After the commercial and critical failures of the Sony-produced, Ghost Rider (2007) and its sequel Ghost Rider: Spirit of Vengeance (2012), the film rights reverted to Marvel Studios. Marvel has stated that they’re in no rush to reboot Ghost Rider in their interconnected MCU, but he remains a character they’re interested in revisiting at some point. Many rumours have circulated that Ghost Rider could find a home in a Netflix series rather than the big screen. Over the years since the first Ghost Rider (Excluding the character now known as Phantom Rider) appearance in 1973 there have been three significant characters to hold the mantle of the Ghost Rider; Johnny Blaze, Danny Ketch, and Robbie Reyes, but who should play each of these Ghost Riders?
Norman Reedus as Johnny Blaze
Johnny Blaze was the original Ghost Rider, who debuted in 1973 as the dark and sombre hero who made a deal with the devil. Blaze was the focus of the two Sony-produced movies and starred Nicolas Cage in very strange and forgettable portrayals of the titular character, however, this did make Johnny Blaze more familiar with wider audiences. Norman Reedus would be an ideal casting for Johnny; he could nail his bitter, gruff exterior of a man with the heart of a hero inside. Reedus is best known as biker/Zombie-killer, Daryl Dixon on The Walking Dead. Reedus is a quality actor who has shown in 6 seasons of The Walking Dead that he is more than equipped to portray the complex and dark history of the Ghost Rider. Blaze not only had to deal with selling his soul to the Devil but also his own personal demons such as alcoholism, his mother abandoning him and the deaths of both his father and later surrogate father-figure.
Robbie Amell as Danny Ketch
Introduced in the 1990s as a more contemporary Ghost Rider, Danny Ketch took over the role for eight years in Marvel Comics, and also featured in many Marvel cartoon series throughout the decade. Ketch was later revealed to be the younger half-brother of original Ghost Rider, Johnny Blaze. In revisiting this character, Marvel may want to include Ketch as a second Ghost Rider or distance themselves from Johnny Blaze due to reception of Nicolas Cage’s performance. Robbie Amell best known for appearances on both The Flash and The Tomorrow People, could take on the part of Ketch as either a lead or supporting character.
Lorenzo Henrie as Robbie Reyes
The latest character to take on the role of Ghost Rider is Robbie Reyes, part of Marvel’s all new, all different take on some of their classic characters. Reyes is very different from Blaze and Ketch; he is a Mexican-American boy in high school who while in his Ghost Rider-form drives an empowered dodge charger rather than the traditional motorcycle. It would be a surprise if Marvel took this route rather than the more well-known versions of the characters but if so, Lorenzo Hendrie from Fear the Walking Dead could take on this brand new character.
What direction do you think a new Ghost Rider in the MCU will take?
In case you haven’t noticed, Cinematic Universes are all the rage out in Hollywood. It seems franchises are no longer good enough for studios, and universes open up practically endless possibilities. Enter Dwayne Johnson, who is teaming up with Universal and screenwriter James Vanderbilt to bring us the Robert Ludlum Cinematic Universe.
Ludlum is the author behind the Bourne series, and Dwayne Johnson is kicking off this extended universe with The Janson Directive, which Johnson called “classic Robert Ludlum.” The film centers on a former CIA operative who is being hunted by the agency who hired him after being framed for a murder.
“[The story is full of] Sharp, edgy and layered storylines,” Johnson said. “The character is complex, conflicted, bad ass and lethal — I can’t wait to sink my teeth into this and bring him to life. Between Jamie, Akiva [Goldsman], Captivate and Universal, it’s an exciting time to help produce and build out this awesome Ludlum universe.”
The Janson Directive will kick off a new series of Robert Ludlum adaptations, which will all have thin connective tissue so this can qualify as a shared universe. This is Universal’s second Cinematic Universe; their monsterverse kicking off next year with Tom Cruise in The Mummy.
It seems networks are dead set on dragging great cop films through the mud with shitty series reboots. First was that Lethal Weapon abomination from FOX, and now here is the pointless, on-the-nose, CBS adaptation of Antoine Fuqua’s Training Day. The film was excellent, this TV show is going to be not excellent.
Here is the series preview, grab some aspirin and “enjoy”:
Seriously this looks like one of the worst television shows of all time. Or at least of the last six months or so. But, hey, it’s on CBS so your parents will probably love it and it’ll probably be the number one show on the tube for a decade. Get ready for Training Day: New York, or some ridiculous spinoff.
And I am all for Bill Paxton. He’s great… in movies. He is an extreme over-actor and having him headline a show on CBS is almost performance art level hamminess. But CBS is really mixing things up by switching the races of the bad guy and the good guy from the movie! That should be great.
Anyway, Training Day the TV show comes to CBS some time in the future of the world. 2017 apparently.
Making an art house film is a balancing act. If handled properly, the picture can come out looking like a beautifully crafted, poignant work of art. But there’s a thin line between being brilliant and being silly, pretentious, and (worst of all) forgettable. The Lobster walks that very line, but ultimately falls on the side of brilliance.
The Lobster is directed by Yorgos Lanthimos (his English language feature film debut), and stars Colin Farrell as recently divorced David. It takes place in a future where single people are sent to a hotel and given 45 days to find a partner. If they fail to find a partner during their stay, they are turned into an animal of their choosing.
David’s brother didn’t make it – that’s him in the corner.
Lanthimos tries his hardest to make his audience feel depressed while watching this movie. From the way it’s shot, to the score (or lack thereof), to the set design, the Greek director creates a very distinct atmosphere. The Lobster looks like a deeply serious drama. Moreover, it feels like a tragedy.
Now if that sounds a little too broody for your liking, don’t worry – this film is actually hysterical. Granted, it’s extremely dark humor, but it doesn’t get any better than this if that’s your thing. Between the witty dialogue and the comical situations, this picture is bitingly funny without having to tell a single joke. But just be aware that it’s a very awkward and internal kind of funny, not the kind that makes you laugh out loud.
Though as absurd as the overall premise may be, the most ridiculous details are the ones pulled straight from real life. Lanthimos’ script, co-written with Efthymis Filippou, shines a light on just how warped our world’s outlook on love has become. It’s all on display here: the stigma placed on singles, the lies people tell to make a relationship work, and (for the sake of fairness) the feelings of superiority that “loners” have over couples. The story is a brutally honest take on societal problems that are only getting worse; it just had to create this totally fantastical world to make them apparent.
The performances in this flick are interesting, to say the least. To some, the acting may come off as stilted and the dialogue phony. It works perfectly in the context of this particular film though, and somehow feels totally earnest.
Colin Farrell does a terrific job as sad and confused David, but Rachel Weisz truly steals the show as his unnamed love interest. The movie is at its deepest and most true when these two share the screen; they’re what gets you to actually believe this farcical scenario.
Truthfully, The Lobster isn’t for everyone. It requires an open mind, and what can only be described as “an acquired taste.” Nonetheless, it’s intelligent, sharply funny, and it has a message the world needs to hear. So while it’s not designed for mass appeal, it’s still a picture that everyone should see.
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The Lobster is in select theaters now. Watch the trailer below and see if it’s up your alley!
Marvel’s Moon Knight character has been rumoured to be joining the MCU since Daredevil debuted on Netflix in 2015 and as the Netflix side of the cinematic universe has grown the rumours have only increased. Moon Knight is the story of Marc Spector, a former mercenary who becomes empowered by the Egyptian Moon God, Khonshu. The dark and incredibly violent character would be a perfect fit in this gritty and grounded side to the Marvel Cinematic Universe. It’s safe to say its only a matter of time for when Moon Knight makes his debut on screens but how should Marvel/Netflix approach adapting this complex character.
Los Angeles Setting Much like the majority of Marvel’s characters in the comic books Moon Knight has been predominately located in and associated with New York City. However he has also been based in LA after being a West Coast Avenger in the 1980s and more recently in the Brian Michael Bendis and Alex Maleev run from 2011-2012. LA has only been used as the home of Tony Stark and the base of operations for Peggy Carter in the 1940s (see Agent Carter Season 2) so Moon Knight would present the opportunity to a explore a new city and new threats.
Embrace the crazy One of the most individual aspects of Moon Knight has been his sanity, or lack there of. Throughout his many years in the comic books he has been portrayed as having varying forms of DID (Dissociative Identity Disorder). This has gone on to show Moon Knight interacting with various different personalities within his own head from other Marvel heroes to slain enemies to the embodiment of the God, Khonshu.
Make it violent Moon Knight is one of Marvel’s most violent characters, with only the Punisher tipping him to the number one spot. Empowered by a God of vengeance, Moon Knight tends to viciously attack criminals and villains. This aspect of the character supports the belief that his mental state is not stable. Marvel’s Netflix shows have not shied away from embracing violence and gore proving the streaming service is the ideal home for any Moon Knight adaptation.
Dial back the Batman Moon Knight is often compared to and cited as Marvel’s answer to Batman, although many comic creators and fans would argue there are many differences, one cannot deny the similarities. If Marvel are to proceed with any Moon Knight adaptation they should be wary of elements that will remind viewers of the Caped Crusader himself. Marvel would be wise to the remove the fact that Marc Spector is a multi-millionaire with Moon themed weapons, vehicles and paraphernalia, instead focusing on his sanity and the ties to Egyptian mythology
How do you think Marvel should adapt Moon Knight for the MCU?
Just like America in 1865, the UnPOP Podcast must go through a Reconstruction after the dividing effects of last week’s Captain America: Civil War discussion. Luckily, they’ve brought a Hulk to the battle this time as a former Marvel insider uses his vast comics knowledge to explain why Chris Evans is the perfect Steve Rogers and why Iron Man Three is an amazing film.
In the main event, the UnPOP guys go back to war in MCU Madness, pitting each film against each other to determine which is the greatest (hint: it ain’t Iron Man 2).
Check out the final results, learn which sci-fi classic Curtis (me… hey there, thanks for clicking and/or listening) watched for the first time ever this week and discover what The Rock’s been cookin’ in his kitchen in this episode of the UnPOP Podcast!
7:44 Movie News
23:09 What’s Cookin’ in The Rock’s Kitchen?
28:44 “I’ve brought a Hulk.” Chris Evans and Captain America: The First Avenger Defense
47:22 Iron Man Three Discussion & Battle
50:57 Marvel Comics Trivia Challenge
1:02:20 MCU Madness Bracket Showdown
Have a topic you’d like to hear UnPOPPED? Send any comments/love/vitriol to unpopentertainment@gmail.com
On the heels of his recent promotion to co-head DC’s film division, Geoff Johns stated two themes he wants to add to the tone of the DCEU. Saying the brand needs hope and optimism, he will make these a focal point to future films.
In both Man of Steel and Batman v Superman: Dawn of Justice, these were anything but a part of the stories. Going directly against what the DC pantheon stands for in the comic books. Representing the finer qualities of what it means to be heroic and a person.
Even figures like Batman demonstrate the desire to rise above adversity and achieve greatness. The Dark Knight trilogy, which had a major influence on the current film franchise, carried messages of hope to reinforce why one should rise up after suffering horrendous setbacks and loses.
And it was even written by the same screenwriter as Batman v Superman.
This might make the previous entries of DC’s cinematic universe somewhat redeemable in that the upcoming Justice League film, slated for release next year, may convey the two themes in a manner that shows how despite terrible odds and sacrifices, there are still reasons to fight the good fight.
Geoff Johns, having a long and respected career with superheroes in the comic book and television medium, is already taking strides to rehabilitate the damage done by both Zack Snyder and David Goyer, both of whom have been accused by fans to not understanding what heroes like Superman represent.
As Youtube celebrity and comic book expert, Comic Book Girl 19, aptly put it in her review of BvS, Superman is the avatar of absolute power not corrupting absolutely. He represents how we should always strive to do good with our talents and abilities. Not some angst-ridden adult who mopes all day.
I’m eager to see how the DCEU will develop now that Geoff Johns is in his new position. And many are hoping this is a turning point for the franchise.
CBS has unveiled the first teaser trailer for their upcoming revival of Star Trek, along with a look at the new logo for the series. Focusing on the events taking place between of the sixth Star Trek movie, “The Undiscovered Country,” but before “The Next Generations”, the video promises: “New Crews. New Villains. New Heroes. New Worlds.”
The series will be under the tenure of Bryan Fuller and Nicholas Meyer. Mr. Fuller is better known for developing and show running the television series “Hannibal,” as well as working on two previous Star Trek projects, Deep Space Nine and Voyager.
Meyer is known for what is still considered the finest films of all time, The Wrath of Khan. Even the recent “Star Trek Into Darkness” was heavily influenced by this monumental film. Having these two powerhouses as show-runners will assuage concerns that the series will lose much of the heart and soul of the original series.
Nothing was revealed in relation to cast or general plot, as the footage showed several planets and celestial bodies in space. Though the quality of the special effects for these particular locations do offer some insight into what viewers will experience once the show is underway.
The show will be set to premier around January of 2017, and will be available exclusively online on CBS’s All Access streaming platform.
Seth Rogen, Evan Goldberg, Nicholas Stoller, and the executives at Universal Pictures must think that everyone has to be a moron.
No other reason can explain why Neighbors 2: Sorority Rising is even being released this weekend. Was there much more ground we needed to cover that wasn’t covered in the original Neighbors film in 2014? Did we need to catch up with Mac/Kelly Rudner (Seth Rogen and Rose Byrne) as well as frat brothers Teddy/Pete (Zac Efron and Dave Franco)? Well, apparently the answer is yes, hence the sequel.
Neighbors 2 seems a tad more “R” rated that its predecessor. While the first film appears to do a better job of balance what’s funny with what’s over the line, in the sequel, they seem to go for any crude gag. The gags range from women throwing used tampons at their enemies, a woman throwing up during sex, a baby’s foot dangling from a pregnant woman, jokes about roofies and Bill Cosby, and an overweight woman shot through the windshield of the car.
While the original film seemed only to use jokes/gags that enhanced the storyline, Neighbors 2 does the exact opposite. The jokes in the first movie were funny while the ones in here reek of desperation.
As for the narrative in this sequel, it’s a rehashing of the previous film except for instead of Mac/Kelly Rudner going toe-to-toe with a fraternity it is a now a sorority lead by Shelby (Chloe Grace Moretz). Shelby is seeking to start her sorority because other sororities are not allowed to party like the frats are. Oh, the humanity!
The point where Neighbors 2 completely lost it was when they sought to weave in a feminist thread among the boozing and drug use that was occurring at the sorority. For starters, the message did not even remotely fit the dynamics of this regurgitated drivel. Secondly, if the goal is to discuss women’s empowerment, then why are all the women in the sorority moronic? If a message of empowerment is what the film was aiming for then why have the members of Kappa Nu’s sole focus be on exactly how to acquire the “Chronic”? Are we talking about equal rights here or equal bong hits? The girls in Kappa Nu are less than endearing, and that is putting mildly.
Zac Efron returns in this sequel and one can’t help but wonder if he just never left to begin with. Did he just hang around waiting for the moment Neighbors 2 start principle photography? He serves roughly the same purpose (man-child who does not seem to want to grow up). His character could have been eliminated from the entire film, and it would have had zero effect on the movie. At this point, he is eye candy and nothing more.
The only part that was even remotely enjoyable was watching the chemistry between Seth Rogen and Rose Byrne. They certainly pull off the overworked 30 something parents extremely well and maybe had the script not been mired with awful gags and rehashed material, this film could have been much more.
Cinema Showdown is a new segment here at MFR, where we (or I) pit two comparable films – sometimes sequels of the same franchise, other times pictures sharing the same fanbase, era, or anything else noteworthy – and try to arbitrarily decide which one is superior. There seems no better place to kick this off, as we inch closer to The Nice Guys this weekend, than looking back at the franchise that introduced us all to Shane Black: Lethal Weapon v. Lethal Weapon 2.
Way back in 1987, the idea of a buddy cop film was still a fresh perspective on the action genre. It had been done before Lethal Weapon, most notably with 48 Hrs., but Lethal Weapon would quickly become a watershed moment in American action cinema, spawning a franchise of its own alongside too many cheap imitations to count. We all know the general mechanics of the plot, the characters, and the imprint Lethal Weapon had on society as a whole. The movie was a massive hit. It made Mel Gibson a superstar, playing the edgy, suicidal Matin Riggs, and it opened an entirely new avenue of genre filmmaking for Danny Glover, the tired family vet Roger Murtaugh.
It also spawned three sequels, two of which became self parodies. Lethal Weapon 3 is a noted step down in quality and energy from the previous films, and the less said about the racially problematic (to say the least) Lethal Weapon 4, the better. What’s most glaringly absent from those two sequels is the presence of Shane Black in the writing credits.
But then there was Lethal Weapon 2.
It might be easy to reflexively call the original the best. Most of the time that’s true, and in this case there is more than a credible argument in favor of the iconic 1987 intro to Riggs and Murtaugh. But there’s a case to be made for Lethal Weapon 2 as well, which benefits from a certain comfort level with these characters, their comfort level with one another, a compelling set of global villains, and some effective comedic energy.
The Case for Lethal Weapon
Again, anointing Lethal Weapon as the best of the franchise is understandable. It has the benefit of being the first, so it will forever be the freshest for obvious reasons. It’s also decidedly darker and more threatening, from Richard Donner’s noir-like, shadowy frames and rain soaked LA streets, to the despair clouding the volatile and dangerous Martin Riggs. It has an edge which was steadily sanded down in the next three films.
There is also a rich post-Vietnam narrative shaping the plot. Both Riggs and Murtaugh had their own experiences in the war, and the villains are disenfranchised Vietnam vets who’ve found the heroin trade from their days in Southeast Asia to be quite lucrative stateside. Be it Gary Busey’s icy psychopath Mr. Joshua or the mastermind General (Mitchell Ryan), these are threatening adversaries for two LA cops, and the investigation goes deep into the histories of these characters. They bounce off one another not only in the thrust of the plot, but in their shared pasts which subsequently propelled them to opposite sides of the law.
Lethal Weapon is a fantastic thriller and a singular moment in pop culture. The idea of a sequel made sense, but the sequel needed a new identity. Wallowing in the darkness of a suicidal Riggs and a world-weary Murtaugh had to be tweaked and reshaped to make each new adventure feel new, but familiar. Did Lethal Weapon 2 succeed?
The Case for Lethal Weapon 2
As much as Lethal Weapon would be the easy choice as the best in the franchise, Lethal Weapon 2 succeeded in summiting its uphill climb. Sequels are inferior, we know this, and when a sequel bests its predecessor it’s a monumental achievement. Lethal Weapon 2 pulls off the near impossible, for a number of reasons. First of all, Riggs and Murtaugh are different, but the still the same. The friendship these two polar opposites forged in the end of the original film has carried over seamlessly here. Riggs is still a wild card, but he’s found love and camaraderie with Murtaugh and his family. He’s the crazy uncle, and it eases the manic tension hanging heavy in the air in the original.
At the same time, Murtaugh has found a new lease on his career. As put out as he seems with Riggs time and time again, it is Riggs’ infectious energy that reinvigorates Murtaugh as a cop. We pick up with these two in the middle of an intense car chase, and almost immediately their relationship feels as if it’s evolved along a believable trajectory. They have a rapport, and the comedy flourishes because of this.
The entire narrative momentum and plot structure of Lethal Weapon 2 feels profoundly different from the original as well. This time, the cops are chasing South African crooks, and the Apartheid comes into focus and manages to deepen Murtaugh’s plight. These are not only vicious killers, but racist vicious killers, motivating Murtaugh even more. Meanwhile, Riggs meets and falls head over heels in love with the villain’s secretary, Rika, played by the serenely beautiful Patsy Kensit. Despite the fact Riggs and Rika fall into each others arms in near record time, even for an action movie, their relationship feels genuine and the chemistry between Gibson and Kensit is honest and palpable. Their romance is fleeting and emotional, and when Rika is murdered coldly by her employers, it allows the film to bring insane, unhinged Matin Riggs back into the fold at just the right time.
There are so many details woven into the tapestry of Lethal Weapon 2 that enhance its development, its re-watchability, and its brisk energy. The real that the henchman (Derrick O’Connor) was responsible for the death of Riggs’ wife tightens this universe substantially. The undercurrent of racism adds motivation. That little detail about Riggs being able to separate his shoulder plays into the story beautifully. Who can forget the toilet bomb too? Iconic. And the inclusion of Joe Pesci as mob witness Leo Getz works to perfection. At least it does here, because in both of the next two films Pesci’s presence is an irritant.
The Verdict
In the original story from Shane Black (Jeffrey Boam was the credited screenwriter), Martin Riggs was supposed to die after suffering his knife wounds and subsequent ass kicking from Vorstedt (O’Connor). But this is Hollywood, and Riggs survived. It may have been a bad idea given the next two films, but in the context of the film itself Riggs surviving actually works better. It strengthens the bond between he and Murtaugh, and allows Riggs’ redemption for the death of two women in his life to feel better than it would have had he died.
All things considered, Lethal Weapon 2 pulls off the near impossible: it surpasses its predecessor on enough levels to edge out the win.
