Ed Boon, Creative Director of NetherRealm Studios, has announced the release date for Injustice 2 on his Twitter.
— Ed Boon (@noobde) January 6, 2017
The game pits DC Comics characters against Mortal Kombat characters in a sequel to the well received original title.
So far, Injustice 2 has been announced for Xbox One and Playstation 4.
Are you looking forward to this sequel? What characters do you want to see? Let us know in the comments!
A lot of talk goes into the most anticipated movies but what about the directors crafting them? I decided to give a shoutout to the men & women behind the camera who are hoping for an amazing 2017.
There’s epic returns, tales of redemption, and high pressure situations across the board but who is the one to look forward to the most?
Below are the 10 directors and a few honorable mentions that you need to keep an eye out for in the next 12 months. Let me know if your favorite makes it the list!
– Danny Boyle (‘Trainspotting 2’)
– Guy Richie (‘King Arthur: Legend of the Sword’)
– Jon Watts (‘Spider-Man: Homecoming’)
A new photo from Logan has been released on Twitter via Hugh Jackman.
The caption read: “Fight or Flight”
The first trailer for the movie lit up the internet with excitement. Logan is giving us an R rated, gritty western about Wolverine, Professor X and X-23.
Joining Jackman in the film is Patrick Stewart, Stephen Merchent, Dafnee Keen, Boyd Holbrook, and Richard E. Grant.
Logan hits theaters on March 3.
Megan is a typical popular teenage girl in a small American town. She leads her clique with an iron fist and threats of high school hierarchy banishment. But after a night of partying Megan falls into a deep coma. She awakens, but someone else is inside her head. That someone is Loma Shade, an Avian alien from the planet Meta. Using the hijacked Madness coat once worn by the mad poet (and original Shade the Changing Man) Ric Shade, Loma possesses Megan’s body in an effort to explore the planet Earth, a world she has been obsessed with since old TV shows began to stray into Meta’s airwaves. Soon she is forced to live the life Megan had left behind, and become a fugitive from her own world
Shade the Changing Girl #4
Written by Cecil Castellucci
Art by Marley Zarcone
Coloring by Kelly Fitzpatrick
Shade created by Steve Ditko
Published by Young Animal, an imprint of DC Comics.
There really is nothing like this book on the stands. Even among the other Young Animal titles, Shade is unique. For one, it seems to be the only one with no connection to the DCU, and writer Cecil Castellucci really seems to have created her own world. Two worlds actually, as we essentially have parallel tales being told. Earth and Meta; both of which are richly developed and feel lived in.
The teenagers in “our” world ring true. All the adolescent hierarchies make sense (as they only do at that age) and the dialog and voices of all the kids have a very realistic tone about it. Everyone from the popular kids to the awkward loners are three-dimensional.
This issue dives heavily into Megan’s backstory and events just before the coma, and we can see what a high school terror she really was. The scene where she is training her fellow cheerleaders in the lake really reveals not only Megan’s place but also how her “friends” feel about her.
The fact that Loma is sorta watching these memories also gives them an eerie feel, and also expands Loma as a character as we can see her reactions to them and how she tries to understand this new world she is in. Loma seems to be finding a connection with Earth and trying to repair Megan’s life.
The scenes in Meta continue to be great as well, with Castelluci relying on story rather than exposition to create details. And the sprinkled use of some of Ric Shade’s poems throughout the entire issue was one of my favorite things about the whole thing.
This is one beautifully illustrated, colored and designed book. Marley Zarcone and Kelly Fitzpatrick (who has become one of my favorite colorists in comics) are at the top of their game. The line work here is soft, yet defined, invoking the 60s vibe of Silver Age Steve Ditko, but also referencing modern masters like Mike Allred. There is also a great use of icons, a modern and refreshing technique I love seeing more of.
The color pallet is just fantastic, with primary and pastel colors giving it a very “pop-art” vibe. There are great patterns used throughout the backgrounds and between the gutters that add to the overall originality and identity of the book. It shows you that a lot of thought and care was put into even the smallest of details in things like clothing, hair, room settings, panel flow, etc.
Admittedly, this may be the least accessible book from Young Animal, but I would not let that keep you away. It’s a strange, challenging and unique book. But it is a comic well worth reading and giving a chance. It reminds me of the kind of books Vertigo released in its early days, which of course led to a revolution in the industry. I have a feeling the same is being done here.
Trespass Against Us looks to be a return of the Michael Fassbender we all grew to love a few years ago. This is a small, indie film about a family of getaway drivers. Or something along those lines.
This trailer for Trespass Against Us has a solid mix of family drama, tension, and what appears to be some pretty high-tech cops and robbers business as it moves along. Check it out:
Trespass Against Us is set across three generations of the Cutler family who live as outlaws in their own anarchic corner of Britain’s richest countryside. Chad Cutler (Michael Fassbender) is heir apparent to his bruising criminal father, Colby (Brendan Gleeson) and has been groomed to spend his life hunting, thieving and tormenting the police. But with his own son, Tyson (Georgie Smith) coming of age, Chad soon finds himself locked in a battle with his father for the future of his young family. When Colby learns of Chad’s dreams for another life he sets out to tie his son and grandson into the archaic order that has bound the Cutler family for generations. He engineers a spectacular piece of criminal business involving a heist, a high-speed car chase and a manhunt, which leaves Chad bruised and bloodied and with his very freedom at stake.
Looks interesting at least, a great blend of several familiar elements. It’s nice to see Fassbender get back to his roots, playing a miscreant of sorts in a small movie rather than Magneto or the Assassin… guy… all the time. The fact he squares off against Brendan Gleeson is just icing on the cake.
Trespass Against Us will open first in the UK this March, but there is no stateside release date yet. This has the look of a US VOD release, but we shall see.
There are more than 32,000 different beers in the world, according to the reviews in The Beer Advocate, and each belongs in a specific glass. Depending on the type of beer, they can be served in the perfect glass to make for the perfect drinking experience.
Today, we discover which beers go where, and why.
Pint: Holds 16 oz. Most popular in American bars. Pints are cheap and easy to manufacture, so the bars can stock up on them more than any other glass. They house all beers when needed.
Pilsner: holds 10-16 ounces. Pilsners are indeed for the beer of their name, as well as pales. They are smaller than the pint glass, depending on head can be even less beer in your cup.
Wheat Beer: Holds 16 oz plus head. Taller than a pint, with a skinny base and widens at the top. The bottom of the glass is tapered, said to hold excess yeast. Glasses hold Wheats, Hefes, Dunkels, Belgian wits, and the occasional pilsner.
Tulip: Holds 10-16 oz. Tulips are made to accentuate the aroma of the beer, while looking pretty and appealing. The top is ideal for head, having a lip so it doesn’t escape. Perfect for IPAs, Scotch ales, and Pale ales.
Snifter: Holds 12-20 oz. Mainly used for brandy and scotch, the snifter is another great one for the aromic beers. The stem makes it easy to hold, particularly up to your nose to get that extra smell in before ingestion. Stouts, barleywines, triples, bocks, and imperials are all served with snifters.
Tulip Pint: Holds 12-22 oz. Used in Ireland and England to serve ales. Used here in the US for stouts, Irish ales, porters, and cream ales.
Other glassware includes novelty, over-sized, and beer steins for example.
Next time you have a beer, try having it in the correct glass. It may make the beer experience just a little bit better, even though it can’t get much better than beer.
Until next time beer snobs!
I just don’t understand it.
Why isn’t A Monster Calls receiving the type of praise that is standard for one of the ten best films of 2016? Is it because we aren’t accustomed to J.A. Bayona making critically acclaimed films (The Orphanage was okay but … not great)? I even brought that question up during a recent segment of CW-44 Around The Town that is set to air this weekend. CW-44 critic T.M. Powell noted that the film is an odd mixture of death, cancer, childhood wonderment, and a mother’s love.
On the surface, here is a fairly cut and dry monster/kid flick. In reality, this movie is far more; it’s a statement on the devastation of illness on a family and how children develop coping mechanisms. A Monster Calls is a powerful film that will leave audiences shattered, mothers and fathers and children all feeling its reverberations for weeks.
It drops the audience right into the middle of a day in the life of a young British boy named Conor. Conor is currently making it through each day despite being the target of ever present bullies and the mental torture of knowing that his mother is on death’s door at home. In order to escape the harsh truth of his reality, he creates in his mind an enormous tree monster that is equal parts terrifying and magnificent. The monster (voiced by Liam Nesson) informs Conor that he’s here to take a large role in his life. The tree becomes in some ways a surrogate parental figure for Conor in a time when he feels he has no one.
Conor’s mother is played by Felicity Jones and her performance is appropriately tough to watch; anything less would be an insult to the men and woman who battle cancer on a daily basis. I had a conversation with my mother recently about her constant struggle to remain cancer free, and she said “It’s never truly over.” And as a film critic ( and her son) who is approaching his forties, that is hard to hear. On Facebook, my good friend Aldara keeps us updated on what she calls the battle of her life and it’s a struggle to keep positive, but she does it for her loving husband and five beautiful kids. Bayona made a brilliant call when he kept Jones’s character name insignificant (I do believe she is referred to as Lizzie a few times) because she wasn’t meant to represent one person but the thousands upon thousands of men and women who battle cancer on a daily basis.
What’s most compelling is the insight into how children are often treated during the worst of times. The tree monster is a combination of both his conscience and his imagination. There is a point where his father (Toby Kebbell) and his grandmother (Sigourney Weaver) try to slowly bring Conor to the realization that his mother isn’t going to make it, but, in his mind, the tree monster sees straight through their placation.
The entire cast of A Monster Calls doesn’t hit a false note while Bayona’s symphony strikes an all too real chord with many families. The film doesn’t attempt to answer the question of what one is to do when A Monster Calls and a family member falls ill. What it does show you is that love and coming terms with reality can help with the healing process. I don’t understand why this type of film isn’t getting the attention it deserves, but I do (like others) understand the horrors that cancer can unleash on a family far too well.
When was the last time you had an enriching experience watching anime? With the plethora of titles which come out every year there is often a sense of feeling overwhelmed and lost in the media which many fans enjoy so much. Through so much consumption of the product fans often forget what they enjoyed in the first place. Often it takes a title which is unique and full of wonderment to truly help fans feel refresh themselves and remember why they keep following the medium in the first place. One of the earliest incidents where such an experience took place was in 1999. Their fans were introduced to a director they had not been able to truly explore named Hayao Miyazaki.
Though his previous works, My Neighbor Totoro and Kiki’s Delivery Service had made it to American shores, these titles did not garnish the attention they deserved but instead became cult classics which would later be appreciated as gems. It was only when a film which had already been released two years earlier in Japan arrived in America were fans able to feel a resurgence of respect for anime they hadn’t felt since watching Akira for the first time. This was the power behind Princess Mononoke, a film many argue is the director’s greatest achievement.
The story follows a young man named Ashitaka, a prince who is cursed by a rampaging demon with a mark which will eventually overwhelm him. In search for answers Ashitaka leaves his home and encounters the enigmatic Lady Eboshi who he discovers is directly linked to his current condition. Opposing Lady Eboshi and her iron empire is the feral girl San, who Eboshi refers to as Princess Mononoke. Ashitaka finds himself struggling to find a remedy for his curse while being pulled into the worlds and conflicts surrounding these two women.
From a story which could have been a simple hero’s journey in search of a magical cure becomes much more in the course of the film. The plot instead focuses on ideals of rejecting hatred, conserving nature, and finding a way to cohabitate but presents them in a way which never feels forced, tedious, or arduous. Instead the audience is filled with thought-provoking notions which will have you rethinking the way you look at the world.
Miyazaki is at his finest in this film. His characters are deep and captivating. The landscape is luscious and awe inspiring to the point additional viewing is required to truly capture elements displayed on the screen. It must be noted this is one of the few films where Miyazaki is subdued regarding his love of flight. One of the signature aspects of his films is to portray the glory of light in some way shape or form but it seems mute in this film. There are a few birds which fly through the sky but not with the attention he’s shown in other films.
The soundtrack which accompanies this film is phenomenal. It features an orchestral score which finds a way to dig deep and help to move the story through each wondrous setting. Composer Joe Hisaishi is about to manipulate the audience’s emotions through the music alone. It is a feat achieved by a select movie soundtracks but those are scores which should be treasured when they come into the existance.
Both the Japanese and American casts bring something interesting to the table for this film. The Japanese team shines with Yuriko Ishida offering a version of San who isn’t always battle ready but takes moments to be vulnerable. The American cast features Gillian Anderson (X-files) as the wolf goddess Moro which helps to show the character as less intimidating than Akihiro Miwa did in in original. Both casts offer something unique to the production but it should be noted no actor causes the film to be anything less than magical.
Whenever animation critics try to make the case for the superiority of hand-drawn animation over computer graphics this is one of the many examples they run to. This is because every single frame of this movie could be removed, framed, and placed on the wall as a perfect way to brighten up a room. Every scene is a work of art and shows the details and effort which went into the production of this film.
If you call yourself an anime fan yet you haven’t experienced the films of Hayao Miyazaki then you should probably rethink using the title. His films are masterpieces which help to set the bar in animation, not only in Japan but around the world. Princess Mononoke is a shining example of his work and one which should not be passed up.
Luckily there is a new opportunity to check it out in theaters. Fathom Events is figurine a showing in celebration of the movie’s 20th anniversary with the subtitled version showing on January 5th and the English dub being showcased on January 9th. They will also be featuring a music video produced by Studio Ghibli called “On your Mark” by the band Chage and Aska. The music video alone is worth the admission price but considering it allows you to explore the majesty of one of the greatest films ever made it becomes a cherry on top of a delicious cake.
During the day, I’m a 5th-grade teacher, I find the work to be humbling, rewarding, and quite eye opening as well. One would think that in 2016, there wouldn’t be such a gender split with young children but you would be sadly mistaken. For example in my classroom, for every three boys that are into math/science, I have one girl who is into those subjects as well. I find this number absolutely heart breaking which is why films like Hidden Figures are so incredibly important because it puts women into roles that society isn’t accustomed to seeing on screen, as mathematicians and scientists. This film has the potential to take the unspoken perverse notion that girls who love math and science are supposed just to stay “Hidden Figures” and bring them to the forefront.
Now anyone who just watched the trailer for this film could easily make the mistake that Theodore Melfi’s Hidden Figures is just about race relations. While race certainly does play a part in this narrative, to say that’s all this film is to miss out on the real beauty of Melfi’s adapted screenplay. This movie is about facing adversity in the most absurd of situations. Taraji P. Henson plays mathematician Virgina Johnson who while being clearly the most intelligent person in NASA’s think tank, she still had to adhere to ridiculous Jim Crow laws like going to a different bathroom ( which was a mile away). Henson also has to deal with the perception that NASA is just a place where men flourish when she demands to be part of prelaunch meetings and to have her name on the launch reports because honestly, she did all the work.
Dorothy Vaughn is played by Octavia Spencer, and she embodies the unshakeable spirit of someone who wouldn’t take no for answer. Vaughn worked just like Johnson as mathematician behind the scenes in NASA think tank (the group that helped develop the Mercury missions and eventually the Apollo program). Vaughn had dreams of bettering herself and consistently would apply and apply once more for supervisory positions (because she was already doing the work).At first, she was being rejected due to her skin color and then it was because they were doing away with her whole department at NASA due to a recent purchase of IBM computers. Rather than take this news and just roll with it, she stepped up and acquired a computer programming manual and taught herself how to program those computers. What she didn’t know at the time is that NASA was having an issue because no one knew how to work these highly expensive pieces of equipment (smart huh!). Vaughn character showed us all that no perceived “barriers” would get in the way of her success.
Mary Jackson is played by Janelle Monae, and she faced the toughest of challenges. Jackson wanted to become an engineer but couldn’t go to class due to some horrid Jim Crow laws restricting what school she could go to and just the mere the notion of female engineer seemed crazy. Rather than allow these obstacles to get in the way, she took the case to court and won. One of my favorite scenes in the film is when she walks into the classroom, and everyone stops midsentence as they are shocked to see not only and African-American but a woman as well.
If there were an award for the best ensemble at the Academy Awards, then Hidden Figures would be considered the prohibitive favorite. The chemistry between these three women is undeniable. Melfi’s script is well written and allows the most poignant moments to have their space. Monae, Spencer, and Henson but forth the best performances of their respective acting careers. Henson is dynamite as she shows how integral Virgina Johnson was in getting astronauts like John Glenn to space. Monae demonstrates her versatility as she proves that Mary Jackson can accomplish anything. However, it was Spencer who stood out most to me.
Octavia Spencer showed such artistry in portraying Mary Vaughn it was if the scenes were her canvas and her emotions were the watercolors of this masterpiece. Vaughn had to show strength when she was sticking up for her girls as well as a vulnerability when she is told no again and again. While Jackson and Johnson acknowledge the obstacles facing them, it’s Vaughn who has the guts to speak up for what is right. Spencer embodies this trailblazing spirit and shows what can be done if you put your mind to it.
Certainly, this film will be in the running for Best Picture at the Academy Awards (if not then be prepared for a controversy) as well as Best Supporting Actress as Octavia Spencer is destined to be nominated. However, don’t be surprised if Pharrell and Hans Zimmer are nominated for original score in the film. Pharrell and Mr. Zimmer were very deliberate in avoiding a score that evoked space-related imagery and crafted a score that matched the importance of the topics which were addressed.
Above all of the accolades, we finally have a film that truly shows that gender or skin color shouldn’t prohibit you from following your love for Science or Math. If the Siena’s and Grace’s of the world are inspired by this tale, then this film has done its job, and this perverse notion about girls and math/science will be a thing of the past.
Sterling K. Brown has joined the cast of Marvel’s Black Panther, according to a press release.
The actor is set to play N’Jobu, a figure of T’Challa’s past.
Recently, Brown was awarded an Emmy for his performance as Christopher Darden in The People V. O.J. Simpson: American Crime Story.
Brown joins Chadwick Boseman, Michael B. Jordan, Forest Whitaker, Lupita Nyong’o, Angela Bassett, Danai Gurira, Daniel Kaluuya, Winston Duke, and Florence Kasumba.
Black Panther is directed by Ryan Coogler and hits theaters on Februay 8, 2018.
