Well, Here We Go… ‘Star Wars: The Last Jedi’ Trailer

Hell. Yes. Look, we enjoyed Rogue One as much as the next guy, but we’re ready for some Episode 8 action. Well, here we go. Look, we’re not going to try and sell you on playing the video. You’re probably not even reading this. You’ve already clicked Play and are knee-deep in awesomeness. That said, you get a little Luke, a little Kylo Ren, and a little lightsaber training without too much plot being revealed. In an age of oversharing in trailers, that’s kinda nice. Is it December 15 yet?

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The God of Thunder Embarks On His Biggest Adventure Yet in Thor: Ragnarok

Thor’s latest film looks to be one of his biggest yet as the hammer-wielding Asgardian fights the Incredible Hulk as Jeff Goldblum looks on for what could be the cinematic fight of the century:

“Imprisoned on the other side of the universe, the mighty Thor (Chris Hemsworth) finds himself in a deadly gladiatorial contest that pits him against the Hulk (Mark Ruffalo), his former ally and fellow Avenger. Thor’s quest for survival leads him in a race against time to prevent the all-powerful Hela (Cate Blanchett) from destroying his home world and the Asgardian civilization.”

Thor: Ragnarok hits screens this November.

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Watch the First Trailer for the ‘I Am Heath Ledger’ Documentary

Heath Ledger would have been 38 years old. In celebration of the late actor’s birthday, Spike TV has unleashed the official trailer for their upcoming documentary, I Am Heath Ledger, centering around the life and career of Ledger.

The moving clip is in turn filled with homemade videos captured by Ledger himself, in addition to emotional interviews with Kate Ledger (Heath’s sister), musician Ben Harper, model Christina Cauchi, filmmaker Matt Amato and Brokeback Mountain director Ang Lee.

I Am Heath Ledger premieres on Spike May 17.

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The First Teaser Trailer for “IT”

Plenty of people developed a deep seated and lifelong fear of clowns after their first viewing of IT, in the same way most people born between 1960 and 1970 won’t go in the ocean anymore. And apparently coulrophobia is one of those cultural touchstones, because an IT remake is on its way to theaters this September. We got our first real look at footage from the movie in the form of the teaser trailer and we have to say, yup, stay the fuck away from us, every clown ever. The few glimpses we got of Pennywise are terrifying and the main kids look to have the acting chops necessary to carry this movie. If nothing else, this may signify a return to the suspense genre, with theaters full of frightened couples holding hands so hard their bones fuse.

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Here’s Everything Coming to and Leaving Netflix in April

In just a matter of days, we’ll be ushering in a new month. This of course means that not only will we be saying goodbye to a number of movies, TV shows and documentaries on Netflix, but we’ll also be welcoming a slew of new pictures.

First off, you have until Saturday (and forthcoming dates in April) to take advantage of select favorites that will be leaving, such as Buffy the Vampire Slayer, Ferris Bueller’s Day Off, the Superman films, The Princess Bride, X-Files, and Vanilla Sky, among other titles.

However, you have A Nightmare on Elm Street, Cool Runnings, Schindler’s List, Tropic Thunder, Louis C.K. 2017, The Get Down: Part 2, Kevin Hart: What Now, Bill Nye Saves the World: season one, Casting JonBenet, and Dear White People: season one to look forward to, in addition to other notable newcomers.

For a complete breakdown of everything coming to and leaving Netflix in April, see underneath.

Let us know what you’re most excited for.

Coming to Netflix

April 1:
A Weekend with the Family
A Nightmare on Elm Street
Across the Universe
An American Tail
An American Tail: Fievel Goes West
An American Tail: The Mystery of the Night Monster
Boy Bye
Born To Be Free
Cool Runnings
Good Witch: Season 2
Gremlins
Only for One Night
Richord Pryor: Live & Smokin’
Scooby-Doo
Schindler’s List
Something’s Gotta Give
Thunderstruck
Wynonna Earp: Season 1
Trouble with the Curve
Tropic Thunder
The Tenth Man

April 2:
The D Train

April 4:
Chewing Gum: Season 2 – Netflix Original
Louis C.K. 2017 – Netflix Original

April 6:
Disney’s The BFG

April 7:
El Faro De Las Orcas – Netflix Original Film
Dawn of the Croods: Season 3 – Netflix Original
The Get Down: Part 2 – Netflix Original
Win It All – Netflix Original Film

April 8:
Kubo and the Two Strings

April 10:
Documentary Now!: Season 2

April 11:
Kevin Hart: What Now

April 12:
DC’s Legends of Tomorrow: Season 2

April 14:
Chelsea: Season 2 – Netflix Original
El Elegido
Mystery Science Theater 3000: The Return – Netflix Original
Sandy Wexler – Netflix Original Film

April 15:
Disney’s Homeward Bound: The Incredible Journey
Slam – Netflix Original Film

April 18:
Lucas Brothers: On Drugs – Netflix Original

April 19:
A Plastic Ocean

April 21:
Bill Nye Saves the World: Season 1 – Netflix Original
Girlboss: Season 1 – Netflix Original
Hot Girls Wanted: Turned On: Season 1 – Netflix Original
Sand Castle – Netflix Original Film
Tales by Light: Season 2 – Netflix Original
The Mr. Peabody & Sherman Show: Season 4 – Netflix Original
The Prestige
Tramps- Netflix Original Film

April 22:
The Great British Baking Show: Masterclass: Season 1-3
The Secret Life of Pets

April 23:
Liv and Maddie: Season 4
Phantom

April 24:
Long Nights Short Mornings

April 25:
Disney’s Queen of Katwe
The 101-Year-Old Man Who Skipped Out on the Bill and Disappeared – Netflix Original Film
Vir Das: Abroad Understanding – Netflix Original

April 26:
Real Rescues: Season 6-7
Trust

April 27:

Las Chicas del Cable: Season 1 – Netflix Original

April 28:
A Murder in the Park
Casting JonBenet – Netflix Original
Dear White People: Season 1 – Netflix Original
Rodney King – Netflix Original Film
Small Crimes – Netflix Original Film

April 30:
Sofia the First: Season 3

Leaving Netflix

April 1:
Ally McBeal: Seasons 1-2
Angel: Seasons 1-5
Better Off Ted: Season 1
Barbershop 2: Back in Business
Bones: Seasons 1-4
Buffy the Vampire Slayer: Seasons 1-7
Chaplin
Dollhouse: Season 1
Ferris Bueller’s Day Off
Firefly
House, M.D.: Seasons 1-8
Lie to Me: Season 1
Menace II Society
Resident Evil: Extinction
Rosewell: Seasons 1-3
Snow Day
Stomp the Yard
Superman II
Superman III
Superman IV: The Quest for Peace
Superman Returns
Superman: The Movie
The Agony and the Ecstasy
The Boys from Brazil
The Escapist
The Princess Bride
The Riches: Seasons 1-2
The Usual Suspects
The X-Files: Seasons 1-9
Vanilla Sky

April 3:
Collateral Damage
The Circle

April 7:
Legit: Season 2
Wilfred: Season 4

April 9:
Hero

April 10:

Legit: Season 1
Flower Girl

April 14:
The Lazarus Effect

April 15:
A Fantastic Fear of Everything

April 17:

American Dad! Season 6

April 26:

The Nutty Professor 2: Facing the Fear

April 30:
Under the Tuscan Sun
The Mirror
Born to Defense
The Defender

Gerard Butler Must Save the World From Climate-Control Satellites in ‘Geostorm’

When a system of climate-control satellites built to regulate the global climate goes haywire, Gerard Butler (Jake) and his brother Max (played by Jim Sturgess) are tasked with solving the satellite program’s malfunction. Originally, the satellites kept everyone safe, but now they have begun to attack the very planet that they once protected. Ultimately, it is a race against the clock to uncover the real threat before a worldwide geostorm wipes out everything.

Writer-producer Dean Devlin makes his directorial debut in Geostorm, which pits Abbie Cornish, Alexandra Maria Lara, Daniel Wu, Ed Harris and Andy Garcia alongside Butler and Sturgess.

Geostorm lands in theaters on October 20.

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The 10 Best Movies at Redbox (2017)

The best movies on Redbox right now are mostly blockbusters from the last two years, but there are also some hidden gems among the big-budget movies plastered all over the Redbox display. Our guide to movies at Redbox includes Oscar winners, animated films, comedies, indie film, biopics and horror. And all of the movies listed here are available on DVD for $1.50 ($2 if you want Blu-Ray) right now or coming soon.

But if you’d rather stay home, check out our guides to the best movies on Netflix, Amazon, HBO, Hulu, iTunes, Showtime, Cinemax, in theaters and On Demand.

Here are the 10 best movies available on Redbox right now:

10. Captain Fantastic
Year: 2016
Director: Matt Ross
In the opening scene of Captain Fantastic, we’re introduced to what looks like a feral clan headed by Ben (Viggo Mortensen). But even the youngest of Ben’s six children can quote the nation’s founding documents and opine on the views of “Uncle” Noam Chomsky, as well as defend themselves from an armed attacker. Ben and Leslie have taken their kids to live in the wilderness of the Pacific Northwest, part of an experiment to raise philosopher kings. But his wife is manic depressive and commits suicide before we ever meet her character. In the wake of her death, Ben must confront the world he’s left behind and decide what kind of life is really best for his family. Writer-director Matt Ross (who plays Gavin Belson on Silicon Valley) has created an original story that is sweet, sad, funny and full of openhearted joy—the kind of Sundance movie that will play well with a wider audience. Even if the lifestyle and views are unfamiliar to some, parents will recognize the honest look at the positive and negative effects we have on our children and the pressures to conform to others’ expectations.

9. Captain America: Civil War
Year: 2016
Directors: Joe & Anthony Russo
In my review of the first Avengers movie, I said Joss Whedon’s blockbuster represented “the most complete manifestation of the superhero team aesthetic yet seen on film.” Four years later, we have a new champion in the category of “best team film.” The way in which Captain America: Civil War brings together a dozen or so heroes, sorts them into not one but two teams and then flings them at each other is its own special delight for comic book fans long accustomed to such things on the printed or digital page. Civil War maintains the same balance of action and significant (if brief) character development/interaction that made Winter Soldier so enjoyable. The fight and chase scenes are frenetic without being confusing, while the comic relief, mostly supplied by our bug-themed heroes, provides a Whedon-flavored lightening of the otherwise dark proceedings. If one thinks of the each MCU film as a juggling act—and each hero’s origin, “flavor” and power set as its own subset of items that must be kept in motion and in proper relation with each other—then as a series both Avengers films and Captain America: Civil War can be seen as an escalation of the routine that’s as impressive as it is necessary. After all, with each additional hero added, with each additional demand placed on the script in both action and dialogue, Kevin Feige and company are building toward Infinity.

8. Hacksaw Ridge
Year: 2016
Director: Mel Gibson
“There’s little reason to doubt that Gibson and screenwriters Robert Schenkkan and Andrew Knight respect Doss’ thou-shalt-not-kill position. One key line finds Captain Oliver (Sam Worthington) explaining to Doss that while his compatriots don’t believe what he believes, they respect him for it. There’s enough to figuring out the nature of that belief that it warrants a deeper exploration. We know fear of punishment isn’t guiding Doss. And it’s unlikely that he believes in the relativity of his approach. But we wonder to what extent his refusal to kill is rooted in the fear of living with guilt or if it’s simply a matter of believing that it’s immoral by God’s will. If it’s the latter, it’s tough to reconcile his position with his willingness to fight alongside those who are taking lives.”

7. The Nice Guys
Year: 2016
Director: Shane Black
Good performances can polish average movies with just enough elbow grease they end up looking like gems. Think Jennifer Lawrence in Silver Linings Playbook, or Alan Rickman in Robin Hood: Prince of Thieves. Every advance that Shane Black’s The Nice Guys takes toward quality is made on the strengths of Russell Crowe and Ryan Gosling. Black is as quick with action scenes as with punchlines. The Nice Guys is funny. It’s exciting. If you find yourself growing tired of wordplay, Black will turn things around and slide in some Three Stooges slapstick. If you get tired of that, he’ll set off a gun or throw a few punches, though it is impossible to imagine anybody finding the clownish sight of Gosling tumbling off of balconies or crashing through plate glass tiresome. Gosling and Crowe are a great pair, so great that their team-up should justify funding for a buddy picture series where Holland and Jackson undertake jobs that spiral out of hand and above their pay grades. Crowe plays it straight and grumpy, and you half expect him to declare that he’s too old for this shit at any given moment. Gosling, on the other hand, shapes Holland through boozy tomfoolery and pratfalls. They’re a standout odd couple, but Black’s films are defined by great odd couples as much as they are by great scripting. In The Nice Guys, he leaves it up to Gosling and Crowe to use the former to fill in the gaps left behind by the lack of the latter.

6. Hell or High Water
Year: 2016
Director: David Mackenzie
The film builds up to a finale that thankfully goes not for a mindlessly violent showdown, but for a tension-filled dialogue-based confrontation which plays like a meeting of minds between characters who have more sympathy toward each other than they perhaps realized. Even as two of the main characters reach a kind of truce, however, Mackenzie comes up with an even more devastating image with which to end his film: He simply moves the camera from high in the air down to a batch of grass. It’s as if Mackenzie wanted to contextualize these human dramas for us—we all end up in the ground, ultimately. Here, in Hell or High Water, is a sterling example of genre craftsmanship at its intelligent and unexpectedly affecting best.

5. Love & Friendship
Year: 2016
Director: Whit Stillman
The title of Whit Stillman’s latest comedy may be Love & Friendship, but while both are certainly present in the film, other, more negative qualities also abound: deception, manipulation, even outright hatred. Underneath its elegant period-picture surface—most obviously evident in Benjamin Esdraffo’s Baroque-style orchestral score and Louise Matthew’s ornate art direction—lies a darker vision of humanity that gives the film more of an ironic kick than one might have anticipated from the outset. Still, the humor in Love & Friendship is hardly of the misanthropic sort. As always with Stillman, his view of the foibles of the bourgeois is unsparing yet ultimately empathetic. Which means that, even as Stillman works his way toward a happy ending of sorts, the film leaves a slightly bitter aftertaste—which is probably as it should be. Such honesty has always been a hallmark of Stillman’s cinema, and even if Love & Friendship feels like more of a confection than his other films, that frankness, thankfully, still remains.

4. Arrival
Year: 2016
Director: Denis Villeneuve
“You can engage with Arrival for its text, which is powerful, striking, emotive and, most of all, abidingly compassionate. You can also engage with it for its subtext, should you actually look for it. This is, perhaps, the best-made movie in Villeneuve’s filmography to date, a robust but delicate work captured in stunning, calculated detail by cinematographer Bradford Young, and guided by Adams’ stellar work as Louise. Adams is a chameleonic actress of immense talent, and Arrival lets her wear each of her various camouflages over the course of its duration. She sweats, she cries, she bleeds, she struggles, and so much more that can’t be said here without giving away the film’s most awesome treasures. She also represents humankind with more dignity and grace than any other modern actor possibly could. If aliens do ever land on Earth, maybe we should just send her to greet them.”

3. The Lobster
Year: 2016
Director: Yorgos Lanthimos
The Lobster presents a baffling vision of the future, where baffling people do baffling things and obey baffling laws. But through all the movie’s idiosyncrasies shines a beautiful and devastating examination of the human condition. Co-writer-director Yorgos Lanthimos (Dogtooth) creates a vivid reality and trusts the audience to put the pieces together and deduce the rules of this strange society. Colin Farrell plays a newly single man who checks into a resort hotel/prison where he must find a mate within 45 days or be turned into an animal. In this future, conversation has become mechanical and stilted, but that doesn’t stop the cast—especially Farrell and Rachel Weisz—from communicating a great deal of emotions through their mannered performances.

2. Manchester by the Sea
Year: 2016
Director: Kenneth Lonergan
“If TIFF 2016 provided one of the most purely joyous cinematic experiences in recent memory in La La Land, it was in Manchester by the Sea that it provided one of the most emotionally devastating. Casey Affleck, one of our most underrated actors, gives perhaps the performance of his life, and Michelle Williams is affecting enough even in this tiny role that there are award whispers for her as well. I think it was Blue Valentine that last left me feeling so despondent at the end of a film. But in Kenneth Lonergan’s unflinching, sympathetic gaze, there’s a nobility as well.”

1. Moonlight
Year: 2016
Director: Barry Jenkins
“Told in three segments, Moonlight is a devastating and moving portrait of a young life that asks us to engage in the nature-versus-nurture debate all over again. Played by three actors, Chiron is an African American growing up in Tampa as a child, a teenager and then in his 20s, and writer-director Barry Jenkins (Medicine for Melancholy) charts the different ages to see how questions of sexuality, racism and masculinity influence him at each stage. Naomie Harris astonishes as Chiron’s drug-addicted mother, and Mahershala Ali is a marvel as a local dealer who decides to take Chiron under his wing. Moonlight slowly becomes a love story, but not before it encompasses a very different kind of Boyhood: one in which a black child’s upbringing can be threatened by external and internal forces that others are privileged enough to ignore.”

Movie Review: Kong: Skull Island

I went into the opening of Kong: Skull Island with something of a prediction in mind. Given that the most vociferous public complaints about Gareth Edwards’ 2014 take on Godzilla were … well, the dearth of GODZILLA scenes, it seemed only natural that Legendary’s reaction would be to get the whole King Kong reveal out of the way almost immediately in this film. And yep—that was exactly right. The audience meets Kong quickly, and often. There are avenues to criticize Kong: Skull Island, but “lack of Kong” is not going to be one of them.

This is the second film is Legendary’s “MonsterVerse,” which began with Godzilla and is slated to continue with at least two more films: Godzilla: King of the Monsters in 2019 and Godzilla vs. Kong in 2020. It is of course another film studio’s attempt to tap into the seemingly endless money engine of successful “cinematic universes,” as Marvel Studios can attest to. However, the corresponding films from DC have proven that this is much easier said than done.

Kong: Skull Island is not a complex film, and it doesn’t really deserve “complex analysis.” It’s a calculated popcorn action movie and a would-be blockbuster, and one that is intensely uneven tonally by design. One minute, it’s bombarding you with comic ultraviolence and gore that would not be out of place in The Evil Dead or Cannibal Holocaust, and the next it’s legitimately very funny. That Cannibal Holocaust comparison is no hyperbole, by the way, at least in terms of the disgusting fate that befalls one character.

John Goodman plays Bill Randa, a government official searching for giant monsters with the help of a crew that contains scientists, soldiers, activists and mercenaries. Among them: Tom Hiddleston as the Doc Savage-style white jungle adventurer, Brie Larson as the morally conscientious photojournalist/Kong bait, and Samuel L. Jackson as the army colonel expedition leader who goes full Ahab and becomes obsessed with gaining some form of vengeance on Kong. This is the last we’ll be talking about any of them with the exception of Jackson, given that he’s the only character of any real plot significance, even if he does spend time regurgitating Jurassic Park in-jokes like “Hold on to your butts” and posing in front of Budweiser product placement. The others are more or less underutilized, especially Hiddleston, who just gets lost in the flow. Larson, meanwhile, is less integral than a female lead has ever been in any other King Kong movie.

And that’s where this film differs from previous iterations of the Kong story—it is a pure action movie without any significant attempt at characterization for Kong himself, nor room for subtlety. It’s filled with cliched 1970s period rock music, the kind of feature-length soundtrack that Forrest Gump would have had if he spent the entire film in Vietnam rather than 20 minutes. This is not Peter Jackson’s three-hour epic, which wanted to deliver absolutely everything: Action, drama, suspense, prestige. Larson is never captured by the beast, and she spends almost no time in his presence, and thus doesn’t develop anything like the slow rapport that Naomi Watts’ character has with the ape in Jackson’s film. Indeed, it’s not entirely clear why Kong eventually cares about Larson’s character at all, except for the fact that the film casts him as generally benevolent toward humans in general unless provoked. He has none of that spark of intelligence in his face, or the degree of emotionality possessed by Andy Serkis in a mo-cap suit. He has not been anthropomorphized, any more than Godzilla was in 2014.

And honestly, that’s fine. This film is about Kong smashing giant lizards, and that’s what he does with reckless abandon. The oddly proportioned “skull crawlers” are serviceably scary antagonists, saddled with a name so stupid that the film goes out of its way to satirize the moniker via its own dialog as means of walking it back. The action sequences are where it shines, whether that’s Sam L.’s band of hopelessly outgunned soldiers fighting against giant spiders and pterodactyls, or Kong ripping giant reptiles limb from limb. The visceral nature of the violence is almost shocking at times, especially because it’s so often balanced by comedy in short order. The gore is definitely there, but one can at least say that no scene is half as harrowingly serious as the bit in Peter Jackson’s King Kong when the entire party is being torn apart by giant insects. Skull Island’s violence might better be compared to say, Deadpool—gratuitous, but with a touch of zany. They at least know enough about what they’re doing to be aware that the climax of the final monster fight needs another Mortal Kombat-style fatality, as we got in the climax of Godzilla. This one does not disappoint.

There is one highlight to the human side of the equation, though, in the form of John C. Reilly, who is nothing short of marvelous. He singlehandedly steals the film away from every other non-Kong character, playing an American pilot who was shot down during WWII and has been living among the natives on the island for several decades. He somehow manages to be both the only effectively comedic character and the one source of genuine pathos, all at the same time, but that’s nothing new for the criminally underutilized Reilly. This film is so much more effective for the fact that he’s in it that I would not want to see it without him. Sustained, audience-wide laughter in a press screening is on the rare side, but it happened several times here, entirely thanks to his delivery. John C. Reilly, oddly enough, is what I’ll be most likely to remember about Skull Island in the coming weeks.

Of course, the film’s real purpose is simply to set up the next phase, as is the case in nearly all cinematic universe movies. Kong has a 2020 date with Godzilla, although one wonders how this version of Kong (which is maybe 100 feet tall) would be supposed to tackle Big G, who was officially listed at 355 feet in Gareth Edwards’ film. It feels like Legendary is showing their hand here when Reilly goes out of his way to mention that “Kong is still growing” in Skull Island, leaving room for further expansion. But that’s a whole hell of a lot of expansion. Perhaps I’m asking a little too much from the film—this is, after all, a new cinematic universe with Godzilla monsters who literally fed on radiation for sustenance. They could hit Kong with a Honey I Shrunk the Kids-style growth ray, for all I know.

What I do know, is that your enjoyment of Kong: Skull Island should not be a matter of surprise or chance. Either you want to see a CGI gorilla beat the hell out of skull reptiles, or you don’t. No one is judging you. Consider the John C. Reilly a pleasant bonus.

Director: Jordan Vogt-Roberts
Writer: Dan Gilroy, Max Borenstein
Starring: John Goodman, John C. Reilly, Samuel L. Jackson, Brie Larson, Tom Hiddleston
Release date: Friday, March 10, 2017

Ryan Reynolds Drops ‘Deadpool 2’ Teaser

Ryan Reynolds took to YouTube to drop “No Good Deed” — an almost-four-minute teaser for Deadpool 2 that is currently premiering before Logan screenings around the globe. In the pre-credits clip, the Marvel hero spots a helpless citizen being held a gunpoint, and while he gives his best attempt at a Superman-like costume switch in a phone booth, he eventually falls short of saving the day.

“No Good Deed” ends with a release date of “NOT SOON ENOUGH,” and what we assume is a Reynolds’ synopsis of The Old Man and the Sea in super fine print. Enjoy Reynolds’s butt, Stan Lee’s cameo, the Logan jabs, possible Easter eggs, and more below.

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Live-Action Beauty and the Beast to Include Disney’s First-Ever Openly Gay Character

Disney will introduce their first openly gay character in the forthcoming live-action remake of Beauty and the Beast. LeFou, played by Josh Gad, will spend much of the film wrestling with his sexuality as he acts as Gaston’s (Luke Evans) sidekick. Director Bill Condon shed some light on what we can expect from LeFou in an interview with Attitude, saying:

LeFou is somebody who on one day wants to be Gaston and on another day wants to kiss Gaston. He’s confused about what he wants. It’s somebody who’s just realizing that he has these feelings. And Josh makes something really subtle and delicious out of it. And that’s what has its payoff at the end, which I don’t want to give away. But it is a nice, exclusively gay moment in a Disney movie.

Condon says the change in LeFou’s character was inspired by the late lyricist Howard Ashman, who was honored with a posthumous Oscar for the original film’s music after dying from AIDS. According to Condon, Ashman saw the Beast’s ostracism from society as a metaphor for the neglect and persecution HIV-positive people faced in the early days of the disease, and still face today.

But before we go all gooey-eyed for Disney’s seeming act of inclusivity, let’s wait and see how exactly LeFou is portrayed in the film. If Disney decides to use the character’s sexuality as a comedic device (which has happened before in many films), it will be extremely disappointing. Disney has a lot of power, making their potential impact on LGBT representation in frequently hetero-exclusive Hollywood all the bigger—they better not screw this up.

Beauty and the Beast hits theaters on March 17.