The second trailer for Mission: Impossible – Rogue Nation has been released, and it adds a little flavor of Led Zeppelin to the action. The trailer itself has an interesting structure, with Tom Cruise and Simon Pegg doing one thing while everyone else does something different.
Here is the second trailer for Mission: Impossible – Rogue Nation:
The addition of Zeppelin’s “Whole Lotta Love” is a nice touch to switch up what are usually cookie-cutter action movie trailers.
Director Christopher McQuarrie is hit and miss in his career, and his last collaboration with Cruise, Jack Reacher, was a definite miss in my book. Regardless, these Mission: Impossible films seem to have fallen into a groove as far as the structure and action are concerned, so just about anyone halfway competent could churn one of these out and make it entertaining.
Mission: Impossible – Rogue Nation hits theaters July 31.
The first international trailer for Macbeth has been released, with Michael Fassbender and Marion Cotillard in the lead roles. Shakespeare’s Scottish play is one of magic, horror, and brutality, and this first trailer seems to understand the nature of the story.
Here is the Macbeth trailer:
Macbeth had its debut at Cannes last month, as well as the release of two film clips. It was met with generally positive reviews. Some complained that the dialogue was difficult to hear, and from this trailer I can see how that might be a problem. Regardless, director Justin Kurzel seems to have gone all in with his adaptation.
Aside from Fassbender and Cotillard in the lead roles as Macbeth and Lady Macbeth (which I can’t wait to see Cotillard tackle), the adaptation also stars David Thewlis, Paddy Considine, Sean Harris, and Elizabeth Debicki. One thing I didn’t see ,except maybe a brief glimpse, were the witches that frame Shakespeare’s story. I’m sure they are prevalent in the film, but it was surprising to not see much of them in the trailer.
Macbeth will be released in the UK in October. No domestic release date has been scheduled yet.
Title: Broken World Issue 1
Publisher: Boom! Studios
Writer: Frank J. Barbiere
Artist: Christoper Peterson
Broken World #1 is the story of the Earth’s last days and how Humanity reacts to the impending apocalypse.
Imagine if “Armageddon” or “Deep Impact” were a comic. Now imagine if those movies actually held a semblance of emotional resonance and you get Broken World; a sci-fi thriller and survival series from Frank J. Barbiere (Five Ghosts, Avengers World) and Christopher Peterson (Grindhouse, Mayday). When an extinction level event, an asteroid, threatens the planet it seems that the end of days is upon us. Humanity has begun to evacuate the planet through the cheekily codenamed Exodus project (the first of many religious references in the book). However, not everyone is granted sanctuary aboard these Arks. Elena Marlow, college professor and mother of a young boy, is denied salvation when the seemingly shady Government rejects her application due to her mysterious past. As Elena struggles to find a way onto the last ship, we see a society slowly reacting to the oncoming apocalypse. Some turn to religion, some struggle to maintain their ordinary lives and others are not so willing to die.
Stories about the apocalypse are nothing new; indeed, they have seen resurgence in recent years. The post-apocalyptic survival genre was granted a new lease of life following the success of the Walking Dead. The particular threat; an asteroid, is certainly an old foe, but unlike many stories that have come before it, Broken World is a very personal story. It’s the story of one woman and her final days on Earth. Barbiere and Peterson expertly craft an intriguing protagonist in Elena. While her past may be the initial impetus for the plot, it’s her present that is far more compelling and her future that she seeks to ensure. Elena desires nothing more than to be with her family, but her concern about her future with them is constantly on her mind. In this regard, Barbiere and Peterson excel showing us a woman who puts up a strong face for her son and husband, but is visually distraught at the very thought that she might lose them.
To say any more would thread into spoiler territory and this is an issue you will want to experience yourself.
Tension is kept throughout the book via a countdown which signals the asteroid’s impending impact. An all too present reminder that time is running out for both Elena and the world. Elsewhere exposition is kept to a minimum; though do expect the odd necessary set-up and world building spiel does crop up from time to time.
Peterson bookends the issue with fantastic paralleling splash pages that tug at the heartstrings. His interiors are simplistic, but full of emotion, with subtle changes in glances and body language telling more than a thought balloon over could. Barbiere and Peterson are a perfect creative couple, each understanding the other and playing to their strengths.
If this is how the world ends, then it is going out in style.
Hello and welcome to the Indie Comics Spotlight. We are all certainly crawling out under the mountain of Battleworld-related crossover titles and still making that face at Ultimate Reed’s helmet with Secret Wars, so why not add a few more titles to the mountain. You need a break from the Battleworld, and there are a lot of great indie titles waiting to help you recover from crossover mania. Here are a few stellar indie titles you may have missed that you should pick up at your local comic book shop.
Providence – Alan Moore, Jacen Burrows
Providence serves as both a prequel and a sequel to Alan Moore’s four-part series Necronomicon from 2010. Once again, Moore delves into Lovecraft’s world, but this time the story is set in 1919 Providence, Rhode Island (birthplace of the horror king). The book is the first of a twelve-issue series, so Moore works to set up the characters and the world more slowly and more meticulously than he did in Necronomicon. Alan Moore, because he is Alan Moore, uses many references to Lovecraft’s work, like the consistent calling to Lovecraft’s story “Cool Air” (which you can read online.) Though the first issue is a lot of set-up, the tone is cold and eerie, and the world Moore and Burrows construct is a stage now perfectly set for whatever Lovecraftian horror is about to ensue. This book is perfect for Alan Moore devotees, H.P. Lovecraft devotees, historical horror fiends, Necronomicon, and those of us who prefer our horror to have an octopus-like god waiting in his house at R’lyeh dreaming.
Material – Alex Kot, Will Tempest, Clayton Cowles, Tom Muller
I picked up Material on a mad dash of indie title grabs not knowing a thing about it. When I finished it, I closed the comic and sat in quiet for a long time, staring forward, reflecting on myself and the world around me. Material is marvelous because in a genre dominated by super powers, super heroes, monsters, aliens, robots, and other out of this world, supernatural tropes, Material is a comic book that takes a chance on being brutally human. The first issue does not really have a story, but it has four (thus far) unconnected characters. The story is told in vignette form and focuses on a disillusioned professor who may have encountered self-aware artificial intelligence, a washed-up actress who is in-demand for an important film director, a fifteen-year-old African-American boy who is detained at Chicago’s Homan Square black site after being arrested at a protest, and a man struggling to adjust to his family and life after leaving Guantanamo Bay. The bottom of the pages have references to books, films, quotes, and people that pertain to the specific story being told which helps the story ripple out into reality. I have never read a comic book that has affected me like this, and I am interested in what the next issue will hold. This book is perfect if you like Optic Nerve, pre-Punch Drunk Love Paul Thomas Anderson films, and comics without superpowers.
Grab these comics at your local comic book shop. The Indie Comics Spotlight returns next week in it’s regular Tuesday night time slot. What indie books are you reading? (One of them had better be Bitch Planet.)
Writer/director Paul Feig has a ton of fun with the character archetypes, exotic locales, and other expected tropes of the spy film genre in his latest collaboration with Melissa McCarthy, simply entitled Spy, and thanks to game turns by McCarthy, Jude Law, Rose Byrne, and the surprisingly hilarious Jason Statham, audiences should have a lot of fun with it, too. It’s a smart, brisk, laugh-out-loud globetrotting action comedy with a great message tucked subtly between the frames, a perfect alternative to any summer action blockbuster that makes the mistake of taking itself too seriously.
McCarthy plays CIA analyst Susan Cooper, once a promising candidate for field agent, but who chose instead to devotedly run comms and support for “field man” Bradley Fine (Law), the kind of super-agent that can beat up a score of henchman, save the world and get the gorgeous girl (or girls) all without his tux and bow tie getting so much as a wrinkle. Fine tremendously values Susan, or “Coop” as he calls her, because he knows he couldn’t possibly do what he does without her near eidetic memory and problem-solving ability in his ear and at his disposal, but he’s completely oblivious to the fact that Coop does what she does for him because she’s very awkwardly pining for him.
When Fine’s latest mission to track down a rogue nuclear bomb appears to end not only with Fine’s demise, but also with the identities of the CIA’s other top field operatives compromised and the bomb still in play, Coop volunteers to carry on with the mission. Her boss, Elaine Crocker (Allison Janney), and Fine’s former peers, especially the hyper-intense and loud-mouthed Rick Fox (Statham), are all skeptical, but since Coop has never been in the field, it’s far less likely the targets she’d be tracking would see her coming, as opposed to any other more experienced option.
After a peek into Coop’s past record, Crocker relents and send her into the field with orders to track and monitor only, which, of course, completely go out the window once things start to go awry. With her best friend and fellow analyst Nancy (Miranda Hart) squawking in her earpiece, some unwanted help from Fox, who quit and went rogue in order to finish the mission his way, and her own quick mind and quicker mouth, Coop finds herself taking on some serious international baddies, the nastiest of which is Rayna Boyanov (Byrne), the insufferably-entitled daughter of the arms dealer who planned to sell the nuke to the highest bidder before his untimely demise. Rayna wants to take her father’s place at the top of his criminal empire, and doesn’t care how many poorly-dressed and intellectually-inferior people have to die in order for her to get there, which puts Coop and the CIA square in her sights as she seeks to carry out her late father’s plans.
What makes Spy work as well as it does is mostly attributable to Feig and his cast’s seeming commitment to not steering this film into spoof or farce territory. There’s clear reverence for both classic 007-style and more contemporary Bourne-style espionage thrillers in just about every shot here, but Feig in his script takes every opportunity in those shots to look for opportunities for humor. The cast, in turn, takes the great material and runs with it, and though McCarthy delivers her trademark amiability and ability to deliver rapid-fire zingers to her portrayal of the earnest, capable, plucky and occasionally potty-mouthed Coop, it’s the supporting players here who really bring the laughs. Law is simply perfect as the stalwart yet hopelessly self-absorbed Bradley Fine, who puts his hair back into place after every bone-crunching fistfight and death-defying gun battle, and Byrne once again shows her versatility and her talent for comedy as the snobbish and humorless Rayna, whose almost every line is an insult to whoever she might be addressing at the moment.
But the absolute scene stealers are UK sitcom star Miranda Hart as the well-meaning but clumsy and socially-inept Nancy and Statham, who talks and walks like Jack Bauer but has more in common with Inspector Clouseau. Statham delivers his lines the way he delivers punches and kicks in his other straightforward action work, which makes it all the funnier once it’s clear that the man is more a danger to himself than to any international evildoers he might be taking on. Other fun cast members to look out for here are Bobby Cannavale (Chef, HBO’s “Boardwalk Empire) as an impeccably stylish broker of all things illegal and dangerous working for Rayna, and Peter Serafinowicz (Shaun of the Dead) as Coop’s driver in Italy, Aldo, who just can’t seem to keep his hands off her regardless of whatever predicament they might be in. There are some really clever running gags to enjoy here, too, from digs at Rayna’s impossibly bouffant hairstyle, Coop’s progression of unflattering cover identities, and the alarming rodent problem in the basement at CIA headquarters where Coop and Nancy normally work, just to name a few.
But in reality, the appeal in Spy aside from the glamorous locations, the well-choreographed action sequences, and all the great gags and verbal jabs traded by the cast is the idea that drives the film, that it’s not just the bold and the beautiful people in the world that are capable of saving it when needed. Feig and McCarthy, who are on their third collaboration after Bridesmaidsand The Heat, lock on to a very real truth here that audiences far and wide should identify with readily, that sometimes the most difficult obstacle people face on the road to success is underestimating themselves, especially when their outward appearance invites others to underestimate them, as well.
That truth applies in a way to the film itself — the way it’s being marketed, focusing on the physical comedy and easier jokes that come from McCarthy in a “fish out of water” role, it might be easy for people seeing the trailers and commercials to underestimate just how enjoyable this film might be, perhaps likening it to Tammy, McCarthy’s comedy from last summer that bombed spectacularly despite the presence of some very talented and funny women in its cast. If that’s the site-unseen conclusion you’ve come to about Spy, put it aside, go see the film, and then try not to admit you were wrong. It make look like spy movies played purely for laughs, but it has more in common with Kingsman: The Secret Service from earlier this year in terms of what it has going for it, and that’s a very, very good thing.
Spy
Starring Melissa McCarthy, Rose Byrne, Jason Statham, Miranda Hart, Bobby Cannavale, Allison Janney, and Jude Law. Directed by Paul Feig.
Running Time: 120 minutes
Rated R for language throughout, violence, and some sexual content including brief graphic nudity.
James Wan has officially taken over directing duties for both Aquaman at Warner Bros. and Robotech for Sony Pictures.
Deadlinebroke the news moments ago that the Furious 7 and Insidious director is attached to both films. Aquaman we know will also star Game of Thrones alum Jason Momoa. Greg Silverman made the announcement on Wan’s hiring, saying “The Aquaman film will be a major tentpole picture for us and James’s span of work has proven him able to take on any manner of project, bringing his incredible creative talent and unique voice to the material.”
Very little is known about the Robotech project at the moment outside of James Wan’s involvement, but the Aquaman film already has Zack Snyder on board as producer, and Kurt Johnstad and Charles Roven are working on the screenplay. James Wan is a fun director and seems to be a great fit for both projects given his ability to shoot coherent and axciting action scenes.
Rob Fee a comedic writer, took time to talk with Matthew Sardo about pop culture, social media, Norm MacDonald, Danny DeVito and the worst sports fans in the world.
He also took mushrooms for the first time and then went to Wrestlemania. Read his article in Playboy.
Fee has worked with Comedy Central, MTV, Ellen, Playboy, IFC, Epic Meal Time, CBS, VICE, Mandatory, Relevant and IGN to name a few.
Caitlyn Jenner figured out how to be free & happy in life & Ive been staring at McDonalds menu for 9 minutes debating which hamburger to eat
The new trailer for 99 Homes, one of the hits of this year’s Sundance Film Festival, has been released, and it showcases Andrew Garfield squaring off against Michael Shannon in the midst of the 2008 housing crisis. If the trailer is any indicator, 99 Homes looks like a searing mixture of drama, emotional anguish, and powerful performances from all involved.
“Set amidst the backdrop of the 2008 housing market catastrophe, Dennis Nash (Andrew Garfield), a hard-working and honest man, can’t save his family home despite his best efforts. Thrown to the streets with alarming precision by real estate shark Mike Carver (Michael Shannon), Dennis, out of work and luck, is given a unique opportunity—to join Carver’s crew and put others through the harrowing ordeal done to him in order to earn back what’s his. Delicately training his eye on the rigorous details, the reliably astute Ramin Bahrani imbues his characters with icy complexity to achieve his compassionate portrait of a man whose integrity has become ensnared within an all-too-relevant American crisis. With precision and care, Bahrani’s provocative character study applies all the cinematic tools at his disposal to explore the ethical dilemma at the heart of man’s struggle to reach higher—by whatever means necessary.”
The film definitely has a Gordon Gecko Wall Street vibe from Michael Shannon’s end, and it is always nice seeing Laura Dern on screen. Perhaps she is in line for a second consecutive Best Supporting Actress nominee after picking up one for last year’s Wild.
It’s also good to see Andrew Garfield back where he belongs, at least in my opinion, in serious dramatic roles. He was okay as Spider-Man, but the films were average at best, and Garfield showed some true chops in films like The Social Network and Never Let Me Go.
99 Homes, directed by Ramin Bahrani (Chop Shop, Man Push Cart), hits theaters September 25.
Greg Silverman, Warner Bros. head of film production, recently did an interview with The Hollywood Reporter and discussed DC Comics’ movie strategy, direction, and competition with Marvel Studios.
Marvel has gotten more than a head start on DC Comics, and is running roughshod over the box office with their ever-expanding universe. Outside of Christopher Nolan’s Dark Knight Trilogy, DC Comics has struggled to gain any traction with quality films. They have just recently kickstarted their own cinematic universe, with 2013’s Man of Steel and the upcoming Batman v. Superman: Dawn of Justice leading into Wonder Woman films, Justice League films, and beyond. Regardless of what is in store, DC Comics has a long road to matching Marvel’s prowess with fans.
Silverman discussed Warner Bros. strategy with The Hollywood Reporter, and their strategy to differ from Marvel in order to separate their universe:
“We have a great strategy for the DC films, which is to take these beloved characters and put them in the hands of master filmmakers and make sure they all coordinate with each other. You’ll see the difference when you see Batman v. Superman, Suicide Squad, Justice League and all the things that we are working on.”
In this statement, Silverman is referring to Marvel being more of a machine, and less films with unique identities from individuals. It’s a nice approach, but the directors must be right for the part for the film to work. One of the other issues people have had with Warner Bros. approach to the DC Comics films is the idea of bringing in several screenwriters to compete with each other for films. Silverman explained that strategy:
Every project is different. On some projects, we have multiple writers working together. In some cases, we put writers together who have never been a team together. And sometimes, there is only one writer whose voice is right. In the case of Wonder Woman, the right approach was to have writers pitching different scenes within the framework we created.
Silverman delved much deeper into Warner Bros. approach to the DC Comics universe. It may be a tough task to compete with Marvel, but perhaps the play here is not to compete, but be different. There is a very real possibility that fatigue could eventually set in with the Marvel stories at about the time DC Comics hit their stride. Then again, DC could simply end up being the SEGA Dreamcast of this arms race when all is said and done.
YouTube is celebrating 10 years creating viral videos and that has had a huge impact on the advertising community. Decided by public voting, the video giant announced its ad of the decade.
Kobe vs. Messi: The Selfie Shootout from 2013 by Turkish Airlines is your winner.
Basketball star Kobe Bryant and football icon Lionel Messi are back in this epic face-off for selfie supremacy. Armed with cameras and Turkish Airlines – the carrier that flies to more countries than any other – these superstars show up and show off across the globe.
