Duke Simms and Maniac Mike of Shinobi Ninja stopped by to talk about the nerd rock scene and how radio conglomerates are stunting the growth of the music industry.
“There is no such thing as black metal, there is no such thing as white metal. There is no such thing as black rappers, there is no such thing as white rappers. There is just human beings making music from their heart,” said Duke Simms.
The Brooklyn based band brings a full sound with Duke Sims on vocals, Alien Lex on bass, DJ Axis Powers, Baby G on vocals, Maniak Mike on guitar and Terminator Dave on Drums.
Shinobi Ninja Tour
July 30 – LOGGERHEADS – FOLLY BEACH, SC
July 31 – REGGAE HUT – WILMINGTON, NC
August 1 – KLOCKERS – MYRTLE BEACH, SC
August 4 – THE ORPHEUM – YBOR CITY, FL
August 5 – SUNSET TAVERN – MIAMI, FL
August 6 -VINTAGE TAP – DEL REY, FL
August 7 – HANGAR 7 – LAKE CITY, FL
August 8 – ORLANDO NERD FEST – ORLANDO, FL
August 9 – JACKRABBITS – JACKSONVILLE, FL
Denis Villeneuve’s Sicario has a second trailer, shorter than the original trailer that hit back in June. Regardless, the tension is just as high this time around.
Here is the latest Sicario trailer:
https://youtu.be/D7090alGLQo
For a refresher, here is the synopsis for Sicario:
In Mexico, SICARIO means hitman.
In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent [Emily Blunt] is enlisted by an elite government task force official [Josh Brolin] to aid in the escalating war against drugs.
Led by an enigmatic consultant with a questionable past [Benicio Del Toro], the team sets out on a clandestine journey forcing Kate to question everything that she believes in order to survive.
Count Sicario as one of my most highly anticipated films this fall. I am a huge fan of Denis Villeneuve’s polarizing Prisoners, and I admired Enemy to a point. Villeneuve brings a fresh auteur eye on the adult thriller. And Emily Blunt is defining her career as a strong female action presence, one outside the superhero canon.
A NSFW red-band trailer for Seth Rogen’s upcoming The Night Before has been released, showing all types of debauchery and shenanigans. The film stars Rogen, Joseph Gordon-Levitt, and Anthony Mackie, along with a slew of other stars in supporting roles:
Here is the red-band trailer for The Night Before:
Here is the official synopsis for The Night Before:
From Jonathan Levine, the acclaimed director of 50/50, comes the new comedy The Night Before. Ethan (Joseph Gordon-Levitt), Isaac (Seth Rogen) and Chris (Anthony Mackie) have been friends since childhood, and for a decade, their yearly Christmas Eve reunion has been an annual night of debauchery and hilarity. Now that they’re entering adulthood, the tradition is coming to an end, and to make it as memorable as possible, they set out to find the Nutcracka Ball – the Holy Grail of Christmas parties.
No matter what the quality of The Night Before turns out to be, rest assured plenty of raunchy laughs will fill the screen and make for a great bit of holiday season counter programing. The Night Before drops November 25.
If there’s anything that can be said with certainty, in regards to latest entry in the saga of the Griswold family, simply entitled Vacation, it’s that it truly takes the effort to bring the laughs to a whole new level.
It’s a far lower level, mind you, and much of the humor stemming from more profanity in the dialogue than you might be used to hearing in these films, along with gags which are just likely to make you cringe as they are to make you laugh. But a few of the set pieces do manage to hit home, and those, along with memorable contributions from Chris Hemsworth and Charlie Day in small roles, help keep Vacation from being an entirely dreadful waste of your time and money.
Perhaps a more apt title for this entry in the National Lampoon’s Vacation series might have been “Griswolds: The Next Generation”, for it is here, at last, that the torch is passed from old-timers Clark and Ellen (Chevy Chase and Beverly D’Angelo, who reprise their roles yet again) to a grown-up Rusty (Ed Helms), his wife Debbie (Christina Applegate), and their two sons, James (Skyler Gisondo) and Kevin (Steele Stebbins). Rusty, now a pilot for a small-time commuter service airline, gets wind of the fact that Debbie and the kids are woefully tired of the family’s now-tedious annual vacations to Cheboygan, Michigan and comes up with the perfect remedy: a trip to the very same Walley World theme park that dear old Mom and Dad took him and sister Audrey off to on vacation thirty years ago.
Is a trip to Walley World really what the family wants or needs? No, not especially. Debbie dreams of a vacation in Paris, while way-too-sensitive James writes songs on his guitar, keeps multiple diaries and poetry journals, and dreams of a day when horrible kid brother James won’t verbally abuse him or otherwise make his life miserable. James, for his part, absolutely loves berating and belittling his wuss of a brother and just dreams of being able to do it forever and ever.
Put this oh-so-loving and functional family in a car for a road trip from Illinois to California and what could possibly go wrong? Oh, and not just any car, but what can only be the “Cadillac” of Albanian family vehicles, the Tartan Prancer, a car so absurd in design and features that it makes old Clark’s old Wagon Queen Family Truckster look positively sexy in comparison. Thus the comedic horrors of a family vacation as only a Griswold family can experience them begin, horrors that include but are not limited to figuring out what all the buttons in the Prancer conveniently not labeled in English actually do, a side trip to Debbie’s old college alma mater where she’s fondly remembered by her sorority with a very unflattering nickname, a one-night visit with Audrey (Leslie Mann) and her phenomenally successful Texas weatherman husband Stone Crandall (Hemsworth), and repeated, Duel-like encounters with a 18-wheel truck and its unseen driver who may or may not be trying to kill them.
You can just hear Lindsay Buckingham singing “Holiday Road” in your head, can’t you?
As written and directed by Jonathan Goldstein and John Francis Daley (Horrible Bosses, The Incredible Burt Wonderstone), this Vacation works very hard to honor the tone and spirit of the original 1983 classic National Lampoon’s Vacation while also delivering the types of laughs that tend to work well with today’s audiences. In the vein of the original films, Rusty, as played by Helms, draws a great deal from Chevy Chase’s many portrayals of Clark, a man whose seemingly-boundless optimism and dogged determination to show his family a swell time whether they want it or not tends to drive him to ludicrous lengths. Much of what’s supposed to be funny about Rusty’s relationship with his brood is that he really thinks they’re a happy, functional family and that they adore him, and how he takes it as that sweet delusion endures blow after crushing blow as things go wrong. As delivered on screen, some of it is funny, but most of it is just barely chuckleworthy. Applegate, like D’Angelo before her, gets the task of being the smarter, saner Griswold parent, and so the laughs she brings come more from her reactions than her actions on screen, but she does have one particular opportunity to cut loose in the film and step away from being “Mom”, leading to one of Vacation‘s funnier (and grosser) sequences.
The actors who might score more consistent laughs throughout the film are Gisondo and Stebbins, who play the young brothers Griswold, in particular Stebbins, who brings to life the ultimate nightmare of a little brother. Kevin can always be counted on to profanely mock, denigrate, and otherwise dehumanize his elder sibling, never once believing for a second that James is even capable of fighting back, and for most of Vacation he’s right. The big name actors with bit parts bring bigger laughs than the headliners, as well; Chris Hemsworth, taking a much-needed opportunity to step away from the cape and hammer of Marvel’s Thor to flex his comedy muscles, is hilariously over-the-top as the strapping, Texas-twang speaking Stone, whose every word and gesture is a caricature of American conceptions of male virility, while Charlie Day shows up as an overly-enthusiastic river rafting guide who gets some very bad news right before he’s to take the Griswolds down into the rapids. As for Chase and D’Angelo themselves, well, suffice to say they make the most of their screen time playing the elder Griswolds in a position now where they can make other people’s vacations miserable. It’s irony as subtle as a sledgehammer, but it is funny.
But for all its good intentions and deliberate attempts to remind audiences of the original Griswold misadventure, the new Vacation is a very uneven, hit-or-miss journey into the depths of road trip hell that’s unlikely to become the comedy classic that its predecessor did. Are there laughs to be had? Absolutely there are, yes. Unfortunately, a good number of them are either in the film’s opening and closing credits, each a montage of terribly timed or otherwise awkward vacation photos set to the classic “Vacation” theme music, or they’re in clips of the film you’ve already seen in the trailers and commercials. Also, keep in mind the film’s “R” rating — you’re much more likely to get some enjoyment out of this Vacation if you prefer your humor as potty-mouthed as possible.
Vacation
Starring Ed Helms, Christina Applegate, Leslie Mann, Beverly D’Angelo, and Chevy Chase. Directed by Jonathan Goldstein and John Francis Daley.
Running Time: 99 minutes
Rated R for crude and sexual content and language throughout, and brief graphic nudity.
Deadpool stole SDCC ’15 with a rousing foulmouthed trailer that had the entire Hall H chanting to see it one more time. Gearing up for the official release of the trailer to the rest of the world, Empire Online has debuted three new stills from the movie showcasing the ‘Merc with a mouth” in action and other stills which gives us our first look at Morena Baccarin’s Vanessa and another look at Brianna Hildebrand’s ‘Teenage Negasonic Warhead’.
Further teasing their upcoming September issue which is sure to give us our biggest look inside the production yet, Empire Online has posted three exclusive stills from ‘Batman v Superman : Dawn Of Justice”.
The Pictures feature Superman inside Wayne Manor, Batman in his mech suit unveiling the Bat Signal and Lex Luthor at LexCorp. Click on the images below to enlarge.
The first still is of Superman inside Wayne Manor looking a little unhappy. Does this means he figures out who the Batman is earlier in the film? Does the Epic Showdown take place in the dilapidated Wayne home?
Next we have Batman unveiling the Batsignal. Empire describes it as something from the “Commissioner Gordon era” which seems to confirm rumors that the good old Commissioner will be dead in this timeline. The article also mentions that Batman uses this to call out Superman.
Finally we see Lex Luthor, the CEO of LexCorp Industries in his hip outfit and still spotting those luscious locks that are sure to undergo their own transformation in the course of the story.
What are your thoughts on these images? are you excited for Batman v Superman : Dawn Of Justice? Leave your thoughts below!
The 40th annual Toronto International Film Festival has released a few highlights of its upcoming 2015 lineup. The festival will open with Jean-Marc Vallée’s Demolition, starring Jake Gyllenhaal and Naomi Watts. Here is the synopsis for Demolition:
An investment banker, struggling to understand his emotional disconnect after the tragic death of his wife, begins to tear apart his life in an effort to see where he went wrong and is ultimately rescued by a woman he meets in a chance encounter.
Another big buzz film to debut at the Toronto International Film Festival is Ridley Scott’s adaptation of Andy Weir’s The Martian, starring Matt Damon as stranded astronaut Mark Watney. The Martian feels like a surefire hit, hitting theaters this fall. Reaction at the TIFF will certainly go along way to creating positive or negative buzz for the film.
Other entires announced for the TIFF include Roland Emmerich’s Stonewall, about the Stonewall riots, as well as Freeheld, the upcoming drama starring Julianne Moore as a police officer, dying of cancer, fighting for her partner (Ellen Page, in her fist lesbian role after coming out) to secure her benefits. Also, Brian Helgeland’s much-anticipated Legend, starring Tom Hardy in dual roles as the villainous Kray twins in 60s England, will debut at TIFF.
The full slate of the Toronto International Film Festival is still under wraps. TIFF will run from September 10 to 20.
The biggest buzz surrounding Pixels after it’s opening weekend isn’t talk of a sequel, or records just around the corner. The only thing anyone can discuss is the possibility that this may be the end for Adam Sandler as a movie star. Not an actor, mind you, (Netflix made sure of that) but Sandler’s time atop the tentpole is probably over after this disastrous opening weekend.
And it should be.
Adam Sandler ran out of ideas for creative, intelligent, soulful comedies at least a decade ago, probably longer. The last comedy I can remember liking of Sandler’s was Mr. Deeds. While it was poorly-received by critics with a 22 percent on the Tomato Meter, audiences generally enjoyed it. I know I did. Sandler’s mantled routine was still effective, and the earnestness of his Deeds character added a layer of charm that has since been weirdly absent from his films. Mr. Deeds was also a box-office success, bringing in $126 million. This was 2002.
That same year, Sandler actually tried his hand at something outside the idiot child comfort zone, starring in Paul Thomas Anderson’s quirky, romantic Punch Drunk Love. Sandler played Barry Egan, a man suffocated by his eight sisters and prone to amusing fits of rage. When he meets Len Leonard (Emily Watson), however, he may have met the only girl who can understand him. Punch Drunk Love was a departure for Sandler, who didn’t once have to use his goofy scream voice to emulate emotions. Filled with idiosyncrasies, and helmed by a brilliant director, the film made it seem like Sandler was working on cultivating a new career for himself.
Since Punch Drunk Love, Sandler’s films have been horrid. I wouldn’t say they’ve been getting increasingly worse, it’s more of an ebb and flow of nonsense. Sandler’s serious side will rear its head from time to time, as in Reign Over Me or Spanglish, but the results are maddeningly middling. Sandler’s turn in Judd Apatow’s Funny People should have been yet another moment of clarity: Sandler plays a man who made millions playing idiots in terrible comedies, only to have an epiphany when diagnosed with cancer. Funny People was an allegory if there ever was one for Sandler’s own career, sans cancer. It should have been a sign from the gods that Sandler could, and should, change the course of his own career.
The following films, with their RT cumulative score included, came after the success of Funny People:
Grown Ups: 10%
Just Go With It: 13%
Jack and Jill: 3%
That’s My Boy: 20%
Hotel Transylvania: 44%
Grown Ups 2: 7%
Men, Women, and Children: 31%
Blended: 14%
The Cobbler: 10%
And, of course, Pixels, coming in at 18%. I left out films like Paul Blart and Zookeeper where Sandler appeared, and they would do nothing to improve his average. Rather than take a hint from Funny People, Sandler made a point to star in films seemingly worse than the fake films mentioned in Apatow’s picture. The pile of garbage Sandler has thrown at the screen and poor fans is staggering.
Which lends to the question: is there any hope left for Adam Sandler? I don’t think so, because in order to refurbish Sandler’s career, Sandler has to care about it. I don’t think he does. Sure, he’s tried to team up with good directors since his pairing with PTA, but those have been unsuccessful attempts. Sandler seems jaded, out of ideas, and resigned to simply spit out drivel for a paycheck. It’s too bad, because he seems like a generally nice and likable person. More fans and writers are concerned with Sandler’s career trajectory, which resembles the downward swirl of a flushing toilet, than Sandler himself.
I don’t expect Sandler’s Netflix films to be any better than anything that has come along in the last decade. If the news of Native Americans being offended by his upcoming Western farce, Ridiculous Six, are any indication, Sandler and his frat boy co-star crew still isn’t concerned with intelligence in their filmmaking. Perhaps this Netflix deal will keep Sandler out of the multiplexes, and once this four-picture deal runs his course, Sandler will head off to Hawaii with his family; hopefully he won’t use the Hawaii trip as an excuse to churn out another disaster.
It can be argued that Marvin Gaye’s most famous single was released in 1968, entitled “ Ain’t Nothing Like The Real Thing.” This song was loud in my head as I watch the reboot of National Lampoon’s Vacation unfold on the screen last week. You can try really hard to recapture the magic of the original movie but, like the song says, “Ain’t nothing like the real thing.” Watching this Vacation unfold was the equivalent of watching a dumpster fire. About halfway through, I wanted to wave the white flag and give up to end the sheer suffering that those actors must have felt for being part of such a terrible premise for a reboot.
The reboot centers around Rusty Griswold (Ed Helms) and his fond memories of his childhood trip to Wally World. Rusty surprises his wife (Christina Applegate) and two sons with a cross country trip to America’s #1 fun park. Soon, the promise of the trip turns into one mishap after another for the Griswolds, and anyone who is around them.
This film was doomed from the start because of its choice in leading men: Ed Helms. Helms was never going to be able to live up to the standard set by Chevy Chase, still considered one of the best comedic actors of a generation. Chase was the main reason the original Vacation worked. My mom to this day will watch National Lampoon’s Christmas Vacation because she needs her dose of Chevy during the silly season. Ed Helms is best suited as a supporting actor. He has never truly been able to carry a movie, and he falters here.
Christina Applegate was another terrible casting choice as Rusty’s wife. Watching her on screen in the movie was as exciting as drinking tap water. I didn’t buy her. Applegate’s character has a very shady past that we find out in the course of the movie, and nothing she did made me even remotely think that she could have done the things.
Vacation also tried to be a little risqué, teasing with the edge but never going over. Why Not?! It could have been funnier if they had gone all in. If you saw the red-band trailer, it gives the impression that the whole movie is raunchy. I’m here to tell you that those edgy moments are basically entirely in the trailer. To be honest, I was drawn in by the trailer, yet when I watched this movie unfold, stunned silence was much more prevalent than laughter.
Overall, I feel that some movies are best left alone. How can you compete with the legacy set by the original Vacation movie? There is a scene in the movie where the two sons are fighting and one of them tries to suffocate the other one with a plastic bag. I was so not into this movie that I found myself wanting to be the kid inside the bag. At least I would black out eventually and the pain would end.
If you are looking for laughs, I highly recommend you checking out the real thing (the original Vacation). If you choose to see Vacation you will just pay to watch a cinematic dumpster fire.
During San Diego Comic Con 2016, Warner Bros. Animation announced that they will be tackling Alan Moore’s much lauded graphic novel “The Killing Joke” . Speculation ran rampant as to who would voice “The Joker” with Mark Hamill, the man who has voiced the character since the original Batman animated series was a fan favorite.
The actor expressed interest in returning to the role shortly after the announcement and now Collider reports that the actor will indeed be back to reprise the role and has, in fact, recorded his voice acting already! This is great news for Batman fans as Hamill has been the definitive voice for the character in animation and is a sure fit for The Joker’s most loved tale. Mark Hamill has voiced ‘The Joker’ in Batman: The Animated Series, Batman Beyond: Return of The Joker and more recently in all three of the main Arkham video games.
Batman: The Killing Joke will be released direct to video and digitally next year. Stay tuned on MFR for updates on the project.