Late Cambrian is a Brooklyn based Indie Electro/Pop/Rock band that creates catchy tunes from the mind of the band’s frontman John N. Wlaysewski, who is involved in practically the whole process of making the songs. I met him through my pals, Regret the Hour, at an event they both played called Converse Get Out Of The Garage Music Contest for 2015 at Rubber Tracks. You can’t meet a nicer human being than John, as it was incredibly easy to invite him to my college radio program at Hunter College, and we produced a great conversation that you can listen to HERE. John is a highly creative and experimental musician, who has undergone many phases; impacting him to continuously create original sounds, melodies, and vocals. He feels that he’s been really hitting his stride creatively, and finally starting to produce music that sounds more and more of where he wants to go. He just hopes his fans will be go along with the ride he wants to take them on. In our interview, John divulged on his process, his evolution, and the future of Late Cambrian, so fans and newcomers will get juicy and informative details of this up-and-coming band! Enjoy!
Bob Franco: Let’s start with your musical influences and how music has been involved in your life?
John N. Wlaysewski of Late Cambrian: When I started playing guitar i was listening to a lot of classic rock; Black Sabbath, Led Zeppelin and other bands from the 70’s. It informed my playing a lot, those bands had great guitar players with really creative riff ideas. I’v gone through a lot of different phases of music. I was really into Weezer – Pinkerton for a while. I spent a summer absorbing Radiohead albums and another summer listening to Phoenix and Battles. Every new band teaches something new about production and recording and singing. I’m always learning something new about how to express myself through songwriting because of all the great music out there.
Bob: Describe how you evolved as a musician, particularly your transition from guitar player to lead singer…
John: It took a long time to get from guitar player to singer. I’ve always been the guitar player in a band, giving my input from a musical perspective. Learning to sing was the best thing. It opened the doors to new forms of expression. The new music we have coming out soon was written without a bass player. I am so happy I got to play bass and synthesizer on the new music. The guitar has kind of taken on a different role in the music now. It’s more of the atmosphere and lead instrument, whereas, earlier on in the band it was the main rhythm and the driving force behind the sound. I can’t wait ti unveil the new songs and put them on stage!
Bob: How would you describe Late Cambrian in sound? How have you evolved since your recent album Golden Time?
John: Late Cambrian has grown up in public, that is to say, we’ve been in a constant state of evolution since we got together. The first album , The Last Concert, sounds like crunchy college rock with squealing guitars and distorted bass. Social Season and PEACH were Power-Pop records. Golden Time was really close to where I want the sound to be, it’s more of an electro pop/rock record, but the newest stuff that we are writing and recording is what excites me most. Our first single, ‘Dark Heart (Where Can We Go Now?)’ is straight up Electro-Pop, almost EDM but with live drums. We have a second single coming out real soon called ‘Yearbook Photo’ that moves into Passion Pit territory and I love it. I’m feeling really good about the new music after Golden Time. Our bass player left the band after Golden Time, and I’ve been writing a lot of the new stuff starting with bass lines. I love playing bass and I feel like the new EP will be a great new sound for us.
Bob: So you have a hand in writing the lyrics, the constructing instrumentation, and mixing; what’s the most difficult aspect of that for you?
John: Among other things, I’m also a producer, and I love putting on the producer hat when looking at Late Cambrian stuff. Creating the riffs and melodies and filling out the music with strings and percussion is so much fun. I think the hardest part for me is writing lyrics. They tend to just show up when I’m not expecting it and I have to be ready to write them down, and then grab a guitar and play and sing the song in order to create more lyrics. For me, writing lyrics is about tapping into the song emotionally and letting the universe speak to me through the music. When I sit down to write I don’t always get good lyrics. I feel like a medium channelling lyrics rather than a writer. Sometimes I wish I could just write them.
Bob: How do you incorporate the other members of your band?
John: With most songs I have written and mapped out the music at home and recorded a demo of the song. I send it to the band and they write parts and we eventually get in a studio and work out how to play and record the new music. We all add our special feeling to the songs to make the Late Cambrian songs, but they do start as demos that I send around to everyone.
Bob: What do you consider your greatest success as a musician?
John: When Late Cambrian toured the UK, Ireland, Scotland, Wales, The Netherlands and Germany opening for Wheatus (Teenage Dirtbag). We played non-stop, 26 shows in 30 days. I learned so much on tour, and met so many new friends and fans. The shows went so well that we sold out of our merch twice (I had someone mail me new stuff from the USA). It showed me that taking our songs to another country might be the best option for Late Cambrian to get our music to new people.
Bob: Thanks John, you’re always a great interview! Is there anything you’d like to plug?
John: Please visit our official website: http://www.latecambrian.com and check up on our progress, watch music videos and stay up to date on new shows and music. Thank you Bob.
Late Cambrian is on Twitter, Facebook, and most social media.
Superman III is bizarrely similar to Batman Forever: they both focus on comedic appeal rather than a devout adaptation, they have weird new villains that weren’t met with the most praise, and they both try to do something new with their respective mythos. The difference is, while Batman Forever raised some interesting ideas, Superman III didn’t. The film suffers heavily from jarring choices to reexamine the character of Superman, and overly complex story elements that are confusing at best and boring at worst. It also wastes one of the greatest comedy legends of all time. The film is not good, and commits the crime of establishing the public perception that Superman is boring.
Richard Lester returned to direct, and screen writers David and Leslie Newman returned to generate a script that could evolve Clark Kent and his adventures. So, where do you take arguably the most famous of superheroes? What daring exploits could the invulnerable, all-powerful Superman find himself in? His high school reunion… I wish that was a joke (Though I do suppose that it’s a slight step up from prom, but not much of a step). Of course, after the awful opening slap stick sequence involving a blind guy, a mime, and a literal pie in the face, I’m not sure why I’m disappointed.
Ah yes, the true essence of comedy are mimes and pratfalls.
So, yes, Clark Kent pitches a piece to his editor, Perry White, about the all American tradition of the high school reunion. It is an interesting concept to see Clark go back to his roots, but there are so many opportunities and places for the character to go that sending him to something as mundane as a high school reunion just squanders any excitement the film might’ve had. Did anybody really want to see Superman interact with the cliché high school bully who’s now a pathetic loser? Or reconnect with the girl who got away?
Speaking of the girl who got away, Lois Lane has a very small part in the film because Margot Kidder vehemently disagreed with Richard Donner being replaced with Richard Lester during the production of Superman II. So instead of seeing more of the great interaction between Clark Kent and Lois Lane, we get actress Annette O’Toole (who also played Martha Kent on Smallville) as high school sweetheart Lana Lang. Lana does have a long and varied history in Superman comics, so it’s nice to see her on the big screen. However, O’Toole plays Lana Lang like a character from a romance novel. She’s very wistful, and yearns for something more in her life, but has responsibilities and just doesn’t know how break free from the invisible chains Smallville has wrapped around her. Her scenes definitely slow the movie to a crawl, but they aren’t bad necessarily, they just feel like they’re for a different movie.
While Clark is at his high school reunion, a new villain enters the picture with a convoluted plot to start importing coffee from Colombia, but then it evolves to importing oil, then evolves to killing Superman, and then finally evolves to creating a computer that can do anything, which in turn creates artificial intelligence. The plot is so baffling and confusing compared to the simplicity of the other stories. The villain behind it all doesn’t sell the ridiculousness of the plot as well as Gene Hackman did. His name is Webster, played by Robert Vaughn, and he diet Luthor; same evil millionaire, half the interesting. It wouldn’t be as glaringly thin if Webster was puppet master for another villain like Metallo, or Parasite, or Toyman, but he’s the main bad guy…
Along with Richard Pryor.
We interrupt your Superman movie for the elegant art of wasting time.
Pryor’s role in this film is a bit of a sore spot for me. Richard Pryor was one of the funniest people to ever live, is still one of my comedic idols, and a huge influence for dozens upon dozens of comedians. So, being a huge fan of the stand-up legend, it is beyond painful to see him perform a character that is basically Jar Jar Binks… Yes I said it. There is nothing funny about his performance, every joke he makes is awkward and easy to predict, his timing is completely off, and he is the worst part of this movie. Maybe it was a terrible script and bad direction to blame, but honestly it doesn’t matter. The movie wasted a great talent on this performance. I suggest we find a way to edit him out of the movie as a benefit to Pryor’s legacy and not the Superman franchise.
Pryor’s role in the film is a bumbling computer genius named Gus who steals from Webster to try to make ends meet. Webster notices Gorman’s computer abilities and forces him to help with all the nefarious deeds. It’s worth repeating the plot is convoluted and unfocused. We’ve got the Smallville connection, Gorman’s story arc, Webster’s evil plot against Colombia, Gorman carrying out Webster’s evil deeds, Webster’s evil plot to get oil, Lana Lang as a potential love interest, Webster’s sister and his girlfriend/secretary/hooker included in the story, the creation of fake Kryptonite, Superman still saving people, and on top of all that, we have Superman becoming a jerk.
“Bow before the intellectual might of Luth- I mean Webster! Webster! That’s my name. My name is Webster.
That’s right, the kryptonite Gorman and Webster create isn’t true kryptonite. It’s red kryptonite (except it isn’t actually red) and red kryptonite turns Superman into an asshole. After he gets exposed, Superman flies around blowing out torches, straightening the Leaning Tower of Pisa (isn’t that a good thing though? I thought the tower was supposed to fall some time soon), sleeps with a woman, destroys a boat, and even gets drunk. This all leads to a showdown between the new, douche bag Superman, and his alter ego Clark Kent. Goodness eventually wins out over evil, and Superman is just the way he was.
Again, while the concept of Superman facing his alter ego is intriguing, there’s never a feeling that this conflict is taken seriously. We as an audience all know Superman will win and overcome his dark side. The first thirty minutes of the movie is of Superman being same old cookie cutter, American boy scout, and then when he becomes this jerk it just feels disingenuous and a desperate attempt for feigning interest. This is partly because, Superman never does anything that cruel except destroy an oil tanker. Maybe this is partly due to Christopher Reeve, we just can’t see him be a mean Superman partly due to the fact that we’ve seen him play the ultimate nice guy superhero. And of course, because the film goes back to the status quo, it makes the character less interesting. I never feel like Superman learned anything other than, “don’t touch any green rocks anyone gives me.”
The one plus this film has is that it’s a technical marvel just like the previous two. The flying scenes are nice to see and still very seemless, the practical effects make every stunt and action look realistic, and admittedly some of the action scenes (particularly the final climax) is fairly entertaining. Though they all raise a lot of logistical questions, the Superman films threw out logic a long time ago. Overall, this is definitely a Superman movie you can skip.
Next time, on the “Road to Batman V Superman” I look at the film that killed the Batman film franchise. That’s right kids, next on my list is Batman & Robin, starring everyone’s favorite Batman, George Clooney…. Crap.
Maybe if I keep drinking I’ll forget about Superman IV.
Poorly-paced, predictable, and teeth-gnashingly cheesy in moments of “high” emotional drama, The 5th Wave is representative of Hollywood studios doing the worst possible disservice to an author and a popular novel series in its efforts to bring the novel’s story to the screen. While the sci-fi backdrop of the film’s story brings a great deal of potential for original suspense, what happens in the foreground is teen-romance-by-numbers, resulting in a wholly uninteresting and underwhelming cinematic experience.
Chloë Grace Moretz (Kick-Ass, If I Stay) plays Cassie Sullivan, a middle America teen whose most standout qualities prior to the end of the world as she knows it are that she’s actually a good, sweet girl who follows the rules, gets home before curfew, and enjoys tucking her little brother Sammy (Zackary Arthur) in at night by singing him to sleep. But her “normal” life, as well as the normal lives of everyone else on Earth, comes to a crashing halt with the silent arrival of “the Others”, aliens who, upon their arrival, at first simply hover ominously above the planet in space ships the size of cities. But within days the invaders begin their onslaught upon humanity in catastrophic “waves”, the first three of which decimate the planet’s population.
Cassie, Sammy, and their father Oliver (Ron Livingston) survive the first three waves, and are among a small group of survivors who believe their salvation is at hand with the arrival of U.S. Army Colonel Vosch (Liev Schreiber) and troops from a nearby Air Force base. But Cassie’s encounter with Vosch and his men heralds the fourth wave, and is the real beginning of her survival story, not the end, as soon she finds herself separated from Sammy, alone in the wilderness and hunted by the Others, who seek to eliminate the last remnants of Earth’s once-dominant species.
Determined to re-unite with Sammy, Cassie carefully makes her way across a now-desolate and lifeless landscape toward her only clue to his whereabouts, while Sammy himself, along with hundreds of other children and teens, including Cassie’s one-time classmate crush Ben Parish (Nick Robinson, Jurassic World) find themselves facing their own test of fortitude, as they are tasked with nothing less than becoming soldiers and driving the Others from the planet. But can any of them — Cassie, Sammy, Nick, or their fellow survivors — trust anyone or anything, including each other, in their efforts to simply survive?
The script for The 5th Wave, by scribes Susannah Grant (Erin Brockovich), Akiva Goldsman (I am Legend) & Jeff Pinkner (The Amazing Spider-Man 2), is by far the weakest link here, as it fails to even once deliver a twist or a plot turn that doesn’t feel obligatory to the genre and the target audience. First-person narration by the main character to retain character interiority and the feeling of “reading” the story, the likable, easily sympathetic every-girl main character who must find inner strength and fortitude she didn’t know she had, a love triangle (or, at least, the beginning of one), and an ending that naturally points to sequel films — it’s all here, and in addition to it all unfolding seemingly at half-speed — The 5th Wave clocks in at under two hours but feels more like three — now, in the post-Twilight, post-Hunger Games glut of films derived from profitable YA properties, it all comes off as uninspired, regardless of the talent on screen attempting to make that material compelling.
Speaking of that talent, it’s worth noting that they do their with what they’re provided. Chloë Grace Moretz is certainly no stranger to action at this point in her career, so she handles the physicality necessary demanded by the role of Cassie with comfort and ease. She’s also a performer of considerable acting skill, which she demonstrates over and over again in The 5th Wave while making even the silliest, most contrived scenes, most of which center on the film’s main romantic subplot, even remotely watchable. Meanwhile, Nick Robinson, who spent most of his screen time in last year’s Jurassic World either in moody-teen-mode or running for his life from CGI dinosaurs, gets to show a bit more dramatic range, as he capably handles the change All-American football star and good guy Ben undergoes, transforming into the guy his squadmates come to know as “Zombie.” As for Liev Schreiber, his talents are hardly challenged here. He’s asked to be charismatic, complex, and intense — hardly a stretch for the actor who leads the cast of Showtime’s “Ray Donovan” every season.
Put all that together, and you have in The 5th Wave a film that underwhelms in every measurable way. The novel, which was published in 2013, got its sequel, “The Infinite Sea” in 2014, and the conclusion of the series, “The Lost Star” is due out later this year. If the result of this production and its high box-office bomb potential has anything to do with it, however, it’s quite unlikely that the film series will enjoy the same longevity.
The 5th Wave
Starring Chloë Grace Moretz, Nick Robinson, Ron Livingston, Maggie Siff, Alex Roe, Maria Bello, Maika Monroe, and Liev Schreiber. Directed by J Blakeson.
Running Time: 112 minutes
Rated PG-13 for violence and destruction, some sci-fi thematic elements, language and brief teen partying.
After many long years, the much beloved Spider-Man character will finally join the Marvel Cinematic Universe in a deal that was announced in 2015 between Sony and Marvel Studios. Spider-Man will first show up in this summer’s Captain America: Civil War. The next time we catch up Spidey will be in his latest reboot and one thing we still don’t know is what this film could be called, with the assumption that it won’t be either Spider-Man nor The Amazing Spider-Man as not to be confused with the previous movies. Let’s take a look at some potential titles for the reboot.
Spectacular Spider-Man
To date, there has been over 700 issues that fell under the The Amazing Spider-Man banner, and it was no surprise when Sony rebooted the movie franchise in 2012 they went with this to differentiate it from Sam Raimi’s series. With another reboot coming our way, the smart money could be on The Spectacular Spider-Man which is the second longest running Spider-Man comic title. This was also the name of a short-lived animated TV series that aired between 2008-2009.
Peter Parker, Spider-Man
Another former comic title, Peter Parker, Spider-Man. Mostly known for its part in the Clone Saga throughout the 90s, Peter Parker, Spider-Man was the banner for over 150 issues of Spider-Man comics. One of the criticisms of the previous movies was that neither tapped into the true essence of Peter Parker and Spider-Man as two different personalities. This may set the tone that the film is about portraying the true Peter Parker as well as Spider-Man.
Spider-Man: Brand New Day
Brand New Day served as the title of a relatively unpopular storyline that witnessed Peter’s life with Mary Jane erased from history. This film will probably not be an adaptation of that storyline but this would serve as a great title for this movie. A new take on Spider-Man and a new day for the MCU with a brand new type of hero.
Spider-Man: Kraven’s Last Hunt
The title of one of Spider-Man’s most famous story arcs, although I’m rooting for Kraven to appear this is not a direct suggestion, but more an idea that the subtitle may directly reference the antagonist. This is a possible option as we’ve seen it done already in the MCU with Avengers: Age of Ultron and Captain America: The Winter Soldier.
Spider-Man: The New Avenger
Spider-Man traditionally refused to join any Avengers team in the comics until Brian Michael Bendis’ New Avengers series in 2004. Marvel will probably not echo his reluctance in the MCU, but they may choose to nod to his first official appearance with the reboot. This title would also reflect the first appearance of Cap in The First Avenger.
In the past week, I have been dragged into the world of podcasts as of late. Listening to tens of hours of content while running, doing household chores, and my work. Within the past 10 days, I have become addicted to podcasts, this is due, almost entirely, to the WBEZ Chicago, This American Life spin-off Serial.
“Serial tells one story—a true story—over the course of a season. Each season, we follow a plot and characters wherever they take us. We won’t know what happens at the end until we get there, not long before you get there with us.”
The first season of Serial covers the murder of Hae Min Lee. The incomplete nature of evidence has attracted people to take sides, demands for retrials, and the interest of reporter Sarah Koenig.
“On January 13, 1999, a girl named Hae Min Lee, a senior at Woodlawn High School in Baltimore County, Maryland, disappeared. A month later, her body was found in a city park. She’d been strangled. Her 17-year-old ex-boyfriend, Adnan Syed, was arrested for the crime, and within a year, he was sentenced to life in prison. The case against him was largely based on the story of one witness, Adnan’s friend Jay, who testified that he helped Adnan bury Hae’s body. But Adnan has always maintained he had nothing to do with Hae’s death. Some people believe he’s telling the truth. Many others don’t.”
The first season is broken up into twelve episodes, with an average length of any given episode being about 42 minutes (the longest is 55 minutes, shortest being 27 minutes), this gives Serial almost 8 1/2 hours of time to delve into the details. Each episode has a rough focus, on the body location, on Jay’s account, on the investigative process. This is where one of Serial‘s strengths is apparent, its focus on detail.
Unlike TV murders, Adnan’s case is very messy, full of contradicting accounts and evidence, details that may or may not be useful, and general chaos. Serial is not afraid to closely examine everything, presenting any and all evidence to its audience, both for and against Adnan. Serial‘s greatest asset is the power it gives its audience.
Unlike TV murders, the answer is not obvious, unlike TV murders, the liars are not clear, unlike TV murders, Serial is interesting. Serial lets you see the evidence up close, Serial lets you choose how important each piece is, Serial lets you decide what to make of the case. Sarah Koenig does not present herself as the one who knows everything, the one who will guide you through this case towards the conclusive answer. By the finale, Sarah is just as confused, unsure, and conflicted as you are.
The quality of the podcast is just as great. While quite a few clips are a little hard to hear (most were recorded in 1999 after all), Sarah’s voice is crisp and clear. The music was never too obtrusive, and it helped add to the atmosphere. The theme, in particular, was exceptional, setting the perfect mood while also playing clips from earlier to refresh the memory. The true stamp of quality, however, is that every time the theme played the only thought that went through my head would be, ‘I cannot wait for what’s about to come.’
The crew of Serial
Serial is a chance to really sink your teeth into a criminal case, turning every stone, chewing on each new development. The only flaw to be found in Serial is that, unlike TV murders, the conclusion is not satisfactory. Despite the hours of interviews and research Sarah Koenig does not have a conclusive answer, and despite the hours of listening, neither does her viewers.
The Mummy, Universal’s official launch of their new connected monster’s universe, has a new robust release date of June 9, 2017. Additionally, Tom Cruise, who has been circling the project in rumor mills for some time, is now officially attached to the film.
The new release date instills confidence in the project. Moving the date from March 24, 2017 to the middle of the summer movie season is promising on one hand, but on the other hand, it raises new concerns that the picture will be action oriented. That, on top of the fact action superstar Cruise is officially on board. Sofia Boutella will star alongside Cruise, and is expected to be the new female mummy character.
Cruise’s role is uncertain at this point, but rumors have been narrowing his part down. Variety’s Justin Kroll tweeted back in November that Cruise would probably play an ex-Navy SEAL who might show up in latter entries in the universe and tie things together:
@TheInSneider neither I believe he plays an ex-navy seal though that might have changed. Mummy will likely be a female
This is also a little disconcerting… a Navy SEAL?! This is definitely angling towards an action-heavy kickstart to a franchise which absolutely deserves to be heavier on the horror. Hopefully they mix the two elements well.
Mark Ruffalo recently spoke to Empire about his role in next year’s Thor: Ragnarok.
Ruffalo will be reprising his role as Bruce Banner, a.k.a. The Hulk, who was last seen going into seclusion at the end of Avengers: Age of Ultron. He will co-star opposite Chris Hemsworth, returning as Thor for the fifth time, whose apocalyptic vision in Age of Ultron laid the seeds for his next solo title. Ruffalo commented briefly on what can be expected in the film:
“There’s a little bit of Midnight Run, with [Charles] Grodin and [Robert] De Niro,” Ruffalo told Empire. “I feel like that’s kind of where we’re heading with this relationship between Thor and Banner.” So is it a road movie? “It is a universal road movie – that’s where we’re heading,” he says, adding cryptically: “It’s not where you’d think it will be, so it’s not your classic road movie but it has that structure, I think.”
Ruffalo acknowledges that he hasn’t actually read the script for Ragnarok yet, but he bases his description on conversations he has had with others working on the film.
It’s interesting that the Academy Award nominee chose Midnight Run as a comparison, since the 1988 film is more “buddy comedy” than action/adventure, but that may have been his intended meaning. Here he comments on the new Thor taking a more “smart-comedic” route:
“I love Chris [Hemsworth], and it’s not an accident that we’ve been put together because we have a good time together and we goof off. The fact that we’re moving towards the smart-comedic bent plays into our relationship.” And Banner will be heading to Asgard. “[Am I looking forward to that?] Hells, yeah.”
Thor: Ragnarok is scheduled for release in the US on November 3, 2017.
On Monday, Netflix started to release information on their original programming for 2016. Below is a complete list of shows with premiere dates, trailers, and descriptions.
The network also announced a second season of Marvel’s Jessica Jones has been ordered, release date is still unknown.
Chelsea Handler is going there. In this new four-part documentary series, Handler is asking the questions that we all have, but are too afraid to ask. Delving into topics that fascinate her: marriage, racism, Silicon Valley, and drugs– she goes after answers, all with her wry and unique sense of humor.
February 5 – Hannibal Buress: Comedy Camisado
He’s a kamikaze gambler. A one-arm cuddler. And if his fly is down, so be it. A night of sly riffs and slow burns.
February 19 – Love
“LOVE follows Gus and Mickey as they navigate the exhilarations and humiliations of intimacy, commitment, and other things they were hoping to avoid.
Having recently ended their respective dysfunctional relationships, Gus and Mickey meet each other by chance at a convenience store and forge a connection in the mending of their broken hearts and egos.
Created by Judd Apatow (40 Year Old Virgin, Trainwreck), Lesley Arfin (Brooklyn Nine-Nine, Awkward) and Paul Rust (Arrested Development).
February 26 – Fuller House
In Fuller House, the adventures that began in 1987 on Full House continue, with
Veterinarian D.J. Tanner-Fuller (Candace Cameron-Bure) recently widowed and living in San Francisco. D.J.’s younger sister/aspiring musician Stephanie Tanner (Jodie Sweetin) and D.J.’s lifelong best friend/fellow single mother Kimmy Gibbler (Andrea Barber), along with Kimmy’s feisty teenage daughter Ramona, all move in to help take care of D.J.’s three boys — the rebellious 12-year-old Jackson, neurotic 7-year-old Max and her newborn baby, Tommy Jr.
February 26 – Theo Von: No Offense
March 4 – House of Cards, Season 4
March 11 – Flaked
March 18 – Jimmy Carr Funny Business
March 18 – Marvel’s Daredevil, Season 2
Just when Matt thinks he is bringing order back to the city, new forces are rising in Hell’s Kitchen. Now the Man Without Fear must take on a new adversary in Frank Castle and face an old flame – Elektra Natchios.
Bigger problems emerge when Frank Castle, a man looking for vengeance, is reborn as The Punisher, a man who takes justice into his own hands in Matt’s neighborhood. Meanwhile, Matt must balance his duty to his community as a lawyer and his dangerous life as the Devil of Hell’s Kitchen, facing a life-altering choice that forces him to truly understand what it means to be a hero.
April 1 – Lost & Found Music Studios
April 1 – The Ranch
April 15 – Kong: King of the Apes
April 15 – Unbreakable Kimmy Schmidt, Season 2
April 22 – Patton Oswalt: Talking for Clapping
May 5 – Marseille
Robert Taro has been the mayor of Marseille for 25 years. Now he faces a merciless election against his young, ambitious former protégé.
Comedy team Key and Peele, whose Comedy Central show came and went too quickly, have reunited for their first feature-film together: Keanu. And no, this has nothing to do with Reeves.
Keanu in this instance is an adorable cat. Here is the (NSFW) trailer:
And here’s the synopsis:
Keegan-Michael Key and Jordan Peele, a.k.a. the hugely popular comedy duo Key & Peele, star as Clarence and Rell, two cousins who live in the city but are far from streetwise. When Rell’s beloved kitten, Keanu, is catnapped, the hopelessly straight-laced pair must impersonate ruthless killers in order to infiltrate a street gang and retrieve the purloined feline. But the incredibly adorable kitten becomes so coveted that the fight over his custody creates a gang war, forcing our two unwitting heroes to take the law into their own hands.
Key and Peele have gotten stronger in their absence from Comedy Central. Their show was aces, but they have each appeared in skits and in small roles on TV and film. This promises to be right in the wheelhouse of their comedic stylings.
As a football fan, Twitter is the best place to create a second screen experience with an NFL game, but with Facebook’s announcement of Facebook Sports Stadium, this could put a huge dent in Twitter’s limited user base.
Today Facebook launched the Facebook Sports Stadium, a dedicated place to experience sports in real-time with your friends and the world.
With 650 million sports fans, Facebook is the world’s largest stadium. The social network has built a place devoted to sports so you can get the feeling you’re watching the game with your friends even when you aren’t together.
With Facebook Sports, all the content on Facebook related to the game is in one place, and it comes in real time and appears chronologically.
Users can: Posts from your friends, and their comments on plays
Posts and commentary from experts, like teams, leagues and journalists, with easy access to their Pages
Live scores, stats and a play-by-play
Game info, like where to find the game on TV
Users can follow the action as the game unfolds with a live play-by-play, and even like, comment on, and share individual plays. You can also get up to speed quickly with live scores and the most discussed plays. Facebook hopes this second-screen experience makes watching the broadcast even better.
As of now users can get to Facebook Sports by searching for the game, with updates coming soon. You can bet that Facebook will make a major push with this product over the next two weeks before Super Bowl 50 in Santa Clara, California.
