This series will be a brief, semi-comedic review of the CW superhero shows. You can check out last week’s review post here. The only shows discussed will be ‘Arrow’, ‘Flash’, and ‘Supergirl’. There WILL be some spoilers discussed, so only look at the reviews you’re up to date on!
Hard truth time: ARROW ruined Vigilante and Black Siren. Vigilante took a 180 degree turn, much like Deathstroke. Instead of being a moral counterpart to Oliver, he’s a generally heroic double-agent. This shift has also dumbed down Black Canary to a love interest for the character. Likewise, Black Siren’s obsession with Quentin has taken away her fundamental badass traits. These changes aren’t coming from meaningful development, they’re coming from plot necessity. Cayden James is a frightening villain, but can’t cover for the weakly written characters surrounding him. Vigilante’s death wasn’t surprising (the flashbacks made it too obvious) but maybe the Dinah vs Laurel conflict will bring them justice.
SCORE: 6/10 Card Games
WEEKLY WIN TALLY:
The Flash: 5.5 Weeks
Supergirl: 3.5 Weeks
Arrow: 2.5 Weeks
What show did you think won the week? Does Legends of Tomorrow or Black Lightning take your vote? Let us know in the comments below!
The creator of The Walking Dead, Robert Kirkman has a new ongoing comic book series hitting your local comic book store on March 7, Oblivion Song from Image Comics and Skybound.
Kirkman Monday afternoon talked with Monkeys Fighting Robots about monster design, writing style, the elements needed to make great Sci-fi, and his co-creator on the series, artist Lorenzo De Felici.
MFR:Oblivion Song is being labeled science fiction. In your opinion what are the most important elements that make up great science fiction?
Kirkman:Well, I think the hallmark of great science fiction is that science fiction doesn’t alienate and actually kind of accentuates the human story. The best science fiction stuff that is completely out there, and very unreal, and very fantastical, and yet completely relatable. And so that’s something that we’re trying to do here. This situation is more than likely never to happen in real life we are never going to see a large chunk of a major city sent to another dimension. I mean we hope. This is something that we look at very realistically and that the characters have very real reactions to and it is something that on an emotional core we can all relate to. We’ve all suffered loss in our life. We’ve all dealt with tragedy, either small or huge depending on our individual cases. So, this is still something that we can relate to despite the fact that it is this insane crazy science fiction thing.
Listen to the complete interview below.
Thank you for listening. If you enjoyed the interview, comment, review, and subscribe.
Here’s the official synopsis: “A decade ago 300,000 citizens of Philadelphia were suddenly lost in Oblivion. The government made every attempt to recover them, but after many years they gave up. Nathan Cole… won’t. He makes daily trips, risking his life to try and rescue those lost, alone and afraid, living in the apocalyptic hellscape of Oblivion. But maybe… Nathan is looking for something else? Why can’t he resist the siren call of the Oblivion Song?”
Check out the 8-page preview below:
Oblivion Song hits your local comic book store on March 7, 2018.
Are you excited for this Kirkman series? Comment below.
Eli Roth is still going through with this whole Death Wish remake. In fact the new iteration, starring Bruce Willis (also Dean Norris, who isn’t playing his brother so why even) will be here in less than a month.
To ramp up… excitement?… for his new #problematic revenge flick, Roth released a new red-band trailer in the fashion of the old grind house flicks of the 70s. Let’s see if it does anything to make this look betOH MY GOD:
BRUCE IS BACK!!! Can’t wait for you all to see my new movie, DEATH WISH!! In theaters March 2. pic.twitter.com/TJIamV3bu8
I’m torn on this one. On one hand, I want to see Bruce Willis play a character who is awake at least one more time before he disappears forever, and he at least seems to be playing to the cheap seats here. On the other hand, Eli Roth hasn’t made a good movie in (checks Roth’s IMDb page)… Eli Roth hasn’t made a good movie. So there’s that.
As for the whole issue about this new Death Wish not reading the room or whatever, don’t see it if it offends you. Simple as that. Not everything has to go through a checklist of sociopolitical elements to exist. Just skip it.
Aside from Willis, the new Death Wish stars the aforementioned thicker-Bruce-Willis, Dean Norris, Elisabeth Shue, and Vincent D’Onofrio among other recognizable character actors. It will be here March 2, and probably on VOD let’s say a month later.
The soundscapes behind Duck Tales,The Man In The High Castle and the upcoming Peter Rabbit film all come from the mind of Dominic Lewis. The 33-year-old composer is compiling an impressive list of credits. Lewis’ is a life steeped in music, and it shows in his body of work. The father of soon-to-be two sat down with Monkeys Fighting Robots via the phone to talk about his career, music and more.
Lewis’ music career got off to a very early start “I was in choirs from a very early age. As soon as I got into structured school, I was slammed in a choir pretty early.”
“And then, I think I was 11, just a teenager and the goal
was to be in bands and become a big rock star. ”
– Dominic Lewis
Getting started that early meant that Lewis discovered music primarily through one source — his parents. “At first I wanted to be a cellist like my dad. Follow in dad’s footsteps.”
But as all good pre-teens will find, the influence from the outside world will alter perspectives “And then, I think I was 11, just a teenager and the goal was to be in bands and become a big rockstar. As we all do.” During these years, Lewis spent time “… writing songs then creating string arrangement for songs.” But it wasn’t enough. “I wanted to explore more instruments.”
Things changed in the mid-teen years when “My dad had started doing film sessions … I took notes on it when I was around 14, 15. And from then …” Lewis pauses for a moment to snap his fingers as if to say something just clicked, “… I really, really wanted to get involved in film music.”
“My sister, she’s five years older than me, and so she was introducing me to all of her favorite bands.”
Dad isn’t the only musician parent. Lewis’ mom is a singer, and the music-rich environment naturally shaped his sonic repertoire. “Having two classical music parents, we had a lot of classical music in the house. So I was listening to Oprah and quartet music as a very young child.”
With so much rich music to draw on, who influenced Lewis most? “We listened to all the classical music from A to Zed really. My favorites being Revel, Strauss, Beethoven. So I had a healthy diet of that.”
Beyond mom and dad, Lewis has a sister who he credits with another important aspect of his musical understanding. “My sister, she’s five years older than me, and so she was introducing me to all of her favorite bands. So I went through a brit-pop phase where I loved Blur, Oasis, and Prodigy. We used to listen to everything. The Beatles, The Beach Boys, Dire Straits and Eric Clapton.”
“I’ve been really lucky. I’ve had a very broad diet of
music from a really early age.”
Lewis was faced with a tough next question. If you had become a famous rock band, what band would you want it to be? “If I had to be a band … “ dramatic pause “… I idolized The Beatles. I wanted to be Paul McCartney. I wanted that trajectory for me.” And, of course, we mused about how easy that is. Lewis added Beach Boy Brian Wilson to his list of influences. “The man is a genius” And as any good Gen-Xer will tell you “Nirvana was massive. A huge influence.”
Outside of the pop music world, a lot of films throughout the years also resonated, particularly the works of composers such as “Max Steiner, Jerry Goldsmith, Elmer Bernstein, and of course John Williams.”
Reflecting on his musical tastes and mental audio library “I’ve been really lucky. I’ve had a very broad diet of music from a really early age. I think it’s really helped in this job because you have to really be able to do everything.”
“I just shoved it all into my computer and
started messing around with it.”
And what exactly is everything? Take a look at Lewis’ 2017 work alone: Fist Fight, Rough Night, and the spectacular Duck Tales reboot. Three distinct works. And if you go just one more year back, Lewis worked on season two of alternate reality science fiction series Man In The High Castle. And 2018 kicks off with Lewis’ score for the half live-action, half animated Peter Rabbit movie featuring Daisy Ridley, Domhnall Gleeson, and James Corden among many other stars.
What’s the process like to go from one project to the next often radically different project? “The process is very different. For a project like Spooks [2015 British spy film], I took all the kind of spy and technology noises I could find like the starting up [sound] of an infrared to a typewriter to Morse codes. I just shoved it all into my computer and started messing around with it.”
The result of that was only the beginning. “From there, I got some cool atmospheres and cool noises. But I wasn’t getting any thematic material from it.”
Lewis continued to play with the concepts and add layers “So, I picked up the cello and just started mucking around with that. Trying to make it sound weird and not like a cello. Then I got this eerie, kind of pretty piano. Started mucking around with it, with reverb and different EQs, trying to make it sound different with delays and stuff.”
Soon after Spooks, Dominic scored Money Monster for Jodie Foster and said “So, similar to MoneyMonster, that’s my process for those gritty, thriller movies that don’t necessarily want a generic or typical Hollywood sound. So I try to think outside the box for that.”
“A lot of it is digital.”
In 2015, Lewis began scoring The Man In the High Castle with an entirely different vibe from his previous work. So, the process adapted “For HighCastle, I started with orchestral instruments, the cello, piano, clarinet, horn and sort of treated them quite traditionally. And then from that point made them sound weird with sound design elements by taking organic materials like chimes or marimbas or vibraphones or anything like that. Stretching them and manipulating them in different ways to kind of create that eerie atmosphere.”
Generally, composers love to work with live instruments. But our modern world is less inclined to that. “A lot of it is digital. I play the cello on all the High Castle stuff, and I played it on Spooks as well. Whenever I can get the cello out it really helps to heighten the sound. A lot of times there’s no budget to use orchestras. But I’ll bring in a violinist or flutist just to make it come to life. There’s never anything like the real thing.”
“Cinematographers who know what they are doing and
using this amazing planet we have as one big set.”
Artists have superpowers. And for a composer, it’s an uncanny ear that can spot live versus digital instruments. “I’m normally on the money, but there are guys out there that really know how to manipulate samples.” It’s a part of the biz as Lewis continues “I do it myself. I hope that my stuff is not completely obvious as to what’s real and what isn’t.” Lewis laughs, “I’ve been called out a couple of times, but mostly I’m pretty good.” But the endgame for Lewis is always clear “The goal is to replace everything with real people because there’s nothing like it.”
The abundance of digital sound coincides with the abundance of CG in many major movies today. “With a lot of movies now you can tell what’s not real and what is. When you get those movies like The Revenant that are actually real; it makes such a difference. Cinematographers who know what they are doing and using this amazing planet we have as one big set. The people who do that, it truly makes a difference. The [Christopher] Nolans of this world.”
“I feel like John Williams is an obvious choice.”
Bringing up Nolan brings us to Hans Zimmer. Lewis spent time at Zimmer’s Remote Control. “Hans is a genius. Hans is one of those guys who is continually changing the game. Thinking outside the box. He’s one of those guys who’ll never just do the first thing he thinks of. And if he does, he’ll go through one million other ideas before he realizes that the first thing he did was the best thing. He’s something else. You have to be in the room to truly realize what a genius he is.”
I challenged Lewis to pick a modern-day score that he admires. One caveat, he could not pick anything by Hans Zimmer. “I feel like John Williams is an obvious choice.” Lewis thinks then asks “What’s my timeframe?” The new rule: anything from the last 20 years. Lewis answers quickly with “The Prisoner of Azkaban.” If you don’t know, that stellar soundtrack is the work of John Williams.
“The thing about movies is that you get to go through a lot
of ideas and figure out what’s good and what’s bad.”
We didn’t exclude Williams from the choices. But Lewis also mentions “You know what I thought was absolutely amazing? And, I am biased, because he’s a very close friend of mine. But Matt Margeson’s score for Eddie the Eagle. I thought it was utterly brilliant.”
Lewis has worked on both television and film. So, what’s the difference? “As TV shows go, I have a lot of time considering [other weekly shows]. I have two weeks [between episodes]. Whereas Peter Rabbit, I spent six months doing it. Timeframes are a big difference. And there are pros and cons for both. The thing about movies is that you get to go through a lot of ideas and figure out what’s good and what’s bad. Come back to things and reevaluate.
“Where on TV, I’m happy with it, but its go-go-go.”
But things are much different for television, “With TV you don’t have that luxury. You just kind of have to go with your heart and in your head just be like ‘I gotta go’ there’s no time for second-guessing. It’s a very different process.
And which does Dominic prefer, TV or film, if any? “If I’m being honest I prefer the movie process because I like to iron out things and really get something I’m happy with. Where on TV, I’m happy with it, but its go-go-go. So you sometimes come back to it and say ‘hey that works’ or ‘I could’ve done that better, but it works.’”
Temp and reference tracks are a part of the filmmaking process today. Like other composers, Lewis thinks “When a temp track is too good, it’s a problem. Sometimes you get a temp track that is terrible, and it’s easy to beat.”
“It’s been pretty awesome to be able to throw
a full orchestra at 2D animation.”
What’s in store for the future from Dominic? “I’m doing my TV shows now. I’m in HighCastle season three and carrying on with Duck Tales.”
And that’s where we end, with a talk about the beloved cartoon brought back to life in 2017. Full disclosure, I LOVE DuckTales and even created a crappy role-playing game based on it. Lewis grew up with the 80s/90s cartoon as well, so what was it like to work on the new version? “It was very exciting. But obviously, when you have you such a strong musical idea, it was just like ‘do I want to do this?’”
One of the best parts about working on the new DuckTales “It’s been pretty awesome to be able to throw a full orchestra at 2D animation.”
The fear of fan-boy rage loomed, but Dominic ends by saying “It’s been pretty awesome, everyone’s kind of accepted it. It’s a great reboot.”
Thanks to Dominic Lewis for taking time away from animated
duck adventures and alternate reality dystopias for this interview.
The morning after the Super Bowl, we were gifted with the first trailer for Solo: A Star Wars Story. And I do mean ‘gifted’. The trailer gives off a wonderful devil-may-care attitude, perfect for the young scoundrel and his merry band of misfits.
Even the Falcon Was Young Once
The runaway star of the trailer is the Millennium Falcon. Solo powers her up in time with the soundtrack, and they’re already in perfect sync. Her snow-white hallways and still-gleaming controls indicate this is going to be an origin story for more than just Han himself. By the end of the trailer, they’re twisting and turning through turbulent space together, with awfully familiar odds at success.
I’d love to offer you an “on the other hand” reaction, but the trailer is tightly crafted. Between the awe-inspiring looks at young Han’s galaxy, the absolutely smashing costumes, and the promising cast, I have very little problem with what we’ve seen of Solo.
However, the exchange between Han and Emilia Clark’s Qi’ra is cliché. Here’s to hoping she’s more than the first woman who sees through Han’s tough exterior. Here’s to double hoping Qi’ra doesn’t go the way of so many women before her and wind up dead for the sake of Han’s character development.
Hitting the Reset Button on Baby Solo
Han Solo’s origin story was thrown out with the rest of the EU when Disney decided to hit restart. However, it sounds like some essentials remain. Han has always played jump rope with galactic (and planetary, and city-wide…) law, “pulling scams” since at least ten. Whether or not Solo introduces his mysterious parents, how he came to be such a morally grey character, or exactly where he developed those supernatural flying skills is yet to be seen.
If the trailer is any indication, Solo blends the known with the unknown rather well. Swinging from familiar (Han interpreting when no one in the galaxy seems to understand Wookie), to brand new (what kind of cantina IS that?) and back again (the cockpit of the Falcon is always full of people terrified for their lives…), Solo pulls from what we already know and expands Han’s corner of the Star Wars galaxy. It looks like Lawrence Kasdan’s script keeps Han, Lando, Chewie and the rest in strong, capable hands.
About the film: Board the Millennium Falcon and journey to a galaxy far, far away in Solo: A Star Wars Story, an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo meets his mighty future copilot Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
The film is directed by Ron Howard from a script from Lawrence Kasdan, and stars Alden Ehrenreich, Donald Glover, Emilia Clarke, Woody Harrelson, and Paul Bettany.
Solo: A Star Wars Story releases in U.S. theaters on May 25, 2018.
After releasing the first official trailer earlier today, Disney and Lucasfilm have now revealed the first official posters for Solo: A Star Wars Story.
The posters, which were released on Twitter, give us an artistic new look at each of the main characters. That, of course, includes Han Solo (Alden Ehrenreich), Lando (Donald Glover), Qi’ra (Emilia Clarke) and Chewbacca.
Check out the posters below:
Board the Millennium Falcon and journey to a galaxy far, far away in Solo: A Star Wars Story, an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo meets his mighty future copilot Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
Solo: A Star Wars Story lands in cinemas on May 25!
Disney and Lucasfilm released the full teaser trailer to Solo: A Star Wars Story Monday morning on Good Morning America.
Watch the trailer below.
About the film: Board the Millennium Falcon and journey to a galaxy far, far away in Solo: A Star Wars Story, an all-new adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo meets his mighty future copilot Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
The film is directed by Ron Howard from a script from Lawrence Kasdan, and stars Alden Ehrenreich, Donald Glover, Emilia Clarke, Woody Harrelson, and Paul Bettany.
Solo: A Star Wars Story releases in U.S. theaters on May 25, 2018.
Just moments after a spectacular Super Bowl, The Cloverfield Paradox, the third film in J.J. Abrams’ pseudo-anthology franchise appeared on Netflix. If the Cloverfield franchise is one thing, it’s very good at marketing. The first movie built incredible mystery up until release date. The second as well. Both used codenames for a while; as did Cloverfield Paradox which was being called “God Particle” for a year or two. Does Cloverfield Paradox add a new enjoyable entry to the series or is it a mastery of marketing and little more?
At the eleven minute mark, the title fills the screen
above some lovely CG of the space station.
Love or hate the series; each Cloverfield movie has a distinct attitude and flavor that makes it a unique part of the whole. The first film was a found footage monster movie. Godzilla with steady-cam and it delivered that narrative effectively. The second film is a claustrophobic paranoia film with little to do with the monster or anything else. Now, Cloverfield Paradox plays out like a sci-fi horror flick in the vein of EventHorizon.
The story begins with Eva Hamilton (Gugu Mbatha-Raw) who is with her significant other, Michael (Roger Davies) moments before she is ready to leave on an important mission. From there we move onto a space station orbiting Earth where Hamilton and a team of scientists are preparing to test an experiment. The test is initiated, but moments later it’s deemed a failure. A hectic score by Bear McCreary begins along with the opening credits which come on screen between scenes of the space station crew feverishly working.
At the eleven minute mark, the title fills the screen above some lovely CG of the space station. Throughout the opening moments, we’re told that the world is in disarray and that the experiment is a chance to create unlimited energy for the entire planet. Such abundance would cease the need for wars over energy resources.
About halfway through CloverfieldParadox,
things are going great.
The first thing you will notice about CloverfieldParadox is the stellar cast. Chris O’Dowd, Daniel Brühl, and Donal Logue, among others. The acting is superb, elevating the dialogue and providing the right amount of paranoia and menace.
About halfway through CloverfieldParadox, things are going great. By that, I mean that the story is tense and weird, but intriguing. Spooky stuffs are happening all around to each of the crew. However, a lot of the tension is instantly undermined by a goofy sequence with a severed arm. It’s mostly played for laughs, and it works, but it also serves to make the rest of the film less engaging.
It’s no secret that this film is a side-quel to the original film.
The slight turn to the silly doesn’t drag down the whole experience. Scares continue, as does the building mystery. While most of the story takes place on the space station, there is also the story of Michael on Earth as he deals with the first moments of the monster from the original film.
It’s no secret that this film is a side-quel to the original film. The connection to the first Cloverfield here is that this is the story of how the monster came to be in the first place. Unlike the other two films, this one tries to build out the world a little more, but it also keeps it intimate and personal. CloverfieldParadox makes a mild effort to provide a dose of character in an otherwise plot-driven monster movie. The world-building is also mild and a bit confusing for fans trying to link the chronology.
So, what’s the final verdict for CloverfieldParadox?
In almost no way is Cloverfield a poorly made movie. But at the same time, it’s not all that great either. It’s a film perfectly suited for the medium in which it is delivered. Had this movie been released to theaters it would’ve been almost laughable. But on Netflix, where the standards are somewhere between Hollywood and SyFy Channel, CloverfieldParadox is in a happy place.
So, what’s the final verdict for CloverfieldParadox? It’s alright. 10 Cloverfield Lane (aka Part 2) is still the pinnacle of the series. And the original had much more relentless pacing and some gravitas. Here, we get a well-made b-movie which benefitted more from brilliant marketing than filmmaking.
The Super Bowl doesn’t always have the best commercials aired during the game. With the good, you have to look at the bad. Not every one of the commercials shown this year was good. Time to look at the ones which weren’t very entertaining.
The momentary bit of a black screen which was featured on the Super Bowl went on for a bit too long. To the point the viewers started to reach for their remotes and wondered if something had gone wrong. What could have been a perfect amount of time for a TV spot for new movie was instead nothing but dead air.
This wasn’t really a bad concept it just didn’t land like it should have. Treated tax season like a monster under the bed should have been a cuter concept than what was broadcasted. Not the worst just not as good as it could have been.
This commercial felt uncomfortable. The panning over of a group of babies as it talks about demanding respect and equal treatment felt like it was going to take a weird turn. LIke it would have a terrible twist and be a commercial for a horror film. Instead its for a phone company and just feels odd.
NO! Not the one which looked like it was going to be an old spice commercial. The one which questioned what type of Commercial it was going to be. It then kept going through the night, questing what type of commercial it was going to be.
The commercial which inspired the idea to do a bad list as well. This lackluster commercial features Keanu Reeves motorcycle surfing and spouting nonsense. How is it possible to make a noted action star doing a dangerous stunt feel boring? Well, SquareSpace found a way and it allowed it to take a place on thislist.
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What was your least favorite Super Bowl Commercial of the year? Leave a comment below and let us know.
Once a year, the two best football teams come together to fight for the championship and prove who is the best around. OF course the real reason, the geek culture tunes in is to check out the different commercials which come on. Here are the ten best commercials to be shown during Super Bowl LII.
The new TV spot showcased a way of reintroducing what its like to see a dinosaur for the first time. The sequel is primed to amp things up in a way which makes you worried about who will be eaten, who will survive, and even if the dinosaurs will make it out alive. This trailer wasn’t the best to come from the night but still made a lot of people hyped for the film.
Come on, you know this one had to make the list. Under the tag “An Entire Universe” the trailer takes the time to showcase not only all the different characters which are going to be featured in the film but also shows Captain America’s new shield. It’s amazing what they were able to put into such a short amount of airtime.
A commercial which seemed like it was going to be a trailer for the new movie about Crocodile Dundee’s son, it became much more. Showcasing the sides of Australia which aren’t often seen, this commercial made everyone consider booking a passage to the Australia by the end of it.
Adding Sci-Fi elements to your commercial doesn’t guarantee they will be good. Luckily this commercial for Sprint found a way to add some robots into the mix and make it very entertaining. As the different machines laugh at their inventor
It amazing how much hype can be put into a TV spot which isn’t even a minute long. The new Star Wars movie which will showcase Han Solo before he met a young farm boy in a backwater cantina. The end of the commercial promised the release of the full trailer tomorrow. Talk about the best way to keep someone excited while waiting for the game to come back on.
A two part commercial featuring a battle straight out of Braveheart. As a group of underdogs try to claim some much needed brew, they are saved by a mysterious warrior known as the Bud Knight. This noble warrior is actually more here to get a drink than he is to save the day. Very entertaining and also entertaining when someone in the Bud Knight costume was seen in the audience watching the game.
As a group of guys find the joy of stacking chips to create new flavors, the commercial becomes zany. It all ends with a punchline which will have you very amused. It will also have you thinking about getting multiple cans of Pringles so you can make some unique flavor creations of your own.
The next chapter in the Cloverfield saga has been revealed thanks to this ad. Not only did it sell everyone on the idea of looking forward to this new film, it was revealed it has already been uploaded to Netflix. What am I doing here? I should be
When Alexa loses her voice, the company has make an emergency fix. Their solution is to call in a bunch of celebrities to take her place. Some of them are not exactly suited to help the customers with their needs and hilarity ensues because of it.
A back to back commercial of Peter Dinklage burning down the place and quickly followed by Morgan Freeman freezing it over easily stole this list. Advertising Doritos Blaze and Mountain Dew Ice respectively, the presentation was good, the music was catchy, and you have to admit it made you want to run out and get some snacks.
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What were your favorite Super Bowl Commercials? Leave a comment below and let us know.
The runaway star of the trailer is the Millennium Falcon. Solo powers her up in time with the soundtrack, and they’re already in perfect sync. Her snow-white hallways and still-gleaming controls indicate this is going to be an origin story for more than just Han himself. By the end of the trailer, they’re twisting and turning through turbulent space together, with awfully familiar odds at success.
