There is no way to introduce this trailer. The Netflix ‘Luke Cage’ trailer adds a whole new level to the Marvel Cinematic Universe.
“The world is ready for a bulletproof black man,” said showrunner Cheo Hodari Coker today at Comic-Con. “It’s got a ’90s vibe but very much of today, and I can’t wait for you to see more of it.”
‘Luke Cage’ stars Mike Colter, Mahershala Ali, Frankie Faison, and Simone Missick. The 13-episode series drops on Netflix September 30.
Get ready to activate interlocks all over again. Netflix has confirmed not only will there be a second season of their wildly successful series, Voltron Legendary Defender, it is set to debut later this year.
The news was revealed at the Dreamworks’ Voltron Legendary Defender panel at the San Diego Comic-Con. It was then broadcasted through the official Twitter.
This announcement comes as a sign of joy for many fans as the first season ended on a massive cliffhanger with the status of many characters in question. No other details have been released but given how soon the new season is coming out fans will not have to wait long for more information.
A full review of the first season can be found here. Are you looking forward to the second season of this Netflix original? Leave your comments below and stayed tuned to Monkeys Fighting Robots for more Voltron news and all the Comic Con updates you can handle.
The story for Lucas Stand begins to reach several intriguing points. Some of the faults I had with the first issue are more than remedied. And overall, this second issue helps to keep the reader invested to see how the rest of the story unfolds.
First, the issue of sudden time travel receives a little more context, so you better understand the full situation. But it isn’t so much that you’re unable to process the information quickly, which I appreciate.
Second, we get to know the antagonist in this issue, giving us an easier time to better ascertain how much of a threat the Tempter is to Stand. While I enjoy a villain with layers of personality to flesh out there characters, I have an limitless love for villains who are just plain evil.
Sort of like the “EVIL!” Mermaid Man screams out whenever he can.
Thirdly, we get to see Lucas trying to come to terms with everything going on around him. Let’s face it, he’s been through hell on earth, and is pretty much facing real hell if he doesn’t work with hell.
You’re not gonna leave that scenario without being a little messed up in the process.
The impact of his military career on him becomes more and more telling, since he seems to pine for those days often. Lucas gets to see firsthand one of the sins he’s trying to absolve from his soul. Seeing his first sin from this period says much about how he views his own past.
Seeing Stand’s actual relation with his family would be great to see at some point, since this appears to be a major influence on Stand’s outlook on the world. But this a minor issue to an otherwise fantastic story arc.
Though it’s clear that this universe is not in the Sons of Anarchy continuity, I would not find it hard to seeing Stand fitting with the Redwood Originals nicely.
The ending of issue two shows Stand in a precarious situation. And by precarious, I mean gallows. Sorry for the spoiler, but that ending is just wicked.
And then we have the artwork. Jesus Hervas and Adam MetCalfe both interpret the rough and darkness of the story perfectly. Even those not tainted by the dark forces are deep in the dark world around them.
This is a comic series I am truly enjoying and I want to see where the story goes.
Image Comics has confirmed plans to adapt Rick Remender’s Deadly Class for television. Remender will serve as an executive producer, as will the Russo Brothers, co-writer Miles Feld, Adam Targum (Banshee), and Mike Larroca (president of the Russos’ Getaway Productions).
The Russo Bros are best known for directing the latest two Captain America films, as well as the upcoming Avengers: Infinity War.
Sony Pictures TV has the package, and the company will be targeting cable networks and streaming services for distribution.
Written by Remender and Miles Feld, the Deadly Class TV series is an unlikely coming-of-age story set against the backdrop of late 80’s counter culture which follows a disillusioned teen recruited into a storied high school for assassins. Maintaining his moral code while navigating a ruthless curriculum, vicious social cliques, and his own adolescent uncertainties may prove fatal.
Remender co-created Deadly Class with artist Wes Craig.
It’s 1987. Marcus Lopez hates school. His grades suck. He has no money. The jocks are hassling his friends. He can’t focus in class, thanks to his mind constantly drifting to the stunning girl in the front row and the Dag Nasty show he has tickets to. But the jocks are the children of Joseph Stalin’s top assassin, the teachers are members of an ancient league of assassins, the class he’s failing is “Dismemberment 101,” and his crush, a member of the most notorious crime syndicate in Japan, has a double-digit body count.
Welcome to the most brutal high school on Earth, where the world’s top crime families send the next generation of assassins to be trained. Murder is an art. Killing is a craft. At King’s Dominion High School for the Deadly Arts, the dagger in your back isn’t always metaphorical, nor is your fellow classmates’ poison.
Courtesy of the official Marvel Entertainment Twitter account, we have a new image from San Diego Comic-Con International, giving us with a never before seen look at costumes from Doctor Strange. Check out the image below.
Doctor Strange is set to have a huge presence on Saturday in Hall H. We’ll likely be seeing a new trailer, along with a full cast panel.
“Before he met the Sorcerer Supreme, Doctor Stephen Vincent Strange was an unlikable and egotistical neurosurgeon. Everything changes when a car accident limits Strange’s use of his hands, sending him on a maddening quest for a miracle cure. This origin story introduces the magical and mystical realms of the Marvel Cinematic Universe.”
Like I said in a recent article – another day, another piece of Suicide Squad news.
The Comicbook.com Youtube channel has dropped three new TV Spots and one new clip. Check them all out below.
Suicide Squad is just a few weeks away, lots of new footage has been released over the last few days, and with San Diego Comic-Con International starting, many fans are likely to stop watching these spots and just wait for the film itself to be released.
“It feels good to be bad…Assemble a team of the world’s most dangerous, incarcerated Super Villains, provide them with the most powerful arsenal at the government’s disposal, and send them off on a mission to defeat an enigmatic, insuperable entity. U.S. intelligence officer Amanda Waller has determined only a secretly convened group of disparate, despicable individuals with next to nothing to lose will do. However, once they realize they weren’t picked to succeed but chosen for their patent culpability when they inevitably fail, will the Suicide Squad resolve to die trying, or decide it’s every man for himself?”
The main characters from Suicide Squad have been receiving extended promos over the last few days. First we got Amada Waller, followed by Deadshot and Harley Quinn; now, the Joker extended promo has dropped, giving us our best look at the character yet.
“It feels good to be bad…Assemble a team of the world’s most dangerous, incarcerated Super Villains, provide them with the most powerful arsenal at the government’s disposal, and send them off on a mission to defeat an enigmatic, insuperable entity. U.S. intelligence officer Amanda Waller has determined only a secretly convened group of disparate, despicable individuals with next to nothing to lose will do. However, once they realize they weren’t picked to succeed but chosen for their patent culpability when they inevitably fail, will the Suicide Squad resolve to die trying, or decide it’s every man for himself?”
Do you like the look of Jared Leto’s Joker so far? Why or why not? Let us know in the comment section of this article.
Suicide Squad hits theaters on August 5. Tickets are on sale now.
Lights Out isa sleek 80-minute horror film directed by David Sandberg. This is his feature film debut, but that certainly isn’t evident when audiences see this movie. The director understands that playing on our deepest personal fears can result in the biggest scares. This film masterfully manipulates the audience through the darkest depths of the subconscious, scares the living hell out of you, and will have fans smiling on the way out because they survived.
The story centers around the murder of Martin’s (Gabriel Bateman) father and how he’s haunted by a shadowy figure who appears to have natty knitted hair, long finger nails, and desire to harm people. This specter, named Diana, has an unexpected connection to his family. It seems she’s besties with his mother, Sophie (Maria Bello), who just happens to have spent some time in a psychiatric ward when she was a child. Martin’s sister, Rebecca (Teresa Palmer) is no longer in the house, but she’s also had her run-ins with Diana. When she gets wind that her brother is in trouble, she comes to her brother’s aid and winds up in a showdown.
While some might look at this and think there is not much to the narrative of this film. Let me ask this question, who says that scary films have to include an elaborate narrative? It’s safe to say that the object of the film is to scare the holy hell out of the audience and hopefully do it in a way that doesn’t bore. This film doesn’t rely on any cinematic parlor tricks, no CGI Monster, no excessive amounts of blood, just good old fashioned horror.
Watching Lights Out reminded me of the feeling we all got when we saw campers milling about at night in Friday The 13th. We would sit, transfixed to the screen as a dimwitted camper would slowly creep into that poorly lit cabin unaware of their impending doom. There was an element of predictability in both films, but that served as a hook to engage us.
The highlight of this movie is the direction of David Sandberg. There are eight locations where the film primarily takes place. That doesn’t seem like much but in this case, it’s where the film flourishes. Sandberg utilizes every nook and cranny in every locationto maximize the amount of terror he exacts on his unsuspecting audience. For example, there is a scene where Sophie is trying to introduce Martin to Diana. Martin is already aware of her, and just the name sends him into a state of hysteria. While this scene is unfolding the audience can hear Sophie trying to sell how great Diana is, and Sandberg keeps the shot directly on Martin’s face to get his reaction, distracting the audience from his surroundings. Then just as Sophie say “You just have to give her a chance,” the shot opens up, and we see that Diana has been perched on the back of the sofa this whole time. Not only is it a nice jump scare, it certainly shows that Sandberg is willing to use every inch of the set.
Bello, Palmer, and Bateman are all integral elements to this film’s success. Maria Bello’s depiction of Sophie, the mentally ill mother who wants her family to friends with Diana, isn’t over the top. Teresa Palmer’s Rebecca, the sister who just want to protect her brother from harm, is explosive. However, the most significant performance has to be Gabriel Bateman’s Martin. If Bateman can’t convince us that he’s haunted to his core by Diana, then the movie doesn’t quite work. Bateman not only succeeds in conveying this terror to moviegoers, but his performance is also the best of this film.
Overall, Lights Out is one of the most entertaining trips that anyone will have at the movies this summer. Just don’t be shocked if after seeing this film, someone in your family doesn’t want to leave a few lights on at night.
Last night, I attended the Irish Premiere of Star Trek Beyond, the latest feature film entry in the franchise, which celebrates its 50 anniversary this year. None of the big stars were in attendance, but instead a number of Irish TV and radio personalities, all Trekkies in their own right. Additionally, a number of fans were lucky enough to secure tickets to fill out the packed theatre. If you’ve attended one of these premieres, you’ll understand it can be easy to get caught up in the moment. You are in a room full of people who want to love the movie, whose very passion is palpable. Yet even in isolation, Star Trek Beyond proves itself to be one of the summer’s finer action movies and perhaps the most faithful movie in the franchise in a number of years.
In his opening Captain’s log, James T. Kirk (Chris Pine) admits that three years into the Entreprise’s five year mission, their lives are getting a bit “episodic”, but what begins as a nice meta-joke comes to define the rest of the movie. Star Trek Beyond, in the most positive sense, feels like an episode of the original series. It marks the first of the new timeline films to truly embrace the spirit of adventure that characterised the series in the past. With an original villain and without having the burden of an origin movie, it is free to do it’s own thing and come up with creative scenarios. The film presents Spock (Zachary Quinto) struggling to come to terms with his own mortality as Kirk questions his commitment to Starfleet. In this time of internal re-examination, the Enterprise is sent to assist a ship in distress only to be ambushed by a veritable swarm of fighters . While stranded on an unknown world, the crew team up with Jayla (Sofia Boutella) who assists them in rescuing their comrades. Thankfully, this brilliant and energetic warrior does not become a love interest, instead forming a crucial part of the fight against Krall (Idris Elba).
The film is as much about how the crew of the Enterprise act as a dysfunctional family as it is about the threat posed by Krall. Much of the film’s best comedic moments come not from Scotty (Simon Pegg), but from Spock and McCoy (Karl Urban) learning to work together, in spite of their differences. Furthermore, the bud-cop team of Kirk and Chekov (Anton Yelchin) act as a tragic reminder of the talent that was lost. Rest assured the overall threat does what all good Star Trek plot-lines does and uses Sci-Fi to examine the challenge our modern society faces. Krall challenges the Federation’s commitment to peaceful co-existence and prosperity, instead believing the value of an isolationist struggle for superiority. If that sounds familiar, then you may have been following the news the last couple of years. Most of us have grown up in an era where unification for peace was the standard. We grew up in the shadow of the EU or the United Nations truly becoming forces to be reckoned with. We grew up at a time where acceptance, tolerance and friendship towards those who were different from you was the norm, rather than the exception. Gene Roddenberry grew up in a very different world and his vision of the future was seen by many as Utopian in nature. The Federation had moved beyond capitalist structures, poverty all but erased. Gender, racial and sexual equality were embraced (uniforms aside). Diplomacy, not war, was the greatest tool at our disposal. It was an ideal to strive for, but in recent years, as we’ve pushed to go beyond that final frontier,the more the frontier has pushed back. Within this is an all too real reminder of those who get left behind when peace is found. When you’ve spent years fighting, when war is all you know, is it realistic to expect a solider to simply stop? If that isn’t a condemnation of the state of our current peacekeeping efforts, then it is at least a call to action.
Star Trek Beyond, though not has fleshed out as one might like, is about that conflict between unification and isolationism. The clash between keeping what we have or daring to aim for something greater. It is film that aims to defend that original vision that Roddenberry had so long ago, in a time where it looks to be more further away than ever. It’s a reminder that, despite all that has happened over the last number of years, we can overcome indifference and intolerance. It remains hopeful in spite of all that was lost. It may not be the best Star Trek movie, but on the fiftieth anniversary of the franchise they could be no more fitting a tribute to all that has come before.
Star Trek Beyond hits theatres worldwide on July 22nd.
One of the more interesting and batshit insane conspiracies in American history is the claim that Stanley Kubrick helped NASA fake the Apollo 11 moon landing. Operation Avalanche, the new documentary-style drama from VICE Studios, sends a team of CIA agents posing as a film crew into NASA headquarters, where they discover Kubrick working on that very thing.
In 1967, four undercover CIA agents were sent to NASA posing as a documentary film crew. What they discovered led to one of the biggest conspiracies in American history.
Not only is it documentary style, but it’s fashioned like a documentary from the late 60s. The aesthetic is brilliant. First time features director Matt Johnson, who also stars, looks to have a very succinct vision for his story.
Operation Avalanche premiered at Sundance this past January, and has been making the festival rounds ever since. There’s a November 17 release date in Germany, but no stateside release yet. Keep your eyes peeled.
While some might look at this and think there is not much to the narrative of this film. Let me ask this question, who says that scary films have to include an elaborate narrative? It’s safe to say that the object of the film is to scare the holy hell out of the audience and hopefully do it in a way that doesn’t bore. This film doesn’t rely on any cinematic parlor tricks, no CGI Monster, no excessive amounts of blood, just good old fashioned horror.