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About DC in D.C. DC Entertainment and Warner Bros. Television Group bring you DC in D.C. LIVE from Washington, D.C.
This landmark pop culture event features panel discussions and appearances by the stars and producers from Arrow, DC’s Legends of Tomorrow, The Flash, Gotham, Supergirl and Freedom Fighters: The Ray, comic book authors and artists and more!
Full Panel Schedule below:
10:00–10:45 a.m. ET – The Art of the Matter: From Sketch to Screen
11:00–11:45 a.m. ET – The Many Shades of Heroism: DC Heroes Through the African-American Lens
12:00 p.m.–12:45 p.m. ET – Wonder Women
2:00–2:45 p.m. ET – The Pride of DC: The Art of LGBTQ Inclusion
3:00–3:45 p.m. ET – The Aftermath: Battle & Trauma in Comics
As we find ourselves in a new era of Marvel Comics, I’ll be providing a weekly report on all Legacy titles. Your one-stop guide to what’s going on in the 616 universe from MFR’s resident Marvel fanatic. Below, we’ll dive into each book from this week and then a Marvel Legacy report card. Let’s dig in!
Also, check out our coverage from the previous weeks!
Living Lightning is front and center for this gigantic weekly series. He reenters relevancy as he gets the call to assemble along with the rest of the Avengers. This is an opportunity to take a character in a different direction without altering a major player and angering the online comic community (like that’ll stop them).
It’s hard not to compare a big, weekly comic series in any way to the triumph that was 52. To that end, Avengers #675 does a fantastic job giving us just enough to come back next week without showing any cards or being over-the-top.
Mark Waid, Al Ewing, and Jim Zub are a mighty fine writing trio. It’s going to be fun trying to guess who came up with what as we get deeper into this story.
It’s a great, big joy to have all the Avengers under one umbrella. Especially for the heroes of Occupy Avengers, the underrated, cancelled-too-soon comic by David Walker, which was cancelled before Legacy.
Hercules is a character that never landed with me until recently. His stock in likability continues to rise with this issue, including a nice comedy beat about Atlas.
Young Wasp’s conflict with Jarvis’ condition feels underdeveloped and mostly puzzling. A person so dedicated to science so strongly opposed to the age-old “one life versus billions” numbers? Highly unlikely.
Pepe Larraz and David Curiel do a fantastic job “meeting in the middle” for all of these books that were dissolved into one. There are shades of each series making up this new experience. That panel of Carol staring off into the vacancy of space where Earth used to be is stellar.
We still know nothing about this Voyager, founding Avenger business, but it’s certainly enough to pique a reader’s interest. Perhaps the missteps taken, in some people’s eyes, about The Sentry’s history provided a lesson learned by the trio of writers when plotting out Voyager’s introduction.
Personally, I’m a fan of The Sentry, but I understand those who are not. Either way, Voyager presents an opportunity to at least improve upon the idea behind altering 616 continuity.
This is a big, bold project for Marvel and these creators. Avengers starts its now weekly story in a classic comic book structure and pace. This issue is much more than merely copying and pasting a handful of comics into one.
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X-Men: Blue #19 “Cross Time Capers” Part Three
Cullen Bunn wasn’t just stringing us along through a time-jumping history lesson. We get hit with the real twist in this issue, and it’s a clever one. Everything the time displaced teens assumed about the past was wrong, it’s all a ruse by The Brotherhood.
We get these great interactions between the Blue team and an old school Magneto, which Bunn doesn’t waste the opportunity to have fun with. It’s great that both Gold and Blue read more like classic X-Men comics without feeling similar to each other.
No matter how many times we’ve seen them in X-Books recently, the gigantic splash pages showcasing X-Men history highlights is still effective. Just like the rest of the issue, what could be overcrowded and messy is instead a beautifully balanced display of color and pencils.
R.B. Silva and Adriano Di Benedetto have a strong handle on all these different eras, ages, and attitudes we’re exploring with this story. Rain Beredo is making a major case for more steady coloring work. Altogether this arc has been beautiful, this team is dynamite.
Part three of this story was going to be the make-or-break issue, tilting the scale heavily onto the positive side. Cullen Bunn is doing his finest X-Men work with an art team hellbent on keeping the explosive and bright spirit of X-Men drama alive and well.
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The Punisher #220 “Punisher: War Machine” Part Three
Frank’s time in the armor continues to be a bloody, fun, face-exploding extravaganza. We don’t need an intricate or complicated story, just Punisher in the War Machine armor. Frank saving innocent people and shooting holes through the bad guys.
Matt Rosenberg’s dialogue between Castle and the suit’s computer is hysterical. His old man, military mentality clashing with statistics and probability for every one of his actions doesn’t cease to entertain.
Guiu Vilanova and Lee Loughridge deliver on every bit of violence. Every explosion of flesh and drop of blood is brutal. The look of the armor is still odd and unpolished and looking like Bernthal is annoying. Otherwise this is a solid artistic effort.
Matthew Rosenberg keeps this wacky time in Punisher comics straight forward and tasteful. This could’ve easily been a disaster, but instead it’s exactly what it needed to be.
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Spider-Man/Deadpool #26 “Oldies” Part One
This new arc takes us in a completely different and unexpectedly touching direction. Peter and Wade are living out their last few years in the same retirement community.
Robbie Thompson successfully catches readers off-guard with this charming and delightful issue. Spidey and Deadpool’s BFF status as old men is adorable. Pete taking pictures from his wheelchair while Wade seduces every wrinkly lady he can, it’s perfect.
Scott Hepburn does a fantastic job aging these two heroes. Deadpool looks legitimately disgusting in a perfect way. Even his posture and mannerisms are perfect exaggerations.
Ian Herring gives these panels a proper tint when necessary and does a lot with background color. Pete’s subtle outfit colors were a nice touch. Herring and Hepburn knock this out of the park.
Wheelchair wall-crawling, Deadpool deception, old treasures from past adventures, this issue is fully loaded. This is my way-too-early front-runner for favorite single issue of 2018.
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She-Hulk #161 “Jen Walters Must Die” Part Three
Writer Mariko Tamaki wraps up this story about The Leader and a She-Hulk super fan. Knowing this series is cancelled puts a different lens over the reader’s eye. Tamaki had to close this story out and get to her final arc, she does so gracefully.
This doesn’t have the grand finale one would like with the return of a classic villain. Jen overcomes her adversary without destroying her admirer. The emotional triumph we experienced with her earlier in this run isn’t there, it feels rather thin.
The color contrast effectively serves the greens used in these panels, making The Leader and Hulks stand out. However, it doesn’t make for terribly exciting art as a whole.
Some pages are just plain dull and seem to barely be inked. The watercolor pages appear to be where the most attention was paid, they are beautiful pages.
This issue is most likely the victim of bad news. Having to wrap-up an arc and quickly transition to your series finale all of a sudden doesn’t usually make for a compelling comic book.
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Secret Warriors #12 “Versus Mister Sinister” Part Five
Secret Wars: The Game doesn’t look as fun as you would initially expect. Regardless, Lunella uses it to try and mend fences among her damaged teammates. A clever way to settle differences and give readers some closure as this series comes to an end.
Matthew Rosenberg has a ton of quick comedy bits here that land every time. They’re littered throughout the whole issue and never derail the story, it’s a skillful display. He handles all the business, addressing everyone’s issues, but never drenches us in sappy apologies.
Ramón Bachs sends us out on a light issue. Despite taking place entirely inside an apartment, it never gets dull or boring. Bachs keeps our eyes busy and allows Rosenberg to do his thing. In a perfect world, I would’ve appreciated some sort of detail to the board game.
This is a really solid finale for a series that has a passionate cult following. Matt Rosenberg keeps us entertained and laughing while providing some closure that we need.
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Phoenix Resurrection #3 “The Return Of Jean Grey” Part Three
If this weren’t weekly, pacing would be a real problem. We’re moving so slow, only getting little bits every issue of what’s going on, that any longer of a wait between issues would make this feel much less urgent.
This is still big and haunting, absolutely loaded with foggy mystery. However, it’s dangerously close to losing our interest. In this issue it became apparent that we’ve basically read the same thing three times now. Matthew Rosenberg may have stretched this out a little much.
The horror sequences and hallucinations by Jean are effective and intriguing, it’s elsewhere that the pace may soon start feeling like a drag. Three straight issues we’ve seen the X-Men gather together and walk different places like an episode of LOST.
Thankfully Emma Frost shows up and injects some life into the repetitiveness. Even still, the end of this issue isn’t as fulfilling as it is frustrating.
Joe Bennett, Lorenzo Ruggiero, and Rachelle Rosenberg keep the needle moving unaffected by Rosenberg’s crawling narrative. Jean finds herself trapped in a Truman Show nightmare that really makes he reader feel a bit claustrophobic thanks to the pencils, ink, and color.
A major push forward needs to happen in the next issue or this runs the risk of losing impatient readers.
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Old Man Logan #33 “Scarlet Samurai” Part Three
This story goes from being a really well done Old Man Logan Kung-Fu action comic to essential Wolverine-in-Japan adventure. Ed Brisson plays with continuity a bit and teams Logan up with Silver Samurai.
Brisson also plays around with Logan’s healing factor as an old man. This is an element that’s rarely explored, but always welcome. The process of his hand being severed, growing back, not having adamantium coating on the claw, and the time it all takes is fascinating.
I love the action lines we get throughout the issue, like when Logan is escaping, effectively creating the illusion of motion and speed. The layouts and atmosphere in this book are what make it one of the best looking comics at Marvel.
Deodato delivers a brutal and gruesome comic once again. Logan’s slowly regenerating hand is a highlight, even if it showcases how Deodato always draws gigantic hands on characters.
Cory Petit also does fantastic work with lettering, adding a exclamation point you can’t ignore as Logan rips through Hand ninjas.
Ed Brisson, Mike Deodato Jr., and Frank Martin are making Old Man Logan matter so much more than just a side note in the Wolverine continuity. Stunning layouts, a thoughtful script, and brutal violence solidify this series among the best at Marvel.
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The Unbelievable Gwenpool #24 “Lost In The Plot” Part One
Gwenpoole’s taken a turn towards villainy with time in the 616 limited. Her and Batroc are on a mission to rob Chance’s Sky Casino.
Gwen and Batroc make a hilarious pair. There’s no shying away from how ridiculous he is as a character. Chris Hastings utilizes the fourth-wall breaking in new ways yet again, this time getting Batroc involved.
Hastings is using this series in an interesting way to work through the thought process of a writer whose book has been cancelled. As we approach the final issue, fans will be right there with Hastings as we work through the cancellation together.
Gurihiru provides another fun exploration of the limitations of comic book composition and the laws of their characters. Without their efforts, the bold usage of Gwen’s “past the panels” ability wouldn’t be such an easy pill to swallow. Batroc The Leaper’s redesign is splendid as well.
Another series we shouldn’t have to say goodbye to already. Hastings and Gurihiru are working through the cancellation like the rest of us and it’s translating into a truly unique comic book experience.
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Despicable Deadpool #292 “Bucket List” Part One
Deadpool won’t let that whole Secret Empire thing go and turns his attention towards the incarcerated Stevil Rogers. This story could potentially be the best remnant of Secret Empire, it’s nice to see somebody had a plan to address the controversial event.
Gerry Duggan is absolutely on fire right now. His efforts to put the Despicable back in Deadpool has been a triumphant return to form. This issue is an enthusiastically scatterbrained affair that has a laugh on almost every page.
Wade’s visit to Stevil’s cell is a much appreciated check-in that’ll no doubt lead to a ridiculous new rivalry. Duggan has the power to reshape what people think of Hydra Cap.
Matteo Lolli keeps the insanity and violence cranked up. There’s a large array of different textures on display. The reader can feel the difference with their eyes in Deadpool’s leather costume, the snake’s scales, Stevil’s slick hair, Wade’s Stryfe cosplay armor, etc. Ruth Redmond uses a lot of strong yellows and oranges that complement all of Deadpool’s red well.
This is the perfect comic for anybody who was feeling Deadpool fatigue but still have a soft spot in their heart for the mouthy merc’.
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Daredevil #597 “Mayor Fisk” Part Three
“He brought the devil into his house, and the devil is listening.” Wilson Fisk is NYC mayor and Matt Murdock is officially his Deputy Mayor. The game begins as both Matt and Wilson waste no time plotting against each other.
It’s a joy to see Matt and Wilson begin to start poking each other in close quarters. Steve having to read all the city briefing books to Matt is a brilliant distraction.
Horn Head has his hands full between Fisk, being public enemy #1, Muse on the loose, and The Punisher lurking in the shadows. Charles Soule has been flexing his ex-lawyer muscle a lot more recently and it’s made this spectacular series even stronger.
Stefano Landini’s art doesn’t really come to life until DD hits the rooftops, Matt Mills’s beautiful color makes it feel more like home. Not to say that Landini’s got nothing to offer, it’s just not Ron Garney. He even channels Lord Garney’s minimalistic and heavy shadow style a bit. It’s a pretty great looking book overall.
Charles Soule’s run on Daredevil is a staple of Marvel’s lineup over the last two years. It’s consistently one of the best comics and keeps finding ways to evolve and get even better. The more Soule flexes his lawyer muscles, the better.
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Cable #153 “The Newer Mutants” Part Four
Now that the team is fully formed and neck deep in shit, it’s much easier to ignore the art blemishes and just dig in. It’s funny that the more ridiculous and confusing time-jumping that happens, the more this feels like home.
Ed Brisson’s giving us some mighty fine mutant soap opera adventures. Not everybody gets a ton of screen time, but they all sure get a ton of action. Jon Malin has a knack for action sequences. Doop is unquestionably the MVP of Cable’s “Newer Mutants.”
The lettering by Travis Lanhamis a fully loaded assault, especially the page where each member of the team is introduced and has their own corresponding sound effect.
At certain points Bastion makes this sound like a kid playing with his action figures, but at the same time has its own over-the-top 90s charm. This time-jumping mutant soap opera is a blast.
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Ms. Marvel #26 “Teenage Wasteland” Part Two
Ms. Marvel is still nowhere to be found, Kamala’s friends have stepped in to bear the bolt and solve mysteries. They uncover a sinister plot involving The Inventor and an old folks home.
G. Willow Wilson is successfully telling a Ms. Marvel-less Ms. Marvel story, further strengthening her supporting cast. It’s a bold move for a cult book to make to start their Legacy era, but it’s paid off so far.
The framing of these panels is masterful, knowing when to zoom in on a face is crucial. Even if you’re annoyed that Kamala is nowhere to be found, the art by Nico Leon and Ian Herring is enough to keep reading. Those dark basement pages, that are mostly silhouettes on a gray background, are stupendous.
A strong youthful spirit and stylish art keep Ms. Marvel readers satisfied without its leading lady.
Fight scenes galore! That is what Director Chad Stahelski is promising when he, along with the folks at Starz and Lionsgate, adapt a John Wick television show called, The Continental.
The show will be take place in the same world as the John Wick films and will tell the story of The ContinentalHotel, a place where the world’s deadliest assassins go to lay low when they aren’t out on assignment. It serves as a safe haven, with a set of moral codes.
Starz CEO Chris Albrecht stated there will be, “thunderous fight sequences and intensely staged shootouts between professional assassins and their targets”. Great news! This series has offered up some of the best hand-to-hand combat and ridiculous shootout scenes we’ve ever seen.
Wick already has his own comic book via Dynamite, while the third installment in the film series is set to come out in 2019, so adding a TV show to expand his universe is a great idea! It will join a franchise that has already amassed over $300 million at the worldwide box office.
No announcements yet regarding casting or a premiere date, but Stahelski did offer up some information regarding how the show will fit into the film series universe.
“They’ve got a really good structure. It’s very tied to the film in that it’s about The Continentals all over the world, how certain people come into that world, and what happens in relation to those people,” Stahelski said. “It’s something that studio [Starz] seems very, very intent on and very, very behind.”
Keanu Reeves is not expected to reprise his role as Wick on the show. He will instead be on the other side of the camera, serving as an executive producer. Though, it has been hinted he may make a cameo. We will have to wait and see.
The first major comic convention is right around corner and BOOM! Studios is all set for Emerald City Comic Con 2018. The publisher released its program schedule Friday night.
Lumberjanes: The Hardcore Lady Type Panel
Friday, March 2nd
Time: 4:00-5:00pm | Location: TCC L3-R1
BOOM! Studios’ Lumberjanes is one of the biggest success stories in comics—and their biggest adventures yet are coming in 2018! Join co-creator Brooklyn Allen, Mariko Tamaki (Lumberjanes: Unicorn Power), series artist Ayme Souyo, series colorist Maarta Laiho and series editor Dafna Pleban to celebrate entering Year Five of Miss Qiunzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types!
BOOM! Studios: Discover Yours
Saturday, March 3rd
Time: 1:30-2:30pm| Location: TCC L3-R1
The world of BOOM! Studios has grown bigger than ever before, meaning there’s a comic book for every kind of fan – and this is the panel to Discover Yours! Join Kyle Higgins (Mighty Morphin Power Rangers), Josh Trujillo (Dodge City), Cara McGee (Dodge City), Ryan Ferrier (Rocko’s Modern Life), Lisa DuBois (Rugrats), Sean Rubin (Bolivar), Royden Lepp (Rust), and Matt Gagnon (Editor-in-Chief, BOOM! Studios) as they reveal all the big news from the diverse imprints of BOOM! Studios, BOOM! Box, KaBOOM! and Archaia, along with some special surprises for every fan in attendance. Moderated by Filip Sablik (President of Publishing & Marketing, BOOM! Studios).
Creating the World of Mouse Guard
Sunday, March 4th
Time: 1:30-2:30 | Location: WSCC 604
Discover the secrets behind building the world of Mouse Guard, one of the most successful new comics of the past decade, straight from creator David Petersen! Mouse Guard is in development as a feature film by 20th Century Fox, but before that, David crafted a world for the graphic novel series with a sense of history, materials, arts, values, architecture, culture, and language. Explore the past, present, and future of The New York Times bestselling series that everyone’s talking about, from comic books to coloring books and more! Moderated by Cameron Chittock (Editor, BOOM! Studios).
ECCC takes place at the Washington State Convention Center in Seattle, Wash. from March 1-4. The BOOM! Studios booth will be located at #1002 on the SkyBridge.
Leonardo DiCaprio and Quentin Tarantino join forces again!
After working on D’Jango Unchained in 2012 Oscar winning actor and director Leonardo DiCaprio and Quentin Tarantino will work together once again.
DiCaprio is set to star in the untitled film based on Charles Manson. Vanity Fair reports, The film is set in Los Angeles in the 1960s and ’70s and is believed to involve the actress and model Sharon Tate, who was murdered by members of Charles Manson’s notorious “family” in 1969.
Tarantino asked Margot Robbie to play Sharon Tate, but nothing’s been finalized. A release date is set for Aug. 19, 2019. The 50th anniversary of Sharon’s death.
Producers of the film include Harry Potter’s David Heyman, Tarantino and Shannon McIntosh. Production begins later this year with an $18 million California production tax credit.
DiCaprio is repped by LBI Entertainment and Hanson Jacobson.
Earlier today, news broke that Leonardo DiCaprio, long rumored to be circling Quentin Tarantino’s upcoming Charles Manson/1969 film, was in fact joining the director to star. Now, QT has his sights set on another Oscar winner: Al Pacino.
In the same Variety report announcing the reunion of DiCaprio and Tarantino (the two previously worked together in Django Unchained), Justin Kroll writes “Sources now tell Variety that Tarantino is interested in casting Al Pacino in the film as well. Sony is handling distribution.”
Nothing in stone yet, but it sure seems like if Quentin Tarantino is interested in you, you probably at least take a meeting or two. It would be an absolute blast to see what Tarantino could do with Al Pacino and his manic range. Odds are, however, it would be something decidedly un-Pacino.
There’s also the rumor still floating about that Tom Cruise might be interested in the movie, which takes place in 1969 and is set against a backdrop of the Manson Family murders. It is not exclusively about Manson, as was reported in the early days, but whatever his involvement, Tom Cruise would make sense as the diminutive maniac; just trust me on this.
Stay tuned as we get more information about casting, shooting, release, etc. And remember, this is the first post-Weinstein picture for Tarantino, who has taken his talents to Sony. It should be fascinating to see unfold.
The companies will coordinate with a TWE estate, ‘The Last Wine Company’, to develop both ‘Blood Red Blend’ and a ‘Cabernet Sauvignon’, each with a label that will respond to the Living Wine Labels app, which is an augmented reality visualizer that brings bottles to life. Pointing your phone, while using the app, at the labels, prompts characters to either fight off ‘walkers‘ in the aisle or see ‘walkers’ come up right out of the label.
“We know how enthusiastic fans of The Walking Dead can be and we expect they will embrace the Living Wine Labels app and wines with real excitement,” Seth Hynes, who is leading the introduction of the wines, said. “Finding new and meaningful ways to connect with consumers is something we care very much about.”
The Living Wine Labels app is not a new venture. In fact, it has been working with another TWE brand in 19 Crimes for a while now and, come February, 2018, will also augment various labels with Chateau St. Jean, Beringer Bros. and Gentleman’s Collection wines.
Though this isn’t the first ‘TWD’-inspired wine. Just a few months ago, AMC and Lot 18 came together to launch a three-wine set, named ‘Daryl Dixon’, ‘Negan’ and ‘Rick Grimes’.
Each bottle via The Last Wine Co. will be available at some point in January of 2018 and each will retail for $18.99, while the Lot 18 wines are available now for $22 each. Whatever route you go, any of these bottles would go great with this ’walker’ wine holder.
With millions of fans heavily involved on social media of ‘TWD’ comics and AMC’s The Walking Dead are highly involved in everything as their loyalty knows no bounds. You will want to scoop these up if you’re lucky enough to find them, for sure. TWD on AMC returns on February 25.
Download the Living Wine Labels app now (iOS / Android) to ‘Watch the Dead Rise’.
While you’re here, check out this article from Vine Pair, where wine professionals talk about the must-grab-and-run-with bottle of wine they’d want during the ‘walker’ apocalypse.
Shazam!, the story revolving around Billy Batson coming out of Warner Bros., will release on April 5, 2019, per The Wrap.
Zachary Levi leads the cast as the main character, with supporting roles given by Mark Strong, Jack Dylan Grazer, Asher Angel, Grace Fulton, Cooper Andrews, Faithe Herman, Ian Chen, Jovan Armand, and David J. MacNeil.
Shazam! is directed by David F. Sandberg, with a screenplay written by Henry Gayden and Darren Lemke.
DC Films is in a period of change at this point. Justice League underperformed, which led them to re-think their entire slate of movies. Currently, the only confirmed films in the universe include Wonder Woman 2, Suicide Squad 2, Aquaman, Black Adam, and Shazam!.
Are you looking forward to Billy Batson’s on-screen debut? Comment below, let us know.
DC Comics announced today it will deeply explore some of the previously overlooked DCU history in a new prestige mini-series, The Other History of The DC Universe, from Oscar-winning filmmaker John Ridley (12 Years a Slave, Let It Fall). Ridley also currently writes comics for DC (Vertigo’s The American Way: Those Above and Below).
According to DC Comics, “the story will analyze iconic DC moments and chart sociopolitical gains through the perspectives of DC Super Heroes who come from traditionally disenfranchised groups, including John Stewart, Extraño, Vixen, Supergirl, Katana and Rene Montoya among others. At its core, the series focuses on the lives of those behind the costumes, and their endeavors to overcome real-world issues.”
Writer John Ridley stated:
I could not be more excited by the opportunity to excavate the canon of the DC Universe through a vast array of characters who’ve earned their seat at the table, I’m very impressed with DC’s commitment to making their history as reverent and urgent as it is engaging and entertaining for all its many fans.
Ridley is scheduled to discuss the book this weekend during D.C.’s The Many Shades of Heroism: DC Heroes Through the African-American Lens panel. You can live stream the panel on Saturday, January 13, at 11 a.m. ET on the DC YouTube channel and follow on social media with #dcindc2018.
The Other History of The DC Universe is scheduled to hit comic shops in the winter of 2018.
What do you all think? Are you excited for these important characters to get their stories told? Comment and discuss below. And as always stay tuned to Monkeys Fighting Robots for more information on this as it develops.
You Were Never Really Here hits Sundance next week, but Lynne Ramsay’s dark thriller has been making the festival rounds for months now and it’s picked up a boulder of great buzz.
This full-lentgth trailer shows us some more violence, more tone, but still manages to keep the meat of the story under wraps. And pay attention to the score at work here from Jonny Greenwood, because it’s wonderfully unnerving:
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe’s nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
There will definitely be some brutal moments, given that Phoenix’s killer character’s favorite method of pain appears to be a hammer. This is also Lynne Ramsay’s long-awaited (too long gee hmm wonder why funding was so tough to secure gee) follow-up to 2011’s wonderful tense We Need to Talk About Kevin starring Tilda Swinton and John C. Reilly in one of the more interesting movie married couples in recent memory. She appears to be striking the same chords, albeit in a more direct way and in a more violent story.
You Were Never Really Here also stars Ekaterina Samsonov and the great Alessandro Nivola. It will hit theaters in the U.S. on April 6. In related news, I know where I now know where I will be April 6.
