Warner Bros. released a promo on the ‘Suicide Squad’ Twitter announcing an extended edition of the film coming out in November.
‘Suicide Squad’ has grossed $739,020,274 worldwide despite a 26% on Rotten Tomatoes. Many fans were outraged by the negative reviews and believe there is a conspiracy against the DC Extended Universe. ‘Suicide Squad’ had a $175 million budget.
About ‘Suicide Squad’: Figuring they’re all expendable, a U.S. intelligence officer decides to assemble a team of dangerous, incarcerated supervillains for a top-secret mission. Now armed with government weapons, Deadshot (Will Smith), Harley Quinn (Margot Robbie), Captain Boomerang, Killer Croc and other despicable inmates must learn to work together. Dubbed Task Force X, the criminals unite to battle a mysterious and powerful entity, while the diabolical Joker (Jared Leto) launches an evil agenda of his own.
‘Suicide Squad’ is directed by David Ayer and stars Will Smith as Deadshot, Joel Kinnaman as Rick Flagg, Margot Robbie as Harley Quinn, Jared Leto as the Joker, Jai Courtney as Boomerang, and Cara Delevingne as Enchantress.
The band gets back together on November 15 for digital HD and December 13 for Bluray.
Image Comics released a complete rundown of events for New York Comic Con Wednesday morning, including a guide to every Image creator in Artist Alley.
New York Comic Con takes place from October 7-9 at the Jacob K. Javits Convention Center in Midtown Manhattan. You can find Image Comics at booth #1444.
PANELS HOSTED BY IMAGE COMICS:
Comics In #YourImage: Adventure
10/6/2016 at 6:30 PM – 7:30 PM, in 1A21
Charles Soule (CURSE WORDS), Greg Rucka (BLACK MAGICK), Simon Spurrier (CRY HAVOC), Caspar Wijngaard (LIMBO), and Joe Harris & Martin Morazzo (SNOWFALL) are ready and willing to break down how they create perfect comic book adventures, versatile heroes, and chilling villains in complex stories that demand a lot from the reader, but have a huge payoff.
Comics In #YourImage: Character
10/7/2016 at 6:30 PM – 7:30 PM, in Room 1A24
A high concept for a comic is a great invitation, but great characters are what make you want to stay with the book. Characters that you empathize with or are cooler than cool are captivating. Sana Takeda (MONSTRESS), Steven T. Seagle (CAMP MIDNIGHT), Rod Reis (HADRIAN’S WALL), Donny Cates (TBA), and Jason Hurley & Jeremy Haun (THE BEAUTY) are going to dig deep into characters, and how it’s not as easy as a cool outfit and a snappy name.
Comics In #YourImage: Storytelling
10/8/2016 at 12:15 PM – 1:15 PM, in 1A21
You can’t judge a comic solely based on what happens to the characters in it. You have to look at how things happen, what the story looks like, and a bunch of other little tiny things that make comics one of the most vibrant storytelling mediums around. Karen Berger (SURGEON X), Gabriel Hardman (INVISIBLE REPUBLIC), Declan Shalvey (INJECTION), Marjorie Liu (MONSTRESS), Scott Snyder (WYTCHES), and Bryan Hill (ROMULUS) are some of the best storytellers in the business. In addition, check out an EXCLUSIVE preview of the upcoming OFFICER DOWNE film at the end of the panel, based on the graphic novel by Joe Casey & Chris Burnham!
Comics In #YourImage: Spectacle
10/9/2016 at 12:00 PM – 1:00 PM, in 1A24
What is it that excites you about comics, that makes Wednesday the best day of the week? Whether it’s the idea of seeing a new world through someone else’s eyes or getting a look at reality from another angle, we’ve got you covered. Our panelists, including Jim Zub & Djibril Morissette-Phan (GLITTERBOMB), Brenden Fletcher, Cameron Stewart, & Babs Tarr (MOTORCRUSH), Jason Latour (SOUTHERN BASTARDS), and Andrew MacLean (HEADLOPPER) know what you want and aim to please.
SIGNINGS* HOSTED AT IMAGE COMICS BOOTH (#1444):
*wristbands will be available for fans to pick as soon as doors open, first come, first served, at the Image booth on the day of the desired ticketed signing.
THURSDAY, OCTOBER 6
12 – 12:45 PM, Alex de Campi & Carla Speed McNeil
12 – 12:45 PM, Joshua Williamson
1 – 1:45 PM, Declan Shalvey
1 – 1:45 PM, Brenden Fletcher, Cameron Stewart & Babs Tarr* (wristband required, 3-item limit)
2 – 2:45 PM, Greg Rucka* (wristband required, 3-item limit)
2 – 2:45 PM, Brandon Thomas
3 – 3:45 PM, Bob Fingerman
3 – 3:45 PM, Brian Schirmer
3 – 3:45 PM, Shawn Martinbrough
4 – 4:45 PM, Brian Buccellato
4 – 4:45 PM, Giuseppe Camuncoli
5 – 5:45 PM, Jim Zub & Djibril Morissette-Phan
FRIDAY, OCTOBER 7
10 – 10:45 AM, Scott Snyder* (wristband required, 3-item limit)
10 – 10:45 AM, Tim Seeley
11 – 11:45 AM, Marjorie Liu & Sana Takeda* (wristband required, 3-item limit)
11 – 11:45 AM, Joe Harris & Martin Morazzo
12 – 12:45 PM, Meredith McClaren
12 – 12:45 PM, Shane Davis
1 – 1:45 PM, Joshua Williamson
2 – 2:45 PM, Donny Cates & Geoff Shaw
2 – 2:45 PM, Brandon Thomas
3 – 3:45 PM, Kieron Gillen* (wristband required, 3-item limit)
3 – 3:45 PM, Giuseppe Camuncoli
4 – 4:45 PM, Emi Lenox
4 – 4:45 PM, Brian Wood & Garry Brown
5 – 5:45 PM, Jeremy Haun & Jason Hurley
5 – 5:45 PM, Gerry Duggan & Phil Noto
6 – 6:45 PM, Andrew MacLean
LIMITED* SDCC VARIANTS SOLD AT THE IMAGE BOOTH (#1444):
* Quantities will be limited by customer and per day on a first come, first served basis. Please ask at the Image booth about availability.
CANNIBAL #1 by Brian Buccellato, Jennifer Young & Matias Bergara, $10
MOONSHINE #1 by Brian Azzarello & Eduardo Risso, $10
REBORN #1 by Mark Millar & Greg Capullo, $10
CONVENTION EXCLUSIVES:
TOKYO GHOST, VOL. 1 hardcover by Rick Remender & Sean Gordon Murphy, $35
MONSTRESS, VOL. 1 hardcover by Marjorie Liu & Sana Takeda, $40
NYCC AFTERPARTY: Image Comics and Sonicboombox team up for a night of wizards, bowling, and mingling.
You’re invited to join the fun on Friday night at Bowlmor Times Square
Image Comics, Midtown Comics and Sonicboombox are re-teaming for a special NYCC After Party to be held at Bowlmor Times Square (222 W. 44th Street). A portion of the proceeds will go to benefit the Comic Book Legal Defense Fund. Must be 21+ to attend. The fun begins at 8 p.m. – 2 a.m. in the Art Deco room (4th floor) 12 lanes of free bowling (first come, first served) Admission: $15 in advance, get tickets here.
Come join Charles Soule, Greg Rucka, Jason Latour, Wes Craig, Alex de Campi, Declan Shalvey, Amy Reeder, Tim Seeley, and more of your favorite Image creators for specialty drinks, complimentary bowling all night long, photobooth shenanigans, mingling, and enjoy a live music performance, Q&A, giveaway, and raffle from Charles Soule and his Wizard Band in celebration of the forthcoming launch of CURSE WORDS.
A few weeks ago we got the teaser for Allied, Robert Zemeckis’s new WWII spy thriller starring Brad Pitt and Marion Cotillard. Then, we got that whole business about #Brangelexit and all the garbage journalists in the world who wanted to throw Cotillard in the middle of a love triangle similar to the events surrounding Mr. and Mrs. Smith over a decade ago.
Well, now we have the first full trailer for Allied, and hopefully this promising new trailer, full of spy action and twists and turns, will be enough to remind everyone this looks like a pretty terrific spy thriller, and not tabloid fodder.
Check it out:
In 1942, an intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war.
I’m a sucker for WWII films, especially spy films. It’s been a while since we had a classic throwback spy thriller of this ilk. And, yes, I’m a sucker for Robert Zemeckis despite his painfully obvious needle drops and hamfisted direction at times.
Who doesn’t love the 80s? Basically, I was born in the best year ever.
1986.
I just wish I got to live through the 80s as a teenager and to have loved and experienced these movies when they first released. I’m an avid movie buff, with an emphasis on 80s cinema. Movies are not made like this anymore, and when you watch them, you get the nostalgia. Questionable style aside, the 80s brought out the best in film.
Here are my top five from 1986.
5. Howard the Duck
Everything about this film is pure 80s gold. It’s futuristic, freaking weird and unbelievably bad in the best way possible. Those clothes, that hair. I miss the times when a swearing duck who hits on ladies was a thing. Not to mention Lea Thompson singing the one and only “Howard the Duck” theme song. He’s a duck from outer space. And a badass.
4. Top Gun
“I feel the need, the need for speed.” Me too, Goose. Me too. In my opinion, the best part of this movie isn’t Tom Cruise, Kelly McGillis, or all the abs playing volleyball; it was Val Kilmer as Ice Man and his infamous bite. I have been and always will be in love with Anthony Edwards, mostly due to his role in ER, but this movie just sealed the deal. RIP Goose. I’ll always love you. Also, Tom Cruise pre-couch jumping is my favorite Tom Cruise.
3. Flight of the Navigator
Do you ever watch a movie and just know the filmmakers were high when it was written? ‘Flight of the Navigator‘ is one, and it was one of my favorites. I feel like I annoyed the crap out of my mom/sister with this movie. A kid disappears with an alien spaceship and a robot, then reappears eight years later. Probably my first real encounter with robots, and why I love them so much to this day. (Good thing I write for Monkey Fighting Robots, right?)
2. Little Shop of Horrors
I probably shouldn’t have loved this movie when I was a small child. Steve Martin as Orin Scrivello DDS is enough to give anyone nightmares, and the love story was sufficient to hide the murders to feed Audrey 2, at least when I was younger. That and the singing, the lovely colors, and a talking plant. I don’t know about you, but that sounds like a child’s dream. This coming from the girls who’s favorite movie in kindergarten was Dirty Dancing.
1. Stand By Me
Where do I even start? An insane cast with River Phoenix, Jerry O’Connell, Wil Wheaton, and Corey Feldman. Not to mention a John Cusack and a Kiefer Sutherland running around in there as well. Add an amazing soundtrack; you get this gem of a movie. I’ve always been a big fan of all of these dudes. I still love Wil Wheaton. He has helped us nerds so much in life. Corey Feldman is hands down one of my favorite actors from the 80s, and River Phoenix. 1986 River Phoenix, not only adorable but that boy could act. What a shame.
This movie shaped who I was, not as a kid, but as a twenty-something. Watch it again. Listen to the words and take it in. I guarantee you; you’ll feel just like you were there with the group on their hunt. The scene with the leeches still makes me cringe.
Marvel’s Agents of S.H.I.E.L.D. may be on a one week hiatus, but that hasn’t stopped news from rolling out about the show. Promotional stills from this season’s fourth episode are now available online, along with a synopsis of the episode’s events.
S.H.I.E.L.D. Episode 4
Season four of the show features our favorite agents up against Ghost Rider. The fourth episode, titled “Let Me Stand Next to Your Fire”, continues the story of Ghost Rider (Gabriel Luna) and Quake (Chloe Bennett), as well as the now legitimate S.H.I.E.L.D. agency.
Without details on episode 3, it’s very hard to figure out what’s going on in episode 4. The stills give very little away, showing only one or two characters at a time. One theme through the photos? Mack looks about as confused as he’s ever been. Coulson shows up in a prison, but who is he meeting with? Perhaps most distressing–where is May?
What we do know about episode three is limited, as well, and seems to come out of left field for the season. We’ve got Ghost Rider’s mysterious past, Daisy’s quest for knowledge, the effects of the Sokovia Accords, government involvement with S.H.I.E.L.D. and now…magic ghosts that possess people? Episode three will also involve a city-wide black out. As the episode is called “uprising”, some theories think this episode will reveal the Watchdogs in a bigger way.
Where Are FitzSimmons?
Coming clean on this one: I am a Fitzsimmons shipper. I’ve been on this boat since “Fitz *points*” “Simmons *points”. Last season was beautiful and frankly a bit overwhelming for my shipper heart. It got me back into the show, which I’d all but abandoned. This season, however, my favorite Brits are barely getting any action (in all senses of the word.) The still for episode 4 have not eased my aching heart at all.
So far this season, Simmons got promoted to official S.A.D.I.S.T. Fitz is left in the dust, watching football with Radcliffe who is essentially a S.H.I.E.L.D. prisoner. While the Fitzsimmons “will-they-won’t-they” story is definitely wrapped up, there’s a whole world to explore with the LMDs, and so far this plot thread is burning away in favor of Ghost Rider’s introduction.
The shots from S.H.I.E.L.D. episode 4 show plenty of Mack and Coulson, but only one lonely shot of Simmons in the field. More Mack is a great thing, sure, and watching him work in the field with Simmons should be exciting. But there are dropped threads all over this show. I hope they get picked up soon, or the show risks losing itself in too many storylines.
S.H.I.E.L.D. Episode 4 airs Tuesday, October 18th. From Marvel’s press release: “GHOST RIDER AND S.H.I.E.L.D. GO HEAD-TO-HEAD, ON ‘MARVEL’S AGENTS OF S.H.I.E.L.D.,’ ON ABC
“Let Me Stand Next to Your Fire” – As Ghost Rider’s quest for vengeance brings him into an explosive confrontation with S.H.I.E.L.D., Coulson and Mack must rely on an unlikely ally in their time of desperate need; and Daisy reunites with a familiar face to stop the Watchdogs, on “Marvel’s Agents of S.H.I.E.L.D.,” TUESDAY, OCTOBER 18 (10:00-11:00 p.m. EDT), on the ABC Television Network.”
Freddy Krueger hasn’t always been a one-liner spewing parody figure in horror cinema. Once upon a time, when Wes Craven constructed this char-grilled pedophile who seeks vengeance on the children of those responsible for his death, A Nightmare on Elm Street was an honest-to-goodness nightmare come to life.
Somewhere along the way, however, as New Line Cinema grew more confident with The Kreuge’s and the franchise expanded further and further, they decided to transform him into a standup comedian with creative kills superseding genuine scares. That’s not all bad, not all the time. Having Freddy go broad works from time to time, but there must be a balance. Regardless of the diminishing returns, Freddy and his franchise made it all the way through six original films, one crafty reimagining from Craven himself, and even a straight reboot. It’s one of the most recognizable, powerful horror franchise of all time, despite jumping too many sharks to count along the way.
Without further ado, let’s rank the Nightmare on Elm Street franchise from bottom to top; and yes, even that 2010 remake.
8) A Nightmare on Elm Street (2010) – Speaking of that 2010 remake.. Of all the confounding, pointless remakes to come along in Hollywood these days, New Line’s decision to trot out a new take on Craven’s original film is one of the more lifeless, useless, pointless efforts of them all. The cast is impressive, with Rooney Mara taking over Heather Langenkamp’s Nancy role and Jackie Earle Haley as Krueger. But the lackluster screenplay, the weird decision to make Krueger somewhat of a sympathetic character (there was no evidence to suggest he was actually a child rapist… seriously), and the dreary cinematography make this reboot an unwatchable disaster. At least the bad sequels in the original franchise weren’t this boring.
7) A Nightmare on Elm Street 5: The Dream Child (1989) – The premise of The Dream Child is promising, with Krueger’s intention to be reborn via the unborn child of Alice (Lisa Wilcox), a survivor of the previous film. But the execution is a watered-down mess, and the dream sequences bathed in a weird and foggy blue light. There’s also the introduction of Amanda Krueger, a nun locked away in an insane asylum, who (surprise!) winds up being Freddy’s mother. What began as a solid idea gets lost in the weeds of Krueger’s birth and lifeless storytelling.
6) A Nightmare on Elm Street 4: The Dream Master (1988) – The most notable thing about this fourth entry in the franchise is the fact that action hack-master Renny Harlin directed it. As for the film itself, well, this is where Freddy Krueger became a comedian more than any sort of actual threat. Horror elements take a backseat as Harlin understandably leans into the creative kills (the roach motel one is pretty good) and action scenes. The plot is basically nothing more than a reason to get this fourth film up and running after Dream Warriors seemingly closed the door on Freddy, and the new slate of teen victims are bargain-basement performers with no discernible character traits.
5) Freddy’s Dead: The Final Nightmare (1991) – For all intents and purposes, this Final Nightmare was technically the last entry into the original franchise. Rachel Talalay’s film attempts to ape the successful formula of Dream Warriors with the story taking place in a kid’s shelter colored with an array of troubled youths. And it also tried to integrate new tech in 1991, from the Nintendo Power Glove (responsible for a pretty cool Breckin Meyer kill), to having the finale shot in 3D. But it also had some incredibly ridiculous cornball jokes from Freddy and the introduction of his previously unmentioned daughter, Maggie (Lisa Zane), whom he squares off with in the muddled climax.
4) A Nightmare on Elm Street 2: Freddy’s Revenge (1985) – This much maligned second entry was so poorly received at the time, it was almost enough to derail the entire series. But this allegory for teenage homosexual fear is unfairly categorized if you ask me. I wrote at length last year about why this film works, both on a subtextual level and as a straight horror. It’s weird and appropriately uncomfortable at times, and Freddy’s makeup is an improvement on the original film because it had a more realistic, burned look. Bringing Freddy into the real world was at least an attempt to differentiate from the original, and should be applauded given what the franchise would turn into a few years later.
3) Wes Craven’s New Nightmare (1994) – Despite Freddy’s Dead being the symbolic end of the franchise, New Line and Wes Craven returned for a meta-take on the Elm Street films, and brought Heather Langenkamp back into the fold. This time, however, she was playing herself as the star of the original film, and Robert England showed up as himself, a celebrity after playing the killer. Only Freddy Krueger is still real in this alt-world, and the metatextual elements converge in the end in some truly frightening scenes. It’s a clever twist on the story, a much better idea than simply trotting out another series of teens getting killed in an aimless story, and a precursor to Craven’s Scream, another deconstructionist take on horror. Krueger’s makeup also looks devilishly cool when he shows up in the real world.
2) A Nightmare on Elm Street (1984) – Wes Craven’s original is a great film, but it’s not the only great entry. It deserves credit for being the first, and most genuinely frightening of the Elm Street‘s. It has some iconic imagery, from the body bag scene in the classroom hallway, to Tina’s ceiling murder early on. But it also doesn’t have its sea legs. This is still Craven and his team figuring things out about Freddy Krueger and his potential. Krueger is almost always hidden in darkness, and at times the story plods through details. Nevertheless, it’s still a horror classic, and it birthed one of the most iconic characters in the genre.
1) A Nightmare on Elm Street 3: Dream Warriors (1987) – After the critical and box-office misfire that was Freddy’s Revenge, New Line decided to bring Wes Craven back for story duties. And he crafted a masterful storyline, directed with some gusto by Chuck Russell. This is the sweet spot of Freddy the comedian and Freddy the maniac; there are some witticisms but it’s countered by some horrifying, creative kills. That marionette murder is one of the best of the franchise. Dream Warriors has an eclectic cast of teenage misfits occupying a mental hospital, with Patricia Arquette in one of her earliest roles, and Heather Langenkamp returning as a counselor. This has energy and panache and is easily the most entertaining of the bunch.
A sneak peek at the upcoming Guardians of the Galaxy ride at Disneyland is now available at comicbook.com. The ride is a re-theming of the classic Hollywood Tower of Terror in Disney’s California Adventure.
Disneyland Leads the Way With Marvel Attractions
Since Disney acquired Marvel, the theme parks have slowly integrated Marvel-themed attractions. Disneyland undoubtedly leads the way with character meet and greets and movie exhibits. The Tower of Terror overlay at Disney California Adventure is the first Marvel ride at any Disney theme park. According to Walt Disney Imagineering portfolio creative executive Joe Rhode, the ride is “…the first in what is going to become a whole new universe in Disney’s California Adventure.”
The ride’s full name is “Guardians of the Galaxy: Mission BREAKOUT”. The video reveals that the building is themed as the Collector’s fortress, with some Disney magic added in. A video from the Disney parks blog this summer also revealed the storyline. Rocket Raccoon sneaks into the Collector’s fortress to release the rest of the Guardians who are trapped inside.
Mission: Breakout will have multiple ride patterns, soundtracks and ride experiences. This follows in the footsteps of the new version of Star Tours, which added multiple storylines and characters to encourage riders to return. It maintains the general ride pattern of Tower of Terror, with the massively popular “freefall” from the original intact. Another exciting element of the ride is the soundtrack–pulled from the hit sounds of the first Guardians movie.
Guardians of the Galaxy: Mission Breakout is set to open in summer 2017.
The Hollow Point is one in a series of new Texas border-town thrillers, and it looks like a damn fine entry.
The film stars Patrick Wilson as a sheriff who finds himself in over his head as he tries to keep gun runners and drug lords under control. Check out the trailer:
The synopsis is brief, and you can pretty much figure it out in the trailer: “A new sheriff of a small town along the U.S. & Mexico border investigates a drug cartel deal that went horribly wrong.”
Aside from Wilson, you see the great Ian McShane, along with Lynn Collins, Jim Belushi, and the underappreciated John Leguizamo. The Hollow Point is directed by Gonzalo López-Gallegos, whose previous credits include Open Grace and… uh… Apollo 18. So there’s that. It certainly looks intense as hell.
The Hollow Point made a run through a few festivals this summer, and has a few favorable reviews floating around here. It gets a wide release here December 16.
The Birth of a Nation is as compelling a historical portrait as any audiences have seen in film this year. The film triumphs thanks to writer/director/actor Nate Parker’s measured but purposeful approach to the source material.
Don’t let its familiar title confuse you. While it shares its name with a 1915 film infamous for giving the KKK new life in the 20th Century, this Birth of a Nation film tells an entirely different story. Further, it should serve as an antithesis to everything the earlier film stands for, then and now.
But beyond its social and political messages, The Birth of a Nation is exceptionally well-written and acted. It may be difficult to watch at times for the violence and cruelty it depicts, but ultimately it’s a rewarding film experience.
What’s it about
The Birth of a Nation dramatizes the life and social impact of Nat Turner (Parker), who in 1831 led a slave revolt through his home county of Southampton in Virginia.
Born into slavery, young Nat surprises his owner’s wife, Elizabeth (Penelope Ann Miller) with his aptitude for letters. She endeavors to teach him how to read, but only gives him access to the Bible. Other books, as she gently tells Nat, weren’t for his “kind” because they wouldn’t be understood.
As an adult, Nat preaches to his fellow slaves with the blessing of his childhood friend-turned-master, Samuel (Armie Hammer). He also falls in love with Cherry (Aja Naomi King, TV “How to Get Away with Murder“), another slave purchased to tend to Samuel’s newlywed younger sister.
Things change when an unscrupulous reverend (Mark Boone, Jr.) sees in Nat an opportunity for wealth. Neighboring plantation owners, he tells Samuel, would pay well for Nat to preach to their slaves as means of better controlling them.
Samuel, in turn, sees that potential wealth as an opportunity to bring prosperity back to his family home. He goes forward with the idea, and thus Nat comes in contact with slaves whose owners are far harsher to them than his ever were.
The cruelties Nat witnesses, along with violations inflicted upon his own loved ones, sow seeds of insurrection in Nat’s heart. He also finds inspiration to fight back from scripture, as he realizes that for every one passage that legitimizes slaves’ servitude, there were ten that sanctified their right to freedom.
Believing God and justice on his side, Nat rallies those willing to follow him to the only course left to them: to fight.
Re-purposing the title
The Birth of a Nation brings with it some controversy due in part to the title it consciously appropriates.
The reference to the earlier film is without a doubt deliberate. Parker aims to re-purpose the title, to make it synonymous with the very opposite of its current association.
But there’s a literal connection to the title and the film’s story, as well. Nat Turner’s antebellum effort, failed as it was, can still be seen as a starting point for protest movements built around race relations in the U.S. Parker’s film, though it does take some liberties with the story, emphasizes the importance of that starting point, and its enduring legacy.
Will Parker’s effort, stellar as it is, be enough to truly wipe away that earlier association? That remains to be seen.
But what can’t be argued is the heart, thought, and vision behind Parker’s work here. The Birth of a Nation took both the Grand Jury Prize and the Audience Award at Sundance earlier this year. Those won’t be the last accolades this film will earn.
Strong visuals, characterizations
Visually, The Birth of a Nation is often stunning. From the detail of its production and costume design to the photography that brings to life antebellum Virginia, it should be a delight for audiences with an eye for historical accuracy.
If there’s a nitpick to be made, it’s overuse of filters to cast a colder light on grim story beats. The intent is clear, but the effect may come to grate, as what’s depicted on screen is already weighty enough.
Complimenting all the dynamic camerawork and location photography are strong actor performances. Part of what makes this depiction of Nat Turner’s story so compelling is how complex the characterizations are, and how well the cast delivers those complexities.
Parker himself brings both gentleness and conviction to his portrayal of Parker. But praise in equal measure is due to Armie Hammer. Hammer plays Samuel as a man who struggles with his complicity in the system. He knows it sustains his way of life while keeping his friend and those like him in servitude. The guilt that comes with that knowledge slowly consumes him.
Other standouts in the cast include Miller, King, and Jackie Earle Haley, who plays a zealous slave patrol captain. King, in particular, shines in her shared scenes with Parker. The romance between Nat and Cherry, though brief, injects some lightness into the proceedings.
Worth seeing?
The Birth of a Nation is, without a doubt, a film that must be seen to be appreciated. Further, it should be seen on the big screen to best experience its scope and vision.
It should go without saying, as well, that its themes and protest message absolutely resonate in today’s turbulent times. Some may say that they go to the movies to escape from that kind of turbulence. That’s everyone’s right – it’s their entertainment dollar, after all.
But the effort that brings that bring this story to life, as well as the legacy that gives it poignancy, deserve your attention.
Birth of a Nation
Starring Nate Parker, Armie Hammer, Mark Boone Jr., Colman Domingo, Aunjanue Ellis, Dwight Henry, Aja Naomi King, Esther Scott, Roger Guenveur Smith, Gabrielle Union with Penelope Ann Miller and Jackie Earle Haley. Directed by Nate Parker.
Running Time: 120 minutes
Rated R for disturbing violent content, and some brief nudity.
Now that Marvel’s Luke Cage breaking Netflix and New York Comic Con right around the corner it was only a matter of time before more news about the next Marvel Netflix series, Marverl’s Iron Fist, started to turn up. A very brief video teaser released today reveals that Marvel’s Iron Fist will premiere on March 17, 2017. This appears to be following the established Marvel Netflix model of a spring and fall show. However, with the release date now revealed, one has to wonder what Marvel has in store for the panel at New York Comic Con this weekend.
Are you excited for Marvel’s Iron Fist and what do you think Marvel is going reveal at their panel at New York Comic Con this Saturday? Let us know in the comments.
Marvel’s Iron Fist stars Finn Jones, Jessica Henwick, and Lewis Tan with showrunner Scott Buck.
