The team-up fans have been waiting for is coming to fruition. According to Variety, a Falcon-Winter Soldier series is in the works at the Disney streaming service.
During the events of Captain America: Civil War, Sam Wilson, and Bucky Barnes were frenemies in the best possible way. The banter between Anthony Mackie and Sebastian Stan was off the charts, which led fans to begin to petition for a team-up of the two iconic characters. At the time, a movie featuring the two seemed too far-fetched, but with the streaming service now in play, a show appears a logical replacement.
Stan and Mackie first appeared in the Captain America movie trilogy before spinning off into the larger MCU. Funny enough, both characters met an untimely end at the end of Avengers: Infinity War, so as with most of the MCU, we will have to wait until Avengers 4 to understand how the universe will shape up.
Many assumed that one of these actors would eventually take over the mantle of Captain America for Chris Evans. That could still be the case, although, it may be further down the line as this series will likely take some time to develop.
Along with the announcement, Variety reports that Empire writer Malcolm Spellman has been tapped to write the series, which joins Scarlet Witch and Loki as current MCU shows in development at the service.
Marvel Studios president Kevin Feige is set to oversee these series which will bring MCU characters to the small screen. They will run somewhere around six to eight episodes and have larger budgets than their Netflix counterparts. The actors who have portrayed the characters in the movies are expected to return to reprise their roles.
Are you excited for a Falcon and Winter Soldier series? Let us know in the comments below!
Tom King’s PTSD masterpiece marches on with Heroes In Crisis #2. There’s a heavy emotional weight to DC’s latest event story.
***SPOILERS LIE AHEAD***
Booster Gold and Harley Quinn go their separate ways to spread confusion across the land about who killed everybody at Sanctuary. Booster is in denial while Harley flirts with a little bit of suicide? Tom King turns up the gravity and emotion for Heroes In Crisis, but not by diving too deep into the dark.
As far as plot devices go, these confessional tapes might be one of the best we’ve seen in a long time. It’s been used in superhero comics in the vein of reality tv, but never like this. Tom King and Clay Mann have used every one of these to peel back the surface of these characters and show us something different.
The intimacy of these confessions are unnerving. These moments really are like nothing else we’ve seen in superhero comics all this time. Batman’s turn to face the camera is easily the most striking so far.
The simple fact that Batman was even at Sanctuary is a huge revelation. Then to actually have him open up about his surrogate sons over the years, watching them die, it’s an emotional moment that will be etched into the brain of every DC fan for years to come.
Giving us a peak at the fragility Batman is capable of after all makes the other moments of weakness hit even harder. His refusal to let go of the case he can’t solve goes from being an act of stubborness to a desperate attempt at getting a “win” for someone on the edge.
One thing that Heroes In Crisis suffers from is a constant throughout most DC books that feature Harley Quinn. Out of sheer convenience to the plot, Harley can outsmart the trinity of Batman, Superman, and Wonder Woman. The three greatest superheroes in all of DC continuity and she bends them over a barrel with her unmatched superpower of crazy!
Having her be a central character to this story meant there was an inevitability to one of these scenarios. We just have to accept it and move on, like we’ve grown accustomed to in other DC works. That being said, it’s satisfying to see her use the Lasso of Truth on Batman.
Tom King decided to use Wonder Woman’s confessional to strengthen her character rather than expose a weakness. Her moment firmly solidifies everything we know and love about Diana, the strongest female hero there ever was. She’s better than all of us and King has no shyness about reminding the reader.
Booster’s handling of the situation is a show of great characterization. He’s in denial but it makes for some great comedy bits. His interaction with Flash is wonderful, as is the steadily declining percentage in which he is confident that his actions reflect “what Batman would do.”
The Flash and Booster Bold scene has a lot of development at lightning fast speed (duh). Clay Mann’s motion for Flash during their fight/talk is stupendous. The timing and layouts for the scene in which Barry learns of Wally’s fate, checks for himself, and confronts Booster is exactly what we read comic books for.
Just like Heroes In Crisis #1, Clay Mann puts on an absolutely stunning show. There’s a huge serving of diverse emotions on display that are spot-on. He uses a lot of facial expressions you don’t tend to see often in comics, but see in your every day life.
The final confession we see is Superman himself. We got all three of the trinity in this issue, but Clark was the biggest surprise. Who would’ve expected him to be the reluctant one? Batman bares his soul and Superman is the one worried that this could get out. King laid these three confessionals out perfectly and will catch readers off guard.
All in all, Heroes In Crisis #2 is another strong showing of emotional comic book crafting. There’s not a lot of action, but there’s no shortage of memorable scenes either. The pace may challenge more impatient readers, but we all knew what we were getting into.
There are a few minor annoyances but the sentiment is still there in full force. Heroes In Crisis is still very much a mystery that we’re to solve along with the characters. It’s going to be a journey with plenty of emotional bumps and memorable moments.
I hate to write about film theories, nobody cares about, or seems to anyway. Still, I do find some enjoyment in said theories, so let’s keep this going, shall we?
So, because two critics have already posted their thoughts on the Halloween reboot on this site, and because it seems like no one is interested in my thoughts are, I suggested I cover it from the art-house perspective. After all, David Gordon Green got his directorial career started with character driven art house films, and moved up the ladder, well after a couple of days of soul searching and figuring it out, I have a way to connect his art house debut, the 2000 film George Washington, and the 2018 Halloween, the answer may surprise you.
You ever get the strange feeling, you’re watching a Terrence Malick film, even though you’re not?
So, about our director, David Gordon Green. First-off he is a great director, when he’s allowed to write the scripts for the films he directs, this may sound like a cop-out, but it isn’t. The problem is Hollywood doesn’t really want him to write screenplays and considering the film I watched to compare Halloween (2018) to, I understand their concern. You’ll see what I’m talking about when I get into my attempted plot synopsis of George Washington.
This is a frankly bizarre film about an African-American kid named George, who wears a helmet, because of a birth defect. After a murder is accidentally committed, we follow George as he tries to be a proverbial superhero for the small North Carolina town he resides in. If you’re lost, I don’t blame you. This is one of those films with what I call a magic eye plot, you can find said plot if you look at exactly the right direction to find it. Still there is a unique directorial style, and a vision on display, which is frankly interesting. I never felt bored with the picture, due to said directorial vision.
Regardless of my jokes, this is a beautiful looking film, and it’s worth recommending for shot composition alone.
By contrast, Halloween (2018) was relatively straightforward, which is okay, because nobody really wants to see a Terrence Malick inspired horror film, (although I’d love to see somebody try). Still I was straining my brain trying to figure out similarities: there are only a few I know of, both plots involve murder, and both films have great performances by actors you wouldn’t expect, and both have a story arc of character redemption.
So aside from these comparisons, I feel both films involve a theory posited by my favorite filmmaker Martin Scorsese, in his 1995 BFI documentary: A Personal Journey with Martin Scorsese Through American Movies. I cannot remember which episode he talked about this theory, however, I remember the contents, and I think they apply to our subject. Scorsese was talking about the late King Vidor, and how in the studio system he would make a populist film, which sold a lot of tickets. He would then go make a personal project, which wouldn’t sell a lot of tickets, but would fulfill a creative urge. Scorsese’s exact words were: “one for the studio, and one for yourself.” Scorsese himself is no stranger himself to this theory. For every The Color of Money, Cape Fear, or Shutter Island, he’s made a Last Temptation of Christ, Gangs of New York, or Silence.
I love this irony, the man who directed this shot, would later direct stoner comedies, seriously.
Green’s filmography is legitimately bizarre. His first four films were of a uniquely directorial vision (he wrote and directed all four of those of films, mind you) then decided to make two films for the studio, and then switched, between those two extremes, with varying quality. The consensus being when Green is making his art house films, they’re significantly better than his commercial films.
Still it does show promise, he can at least have a directorial vision, even if it’s to make terrible comedies. In a way there’s something admirable about this, yet I can’t tell you why.
In the latest episode of Kieran’s Movie Space, Kieran reviews Netflix’s spooky new series, Chilling Adventures of Sabrina. Will fans be happy with the latest version of Sabrina? Is this Buffy The Vampire Slayer for a new generation? Listen to the spoiler-free review below!
Magic and mischief collide as half-human, half-witch Sabrina navigates between two worlds: mortal teen life and her family’s legacy, the Church of Night.
What Is Kieran’s Movie Space?
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters. New episodes weekly…or whenever I feel like posting.
Don’t Watch This is a new movie from Netflix that collects five short horror films into one ghoulishly fun film. The film is a collaboration between Netflix, Crypt TV, the producers of Haunted, and the exec producers of Queer Eye that curtailed the usual Friday release. The anthology released on Monday, October 29, 2018, just in time for Halloween!
About Don’t Watch This
Official Description: There is none. It’s an anthology series, and reportedly Netflix “challenged talent and partners to bring us the most unbearable, unwatchable, can’t-possibly-finish short films you’ve ever seen on Netflix.”
Since it’s an anthology, here are descriptions for each of the five films in the series:
Friendship Bracelet
When two popular girls show up to her birthday party, outcast Julie goes to chilling extremes to make them her best friends.
Keep Out
Teaming up for one last spooky viral video, friends Noah and Alex break into a long-abandoned house, only to discover they’re not alone.
Incommodum
Ominous symbols, bodily horrors, and other frights converge in a surreal nightmare that’s not for the squeamish.
CTRL+ALT+DEL
A spiteful hacker lured into a virtual reality game on the dark web races to solve three challenges—with harrowing results.
Antoni Psycho
As Queer Eye food and wine expert, Antoni Porowski shares the secrets of his healthy morning rituals, hints of a darker side emerge.
Full disclosure, I’m always onboard for an anthology series. That concept coupled with the awesome, b-movie inspired trailer is already enough to get me interested in watching Don’t Watch This. I’m also a big fan of the Netflix content machine. Not necessarily because they make great stuff but because they don’t seem afraid to go a little off the deep end here and there. Experimentation like this breeds classics and the more the merrier. Don’t Watch This looks like a deep dive into the depths of horror fun and just in time for the best day of the year — Halloween. #ChangeMyMind
Did this trailer get you excited for Don’t Watch This? Leave your comments below!
ARROW continues down its Arrow-less path, but with a little more success. “Crossing Lines” works to explore what the new season’s tone is. Each of the protagonists get time in the spotlight. The core characters – Oliver, Felicity, and John – all get something of substance to do. “Crossing Lines” is the strongest episode of the season so far, because it really packs a punch.
The standout of “Crossing Lines” is definitely Emily Bett Rickards as Felicity. Felicity becoming more of an action-ready vigilante is interesting. While her moral dilemma is something we’ve seen with Oliver many times, but Felicity makes it new. Her storyline helps wrap the other Team Arrow friends into an unknown world. She even gives Agent Watson some interesting screen time (at long last). Felicity anchors an episode of ARROW that really elevates the season.
Photo from The CW
The Oliver prison plot still isn’t very strong. “Crossing Lines” definitely brings some exciting action back to ARROW. However, many of the characters in prison with Oliver weigh the episode down. The Bronze Tiger sympathy angle only works because it’s Michael Jai White saying it. Oliver’s small prison friend adds nothing to the story. Especially since we know Level 2 is the really dark area, it’s hard to know why we spent so much time with the Level 1 losers. That said, Oliver getting his hands dirtier with every day is an interesting enough arc.
The story line with the least impact was John and Lyla’s mission. It’s nice to see them back, but it’s a familiar story. Their relationship, and the secrets they keep, has been explored many times. The reason why it’s forgivable is because it’s nice that John and Lyla are present again. John Diggle hasn’t gotten his due in season seven yet, but “Crossing Lines” sets up an arc for him. Where he and Lyla will go from here makes their smaller problems okay.
“Crossing Lines” represents ARROW’s turn into real action. All three leads, as well as Diaz, are finally making big moves. After a slow introduction to season seven, ARROW has finally kicked things into gear. With any luck, the series will continue riding this momentum into a more dynamic season.
Maggie’s (Lauren Cohan) had enough, and she’s on her way to pay Negan (Jeffrey Dean Morgan) a visit. We’re teased this last week as we watched her and Daryl (Norman Reedus) walk down the road. We now know that she went back to Hilltop to gather some items, specifically a crowbar, before making her way to Alexandria. Still, we never get to see this confrontation. And, with next week’s episode being the last of Rick Grimes, are we ever going to see Maggie’s encounter with the man who bashed her husband’s head in?
Daryl offers a ride to Rick in an attempt to tip off Alexandria of Maggie’s arrival, and after a scuffle, the two end up trapped in a man-made hole in the ground. They have a heart to heart that is making Rick rethink how things are being handled these days. There’s more than one way to handle justice in this world, and perhaps Rick’s law-man days should end. Rick didn’t ask for followers. It just happened. But now, it seems that the communities want a different form of leadership and definitely a different set of rules.
Andrew Lincoln as Rick Grimes, Norman Reedus as Daryl Dixon – The Walking Dead – Season 9, Episode 4 – Photo Credit: Gene Page/AMC
Negan’s refusal to eat spurs a visit from Michonne (Danai Gurira). We get another heart to heart, much to Michonne’s disgust. She has better things to do, like study government textbooks like she’s studying for final exams. Negan tugs at Michonne’s heartstrings, and he plays off that he’s a softy for children because he and his wife were never able to have a family of their own before cancer took her from him. Really, though, he just wants his beloved bat back, but Lucille’s out in the world somewhere, unaccounted for. Did that really need to culminate with Negan bashing his own head against a concrete wall?
Anne (Jadis?) (Pollyanna McIntosh) has officially lost it. She wanted to change, she even tried to, but she clearly hasn’t become a better person. The blame of Justin’s (Zach McGowan) death, which she is certainly innocent of, must have gotten to her, and she has chosen a new path. Sounds like she’s ready to pay the sacrificial fee to join the helicopter people. She leaves Gabriel (Seth Gilliam) unharmed, oddly, with an unsettling farewell note pinned to his pocket.
Pollyanna McIntosh as Jadis/Anne – The Walking Dead – Season 9, Episode 4 – Photo Credit: Gene Page/AMC
And as for Rick, we’re left with a cliffhanger. Being bucked from a horse, leaving him impaled, it looks like it’s the end of our fearless leader. Or is it? Does anyone else find it oddly ironic that his puncture wound is in the same place of his gunshot wound from the pilot episode? It may be a way for things to come full circle for him.
This episode feels like a “part 1” of a bigger picture that perhaps will come to fruition next week. We have a lot of unanswered questions, things in limbo, and unfinished missions. Times are a-changin’, and I have a feeling that there could be complete turmoil next week.
Jim Zub takes over writing duties for Marvel’s Champions with volume 4, “Northern Lights”, out November 7th.
The trade collects the three issue “Northern Lights” story, as well as the two issue Infinity Countdown: Champions. In “Northern Lights”, the team heads to Canada and comes face-to-face with both Master of the World and Alpha Flight. Then, tying into Infinity Countdown, Sam Alexander gets a distress signal from the Nova Corps and heads into space to battle Warbringer. Ms Marvel, Viv Vision, Ironheart, Wasp, and Snowguard tag along, and the crew finds not only Warbringer, but Thanos as well.
Sean Izaakse draws “Northern Lights” with Marcio Menyz on colors, and Emilio Laiso draws the Infinity Countdown tie-in with Andy Troy on colors. Zub writes both stories, and Clayton Cowles letters them.
Champions was started to show the power of youth, and to empower younger readers. Its purpose is to show how idealism and innocence can be a tool and a strength instead of a weakness. Zub captures this spirit in his debut on the title.
Admittedly, both of these stories are somewhat cut-and-dry in their plots. The team answers a distress call and there’s a big fight. It’s superhero comics 101. However, the themes and morals of these stories make them worth reading.
Both stories involve the Champions bucking authority to be heroes and do the right thing. Sometimes the “right” thing isn’t the logical thing, but these teens are showing the importance of trusting your heart and putting good out into the world. There’s even a moral conundrum in “Northern Lights” that adds a layer of complexity and gives readers young and old something to think about.
Both art teams on this book capture the essence of traditional superhero comics. The work is bright and vibrant; the action is big and explosive. Izaakse, Menyz, Laiso, and Troy all fit the tone of their respective stories perfectly.
“Northern Lights” is the start of a new era for this series. Not only is it Zub’s first arc, but it’s the first story where Ironheart and Wasp are official team members. Point being, this is a fair jumping-on point if you’re new to Champions. However, as this is a team book and there are only three volumes preceding this one, you’ll probably enjoy it more and have more of a connection to the characters if you catch up on Mark Waid’s run first.
Champions is an inspirational, fun comic, and Jim Zub is a natural fit for the series. All high schoolers should be reading it. Heck, all adults should be reading it to remember what it’s like to be young and hopeful. It’s important to hold on to that hope, and comics like this remind us of that.
Based on their memoirs, Beautiful Boy is the story of David Sheff and his son Nic, as their relationship is strained when Nic becomes addicted to drugs. The film debuted at the 2018 Toronto International Film Festival.
Although the film’s story is undeniably compelling, it wasn’t always the most effective at capturing the audience’s attention. It is obvious that Nic is someone who made a misstep in his life that caused his world to fall apart. As such, it is hard to not feel sympathy for him. However, because the film constantly pummels the audience with sad (and sometimes excessively tear-jerking) moments, it instead becomes derivative and tiresome.
Oakley Bull as Daisy Sheff, Maura Tierney as Karen Babour, Timothe Chalamet as Nic Sheff, Christian Convery as Jasper Sheff, and Steve Carell as David Scheff star in BEAUTIFUL BOY.
Additionally, the film’s pacing is inconsistent. Although it is based on a true story, the film still feels repetitive. The process of struggle, recovery, and relapse is repeated one too many times. The film feels slow and about thirty minutes longer than it really needed to be. More distracting is the fact that the film leaves the arc incomplete. The film ends at a time in the story that is entirely unsatisfying, especially given the real-life end of the story.
Furthermore, the film didn’t always feel completely realistic. Some scenes felt gritty and real, but other scenes had dialogue that seemed artificial. The emotion behind the scenes was always genuine, but the actions were not. The characters also had too many drastic shifts within scenes. This is justifiable for Nic, who experiences mood swings as a result of withdrawals, but more inexplicable for David.
Steve Carell, Maura Tierney, Timothe Chalamet, Oakley Bull, and Christian Convery star in BEAUTIFUL BOY.
That being said, the film does accomplish its goal of showing the horrors of drug addiction. It has been since perhaps Trainspotting that a film has given such a harrowing portrayal of drugs. This is not meant to be an uplifting film — it is meant to be dark and depressing, and you will definitely be feeling down when the movie is over.
The actors are all very good too. Timothée Chalamet is as great as always in his role, fully committing to the transformation, although he isn’t given as much to do as he should have been. Instead, the focus is clearly on Steve Carell, who is wonderful. Carell is arguably a better dramatic actor than a comedic one, and this is one of his strongest turns yet. He absolutely nails the emotion and nuance associated with the character.
Overall, Beautiful Boy isn’t a bad film, but it isn’t as good as it should have been. It is well-acted and harrowing, but a tad slow and overlong.
Beautiful Boy is now playing in select theaters and expands November 2.
Unlovable is a new comedy co-written and starring Charlene deGuzman. It debuted at the 2018 South by Southwest Film Festival, where it received Special Jury Recognition.
In the film, deGuzman stars as a sex-and-love addict that has hit rock bottom and is struggling to take control of her life. She begins to learn real intimacy when she forms a band with the reclusive man in whose guest house she is staying.
The first scene of the movie is somewhat annoying and over-the-top. It feels too bright and ditsy for a film with such serious subject matter. Luckily, this is only a facade, as the story soon turns darker, even though it (rightfully) maintains its optimistic attitude. It is this blend of realism and optimism that makes the movie so enjoyable.
Additionally, despite the film’s subject matter, it is surprisingly tasteful. Yes, there are scenes of sexuality, but these are not graphic or overly raunchy. The movie manages to capture the crippling effects of addiction without being exploitative or gratuitous. To do this, the film establishes its characters to be complex and rounded, making their emotional arcs the center of the story.
The protagonist is highly likable. The film uses pity as a tool to make the audience like her even more. When used improperly, pity can make a character feel distant or diminish the impact of his or her story. However, the movie counterbalances the pity that the audience should feel for the protagonist with a well-written redemption arc. This makes the character even more intensely sympathetic.
The supporting characters in the film are likable as well. Jim has a very strong arc of his own, changing from an outsider to one of the most interesting parts of the story. The friendship that is developed between him and the protagonist is both enjoyable and believable. Maddie is a likable mentor character, although her part in the movie is small.
The execution of the film was also quite good. The cinematography and editing are interesting, with some gritty and real shots that were emotionally impactful and some fantastically surreal shots that transport the audience into the mind of the character. The soundtrack is great too. The original songs were catchy and cute.
Furthermore, the actors also do a nice job of bringing their characters to life. In the lead role, deGuzman is both funny and endearing. Given that she co-wrote the movie, there is likely some part of the character that is true-to-life (or at least something she has seen in real life), and that shows. John Hawkes gives a strong turn in his supporting role. He is talented at being the off-putting, but unexpectedly charming character.
Overall, Unlovable is an impressive film. Although it gets off to a bumpy start, it quickly smooths out, turning into an enjoyable, brisk comedy.
Unlovable opens in theaters November 1 and is available on VOD beginning November 2.
