James Tucker an animation producer at Warner Bros. was a panelist at Batman: Bad Blood panel at New York Comic-Con and during the panel the conversation led to talks about the upcoming animated film adaption of Batman: The Killing Joke. Tuker said the film had been given the okay for an R-rating but the producer hasn’t decided if he will push the film that far.
The source material for the story is really brutal and it will be a very difficult task to make a PG-13 version of Allan Moore’s work.
Batman: The Killing Joke is the seminal graphic novel written by Alan Moore and drawn by Brian Bolland that offers up a potential (but not exactly trustworthy) origin for the Joker, and that led to a paralyzed Barbara Gordon to retire as Batgirl…temporarily. According to DC Comics and Warner Bros. it’s been one of the most regularly requested animated films by fans.
The animated adaptation of Batman: The Killing Joke is executive produced by Bruce Timm and will retell this classic tale in an exciting new way. The film will also feature an original 15-minute prologue that helps set up the story.
Batman: The Killing Joke will be released direct to video and digitally in 2016.
DC Super Hero Girls, the girl-powered new line of toys, animation and graphic novels, made its debut at New York ComicCon with a standing room only panel and booth. In this clip, hear from several of the women responsible for bringing the DC Super Hero Girls to life as they discuss what this new take on the characters means to them and to the next generation of DC fans.
Moderated by DC All Access host Tiffany Smith, the panel featured the creative women behind-the-scenes of DC Super Hero Girls, including:
Ashley Eckstein, Voice of DCSHGs’ “Cheetah”
Aria Moffly, DCE Creative Director
Shea Fontana, DCSHG Animation Writer & DC Comics Graphic Novel Author
Lisa Yee, Random House Children’s Books DCSHGs Middle-Grade Novel Series Author
Christine Kim, Mattel Toy Design Manager
Tania Missad, Mattel Consumer Insights Director
The first two episodes of Doctor Who‘s ninth season were very dense affairs required a hefty about of knowledge of The Doctor’s history and mythology of the show to fully enjoy it. The follow-up episode “Under the Lake” is a much more a straight forward horror/sci-fi story works as a standalone story with some references to the wider series.
The TARDIS takes The Doctor and Clara to in an underwater mining base in Scotland in the year 2119 with The Doctor sensing something very wrong with his beloved time machine. And it turns out his instinct are right because the base is haunted by two ghosts, including the base’s deceased commander, attacking the reminding members of the crew at night. It is up to the Doctor to find up what the ghosts, what they want and do what he does best, save the day.
When watching “Under the Lake” it felt very similar to the season 2 episode “The Impossible Planet”, The Doctor and his companion landing in a location that would raise questions on how they would have got they, the people on the base are in working in a tough and isolated environment while on an exploration mission which they are not able to go outside and having to battle a supernatural threat that should not exist. The crew on the base find a spacecraft, a ruin that had been in the lake for centuries and has text written in a language that not even the TARDIS cannot translate. Due to the underwater setting the episode is similar to the James Cameron The Abyss, having a private/military combined mission to explore and finding alien technology of some sort.
Clara’s fun side again, wanting to head off into another adventure but the Doctor being more cautious considering how the TARDIS is acting. A fun little moment is when the Doctor gets excited about the prospect of facing ghosts and Clara has to disciple him, making him read his cue cards for more sensitive with his social interactions. The cast from the base is more a mixed bag, some characters being better written then others: Morven Christie as O’Donnell was a delight as a fan of the Doctor and his work, being eager to work with him but then there was Steven Robertson’s Pritchard who was so one-dimensional as the money grubbing corporate man he borders on parody. Fans of Christopher Nolan’s “Dark Knight Trilogy” should be able to recognizable one of the members of the crew.
The ghosts have effectively creepy look, having black voids for where their eyes should be and the episode uses its setting to give the story a very claustrophobic feel. The narrow corridors and rooms only leave so many places where everyone can run and hide; it is also handy for budgetary reasons but good writers and directors know how to turn these limitations into advantages which “Under the Lake” is a fine example of.
“Under the Lake” ends of a cliffhanger, the first time in the modern era of Doctor Who where a two-parter is followed by another two-parter. We will see how what the second part put would have installed for us and how it justifies itself seeing the story premise could have worked a single episode. At least from the promos the second part is going to be a change up to part one.
Fans in England who watched Doctor Who over the Rugby made a wise decision considering the result.
The Witch is not what you’d expect from its trailer. And if you dared to watch it when it came out I hope you don’t remember much about it, otherwise the most intense moments in the film will be spoiled for you.
Today started in Sitges (a beach town near Barcelona, Spain) the 48th International Fantastic Film Festival of Catalonia, one of the most recognized film festivals worldwide. Specialized in sci-fi, horror and fantasy, it’s comparable to last week’s Fantastic Fest in Austin, only the latter is merely 10 years-old.
The biggest feature to kick start this year’s Sitges Film Festival was The Witch andin hindsight, I realize that I went in with the wrong expectations. I’d read several headlines describing The Witch trailer as “extremely scary” and even if I don’t tend to watch trailers for movies I’m interested in, that little piece of information already set a bar. All the hype around it from other festivals didn’t help matters either.
Truth be told, I really enjoyed The Witch despite the fact that it’s not the film I was expecting to see. It’s director and screenwriter Robert Eggers‘ debut feature film and he must be commended for the amount of work that went into making this movie.
First of all, the screenplay is phenomenal, going by the tagline “A New-England Folktale” you can definitely count on the dialogue being based on old 1600s texts found during an obviously very extensive research. In this sense, the whole cast excel at delivering their lines, to the point where their very prominent accent mixed with old English can be unintelligible. I was grateful about the subtitles we had on screen even though all the actors, including the kids, are on point and the plot can be easily followed along from their expressions and actions. Anya Taylor-Joy and Ralph Ineson stand out with the best performances along with the most developed and engaging characters.
The story in itself is an understated push and pull between what’s imposed or presented as a fact and what’s our nature as individuals. It uses religion and folklore believes in juxtaposition in such a way that makes the viewer question everything that happens on screen from a certain point.
In terms of the music, from the beginning it grabs the audience’s attention with its strident notes, reminiscent of the Under the Skin soundtrack at times. It’s wisely used in anticipation between shots and to accentuate the high tension in some of the scenes. The production and costume design are also worth mentioning because they bring so much to creating a 1630s New England outskirts atmosphere, with the gray and brown tones in the clothing, the little hay and wood houses near the woods…
But the best aspect of The Witch is the cinematography. What separates this film from an old time-y story with a few contemporary horror-type jump scares is the way every shot is calculated meticulously along with the slow pacing. In a way, it feels like it breathes, growing organically from its first scene to the last, taking time to pause a few times along the way, letting the viewer digest it. Until it climaxes with a satisfying fist on the table before letting you go gently at the very end.
All in all, I wouldn’t tag this film as horror per se, since it ends up being more daunting than scary.
The Witch
Directed and written by Robert Eggers.
Starring: Anya Taylor-Joy as Thomasin; Ralph Ineson as William; Kate Dickie as Katherine; Harvey Scrimshaw as Caleb; Lucas Dawson as Jonas; Ellie Grainger as Mercy.
Music by: Mark Korven.
Director of Photography: Jarin Blaschke.
The Javits Center’s Main Stage was the hottest spot in town Friday morning as fans finally got to hear the latest on Frank Miller’s final chapter of his game-changing DARK KNIGHT Trilogy, DARK KNIGHT III: THE MASTER RACE (DKIII). DCE’s John Cunningham moderated a panel of comics’ cream of the crop: DCE Co-Publisher and artist extraordinaire Jim Lee, DKIII writer Brian Azzarello, DKIII artist Andy Kubert and inker Klaus Janson. Each of them discussed with fans how Frank’s work, both leading up to and including DARK KNIGHT was such an influence on them. Fans were also treated to some of the groundbreaking art from both THE DARK KNIGHT RETURNS and the sequel, DARK KNIGHT STRIKES AGAIN.
With so much praise, his ears must have been burning, because Frank Miller himself made a cameo appearance as one of the panelists, to a fan-crazy chorus of cheers from those in attendance. He spoke at length about how this story was years in the making and how he plans to bring about a truly satisfying conclusion to this final chapter of the DARK KNIGHT Trilogy.
Fans were then treated to early pages from Book One of DKIII, in addition to learning more about the DARK KNIGHT UNIVERSE mini comic that Frank Miller and Klaus Janson will be delivering as part of this 8 issue magnum opus. The first installment, DARK KNIGHT UNIVERSE Presents THE ATOM, is included when the first issue of DKIII goes on sale November 25th and represents the first time Frank and Klaus have collaborated on a project together in nearly 30 years.
If there was ever a franchise that beat a dead horse it would be Fast and Furious, oops. I meant Expendables.
It appears that Expendables 4 will be given a $100 million budget and begin filming in 2016 for a 2017 release, according to Variety. But I thought the last film bombed only making $39 million in the United States? Thanks to $166 million on the international market, the Expendables franchise lives on.
No announcements regarding director or cast have been made at this time.
What made Expendables 3 the best one of the series to date was performance of Mel Gibson as the villain. It does certainly help that many people already view him as a villain and would like to punch him in the face as well. Jean-Claude Van Damme was the bad guy in two with Eric Roberts starting things off in the first film.
Who would you like to see as the villain in the fourth film?
The nominees for induction into the Rock and Roll Hall of Fame in 2016 are:
The Cars
Chaka Khan
Chicago
Cheap Trick
Chic
Deep Purple
The J.B.’s
Janet Jackson
Los Lobos
Steve Miller
N.W.A.
Nine Inch Nails
The Smiths
The Spinners
Yes
To be eligible for nomination, an individual artist or band must have released its first single or album at least 25 years prior to the year of nomination. The 2016 Nominees had to release their first recording no later than 1990.
Ballots will be sent to an international voting body of more than 800 artists, historians and members of the music industry.
The Rock and Roll Hall of Fame will again offer fans the opportunity to officially participate in the induction selection process. Beginning October 8 and continuing through December 9, 2015, fans can visit rockhall.com to cast votes for who they believe to be most deserving of induction into the Rock and Roll Hall of Fame. The top five artists, as selected by the public, will constitute a “fans’ ballot” that will be tallied along with the other ballots to choose the 2016 inductees.
The Rock and Roll Hall of Fame 2016 inductees will be announced in December.
All inductees are ultimately represented in the Rock and Roll Hall of Fame and Museum in Cleveland, the nonprofit organization that tells the story of rock and roll’s global impact via special exhibits, educational programs and its library and archives.
The Rock and Roll Hall of Fame 2016 Inductions, presented by Klipsch Audio will be held in New York in April 2016 and HBO will again present the ceremony later in 2016. Venue and ticket on-sale information will be announced at a later date. Klipsch Audio, a leading global speaker and headphone manufacturer, is a strategic partner and presenting sponsor of the Rock and Roll Hall of Fame, its Induction Ceremony events and the Rock and Roll Hall of Fame’s Main Stage. Klipsch’s renowned products deliver the power, detail and emotion of the live music experience throughout the iconic museum.
Joel and Ethan Coen’s upcoming screwball comedy Hail Caesar has a new trailer, and it is as outstanding as you would expect. All the quirky offbeat comedy and curious characters are on display here, from Josh Brolin, to Tilda Swinton, to George Clooney, and Scarlett Johansson, among others.
Here is the Hail Caesar trailer:
Here is the official synopsis:
In 1950s Hollywood, Eddie Mannix is Capital Pictures’ head of physical production and, most importantly, the studio fixer. His job is to maintain the clean reputation of the company and its stars, keeping them free from controversy. Mannix is advised that studio star Baird Whitlock has disappeared after not showning up for work on the current production of “Hail Caesar, a Tale of Christ’s Life.” He initially believes Whitlock has been drinking, but receives a call from a group of communists who claim to have kidnapped him and want a ransom. As Mannix gathers the cash, he simultaneously deals with an unhappy director who is working on another project, while innocent young starlet DeeAnna Moran is pregnant and unmarried. Mannix must handle all of this while keeping the gossip columnists off the scent. When Mannix is approached by an aviation company with an offer of a less-hectic, and rather lucrative, job, he must ultimately determine his true skills and passions.
Along with Brolin, Clooney, Johansson and Swinton, Hail Caesar also stars Channing Tatum, Ralph Fiennes, and Peter Stormare. It’s set for a February 5 release date. Expect great things.
The trailer for Pride and Prejudice and Zombies is here just in time for Halloween. The long-awaited adaptation of the Seth Graham-Smith novel stars relate unknowns in the title roles, and looks to be quite a bit of fun judging by this teaser
Here is the trailer:
https://youtu.be/QWr3mLI8Xl8
For anyone unfamiliar with the novel, here is the official synopsis:
PRIDE AND PREJUDICE AND ZOMBIES is a fresh twist on Jane Austen’s widely celebrated novel. A mysterious plague has fallen upon 19th century England, the land is overrun with the undead and feisty heroine Elizabeth Bennet is a master of martial arts and weaponry. Casting aside personal and social prejudices, Elizabeth and Mr. Darcy must unite on the blood-soaked battlefield to rid the country of the zombie menace and discover their true love for one another..
The film stars Lily James, Sam Riley, Bella Heathcote, Jack Huston, Douglas Booth, Matt Smith, Charles Dance, and Lena Headey. Pride and Prejudice and Zombies is also directed by a relative unknown, Burr Steers, who previously directed the indie Igby Goes Down. He seems to have an idea as to the tone he wants to set with the film, which opens on February 5, 2016.
You may have forgotten the patient, slow-burning first act of William Friedkin’s The Exorcist. It’s all a ploy, a peaceful and welcoming slice of life luring you into a false sense of security. We meet Father Merrin (Max von Sydow), exploring the sands of Northern Iraq, discovering sinister idols. Then we hop over to Georgetown, and are invited into the home of actress Chris MacNeil (Ellen Burstyn) and her sweet young daughter, Regan (Linda Blair). Regan is purposefully normal, innocent and open faced, and we feel the love between her and her famous but attentive mother.
We meet Father Karras (Jason Miller), a priest struggling with his faith, concerned with the well-being of his dying mother. The moments with his mother, and these quiet moments with Chris and Regan, are pleasant glimpses of humanity. Friedkin’s cameras observant and caring, and these early scenes have an almost Altman-esque drift as we casually observe conversations. But there’s that strange scratching noise coming from the attic of Chris’s brownstone. And Regan seems to be acting unusual.
Then, all hell breaks loose.
The Exorcist unleashes pure insanity in ways most films and filmmakers would never dare. It is a full-frontal assault on the humanity built up in this calming first act. Regan’s possession steadily increases, from swearing binges, to body attacks, to cuts and scrapes and voices gurgling from deep inside her body. All the while, doctors tell Chris it’s a neurological problem, a blood clot in her temporal lobe. When that proves false the doctors point Chris the way of a psychiatrist. Nobody wants to even consider such an outlandish idea of a demonic possession. That is one of the core strengths of The Exorcist, its dedication to reality. This is the real world here, demonic possessions are ridiculous and antiquated studies. Even when Chris approaches Father Karras, his reluctance to call Regan’s affliction a demonic possession intensify what the audience knows; this is the work of Satan, and why will nobody admit it?
That is the true horror at the heart of the film: Desperation. As Regan falls deeper and deeper under the control of the demon inside her, Chris and the doctors, and even Father Karras, are seemingly helpless. Much has been made over the years of Linda Blair’s disturbing, effective performance as she becomes this demon and all signs of poor Regan disappear. But perhaps the more unsettling performance is that of Burstyn as Chris. Regan becomes the demon, any semblance of a 12-year old girl vanishing beneath the brilliant makeup. She is the monster of this monster film, leaving her mother helpless and desperate beyond belief. Burstyn’s performance is unhinged and nerve-frying. She cries out continually for someone, anyone, to help her and help her daughter. Her begs are severe, high-pitched, frustrated. It is a draining performance by Burstyn, who gradually slips into her own sort of sleep-depraved madness in the midst of the unexplainable. Burstyn’s Chris is the representation of the audience, who themselves grow increasingly desperate in the face of such insanity.
Even the arrival of Father Merrin creates unease, as Friedkin shoots von Sydow’s imposing frame to seem even bigger, broader, and more dominating, a monster to fight a monster. There is no release in this film, even once Regan is free of the demon and Father Karras hurls himself through the window and down the stairwell.
William Friedkin is a director who never shies away from dragging the audience through the intense gauntlet of the most horrific imagery. Here, Friedkin throws everything relentlessly at the screen. Head spinning, crucifix-masturbating, vomiting, Regan is no longer an innocent young girl; she is a vehicle for Satan. The “true” story which served as the inspiration for William Peter Blatty’s novel centered on a boy, not a girl. Friedkin’s decision to change the subject to a girl was primarily to protect the players in the real story. But it also works to enhance the desperation; a young girl brings with it more vulnerability to exploit. The Exorcist opens the floodgates of disturbing horror unlike any film, and is so effective because the subject of the film is not an adult corrupted by society, but an innocent young girl.
