007 low, starring Colin Farrell as a London mechanic? For now we can breathe a sigh of relief. ‘Blue Jasmine’ is Allen’s strongest film overall since ‘Vicky Cristina Barcelona’, but you have to dig deep in the New Yorker’s back catalogue to find a single performance­­ as affecting and well-judged as the one Cate Blanchett delivers.

Her brittle, shivery Jasmine is a Manhattan socialite whose world crumbles after the collapse of a Ponzi scheme run by her bigger-than-life fraudster husband, Hal (Alec Baldwin). Broke, with nowhere else to go, Jasmine moves in with her down-to-earth sister, Ginger (Sally Hawkins) in San Francisco. As she tries to get back on her feet, Allen gives us flashbacks to the high life she once shared with Hal in New York.

Blanchett’s Jasmine slips between ingratiating and alienating. Is she a victim? Or the architect of her own demise? Should we care about how damaged she is? Or worry more about the damage she might inflict on others, including her heart-of-gold sister and the new man in her life (Peter Sarsgaard)? Or are the interests of everyone else in this tale equally self-serving?

One of the most pleasing things about ‘Blue Jasmine’ is that it feels truly knotty and never obvious in how it unfolds. It has a lightness of touch and a seriousness of purpose. Yes, Tennessee Williams’s ‘A Streetcar Named Desire’ hangs over Allen’s portrayal of these sisters, their men and their pasts, and yes, some of those men are clunky working-class stereotypes. But mostly this is surprising and refreshing.

Some of Allen’s strongest films – such as 1978’s ‘Interiors’ and 1988’s ‘Another Woman’ – have put the gags on hold and found richness in troubled women. ‘Jasmine’ doesn’t steer clear of comedy, but its best humour is of the black, squirming sort, such as when Jasmine’s new dentist boss comes on to her (‘Have you ever got high on nitrous oxide?’). Or when, in the good old days, Ginger and her then-husband (Andrew Dice Clay), a builder, pay Jasmine and Hal an excruciating visit at their luxury home. But there’s no disguising the trauma of its final shot and the interest at its heart: a sad woman in freefall.

Morgan Neville takes us on a musical journey into the largely untold talent and dreams of the world’s most gifted singers who have helped mold the sound of the most successful bands and artists of the 21st century. Backing vocalists who, despite bringing to life some of the greatest songs to have ever graced our charts, homes and hearts, have remained largely unknown. That is, until now.

The film quite aptly opens up with the controversial lyrics from Walk on the Wild Side followed by wonderfully rich vocals from backing singers, Karen Friedman, Dari Lalou and Casey Synge, “And the coloured girls go do doo doo, do doo…” before ingeniously immersing us into a compendium of life stories belonging to some of the greatest voices that have ever existed. If you have ever hummed along to the magical blend of harmonies in Motown hits such as Lean on Me or been swept away by the amazing backing vocals in rock songs like Gimme Shelter, then you will know what I am writing about.

Following the behind the scene lives of backup singers, Darlene Love, Judith Hill, Merry Clayton, Lisa Fischer, Táta Vega and Jo Lawry, Neville invites them to open up to us about their passion for music. Gradually, we become enlightened as to what spurs their motivation for singing, despite being intrinsic to yet never reaching the same height of success and fame as the acts they support. We also hear testimonies from pop giants such as Bette Midler, Sting, Stevie Wonder and Mick Jagger honouring the great talents of these powerhouse vocalists whom they have enlisted to help identify their own sound in popular culture.

There is a wonderful, wide genre-ranging soundtrack to this inspiring and touching documentary, which will carry you on a wave of musicality and, with it, a crescendo of emotions. Neville will have you bopping along to A Fine Boy and, moments later, gaping in amazement at the haunting and mesmerising vocals of legendary singer Lisa Fischer.

This documentary is well worthy of its Oscar award and a five-star rating. It is a fitting accolade to the mostly unrecognised talent it seeks to give recognition to and, by the end, it leaves you contemplating the forever-resonating words: “You have to share your gifts and go out into the world.” Perhaps we can all learn something from these inspirational voices.

AS comedy-dramas go, this is one that fails to elicit strong emotions. It’s a reasonable little shrug of a movie that doesn’t linger in the memory.

The slight but captivating indie-comedy The Kings of Summer has the ragtag look and feel of a movie made in some teenager’s basement: lots of slow motion; a blaring, catchy soundtrack that opens with a joyous rendition of Thin Lizzy’s “Cowboy Song;” and themes inspired by classic films about youthful friendship like Stand By Me and Ferris Bueller’s Day Off. Fifteen year-old Joe (Nick Robinson) convinces his best friend Patrick (Gabriel Basso from Super 8) to run away with him for the summer to live in the woods in a house of their own dubious construction. They want to escape their parents’ clutches. “We make the rules,” Joe tells Patrick. “You know, like men.”

Those rules are loose. They allow an acquaintance, Biaggo (Moises Arias) to tag along mainly because they don’t have the heart to say no (Biaggo is as blithely bizarre as Napoleon Dynamite and prone to popping up unexpectedly). The trio plans to hunt for and kill their own food, but quickly adapt to dumpster diving at a nearby Boston Market instead.

Their dwelling is banged together out of pieces of parts of anything they can find, including a port-a-toilet. Rising ingloriously from a clearing, it looks like Hushpuppy’s house from Beasts of the Southern Wild. On their first morning there, they awaken without clocks (all cell phones have been disposed of) and can only gauge the time by the height of the sun in the sky. As Joe squints upward, the joy of freedom is written on his face; the movie makes a convincing case that running away to live in the woods is the best way to spend a summer. In theory this is a coming-of-age story, but what makes these teenagers so endearing is seeing what young boys they are, whether they’re attempting to trap animals or spooked by noises in the night.

Robinson has a reoccurring role on the TV series Melissa & Joey but this is his first feature film. He has the infectious grin of a young Matthew Broderick— the similarities between them might be distracting if it weren’t such a pleasure to be reminded of what it was like to discover that earlier cheeky grin back in the WarGames, Project X and Ferris Bueller era. And that probably won’t be an issue for The Kings of Summer’s most likely demographic. The movie was written and directed by a couple of relative newcomers—Jordan Vogt-Robert, a TV director making his feature-film debut; and Chris Galletta, previously a staff writer on The Late Show with David Letterman)—who have imbued their coming-of-age story with the kind of refreshingly authentic voice that should make The Kings of Summer a natural draw for younger audiences.

No one ever explains what Biaggo is running away from, aside from being the resident geek of the small-town high school, but for Joe and Patrick, it’s all about their parents. Patrick’s are over-nurturers, a sensitive father (Marc Evan Jackson) who is forever standing on the bottom stairs to his basement, wistfully wanting to be a part of his son’s life and a helicopter mom (Megan Mullally) who compulsively nags and offers things no self-respecting teen wants, be it vegetable soup or a cold washcloth on a hot day. “Even when I’m an adult she’ll find me, question me,” Patrick tells Joe.

For Joe it’s more complicated; his mother is recently deceased and his father Frank (Nick Offerman) is too gruff to give him the sympathy he needs. When Frank and Joe spar, which they do frequently and only verbally, Joe has taken to calling the cops to complain that he’s being abused. The same droll duo, played by Thomas Middleditch and Mary Lynn Rajskub, appear throughout the movie. Offerman is something of an acquired taste but anyone who adores him on Parks and Recreation, where he plays a Lou Grant to Amy Poehler’s Mary Tyler Moore, will relish his exchanges with these bumbling local cops. “Mr. Toy, are you familiar with boy who cried wolf?” inquires Middleditch’s rookie. ”Yes,” Frank answers with that classic Offerman deadpan. “I experienced a childhood on the planet Earth.” This comic actor throws his lines down and watches them soar. He’s like a man wielding the hammer at a carnival’s strongman attraction; the bell nearly always gets to the top.

Despite all it has going for it, The Kings of Summer ultimately runs into dramatic tension problem in its last act. Three boys having the times of their life in the woods — and then what? In lieu of the Stand By Me dead body, the filmmakers introduce danger in the form of a woodsy encounter with rather literal symbol for manhood, and trouble in the form of a girl, Kelly (Erin Moriarty), Joe’s good friend and possibly unrequited love. The buildup has been so enticing that it’s easy enough to drift along with this slight, quirky charmer and when the puffed-up dramatic stuff gives way to the central theme of a father and son reconnecting, the film really works.

Sandra Bullock, in the performance of a lifetime, spends most of this wondrous wallop of a movie lost in space, alone where no one can hear her scream. And because director Alfonso Cuarón, a master of pure cinema, puts us right up there with her in glorious 3D, you breathe like she does, feel like she does and panic like she does until, after 90 minutes of gulping, gasping suspense, you start seeing with blinders off. Like she does.

A great movie is hard to define. So let Gravity do it for you. With enthralling detail, it offers thrills, humor, dazzle, disaster, poetic vision and mythic reach. Stanley Kubrick’s 2001: A Space Odyssey set the bar for philosophical exploration of an unknowable universe by gazing outward. With deceptive simplicity, Gravity looks inward at something closer at hand but just as profound: the intricacies of the human heart.

Bullock plays Ryan Stone, a NASA engineer on her virgin voyage into space. Her mission is to help repair the Hubble telescope. This rookie looks ready to puke inside her helmet. Her guide is Matt Kowalsky (George Clooney), a charm-boy astronaut who’s seen it all and has a joke for all he’s seen. Clooney takes a small role and runs with it, his Buzz Lightyear banter working to defuse tension. “You’re the genius up here,” he sasses. “I only drive the bus.” The buoyancy of these early scenes, cutting through the eerie silence of deep space, is in marked contrast to the horror that develops when a Russian satellite destructs and sends debris hurtling toward the shuttle. That leaves Bullock and Clooney to defy gravity and death nearly 400 miles above the looming Earth.

Don’t let anyone spoil what happens next. Just know that Cuarón, the gifted cinematographer Emmanuel Lubezki and visual-effects wizard Tim Webber are trailblazers whose imaginations accept no limits. The script, by Cuarón and his son Jonás, occasionally drifts into dangerous emo territory, but the film’s images speak with heart-rending eloquence. Cuarón’s artistry is evident in films as diverse as Y Tu Mamá También, Harry Potter and the Prisoner of Azkaban (the third and best of the Potter series) and the indisputably brilliant Children of Men. The Mexican-born Cuarón is a true visionary. In tandem with the Bullock tour de force – she blends ferocity and feeling into a triumphant, award-caliber portrait of grace under pressure – he turns Gravity into a thing of transcendent beauty and terror. It’s more than a movie. It’s some kind of miracle.

“The Legend of Conan”: Arnold Schwarzenegger offers great entertainment and a movie like “300″
Arnold Schwarzenegger, in an interview said a few words about the upcoming cult sequel “The Legend of Conan”. He expected nothing less than great entertainment from the third part of the story of the barbarian Conan.After his appearances in the “Expendables” films, “The Last Stand” and “The Tomb”, action icon Arnold Schwarzenegger will soon embody roles again from his own past. Among other things, a fifth “Terminator” part is planned, as a sequel to “Twins” on the side of Danny DeVito.

Then there is the third appearance as Conan in the planned sequel, “The Legend of Conan”.”I am very excited because I have touted this idea at Universal for some time. Most important in this film will be to treat him as an A-movie like ’300 ‘or these great films and not as a B-movie where one cuts off a few heads and legs and run around with swords.

The public is very demanding. They all ‘Spider-Man’, ‘Superman’, ‘Iron Man’ or ‘The Expendables’ and this normal action films seen. You have seen everything. Therefore, if you watch a Conan movie, they expect a spectacle. We have already tried with ‘Last Stand’, the audience to give things such as car chases and car chase with 200 things through a cornfield. Just crazy stuff that you have never seen before you have to give the audience great entertainment “.

Whether these expectations can be met in “The Legend of Conan”, you will find out in 2014. Then, the third part of the Barbarians trilogy in theatres.

First Pictures of “Grown Ups 2″ with Adam Sandler and “The Call” with Halle Berry

The successor to the hit comedy “Grown Ups” the first official image has been released showing the cast of Kevin James and Adam Sandler in a relaxed mood. Halle Berry has to laugh on the first image to “The Call” .Director Dennis Dugan drummed for “Grown Ups 2″ is back together the entire ensemble: Besides Kevin James Adam Sandler, Salma Hayek, David Spade and Chris Rock are back on board.

In the first picture, you can already see the comedy that the actors have great fun again and apparently in the second part will be a lot of making fun.

“Shades of Grey”: screenwriter Kelly Marcel promises salacious sex

In spring 2012, Universal Pictures and Focus Features acquired the film rights to the world’s bestselling book trilogy “Shades of Grey”. Since then fans and film, fans ask the question how can be filmed the novels, in which it mainly has sado-masochistic sex and submission. Now, the screenwriter Kelly Marcel has first raised the script: it is slippery!The trilogy “Fifty Shades of Grey” was a worldwide success, and fans of the book called “housewives porn” waiting impatiently for the first film in the spring of 2012.

At this point, Universal and Focus Features have acquired the rights to the trilogy. Which actor the unlikely couple who enters into a contract and then around the clock to explore all facets of sexuality, will play is not clear yet. In conversation with colleagues from The Telegraph Marcel not only declared that the Christian character of “Fifty Shades of Grey” was a bit old fashioned and romantic in itself, but also gave a first indication of the sexual content of the script.

Together with her team, she had already picked out the sex scenes in the book that had to be included in the film, and it promises: “It is slippery.”

Vampires beware: David S. Goyer talks about “Blade” reboot without Wesley Snipes

Director and screenwriter David S. Goyer, who wrote the script for the new Superman movie “Man of Steel” is called a “Blade”. David S. Goyer, screenwriter of the first two “Blade” movies as well as director of the third, spoke against about a reboot of the story about the dark Vampire Slayer.

After 2011 were the rights to the character at Marvel, it was very likely that the series is being reissued. When asked if he believed in a return of Wesley Snipes in the role of the sword-wielding protagonist, is Goyer was expressed pessimism. This may be because on the one hand, that Snipes was already 50 years old this year.

“The Muppet 2″: “30 Rock” star Tina Fey as a prison guard at the side of Ricky Gervais

The “Muppets 2″ family grows. On the side of “The Office” star, Ricky Gervais is now to Tina Fey, known primarily for “30 Rock,” playing a Russian prison guard. In “The Muppet 2″ is the bizarre and lovable dolls to make the trip to Europe, where they are certainly experiencing some adventure. Besides Kermit and Miss Piggy the moviegoer is also the comedian Ricky Gervais (“The Invention of Lying”) experience on the big screen. At his side is now, as THR reports today that are “30 Rock” actress Tina Fey.

Fey will play a nurse in a Russian Gulag prison. More details about their role is not yet known. Tina Fey, you will soon find perhaps many a time on the big screen, as the series “30 Rock” will end shortly. Together with Paul Rudd (“The Trouble With 40″) Fey was the romantic comedy “Admission”, at the 8th March 2013 in the American cinema starts, before the camera. OnJanuary 13, 2013, they will host along with Amy Poehler, the Golden Globe Awards.

In “X-Men: Days of Future Past” – Hugh Jackman’s participation has been officially confirmed

In “X-Men: Days of Future Past”, the transition between the first X-Men trilogy and the prequel “X-Men: First decisions” will be created. Director Bryan Singer takes over again for themselves the reins of Matthew Vaughn.

Travel through time to the meeting of old and new heroes are made possible. Thus besides Michael Fassbender as Magneto and James McAvoy as Professor Xavier and their older egos, be seen played by Patrick Stewart and Ian McKellen. Even Hugh Jackman’s participation has been officially confirmed. According to rumours, Halle Berry as Storm and James Marsden as Cyclops should be there again.

In the great reunion has been missing, however, another name: Famke Janssen (“Hansel and Gretel: Witch Hunters”). The actress who plays Jean Grey has been waiting anxiously for a call from Bryan Singer, like the Superhero Hype betrayed. “I sit to the phone and waiting Bryan call me“.