BREAKING NEWS: Marvel Comics to stop numbering books and label everything #1 (Just kidding, but I wouldn’t put it past them.)
Marvel Comics did announce today that Spider-Gwen #1 will be out in October.
Because you demanded it (We did?), the character that took the world by storm is back and she’s better than ever for a brand-new ongoing series this October! Today, Marvel is pleased to present your first look at SPIDER-GWEN #1 – coming to you from the red-hot creative team of Jason Latour, Robbi Rodriguez and Rico Renzi! Now is your chance to jump in with a clean entry point into Marvel’s breakout sensation of the year! The answers you’ve been waiting for are here: the secret history of Gwen Stacy & Peter Parker revealed! Someone out there has recreated Peter’s Lizard formula. The same formula that mutated him, branded Gwen a fugitive and ultimately cost Peter his life. Gwen WILL NOT let that happen to anyone else – no matter the cost. But with NYPD Captain Frank Castle and the Kingpin of Crime Matt Murdock still on her trail, that won’t be so easy. Plus, the introduction of Norman Osborn and Harry Osborn. What could possibly go wrong? The next epic chapter of Gwen Stacy’s life is about to begin. And you won’t want to miss the bombastic debut as she swings into comic shops once more in SPIDER-GWEN #1 this October!
This is what Marvel wrote about the first Spider-Gwen #1 released in February of this year.
SPIDER-GWEN SPINS INTO HER OWN SERIES! BECAUSE YOU DEMANDED IT! The breakout hit of the biggest Spider-Event of the century is taking comic shops by storm this winter with her own new ongoing series SPIDER-GWEN! Gwen Stacy is Spider-Woman, but you knew that already. What you DON’T know is what friends and foes are waiting for her in the aftermath of Spider-Verse! From the fan-favorite creative team that brought you Spider-Gwen’s origin story in EDGE OF SPIDER-VERSE, Jason Latour and Robbie Rodriguez!
They should have Jason Aaron write the teaser descriptions for a month, he wouldn’t use all caps and yell at us.
In my first installment of horror remakes, I discussed Rob Zombie’s Halloween (2007) remake. What a great take on a classic character from my adolescent nightmares. To hear the opening notes of the theme song, duh duh duh dun dun DUH, chills me to the bone ’til this day.
Now I want to tackle Wes Craven’s The Last House on the Left (1972). What a gruesome film. Two teenage girls, Phyllis and Mari, are on their way to a concert. They take a detour to try and score pot before the show and run across a band of crazy convicts who brutally attack them. The next day, they drive the girls into the woods and, unbeknownst to the criminals, the woods are near Mari’s home. Each girl tries to escape and is viciously murdered by the gang. Phyllis is stabbed to death, her head cut off, her insides removed. Mari is shot to death and left floating in the lake.
Later that stormy night the criminals take refuge in the home of Mari’s parents. Her mother overhears the crew discussing the rape and murder of the girls. They go to the lake, find their daughters body on the shore, carry her home, and take their revenge on the clique. And what grisly revenge it is. There is nothing that these parents wouldn’t do for their little princess, and that includes carrying out their own brand of justice for her murder.
In 2009 director Dennis Iliadis put his own personal spin on the story with a bit of updating to reflect the times. Tony Goldwyn, best known for his roles in Ghost and as President Fitzgerald T. Grant on ABC’s Scandal, along with Monica Potter, from Along Came a Spider and NBC’s Parenthood, star in this remake as the parents, John and Emma Collingwood, of one of the tortured and raped girls. This rendition is definitely darker than the earlier showing. Where the original film is full of gore and in your face violence, the remake is menacing, calculating, and driven by raw emotion, adrenaline, and two parents’ need for retribution in the name of their daughter.
What’s interesting about this remake is that the daughter, Mari, survives and makes it back to her lake house after being shot and left for dead in the lake. And one of the gang, Justin, a decent kid who is just caught up in the whirlwind of his crazy family, doesn’t want to be a part of what has/will happen to the Collingwoods. He is the one, in a covert manner, that alerts the family that something is amiss with their daughter. You feel empathy for this kid that cannot seem to escape his circumstance…his insane, sadistic family. But what you also see in this story, this film, is that there is dark side within us all. We are all capable of darkness, especially in the behalf of someone we love. John Carpenter once remarked, “Monster’s in movies are us, always us, one way or the other…The part of us that’s vicious and cruel…” Well, Mama and Papa Collingwood may look like Ozzie and Harriet but they carry BIG sticks…they have teeth, and knives and were not afraid to use them.
This gory remake has depth of character to go along with the carnage and it is worth the watch.
Last Thursday Netflix released a teaser for Marvel’s Jessica Jones and announced the release date, this Thursday they released the first set of official photos.
After a tragic ending to her short-lived super hero stint, Jessica Jones is rebuilding her personal life and career as a detective who gets pulled into cases involving people with extraordinary abilities in New York City.
The series stars Krysten Ritter as Jessica Jones, David Tennant as Kilgrave, Mike Colter as Luke Cage, Rachael Taylor as Patricia “Trish” Walker, and Carrie-Anne Moss. Marvel’s Jessica Jones is Executive Produced by series Showrunner Melissa Rosenberg and Liz Friedman, along with Jeph Loeb, who also serves as Marvel’s Head of Television.
Marvel’s Jessica Jones is produced by Marvel Television in association with ABC Studios for Netflix. The series will be available on November 20.
Benicio Del Toro was out promoting Sicario on Entertainment Tonight and the he talked about being cast in Star Wars: Episode VIII and the role of his character.
Originally the rumors on the internet where that Del Toro would be a villain in the film, but in the interview he puts a slight twist in the rumors.
“I don’t know if he’s a villain. People are saying that, but it’s like they read a different script than I read,” said Del Toro.
The actor might be looking to misdirect fans with his next comment.
“It’s nice to keep people in the dark, a little bit of mystery is good,”
Star Wars: The Force Awakens hits theaters on December 18, a year later Rogue One comes out on December 16, 2016 and then Episode VIII will hit theaters on May 26, 2017.
In the summer of 1986, John Carpenter’s Big Trouble in Little China was released. Reviews were middling, box office was lukewarm, and it took a great while before it gained traction in the all important cult-classic fanboy circles. Big Trouble is light and fun, dealing in Eastern mysticism and magic, focusing on an everyman (Kurt Russell) swept up in a centuries-old battle, in a world beneath Chinatown. 80s movie fans adore Big Trouble in Little China, they celebrate it. And it’s fine, yes, perhaps more memorable for nostalgic purposes than for truly being one of Carpenter’s better films.
That same year, just five month later, there was The Golden Child. The Eddie Murphy vehicle – right in the height of Murphy’s powers in Hollywood – dealt with an everyman being swept up in Eastern mysticism and magic, tasked to save a young boy in the face of evil forces. While they aren’t the same story, The Golden Child and Big Trouble in Little China share more than a kindred spirit. Themes, protagonists, and antagonists all feel similar, and some of the sets could easily transfer from one shoot to the other. Both films are lighthearted, adventurous tales of “every-men” in over their heads and up against supernatural forces. And, yes, both are a little racist. Yet, only one is celebrated, while the other – The Golden Child – is chided, dismissed as forgettable drivel.
There is no vast chasm in quality between the two films, and I would argue that The Golden Child is a little better overall. I realize this is sacrilege to plenty of folks, and I do recognize the pop-culture charm and nostalgic appeal of Carpenter’s film. It has the accolades, perhaps stealing some of the thunder from The Golden Child before Murphy’s film ever hit theaters. Release dates may have helped, and hindered, the trajectory of these two films. Big Trouble in Little China was a summer release, the weekend of July 4, whereas The Golden Child was lost in December, amid typically Awards-heavy dramas. It’s seems a strange choice to release The Golden Child then, but so is the case.
Beyond release dates, however, The Golden Child is flat out funnier from top to bottom. Now, I like Kurt Russell as much as the next person. We need more Kurt Russell in our lives if you ask me, which is a main reason why I am amped up for The Hateful Eight. But is Kurt Russell funny? Has he ever been? I contend comedy is not Russell’s forte. He can handle the action and physicality better than most, but when it comes to comedic delivery, Russell typically falls flat. I can’t recall any lighthearted Kurt Russell film where I found him amusing (Overboard? meh), and that’s the case in Big Trouble. His aw-shucks demeanor is perfect for Jack Burton, but his delivery is too gruff and stilted, too wooden for the comedy to take off.
Now, not that Eddie Murphy is funny, or even good anymore. He’s a sad shell of what he once was, poisoned by his own ego. But we aren’t talking about 2015 Eddie Murphy; this is 1986 Eddie, sharp and sarcastic and appropriately amused with his own edge. He dominated Beverly Hills Cop, 48 Hrs., and he dominates here. Tell me this isn’t hilarious, vintage Murphy upsetting the herd:
Or what about this one…
Murphy is on point here, playing up on his signature sardonic improvisations. His humor heightens The Golden Child throughout. Not that comedy is the main intention for either film, but it is one of the central tones in both. What about the story in these films?
The story is simply to move the plot forward. They are intended to show off the technological advancements in 1986 special effects, and both serve the story well. But Big Trouble in Little China feels repetitive at times, while The changing locales in The Golden Child keep the kinetics high.
Of course, this is but one man’s opinion. I’m sure this sentiment isn’t shared far and wide, or even close and narrow for that matter. But The Golden Child does, ever so slightly, edge out Big Trouble in Little China for me in terms of quality, watchability, and repeat viewings. There, I said it. I feel so much better having got that off my chest…
In Boston in the 1970’s, the name James “Whitey” Bulger was spoken in hushed tones. He was a criminal, kingpin, and convicted killer, but he was also more than that. He was beloved in the community as a Robin Hood type. When he was eventually captured in 2011 after years on the run, Hollywood started to take notice. It was no longer a question of whether or not a movie would be developed based on the life of Whitey Bulger, it was question of when. Now, with Scott Cooper’s new gangster epic Black Mass, we finally have our answer.
Johnny Depp has thrown himself into the role of Bulger, starting with the gray blotchy skin and receding hairline. His strut and “Southie” accent help transform Depp into the sinister crime boss from South Boston. This movie is quite a departure from Depp’s recent roles of the Mad Hatter and Jack Sparrow. It was wonderful to see Depp tear into these aspects of his role with such gusto. All that work allows him to ooze villainy on screen.
You would have a tough time coming up with a better opening line this year than “I’m not a rat.” Mark Mallouk and Jez Butterworth set the tone for the film in their screenplay, with those words opening the film. It becomes obvious, shortly thereafter, the theme of this movie is loyalty, and how it’s earned and lost.
In a movie chock full of outstanding performances(Joel Edgerton, Benedict Cumberbach, and Kevin Bacon specifically), Depp stands out. His portrayal of a family man, business man, and a dad, was quite amazing. My favorite line that Whitey uttered was towards his seven-year old son “You got in trouble because you punched the kid when your teacher was looking… If you punch when your teacher isn’t looking, then it didn’t happen.” Even in the midst of the nonstop turmoil that is the life of a Boston crime lord, Whitey tries to lead somewhat of a normal family life. As a viewer, you do get this feeling that it’s love a family driving all aspects of this life.
As sensational as Depp’s portrayal of Bulger is in Black Mass, the most crucial part in this film belongs to Joel Edgerton’s role as John Connelly. It was FBI agent John Connelly who brokered the deal between the government and Bulger to help bring down the Italian crime familes in the Boston area. John is the moral center here, and in the beginning he has all the right intentions about this “alliance” with a known crime boss. As the movie continues, we see Connelly become less and less concerned about the morality of the deal and more about the bottom line. At one point we even hear Edgerton utter to a member of Bulger’s inner-circle “It’s business” when referring to the sudden disappearance of an informant set on ratting out Bulger. The sheer influence of Bulger turns a well-intentioned cop into an “unofficial” member of Bulger’s crime family. Connelly serves as a prime example to audience of just the sheer influence that Whitey Bulger had on everyone who was ever involved with him in any capacity. Whitey’s affable nature towards Connelly allows him to justify to himself, that it’s okay to look the other way when he knows that certain people are being “taken out.”
The musical accompaniments only just added to some of the more tense moments in this film. Sometimes, just the littlest of choices made about a music accompaniment can have the biggest impact on the quality of the overall picture. Scott Cooper consistently made good decision after good decision and it will be those decisions that will lead to the success of this picture.
In the end, Scott Cooper’s Black Mass is a tightly-wound crime drama that will engage the audience from the first line to the last moments of Whitey Bulger’s freedom as the FBI swarms in to arrest him. For this film to work, it needed a collection of wonderful performances, and got it in spades. Certainly, the story of this movie will be Depp’s portrayal of Whitey Bulger. A standout performance like his will capture the attention of voters during the award season. As a member of SEFCA (South-Eastern Film Critics Association), I certainly made a mental note to remember this performance for when we vote for our awards in the not too distant future. Will this movie translate into an Oscar moment for Depp? That remains to be seen, but what I do know is that Black Mass is one that you shouldn’t miss this weekend.
Marvel announced Wednesday that Scott Glenn will return to season two of Marvel’s Daredevil as Stick for three episodes.
The announcement states that Stick crashes into Daredevil’s life right when he needs him the least. In the first season Stick trained young Matt Murdock and then abandoned him, Stick returns in season two with a new mission that Daredevil wants no part of.
“After seeing Scott’s performance in the first season, we knew that we had to bring him back for more. He is an extraordinary actor and we leapt at the chance to expand on his adventures with Matt and Daredevil,” said Executive Producer / Marvel’s Head of Television Jeph Loeb.
“In some ways, Stick is to ‘Marvel’s Daredevil’ what Scott Glenn has been to film and TV – a magnetic and awesome force to be reckoned with. It’s an honor to welcome him back, and the Daredevil team can’t wait to unleash Scott’s unique brand of bad-assery upon the world in Season 2,” said Executive Producer/Showrunner Marco Ramirez.
Daredevil is Executive Produced by Doug Petrie, Marco Ramirez and Drew Goddard, along with Marvel TV’s Jeph Loeb. The series stars stars Charlie Cox, Deborah Ann Woll, Elden Henson, Jon Bernthal, Elodie Yung and Rosario Dawson. The second season of Daredevil is currently filming and will return to Netflix in 2016.
It appears the science fiction adventure monster that was Pacific Rim, will only have one entry.
The Guillermo del Toro directed film cost $190 million to produced and only grossed only $101 in the states. Overall the Pacific Rim pulled in $411 million, on paper that should be good enough to green light a sequel.
The Hollywood Reporter is reporting that Legendary wanted to produce a sequel and they liked that the original performed exceptionally well in China, where the company is heavily invested, but for now the project has been halted indefinitely and will be pushed back.
The film was schedule for a 2017 release.
At this time the only hope for Pacific Rim 2 is if Crimson Peak, the del Toro directed, haunted house thriller starring Tom Hiddleston and Jessica Chastain, has huge box office success. Crimson Peak will be in theaters on October 16.
Today we’re going to cover High School Musical the AnimeI mean the Shortform, Music, Slice-of-Life, anime Star Mu, also called High School Star Musical… yeah.
“The story involves a group of high school students at Ayana Academy, a school with music as its main focus. A trio of students are called Hanasakura-kai, designating the most talented from the music department. To get in, individuals must enter through a Star Frame class. The series tells the story of Yuuta Hoshiya, Tooru Nayuki, Kaito Tsukikage, Shou Tengeiji, and Shuu Kuga as they aim for a position in the musical department after being spotted by Ootori, one of the Hanasakura-kai members.” (Source)
One of the big selling points of this anime is the musical focus. Collaborating with people like Takeshi Masuda (Outbreak Company), Wataru Maeguchi (Hayate the Combat Butler), and Ken Arai (Parasyte).
The trailer doesn’t really get me pumped or excited for the show. The staff is somewhat promising, with Prince of Tennis and Kuroko no Basket, but then there’s… Dragonar Academy. Which doesn’t lend itself too much narrative credit.
High School Star Musical will begin airing October 5th, 2015 for the Fall 2015 season.
Director Rupert Wyatt has quit the Channing Tatum X-Men spinoff Gambit being made by Fox, according to sources at The Hollywood Reporter.
“I was very much looking forward to working with my friend Channing and the team at Fox, but regrettably a push in the start date now conflicts with another project. I thank them for the opportunity, and I know that Gambit will make a terrific film,” said Wyatt.
Most recently Lea Seydoux was cast as Belladonna Boudreaux in the film. Gambit is supposed to start filming in early 2016.
