This episode of Revisited was Written by Cody Hamman, Narrated by Travis Hopson, Edited by Juan Jimenez, Produced by Adam Walton and Chris Bumbray, and Executive Produced by Berge Garabedian.

INTRO: Universal had a hit franchise on their hands with The Fast and the Furious. They just weren’t quite sure what to do with it. That uncertainty is how we get the third film in the franchise. The one that jettisoned almost all connection to the previous two in favor of introducing new characters. Telling a story about an outsider who finds new friends – and love – in the world of racing. It’s The Fast and the Furious: Tokyo Drift (watch it HERE), and it’s about to be Revisited.

SET-UP: Starring Paul Walker as undercover LAPD cop Brian O’Conner and Vin Diesel as criminal street racer Dominic Toretto, The Fast and the Furious earned more than two hundred and six million dollars at the global box office. Very good for a film made on a budget of thirty-eight million. The budget was doubled for the sequel 2 Fast 2 Furious – and since Diesel chose not to return, the story followed Walker’s Brian O’Conner as he brought down a Miami drug runner. The sequel did well, earning two hundred and thirty-six million at the box office. The domestic numbers were down a little, but the international numbers were much higher. So you’d think distributor Universal Pictures would see a clear path to move forward with this franchise. It looked like a series of films about Brian O’Conner busting criminals and racing cars in a variety of interesting locations would be a success. But Universal and producer Neal H. Moritz weren’t so sure.

They did know they wanted to make a third film, though. So they held an open writing call. Any writer who wanted to come in and pitch a Fast and Furious idea could do so. One writer who had a pitch was Chris Morgan, who had recently earned his first screen credit by rewriting Larry Cohen’s script for the thriller Cellular. Morgan’s pitch caught their attention because it not only moved the story to a new location – Tokyo, Japan – it also opened the door to a new racing sub-culture. The first film was inspired by real-life quarter mile street races in Los Angeles and New York. Morgan’s idea was inspired by drifting competitions, which had been popular in Japan since the 1970s. Races that make drivers drift their cars around tight corners. A technique that was perfected by drivers practicing on Japan’s winding mountain roads. Morgan wanted to bring Vin Diesel’s Dominic Toretto into the Tokyo drifting world. Show him learning how to drift. And have him solve a murder mystery along the way.

Getting Diesel to star in the film was unlikely. Not only had he skipped 2 Fast 2 Furious, he had recently dropped out of the xXx sequel as well. It seemed like the only franchise he was interested in was his Riddick space adventures. So Universal told Morgan to remove Dominic Toretto from the idea. And while Paul Walker would have gladly come back for another sequel, they didn’t want Brian O’Conner in there either. Diesel and Walker were both in their thirties at the time, and Universal wanted younger leads so they could appeal directly to the youth market. Specifically, they wanted the main characters in this film to be high school students. So Morgan wrote a script that is basically a twist on The Karate Kid Part II: American youth goes to Japan, romances a local girl, learns drift racing instead of karate, and clashes with a rival who has a criminal kingpin for an uncle.

With the story in place, Moritz reached out to a director: Justin Lin, who had recently made the independent film Better Luck Tomorrow. Lin raised that movie’s two hundred and fifty thousand dollar budget by maxing out ten credit cards, wiping out his life savings, and getting a little financial help from M.C. Hammer. Moritz was very impressed by the film, which was about over-achieving Asian American youths pursuing a hobby of escalating criminal activity. But Lin wasn’t impressed by the script he was shown for The Fast and the Furious: Tokyo Drift. He told SFgate that his response to Universal was, “’I think it’s offensive and dated, and I don’t have any intention of doing it.’ But Stacey Snider, the head of the studio, said, ‘Just tell us what you’d do differently.’ So I said, ‘To begin with, I’d get rid of all the gongs and temples and Buddhas and the visual gags about how the white guy is a foot taller than all the Asians.’ And she said, ‘Okay, we’ll make the kind of movie you want.’ … Ultimately, it ended up being a constant challenge. I kept on getting into discussions that were like, ‘You signed me to do a certain type of movie, if you don’t want to do that movie, get rid of me.’ But all you can ever ask is that the producers and the studio be fair and reasonable. And to their credit, they were very fair and reasonable.”

Scripted by Morgan and rewritten with Lin’s input, Tokyo Drift centers on American teen Sean Boswell. He has a record of reckless driving and property destruction, so when he competes in a disastrous race through a construction site at the beginning of the film, this is going to be his third strike. The authorities want him off the streets. So his mom sends him to live with his father – a U.S. Navy officer stationed in Tokyo. There Sean befriends a military brat called Twinkie and falls for a classmate named Neela. Who is into drift racing and has a complicated relationship with a guy everyone calls the Drift King. Or D.K. A guy who wants to follow in the criminal footsteps of his uncle, who is in the Yakuza. Sean is a fan of classic American cars, he brushes off the vehicles his Tokyo peers drive as “cute little toys”. But he gets interested in drift racing, and one of D.K.’s associates, Han, agrees to teach him how to drift. As the film goes on, interactions between Sean and the Drift King get more troubled. And more dangerous. When D.K. finds out that Han has been making shady deals behind his back, a chase through the streets of Tokyo ensues… Ending with Han’s death in an explosive crash. D.K. is also intensely jealous that Neela is falling for Sean. Of course, it all comes down to a race: Sean against D.K., drift racing along mountain roads. And the loser has to leave Tokyo. Sean makes sure to bring his own style to drifting. The car he drives in the final competition is an American classic: a 1967 Mustang.

Lin signed on in June of 2005 – exactly one year before Universal planned to give the film a theatrical release. When the casting process began, he was hoping to find an Asian American actor he could cast in the lead role. Even though Universal told him there was no one who was bankable. After a global search, Lin became convinced that the best actor for the lead role was a white actor from Alabama: Lucas Black. Whose previous credits included Sling Blade, Friday Night Lights, and Jarhead. A supporting cast was then built around Black. Nathalie Kelley makes her screen debut as Neela. Kelley had only just recently gotten her driver’s license, but had to appear to be an experienced drift racer in the film. Rapper Bow Wow was cast as Twinkie. Brian Tee is the villainous Drift King. The legendary Sonny Chiba plays D.K.’s Uncle Kamata. Sean’s parents are played by Lynda Boyd and Brian Goodman. Zachery Ty Bryan appears as the jock Sean races at the beginning of the film. With Nikki Griffin as the girl who puts herself up as their prize. As Han, Lin cast Sung Kang – who had also played a character named Han in Better Luck Tomorrow. They saw their previous collaboration as the back story for Kang’s Tokyo Drift character. Han got mixed up in the crimes committed in Better Luck Tomorrow, and went off to Tokyo to avoid prosecution. Another Better Luck Tomorrow cast member, Jason Tobin, plays Han’s friend Earl, but that character has no connection to Lin’s indie film. Japanese film producer Kazutoshi Wadakura and real-life Drift King Keiichi Tsuchiya have cameos as fishermen who witness Sean’s drift practice sessions.

Despite being completely different from the previous Fast and Furious movies, Tokyo Drift had the highest budget yet. Eighty-five million. That extra cash came in handy, because much of the filming did not take place in Japan. Instead, Japan was recreated in the Los Angeles area. The waterfront docks, the winding mountain roads, those aren’t in Japan. That’s California. When D.K. chases Han and Sean through Tokyo’s Shibuya district, that’s mostly not Japan. The production shut down six city blocks in downtown Los Angeles and turned it into Tokyo by dressing street signs, buildings, newsstands, restaurants, and bus stops with Japanese kanji. Then they filmed in this fake Shibuya for almost two weeks. Eventually cast and crew headed over to Japan for four weeks of exterior shots. When you add these expenses to the fact that over one hundred cars were wrecked during filming and the drifting cars burned through around two thousand tires, it’s no surprise Tokyo Drift needed some extra money.

Once the production made it to Tokyo, they found that city officials don’t give out film permits. So the cast and crew ran around the city shooting guerilla-style, getting whatever footage they could. When they went to film in the actual Shibuya district, the police shut them down… And Lin discovered that the producers had hired someone else to tell police he was the director. Because they knew a director would get arrested for filming in the Shibuya district. This guy was busted and spent the night in jail so Lin wouldn’t have to.

REVIEW: Lin openly admits that there are elements in Tokyo Drift that are similar to The Karate Kid Part II. It might not follow that movie as closely as the first Fast and Furious followed Point Break, but the connection is there. Lin also had Westerns in mind while making the film. Stories of mysterious strangers coming into town and taking on the bad guys. And SFgate’s Jeff Yang pointed out that it was in the tradition of kung fu movies as well. Movies like Drunken Master, The One-Armed Swordsman, and Shaolin Temple. Stories where a cocky young man takes on a seasoned master and fails. Then learns the techniques necessary to defeat the master from an eccentric mentor. And he usually has to avenge a murder by the end, too. Tokyo Drift is more likely to make you think of these movies from other sub-genres than it is to make you think of the previous two Fast and Furious movies. So to enjoy the movie, you have to accept that it’s something different. This isn’t a story about Brian O’Conner or Dominic Toretto. It’s a whole new group of characters, and you have to be open to their story. Instead of wishing you were watching somebody else’s story.

Taken on its own merits, Tokyo Drift is a solid racing drama. Sean Boswell is a likeable lead character, and Lin made the right casting choice. Not only does Lucas Black do a great job of bringing Sean to life, but he does so while speaking with his natural Alabama accent. Something that makes his character stand out as even more of an outsider when he’s interacting with people in Tokyo. The story he gets mixed up in there is interesting. We root for him to defeat D.K. so he can pursue a relationship with Neela in peace. And the thing that really makes the film worth watching is the presence of Sung Kang as Han.

Kang emanates coolness in every moment he has in the movie. As he takes Sean into his world of drifting and questionable business, he’s also making the viewer get more invested in the story and characters. Lin has said that Han scored through the roof with test audiences. He was the favorite character of every focus group they showed the movie to. We do come to care about this guy, possibly even more than we care about Sean. So when he gets killed off with roughly 25 minutes left to go, the viewer is just as devastated as Sean is. Which gives us even more reason to root for him in the climactic race against D.K.

Lin did an excellent job directing the movie. Tokyo Drift has a great energy and style to it, and some awesome visuals. One of the most memorable moments is a moonlight drive Sean and Neela take while on a date. Drifting around curves on a mountain road, part of a line of other cars. If drifting can look this cool, you can really understand why Sean gets so interested in it.

Lin said, “Drifting is a very cinematic sport. It’s exciting to do something that’s never been done before on film. It’s amazing to me how we’ve found new angles and new camera moves to capture the action. These drivers are so good and so precise, we were able to come up with new ideas on how best to capture it.”

LEGACY/NOW: Tokyo Drift went over well with test audiences, but Universal still wasn’t sure what the future held for the franchise. Some were concerned that The Fast and the Furious was already played out. There was some consideration given to the idea of sending sequels direct-to-video. The studio is very big on making direct-to-video sequels. Just look up the American Pie, Tremors, Bring It On, Chucky, Death Race, Scorpion King, or Dragonheart franchises for proof of that. There was a chance The Fast and the Furious could join those ranks. But then the studio got an idea for how they could give the ending of Tokyo Drift a boost. And have audiences leave screenings buzzing about the possibility of a fourth film. They asked Vin Diesel to make a last minute cameo.

Diesel could have refused. He could have asked for more money than the production would be able to pay him. Instead, he asked for the rights to the Riddick franchise. Universal handed them over – and offered him the chance to produce the next Fast and Furious movie. He took the offer. So Tokyo Drift ends with a scene where Dominic Toretto shows up to challenge Sean to race. And while doing so, he mentions that he was friends with Han. Actually, more than friends. They were family.

So when Tokyo Drift hit theatres on June 16, 2006, it started drawing in not only audiences that were interested in seeing this new story. But also fans who wanted to see the Vin Diesel cameo that tied it to the other movies. Even with that extra bit of Diesel in there, it fell short of its predecessors. It made just over sixty-two million at the domestic box office. Less than half of 2 Fast 2 Furious’s domestic numbers, which were almost twenty million below the first movie’s. At the international box office, it performed better than the first movie, drawing in over ninety-five million. That was still fourteen million short of the second film’s international box office. In the end, TOKYO DRIFT earned a total of just under one hundred and fifty-eight million. Not too bad. But almost forty-nine million less than the first movie. And almost seventy-nine million less than 2 Fast 2 Furious.

Justin Lin had proven he could make a summer popcorn movie, and he was ready to step away from blockbusters for a minute. He went into production on the comedy Finishing the Game. He was planning to balance working on studio movies with making more indie films. But then Universal asked him to direct the fourth Fast and Furious movie, which led to him directing more sequels. And making a Star Trek movie for Paramount along the way. At this point, it’s been a long time since he revisited the indie world.

If that Vin Diesel cameo in Tokyo Drift hadn’t opened the door to the next sequel, The Fast and the Furious might have gone direct-to-video after all. But now Universal knew how they were going to proceed. Dominic Toretto was coming back… and they were going to reunite him with Brian O’Conner. And we’re going to take a look at their reunion, in a movie simply titled Fast & Furious, in the next episode of Revisited.

Have you had a treat today? Maybe inspiration will be found if you check out the upcoming Hulu flick Flamin’ Hot. You may then be craving a spicy snack. The new feature about Flamin’ Hot Cheetos is directed by Eva Longoria and tells the story of Richard Montañez, a fellow who claims he invented the flavor that became a billion-dollar industry. The film features excellent performances from Jesse Garcia as Richard and Annie Gonzalez as his wife Judy. It’s a bright and engagingly solid feel-good flick. And yes. Ms. Longoria brings on the Flamin’ Hot energy.

We recently spoke to Jesse Garcia and Annie Gonzalez about taking on these roles. They talked about the love story aspect of these two and connecting with each other. They also opened up about meeting with the real Mr. and Mrs. Montañez. And finally, they opened up about working with the talented Eva Longoria, who has been directing television for a while, but this is her feature film directorial debut, and she brings heart and passion to the film. Check out Flamin’ Hot this Friday on Hulu!

Flamin’ Hot has the following synopsis: Richard Montanez, the son of a Mexican immigrant, was a janitor at Frito Lay when he came up with the idea for Flamin’ Hot Cheetos. His creation, inspired by the flavours of his community, revitalizes Frito-Lay and disrupts the food industry.

In the midst of a strike from the WGA, the Screen Actors Guild is finding itself in the middle of a pending strike if negotiations falter.

It has not been made official, but just over a month after the Writers Guild of America declared a strike in Hollywood, the Screen Actors Guild union has voted to authorize a strike if their own negotiations with the studios and streamers fall through. According to The Hollywood Reporter, “nearly 98 percent of members of performers’ union SAG-AFTRA voted to authorize a strike in a referendum that lasted a little over two weeks and concluded Monday evening.” The union’s president is none other than Fran Drescher, known for her hit 90s sitcom, The Nanny.

Drescher would explain in a statement, “The strike authorization votes have been tabulated and the membership joined their elected leadership and negotiating committee in favor of strength and solidarity. I’m proud of all of you who voted as well as those who were vocally supportive, even if unable to vote. Everyone played a part in this achievement. Together we lock elbows and in unity we build a new contract that honors our contributions in this remarkable industry, reflects the new digital and streaming business model and brings ALL our concerns for protections and benefits into the now! Bravo SAG-AFTRA, we are in it to win it.”

The Alliance of Motion Picture and Television Producers would respond with their own statement, “We are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall.”

This vote does not put the strike into effect, but it does give the negotiating representatives the greenlight to call for a work stoppage for union actors once their movie and TV contracts expire at the end of the month. The percentage that voted “yes” almost matches the same percentage that voted to authorize the strike from the Writers Guild back in April with 97 percent. The writers’ strike would eventually go into effect in the last month. Since then, there have been debates about the state of the industry as AI is becoming more refined and many fear studios may stoop to using algorithms to produce new content.

However, a solidarity between both the Screen Actors Guild and the Writers Guild may shake the studio systems into agreeing to their demands. In addition to the many stories of tax write-offs, such as Warners pulling Batgirl and Disney pulling dozens of titles from streaming to write off $1.5 billion in content, as well as the number of studio employees being laid off as of late, the rest of the summer, if not the year, will be a bumpy road in the world of entertainment.

Spirit Halloween has unveiled a line of Horror Babies, featuring infant versions of Leatherface, Pennywise, Ghostface, and Sam

Spirit Halloween has unveiled an all-new line of items called Horror Babies – which turn genre icons into demented infants! Spirit Halloween expects horror fans to “drool over” this merchandise, and they note that “each officially licensed baby is inspired by a different fan-favorite horror movie to bring a petrifying peek-a-boo to any home or collection.” The Horror Babies in this line are infant versions of Leatherface from The Texas Chainsaw Massacre, Pennywise from Stephen King’s It, Ghostface from Scream, and Sam from the anthology film Trick ‘r Treat!

Each one of these Horror Babies is going for the price of $49.99, and you can purchase them directly from Spirit Halloween at the following links:

Texas Chainsaw Massacre Leatherface Horror Baby: Avoid a massacre this Halloween by adding this officially licensed Leatherface Horror Baby to your home decor. Any fan of the movie Texas Chainsaw Massacre will love adding this adorable Leatherface baby to their horror collection. Avoid getting on his bad side or you might just end up getting whacked by his mallet! Dimensions: 14″ H x 10.4″ W x 9.3″ D

It Pennywise Horror Baby: From the sewers of Derry to now inside your home, Pennywise will always be ready to put on a scare for your guests once you get this officially licensed Pennywise Horror Baby. Featuring the S.S. Georgie in his hands, any fan of the movie It will love adding this adorable Pennywise baby to their horror collection. Dimensions: 14″ H x 10.1″ W x 8.6″ D

Scream Ghostface Horror Baby: Get your home looking Halloween ready with this officially licensed Ghostface Horror Baby. Any fan of the iconic slasher Ghostface will love adding this adorable Ghostface baby to their horror collection. This officially licensed doll is equipped with a fake bloody knife and is so cute he’s to die for. Dimensions: 14″ H x 10.9″ W x 11.2″ D

Trick’ r Treat Sam Horror Baby: Add some horror-inspired decor to your home this Halloween with this officially licensed Sam Horror Baby. Any fan of the movie Trick ‘r Treat will love adding this adorable Sam baby to their horror collection. Equipped with his signature lollipop, follow the rules of Halloween and he’ll always stay happy in your home. Dimensions: 14″ H x 10.8″ W x 10.4″ D

An image showing all four of these Horror Babies together can be seen below. These things are made out of “foam filled with latex”.

Will you be buying the Leatherface, Pennywise, Ghostface, and/or Sam Horror Babies? Let us know what you think of these items by leaving a comment.

When Zack Snyder’s sci-fi epic Rebel Moon comes to Netflix, two versions of both films will be available to fans.

Zack Snyder fans will eat well when the filmmaker’s Rebel Moon comes to Netflix in multiple forms. You heard me. In addition to splitting the sci-fi epic into two films, Snyder is creating multiple cuts of each. In an in-depth look at the film, courtesy of Vanity Fair, Snyder explains his Rebel Moon strategy and how he aims to cover a wide range of audiences with each release. One cut is a presentation that “anyone can enjoy and watch,” while the other is an explicit version aimed at adults.

In addition to Vanity Fair‘s in-depth report, the outlet shared a gallery of first-look images for the upcoming sci-fi epic. You can check out select photos from their coverage below:

“I think for fans of mine and people who are ready to take a deeper, harder dive, that’ll be fun for them,” Snyder says about his goal for the more mature cut. Initially, Rebel Moon was going to be one film. However, when Snyder submitted a 174-page script, he realized splitting the story into two presentations would be best. Studies show that two-hour movies fare better than three-hour epics. Considering these metrics, Snyder (and Netflix) think dividing the story into two films will yield better results.

Speaking with Vanity Fair about viewing habits and maximizing Rebel Moon‘s appeal, producer Deborah Snyder said, “[Netflix film chairman Scott] Stuber was like, ‘On the service, under-two-hour movies really do better for some reason,’ even though you’ll binge-watch a series of eight episodes. Zack said, ‘If you ask me to make this less than two hours, I’m going to lose all the character. You won’t care about these people. It’s a character story about how people can change, and redemption, and what are you willing to fight for…’ So he said, ‘What if I give you two movies?’”

Rebel Moon is Snyder’s passion project. Ideas for the story have been floating around his head for over three decades. Thankfully, the time has finally come for Snyder to realize his vision using the latest special effects and the reach of Netflix’s streaming platform.

Here’s the official synopsis for Rebel Moon:

Rebel Moon is a Seven Samurai—inspired space epic about a distant galactic colony that comes under threat from the armies of a tyrannical regent named Balisarius. Desperate to survive, they send a young woman (Sofia Boutella) on a mission to find allies that may be able to turn the tide. The film stars a murderer’s row of talent alongside Boutella, including Charlie Hunnam, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, Cary Elwes, Alfonso Herrera, Jena Malone, and Sir Anthony Hopkins as (of course) the voice of sentient battle robot Jimmy. Snyder directs and produces alongside Deborah Snyder and Wesley Coller. He co-wrote the script with Kurt Johnstad and Shay Hatten (Day Shift, Army of the Dead).

Are you excited about Zack Snyder’s Rebel Moon? Which version of the story will you watch? Let us know in the comments below. Rebel Moon lands on Netflix on December 2, 2023.

Melissa Barrera is hoping to explore the mental health of her character Samantha Carpenter further in Scream 7

Scream (2022) and Scream VI star Melissa Barrera has previously said that if there is a Scream 7, she would like to see Salma Hayek take on the role of the mother of her character Samantha Carpenter and her half-sister Tara, played by Jenna Ortega. During an interview with Digital Spy, Barrera added that she would also like to get the chance to explore Sam’s mental health even further in a future sequel.

She said, “There are so many places that [Sam] could go. That’s one of the reasons that, when I read the script for Scream 5, I was so interested in the character. There’s so much potential here of where she could go with her mental health – she’s just unpredictable. I find that that darkness in her makes her that much more interesting to play and to watch. She’s the hero but she’s also kind of the villain. It’s this contradiction in her that I find fascinating and, if we get to do another one, I would love to see. The writers have done a really good job with her up until this point, so I trust them just to know where to take her [in a way] that will be unexpected and cool for the fans.“

Sam is quite a troubled character, as her father was the Ghostface slasher Billy Loomis (played by Skeet Ulrich) from the original Scream, and she keeps having hallucinations of him where he tries to give her violent life advice.

Paramount Pictures and Spyglass Media haven’t confirmed whether or not they intend to give a greenlight to Scream 7, but since Scream VI was an even bigger hit than the previous movie, chances are good that we’ll be seeing another sequel very soon. Maybe they’re just waiting for Barrera and directors Matt Bettinelli-Olpin and Tyler Gillett to finish working on the Universal Monsters project they’re currently collaborating on, a project that was formerly known as Dracula’s Daughter.

Would you like to see the Carpenter sisters come back for Scream 7? What else would you like to see in the next Scream sequel? Let us know by leaving a comment below.

A new Expend4bles poster brings punk rock energy to the action-packed sequel led by Sylvester Stallone and Jason Statham.

Spider-Man: Across the Spider-Verse isn’t the only movie bringing punk rock vibes to theaters this year. Lionsgate debuted a new poster for Expend4bles, the fourth chapter of the Expendables franchise that makes you want to throw up your horns and bang your head. The Expend4bles poster features a neon skull with a mohawk made of weapons! As a fire burns inside the skull, guns and knives protrude from almost every angle, as if Ghost Rider became an NRA poster boy. Included are the names of various cast members, from Stallone to Statham, Jaa, Uwais, Fox, and more!

After wrapping his part in Expend4bles, Stallone announced that his fourth film in the action-packed franchise is his last. “It’s time to be movin’ on” from The Expendables. Stallone added that he’s “ready to pass the baton on to Jason [Statham] and his capable hands.” Should there be another franchise installment, Staham might be the new face of the series. As Stallone walked through the set, he spoke of the “heart, energy, and humour” he hopes to bring to all his projects.

“The greatest thing is being able to provide films and entertainment [where] maybe there’s a little message in there, because what I try to convey in my successful films is the human touch, the bond,” Stallone said while reflecting on his time as the Expendables leader, Barney Ross. “Not so much the action, the action is self-evident, but just relating to the audience in a way they can identify with whatever the mission is with the characters at hand.”

Although Sylvester Stallone says he’s finished with The Expendables, he teased that he’s “getting ready to accept the next challenge.” The Expend4bles will feature Sylvester Stallone, Jason Statham, Dolph Lundgren, Randy Couture, Megan Fox, Tony Jaa, Curtis “50 Cent” Jackson, and Andy Garcia. Scott Waugh directs from a screenplay by Spenser Cohen with revisions by Max Adams and John Joseph Connolly.

What do you think about the new Expend4bles poster? Is Jason Statham ready to accept the baton from Stallone? How many more sequels or spin-offs will come from the Expendables franchise? Please feel free to sound off in the comments below.