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cdt12345 · 4 years ago

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I just finished answering one of these and now I wanna know yours. Top 10 straight OTPs?

1.) Ben and Leslie - Parks and Recreation

If this was my OTPs list, they’d be second after Gallavich, but since this is straight couples, they have to be my number one. Amy Poehler and Adam Scott had great chemistry. Adam Scott played a lot of creepy/bad guys before this. So, when he showed up in Pawnee, I didn’t know what to make of him when he came in at the end of season 2. Pretty quickly I realized I was not only going to love the character of Ben Wyatt but we finally found Leslie Knope’s perfect match! I’ll never forget the moment I knew I was going to ship them. It was at the Freddy Spaghetti concert when Ben helped Leslie after he was against doing the concert in the first place. As soon as I saw Ben give Leslie that look as she walked away, I knew I was all in with this ship. That’s all it took! Leslie finally met someone who got her, admired her, was in awe of her, and was so supportive of her and her ambitions. They were both willing to put their jobs at risk by making their relationship known. And if you know Leslie Knope, her job is her life. Leslie’s love for Ben’s butt is also something I loved. Their love for each other is so beautiful and one of my favorite things about this amazing show.

2.) Ava and Boyd - Justified

Joelle Carter and Walton Goggins did amazing work together onscreen. Ava and Boyd Crowder did not have the most conventional start to their romantic relationship, seeing as Ava was married to Boyd’s brother. For me, that is a deal-breaker! I know they’re not blood relatives but it’s still weird to me when in-laws get together. In the pilot, we learn Ava has just killed her husband in self-defense and Boyd was supposed to be killed off in that episode. The powers that be, loved both Joelle and Walton so much they brought them back for more and they were series regulars for the rest of the series run. To keep Ava part of the storyline, they had Boyd staying at Ava’s house in season 2. It all evolved from there. I had no intention of shipping these two during season 1, but by season 2, I was all about Ava and Boyd getting together. They were the true definition of a power couple. They even had matching bullet scares on their chest! They stood side by side as a strong force against anyone who tried to overpower them or intimidate them in their growing criminal enterprise. Boyd really saw Ava, treated her with respect, and saw her as his equal. They had a long history, even went to the same high school together. I always love a couple who has known each other since they were kids. I never thought I would root for current or former in-laws, but it was hard not to fall in love with them.

3.) Jess and Nick - New Girl

I knew I was going to ship them from the very first episode. They are everything I love in a good ship, complete opposites who bring out the best in each other, who are also friends. Over the years, any time Jess would describe her perfect man, she was always describing Nick without realizing it. Once she was asked what her dream guy would be, and she said Walter Matthau in Grumpy Old Men and Nick fits that perfectly. He really is like a grumpy old man. There was nothing these two wouldn’t do for each other. One example of this was when Jess burns her finger on a cigarette lighter in the car and Nick puts his finger in the cigarette lighter so they would be in the same amount of pain. Who even does that?! I was so happy when they finally had their first kiss and when they officially got together. Those are some of my favorite episodes when they were finally dating. Any time they dated anyone else it became even more clear how much better they are together. They never fit with anyone else as well as they fit together. They really were perfect for each other.

4.) Corey and Topanga - Boy Meets World

Corey and Topanga are the OG’s of childhood sweethearts on TV. They’ve known each other their whole lives and were very believable in their genuine love for each other. It’s not always easy to believe that people who get married that young can make it work, but these two always seemed to defy those odds. They got married during their sophomore year of college. Today I would be like whoa that’s too soon to get married! But they felt so right together, I believe I would still think they made the right choice. I may be biased because I grew up watching this show and I was even younger than them at that time, but it always felt like they were meant to be. I still remember what a big deal their wedding was. My friends and I were so excited about that episode. They clearly did do the right thing because the show came back as Girl Meets World, which was more focused on their daughter than them, so of course, I wasn’t planning on watching all that. The only good thing to come out of that reboot, for me, was to get confirmation that Corey and Topanga were still together and had two kids.

5.) Arnold and Helga - Hey Arnold!

This was a very one-sided crush on Helga’s part for years! This was another show I grew up on. I shipped them so hard because Helga was obsessively in love with Arnold. It definitely wasn’t a healthy obsession, but she really loved him. It was hard not to root for her. She fell in love with him when he was the first to notice her and be nice to her on their first day of preschool. A part of me could identify with her at that time in my life. I was in 5th grade and was experiencing my first love too. She was always so mean to Arnold because she was terrified for anyone to even suspect she had a major crush on him. The best way to describe Arnold is through Helga’s own words, he’s “a funny little football-headed kid with a good heart but no sense of reality”. Helga was realistic and tough but very poetic and sweet in private. In 2017, when Hey Arnold! The Jungle Movie came out, I was really hoping she would finally come clean with Arnold about her feelings. It FINALLY happened! That was 21 years in the making. Talk about slow burn!

6.) Tiffani and Jake - California Dreams

Jake and Tiffani are one of my very first ships ever. They were high school students who were in a band called California Dreams together. They were like night and day. She was the surfer type, who was positive, sunny, and friendly. Whereas Jake was a biker type who scared everyone. They were even too scared to let him audition for the band. He played guitar and would sometimes sing and write some of their songs. He wasn’t the main singer of the band, but he would sing every once in a while. She played the bass and would sometimes sing too. They did have a breakup that was heartbreaking for me. He dated their friend Lorena for a short time, and it felt so forced and didn’t work at all. Again, I could be biased because I love Jake and Tiffani, but Jake himself and Lorena realized they didn’t work either. That’s when Jake realized he was still very much in love with Tiffani, and they got back together. This show also had the best theme song ever! I sing it every single time I hear it and when I do hear it, it’s stuck in my head all day.

7.) Monica and Chandler - Friends

I always preferred Monica and Chandler over Ross and Rachel. They were never on and off like Ross and Rachel, which would get tiresome. We never had to deal with that with Monica and Chandler. Obviously, they are friends and know each other so well that it was easy for them to get through anything because of it.

8.) Castle and Beckett - Castle

Richard Castle and Kate Beckett had amazing chemistry, even after the actors themselves were no longer getting along behind the scenes. I am amazed at how they were still able to be so believable at being very much in love with each other. Castle, a best-selling mystery novelist, and Beckett, a New York City homicide detective. Castle is inspired by Beckett and she becomes his muse for a new book he is writing. Castle uses his connections with the mayor to force the police to let him shadow Beckett. Their personalities clash in the beginning but they soon find their groove and become friends and great partners at solving crimes. The will they, won’t they was excruciating at times but paid off when they finally got together.

9.) Sabrina and Harvey - Sabrina The Teenage Witch

Sabrina and Harvey were such a cute couple. I already went into this show knowing they were meant to be because of the Sabrina comic books. Harvey was always the boyfriend. So, when Harvey left the show after season 4, I was surprised and saddened. Especially, since Harvey had finally learned about her powers. He did guest star in season 5 but was brought back for the last two seasons. I really loved when he came back because Sabrina and Harvey’s relationship was so much better after he knew about her powers. They didn’t get back together and were only friends but whenever things got complicated, he was there to help her now that he knew she was a witch. She didn’t have to hide who she really was or lie to him anymore and I really loved how that changed their relationship. Sabrina was dating someone else at this time and was going to marry this other guy, but she doesn’t go through with it. For once I can actually say Sabrina and Harvey are soulmates and really mean it! Remember she is a witch and has a soul stone and Harvey was given one too. Harvey is waiting for Sabrina outside the church when she comes out and they kiss. Their soul stones drop to the ground and fit perfectly at 12:36pm, the exact time they first met seven years ago.Then they drive off together in his motorcycle.

10.) Kelly and Zack - Saved by The Bell

Who didn’t grow up in the 90′s and wasn’t shipping Zack and Kelly? I thought they were the most gorgeous couple I had ever seen. Saved by The Bell: The College Years wasn’t a great show, but I was happy to see Zack and Kelly went to the same college, and eventually, we got to see them get married in a TV movie with Saved by The Bell: Wedding in Las Vegas.

#parks and recreation #leslie knope #ben wyatt #ava crowder #boyd crowder #justified #new girl #jessica day #nick miller #boy meets world #hey arnold #california dreams #friends #castle #caskett #sabrina the teenage witch #saved by the bell

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aion-rsa · 4 years ago

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Invincible Episode 7 Improves Upon Its Already Great Source Material

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This article contains spoilers for Invincible episode 7.

Amazon’s animated adaptation of Robert Kirkman and Cory Walker’s comic Invincible was always a great idea. The property has just about everything that streaming services and their audiences are looking for currently: superheroes, ultraviolence, and jaw-dropping twists.

One big question facing the series, however, was how could one show possibly fit in all the story of the comic’s lengthy 144-issue run? Invincible episode 7, “We Need to Talk,” is the first season’s penultimate installment and it reveals how the show is set to approach this logistical challenge. With so many comic book issues of plot to get through, Invincible seems perfectly happy to accelerate through that plot as efficiently as possible. To that end, “We Need to Talk” features a truly staggering number of climactic moments.

This might actually be the most charmingly chaotic and jam-packed episode of TV this year (at least before next week’s finale). So much happens in “We Need to Talk” that it runs the risk of overwhelming the viewer. With that in mind, let’s break down the important plot points of this hour and examine the major ways in which they differ from (and even improve upon) the comic.

Robot’s True Identity

The reveal that the entity known as “Robot” isn’t who he claims to be might be the most shocking Invincible twist thus far. And that’s saying a lot for a show whose first episode concludes with the story’s Superman equivalent straight up murdering the rest of his Justice League.

That Robot (Zachary Quinto) is really a malformed genius named Rudolph Conners isn’t a surprise to comic book readers, but its positioning this early in Invincible’s story is a surprise. Robot’s work with the Mauler Twins to create a new body for himself doesn’t happen until after the events of Omni-Man’s confrontation with Mark in the comics (more on that later). The show, however, shrewdly decides to present this moment in the same episode as Omni-Man’s fall – just so there’s never really a moment for viewers to catch their breath.

But now the truth has finally arrived. Robot, the orange hunk of metal with a fixedly bemused expression, is actually a machine being operated remotely by Rudolph Conners. Rudolph, or Rudy, is a small, damaged man whose body isn’t capable of surviving Earth’s environment. For many years Rudy was content to exist in his own life-giving tank of fluids while operating his superheroic “Robot” remotely. Everything changed, however, when he met the hero known as Monster Girl.

Rudy couldn’t help but identify with Monster Girl (Grey Griffin), a fellow soul who has made the best of a flawed body. Everytime Monster Girl transforms into a monster, her human form de-ages several more weeks. Theoretically at some point Monster Girl will become an infant and then waste away into nothingness. Before any of that happens, Rudy wants to fix her…and he wants to fix his own broken body so that the pair can be together.

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To that end, Rudy sprung the mad genius villain team The Mauler Twins from prison to create a cloned body for him to transfer his consciousness into. What makes this whole thing even stranger is that the genetic material Rudy chose for his new body belongs to his Teen Team and Guardians of the Globe colleague Rex Splode. The new Rudy appears to be played by Rex Splode actor Jason Mantzoukas with his voice altered to sound younger.

Does that mean Zachary Quinto is no longer a part of the series? Let’s certainly hope not as he may have been the best performer of the entire cast. And why did Rudy choose Rex’s DNA (and without Rex’s consent, it must be said)? Because Rex is hot, basically. Rudy chose a human form that Monster Girl was already comfortable flirting with.

This is…a lot. And the fact that Rudy has to introduce himself to his teammates while they’ve all gathered for an “apocalyptic event” just adds to the madness. But what of The Mauler Twins? The disappointment of Rudy’s double-crossing doesn’t last long. For, after Rudy is forced to abandon his efforts to reincarcerate the Mauler Twins to return to the Guardians home base, the twins get back to their important task at hand. And that leads to the return of another important Invincible character…

The Immortal is Immortal After All

Back in Invincible episode 1, Mark Grayson’s dad Nolan a.k.a. Omni-Man (J.K. Simmons) made short work of the Guardians of the Globe. Darkwing? Dead. War Woman? Dead. The Immortal? De….wait a minute. How can someone called “The Immortal” die?

Well, it turns out that death for The Immortal (still voiced by Ross Marquand) is only temporary. Omni-Man removed The Immortal’s head, which is pretty much universally lethal across all genre stories. But The Mauler Twins theorized that if The Immortal’s head were returned to his body, he would spring back to life.

Sure enough, that’s exactly what happened once The Immortal’s noggin was reattached. Unfortunately for The Mauler Twins, their dreams of forming any sort of alliance with the resurrected hero are quickly dashed as he immediately flies off to confront the man who killed him.

Omni-Man v. Cecil Stedman

And that takes us to Omni-Man. In the comic, Omni-Man’s confrontation with The Immortal is what leads Mark Grayson (Steven Yeun) to discover that he’s got a Darth Vader situation on his hands. The show borrows that moment from the comic because any time you have the opportunity to make a character watch his father tear a Wolverine-looking dude in half, you’ve got to take it. That comic book moment is surprisingly abrupt though. In one panel Omni-Man is doing his usual Omni-Man thing and saving a group of citizens from a faulty roller coaster and in the next panel, The Immortal is all over his ass.

The Amazon Prime series dramatically improves on what is already a pretty great moment simply by drawing it out and building serious tension. Nolan’s wife Debbie (Sandra Oh) and the entire Global Defense Agency led by Cecil Stedman (Walton Goggins) are already well aware of Nolan’s treachery and have decided to finally take action. In speaking to Den of Geek and other outlets prior to Invincible’s premiere, Kirkman (who’s onboard as a writer and producer for this adaptation) revealed that Cecil Stedman would be getting an expanded role earlier on in Invincible’s story.

“Cecil Stedman is a character that we get to know a little earlier in the show and definitely we get to do more with him,” he said. “I think that’s a lot of fun. There’s definitely some differences to his character and working with Walton Goggins on him has been great.”

Cecil really is a fascinating tool for Invincible. Many superhero stories have a Jim Gordon-style government liaison for its heroes to interact with. This person usually represents the interests of the planet’s “normal” citizen and is particularly impressive for being able to cut it in the world of the super-powered. By having Debbie and the GDA uncover Nolan’s guilt first, Invincible creates a wonderful opportunity to display both Cecil’s competence and depict the absolute horror of we puny humans trying to keep a super-powered god in check.

Many times throughout Invincible episode 7, Cecil admits that there is nothing they can do to stop Nolan. The best they can do is slow him down for a bit until Mark is able to intervene. The first roadblock that Cecil presents is the explosion of an entire suburban city block with Nolan at its epicenter (R.I.P. Donald).

“Best it will do is maybe knock him on his ass for an hour or two,” Cecil says. Then when the smoke clears to reveal an unharmed Omni-Man, Cecil grimly adds “Or maybe not hurt him at all.”

Cecil then throws the “hammer” at Nolan, which is a powerful blast from a weaponized satellite.

“$400 billion for the world’s most expensive nosebleed,” Cecil quips when Nolan takes the weapon out with ease.

Then we get a sense of how many moral shortcuts Cecil is willing to take to keep the Earth safe. Mad scientist D.A. Sinclair’s (Ezra Miller) wounds from his confrontation with Invincible haven’t even healed yet but Cecil already has him using his evil technology for noble purposes. Sinclair’s “Reanimen” technology is now being used to reanimate recently dead U.S. soldiers, who are sent in to slow down Omni-Man. Unfortunately, that is also unsuccessful.

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Finally, Cecil is forced to head out into the field armed with nothing but a teleporter to confront Omni-Man himself. When that inevitably fails to slow Nolan down, the GDA sends a monster that Nolan already conquered, only this time it’s been robbed of its weaknesses and fear. And that’s where Mark finds his father, just in time for The Immortal to arrive and deliver one hell of a surprise.

There’s something to be said for the suddenness of the comic’s Omni-Man moment with Mark. Mark witnessing his dad’s evil act truly comes out of nowhere even though we know it’s inevitable as Nolan has been practicing this conversation all issue.

What the show does with the moment is a masterstroke, however. By centering the focus on the human characters of Invincible’s world, we get a chilling sense of just how terrifying this all is. Omni-Man’s heel turn doesn’t just have personal implications for Mark, it means that Earth’s unbeatable protector now seems to hate Earth. More terrifying than that is that the only person we think can defeat him is Mark Grayson…who, it must be said, has done nothing but had his ass absolutely handed to him by lesser enemies over and over again for the past three episodes.

Amber and Mark

It probably feels anticlimactic to address Mark and Amber’s lover’s spat after breaking down Omni-Man’s reign of terror. But it’s necessary to see how far-reaching the changes (and in this case improvements) are in episode 7 in comparison to its original text.

Mark and Amber’s relationship thus far has been all about frustration. Mark is facing an annoying problem with a seemingly easy solution. Amber (Zazie Beetz) is upset with him because he is absent in their burgeoning relationship. He’s absent in their burgeoning relationship because he’s a superhero. Therefore, the quickest, easiest solution to this dilemma is to tell her that he’s a superhero.

So in this episode, that’s exactly what Mark does. He gets suited up and flies right through Amber’s window to deliver the exciting news. The problem is – she’s not that excited.

“Ugh, I know you’re a superhero,” Amber says. “I’m not an idiot, I figured it out weeks ago.”

This is not how things go down in the comic. That version of Amber is a bit more…let’s say “bubbly” and when confronted with the fact that Mark has lied to her for weeks she responds with an excited “My boyfriend is a superhero?!?!?”

The show, however, is smart to not let Mark off the hook so easily. Of course Amber knew that Mark is Invincible. Because, like she says, she’s not an idiot. Anyone who spends an inordinate amount of time with him is bound to figure it out sooner than later. So what Mark thought was a problem with an easy solution becomes yet another difficult lesson on his path to maturation.

“I think that Amber is important in terms of holding Mark accountable,” Beetz told reporters prior to the show’s premiere. “Mark is still struggling with what his identity as a super person is. And she shows him that (powers) are not what make you good or special ultimately, it’s what’s in your character.”

It turns out that the people close to you don’t appreciate being lied to. Though human beings all look like particularly vulnerable ants from Mark’s perspective high up in the sky, we certainly don’t appreciate being treated like insects to be protected and manipulated by the powerful among us.

Mark and Amber’s relationship is an excellent indication that nothing will come easy for Mark Grayson on this show. Every decision has an equal and opposite reaction. It’s important that he learns that lesson before he enters into what is sure to be the most stressful and morally confusing moment of his life next week.

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Invincible’s season finale will be available to stream Friday, April 30 on Amazon Prime.

The post Invincible Episode 7 Improves Upon Its Already Great Source Material appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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omegangrins · 6 years ago

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The Hateful 8: Chris Mannix was made the Sheriff of Red Rock by his siblings so they could kill him from a distance.

Tl;dr: Due to his intelligence, mouth, and aspirations, Chris Mannix "was" appointed Sheriff of Red Rock via a sham election organized by his siblings so they could kill him anonymously from a distance.

I love the ambiguous nature of Walton Goggin's character Chris Mannix in The Hateful Eight. A man who joined his father and family to ransack towns in order to inspire fear for the Confederacy, dying by the side of the type of person he hated most. All whilst claiming to be a lawman. And it's always made me wonder if he was telling the truth or.... not really actually. I always thought he was telling the truth. Cause he never lies throughout the whole movie. In fact, he catches several people in lies (Marquis, Gage, Daisy). There are even several times where he refers to himself as a Sheriff believing that he will live to carry out his threats. He's either an excellent actor with his own side game in this movie, or he truly believes what he says is true.

Here's where things get subjective and I don't have a lot of information on (Part of why I'm putting it out to the world.). There's a line by John Ruth where he says that Chris is Erskine Mannix's youngest boy. Now here's where you can imply a few things. We know he's not an only child definitely not one of two sibling, or Ruth would refer to Chris as "the other one" or some such. And he says youngest boy so we can infer that Erskine had daughters. Meaning that if this is a regular Carolinan family from the 1800's, they would have as many kids as possible. Low ball estimate of 2 girls and 4 boys. But enough of them to dislike the little one.

Now let's look at Chris. If he's the youngest of the family then one could infer that he's had the hard life. Almost a runt in the litter type. But he's a man who values dignity and true leadership. Both traits of honest men. Then if we take what he says about being Sheriff to be true, he also never tells a lie, makes a deception, or attempts to hurt/kill anyone preemptively (at least any one that hadn't already tried to kill him 😄). He even realizes his tongue is getting him into stupid trouble on the stagecoach so he shuts down the conversation and apologizes for his getting riled up. Clearly a man that understands the rules of society and is happy to play by them. Yet still an honest man nonetheless.

His honesty can even be seen in his dissemination of other people's lies. It takes him less than 15 minutes after learning of Marquis' letter to realize it was a fake, and he didn't even have to read it. All he did was add up the pieces of Major Marquis Warren he knew. Joe Gage he more or less guessed/used instinct. But, he figured out that all of what Daisy Domergue said was bullshit the same way he figured out Warren's letter was shit: character context clues. So, he's great at spotting lies. This will come in later with the family bit.

This is what makes me think about this the most though. He always refers to himself as the new Sheriff of Red Rock. Not just in greetings but in negotiation stances and regular interactions. When Mannix meets John Ruth and Co. and Ruth asks for his badge, Chris tells them that if they're bounty hunters, it's him they're taking their dead bounties to. And when John Ruth refuses to let him board without manacles, Mannix tells O.B. that he will be legally obliged to inform the Marshal at Red Rock that Ruth left the new Sheriff to freeze without assisting him. A similar thing happens when they reach the Haberdashery. When Marquis draws his weapon on Sanford E. Smithers, and Oswaldo Mobray's reminds him that he'll hang in Red Rock if he does. Mannix steps next to Smithers and reaffirms that he will make sure that Marquis will hang, seeing that he is the new Sheriff and all. In fact, one of the first things that Chris does is interact with the person he believes to be Red Rock's new hangman. Going so far as to ask if he can see the hanging papers for the man who shot the Sheriff that Chris is replacing. He even cordially chats up with Oswaldo, reasoning they'll be working together soon.

And finally, near his deathbed, with no one to care, he declares his "first and final act, as the Sheriff of Red Rock" is to have Domergue hanged. A rather strange moment to commit to a lie, if it were one. Especially considering Marquis lets him read the faux Lincoln letter minutes letter. Sure seems like the perfect opportunity to confess all of one's lies and yet Chris stays quiet. So we can assume that he meant what he said. Or at least, he thought it was true....

This is where the Mannix family comes back into play. We learn during bits of dialogue throughout the movie that Erskine Mannix led a team of Confederate rebels known as Erskine's Marauders during and after the Civil War. It can be implied that the entire Mannix family was apart of this, since it's said their numbers reached around 400. So of course Erskine's kids would hop on this hate train. Chris says as much when talking about fighting under his father's command. Erskine Mannix held the Marauders together after the war with nothing but his command and respect. In fact, it's one of the things Chris most admired about his father. You can tell he looked up to his daddy.

Now I get into the extrapolating subjective era. Remember what I said about the number of kids? Call it 6 kids for Erskine with Chris being the youngest but probably smartest. Several characters also bring up that Erskine died recently. So this leaves a power vacuum. It's probably one of those situations like in the stagecoach where he can run his mouth a bit too much, or like he does with Ruth and Warren, use legal leverage to gain an upper hand. (If this was Game of Thrones, Chris would be a Tyrion type character. Good natured, hated, but bloody good at playing the game.). He's a player that needed to be shut up. I'd wager there came a time after/before Erskine died where Chris wanted more power in the family. He started to exert influence and amass bits of power, becoming more politically dangerous. Sort of like Fredo.

Seeing this, his brothers and sisters decide to hatch a simple scheme to kill him one of three ways. First, they pay a man to kill the Sheriff in Red Rock (I imagine as Marauders they would have plenty of cash. Look at Chris, he ain't dressed in rags.) and bribe public officials to rig the election so Chris becomes Sheriff. They do this in order to make it seem authentic to the already established sharp-eyed Chris Mannix. With the hard part done, next comes the killing. The first death they set up in Red Rock along with the previous bribing. All it takes is finding someone else *also* willing to kill the Sheriff. That way when Chris comes to town, he suffers the same fate as the Sheriff before him. Second way is by horse. This is closer to conjecture but Chris doesn't seem to have the attachment to his horse that Marquis did. Meaning either that it wasn't his horse, it was but he didn't care, or that no one asked him so that's something about him we'll never know. What it could mean though, is that he was given a lame horse without his knowledge. Third thing is the blizzard. It's a long distance from Wyoming to Red Rock. And a blizzard that large would have signs that would be spottable even back then. So he was sent into a white hell on a lame horse heading to an eventual bullet. Sounds like a plan that we're not seeing all the pieces of. So if his family was planning to get rid of him and his overly smart and mouthy ways, they had set up several opportunities to have it done.

Final weird thing to think about. There is a complaint that The Hateful Eight title doesn't work numerically with the characters we are given and their backstories. To that I would add that it does. I think O.B. and Mannix are the two odd "good" guys out, either with integrity or by not trying to actively hurt anyone in the story. Everyone of the main characters tries to kill other people in cold blood, and only O.B. and Mannix shoot no one, or wait until they are shot at. And if you include his telling the truth to himself that he is Sheriff, then he and O.B. are the only "pure of heart" ones.

In the end, Chris was telling the truth and also unknowingly lying. True that he'd been made Sheriff, and a lie that he would stay that way for long. He's the best of both worlds. The greyest of grey characters.

#quentin tarantino #the hateful eight #the hateful 8 #samuel l jackson #kurt russell #walton goggins #tim roth #bruce dern #jennifer jason leigh #michael madsen #demian bichir #channing tatum #movies #movie #ennio morricone #fan theory #fan thoughts #hateful eight

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avoutput · 7 years ago

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Gaming And Film: The Tomb Raider Example

A golden opportunity has arisen. I get to make another example of the star crossed genres, Film and Video Games. Two narrative forces bound by their visual narratives, but separated by a single major mechanic: Control. But a new challenger has arrived, or rather a returning challenger, another gaming legend. Tomb Raider. The gods have deigned Square Enix another chance at the big screen after their massive flop at the box office over 20 years ago with their own classic title, Final Fantasy. Gaming has made its way back to the big screen with Tomb Raider “parenthesis 2018 film” starring the legend herself, Lara Croft. Well, it stars a real actress, Alicia Vikander, but you know what I mean. Gaming has its own stars. Previously, this role had been played twice before by Angelina Jolie in Lara Croft: Tomb Raider (2001) and Lara Croft Tomb Raider: The Cradle of Life (2003). This gave me a very unique opportunity to take a jump back in time to gaming’s initial foray into the world of the Third Dimension (3D), its replication of cinematic narrative structure, and all of the freedom that comes with giving the player the ability walk around in that space, instead of just watching. It was during this 3D polygon era that cinema took a fundamentally flawed stance to the translation from game to film; they tried to duplicate as much of the minor details as possible in effort to reanimate and profit from a movie going audience. In doing so, they sacrificed the heart of good cinema trying to capture the flavor of the game, hoping that the only thing fans would need is a the skeletal carcass of their favorite game.

By the time that first installment of Lara Croft: Tomb Raider (2001) had hit the screens, there had been 4 full games released, none of which would ultimately become the story of the film. They surmised that simply making a film that imitated its main attraction, a (British) woman who raids tombs for treasure, would suffice. And in a way, this might be the most correct course of action. There had already been series of similar action films to take from, including Indiana Jones, James Bond, Mission Impossible, and Jackie Chan’s Armor of the Gods. With the games already pulling inspiration from these existing films, intentionally or not, it doesn’t seem that unreasonable to think that a film version of Tomb Raider would succeed at the box office. All they needed was to eject the male as the lead and pop some abnormally large breasts on an otherwise perfectly attractive female figure. But then the real question becomes, why make this film based on a video game character at all? Obviously brand recognition and the all mighty dollar, both domestic and international, but wouldn’t they need more to really entice both the fans and the uninitiated alike? And this exposes an issue with the Hollywood mindset that, while I have come to understand, I can’t abide or come to terms with. Forsaking the heart of intelligible film making in favor of a return on investment. When art and capitalism mix in which the art comes second, the audience usually loses, and the house of Hollywood usually wins or breaks even. Because for the audience, what’s on the line is a chance to make a good video game into a great movie, and if that movie flops, then investors look at not just the game franchise, but all gaming films as a risky or unworthy investment. Stranger still however, is what ended up happening with Tomb Raider. It returned big on its initial run, almost certainly powered by Jolie’s star power. But when you make a cheap, flimsy version of a game into film, and it works, it becomes the model that all video game films run on. We end up being served a deformed representation of something that, in my opinion, never stood a chance of becoming anything more than a cash grab. (See: Resident Evil (2002) starring Milla Jovovich)

At no point does Lara Croft: Tomb Raider (2001) or its sequel try to become more than a cheap representation of its source material sewn together using existing action-adventure movie tropes. The original games themselves offer little more than an exploratory cave diving, gun slinging shell for people to play in. Games (at the time) were not as harshly criticized for taking huge leaps in story, tone, or realism, but the films never really took that risk. In the game, Lara shoots at bats, bears, and wolves while cave diving. Yet, both Lara Croft: Tomb Raider (2001) and The Cradle of Life (2003) look indistinguishably bland compared to other films of their era like LOTR: Fellowship of the Ring, Swordfish, Training Day, Jurassic Park III, Pirates of the Caribbean, Kill Bill, The Matrix Reloaded, and many more. Granted these budgets are a bit more inflated, even their smaller moments are better than Jolie’s biggest. In fact, some of the stunts seem to come right out of the Mission: Impossible series. Taking a game thats little more than an empty, fun action platformer and trying to build an entire film franchise around it without adding some spark of originality or building any sense of a larger world for its characters will ultimately lead to a lackluster, forgotten film. Anybody watching these movies today are only returning because they might be a fan of the franchise, which might be the only win under the belt these films, but it’s another loss for gaming, gamers, and film.

Moving into the next generation of consoles and computers, as games become more modern, they began to more deftly integrate cinematic techniques. Game creators can control the world, the camera, and the characters with complete freedom, unlike film which has to worry about pesky things like props, actors, and reality. In 2013, Tomb Raider was re-imagined by Crystal Dynamics and published by Square Enix. They created a more sleek and vibrant world that embraced a mixture of realism and paranormal. Lara was modernized, made a bit more youthful, and her skillset was more refined and deadly. She went from a caricature to a character and her adventure matured into something a bit more robust. Coupled with expert pacing, the new Lara Croft moves through her deadly environment and faces foes head-on in the same vein as Indiana Jones. Only she is a bit more willing to pull the trigger or sling an arrow. I don’t want to continuously gush about this game, so to summarize, I will just say this game was by far one of my favorite action games in this last generation. This reinvisioned version would become the basis for the recently released Tomb Raider (2018), and I was excited to see what kind of adaptation would spring forth. After the many, many Hollywood failures, had gaming finally caught up so completely to cinema, possibly even overtaken it, that it could allow for an easy transition from game to film?

As much as I don’t want to spend the entirety of this review discussing the differences between the film and the exact game it was based on, that is technically the point of this article. Still, I’ll spare you a lengthy diatribe and stick to the key differences between Jolie and Vikander’s Lara Croft. In this version, the realistically re-imagined Lara Croft is crafty with a bow instead of guns, inexperienced instead of an expert, and hasn’t attended any higher learning in pursuit of abandoning her heritage to find her own way. These also happen to be departures from the Crystal Dynamics’ Lara Croft as well. However, I found that these character changes spoke the language of cinema better, making for a more relatable character, especially for late millennials and gen Z at which this version is aimed.

Tomb Raider (2018) stars the new Lara Croft (Alicia Vikander) as she takes on the challenge of living life as a broke young woman in the big city. But, a twist, the young lady is broke by choice, turning down the opportunity to take up her family name and with it , the family business. Angry that her father, Lord Richard Croft (Dominic West), never returned from a business trip and is considered dead, she mounts a personal battle against her heritage. Through a series of turns, she finds a final message from her father in a secret bunker outside her family estate, warning her to burn all of his research just in case some bad guys come looking for it. Instead, of course, she sets out to find the last place he was said to have visited, enlisting the son of the man, Lu Ren (Daniel Wu), whose boat was to have taken her father to his final resting place. At this point the film finally takes a similar shape to the game, introducing Mathis Vogal (Walton Goggins) as the leader of digging team sent to find the treasure of Lady Himeko’s tomb. Vogal has been employing as slaves shipwrecks and treasure hunters who have come to the island in search of such a treasure.

At this point, I would like to praise this film for actually making a decent adaptation of the game. The actors are great, the story is pretty tight, and they do a pretty good job keying you into just how far Lara will have push herself to get what she wants. Unlike Jolie, who was characterized as a fearless expert, Vikander is an inexperienced young girl who struggles at almost every turn. Throughout the film, she misses, she loses, and she takes hits, which is similar to the game, except when you lose the game, it had some pretty incredible death scenes. But in a way, I personally liked her Crystal Dynamics video game persona better. She was both experienced and still struggled. She used her wit and cunning to elude her captors. In the 2018 film, Lara spends most of the runtime falling into situations and just kind of winging it, but not with tools or weapons found in the game, mostly just through luck. My only other criticism is a bit of a spoiler if you have played the game and not seen the movie or have seen the movie but not played the game. But here it is. The film rejects the concept of the supernatural, which is one of the biggest reasons I wanted to see the film after having played the game. The game continuously hints at the supernatural, but only towards the end do we actually see it in action, which totally caught me off guard. I half expected some ancient local tribe would be behind some form of sabotage from the shadows, like in an episode of Scooby Doo. But how does this stack up as a video game film? Can we build a new legacy from here?

Well, unlike the Jolie era, video games and film are not so different anymore. In fact, film often doesn’t have the runtime to contain an entire video game plot into a single movie. The golden age of television would be a better place for your favorite game stories. Japanese anime has been doing this for years with shows like Star Ocean EX and Persona 4 The Animation. In a very short time, film has been surpassed as an entertainment medium in size, scope, and runtime/playtime. But the one thing that you can feel has really changed in Hollywood is that they no longer underestimate the need for authenticity in the transition. Gaming films are getting better because gaming has become better. The stories they tell are taken more seriously, and triple-A titles have bigger budgets than some triple-A films. Gaming companies could be looking to invest in adaptations to film, seeing them as an extended product to their own. With that dollar power and some guaranteed butts in seats, we should be able to expect better films. I would like to imagine if both Godzilla and King Kong can be re-imagined into great films that also get to share the same universe as a plethora of tokusatsu monsters that gaming can get of its ass and produce some better films. Still, it was only 2 years ago that Resident Evil: The Final Chapter (2016) was released, ending a series of terrible video game films that did nothing to elevate games as critically good films. Assassin's Creed (2016) also didn’t help.

The thing is, we don’t need video games adapted into film. Gaming has its own thing going on, and when it’s done right, it does it all bigger and better. But, if we are going to continue to see them pushed into film, let’s at least get a few things straight. First, there is a balance between authentic and creative. Take care to have a vision for the film beyond simply taking a bird’s eye view of the game and applying that visual to the film. The old Tomb Raider was built on the back of action genre films we had already seen and for the most part lacked any sense of creativity. It was authentic to its source from afar, but up close it offered nothing for fans beyond a push-up bra and two guns. Second, be aware of the scope of the game’s world. More and more games are open world, meaning that the world is going to be as much a character in its own right, so don’t forget that it exists. Even older games can have a vibrant world. A good example is Castlevania, which saw an amazing mini-series produced by Netflix. The story was small, but it never betrays the world in which it takes place. Now more than ever, the lines between gaming and cinema have all but been erased, so narratively, you can take a much more direct approach to the translation. Feel free to rewrite the story as long as it doesn’t forsake the game’s characteristics. Games are no longer manufactured for control alone, they have well thought out characters, themes, and motifs, all with a joined motive. If Lara Croft has taught us anything, take calculated leaps, not blind jumps into the abyss.

#Film #Review #Articles #Tomb Raider #Gaming #Alicia Vikander #Lara Croft #Angelina Jolie #Playstation #Playstation 4 #PC Gaming #Steam #Streaming #Xbox #XBONE #XBOX 360 #PC

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ipcearn · 7 years ago

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Just came home from watching Tomb Raider tonight

I’ll try to be as vague as possible, but there might be some mild spoilers

Now I didn’t expect much when I went into the movie - it’s a video game adaption, I usually don’t expect much from them, particularly when I have played games in that franchise (coincidentally I have not played the Tomb Raider reboot yet, but I will start tonight) - what I did expect was some nice fight scenes featuring a badass lady and Walton Goggins as a delightful villain (hush, Justified is one of my fave shows), and I got both in spates

I was pleasantly surprised by how much I enjoyed this movie, I like this version of Lara and how she grows throughout the story; I also love how she is consistently shown to be as smart - if not smarter - than her father; also, also, her fighting?! Lara is a small-ish (I just looked up how tall Vikander is, and she is only about 8 cm taller than me?!) woman and strength isn’t her greatest asset, instead she maneuvers her enemies into a position where she can get them into a choke hold either with her arms or her legs and that is damn cool to watch

Overall, the twists were interesting enough, some more surprising, some less, though the one at the very end was predictable (or at least to me)

Goggins as Vogel was incredible, because he never quiet felt like the villain; he felt like a tired, exhausted man, wanting nothing more than to return to his family until the very moment he pulled out his gun and shot people without hesitation, and later when they descend into the tomb he straddles the perfect line between those two extremes

(Like I said above, Justified is one of my fave shows and Goggins as Boyd Crowder is one of my two favorite things from that series - the other being Raylan’s inability not to be an asshole, because honestly, same - so I might just be a bit biased towards Goggins (also,also, I share my birthday with the man))

I also loved how we had two extremes on the whole “curse” thing: Richard who believed whole-heartedly in the myths and legends, and Vogel who believed that there were scientific explanations for everything, and Lara right in the middle of them both - which made it the most fitting that she’s the one to figure out what the actual meaning of the “curse” was

And last but not least, I kept expecting there to be a forced romance - and it did feel like they set up Lu Ren and Lara (which tbh, it wouldn’t have been too bad, they had chemistry and I liked how they kept saving each other) - but I was delighted that they didn’t end up kissing or any of the sort

Personally, I would love to see a continuation; it would be interesting to see what Lara can do with the resources now at her disposal plus they already have an interesting enemy for the next one (and I’m really glad they didn’t try to solve that in this movie as well, it would have been way too much)

#my posts #tomb raider #big mood #I'm someone who is easily entertained by a movie #just keep that in mind as well #but yeah #all in all I'd recommend this one #also if I hadn't been gay before I definitely would be now #because this Lara is ripped #you can see it in the opening during the kickboxing match #and I loved the parallels between the first fight of the movie and the last fight

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vocalfriespod · 8 years ago

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Southern Fried Addencum

If you found our episode on Southern American English, you can read more about it below. If you haven’t listened yet, you can find it here.

What other features are there in Southern American English (SAE)? We mentioned many features of Southern American English but managed to leave out a few interesting ones. My favourite one that we skipped is double (or even triple) modals. Modals are auxiliary verbs (in English, anyway) that tell you something about likelihood, ability, permission or obligation (e.g., ‘would’ or ‘can’, etc.). In SAE you can double up on modals, unlike in most other dialects of English. So you can say “I might could go to the store”. Why might speakers use more than one modal at a time? Because they can. But also, double/triple modals might be more polite than single modals, in dialects that allow them.

Other features that we didn’t get around to discussing (still not comprehensive, and varies from region to region):

(a) ‘dropping the g’ singin’ instead of singing. (This isn’t really ‘g dropping, since there is no /g/ sound in singing. Your tongue moves forward from the velum (soft palate) to closer to the front (behind the teeth a bit).)

(b) the pin-pen merger (both pronounced as ‘pin’) and fill-fell (both pronounced as ‘fill’)

(d) other kinds of pronunciation differences (genuine - genuwine; nuclear ~ nucular). People mocked George W Bush for this pronunciation, which was really unfair. Different pronunciations are normal in English. Think aluminum (North America) vs. aluminium (UK). Stress patterns are different too, like INsurance (instead of inSURance) or POlice (instead of poLICE).

(e) y’all - English used to have a second person singular/plural distinction (thou (you singular) vs you (you plural)). But we lost the singular form, leaving us with you (singular or plural). We seem to really like having a plural form and y’all is one of those. Other dialects have ‘you guys’, ‘youse guys’, ‘yinz’ etc.

What if I want to learn more about discrimination against Southern accents? Glad you asked. Accent discrimination is widespread, and it’s not only directed towards Southerners.

"Accent discrimination can be found everywhere in our daily lives. In fact, such behavior is so commonly accepted, so widely perceived as appropriate, that it must be seen as the last back door to discrimination. And the door is still wide open."

Rosina Lippi-Green

English with an Accent: Language, ideology, and discrimination in the United States

The study that showed that older children (9-10) already have a pro-Northern/anti-Southern bias - even when growing up in Tennessee - is an important read. Another study from Cupid.com showed that people think Southern accents is a sign that the speaker is sexist.

This stuff is insidious, and people carry it with them:

(Mimics Southern speech) ‘As y’all know, I came up from Texas when I was about twenty-one. And I talked like this. Probably not so bad, but I talked like this; you know I said “thiyus” [“this”] and “thayut” [“that”] and all those things. And I had to learn reeeal [elongated vowel] fast how to talk like a Northerner. ’Cause if I talked like this people’d think I’m the dumbest … around.

‘Bill’s college alumni group – we have a party once a month in Philadelphia. Well, now I know them about two years and every time we’re there – at a wedding, at a party, a shower – they say, if someone new is in the group: “Listen to Jo Ann talk!” I sit there and I babble on, and they say, “Doesn’t she have a ridiculous accent!” and “It’s so New Yorkerish and all!”’

Jeff Foxworthy also jokes about people treating him as stupider with a Southern accent. (This video also provides examples of double modals! And different stress patterns (THANKSgiving)!)

Cuz in a lot of parts of the country, you know, people hear me talk, they automatically want to deduct 100 IQ points.

Beth talked about trying to adopt a Northern accent. Is this normal? It’s certainly advice given to actors like Walton Goggins.

MCEVERS: Was your accent ever a barrier to getting roles, to getting parts?

GOGGINS: No, I don't think so. I think when you first come into this business, it is very easy for people to put you in a box. And if you come from where I come from, you can bet you're going to play a racist. It's convenient. You can bet you're going to play someone that's stupid. That's just how this business sees people from the South - at least, early on.

‘Accent reduction’ courses are all over the place. But this is the wrong way to think about it. You don’t reduce your accent; you adopt a new one. Reduction assumes there is a norm (the standard) that other dialect deviate from, but everyone has an accent. There is no baseline, there are just differences.

How can we fight the stereotypes against Southerners? You can tell people that it’s not cool to stereotype huge swaths of people. Or you could fight it with comedy, like Trae Crowder does:

"Yeah, I'm a white trash, trailer baby from the deep South... But I'm also educated, agnostic, well-read, cultured. I'm [all] of those things at the same time and if you can't reconcile those things in your head, that's your problem."

You can also learn more about linguistics, or more about linguists fighting this type of discrimination, like Walt Wolfram. Fight back against casual regionalism wherever you find it.

Where is SAE spoken? Well there are different varieties, but SAE more broadly is spoken here.

Carrie

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If you have any questions or comments - especially if something isn’t clear - please let us know here, or by sending us an email at [email protected]. You can also follow us on twitter @VocalFriesPod or instagram @vocalfriespodor on facebook at Vocal Fries Pod. Send us your questions or suggestions for possible topics!

#southernamericanenglish #southern #language #linguisticdiscrimination #southerners #discrimination #linguistics #southernfried

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weekendwarriorblog · 5 years ago

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The Weekend Warrior for January 10, 2020 – 1917, Like A Boss, Just Mercy, Underwater

Well, it looks like we’re back to the usual business now that it’s 2020 with the first weekend with four wide releases – two new movies and two expanding after opening in limited release over Christmas. I’m running a little behind on this so I’ll work on finishing a few reviews before Friday but for now, you can just get a general idea of what’s coming out so you can make some moviegoing plans.

The big movie that I’m most excited for people to see is Sam Mendes’ WWI epic 1917 (Universal), starring George MacKay and Dean-Charles Chapman as two soldiers sent on an urgent but dangerous mission to the frontlines to prevent an invasion that could leave thousands of British soldiers dead. It’s one of the most exciting movies I saw last year, which is why it ended up on my Top 25 at #2. I already reviewed the movie for ComingSoon.net and did some interviews for VitalThrills.com, so I probably don’t have a ton more to say about it, but it is the one movie I can recommend whole-heartedly this weekend. It is easily one of the best movies I saw last year (twice!)

This weekend also brings the high-concept R-rated comedy LIKE A BOSS (Paramount), which pairs Rose Byrne with Tiffany Haddish and Salma Hayek, three very funny women and great actors in a movie directed by Miguel Arteta (The Good Girl). Essentially, Byrne and Haddish play long-time besties who have been building a small grassroots make-up company and then Hayek comes along as a huge corporate mogul who wants to buy them out who makes a deal that will allow her to get a larger percentage if the two friends break up. You can probably guess the rest. (My review will be posted later tonight since it’s under embargo.)

Mini-Review: It was almost immediately apparent as Like a Boss began that this movie wasn’t going to be for me. It wasn’t the premise or the characters as much as it was the fact that it expects the viewer to be somewhat savvy about the make-up business, something I know (and care) little about.

Byrne and Haddish play best friends Mel and Mia, who have turned their shared love of make-up into a thriving local business that gets the attention of Salma Hayek’s Claire Luna, a big-shot exec at a corporation who wants to buy a stake in their business but with a catch. If for some reason the friends break-up, Luna gets the majority share of the company. This is literally the difference between a 51% and a 49% stake… so not really that big a deal.

I’m not even sure where to begin with this because there’s so much talent involved that generally deserves better, but Haddish has yet to deliver anything on par with her Girls Trip role, and that doesn’t change here. Mind you, I’ve been a big Rose Byrne fan for quite some time, and she’s really been great in movies that allow her to go between humor and drama, but it feels as if she’s trying way too hard to keep up with Haddish, who has actually toned back her character to be more of a 4 or 5 on the Haddish scale.

Jennifer Coolidge seems to be doing the exact same thing she’s done in everything from Legally Blonde to Two Broke Girls, basically acting like a dimwit, and it’s a shame because it’s not really a good part. There’s also Mel and Mia’s three best friends who are so useless at bringing anything to the story that it’s unclear why they’re in the movie at all except to act as a Greek Chorus. This leaves it up to Billy Porter to steal the movie with but just one scene, and pretty much the only one that delivers a laugh.

I’m not sure if the makers of this movie thought that it would be seen as another pro-feminist movie that women flock to, but the problem might be the simple fact that it’s written and directed by men. That certainly couldn’t have helped, especially since this movie is clearly trying to be another Bridesmaids by pushing the R-rated envelope.

The thing is that if you’re going to make a comedy, you should at least try to make some effort for it to be funny, and the fact that Jennifer Lopez’s Second Act takes place in a similar environment but finds a way to be funnier is telling that Like a Boss just isn’t up to snuff.

It’s doubtful Like A Boss will be anyone’s worst movie of the year, but that’s because it isn’t particularly memorable and will likely be forgotten by February.

Rating: 5/10

Another movie expanding nationwide after a platform release is Dustin Daniel Cretton’s prison drama JUST MERCY (Warner Bros.), which stars Michael B. Jordan as young defense attorney Bryan Stevenson, who finds himself trying to get prisoners on Death Row exonerated. The movie also stars Jamie Foxx as Walter McMillian, a man falsely accused of murder who becomes Bryan’s biggest case to date while Brie Larson plays Eva Ansley, who works with Bryan. I was kind of bored by the movie the first time I saw it, but I gave it another chance recently and generally liked it more, especially towards the last act. I may write a review before Friday if I can find any time but I’m pretty slammed this week.

The last movie of the weekend is actually one I’ve been looking forward to, since the sci-fi thriller UNDERWATER (20th Century Fox) is my kind of movie. It stars Kristen Stewart, Jessica Hardwick (from the Netflix series Iron First), TJ Miller, Vincent Cassell and John Gallagher, Jr. as a team of scientists who are trapped 6 miles below sea level when their station is hit by a catastrophe and they learn that they’re not alone down there. It’s the new movie from William Eubank, a talented filmmaker who I interviewed years agofor his movie The Signal. I’m also still working on my review for this so please check back tonight/tomorrow for it.

Mini-Review:

It’s a bit of a bummer this new undersea horror-thriller probably won’t get a fair shake from critics, because it’s being released in January. Far too many film critics just love their clichés, and when it comes to January movies (other than the ones premiering at Sundance), they expect everything to be horrible. They go in with that thought in mind and then nitpick to make sure they’re theory is right. Maybe it’s true, but it’s also not particularly fair when you have a movie like Underwater that delivers exactly what’s being sold.

The underwater drilling station Kelper rests on the outskirts of the Mariana Trench, and no sooner then we meet Kristen Stewart’s electric engineer Norah, Kepler is hit by a powerful earthquake that tears the station apart, as she and a few of her colleagues do what they can to survive. They soon learn that they’re not down there alone.

Yes, the premise is a bit of a horror cliché we’ve seen many times before, mostly in space thrillers like the classic Alien, but director William Eubank (The Signal) clearly has chops to direct a much bigger-scale movie like this that involves a lot of underwater FX-work.

While the dialogue isn’t always great, and the attempt to make TJ Miller the film’s comic relief doesn’t always work, you generally like the characters played by Stewart, Hardwick, Cassell and Gallagher, which tends to be half the battle when it comes to horror films. You actually care about them as they face bigger and bigger jeopardy.

I’m sure some women will take issue with Stewart spending a good portion of the movie in a skimpy bathing suit, as soon as she’s out of the bulky deepsea suit she wears for the rest of the movie, but you won’t hear any complaints from me about that.

Like I said, the movie gives you exactly what is being advertised and Eubank has created a movie that’s suitably claustrophobic and at times, legitimately terrifying.

Rating: 7/10

LIMITED RELEASES

The movie opening in limited release that I can recommend highly is Ladj Li’s police thriller LES MISERABLES (Amazon Studios), an amazing police thriller about a group of French detectives trying to deal with issues taking place at the local projects. I thought this French film (France’s shortlisted selection for the Oscar “International Film” category) was fantastic and shows a promising new talent in Li, who wrote and directed the film. If it’s playing in your area, I recommend checking it out, although I’m guessing it will be on Amazon Prime sometime soon as well.

I haven’t seen Jon Avnet’s THREE CHRISTS (IFC FIlms), which has Richard Gere playing Dr. Alan Stone, a psychiatrist in charge of dealing with three schizophrenic patients who all believe they’re Jesus Christ, as played by Peter Dinklage, Walton Goggins and Bradley Whitford. It will open in select cities and On Demand shortly after.

Opening Friday in the States roughly eight months after it opened in the United Kingdom is Ron Scalpello’s crime-thriller THE CORRUPTED (Saban Films), starring Sam Claflin as Liam, an ex-con trying to win back the love of his family, while trying to get out of the tangled web of corruption surrounding him. The movie also stars Timothy Spall, Hugh Bonneville and Charlie Murphy.

Josh Hartnett and Margarita Levieva star in Anthony Jerjen’s Inherit the Viper (Lionsgate), playing siblings Kip and Josie, who are dealing in opioids as their only means of survival. Kip’s attempts to get out of the family business put him and his sister and younger brother (Owen Teague) in danger. it will open in select cities and On Demand.

Ofra Bloch’s documentary Afterward (1091) debuted at DOC-NYC last year with its look at the issues between Israel and Palestine that came out of the Jews being driven out of Germany during World War II and settling in Israel where they were seen as an enemy by the Palestinians, while trying to give and receive forgiveness. This is a fantastic doc that will open on Friday and then be on VOD January 28.

Alison Reid’s doc The Woman Who Loves Giraffes (Zeitgeist/Kino Lorber) is a little more obvious what it’s about, as it follows Anne Innis Dagg’s solo journey to South Africa in 1956 to study giraffes, featuring voicework by Tatiana Maslany, Victor Garber and more. It opens at New York’s Quad Cinema on Friday and at the Laemmle in Los Angeles on February 21.

Opening today at the Film Forumin New York is Renaud Barret’s doc System K (Artification Release), which looks at the city of Kinshasa in the Democratic Republic of Congo and the street artist performance scene that criticizes government corruption and the poverty that has struck the area.

The Sonata (Screen Media) stars Freya Tingley as a virtuoso violinist who inherits the mansion of her composer father (the late Rutger Hauer) after his sudden death, where she discovers a mysterious score with strange symbols that she tries to decipher with her agent and manager (Simon Abkarian).

This week’s Bollywood offering is Meghna Gulzar’s Chaapaak (FIP), starring Deepika Padukone as a woman attacked with acid in New Delhi in 2005 and how she survived it.

REPERTORY

It’s a new year so we’re back with more cool repertory stuff!

METROGRAPH (NYC):

My favorite local rep theater is beginning with two movies by Your Name and Weathering with You director Makoto Shinkai: 2007’s 5 Centimeters per Second and 2011’s Children Who Chase Lost Voices. On Saturday night, the Academy is back at the Metrograph screening Lina Wermüller’s 1976 movie Seven Beauties. Also on Thursday, you can see two “Metrograph Standards,” Jack Hazan’s A Bigger Splash (1974) and Edo Bertoglio’s Downtown 81. Welcome To Metrograph: Reduxwill screen Richard Quine’s 1958 film Bell, Book and Candle, Late Nites at Metrograph will screen Akira Kurosawa’s High and Low (1963) while the Playtime: Family Matinees selection is Danny Devito’s Matilda from 1996.

FILM AT LINCOLN CENTER (NYC):

Folllowing up FilmLinc’s amazing Korean cinema series from last year, this week, they’re doing a special “The Bong Show” retrospective, highlighting the work of soon-to-be Oscar nominee Bong Joon-Ho, as well as other related films with Director Bong in person for some of them. It runs through January 14 and besides all of his feature films, there will be a showing of all his shorts on Friday night, January 10, as well as Kiyoshi Kurosawa’s Cure (1997), Deliverance (1972), Intentions of Murder (1964), John Frankenheimer’s Seconds (1966), John Carpenter’s The Thing (1982) and more.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Tonight’s “Weird Wednesday “is the 1984 Supergirl movie, starring Helen Slater, which is almost sold out. Thursday’s “Cherry Bomb” pick is the 1988 film Shy People. Next week’s “Terror Tuesday” is the horror classic Ghoulies (1984) and “Weird Wednesday” is Tarsem’s The Fall, the latter hosted by Vaiance Films founder Dylan Marchetti.

THE NEW BEVERLY (L.A.):

Today’s “Afternoon Classics” matinee is Norman Jewison’s 1967 film In the Heat of the Night, while the Weds./Thurs night double feature is Secret Ceremony and Boom!, both from 1968, both starring Elizabeth Taylor. Friday’s “Freaky Friday” is the 1985 film Re-Animator, while Tarantino’s own Django Unchained is the Friday midnight movie. This weekend’s Kiddee Matinee is the Studio Ghibli film Ponyo, while the “Cartoon Club” is also running this weekend. The Saturday midnight movie is Martin Scorsese’s classic Taxi Driver (1976). Monday’s “Monday Matinees” is the Stephen King adaptation Misery (1990), while the double feature running from Monday through Thursday are newer films, Greta Gerwig’s Little Women and Sofia Coppola’s The Beguilded from 2017, both in 35mm.

FILM FORUM (NYC):

On Wednesday, Film Forum will begin screening a 4k restoration of Russian filmmaker István Szabó’s Mephisto (1981) along with screenings of his other movies, Confidence (1980) and Colonel Redl (1985). This weekend’s “Film Forum Jr.” is one of my all-time favorite comedies, Billy Wilder’s Some Like It Hot(1959), starring Marilyn Monroe, Jack Lemmon and Tony Curtis.

EGYPTIAN THEATRE (LA):

Apparently, the Egyptian now has two theaters? Sweet! As part of the theater’s “New Year’s Resolutions” its screening the 1993 horror anthology, Necronomicon: The Book of the Dead on Friday in the Spielberg Theater, followed at 10pm by Roar (1981). The Egyptian’s usual theater will screen a double feature of Airplane! (1980) and Stripes (1981) on Friday. On Saturday, you can see Pacino in Scarface (1983), the sci-fi classic The Incredible Shrinking Man (1957) and Terrence Young’s Valley of the Eagles (1951) with an introduction by Joe Dante (schedule-permitting). Also on Saturday night is a double feature of Rosemary’s Baby (1968) and The Other (1972). Sunday’s “New Year’s Resolution” is “Get More Sleep!” in the form of Akira Kurosawa’s later film Dreams (1990), plus you can also see a 35mm print of The Blue Angel (1930), starring Marlene Dietrich as part of the theater’s “Sunday Print Edition.” Sunday’s New Year’s Resolution is Deliverance (1971)andWake in Fright (1972).

AERO (LA):

As part of the series “The Films of Marty and Bob, the Aero will screen a matinee of Taxi Driver (1976) on Thursday – two days before the Alamo. (Oops!) Thursday night is a double feature of Douglas Sirk’s 1955 film All That Heaven Allows and Fassbinder’s 1974 film Ali: Fear Eats the Soul. Friday begins an “All About Almodóvar” series with a double feature of Women on the Verge of a Nervous Breakdown (1988) and All About My Mother (1999), Saturday is Bad Education (2004) and Talk to Her (2002) then Sunday is some of the filmmaker’s earlier work, The Law of Desire (1987) and Matador (1986).

QUAD CINEMA (NYC):

This weekend, the Quad will screen four movies by Bernard-Henri Lévy: 2012’s The Oath of Tobruk, a double feature of Peshmerga and The Battle of Mosul, and Bosna! With an introduction by Lévy. Sorry, but I’m not really familiar with his work enough to elaborate.

MOMA (NYC):

The Museum of Modern Art has started a new series called “Show Me Love: International Teen Cinema” running through January 19 with some interesting selections including Diane Kurys’ 1977 film Peppermint Soda, Greg Araki’s 1993 filmTotally Fucked Up, Satyajit Ray’s Teen Kanya (Two Daughters) (1961) and more. Another series that will run through February is Modern Matinees: Jack Lemmon, which will show some of the comedic actor’s best movies, including 1963’s Irma La Douce on Wednesday, Blake Edwards’ Days of Wine and Roses (1962) on Thursday, George Cuckor’s It Should Happen to You from 1954) this Friday. (Most of the movies will be repeated later in the series.) Tuesday’s matinee returns to “The Films of Marty and Bob” with New York, New York(1977).

IFC CENTER (NYC)

The IFC Center is in the middle of a comprehensive “Films of Studio Ghibli” series with a bunch of Studio Ghibli animated films, which will run through next week, as will the 75thanniversary digital restoration of the cinema classic Casablanca. This week’s Late Night Favorite selections are David Lynch’s Mulholland Drive and Eraserhead, Stanley Kubrick’s The Shining and Kathryn Bigelow’s Strange Days (1995).

MUSEUM OF THE MOVING IMAGE (NYC):

MOMI is in the midst of a “Curators’ Choice 2019” made up mostly of new movies vs. repertory stuff. Saturday will be a tribute to the late Carol Spinney with a screening of the 2014 doc I Am Big Bird.

ROXY CINEMA (NYC)

The Nicolas Cage love continues with the 1997 action movie Con Air.

LANDMARK THEATRES NUART (LA):

Friday’s midnight movie is Rene Laloux’s 1973 animated familyFantastic Planet.

Next week, Will Smith and Martin Lawrence are reunited for Bad Boys for Life, taking on Robert Downey Jr. as (Doctor) Dolittle.

#TheWeekendWarrior movies Reviews 1917 JustMercy Underwater LikeABoss repertory

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chicagoindiecritics · 5 years ago

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New from Robert Daniels on 812 Film Reviews: 812filmreviews’ Top 25 Films of 2019

2019 is coming to an end, and because of such, I’ve put together my Top 25 Films of the Year. It’s the third time I’ve made such a list, and over the course of twelve months I’ve visited nine film festivals and watched nearly 250 movies. So suffice to say, there were more than a few worthy candidates.

Nevertheless, a couple items to take note of before you begin reading: There Nevertheless, a couple items to take note of before you begin reading: There are no entries for documentaries on this list. Inevitably, with these countdowns many fine docs are overlooked in lieu of narrative features and I’d rather not forget those works. I’ll have a separate top ten in the coming days specifically for documentaries. Additionally, only films that have had a wide release were included.

The list you’re about to read is an assemblage of foreign language, Independent cinema, and Blockbusters, and also features a variety of voices: emerging and established, men and women, Black, Asian, Latin, and white. Most of all, they’re the works that have resonated with me the most. That is to say, this is not an objective “Best Of.” These are my favorites. For the films you don’t know or haven’t watched, I hope you take the time to find them because believe me they’re worth the journey. Having said that, below are the honorable mentions and below them—the Top 25. Thank you for 2019, and I hope to see you next year.

–Robert Daniels

Honorable Mentions

A Hidden Life, Clemency, Gloria Bell, Invisible Life, Light from Light, The Lighthouse, Monos, The Nightingale, Queen & Slim, The Report, Slut in a Good Way, This is Not Berlin, Toy Story 4, Uncut Gems, Under the Silver Lake, Us, and Vitalina Varela.

25. Burning Cane (Phillip Youmans)

Debuting at the Tribeca Film Festival, and taking top honors, Phillip Youmans’ Burning Cane not only surveyed the rarely examined Southern Baptist Church, the evocative picture also serves as the first salvo of a new exciting voice. Youmans, an evolving 19-year old filmmaker, presses against issues of toxic masculinity and hypocrisy in an involving and thrilling debut.

Where to watch: Netflix

24. Them That Follow (Britt Poulton and Dan Madison Savage)

A brilliant cast comprised of Kaitlyn Dever, Olivia Colman, Walton Goggins, Lewis Pullman, Jim Gaffigan, and Alice Englert populates another film dissecting the contradictions of zealotry. This time, nestled in a tiny religious community in the Appalachians. Poulton and Savage’s film is a tightening twist of fate, pushing these soon-to-be superstar actors to their breaking points, in an ending that espouses freedom and survival no matter the weight of one’s religious beliefs.

Where to watch: Amazon Prime ($3.99)

23. Midsommar (Ari Aster)

A bear burns, a flower queen rises, and heads are smashed with mallets in a work whose symbolism exemplifies the swing for the fences filmmaking that’s alighted the last two years of cinema. Purely by accident, Ari Aster’s follow-up to Hereditary: Midsommar—is the third film on my end of the year list to examine a secluded religious sect. This one, in Sweden. Blindingly bright cinematography mixes hallucinate effects in a story that examines mental health fueled toward a conclusion that’s quite literally still seared in my head.

Where to watch: Amazon Prime $0.99

22. The Burial of Kojo (Blitz Bazawule)

Lyrical and rule-breaking, Blitz Bazawule’s debut feature The Burial of Kojo is composed through unique camera angles and sumptuous tableaus. A ghost story, the Ghanaian film follows a daughter as she recounts the disappearance of her father and the mysterious reemergence of her uncle in an enthralling picture that examines the colonization of resources by outsiders and income disparity. Poetic and charged, The Burial of Kojo is the nearest thing to a masterpiece by a first-time director.

Where to watch: Netflix

21. Bliss (Joe Begos)

You probably never heard of Bliss until about two seconds ago, but I guarantee you won’t ever forget it. I first watched Joe Begos’ fever dream at Cinepocalypse 2019—where I gasped, leapt, and clutched my imaginary pearls to images of drugs and vampires in an enticing homage to Gaspar Noé. Not only that, but Dora Madison also offers one of the best performances of the year in a fly-off-the-handle explosion of overwrought artistic ambitions that often mirrors Nicolas Cage at his height of insanity.

Where to watch: Amazon Prime $3.99

20. Booksmart (Olivia Wilde)

2018 was the year of actors turned directors, and while 2019 hasn’t seen as many performers switch to the main chair, Olivia Wilde’s debut Booksmart certainly fills one’s appetite. A coming of age buddy comedy that’s as much about friendship as breaking up, Kaitlyn Dever and Beanie Feldstein are more than stars in the making in this milieu of high school drama. Instead, they’ve fully arrived in a film that thrives on Wilde’s teeming ambitions.

Where to watch: Hulu

19. Climax (Gaspar Noé)

With a Gaspar Noé homage already on the list, it’s only fitting that his Climax would also appear. A fever dream that also flourishes through drugs, this one follows a French dance troupe as they devolve into murderous squabbles and other acts of revenge and violence. No film features a more striking use of color, and the opening dance sequence would be the most thrilling music video of 2019 if it were solely designed as such.

Where to watch: Amazon Prime (free with membership)

18. Atlantics (Mati Diop)

A love affair. A ghost story. A critique on capitalism. A tale of feminist freedom in the face of a controlling religious patriarchy. Mati Diop’s Atlantics manages to accomplish all in an array of sensory compositions that attunes the phantasmagorical components of the story to Senegal’s captivating beach fronts and shanty towns. Grounded yet mysterious, the film’s central star-crossed lovers: Ada and Souleiman, represent a passion that reaches beyond watery graves.

Where to watch: Netflix

17. Dolemite is My Name (Craig Brewer)

I can’t adequately describe the glee and reverence associated with seeing Eddie Murphy back in the kind of star-driven vehicle he was made for, but watching Craig Brewer’s Dolemite is My Name at its world premiere won’t soon be topped. Following Rudy “Ray” Moore in his quest to stardom: first through comedy then cinema, Dolemite is My Name gets better on each watch and features one of the year’s deepest and best ensembles: Craig Robinson, Mike Epps, Keegan-Michael Key, Tituss Burgess, Da’Vine Joy Randolph, and Wesley Snipes in a scene-stealing return to form.

Where to watch: Netflix

16. Knives Out (Rian Johnson)

After the abuse suffered at the hands of Star Wars fans angry at The Last Jedi, very few people deserved an out-and-out banger of a film than Rian Johnson. Composed as a Columbo mystery occupying an Agatha Christie frame, Knives Out is a perfectly written whodunit. Featuring another deep ensemble, it’s difficult to pick favorites, but both Daniel Craig (who’s always been a wonderful comedic actor) and Ana De Armas are the highlights in a hilarious film that still maintains political relevance through its skewering of MAGA worshipers.

15. The Irishman (Martin Scorsese)

Admittedly, I’m not much of a fan of Scorsese’s early work. I understand its importance and relevance, but his style never clicked with me. However, his late-period films: Hugo, The Wolf of Wall Street, and Silence—have all resonated: Possibly because they demonstrate a firmer hand and greater control of story than his previous pictures, which I often find stylistically brilliant but lacking in the former. The Irishman, Scorsese’s latest film, exemplifies that patience to the tune of 3.5 hours as we follow Frank Sheeran (Robert De Niro) and his friendships with Jimmy Hoffa (Al Pacino) and Russell Bufalino (Joe Pesci) in a historical drama that’s surprisingly funny yet an elegiac whisper carrying loneliness and regret.

Where to watch: Netflix

14. Little Women (Greta Gerwig)

After Greta Gerwig’s incredible success with Lady Bird, I was more than disappointed that she’d be turning to a remake for her follow-up—especially considering said story already had two stirring versions. Nevertheless, her adaption of Louisa May Alcott’s Little Women is an unabashed success. Perfectly cast—Saoirse Ronan is the best Jo since Katherine Hephburn—the film’s nonlinear retelling sets it apart from prior iterations, while the costumes and score make every scene drip with heart and pure emotion.

13. Parasite (Bong Joon-ho)

Parasite is one of those rare films where someone could spoil the entire plot to you, and it wouldn’t make a difference. Following an entrepreneurial family, so to speak, the picture (along with Knives Out) is another film that critiques the ambivalence of the rich in a twisting tale that constantly takes 180 degree turns. Such is the magic of Bong Joon-ho, a filmmaker whose prior works—Okja, Snowpiercer, and Memories of Murder—have been critically lauded, but who is now finding the mainstream success he richly deserves.

12. Portrait of a Lady on Fire (Céline Sciamma)

Shout out to Valerie Complex, who’s probably done more to promote Céline Sciamma’s Portrait of a Lady on Fire than its own country. Shockingly not Shout out to Valerie Complex, who’s probably done more to promote Céline Sciamma’s Portrait of a Lady on Fire than its own country. Shockingly not selected as France’s submission for the Academy Awards, Sciamma’s lesbian love story between painter and subject features the most stunning cinematography next to Gaspar Noé’s Climax (an odd comparison, I know) of the year, and a breathtaking use of color. They’re the clear residue of the passion that encapsulates every scene. Gorgeous and alluring, Portrait of a Lady on Fire is the literal overflow of spontaneous emotion.

11. Her Smell (Alex Ross Perry)

I nearly walked out of Her Smell. Following the lead singer (Elisabeth Moss) of an all-girl punk rock group, Alex Ross Perry film is split into three part: the descent, rock bottom, and recovery. The first act is one of the most uneasy watches in 2019, as we watch troubled individual who seems fated I nearly walked out of Her Smell. Following the lead singer (Elisabeth Moss) of an all-girl punk rock group, Alex Ross Perry film is split into three parts: the descent, rock bottom, and recovery. The first act is one of the most uneasy watches of 2019, as we see a troubled individual who seems fated for an early demise. However, his movie soon unfurls itself into madness and then ambivalence before finally concluding with a heartfelt final act that’s so earned it physically hurts, as Moss gives the best performance of her career.

Where to watch: Amazon Prime $1.99

10. The Last Black Man in San Francisco (Joe Talbot)

From a compositionally immaculate opening sequence: replete with beautiful sun-drenched lighting, poetic match cuts, and an exhilarating tracking shot—Joe Talbot’s The Last Black Man in San Francisco offers an endearing friendship between Jimmie Fails and Mont (Jonathan Majors) wrapped in a critique of gentrification and extralegal housing practices. Majors truly gives the best male supporting performance of the year, thoughtfully portraying a man who’s an outsider in his own neighborhood and a nonconformist to the cliche standards of masculinity. The Last BlackMan in San Francisco is never hurried, crafting typically static characters with depth and empathy.

Where to watch: Amazon Prime (free with membership)

9. Once Upon a Time… In Hollywood (Quentin Tarantino)

Part of the old white guy nostalgia fest of 2019, Quentin Tarantino’s Once Upon a Time… In Hollywood offers another entry into his alt-history trilogy: Inglorious Basterds and Django Unchained. While many have chagrin in the face of Sharon Tate’s storyline remaining in the background—which I actually think might be the best portion of Tarantino’s flick due to Margot Robbie’s incredible performance—the bromance between Cliff Booth (Brad Pitt) and Rick Dalton (Leonard DiCaprio) takes center stage. A requiem for a bygone era in Tinseltown, everything from the costumes, production design (especially the vintage cars) and parodies, record a moment that never, yet once existed. Finally, the haunting final shot gives Once Upon a Time… In Hollywood a foreboding yet hopeful detour, claiming the title of Tarantino’s most mature film.

Where to watch: Amazon Prime ($3.99)

8. Honey Boy (Alma Har’el)

Art often acts as a balm, therapy for the troubled soul. Few actors have led as turbulent of a career and life than Shia LaBeouf: from child actor to public performance artist. With Alma Har’el’s Honey Boy he adds screenwriter to his resume too. Here, he plays his real-life father—an emotionally abusive rodeo clown, while Noah Jupe portrays LaBeouf in his earlier years, and Lucas Hedges depicts him during his 20’s. Certain scenes��like LaBeouf chastising Jupe—cuts through repressed layers of trauma while delivering an unnerving truthfulness. Every actor fully commits in this on-screen psychoanalysis that often veers between greatness, and a thankfulness that it exists.

Where to watch: Amazon Prime (free with membership)

7. Luce (Julius Onah)

If you’ve followed me since Sundance, you know that I’ve been the unofficial spokesman of Julius Onah’s gripping and turbulent drama Luce. Adapted from J.C. Lee’s eponymous play, provocative and melodramatic set pieces tussle with issues of toxic masculinity, rape culture, and Black Excellence. Onah’s film witnesses a breakout performance from its lead Kelvin Harrison Jr. in a portrayal as much about repression as raw emotion. Moreover, Octavia Spencer provides the rare instance of her in a slightly villainous role, which pulls the best acting of her career. A ball of disquieted energy detonates with each thump of Geoff Barrow and Ben Salisbury’s score, in the turning of a screw that unwinds into catharsis. Unfairly overlooked, Onah’s Luce is what inclusive filmmaking has been building to.

Where to watch: Amazon Prime ($5.99)

6. A Beautiful Day in the Neighborhood (Marielle Heller)

After the success of the Mister Rogers’ documentary Won’t You Be My Neighbor?, the needs for a feature film appeared superfluous at best. But the dream combo of Tom Hanks as the famed television personality and the CanYou Ever Forgive Me? filmmaker Marielle Heller, makes for a deeply affecting story of forgiveness. Ingenious creative decisions: specifically the homages to the children’s program, abound while Hanks offers an incredible show of inhabiting the spirit of a character rather than relying on mere artifice. Matthew Rhys as the picture’s surprising lead Lloyd Vogel—a painfully cynical reporter assigned to cover Mister Rogers, also astounds while Chris Cooper (Little Women) remains one of the unsung heroes of 2019.

5. The Farewell (Lulu Wang)

No movie made me cry more than Lulu Wang’s biographical film The Farewell. Following Billi (Awkwafina)—the fictional incarnation of the director—audiences witness a family who make a nearly impossible decision: to withhold a life-ending cancer diagnosis from their mother/grandmother Nai Nai (Zhao Shuzhen, who’s utterly brilliant). Dissecting several cultural off-ramps: Chinese, Chinese-American, and Japanese—through the guise of assimilation, The Farewell is as much about family as a crucible of truth and identity. The final tracking shot, as Nai Nai waves goodbye is the most devastating soul crushing image of 2019.

Where to watch: Amazon Prime ($5.99)

4. High Life (Claire Denis)

“Bat-shit crazy,” doesn’t accurately describe Claire Denis’ High Life, a mash-up of art house aesthetics and blockbuster sensibilities. Depicting a literal prison in space, the film centers around a group of death row inmates who have volunteered to serve the rest of their sentence in the name of medical research. This batch of offenders, devolve into murder and masturbation in a provacative swing for the fences. And between fuck boxes and studies of isolation and environmentalism, resides Robert Pattinson’s destructive performance. Already the apple of every indie director’s eye—between Good Time, Damsel, The Lighthouse, etc.—Pattinson delivers a cold yet vulnerable performance as both a violent prisoner yet loving father. Making High Life a mind fuck of a Sci-Fi movie.

Where to watch: Amazon Prime (free with membership)

3. Marriage Story (Noah Baumbach)

Some unions end amicably, and some descend into hurtful words that can’t ever be unsaid. Semi-autobiographical, Noah Baumbach’s Marriage Story is a return to familiar territory for the director best known for family dramas. Simply predicated upon a divorce, Charlie (Adam Driver) and Nicole (Scarlett Johansson) are a writer and director from two different coasts (east and west) with a son caught in the middle of their separation.

Initially, congenial their spats occur with greater frequency and intensity. From top to bottom, no film contains a better assortment of performances. Ray Liotta and Alan Alda both offer attention-grabbing scenes in their few minutes on screen, while Laura Dern as a combative lawyer assumes the camera’s gaze. But most of all, Driver and Johansson offer “wow” moment aFrom top to bottom, no film contains a better assortment of performances. Ray Liotta and Alan Alda both offer attention-grabbing scenes in their few minutes of work, while Laura Dern as a combative lawyer unrelentingly commands the camera’s gaze. But most of all, Driver and Johansson offer “wow” moment after “wow” moment, especially in one scene that’s taken a life of its own: the argument scene. Both enter a new stratosphere, in a movie that asks us to do what these characters struggle to do themselves: to see them as equals.

Where to watch: Netflix

2. Ad Astra (James Gray)

“Sad white guys in space” doesn’t faithfully articulate the brilliance of James Gray’s Ad Astra. VFX and production design offers breathtaking vistas mapped across isolation and religiosity. And while many has claimed Brad “Sad white guys in space” doesn’t faithfully articulate the brilliance of James Gray’s Ad Astra. An immaculate use of VFX and production design offers breathtaking vistas mapped across isolation and religiosity. And while many have claimed Brad Pitt’s turn as Cliff Booth in Once Upon a Time… In Hollywood as a career-best performance, such title really belongs to his acting in Gray’s esoteric work. Here, Pitt portrays the unflappable Roy McBride, the world’s top astronaut. However, when unexplained events lead to deadly results on earth, he’s contracted to discover their origins, which might trace back to his long-missing father Clifford McBride (Tommy Lee Jones).

To these ends, the astronaut travels to the far reaches of the solar system in a narrative that calls for the examination of God and toxic masculinity. This deconstruction of the God Complex causes the younger McBride to existentially come undone, which opens his once repressed emotions. A spectacle that wasn’t remotely appreciated in its initial theatrical run (a true shame because this needs to be seen on the biggest screen possible), the film truly deserves the often overused title of “masterpiece.”

Where to watch: Google Play ($5.99)

1. Pain and Glory (Pedro Almodóvar)

Pedro Almodóvar hasn’t ceased making great movies. 2016’s Julieta, for instance, was another commanding work from the legendary Spanish Pedro Almodóvar hasn’t ceased making great movies. 2016’s Julieta, for instance, was another commanding work from the legendary Spanish director. Nevertheless, Pain and Glory still feels like a return to form. Reuniting him with his former muse Antonio Banderas, the autobiographical narrative follows the writer-director Salvador living in regret and agony. Suffering from multiple ailments, he can no longer work and therefore suffers from depression (an ode to Federico Fellini’s 8 1/2). To these ends, he often lives in his memories, typed in private files and hidden away on his computer.

Over the course of nearly two hours, Almodóvar mixes flashbacks with Over the course of nearly two hours, Almodóvar mixes flashbacks with present-day introspection and experimentation by Salvador. The character tries heroine, attempts to mend a broken friendship with Alberto (Asier Etxeandia), and even spends one more night with a former lover. But most of all, he thinks upon his mother: played both by Penélope Cruz and Julieta Serrano, culminating in a final shot, that’s still the most shocking and thoughtfully conceived of the year. Pain and Glory witnesses Banderas in his most vulnerable state, and survives as an undeniable example of cinematic greatness.

Once again, thank you for spending 2019 with me. Please be on the lookout for my Top 10 Documentaries of the Year list, and my upcoming coverage from Sundance. See you in 2020.

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gossipnetwork-blog · 7 years ago

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Eleven Was Going to Die in Stranger Things, But She's Not Alone—These Characters Also Escaped the Grim Reaper

New Post has been published on http://gossip.network/eleven-was-going-to-die-in-stranger-things-but-shes-not-alone-these-characters-also-escaped-the-grim-reaper/

Eleven Was Going to Die in Stranger Things, But She's Not Alone—These Characters Also Escaped the Grim Reaper

Stranger Things without Eleven? It almost happened.

During a chat with at Chapman University, Stranger Things creators Matt and Ross Duffer revealed Millie Bobby Brown‘s breakout character was supposed to die. Oh yeah, Stranger Things was supposed to be a limited series too.

“Maybe I shouldn’t say this because I like to pretend that it was all planned out, but it was originally pitched as a limited series,” Ross Duffer said, according to CinemaBlend. “So it was like, Eleven was gonna sacrifice herself and save the world and then that was gonna be it, because there was a moment where limited series were a big deal.”

Obviously that did not happen. Eleven survived, Stranger Things returned for a second season and there are already plans for as many as five seasons about the paranormal happenings in Hawkins, Indiana.

Eleven isn’t the only character to outlast the original expiration date creators had in mind—read on below to find out other TV characters who were supposed to die!

Klaus, The Vampire Diaries

Sure, he landed his own spinoff, but Joseph Morgan‘s The Vampire Diaries character was supposed to die before heading off to The Originals. “I will tell you this—and I haven’t said this before: Our intention was to kill Klaus at the end of season three,” Julie Plec said. “We created the character last year… and our intention was, that after a long, arduous year of trying to vanquish and defeat the villain, our heroes would prevail and he would be no more. But when you have actors [like Joseph Morgan] who are that good, making such a distinct mark in the roles that they are playing, you have to let your storytelling evolve and wrap around that a little bit. We collectively decided around the middle of season three that we weren’t done with Klaus—or Joseph.”

AMC

Jesse Pinkman, Breaking Bad

Yes, there was almost Breaking Bad without Aaron Paul‘s Jesse Pinkman and his relationship with Bryan Cranston‘s Walter White. Crazy, we know. Series creator Vince Gilligan intended for Jesse to die in season one, with his death affecting Walter White in profound ways.

“My intention was that at the end of season one, Jesse would die horribly, which would make Walt feel really guilty and force him to question his criminality,” Gilligan said. “But it became clear to me that Aaron Paul was an absolute asset to the show. I’d no more kill him off now than cut off one of my pinkies.”

ABC/Mario Perez

Jack Shephard, Lost

Before Matthew Fox landed the role on ABC’s acclaimed drama, producers were looking at a big name, like Michael Keaton. The idea was to have Keaton as Jack, but kill the character off in the first episode.

“I said, ‘I’ll seriously consider it, send me the script,'” Keaton said. “[J.J. Abrams] said, ‘No, we’re keeping the guy alive,’ and I said, ‘Oh, ok, well I can’t do that.'”

Jack lived and Fox landed the role.

Getty Images

Spike, Buffy the Vampire Slayer

Believe it or not, Spuffy wasn’t always endgame. Joss Whedon had originally intended James Marsters‘ character to just be another villain for the heroes of Buffy to defeat—key word being defeat.

“It was not supposed to be romantic, but the audience was responding that way and Joss was freaking out,” Marsters said. “He backed me up against a wall one day and said, ‘I don’t care how popular you are, you are dead.'”

Didier Baverel/SHOWTIME

Nicholas Brody, Homeland

Damian Lewis‘ character was supposed to kick the bucket at the end of season one of Showtime’s hit series when he strapped himself with a suicide vest. That didn’t happen, he went on to survive until season three.

“Ultimately, we felt that there’s just more to tell between Brody and Carrie,” executive producer Alex Gansa told TVGuide.com. “So, we decided to keep him alive. Also, Showtime really wanted Damian Lewis around for another year.”

NBC

Carol Hathaway, ER

The first episode of ER featured Julianna Margulies‘ character attempting suicide with an overdose of pills and that was supposed to be it…until the character struck a chord with test audiences. The rest? TV history.

“I had no idea I was coming back,” Margulies said. “I was hired as a guest star, just for the pilot.”

Boyd Crowder, Justified

Chalk this up to another case of test audiences loving a character. Walton Goggins‘ Justified character was supposed to die in the pilot after getting shot, but audiences loved Boyd so much he eventually became a main character.

Frank Ockenfels/AMC

Harry Crane, Mad Men

Rich Sommer‘s Mad Men character wasn’t supposed to be long for the world in AMC’s period drama. He was supposed to meet his maker at the end of season one by jumping off the building. That didn’t happen, obviously.

Netflix

Eleven, Stranger Things

If you thought Stranger Things season one felt like a complete story, you would be right. The Duffer brothers envisioned a limited series, one that ended with Eleven (Millie Bobby Brown) making the ultimate sacrifice to save the day. She lived and Stranger Things continued, with Eleven becoming a new pop culture icon.

Stranger Things season two is now streaming on Netflix.

Don’t miss E! News every weekday at 7 and 11 p.m.

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aion-rsa · 4 years ago

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Mel Gibson is a Gun-Toting Santa Claus in Fatman Trailer

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In what is definitely not a case of conventional casting, Mel Gibson is playing Santa Claus in this year’s action-comedy hybrid, Fatman. And he has the gun-toting trailer to prove it.

As revealed in the latest bit of marketing, Fatman marks the first time someone has looked at Gibson’s often resplendent gray beard and said, “Santa.” The Oscar winning filmmaker who’s also notorious for virulent outbursts is going to portray that not-so-jolly Chris Cringle in this new movie from the writer-directing pair of Eshom and Ian Nelms. The two, who previously helmed Small Time Crime, direct Gibson as a Santa at the end of his ropes. Business is declining and to make ends meet, Chris has partnered with the U.S. military to deliver toys to good little boys and girls. Unfortunately for some, he also still delivers coal.

Thus enters 12-year-old boy Billy (Chance Hurtsfield), a precocious and naughty lad who is infuriated by receiving a lump of coal for Christmas. So he retaliates by hiring Walton Goggins as a hitman appropriately credited as “Skinny Man.” In a battle of Skinny versus Fat, Goggins’ hired gun is sent packing to the North Pole where he’s expected to put a bullet in Santa’s head. But as Gibson’s Santa already contends in the trailer, “Some kids with a deer rifle put two holes in the sleigh and one in me. All I have is a loathing for a world which has forgotten me.”

But a Santa without hope is a Santa without fear, and with antagonistic forces rising among his allies and new enemies, he will celebrate “the season for Fatman to get even,” as per the film’s press release.

It’s an obviously gonzo premise and one that defiantly wallows in its bad taste. But the idea of “Dark Santa” stories is nothing new. From horror slashers about maniacs in Santa costumes like Silent Night, Deadly Night (1984) to actual thrillers where Santa is a force to be reckoned with, a la Rare Exports (2010), scary Santa is a staple of B-cinema. But never has he been potrayed as a weathered and aging action her or played as such by an Oscar winner—who has a checkered history both on and off the screen where matters of religion are concerned.

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Fatman also co-stars Marianne Jean-Baptiste and is due to arrive early for a little anti-Christmas cheer on Nov. 13 in theaters, and Nov. 17 on VOD.

The post Mel Gibson is a Gun-Toting Santa Claus in Fatman Trailer appeared first on Den of Geek.

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furederiko · 7 years ago

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A Random-News-Digest to cap off September! Yes, the last one for the last day of the month...

Akira

A few days ago, the anime community was sent into a polarizing frenzy, when a live action Hollywood remake for Makoto Shinkai's masterpiece "Kimi no Na wa." was announced. Following "Ghost in the Shell", and "Death Note", it's a vindicative sign that Hollywood is actively turning towards Japanese titles to make their own versions. One that would usually come in one package with whitewashing controversy.

I'm not here to talk about "Your name." though, but about Katsuhiro Otomo's "Akira". Because yes, "Akira" is also one of that classic anime title that Hollywood has been itching to adapt... for soooo many years. Guess what, the title has resurfaced into the spotlight once again. After several directors have come in to develop this project, and then walked out to do other things instead, now Warner Bros is said to be in talks with the one and only... Taika Waititi. The upcoming Thor sequel has certainly put Waititi's name into every studio's attention, so it's not even surprising that WB is trying to hire him as well. After all, WB has been actively snatching Marvel Studios' directors and actors, right?

Of course, Waititi is still 'in talks', so things can always go sideway. He already has a project with Fox Searchlight that's about to enter production early next year, as well as that stop-motion animated movie about Michael Jackson's chimpanzee. If WB really wants to rush this movie into creation, I doubt Waititi will be the man to do the job. I personally would have preferred to see Hollywood simply forgeting about "Akira" all together, but that's just me and my selfish desire of not wanting another anime gets 'ruined' by American hands. Hold on, Waititi is not from US, eh! Oh well...

Tomb Raider

Having been an avid fan of this game franchise, of course I'm curious about its movie adaptations. The Angelina Jolie movies were... likeable (oh, how I was still sooo innocent when the first one came out), but they've also failed in capturing the charm of the series. Will a new version with recently crowned Oscar Winner Alicia Vikander work better?

Go ahead and check out the first official trailer (as well as its... odd accompaniment poster, both released 10 days ago LOL) to get your answer. My spontaneous response? "HUH?". Which was then followed by a frown and a "Meh...". Look, I know this one is more inspired by the 2013 game reboot, yet somehow... I don't think it gets it either. In the end, it feels like it's circling back into an Angeline Jolie's version redux. Particularly through Walton Goggins' character, who just had to be there as the evil super-villain stereotype. Had the movie followed the 2013 game's storyline more... faithfully, perhaps I would've seen it in a better light.

Much like "Assassin's Creed" that couldn't flesh out the game premise into a movie event, I seriously doubt this will do better. The video game adaptation curse is still looming large, and is already clouding this movie. But that's just me. Probably it'll work better for you? Roar Uthaug's "Tomb Raider" arrives on March 16th, 2018. So please stop expecting WB to release "The Flash" on that date...

Charlie's Angels

I did NOT see this coming. According to Deadline, Kristen Stewart is said to be one of two actresses being eyed for the "Charlie's Angels" reboot movie. The other one? Lupita Nyong'o. Before you complaint about Stewart, do remember that she's no longer the expressionless actress we saw in the "Twilight" series. She has made a better name of herself through the indie root lately. And Nyong'o is obviously that famous Oscar Winner, who's been involved with the "Star Wars" franchise and soon to hit the action genre with her upcoming Marvel Studios movie.

The fact that these two names are even attracted to the Elizabeth Banks' project is what intrigued me. I actually enjoyed those two Angels movies in the 90s, when everyone else was crying foul. It was campy and over-the-top, but it was fun and well... sexy. LOL. Hearing Stewart and Nyong'o names totally took this reboot to another level. I mean, could we be seeing a... darker and grittier (as much as I despised on using that word) version of the 70s TV show? I'd be down for that. Perhaps they can add more color with... I don't know, Asian actress Pom Klementieff, Elodie Yung, or Claudia Kim to the fray? I hope we'll be hearing more about the casting real soon, because this movie has officially gotten my attention. "Charlie's Angels" will arrive on June 7th, 2019.

Disney Animation

Disney Pixar released the latest trailer for "COCO" and accompanying poster around two weeks ago. The company also released short previews for three songs from the movie: "Remember Me", "Un Poco Loco", and "The World Es Mi Familia". Admittedly, due to my internet fiasco last week, I haven't been able to check out any of these clips. "Coco" arrives just in time for Thanksgiving, so I'm sure by then I would have seen these trailers. LOL. Of course, if you don't want any part of the movie to be spoiled in advance, then you might want to refrain from these new footages and just wait for the movie to arrive. It's your choice!

Star Wars

Despite various reports suggesting/speculating that Rian Johnson would take over Colin Trevorrow's directorial seat for "Star Wars: Episode IX", Lucasfilm hired a far more reasonable and 'safer' choice instead. Yep, I'm sure you have heard by now that J. J. Abrams is back for his second "Star Wars" movie. He's set to write, and direct the third and final movie in the modern era's trilogy. Sure, Abrams doesn't have a great reputation in dealing with sequels, but he's also responsible for the success of "Star Wars: The Force Awakens". Problem is, the official announcement also revealed that Chris Terrio has also been hired to write. In case the name doesn't right a bell, that's the guy who wrote Academy Award's Best Picture Winner "Argo". That's good, right? Hold on... he's also the writer to WB's infamous "Batman v. Superman: Dawn of Justice", and the early draft of "Justice League" back when it had those unpleasant behind the scene reports. YIKES!!!

Speaking of WB, it's also another game of chicken with that company. This much-anticipated movie has been delayed to December 20th, 2019, meaning it will open just a week after WB's recently announced "Wonder Woman 2". Oh NO!!! After re-hiring the director with an exceptionally huge raise, I have a feeling WB will be forced to move their sequel away to ensure a big box office turnout. Because seriously, confronting the final entry of a "Star Wars" trilogy, one with a female lead protagonist as well, would be nothing short of a massive risk.

Hellboy

Two first looks of David Harbour's version of Hellboy has been released via the movie's official Twitter account, and also the actor's very own social media. And well... it looks, Hellboy-ish enough, I guess? I'm curious though, since this reboot will apply more conventional prothetics instead of CG, does that mean, we're looking at Harbour's very own physique here? I could've sworn his beer-belly he did NOT look like that in "Stranger Things". LOL.

The bigger news of this movie however, was the song of praises to Daniel Dae Kim taking on the whitewashed role that was supposed to go to Ed Skrein. Kim even took a photo with Skrein to make this announcement credible. Ain't this the way it should've been, casting a Korean-American actor for a Japanese-American charact... wait, hold on? Seriously?! Feel free to call me a naysayer, but while I'm grateful for Kim, didn't this simply mean that Hollywood still do NOT have a clue about the whole whitewashing issue? It's a nice gesture and all to cast an Asian actor for an Asian character. But I beg to question... why not hire someone who is not just Asian, but also ethnically approriate? Do we even have a shortage of Japanese-American actor they could hire? Names like Brian Tee (who is both Japanese and Korean), Tadanobu Asano, Hiroyuki Sanada, Paul Nakauchi (who recently appeared in Netflix's "Death Note"), and even Masi Oka (who is Kim's very own fellow cast member in "Hawai Five-O" TV Series)... all easily come to mind.

I can't help but wonder now, is Hollywood still thinking that all Asians look the same? That's STILL a problem, if you ask me. Oh well, let's just scoff this off by saying that... "It's progress". Just for the record, I don't have ANY beef with Kim, and sincerely think that he deserves a big role in the movies. But seriously though, this situation COULD have been solved in a much better way...

DC Films

WB has recruited another writer to work on "Wonder Woman 2". Dave Callaham was brought on board by director Patty Jenkins, to work on the script with DC Comics Chief Creative Officer Geoff Johns. His portofolio includes the 2014 "Godzilla", "The Expendables", and also Universal's "The Wolfman" (assuming the Dark Universe project is still on-the-go despite the result of "The Mummy"). Details about the script is still kept under wraps, but it is expected to take place several decades from the first movie. Jenkins has already teased a Cold War setting for the sequel, along with the debut of Gal Gadot's Diana Prince's invisible jet. As I've stated above, it's currently unclear whether WB will keep this movie on the December 2019 schedule or not. If past moves by the studio is any indication (like how WB sped up BvS' release to avoid the third "Captain America" movie), then highly likely we could be seeing a shift of release date sooner or later. How the sequel will change James Cameron's very-public (and annoying, albeit logical, I should add) criticism about the first movie, is a different challenge on its own.

On a side note, DC Entertainment's President Diane Nelson has confirmed that there WILL INDEED be movies outside of DCEU continuity. It seems the initial plan is changing at WB, as Nelson is now singing a somewhat different tune. "Our intention, certainly, moving forward is using the continuity to help make sure nothing is diverging in a way that doesn’t make sense, but there’s no insistence upon an overall story line or interconnectivity in that universe", she stated. I certainly smell 'Plan B' here, in that if ever the DCEU (which already refers to DC Films and the various TV series, right?) gets out of control again, they could use "The Flash: Flashpoint" to basically erase it and create a whole new one. You know, "New-52" and/or "Rebirth"-style. Movies like "The Joker" origin movie, and probably "Justice League: Dark" and "Shazam" will definitely exist in their very own 'LABEL', which will be named and announced in the near future. Will this approach be better or worse for WB and DC? As I said before, this is basically another one of WB's attempt to copy Marvel (that already had multiple Universes on their own, see the next FIVE categories for direct proof), but for now, let's not judge anything too soon and see how this pans out...

X-Men Universe

Wow, it seems FOX has been infected by the braggish fever of WB. Thanks to a recent success with "Logan", the studio can now talk BIG about their next project. Someone's clearly forgetting how the studio ALMOST dropped "Deadpool", had Ryan Reynolds wasn't persistent enough to create it in R-rated format. Not just that, had the studio forced that movie to be toned down to PG-13, it wouldn't have inspired James Mangold to make "Logan" the way it is now. Thus we would only be getting another round of "The Wolverine".

Anyways, FOX Chief Stacey Snider had a really interesting comment to Dark Horizons regarding Josh Boone's "The New Mutants". She stated, "When you look at films like Deadpool or Logan or the upcoming New Mutants, you’ll see they have their own personality. Great effort has been put into making sure they’re differentiated". A peculiar statement, because one, is she trying to throw a shade towards Marvel Studios? And two, is FOX forgetting about the ultra-mediocre "X-Men: Apocalypse" ALREADY?

She then continued with a more 'shocking' remarks, "New Mutants is about these teenagers who are just coming into their powers. It’s like watching mutants go through adolescence and they have no impulse control, so they’re dangerous. The only solution is to put them in a Breakfast Club detention/Cuckoo’s Nest institutional setting. It protects the people on the outside, but it’s strange and combustible inside. The genre is like a haunted-house movie with a bunch of hormonal teenagers. We haven’t seen it as a superhero movie whose genre is more like The Shining than ‘we’re teenagers let’s save the world". Yikes!!! Okay, not only the recent Spider-Man movie was ALREADY a "Breakfast Club"-inspired movie (so... differentiated how?), comparing the movie to Stanley Kubrick's "The Shining" is a really ballsy and gutsy if not downright over-confident move. I personally shook my head upon reading this news, because the studio is setting the bar VERY high eventhough the movie is still in production. Meaning none of the bigwigs have even seen a finished product! One thing for sure, I'm going to bookmark her comment and actually judge the movie against it when it arrives. Can it actually hold up? I doubt, but we'll see...

SONY Marvel Universe

Another studio, another Marvel movie. This one's VERY interesting though, because no matter how confused people has been about Ruben Fleischer's "Venom", the fact that it's attracting big names to the project, might suggest something big. We know that Oscar Nominee Tom Hardy is onboard to play Eddie Brock, but care to guess who else is being eyed and/or in talks? The super talented Riz Ahmed who might (offensively tbh) and might not become the serial killer Carnage, and another Oscar Nominee in... Michelle Williams. Yes, Williams is currently in talks to play the female-lead and potential love interest to Hardy's Brock. It's still unclear if she will take the job or not, but if it ends up becoming real, then it gives me another good reason to actually check it out when it arrives on October 5th, 2018.

Marvel Studios

Let's start with the upcoming "Thor: Ragnarok"! As the release date of November 3rd, 2017 is rapidly approaching (with some international markets set to open in just a few weeks from now), marketing is also ramping up. We got a special Behind the Scene featurette, neat-looking IMAX poster, and also a Chinese one that came alongside an exclusive Chinese trailer containing new footages. Marvel Studios Visual Development Supervisor Andy Park also debuted the cover for "Art of Thor: Ragnarok" online, to encourage fans to pre-order their copy. This artbook will no doubt contains visual spoilers (like that particular creature from Muspelheim), so do consider that before you purchase one.

The movie also hit a somewhat negative hurdle recently. The issue however, wasn't caused by Marvel Studios, but surprisingly by the Writers Guild of America. Turns out, writer Stephany Folsom's name has been denied by the WGA to be attached to the film, eventhough Marvel Studios already gave her a "Story by" credit. A curious case to be honest, because it's usually the studio who refused to give a writer credit, not the other way around. Folsom openly expressed her dissatisfaction to the Guild that was supposed to be the one protecting her rights. On the other hand, does this mean Folsom's work was so minimum, that WGA thought it's unnecessary to add her name? Let's just hope this won't affect the movie's reception.

***The following could be considered spoilers for movies releasing in 2018 and 2019. If you're avoiding one, please skip the next paragraphs and jump over to the next category instead***

From the set of "Ant-Man and the Wasp", we got a new look for Evangeline Lilly's Wasp, Walton Goggins' Sonny Burch, as well as Hannah John-Kamen's Ghost. Burch looks pretty much like a normal human being, while Ghost has the signature white-suit design as can be seen in the comics.

Meanwhile, more and more cast members are confirmed for the UNTITLED "Avengers 4", which as I've said before, somehow serves as massive spoilers for "Avengers: Infinity War". Paul Bettany was pretty much confirmed to be in the movie thanks to a photo of him as Vision, while Mark Ruffalo was spotted alongside Robert Downey Jr. and Scarlett Johansson. Sebastian Stan and Don Cheadle have also been confirmed through interviews with several outlets. Aside from possibly hinting the possible plot of the movie, Atlanta Filming also spotted two actors on set with Johansson. The first was Captain America's Chris Evans, and the second one was... surprise, surprise... "Captain Marvel"'s Brie Larson. I know it has been common sense among fans, that from the time she was cast, she would take part in this movie. But it's always good to know that it's now confirmed.

The movie also has other intriguing parts of production that might hint further at the storyline. A recent casting call notice for extras, revealed that there will be a 1960s setting in the movie. This was inline with a photo by actress Hayley Atwell, who's dressed up as Peggy Carter with a mo-cap makeup on her face. Bearing in mind her quick cameo in the intro of "Ant-Man", could we be seeing a particular flashback to Peggy and John Slattery's Howard Stark in their early years at S.H.I.E.L.D.? A new actor has also been confirmed to become part of the Marvel Cinematic Universe. Japanese actor Hiroyuki Sanada, has joined the movie in an unknown role. This was strongly coincidental to that Japanese-esque setting we've seen before, so clearly the two facts are probably related somehow.

As for "Infinity War", actor Benedict Cumberbatch teased to Digital Spy that the movie will be huge, considering it's a massive storyline of ten years in the making, involving various sides of the MCU. He's also excited for the project to finally be seen by the world. Now about that, a recent rumor claimed that the D23 and San Diego Comic Con' trailer would be officially released on September 29th, along with the premiere of "Inhumans". It's a little unlikely, considering the growing gap between Marvel Studios and Marvel TV. Moreso, it's more possible that Marvel Studios will release this alongside "Thor: Ragnarok" sometime around October. That will certainly boost attention to the third "Thor" movie. Let's just wait and see.

"Captain Marvel" won't start filming until early next year, but pre-production has already begun. Andy Nicholson has joined the movie as its production designer. Nicholson was involved in "Captain America: The First Avenger" which, similar to this movie, took place in an 'earlier' era. Considering he also earned an Oscar nomination for "Gravity", his inclusion only signaled/confirmed a more interstellar aspect of the story. Here's hoping Nicholson will imbue his Academy Award charm to this movie as well!

Last but not least, That Hashtag Show reported that Marvel Studios is developing a movie for "Power Pack" as part of their next 'Phase'. Jonathan Schwartz is said to be overseeing the project, like he has done with "Guardians of the Galaxy Vol. 2". To be honest, this source isn't particularly credible for this type of news, as their scoops VERY rarely panned out. Still, this is a somewhat plausible thing, considering "Runaways" (that have had a script since the early Phases), have since been converted into a TV series at Hulu. I won't be surprised if the Power siblings became one of the contenders to replace that now-obsolete project. Of course, do take this news with a HUUUGE grain of salt for now. It's best to just wait for an official announcement before getting too excited over something unconfirmed. Am I right?

Marvel TV

When this post goes up, Marvel's "Inhumans" should have debuted ON TV. If you're still unconvinced to see this mini-series, then perhaps the recent trailer would be able to sway you to the dark-si... er, I mean, to see and follow it. Showrunner Scott Buck Almighty apparently has envisioned this show to be at least 3 SEASONS, so you might want to put that into considerations before making one of the biggest life choices in your life. The general consensus however (including a pessimistic-sounding James Gunn), thinks that it won't even get a 2nd season. Then again, his "Iron Fist" somehow miraculously gets one, while a critically-received Marvel's "Agent Carter" did NOT. And don't forget about Marvel's "Agents of S.H.I.E.L.D." that apparently was ALMOST cancelled by ABC, had Disney not interfe... er, I mean stepped in as savior and paved way for the upcoming Season 5. Nothing is really certain anymore when it comes to Marvel TV, huh?

There's good on the other side though. To be precise, the Hulu side. Marvel's "Runaways" has only been getting positive responses until now, and comics creator Brian K. Vaughn has added even more excitement with his recent statement. During a book signing in New York, Vaughn revealed that not only Old Lace the Deinonychus is part of the show, showrunners Josh Schwartz and Stephanie Savage actually did her justice. Of course, him being an official consultant to the series can mean two things: one, his words is NOT objective; and two, the show will indeed be as faithful as possible to the source materials... which he wrote. Duh? Then again, the official images that debuted via Entertainment Weekly earlier this week, already felt and looked LEAGUES BETTER than "Inhumans". So I'm inclined to believe the good buzz might be true after all...

Netflix

Marvel's "The Defenders" burnt me out sooo bad, that I've pretty much lost any interest to see more Marvel Netflix series. Not just me though, because as it turns out, the crossover mini-series is also the lowest rating and/or least viewed of the entire Netflix Universe so far. GREAT GOODNESS!!! Regardless of the reason behind this result, a clear fatigue for a cookie-cutter Marvel TV show can easily be felt.

That's where Jon Bernthal's Marvel's "The Punisher" turned the table and broke the wall instead. Literally. The brutal and violent Rambo-esque official teaser, which was followed by a full trailer later on, seemed to be changing people's negative perception about the Netflix Universe. But is it a good indication that the series itself will be as good? Not really. If there's one positive thing I could openly praise about all Marvel Netflix series, is that they all have GREAT trailers. However, a great trailer doesn't immediately assure a great show, as proven by Marvel's "Luke Cage", Marvel's "Iron Fist", and Marvel's "The Defenders".

I admit, this was indeed a good trailer for Frank Castle's solo story. But did I like it as much as every other people? NOPE. I think it looked okay, and well... I'm still giving this show a pass. I have an odd tinkling feeling that it's going to end up as another carbon-copy of the previous shows. That it will also be a few episodes too long... but with amped-up violence to compensate. Of course, don't let this get you down, because what might not work for me, could very well be your treasure. One thing for sure, the series will be arriving pretty soon (if not November, probably earlier). So we'll definitely be reading the first reactions to it in the coming weeks.

Meanwhile, the 4th season of "Voltron Legendary Defenders" is set for October 13th debut. You can even already watch the official trailer, that teases more action for both Prince Lotor and Princess Allura. It's unclear how many episodes we'll be getting though. If I had to guess, we'll probably get around 6 to 7, just like what happened to Season 3. After all, there's a possibility that both Seasons were initially intended to be one.

DC Television

I actually don't know where to put this, but since "Watchmen" is part of DC's property, I'll put it here instead. Forget about that Zack Snyder movie! Damon Lindelof is set to produce a new TV series adaptation for HBO. The network has ordered a pilot script from him (who announced it himself), so things are definitely moving forward. I'm personally not looking forward to this, as much as I disliked the Snyder's movie. But I can already sense the divide between the avid fans who are rejoicing, and the other side who thinks this is a bad idea. I have no right to give an opinion here, so let's just see how this pans out, okay!

Super Sentai

Trademark for the 2018 Super Sentai series has been registered on September 25th, and suffice to say, it brought its own twist to the fanbase. Contrary to previous rumor about fairy-tale time traveler, TOEI submitted not one, but TWO titles at the same time: "Keisatsu Sentai Patoranger", and "Kaitou Sentai Lupinranger". Nope, this wasn't April's Fool prank or a baseless rumor, because these copyrights are REAL.

There aren't any details about the two titles yet, so many fans and Tokusatsu enthusiasts have been talking and speculating about what this means. Does this mean, we will have two separate shows on the same year, perhaps separated as 25 episodes each? Could it be, one of them is the full yearly show, while the other one is a Web-Series or some sort, much like how "Kamen Rider Amazons" worked for Amazon Japan? There's also another possibility, in that both of them are part of one show. Which makes super sense, because the obvious titles alone pretty much work to 'rival' each other: Police Taskforce and Phantom Thief Squad. Get it? It's the game of cat and mouse between cops and thieves. Something like what would happen if "Persona 4" and "Persona 5" has a crossover.

Recent rumor claimed, that the two teams will indeed be regarded as the 42nd Sentai teams. Patoranger is rumored to consist of Red, Black, and White members, while Lupinranger will be Gold, Silver, and Bronze. They will start out as separate shows that will supposedly air alternately week after week, but when both shows reach episode 20, they will eventually become one solidified story. Not only that, one Lupinranger member is said to be a Patoranger spy (with Red being the most possible candidate), thus serving as the catalyst to combine both teams into one. This means the two shows will exist/intersect in the same world, so crossovers between both titles should be expected to happen more often than later on the 4th quarter.

Again, this idea makes good sense, that it's not even a surprise for me. TOEI has been doing the Versus Movies on a yearly basis ever since "Chouriki Sentai Ohranger vs Ninja Sentai Kakuranger", so this would only be their way to turn that concept into a full-blown series. This year's "Uchu Sentai Kyuranger" has even implemented this twist, by breaking its 12-members team into two units in its latest parallel arcs. Besides, don't forget one thing! TOEI seems to show high interest with what's happening in US entertainment business. And what's the current rage in Hollywood? Cinematic Universe, like the one famously built by Marvel Studios. Think of it this way, Patoranger and Lupinranger would be their own separate thing, similar to the Marvel Netflix series, or the CW "Arrow"-verse shows. But somewhere along the line, they team up into one crossover, as proven by Marvel's "The Defenders". It's highly likely, TOEI is intent on trying out this route as well, which could be a good or bad thing. Ignoring the fact that "Kaizoku Sentai Go-kaiger" have already, and very successfully I might add, served as a giant crossover show on its own.

To be honest, I've never been a fan of a Police-themed Sentai series. But this report definitely intrigued me to the core. If it is indeed valid, then I would totally check it out. It's an arguably brave and risky albeit not entirely new (remember the Versus Movies!) concept, so I'm dying to see if TOEI can pull it off. I think if TOEI is able to give both shows their own different tone, it would be even much better. I'm sure we'll be hearing more information about these shows pretty soon, so let's just wait and see...

ARIKA

It's a little baffling to think that ARIKA still hasn't made up their mind about their "Mysterious Fighting" game. Why? Because they showed up in Tokyo Game Show 2017, and actually released a new trailer for the event. Hmmmmm. Not long after, the company also expanded the game's roster with a returning fighter, in Doctrine Dark. At this point, I'm pretty sure EVERY original character from "Street Fighter EX" would be included... so why not just call the game, "EX Fighters" or some sort? *sigh*

Pocket Monsters

The Pokemon Company released a new trailer for "Pokemon Ultra Sun & Ultra Moon" last week, and well... it offered some of its new content. Aside from confirming that the cover Pokemon is none other than 'Ultra Beast' Necrozma in his Dusk Mane/Dusk Wings forms (it's unclear how it will possess the powers to resemble Solgaleo or Lunala), several mini games like "Mantine Surf" and "Alola Photo Club" have been added to the game. Characters like Hau, Lillie, and the Trial Captains are confirmed to be returning. In the case of the last, some will even be bringing new Island Challenges. You can read the details on Gematsu. Both games will be launched worldwide on November 17th, 2017.

Dynasty Warriors

KOEI Tecmo was present at the Tokyo Game Show 2017, and of course they delivered a new trailer for "Dynasty Warriors 9" while confirming that it will be released in early 2018. So far, this new iteration has been creating conflicting reactions from the franchise's fanbase. Many, including yours truly, is feeling rather mixed about the game in general. Mainly due to the redesign and additional changes (weapons, costumes) given to the returning characters. While it's commendable that the game is trying to be more realistic and historically accurate, unfortunately, it comes at the expense of some of the title's bizarre but fun elements. On the bright side, the open world concept is still an intriguing aspect that I would totally love to try out. Even if to see whether KOEI Tecmo can pull it off or not. LOL.

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