As is the case just about every year, the best supporting actor and actress races are infinitely more interesting and varying than either of the lead categories. This is where performances truly light up the screen in brief moments, and in many cases it is their work that pushes the film in question over the top, from good to great.
This year, there appears to be a frontrunner for Best Supporting Actor, an underrated legend in the industry who’s deserved Oscar gold more than once in his past. Right behind him, however, is another long-deserving actor who dominates in a film full of powerful performances. Let’s get into this:
BEST SUPPORTING ACTOR
There are too many names for only five spaces, especially when at least two slots feel like foregone conclusions. First and foremost is Willem Dafoe as Bobby, the goodhearted hotel manager in The Florida Project. Dafoe is a lock, and a favorite, though these things can change from time to time. Right behind him has to be Sam Rockwell, whose wicked – and complicated – turn as the defiant small-town deputy in Three Billboards Outside Ebbing, Missouri is a lightning rod of a performance.
That leaves three spots, and probably a dozen names when the dust settles. One thing that could hurt Rockwell’s chances is the performance of Woody Harrelson in Three Billboards, though Rockwell is more of a standout in the end. Dustin Hoffman may have had a chance at a supporting nomination for The Meyerowitz Stories, but his recent run in with the sexual harassment purge in Hollywood has all but ended his chances.
Armie Hammer could sneak into the nomination pool for his role in Call Me By Your Name, but the votes for supporting work in that one will likely end up going to Michael Stuhlbarg, who is the heart and soul of the unconventional romance. Michael Shannon has a shot for The Shape of Water, as does Richard Jenkins; but Richard Jenkins is the heartbeat of the film, and he will likely win out. That will leave the door open for Jason Mitchell, who delivers a powerhouse performance in Mudbound, to grab that fifth and final slot. Don’t count him out to upset the field and take home the victory.
PREDICTIONS
Willem Dafoe – The Florida Project
Sam Rockwell – Three Billboards Outside Ebbing, Missouri
The Archies have hit a few snags on the road, but no obstacle may be bigger than keeping feelings from each other. Will Archie feel pushed out when Betty takes the spotlight and plays one of her songs? Will Reggie’s ‘base rig’ finally be acknowledged and allowed? Will Jughead continue to eat? And how does the synth-pop band Chvrches fit into all this?
The Archies #3 Written by: Alex Segura and Matt Rosenberg Art by: Joe Eisma Colors by: Matt Herms Lettering by: Jack Morelli Published by: Archie Comics
Writing
Right from the first page, The Archies #3 switches gears a bit. Whereas we had mostly been following the story through Archie’s eyes the last issue, this issue is all about Betty Cooper as she struggles with wanting to put more of herself into the band. The bulk of the narrative is made up of entries from Betty’s journal, and it’s a great way to get not only into her head but a different perspective on the rest of the characters as well. Segura and Rosenberg flesh Betty out, giving her both strength and vulnerability. And again, they are writing possibly my favorite version of Jughead who not only continues his hilarious constant quest for food but also dispenses some true sage-like advice to Archie and Betty when they both need it.
Of course one of the draws this issue is the role Chvrches plays in the story, and it’s a good one. The band serves as both characters and a plot/narrative device without coming across as an artificial cameo. Their interaction with the Riverdale gang feels real and natural.
Art
Joe Eisma and Matt Herms once again draw a book with plenty of energy and movement. The art team is equally great at capturing quiet and loud moments, as well as creating some great splash page moments of performances. There is nuance in facial expressions and the body language is captured and expressed in a way that makes this feel like animation; the art simply moves.
Jack Morelli’s letter’s also deserve attention as the font and caption boxes used for Betty’s journal entries are a big part of this issues charm and success.
Conclusion
The Archies continues to be one of the most joyful and just plain fun books to read. It’s light without being vapid and it’s a treat for new and old fans alike. It’s also extra fun for music nerds. Don’t sleep on this book and turn the volume up on it!
Welcome to the twenty-fourth episode of the Comic Show by Monkeys Fighting Robots! This week is all about STAR WARS! We’re talking Darth Vader #9 and we review the highly anticipated film Episode VIII: The Last Jedi. Before all that though, we review last week’s Doctor Strange #382.
Over the course of 100 plus years of cinema, thousands of filmmakers like Kubrick, Scott, and Spielberg have created a massive body of work. Some of that work either stands the test of time, falls off quickly, or wasn’t all that great, to begin with. But with so many filmmakers, we have a virtual role-playing game universe of characters who each have strengths and weaknesses. So, in an on-going series, we take a look at directors as if they were characters in this non-existent role-playing game about making movies.
Who better to begin with than director of the upcoming Ready Player One …
Steven Spielberg
Class
Thief
As a thief, Spielberg is a jack-of-all-genres, tackling everything from deep-sea horror with Jaws to historical dramas like Schindler’s List. There is no genre that Spielberg won’t tackle, or, more importantly, succeed at doing. Even Spielberg’s worst movies (1941 or Indiana Jones 4), are still immensely watchable.
AND
Wizard
Start a Spielberg at any point, and it doesn’t take more than a second to know it’s one of his movies. And I don’t just mean because half of his films are pop culture classics. Every director has a signature, something they do that provides a particular polish. Some directors have a faint finish while others are undeniable. Spielberg movies are unmistakably Spielberg.
Attributes
Strength
There are a lot of things you say that Spielberg does well. But here we’ll give him that his greatest strength is balance. Some directors do action well and drama not-so-much or vice versa. Spielberg seems always to ride the line between thought-provoking character drama and a film that has a distinct rhythm. In Jurassic Park, he peppers in Dr. Alan Grant’s issues with family while keeping the pace moving with dino attacks. In Schindler’s List, while dealing with weighty themes, he keeps the scenes visually rich, making the film glide along like a perfectly paced poem.
Intelligence
Spielberg’s cinema smarts are all over every movie he makes. The director understands the language of film with the same depth of power as Ian Malcolm’s understanding of chaos theory. Jaws, a simple film about nature gone wild unleashes rich, textured moments between characters. Spielberg doesn’t write most of his movies, but he understands great writing and knows how to draw out that greatness from the actors he works with. In other movies, a line like “We’re going to need a bigger boat.” Would play as a cheesy throwaway joke but in Jaws, it represents the magnitude of the problem for characters. It’s still funny but also thrusts the story forward at the same time.
Dexterity
Perhaps Spielberg’s highest rating. Jaws is a horror film. Close Encounters is a science fiction conspiracy film, 1941, a World War 2 film, Raiders of the Lost Ark a period action adventure, E.T., a science fiction film about family. That was a seven-year stretch for the director that is unmatched by anyone in film history. Each film different, a unique look at some familiar themes while new ideas are explored. Spielberg can slip and slide into any genre, at any time, and succeed. In 2018, he’ll tackle big science fiction spectacle to rival those of modern blockbusters with Ready Player One. No matter how big a box office it is, it’ll be a joy to watch because Spielberg knows how to infuse any film with energy.
Charisma
Spielberg is as charming as they come in interviews. He’s just the right mix of down to earth and pretentious. Simultaneously, Spielberg is one of the living legend directors and also a humble dude. Of course, no one here has met Spielberg, so maybe behind the scenes, he’s an arse-hole. But regardless, he gets people to finance his movies and knows how to talk about them and sell people on the magic of filmmaking. A recent HBO doc, Spielberg, exemplifies this about the director.
Wisdom
There will forever be a battle between how much of a creative endeavor is taught and how much is simply understood through instinct along with trial and error. Many filmmakers never stepped a minute into a film class. However, Spielberg was part of the early crop of Hollywood hit-makers who did go to film school. Spielberg attended class at California State University (Long Beach) after being turned down by University of South California’s film school. From there, and after mythological stories of his presence on the Universal film lot, he earned a seven-movie contract, and the rest is history.
There is no doubt that Spielberg, especially after 40+ years of making movies, has both technical knowledge and a natural instinct and passion for telling stories. Even at a ripe young age of 70, he is wise beyond his years. The director is also wise to work with the likes of cinematographer Janusz Kaminski and composer John Williams too!
Constitution
Spielberg has helmed 35 feature films in a professional career which began in 1971 with the TV movie Duel. After another TV movie, Spielberg made his first theatrical feature, The Sugarland Express. After that, it was Jaws, and over the next 42 years, Spielberg made 31 features (and counting). That’s nearly a film every year and a half which is incredible, making Spielberg’s Constitution off the charts.
Powers
The uncanny ability to simply never make an uninteresting movie. It’s rare to start a Spielberg film and then five minutes later roll your eyes from boredom. Spielberg understands not only the language of film but the pace of a film. Like a heartbeat, it starts and keeps going, accelerating when necessary, but never slowing below the original rate. Catch Me If You Can is visual eye-candy and a film that bounces ahead. Amistad is the opposite, beating hard with tension and the weight of history as the muscles and mind absorb each frame.
Weaknesses
Finding a weak spot in Spielberg’s skillset as a filmmaker is a tough one. Spielberg is brilliant in so many aspects of filmmaking that saying he has a flaw only means it existed in one movie here or there. Director’s like Zack Snyder have signatures such as the constant use of slow-motion which appear from film to film. Spielberg has no real repetitive downside. However, he has clung to the bookend story-telling a lot, such films as Jurassic Park and Saving Private Ryan include scenes that play out almost like the first five minutes of a TV show just before the opening credits. In Jurassic Park, the moment has a mild effect on the rest of the film but is otherwise kind of unnecessary. In Saving Private Ryan, the moment ties in much more poetically with the rest of the film. It’s hit or miss. Also, maybe straight comedy like 1941 isn’t his strong suit either.
Earlier this month I had the chance to review Gravetrancers, an excellent new comic put out by Black Mask Studios. The horror series, written by M.L. Miller with pencils by James Michael Whynot, is out this week in comic shops everywhere. So it seemed like the perfect time to chat up scribe M.L. Miller and get a little background on the book. Miller sheds light on everything from his inspiration and influences, his background as a comics journalist, and why horror as a genre works so well in the medium of comics.
Writer M.L. Miller
Monkeys Fighting Robots: First off, for those who have not had the pleasure of reading Gravetrancers, describe it for our readers.
M.L. Miller: GRAVETRANCERS is a story about a pair of kids (Maribel and Anthony Fallon) who are seeking out the grave of their estranged father. That grave is in the Burwood Memorial Park, owned by the Malort Family–a clan of eccentrics who have a ghoulish operation going consisting of reselling graves and making a potent and addictive drug from the corpses. Fun stuff for the entire family.
Gravetrancers has a very 80s horror movie feel to me. It brings to mind stuff like Re-Animator, From Beyond, Texas Chainsaw Massacre (especially part 2). Was this an influence?
I can see where the RE-ANIMATOR and FROM BEYOND aspects come from with the needles and the hallucinations. And of course, the creepy family is inspired by TCM and its sequels. There’s also an Indonesian film called MACABRE that I felt was very influential as well as a film by Joe D’Amato called BEYOND THE DARKNESS that has the tone I was going for rather than the content. Believe it or not, the structure of the story is kind of based on APOCALYPSE NOW where these people are on a mission that leads them into a very dark and twisted world and they might not get out. I’ve seen way too many horror films and absorbed them all into my head for so many years, I’m sure bits and pieces come from all of them in one way or another. Still, since I’ve seen these films and read these stories before, I tried really hard to study the tropes, the clichés, and the well-worn stories and go a different route than the norm. I wanted the story to be unpredictable and feel dangerous. Those are the stories I love to see and that’s what I wanted to bring to this comic.
Cover to ‘Gravetrancers’ #1-art by James Michael Whynot
This is obviously a title with a huge fantastical element, but I know you have mentioned it is rooted in some real ideas some folks believe in. How did you come across this idea?
Well, I wanted this comic to have that feeling of danger that could really happen, sort of the feel of the original THE TOWN THAT DREADED SUNDOWN or THE LEGEND OF BOGGY CREEK, where there’s a disclaimer that this is a story based on true events. I initially got the idea of GRAVETRANCERS after hearing about a news report of a cemetery that actually did resell the plots and even stacked some caskets on top of one another. They had a huge body pit in the back of their property where the tossed all the bodies. Later I had a conversation with a friend who had just gone through drug rehab and he told me all kinds of stories of people smoking all kinds of toxic substances in order to get high and that story of the cemetery came back into my head. I kind of combined those two anecdotes and came up with GRAVETRANCERS.
Art by James Michael Whynot from Gravetrancers #1
Is this a story you have always wanted to tell?
When I was in eighth grade, I wrote a story called GRAVEYARD. It was a typical slasher story about an escaped lunatic who makes his way to a graveyard and kills a bunch of kids who were partying there. It was a really generic story, but I always wanted to tell a story with a graveyard as the setting and now I am, I guess.
I love stories about siblings. Why did you choose to focus on a brother and sister duo for the book?
I think a lot of that comes from having a brother two years younger than me and thinking about how our relationship is and has evolved over the years. We lost our father at an early age and our relationship with him is based on the way Maribel and Anthony remember their father. I remember details about him that my brother doesn’t because he was younger, though of course, the details are much more extreme and dramatic in GRAVETRANCERS, the heart of that dynamic is autobiographical. I love stories about siblings as well. It’s great to have this person in your life who was there all through your early life. It’s a bond you really can’t share with anyone else. They know you like few other people do. It also amps up the drama in a dire situation like the one Maribel and Anthony find themselves in.
How did you hook up with artist James Michael Whynot?
I make a point to scour Facebook and Deviant Art to find new talented artists out there and happened across James’ page. His work speaks for itself. It’s got a grungy and detailed way about it. It’s surreal in the right places and down to earth in others. I loved the way he draws his faces and proportions and then plays with them with the hallucinations. James was a real find and I’m really happy to have him on this book. He understands the references and the weird little embellishments I put into the script and improves on them.
We have seen a HUGE resurgence of horror in the comics medium. Why do you think that is?
I think horror is a fantastic reflection of the world we live in. If you look at horror films and books, it often is the best during troubling times. It’s kind of a creative mind’s reaction to the world around them and great stories come from that inspiration. Look at the eighties, which everyone feels is a real golden age of horror. You have films likeFRIDAY THE 13TH, A NIGHTMARE ON ELM STREET, RE-ANIMATOR, ALIENS, THE FLY, THE THING. Some great horror comes out of this era and there were a lot of troubling things that occurred during that time as well–AIDS, terrorism, the Challenger explosion, evangelical scandals, serial killers, some twisted stuff happened then. I don’t want to qualify this as a good or bad era to live in, but I do think that the information overload we get these days makes those horrifying tales more accessible and noticeable. I think the comics world is finally getting it that superheroes are not the end all be all in the medium. THE WALKING DEAD paved the way for that and I think people who go to comic shops because of that book will be more likely to look for more horror comics.
Art by James Michael Whynot from Gravetrancers #1
So what makes the comics medium such a good fit for horror?
I think there are some really powerful tools that one only finds in comics that make it a great fit. Sure we don’t have sound or camera movement or the director’s pacing, but we have the page turn which can be really powerful. Understanding the importance of the gutter between the panels is another really powerful tool that can increase tension and suspense when used properly. I also think you can get a little deeper into characters with comics through thought bubbles and captions. It’s also just as costly to do a conversation between two people in a car as it is to take a trip to around the world, the stars, or the deepest pits of hell. There is no limit to the budget in comics like there is in film.
What are some of your favorite classic and current horror comics?
I never miss an issue of THE WALKING DEAD. I love Cullen Bunn’s HARROW COUNTY, Peter J. Tomasi’s HOUSE OF PENANCE, and Scott Snyder’s WYTCHES. AND THEN EMILY WAS GONE was amazing. One of the most influential horror series I read was BEAUTIFUL STORIES FOR UGLY CHILDREN. Every issue of that series was simply divine. I also think FAUST is responsible for really messing me up as a kid. Anthology horror comics like HOUSE OF SECRETS, HOUSE OF MYSTERY, WEIRD TALES, CREEPY, and EERIE and others like that is what got me into comics and I love revisiting them when I can.
How much do you have planned?
GRAVETRANCERS is a four-issue series. I’ve written a back door to the story, so there’s a chance for another series if people want one. But it’s all up to sales and demand.
Art by James Michael Whynot from Gravetrancers #1
Black Mask Studios has consistently put out some of the most original comics in years. How did you end up working with them?
I’ve known the guys at Black Mask for quite a while now. Publisher Matt Pizzolo has been on my horror panels at various comic conventions for years. They have a specific type of coolness to their books that evolves and even steers the industry. They just love to take the right type of risks and they trust and challenge the reader to think for themselves about their books. Plus they give a ton of freedom to their creators to tell their own stories, which is great.
Are you a fan of their other books?
Oh yeah, I’ve been a fan since the beginning. I loved FOUR KIDS WALK INTO A BANK, CALEXIT, CLAN DESTINO, X’ED, THE DREGS, THERE’S NOTHING TO FEAR, YOUNG TERRORISTS. The list goes on and on. The company as a whole reminds me of what Vertigo was in the late eighties and nineties. Just quality stuff all around.
I know you were also once a lowly comics journalist like me (ha). How did you make the jump from reporter to acreator?
It was a slow and careful jump. I worked as a reviewer for Ain’t It Cool News originally and interviewed quite a few people in the comics and movie industry. I did comic book reviews until about five years ago when I started trying to make comics seriously. It was then that I took a backseat and started acting as an editor for the comics section of the site. So I gathered the reviews, steered the ship, edited them, and coded them, but didn’t provide any content or opinions once I started making my own comics because I didn’t want any ethical muck blocking my vision or killing any opportunity I might require as a writer. I then began to talk with editors and make submissions myself. I listened very closely to the interviews I did, maybe for a selfish manner, trying to apply their advice to my own steps toward making a career in the medium. My time as a reviewer was crucial in my understanding of the comics medium and applying the advice, the techniques, the successes, and the failures of other creators to my own process.
What made you fall in love with comics?
I think some of it is because comics has been a major part of my life since I learned to read. I remember diving into the Marvel Universe and their characters and then discovering DC and all of those great characters and stories. It really is a medium with no limits and I love both drawing from the rich history of comics and trying to come up with new stories to keep old characters interesting. It’s been a lifelong passion and I really can’t think of what my life would be without them.
What’s your opinion on all the comics based films these days? Is this good for the medium you think?
It’s a good time to be a geek. All of the comics I remember reading as a kid are being brought to life in films. I can differentiate between the comics and film and they don’t get everything perfect, but I know there needs to be some changes when it comes to adapting comics to film. I’m there with everyone else when a new comic book movie comes out, waiting in line and giggling like a child when I see them on the screen.
What else do you have in theworks?
I’ve got another Black Mask Studios comic in the works that I can’t talk about yet, but I also have a series that will be collected and completed for the first time called PIROUETTE that I am very excited about. It’ll be in stores in 2018 and features art by up and coming superstar artist Carlos Granda. Granda and I have put together a fantastic and chilling tale of a young clown named Pirouette who longs to be anything but a clown and searches for a new life outside of the circus but finds it difficult to leave it behind. It’s got sad clowns, circus performances, murder, evil clowns, elephants, panthers, scary clowns, acrobats, sideshow barkers, and did I mention, clowns? It’s just a chilling and thrilling little story that I can’t wait to have people check out.
Thanks for taking the time to talk to us here at MFR!
Thank you! You can follow my ramblings on my site MLMILLERWRITES.COM and on Twitter @Mark_L_Miller. I hope everyone sticks takes a chance on GRAVETRANCERS! Tell your stores to stock up on it and if the first issue scares you, that’s only the tip of the iceberg with what to expect in this series!
We have a new trailer for Annihilation, the upcoming sci-fi horror/thriller from Ex Machina director Alex Garland, and it sure looks like it’s going to be a crazy ride.
See for yourself:
A biologist searches for her missing husband while on an expedition with a secret agency and discovers a dangerous creature lurking in the wilderness.
Annihilation is based on a novel from Jeff VanderMeer, and by all accounts it is a surreal experience on the page. Fans of the book should have the utmost confidence that Garland can faithfully adapt such a story as well as anyone.
Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, and Oscar Isaac star in Annihilation. It will hit theaters in the States, in the U.K. and in China February 23. For some reason, Canada will get it on Netflix two weeks later. Shrug emoji.
Clint Eastwood’s latest militaristic drama, The 15:17 to Paris, is attempting to tell the truest story possible regarding an attempted terrorist attack in 2015: Eastwood is using the three actual men who thwarted the attack in lieu of actors.
This first trailer for The 15:17 to Paris (wonky title) showcases the three men – Spencer Stone, Anthony Sadler, and Alek Skarlatos – who are doing their best to sell us their own real story. It’s a strange dichotomy, the actual people trying to act out the moment, therein giving the incident a falseness. Enough rambling, check out this trailer:
In the early evening of August 21, 2015, the world watched in stunned silence as the media reported a thwarted terrorist attack on Thalys train #9364 bound for Paris—an attempt prevented by three courageous young Americans traveling through Europe. The film follows the course of the friends’ lives, from the struggles of childhood through finding their footing in life, to the series of unlikely events leading up to the attack. Throughout the harrowing ordeal, their friendship never wavers, making it their greatest weapon and allowing them to save the lives of the more than 500 passengers on board.
Much like he did with Sully, Clint Eastwood is using a moment in time that took about three minutes and framing a whole drama around it. I imagine the three heroes are dynamite in the moment of the attack; we’ll see how they hold up during the meat of the film.
At the height of the Renaissance, warring factions vie for control of Leonardo da Vinci’s destructive arsenal. The only thing standing in their way is Leonardo’s young apprentice and her nine-foot tall mechanical bodyguard. Together, they navigate a world of wicked men and war machines, determined to save Leonardo from the world—and the world from Leonardo.
Writing
A common geek phrase is “Anything is made better by adding robots.” This is not always the case though as many movies and series were terrible despite the inclusion of robots (looking at you Transformers: The Last Knight). Luckily, Monstro Mechanica is a series which helps to backup the original statement as this comic is made better by the inclusion of having a mechanical creature in it.
Writer Paul Allor introduces some intriguing characters in this new series. Leonardo Da Vinci as a man who is so intelligent enough to build a steampunk automaton is not a new concept. Thankfully by showcasing his assistant, Isabel, the series becomes more appealing. She is shown having a special bond for the wind up contraption and knows Leonardo’s intelligence is a double edge sword. Her being portrayed as an outcast for the clothes she wears who can only bond with the unspeaking machine makes her very sympathetic and likable. She easily steals the issue and will no doubt become the selling point of the entire series.
Artwork
The art team for this book delivers a smooth art style. Everything has a subdued steampunk feel to it. Chris Evenhuis provides a more simplistic style for the robot but makes up for it by adding intense detail work to the rest of the book.
The colors by Sjan Weijers offers a lot of earth tones which are synonymous with the steampunk style. A mixture of tans, browns, and red makes the book feel like the series is taking place in the past.
Writer Paul Allor also did the lettering for the issue. The advantage of serving this dual roles allows them the opportunity to perfectly know when to employ the right about of bolding to get the point across throughout the issue.
Conclusion
An intriguing character and a great art team makes for a fantastic series. AfterShock keeps delivering some interesting comic series. It’s easy to recommend this book and see how fantastic history will become moving forward.
There will be spoilers ahead about the events of the mid-season finale of ‘The Walking Dead.’ Read with caution.
The sting still hurts of knowing that Carl Grimes will eventually die. In an awkward retort, the actor’s father took to social media to express his disgust with AMC and Executive Producer Scott M. Gimple.
Sunday’s mid-season finale of The Walking Dead left us with most of the Alexandria residents sheltered underground in the sewers. Chandler Riggs’ character Carl is curled up in the corner, looking sickly. He reveals his injury to his father Rick and Michonne, and we learn that he’s been bitten.
Photo Credit: AMC
Soon after the show aired, Riggs’ father replied to a Facebook post asking for his reaction to Carl’s imminent death, where he lets loose. “Watching Gimple fire my son 2 weeks before his 18th birthday after telling him they wanted him for the next 3 years was disappointing. I never trusted Gimple or AMC, but Chandler did. I know how much it hurt him. But we do absolutely know how lucky we have been to be a part of it all and appreciate all the love from fans all these years!” It quickly spread throughout social media, but the post has been deleted.
Rumors of Riggs’ departure from The Walking Dead have been swirling for years. Riggs recently made fun of such chatter on his Twitter page, referencing articles from Digital Spy, MTV, and Guardian Liberty Voice, which all guess at Carl’s death:
Significant character deaths are typical with the mid-season finales, so talk of Carl being the next victim wasn’t a surprise. The deaths of Spencer, Olivia, Deanna, Beth, Hershel, and the Governor all came during mid-season finales.
Riggs has also often expressed his desire to attend college, which could also be a reason for his departure. He also released a song, “Hold On,” which is now available for download on Soundcloud, Apple Music, and Spotify. For more on Riggs new music career, read the article from comicbook.com here.
What are your thoughts on Chandler’s dad’s comments? Did he ruin Chandler’s chances of landing another acting job?
Though Justice League received some harsh reviews and was underwhelming at the box office, the film had some promising elements. One of which was the introduction of a hopeful, more positive Superman. Henry Cavill notes that this was intenional, and shares some details on how the film tried to tap into the character’s core values.
“Geoff [Johns] and I have been delving into the history of the character to get to the core of who Superman is. This is the first time we see the true Superman. The Superman who is confident, and sure, and full of hope and joy.”
Although I didn’t love every part of Justice League, Superman was definitely a positive aspect. The CGI was absolutely weird at times, but his actions and writing indicated a happier Superman, which is what the DCEU desperately needs.
“Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.”
Justice League is in theaters now, and will be released on Blu-Ray/DVD and digitally in 2018.
