Tobias Funkes Arrested Development Sizzle Reel

Tobias Fnke hasnt given up on his dreams. As Arrested Developments fourth season inches toward its May 26th premiere date, series narrator and producer Ron Howard tweeted a sizzle reel and website for psychiatrist-turned-aspiring actor Tobias Fnke, played by David Cross.

Though his acting dreams have yet to pay off there was that Blue Man Group audition, for one Fnke shows off an action-packed highlight clip addressed to Howard that emphasizes his imagined versatility, greenscreening himinto scenes where hes being fired out of a cannon, brandishing dual assault rifles, ineptly playing pick-up football, going Western as a cowboy sheriff and riding a tiger all set to an aggressive dubstep soundtrack.

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Nothing helps lock in that positive impression like a good slogan, and Fnke has one thats nearly as evocative as the business cards he had printed up to advertise his services as an analyst and therapist (or analrapist):Insert Me Anywhere, which has arelated website. Its a confident showing from a never-nude who cant seem to strip off those jean shorts.

All 15 new episodes ofArrested Development will premiere at once on Netflix. The show has been building buzz for the reboot with an inspired campaign that includes a Bluths Frozen Banana stand in New York.

The Road

A father and son are transformed into homeless scavengers by a cataclysmic event: the destruction of the world. The Road, starring Viggo Mortensen as a once-civilized man shepherding his 11-year-old boy (Kodi Smit-McPhee) through an America ravaged into rubble, is adapted from Cormac McCarthys Pulitzer-winning 2007 novel. Whoa! That means film junkies, sucking on the jugular of Twilight escapism, will smell art and run like hell. For snobs, the default position is that no mere film can match the biblical ferocity of McCarthys prose.

From the looks of things, The Road is fighting a losing battle. Not to director John Hillcoat, whose Aussie-based The Proposition was an underrated gem. Working from a bare-bones script by the playwright Joe Penhall, Hillcoat goes to the core of the tale: the battle of man and boy to preserve their humanity. The movie resides not in descriptive language but in the eyes of his protagonists. And there the film finds its unique identity. If Hillcoat had erred in the casting, if Mortensen and Smit-McPhee had let an ounce of Hollywood slip into their performances, the movie would have been unendurable. But the two actors triumph, drawing us into their characters bruised hearts and minds.

What we see of mankind, shot with riveting austerity by Javier Aguirresarobe, is mostly horrific. The few who survive have utterly lost their moral compass. Father and son stumble on a house where human cannibals chain up a supply of writhing, screaming, naked victims in a marinated state of terror over being the next meal. The fathers only defense is a gun, with two bullets.

As man and boy head south across a sunless landscape to a mythic coast, dragging supplies in a cart out of one of Samuel Becketts endgames, the film is almost lost in abstraction. But Hillcoat keeps it as real as the blood the father chokes out of his lungs. Computer effects are minimal. Desolate parts of Pennsylvania, Oregon and Louisiana filled in for the barren, silent, godless road, presumably to the horror of their tourist bureaus.

The father, fearing for his health and sanity, is sustained only by his love for his son and his need to protect him. Encounters on the road with a thief (Michael K. Williams) and an old man (a superb Robert Duvall) rouse his vigilance. Compassion comes easier to the boy, who was born just after the apocalypse. All he knows comes from his father, except for a found can of Coke that still holds its fizz and a bomb shelter stocked with water, packaged food, battery-fueled lamps and warm blankets where the boy experiences the creature comforts of a forgotten age. Ironically, this scene of solace is the films most painful for being so short-lived. All we know of the father comes from flashbacks, in which Charlize Theron plays the wife and mother. These scenes are jarring, a false hint of escape in a film that needs to scream, No exit. Still, Therons strong portrayal renounces sentiment for truth as the wife chooses death over non-life. Theron catches the chilly power of McCarthys words: She was gone and the coldness of it was her final gift.

Remarkably, coldness does not rob the film of raw emotion, echoed in the resonant score by Nick Cave and Warren Ellis. Mortensen is astounding at showing a father trying to instill in his son now-outmoded moral values. Were the good guys, right, Papa? the son pleads. The fathers assent is the allowance he makes toward hope. As the father must let go of his promise never to send his son out into the darkness alone, The Road becomes heartening against the odds of what McCarthy called the dimming of the world. In this haunting portrait of America as no country for old men or young, Hillcoat through the artistry of Mortensen and Smit-McPhee carries the fire of our shared humanity and lets it burn bright and true.

Steve Earle Spotlights the Invisible on Letterman

When he's not acting or writing books, Steve Earle is recording albums like his latest with the Dukes and Duchesses, The Low Highway. He visited the Late Show With David Letterman last night to perform "Invisible," a song that built from a simple acoustic-guitar intro to include swells of pedal steel from Chris Masterson and mournful violin from Eleanor Masterson, his wife, while Earle sang yearning lyrics from the perspective of an overlooked population: the homeless and indigent.

Watch Mysterious Teaser for Chance the Rappers Horror Movie Slice

In 2016, Chance the Rapper secretly filmed a slasher film about an outlaw framed for the murders of several pizza boys, appropriately titled Slice. Last Halloween, the MC teased the project on Twitter, and now, one year later, a second clip has arrived promising the film will be released in 2018.

The mostly animated clip doesnt reveal much about the movie, and instead cribs the aesthetic of the Internet game Line Rider, with a figure on a moped zipping across a landscape of line fragments while an eight-bit version of Edvard Griegs In the Hall of the Mountain King plays. The end of the clip features a few quick shots from the film, including an image of Chance, the creepy hand of a monstrous figure and a man with bulging red eyes.

Slicealso starsAtlantas Zazie Beetz, comedian Paul Scheer and Rae Gray, while Austin Vesely directed the film. Vesely has helmed several Chance the Rapper music videos including Angels, Sunday Candy and Brain Cells.

Chance the Rapper recently premiered a new song on The Late Show with Stephen Colbert. Hes scheduled to host Saturday Night Live November 18th with musical guest Eminem.

Off the Cuff with Peter Travers: Eli Roth

In this installment of Off the Cuff, the director, producer and Inglorious Basterds "Bear Jew" Eli Roth stops by the Rolling Stone offices to talk with Peter Travers about a pair of new films: The Last Exorcism, which Roth produced, and Pirahna 3D, in which Roth plays the emcee of a wet T-shirt contest. Roth and Travers discuss their love of exorcism movies, Inglourious Basterds, and how nightmares have influenced Roth's work from Cabin Fever to Hostel II.

John Wick: Chapter 2 Review: Keanu Reeves Is Back in Delirious, Mayhem-Filled Sequel

Remember how the original John Wick snuck up and wowed us in 2014? Now hes back and better than ever. John Wick: Chapter 2 is the real deal in action-movie fireworks its pure cinema, an adrenaline rocket of image and sound that explodes on contact.

Wait, say the skeptics, isnt it just Keanu Reeves, as the titular character, shooting, stabbing, kicking and punching bad guys when hes not using assorted vehicles to go Mad Max on his enemies? Well, yes, its that too. And yet this sequel with the star at his absolute best as the so-called Boogeyman who once killed three men with a pencil crashes beyond the borders of typical B-movie nihilism. Chapter 2 finds something excitingly existential in this tale of a loner looking to take a stand in a world gone batshit crazy. Deliriously fast and funny, this wild thing is set in perpetual motion by director Chad Stahelski with a choreographic skill to rival La La Land, if that Oscar-bound musical had a body count.

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The plot is cleverly engineered by screenwriter Derek Kolstad to go full throttle. Last time, Wick tried to retire from the assassin business and settle down with the missus. Then she died, a bummer made worse when Russian thugs steal Wicks prize 1969 Mustang and kill his puppy, a gift from his late wife. Whats a dude to do? Go on a rampage, of course. Chapter Two picks up with Wick settling in again at his sleekly modern Long Island home, this time with a new pup. But the past pulls him back in, this time via the lethal Italian gangster Santino DAntonio (Riccardo Scamarcio). Santino wants Wick to fly to Rome and execute his sister, Gianna (Claudia Gerini), so he can take her place at the High Table, a secret gathering spot for the criminal elite. Wick makes his frowny face. But mobster has his marker and in the hitman biz, you dont welsh on a marker.

The code of honor among scum is one of the movies wittiest conceits, along with the concept of underworld syndicates hiding in plain sight. Its house policy at the Continental, a chic Manhattan hotel for hitmen and women run with elegant dispatch by Winston (a delicious Ian McShane). There is to be no violence on the premises, ever; you break the rule at your peril. Otherwise, all bets are off in Rome where Wick tangles with Cassian (a stellar Common), Giannas security honcho, and Ares (Ruby Rose), the mute head of Santinos goon squad.

A gun-fu battle at the ancient Baths of Caracalla, is spectacular; ditto a shootout at a hall of mirrors that echoes Orson Welless The Lady From Shanghai. And its jaw-dropping when Wick and Cassian go at it back in New York, where Santino has put out a global contract on our one-man army, bringing every killer out of the shadows. For help, Wick turns reluctantly to an old enemy, the Bowery King (Laurence Fishburne) yup, Neo and Morpheus reunite. Its a setup for Wicks climactic duel at the World Trade Center subway hub.

To call these thunderous sequences thrilling is to understate the case. Reeves trained for weeks in judo and Brazilian jiu-jitsu, and it shows. Stahelski, who started as Reeves stunt double on the Matrix films, has a keen eye for how action defines character. Working with the gifted cinematographer Dan Laustsen (Crimson Peak), whose neon lighting is perversely seductive, the director fills every inch of his dazzling widescreen compositions. No hollow digital dazzle, green-screen trickery or caffeinated editing, just long takes of actors moving with artful precision and grace. Reeves, a throwback to the great Hong Kong action stars, is poetry in bruising motion. Hes a cowboy. Hes a samurai. Hes rock and roll. What are you waiting for? And when do we get Chapter 3?

Watch Keanu Reeves Confront Assassin Army in John Wick 3 Trailer

Keanu Reeves ultimate action hero John Wick fends off seemingly every assassin in the world in the wild new trailer for John Wick: Chapter 3 Parabellum.

The new film picks up right after the events of the 2017 sequel with Wick finding himself with a $14 million bounty on his head after killing a high-ranking crime boss in the Continental Hotel, a safe haven for criminals. In order to survive, Wick must fight his way out of New York City and he does so using every outrageous action movie trick in the book.

The John Wick 3 trailer offers some incredible scenes of the titular hero at his most creative, whether hes chucking assault rifles at goons, swinging swords on a motorcycle, breaking someones teeth with a book or, most impressively, picking off henchmen while riding a horse through the New York City streets.

Along with Reeves, John Wick 3 will star Halle Berry, Ian McShane, Laurence Fishburne, Lance Reddick, Anjelica Houston and John Leguizamo. Chad Stahelski directed the film, which opens May 17th.