Ant-Man the follow up to Avengers: Age of Ultron pulled in $58 million on 3,856 screens over the weekend according to estimates. This is Marvel Studio’s 12th consecutive first place opening.
Ant-Man is directed by Peyton Reed and stars Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, T.I., Michael Peña and David Dastmalchian.
[table caption=”Marvel Films” colwidth=”20|200|50|50|50″ colalign=”left|left|right|right|right”]
Rank,Film,Year,Opening Weekend,Gross
1,The Avengers,2012,$207.4M,$623.4M
2,Avengers: Age of Ultron, 2015, $191.2M,$455.5M
3,Iron Man 3, 2013, $174.1M, $409M
4,Iron Man 2, 2010, $128.1M, $312.4M
5,Iron Man, 2008, $98.6M, $318.4M
6,Captain America: Winter Soldier, 2014, $95M, $259.7M
7,Guardians of the Galaxy,2014,$94.3M,$318.4M
8,Thor: Dark World, 2013,$85.7M,$206.3M
9,Thor, 2011,$65.7M,$181M
10, Captain America: First Avenger, 2011,$65M,$176.6M
11,Ant-Man, 2015,$58M,$58M
12,The Incredible Hulk, 2008,$55.4M, $134.5M
[/table]
About Ant-Man:
Scott Lang must leave his criminal past behind if he hopes to take down Darren Cross (Corey Stoll) and the unbridled power of the Yellowjacket suit! With the help of Hank Pym (Michael Douglas), Hope Van Dyne (Evangeline Lilly), and the Ant-Man suit, Lang must embrace his inner hero to pull off a heist that could save the world. See why heroes don’t get any bigger than Ant-Man in the video above.
Episode three of Charlotte kicks off in a seemingly normal fashion. Which is light slice of life comedy, usually having to do with some running gag that’s been built into the show. The strange thing about these running gags is that I think there is some significance to why these people do these gags. Like how Yu’s little sister Ayumi always makes him food with pizza sauce and why she always is in charge of cooking all the meals. She certainly assumes a sort of care taking role for her big brother, but given her personality it seems strange and sort of forced on her end. Also the way Jojiro has grown to just accept the fact that he will be mortally wounded when he uses his ability. But still uses it all the time and for frivolous reasons, like getting a special food in the cafeteria that day. To me these jokes are still making me smile, but I’d like to maybe get more on them eventually.
After we get those nice comedic antics, its back to ability hunting. An interesting thing we find out about the guy able to detect people with special abilities is that he can only do it while being soaking wet with clothes on. Something to think about to be sure, but since all he says is a couple of words so far its not really that important. But this time its a twofer, they are presumably going after a person who can be possessed and is a pyromancer. Nao acts as if she’s never heard of two abilities, hinting that there must be something strange or special about this one, which there of course ends up being. After some classic sleuthing we find out that the person they’re searching for is the pop idol Yusa Nishimori of the band “Haro-Haro.” We also find out that Jojiro is a total Yusa fan-boy and he has no fear showing that. Jogger really is an open book at so I feel that he might be there to contrast Yu who usually has a hard time expressing how he really feels and just gives out socially acceptable answers.
Eventually, through some rough interrogation they find out who was pursuing her. All this commotion sparks the interest of on of Yusa’s friend and agrees to let them see her once they reveal that they have abilities too. It was sort of weird that Nao knew that her friends would know that she had an ability but I guess Nao is just that good at reading people. Might be something to keep in the back of my mind. Anyway we get to an abandoned club where we meet Yusa, and boy is she ever spunky. I would almost equate her to Ayumi but that’s just me. Honestly we don’t get enough of her personality in this episode to really judge. The reason being, because during most of the episode she is being possessed by her dead sister Misa. And the two boys who are accompanying Yusa are revealed to be Misa’s old friends. Well I guess not that old seeing she only died about six months ago. Misa is quite the punk with a sort of filthy mouth. She also explains the double ability thing since it seems that it is her ability to control fire and not Yusa’s. This makes sense for the most part but I think we need to learn more about how and why you get these abilities. I mean if a ghost can have one then it has to be supernatural and can’t just be like an X-men thing.
Now the reason that Yusa is being chased is that she accidentally took a television studio executives phone and read a text revealing him to be doing some shady stuff. Somehow the exec. found out that Yusa had the phone and has been in pursuit of her making sure she doesn’t bring it to the cops. This makes a catch-22 situation for Yusa because if she returns it to the exec. it most likely won’t end well for her. And if she brings it to the cops her career could be ruined for putting such a high studio exec. in prison. But no worries here, Nao has a plan to get Yusa out of the situation thankfully.
They end up meeting with the exec and by having Misa possess Yusa’s body again she begins to try to intimidate him. And through the use of everyone’s ability they are able to scare him enough and send him packing with his tail in-between his legs. I don’t know how good of a solution this would be considering now he knows she has powers and could easily leak that out, but who knows, he might have been so scared to where he’ll never tell anyone.
With almost everything resolved Nao gives an invitation to let Yusa join her school, and by the opening credits we can assume that she will be in the student council as well. Also there is some nice closure to Misa’s arc believe it or not. Or better put the red-haired boy who was helping her this whole time. He confesses to loving her and apologizes about being responsible for her death. This scene really comes out of left field but I think it was my favorite part of the episode. Whenever someone is able to express their feeling to someone dead it can give tremendous closure just for the fact that so many questions can be resolved. It also helps when Misa assures him that it wasn’t his fault and it was her being reckless. Just think about how the thought of killing the one he loved could have meant for the rest of his life. It would be so hard for him to get close to anyone else because of a fear of hurting them. Having this can start to weave the abilities into being a sort of healing process. And maybe not for the user but someone close to the user. This opens the shows dynamic to more than just the main characters with powers and I think the show ultimately needs this if its going to stay fresh it’s whole 24 episode run.
But this also makes it hard for him because to fully get closure because Misa is there but not there at the same time. Misa will inevitably disappear when Yusa looses her powers, but she was never meant to come back in the first place. It’s definitely a hard situation to be in and I think he handles it very maturely. He ultimately decides to let her go even though she may be sticking around for a while. He concludes that this will make it easier on both of them and allow him to heal and grow past it. It’s really mature and might be hinting at a contrast between people who have powers and people who don’t have powers. Not everything is revealed yet but I think I’ve already talked about how I think abilities are brought on by trauma or something else psychological in someway. A sort of gift by the comet Charlotte to help them through that time in their lives and help them grow. Of course, still all just speculation.
This episode didn’t really feel as strong as the last episode. Probably because the stupid part with the studio executive that just didn’t really go with the tone that I felt the episode was trying to bring. If anything it should have been more about these boys being able to communicate with their friend who they thought was dead and not wanting to give her up again. But that’s just how I would have liked it to have been. Maybe having that studio exec will somehow tie into ZHIEND and I’ll feel stupid for bashing it later. It also could be a jumpstart into what Yusa’s going through with dealing with being a famous Idol at such a young age and having to deal with that and the death of her sister at the same time.
So okay maybe it wasn’t as disjointed and out-of-place as I thought. I just think that it didn’t belong in this episode, and it should have been more like the last few minutes. Plus I am so ready for Ayumi to do something that affects the show. She is too cute and too funny to be just in the beginning and endings of these episodes. Other than that though I really don’t have any other complaints than the ones I just mentioned. Charlotte is coming along nicely and while it may feel like a slow start to some people, I can surely find immense value in these three starting episodes. Of course only time will tell if they amount to anything.
From Disney Studios Media:
Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as “Star Wars” returns to the big screen with Star Wars: The Force Awakens.
Episode VII in the Star Wars Saga, Star Wars: The Force Awakens, opens in theaters December 18, 2015.
Star Wars: The Force Awakens, directed by J.J. Abrams from a screenplay by Lawrence Kasdan & Abrams, features a cast including actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Academy Award winner Lupita Nyong’o, Gwendoline Christie, Crystal Clarke, Pip Andersen, Domhnall Gleeson, and Max von Sydow. They will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker.
The film is being produced by Kathleen Kennedy, J.J. Abrams, and Bryan Burk, and John Williams returns as the composer.
Ant-Man the follow up to Avengers: Age of Ultron pulled in $22.6 million on 3,856 screens between Thursday and Friday .
Ant-Man is directed by Peyton Reed and stars Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, T.I., Michael Peña and David Dastmalchian.
[table caption=”Marvel Films” colwidth=”20|200|50|50|50″ colalign=”left|left|right|right|right”]
Rank,Film,Year,Opening Weekend,Gross
1,The Avengers,2012,$207.4M,$623.4M
2,Avengers: Age of Ultron, 2015, $191.2M,$455.5M
3,Iron Man 3, 2013, $174.1M, $409M
4,Iron Man 2, 2010, $128.1M, $312.4M
5,Iron Man, 2008, $98.6M, $318.4M
6,Captain America: Winter Soldier, 2014, $95M, $259.7M
7,Guardians of the Galaxy,2014,$94.3M,$318.4M
8,Thor: Dark World, 2013,$85.7M,$206.3M
9,Thor, 2011,$65.7M,$181M
10, Captain America: First Avenger, 2011,$65M,$176.6M
11,The Incredible Hulk, 2008,$55.4M, $134.5M
12,Ant-Man, 2015,$22.6M,$22.6M
[/table]
About Ant-Man:
Scott Lang must leave his criminal past behind if he hopes to take down Darren Cross (Corey Stoll) and the unbridled power of the Yellowjacket suit! With the help of Hank Pym (Michael Douglas), Hope Van Dyne (Evangeline Lilly), and the Ant-Man suit, Lang must embrace his inner hero to pull off a heist that could save the world. See why heroes don’t get any bigger than Ant-Man in the video above.
In May Marvel announced that over 20 issues from the home of Avengers and X-Men are being offered with special manga variant covers, all of which are being drawn by famous character designers from Japan. Some notable artists are responsible for such shows as Kill La Kill, Evangelion, Trigun, and Full Metal Panic! Two more were previewed today.
Ms. Marvel #16 by Full Metal Panic! Illustrator Retsu Tateo
Inhumans: Attlilan Rising #4 is by Shigeto Koyama animator and designer on Evangelion, Kill la Kill
Ant-Man: Last Days variant cover by Q Hayashida
Guardians of Knowhere #3 cover by Yasuhiro Nightow (Trigun, Blood Blockade Battlefront)
Silk #7 variant cover by Gurihiru
Weirdworld #4 by Ken Niimura
Old Man Logan #4 by Homare
A-Force #4 by Toshirou
Spider-Island by Yusuke Murata (One-Punch Man, Eyeshield 21)
All-New Hawkeye #5 by Chiki Ogata (Landreaall )
Planet Hulk #4 by Imaishi Hiroyuki (Kill La Kll)
GROOT #3 by Superlog
ULTIMATE END #4 by Karmome Shirahama
Amazing Spider-Man: Renew Your Vows #4 by Yusuke Murata (One-Punch Man)
Civil War #3 by Katsuya Terada (The Monkey King, Blood the Last Vampire)
One of the biggest events this week was the announcement of the Emmy nominations. We had a few surprises and some things that just weren’t surprising at all.
Pick up where Breaking Bad left off.
More often than not, when a prequel takes over for a wildly successful show, you just aren’t going to have immediate success. Vince Gilligan changed that this year as his prequel, Better Caul Saul, picked up where Breaking Bad left off. This morning it logged seven Emmy nominations in its first year. I’m sure the executives at AMC where probably dancing in the offices when they saw that they were being rewarded for the risk that they took.
What better way to get over the loss of Breaking Bad than to follow it up with its prequel.
Umm where is Empire?
While the TV Academy was showing it’s love for Better Call Saul, it was giving the cold shoulder to another. Empire, was arguably the most popular show on Fox and it didn’t not receive a nomination in the Best Drama category. I’m not sure exactly what about that show didn’t resonate with the TV Academy but this was a serious Snub. This was a great show and it is wildly popular as well.
You wanna tell Cookie her show isn’t up for Best Drama?
WTH! Where is Jim Parson?
Probably one of the single biggest moments of the announcement was when people realized that Jim Parson had not been nominated. For those of you who have been living under a bridge, Jim Parson plays Dr. Sheldon Cooper on The Big Bang Theory. This is the 1st time in six years that Jim has not been nominated for Best Actor in a Comedic Series. He had previously won 4 of the last 6 times. I’m not sure what the TV Academy didn’t see in Jim Parson. Maybe they have a thing against actors being too funny in the roles they play? Maybe they have never seen The Big Bang Theory?
I was stunned too when you didn’t get a nomination.
Stone cold locks –
Where as some of the categories contained some surprising omissions, some categories would be what we call a stone cold lock. Kevin Spacey will win an Emmy this year for his role In the Netflix Drama, House of Cards. His dominance as Frank Underwood not only set’s himself apart from the rest of the field, it has set Netflix up as one of the leaders in streaming entertainment.
Are you really gonna deny this guy?
Jeffrey Tambor will win an Emmy this year for his role in the Amazon Prime Series, Transparent. Jeffrey brings such humor and heart to the role that he is head and shoulders above all the other candidates. The omission of Jim Parson in this category only makes him more of a lock to win.
I know it’s amazing! He won a Golden Globe and now he’ll win an Emmy too!
If Mr. Robot exists in a time where the moniker “The Golden Age of Television” still applies–I think we’re past the “golden age”, but then again I’m kind of a jerk–it owes a lot to The Sopranos, arguably the series that started this whole idea of “television series as serious piece of art”. The Sopranos did it first and did it best in many people’s opinion. It was cinematic to its core before that was a thing. It delved deep into the finer aspects of the human condition almost a decade before Mad Men and Breaking Bad and True Detective treaded similar ground. It revolutionized episodic narrative structure for television–outside of Twin Peaks–with an episode where a guy named “Fat Pussy” embodied an annoying singing bass fish and scared the hell out of Tony. Of course Tony was in some sort of fever dream, and that’s just the way fever dreams go.
Enter Mr. Robot. Having spent some time in the first three episodes reminding us of Elliot’s drug problem–*nudge* *nudge* *whisper loudly* he snorts morphine… a lot–the fourth episode works to put Elliot through the paces of his finally dried-up supply. Like a call back to papa Soprano–or maybe just a kid learning how to do it like Dad–Elliot ends up in his own fever dream, coming in and out of an altered reality that hopes to impart nuggets of truth on Elliot through coded symbolism. Mixed in, is a smattering of fsociety plans to take down Evil Corp, a pinch of Shayla and Angela getting some “quality time” together and a chunk of Darlene annoying the crap out of me with her incessant “too cool for school” routine, when she clearly isn’t too cool for school at all.
So I’m being snarky, no doubt about it. Yet I didn’t hate this episode, for all of its problems. In fact, I kind of liked it… well… some of it.
What works here is the fever dream, oddly enough. Here it’s handled through Elliot’s own withdrawals from morphine–versus Tony’s food poisoning–but it adds up to the same thing in the end. Elliot is forced to take a step back and look at his actions, considering the extremely crazy role he’s willingly putting himself in as technical leader of fsociety and acquaintance of Evil Corp’s rising star, Tyrell. It’s an important chapter in the pacing of the show, since Elliot diving whole hog into the fsociety pool might seem a little fast for his oft paranoid character. We also get a glimpse of Elliot out of control, not of the nutty world around him but of the demons inside of him–the episode is called “Da3m0ns” after all. This is probably Rami Malek–Elliot–being put to his greatest challenge yet; having to play the jonesing junkie realistically and without too much over the top flair. Elliot’s writhing around in bed–once he’s bed-ridden–gets to be a little much, but otherwise I’d say that Malek nails it.
The symbolism here is so messy though. There’s some deep symbolism around the various forms of imprisonment that exist in our daily lives, but there’s also a talking fish yelling about wanting a window. Sure it’s all commenting on the same idea, but the post-modern mood swings from “dark commentary on the soul” to “whoa, this fish is talkin’!” is a little jarring. I find myself thinking through each scene and trying to figure out if there’s some true artistry at work here, or if it’s just Sam Esmail and his writing staff throwing everything “weird” up on the wall to see what sticks. I’m hoping that I’ll have time before the next episode to do a “deep analysis” post covering the symbolism of specific scenes from Elliot’s break down, so keep an eye out for that.
Outside of Elliot’s “fun with withdrawal” storyline, the episode is a mixed bag. I really like where they take Angela through the course of the episode–it’s equal parts fun, engaging and intense–but I don’t think it quite suits her character. Spoiler here, but she’s so quick to drop some ecstasy when Shayla offers it, that it betrays her “middle of the road” persona. I guess that’s the point, but her moral compass could have spoken up a little. Plus, we get the ubiquitous “female characters making out” scene. Let’s add to the Bechdel test that alongside having a conversation between two women where they don’t mention a man, that same conversation has to end without them kissing each other for no apparent reason outside of titillation. Listen, I’m a warm-blooded American man, but at least give me a reason for a sensual scene between two women to exist. Neither one of them even seems curious about falling in love with another woman, so much as “we’re both objects, let’s kiss!” It’s a little despicable and cynical, as if the studio came in and said “See here boys, we gotta get that ratings bump. Two girls kissing, that oughta do it, see?”. I get that just like Tyrell in last weeks episode, so much of what happens these days in Mr. Robot is meant to elicit thoughts like, “Woah, these characters are W-A-C-K-Y”, but it seems like that could be handled with more care. If these two women wind up together again next week, pursuing said “relationship”, I’ll kindly shut my mouth and promise to not make snap judgements in the future. To be fair, this episode was directed by the filmmaker and noted lesbian Nisha Ganatra–a director of a few episodes of Transparent–so at least we know it’s not a leering man forcing these two actresses into a potentially uncomfortable scene. Still, come on Mr. Robot, that was cheap.
As for the fsociety crew, while Darlene’s characterization this week was just as annoying as ever–probably worse–her particular storyline does a good job of tying together the two divergent paths between Elliot’s life and the mysterious “Dark Army” hacker group. Also, the members of the fsociety crew who had been ancillary up to this point–often giving me unease with their lousy sideline performances–pulled it off this week, proving that in previous outings they were probably just trying to make the most of their screen time, or were simply just getting bad directing.
Speaking of the directing, Ganatra does a good job with some tough material this week. “Da3m0ns” is one of those episodes that’s constantly on the verge of flying off the rails with its trippy imagery that could be completely meaningless in the wrong hands. Ganatra though, keeps a consistent tone throughout, pushing the idea of societal imprisonment through the stream of consciousness feel of Elliot’s withdrawal period. As I mentioned earlier, the symbols themselves are a bit wonky, but the way they’re presented visually works to form a whole.
This will probably be the make or break episode for many of Mr. Robot‘s audience, since the sheer oddness of “Da3m0ns” has to be a turn off to a certain sector of viewers. It’s actually surprising that the writers would go with this divisive of an episode this early in, but I’m still on board, despite some choices that weren’t handled in the best way. More than anything, I’m still hoping that Mr. Robot gives its characters a break in the “world falling down around us” category. Elliot’s drug problem never had to get this bad, just like Angela never had to randomly make out with Shayla. It makes for good drama, but I’m still missing the character nuances that we got in the series premiere. If Mr. Robot gets back to those nuances through Elliot’s revelations here, “Da3m0ns” will go down as a worthwhile and necessary episode. Otherwise, I’m just not sure it is.
So the new episode of Prison School is out today, and its even worse than the first one. It’s just one gross gag after another with this show, and not much else really going on. Which is totally fine, I’m fully aware of exactly what this show is going for. It just doesn’t really give me much to talk about. If there was anything satisfying about this episode for me is seeing Hana getting peed on after all that build up throughout the episode. One thing this show does accel in is paying off on a big joke that you were waiting for and practically begging for at the end. But other than that there really isn’t anything else to talk about. Sure Kiyoshi is working on escaping to go on a date with Chiyo, but that’s not really anything to look at either. Honestly I don’t think I’ve even seen a show where there literally wasn’t anything to talk about.
Now when I say that I mean talk about things that might bring up interest or discussion. And I don’t want to just post the most shocking things that happen during the episode because you already know all that. And that’s all I can think to do for this show, just talk about how gross the things that happen are. Honestly I can’t even talk about how these scenes make me feel because all I feel is usually shock. And again maybe a little satisfaction when Hana gets peed on.
Don’t get me wrong, I am still enjoying the show, I just have no idea how I am going to stretch these kind of episode by episode reviews for Prison School. And the answer is, I’m not. Yep, this will be the last time I talk about Prison School until it finishes its broadcast run. After that’s done I will do a full review of the whole show, and I think that’s the only possible way to handle this sort of show. And while I still may be hard pressed to find material when that time comes, I still think its important to cover a show like this since it is such an anomaly. And like I said before I do enjoy the show, so most of the review will probably be about my enjoyment and what I take away from it (if anything).
So I’m sorry if you were looking forward to my week to week reviews of Prison School but there simply isn’t enough happening on an episode to episode basis to warrant it. So all I can say is just sit back enjoy the show, and see me at the end of the season for my thought. Hopefully by then I will have some good ones!
Revealing such a juicy spoiler on Conan last night might make Marvel furious, but Paul Rudd just can’t resist sharing his favorite part of Ant-Man.
Ant-Man is directed by Peyton Reed and stars Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, T.I., Michael Peña and David Dastmalchian.
About Ant-Man:
Scott Lang must leave his criminal past behind if he hopes to take down Darren Cross (Corey Stoll) and the unbridled power of the Yellowjacket suit! With the help of Hank Pym (Michael Douglas), Hope Van Dyne (Evangeline Lilly), and the Ant-Man suit, Lang must embrace his inner hero to pull off a heist that could save the world. See why heroes don’t get any bigger than Ant-Man in the video above.
Lamb of God vocalist Randy Blythe phoned in to talk about his new book Dark Days which chronicle his trail in the Czech Republic.
Blythe was charged, imprisoned, tried, and eventually acquitted of manslaughter. He spent 37 days in Pankrác Prison, a notorious 123-year-old institution where the Nazis’ torture units had set up camp during the German occupation of then-Czechoslovakia.
Bonus track:
Should creators start charging for autographs at conventions.