Technically speaking, a stout is a dark beer with complex flavors, roundness, and a type of roastiness, similar to coffee. Most people think that since the beer is dark, the ABV is going to be high. With stouts, the alcohol content is usually pretty low, ranging from 4.0-6.0 There are several types of stouts, all with different styles and tastes.
Dry Stout: (Guinness Extra Stout) Also knows as the Irish stout, the dry is usually dark brown to black in color. Malt with a dry coffee finish. Flavored occasionally with chocolates and carmels. ABV: 4-6% IBU: 30-45.
Imperial Stout: (Lagunitas Imperial Stout) Also known Russian Imperial Stout. Dark brown to jet black in color. Filled with roasted chocolate, cocoa, and coffee. Rich and complex flavors. American versions tend to be more hoppy. ABV:8-13% IBU: 50-100
Oatmeal Stout: (Sam Adams Oatmeal Stout) A stout that has a sweetness element more so than a dry stout. Brown to black in color. High flavors of oatmeal, coffee and milk chocolate. ABV: 4-6% IBU: 25-40
Sweet Stout: (Milk Stout Nitro) also known as the milk or cream stout. Named from the milk sugar or lactose to sweeten up the beer. Dark brown to black in color, and has more sweetness than any other stout. Can also have coffee and chocolate notes. ABV: 4.5-5.5% IBU:25-40
Also, there is a difference between Porters and Stouts. People think that they are the same, but they are actually quite different. For example, they are more bitter, and the taste of hops is really low.
Stouts are raising in popularity, especially those on nitro. It is great for the beer business as a whole, but not so great for Guinness. According to allaboutbeer.com, since the rise of the stout, Gunniess’ sales have declined 50 million dollars, and they are considered to no longer be the stout.
Even with that decline, stouts aren’t going anywhere. Prepare to see them keep rising in the beer world, and see them on draft/cans/bottles everywhere.
We’re just a few weeks away from the tenth anniversary of Martin Scorsese winning his first Best Director Oscar (and, amazingly, his first Best Picture Oscar) for The Departed. The 2006 film is, technically, a gangster movie. But it’s also a crime drama, more in common with something like Heat than The Godfather, or even Scorsese’s finest hour, Goodfellas.
Jack Nicholson was a gangster in Boston, sure, but this was more about false identity and double crosses between cops and crooks. And yet, it’s the closest we’ve come to a successful gangster picture in almost fifteen years. The western has often been accused of being a dying genre, but these days the gangster movie seems to be sleeping with the fishes (I’m sorry). Ben Affleck is trying to reinvigorate the genre of fedoras and Tommy Guns with Live By Night, opening in wide release this weekend. But by all indications and the mounting pile of scathing reviews, this appears to be Affleck’s first true misfire as a director. As far as the gangster movie getting a less-than-stellar reception, well, he’s not alone these days.
In the years before The Departed, there were a handful of solid entries in the traditional gangster genre, namely Sam Mendes’ sophomore directing effort, Road to Perdition. The hyper-stylized story about a gangster father and his son was a tremendous entry into the genre, showing us a different side to Tom Hanks with a fresh, compelling take full of wonderful supporting performances from none other than Paul Newman, Jude Law, Jennifer Jason Leigh, and a young Daniel Craig. Who could have known it would be one of the last gasps of the genre?
Since 2006, the attempts at the gangster movie have been fewer and farther between, and the returns have been increasingly diminished. Ridley Scott’s American Gangster was decent, but minor. Michael Mann told the John Dillinger story in 2009 with Public Enemies, but even the great Mann couldn’t quite stick the landing. Public Enemies has its moments, but as a whole it’s a little too lifeless, a little muddled, and the wonderful period aesthetics overwhelmed an uninteresting narrative.
That same year, Jacques Audiard’s A Prophet managed to inject some life into the genre with a fresh perspective on the rise and fall of a career criminal. But it existed in the margins of the traditional genre. Fast forward to 2013, and the abysmal Gangster Squad, a fedora-laden speakeasy genre entry that felt at times like a parody of the genre. There have been some smaller, impressive works in recent years, films like Michael Shannon’s The Iceman, but most gangster movies have either fallen flat on their face or never happened at all.
Everyone who loves the genre has been clamoring for Martin Scorsese’s The Irishman, a traditional gangster film with Robert De Niro and Al Pacino and (maybe) Joe Pesci. Hopefully is stays on schedule and begins shooting in February. John Travolta is set to play John Gotti in an upcoming biopic, but putting your faith in a successful Travolta film is a fool’s errand. Gangster movies are no longer hot commodities the way they once were. In the Golden Age of Hollywood, James Cagney and Edward G. Robinson defined the genre. The 70s saw Coppola and Scorsese put a new face on it. Imitators came and went following the success of Goodfellas and Casino. But these days nothing seems to be working.
What is it about the gangster movie that isn’t connecting with audiences and critics these days? It could be a number of things, starting with the dreaded and feared problem of cliche. Gangster Squad, Live By Night and, to a lesser extent, Public Enemies work with a checklist of tropes rather than try and tell a new story with a fresh perspective. Tommy Guns, check. Speakeasies, check. Dangerous moll, check. Fedoras and tough-talking hoods, check… Those are elements that define the genre, sure, but they don’t need to all exist int he same story, regardless of the story being told, without any weight or consequence. Familiarity can easily create boredom.
It’s a tough thing to balance cliches and create a compelling film, and for the gangster genre the cliches we all recognize create a world of excess that can overwhelm story. Take a look at the western, another genre consistently on death’s door, and how it’s managed to revive itself. It many cases it’s gone smaller (the Magnificent Seven remake notwithstanding. That’s its own star-fueled spectacle), and it’s mixed things up a little. Identifiers are still prevalent, but the stories have been stripped down – as in the case with Ti West’s In a Valley of Violence – the genre itself has been combined with another genre, like horror in the tremendous Bone Tomahawk, or the setting has been shifted in time – see: Hell or High Water. The gangster movie might need a minimalist approach to its standard story, or maybe it could even work within another setting or alongside another genre. Creativity is key to revival. Don’t tell the same stories in the same manner.
Perhaps modern audiences aren’t as excited to glorify killers and thieves as they rise to ultimate power these days. It might hit a little too close to home. But that’s not as clear cut, and it’s typically ignoring the final act of most gangster movies. Critics took issue with Goodfellas and Casino for their glorification of the lifestyle, but did they not see the final twenty minutes of either of those? With the rise to power there is almost always a fall, but maybe those first two acts are a turn off for moviegoers these days.
As we sit now, the gangster movie genre appears to be dying on the vine, with attempts to revive these stories continually falling short. But it’s never too late to bring these stories back, there just needs to be more creativity, the right story, and the right filmmaker behind the camera. That day will come again – maybe with Tom Hardy’s new Al Capone movie, whenever that gets here, or The Irishman – but it doesn’t seem that Affleck’s Live By Night is going to be that savior.
Learn the secrets and hidden tales from the summer before the eternal love triangle begins in this special issue. Featuring two short stories focusing on the major players and events in the Riverdale series: Spend some time at Archie’s summer construction job and learn how it leads him to a fateful encounter with the alluring music teacher, Ms. Grundy. Find out more about Veronica’s mysterious life in New York, before the shocking event that would send her family scrambling. You dare not miss this special FCBD version of the commemorative one-shot issue that serves as a prelude to the CW Riverdale TV series!
Script: Roberto Aguirre-Sacasa, Brian E. Paterson, James DeWille
Art: Elliot Fernandez, Thomas Pitilli, Thomas Chu, Janice Chiang Cover: Francesco Francavilla
FBCD RIVERDALE
FCBD RIVERDALE, a special version of the tie-in one-shot issue that serves as a prequel to the new CW RIVERDALE TV series, will arrive in comic book shops in North America on May 6th for Free Comic Book Day.
This very special edition will feature two stories set in the world of the new TV series. The tales are written by showrunner and Archie Comics Chief Creative Officer Roberto Aguirre-Sacasa and several members of the show’s writing staff.
Writer Brian E. Paterson and artist Elliot Fernandez will unveil secrets from Archie’s summer working at his dad’s construction company and how things change during an encounter with his high school music teacher, Ms. Grundy.
In the second story, writer James DeWille and artist Thomas Pitilli explore the mystery surrounding Veronica’s move from New York to Riverdale.
“It made perfect sense to give retailers the opportunity to offer a RIVERDALE book on Free Comic Book Day to fans. RIVERDALE is a major moment for Archie Comics and we want to let readers experience that world on what’s become a worldwide comic book holiday, Free Comic Book Day,” said Archie Comics President, Mike Pellerito.
“The book will be immediately accessible to fans interested stepping into the world of the show, or to viewers who’ve added RIVERDALE to their must-watch list and want more exciting content, curated by showrunner and Archie CCO Roberto Aguirre-Sacasa and the show’s team of amazing writers. Don’t miss it!”
The CW’s Riverdale debuts Jan. 26th at 9/8c on The CW and internationally on Netflix beginning Jan. 27th. Visit a participating comic book store for Free Comic Book Day on May 6th.
Nicolas Winding Refn is probably one of the more polarizing filmmakers out there these days. His films have gotten increasingly more violent, more disturbing, more interesting to some, more annoyingly on the nose and misogynistic for others. Now, Refn is dipping his toes into the spy thriller genre with The Avenging Silence.
He’s released a detailed synopsis, and it sounds appropriately wacky:
The spy was one of the leading spies in Europe. An injury inflicted to his vocal cords during a failed mission six years ago left him mute, forcing him to leave his profession. Now, six years later, he is sought out and put on confidential assignment by a former Yakuza, now a retired Japanese businessman in exile in France, to track down and kill the head of the most dangerous Yakuza family in Japan.
Afraid of flying, our spy anonymously boards a cargo ship headed for Tokyo. An onboard explosion sinks the ship and our spy finds himself washed ashore on a life raft in southern Japan. As a mute, our spy must silently journey through Japan seeking 4 clues – symbolizing conquest, war, famine, and death – which will guide him to the unknown location of the Yakuza boss. Meanwhile, the Yakuza boss, known for his 2004 mass slaughter of Yakuza members who had turned against him, is believed to be plotting to re- enter the Japanese underworld after living in his own surreptitious world in the mountains, void of all technology. This way of life becomes an obsession for the Yakuza boss. Rumors spread that he had committed suicide years ago but escaped prisoners from his hidden camp told stories of his plan for a comeback. Now rival Yakuza families suspect he is forming a master plan to return, a plan that unburies the most infamous story of Yakuza betrayal.
Our spy finds himself on an existential journey through Japan in search of pieces to the puzzle that will lead him to a confrontation with the ultimate Yakuza boss in a terrifying conclusion.
No matter how extensive this synopsis looks, expect plenty of shocks and surprises from Refn along the way. He’s working with veteran James Bond scribes Robert Wade and Neal Purvis to work on the screenplay, but I seriously doubt this will look like any James Bond film we’ve ever seen coming from Nicolas Winding Refn.
Stay tuned for filming schedules, casting, and release date information.
CHiPs was a (somewhat) popular show back in the late 70s and early 80s, focusing on the adventures of California Highway Patrol motorcycle officers. And now, over three decades since it last aired on television, CHiPs is a feature film.
Here’s the trailer:
There isn’t an official synopsis yet for the film, but really how different can it be from the TV show?
This is an odd movie for a number of reasons. Odd because the source material predates half of the moviegoing public; odd because I don’t even think reruns of the original CHiPs series are anywhere on TV; odd because this movie, about a show from the 70s, feels incredibly 90s.
Back in the 90s, remaking old TV shows into feature films was all the rage. There was the good (The Addams Family), the average (The Brady Bunch), and the terrible (The Beverly Hillbillies). That nostalgic grab leaked over into the early 2000s with dreck like Starsky and Hutch, but it seemed as if Hollywood figured out their audience was getting a little too far away from the source material to care about a remake.
But that didn’t stop Dax Shepard apparently. CHiPs stars Shepard, who also directed, and Michael Peñaas Ponch. CHiPs will hit theaters March 24, so if you need to catch up on the original series you’d better get to it.
Coming in February, Marvel Comics and Lucasfilm are bringing you STAR WARS: DARTH MAUL #1 – the next new Star Wars limited series. Blockbuster writer Cullen Bunn (Deadpool Kills the Marvel Universe, Monsters Unleashed) and artist Luke Ross (Star Wars: The Force Awakens Adaptation) are going to take readers inside the mind of prequel fan-favorite Darth Maul as he goes on a personal quest with deadly consequences!
Bred on hate, fear, and anger. Steeped in the ways of darkness…trained to kill. Darth Maul’s time as an apprentice to Darth Sidious has long been cloaked in shadows, but at last we will reveal his tale of revenge. His master tells him to embrace his anger, but to stay hidden and bide his time. Maul has waited long enough – his patience growing ever thinner. His moment to step into the light has finally come. Prepare for a tale of unbridled rage as Darth Maul readies one of his first encounters with his mortal enemy…with the Jedi.
On Darth Maul, writer Cullen Bunn had this to say,
Maul is one of the coolest characters in the Star Wars galaxy. Star Wars is blessed with a wealth of characters that you want to know more about. I mean, every background character in every cantina in every hive of scum and villainy is ripe for further exploration. But Maul ranks right at the top. We’ve seen a few different sides of Maul: obedient killing machine, madman, crime lord, cunning strategist. I was excited to write a story that might show off all of those aspects of the character. I also find it fascinating that the Sith are taught to embrace their anger, but Maul—because of his master’s planning—has to keep his in check.
In a recent Facebook post, Black Adam actor Dwayne ‘The Rock’ Johnson talked about the recent meeting he had with DC Comics.
“Had a very cool and strategic meeting with the heads of DC Comics about their entire universe. As a hard core DC fan, to get a real sense of the tonal shifts and developments coming in these future movies has me fired up. Something we, as DC fans have all been waiting for. Hope, optimism & FUN. I’m excited about our future together and you should be to.
Even when talking about the the most ruthless villain/anti-hero of all time finally coming to life. Prepare yourselves DC Universe.
Although it’s been three years since Johnson was cast as Black Adam in the Shazam film, no details have yet been revealed. However, looking at his recent meeting with Henry Cavill and this new update, it seems as though we’ll be getting some Shazam news very soon.
How do you feel about Johnson playing Black Adam in the DC Extended Universe? Let us know in the comments below!
Marvel Studio’s and Sony are setting up a different kind ofsuperhero movie with Spider-Man: Homecoming. The upcoming reboot will introduce a new style to the genre, with director Jon Watts implementing a coming of age technique. Michael Keaton will portray The Vulture in Homecoming and the actor recently discussed the role with Variety.
“But not to give too much away, but interestingly, he is and he isn’t, that character. He’s a really interesting — and more interesting than I thought — villain because there’s parts of him that you go, ‘You know what? I might see his point.’ Really, really. It makes it interesting to play.”
Marvel has gained a bad reputation recently for their villains. While we’ve seen some great bad guys in the Marvel Cinematic Universe, there have been some real doozies too. From what Keaton has told Variety his interpretation of The Vulture will create a new relationship between the audience and the villain, perhaps we will see both sides of the coin and maybe relate with Vulture more than past Marvel and Spider-Man villains.
Spider-Man: Homecoming is directed by Jon Watts and will star Tom Holland as our new web-slinger. The film also stars Zendaya, Robert Downey Jr, Marisa Tomei, Jon Favreau, Donald Glover, and Jacob Batalon. Spider-Man: Homecoming will land in theaters on July 7, 2017.
Two of comics greatest teams team up for the very first time! Something terrible has happened in Angel Grove! When the Command Center is breached and the teleporters are damaged, Zack is flung into another universe, where he’s mistaken for a villain by a mysterious masked vigilante. Can the other Power Rangers get to their friend in time to save him from Batman? Co-published with BOOM! Studios.
Writing
It’s easy to ask, “Why exactly do a crossover like this?” The short answer is that the Justice League movie is coming out and everyone gets to meet the team. They’re also still taking on the Suicide Squad in another series right now. Still, seeing the Power Rangers go against them feels similar to the League facing the Suicide Squad. The superior force is obvious from the start. The Justice League has been known to fight several gigantic monsters at one time, were the readers actually supposed to believe they would have problems against the Megazord?
Writer Tom Tyler utilizes the standard “Jump to conclusions resulting in heroes fighting” story done in many crossovers before. It’s serviceable, and interesting to see how the two teams would fight against one another. Unfortunately, this story oversteps itself a bit in the opening. It clearly shows Superman and the Power Rangers getting along before launching into its flashback. Sure, the reason they are together is interesting but only just enough to pick up the rest of the issues.
Artwork
Stephen Byrne’s art is the saving grace of this issue. The color and drawings mimics the impressive effect work shown in BOOM’s Mighty Morphin Power Rangers series. The element of the Power Rangers costumes forming around them like force fields is an excellent detail and really helps to present the fine work which went into making this issue so visually pleasing.
Conclusion
It’s a serviceable crossover and is already proving to be enjoyable. Unfortunately, it’s feeling a bit to by the numbers with its set up. A crossover with a more inexperienced team without gods and goddesses on it – like the Titans – would have been a much better idea. It would even make more of an impact. The Titans are mostly made up of heroes who were sidekicks and have spent their adult lives understanding what it’s like to live in their predecessor’s shadow. After the brief misunderstanding fight which would happen and the Titans could have passed on sage like wisdom about what it’s like to grow up after spending their teenage years in battle. Here, sure the older Justice League members can look down on the team and say “Keep up the good work kids,” but it just won’t have the same weight behind it.
The Coens aren’t necessarily strangers to television. Their iconic 1996 Oscar winner Fargo inspired FX’s excellent anthology series of the same name, which they executive produce. And though they’ve never written nor directed anything outside the cinema, that’s going to change soon. They’re jumping into the world of peak TV with The Ballad of Buster Scruggs, a limited Western series which they’ll write and direct.
Details are limited otherwise, but Variety (via Vulture) reports it’s an “anthology event” set in the Old West, obviously, and it’ll intertwine six different storylines. Megan Ellison’s Annapurna Television is involved, and they intend to approach the project in a way that’ll combine TV with the theatrical. Whether that’s literal or simply metaphorical is unclear.
The scope of the project was considered “too challenging” to put inside one film, which is how it became the genesis of a mini-series. They intend to shoot it as a mini-series, though theatrical distribution is apparently not out of the question right now. Festival run, maybe? If it’s from the Coens, it’s sure to look beautiful. It would be nice to see it on the big screen, if in some form or another. Hopefully, Ellison and her team figure something out. They apparently having something similar to the original conception of The Dark Tower in mind, which will find different installments both on television and in theaters. Good luck.
The Ballad of Buster Scruggs serves as the Coens’ follow-up to last year’s Hail, Caesar! They also wrote the screenplay for George Clooney’s upcoming directorial effort Suburbicon, which should hit theaters this year. It’s unclear how far along they are with this project, but they’re moving forward full speed ahead. All the best. Here’s hoping the world of television treats them as kindly as the cinema has these past few decades.
FBCD RIVERDALE 
STAR WARS: DARTH MAUL #1 will be available February 1st!