Michael Keaton arrives at the Hollywood Film Awards at the Palladium on Friday, Nov. 14, 2014, in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
It sounds like Toomes will be a businessman and inventor much like the comics. The major change in his origin concerns his line of work. In the film, Tomes is a blue-collar worker who runs a salvaging company. By cleaning up after superhero battles, they act as the damage control for the MCU.
Director Jon Watts aims to focus on the street-level side of things. “My whole approach for this movie is that we’ve seen the penthouse level of the universe,” he says. “We’ve seen what it’s like to be a billionaire inventor and to be a Norse god. We’ve seen the very top of this world. But we’ve never seen what it’s like to be just a regular joe.”
Unlike previous Spidey villains, Toomes feels like he is a victim who has been wronged. “Some people see themselves as victims — he sees himself a little bit like that,” Keaton says. “He probably would have a strong argument that he never got a fair shot — a lot of ‘Why not me? Where’s mine?”
Vulture’s anger stems from a beef with Iron Man. After an accident, Toomes loses his contract when a Stark-backed company takes over. This leads to him teaming up with Shocker and Tinkerer for revenge.
Director Jon Watts confirms Toomes is going to use tech seen in the MCU. He describes it as “neat junk from all the other movies.”
“It’s a really great starting point for the villains to have the Vulture picking over the stuff,” Watts says. “And finding the valuable exotic elements and having the Tinkerer assemble into something that could be used.”
In essence, the Vulture will be a scavenger looking for materials to put to use. Watts explains Toomes is an interesting choice, because he brings a ground-level perspective to the MCU.
“I like the idea that in these huge movies, you pick out one extra and you’re like, ‘What does he think of all this?” he says. “Sometimes these movies are so casual about just destroying whole cities and incredible things happen and everyone’s like, ‘Eh, whatever.’ If that really happened, it would be amazing and change everything.”
Big Rock Brewery has one of those unlikely stories that somehow seem to typify the world of craft beer. An Albertan lawyer, Ed McNally, started Big Rock Brewery in 1985, naming it after a glacial formation near Calgary. Learning as, essentially, a wheat lawyer that Albertan barley is ideal for malting, and because the Rocky Mountains provide a source for glacier water, McNally decided to go into the brewing business. He hired a brewmaster and went to work. The years passed and McNally’s small business eventually went public, becoming one of the most popular independent brewers in Alberta.
I developed a fondness for Big Rock beer when I was planting trees in British Columbia. So, after having a good meal at Big Rock Brewery’s Liberty Commons brewpub in Toronto, I nostalgically purchased a tall can of their Citradelic Single Hop IPA. But now, without further reminiscing, let’s get sipping.
Big Rock Brewery: Citradelic Single Hop IPA – First Sip
Citradelic pours a light amber colour with about a half-inch of foam that sticks around at the top of my pint glass. The Citra hops are evident in this beer’s raspberry and tropical aroma and its bitter flavour. With 67 IBUs, this is a beer that some might say requires an acquired taste. But I’m a great lover of hop-forward brews, ever-present and passé though they may be. So, I enjoy the interaction between this brew’s smooth mouthfeel and its strong flavour.
Big Rock Brewery: Citradelic Single Hop IPA – Last Sip
Citradelic is one of those beers that I wish I had more of when it’s gone. Its smoothness balances its heavy taste out nicely. Citradelic is a well-rounded India Pale Ale … or is it? Confusingly, though the label reads IPA, Big Rock’s website describes this brew as an American IPA. And, as I’ve mentioned in previous reviews of similar beers, this confusion is compounded by the fact that this 6.0% ABV beer is brewed exclusively in Canada.
Nothing crushes like the pain of disappointment after looking up a product you’ve seen in a TV show or movie, and finding out it isn’t real. The few that do exist out here in the real-less fun-world, take literally a thousand years to track down. Well, luckily for you, the work has been done for products you want, and products you didn’t know you want. Here’s a list of products that originated in fictional worlds, and can now be found IRL, so you can feel like Homer Simpson is your neighbor, and Michael Scott might crash your wedding. So grab your debit card, and say “bye-bye” to that paycheck because you’ll be adopting the #NoRagrets credo.
It’s 2004. I joined a rag-tag group to put together an indie pop culture magazine. We small gang of nerds gathered together daily to report on what was hot back in the early oughts. Our nights consisted of debauchery, but that’s a story for another time. We were 20-somethings, out of college, and dreaming of diving into our creative endeavor of choice. Sometimes we’d share our biggest fantasies, what we wanted to accomplish when we became “adults” and accomplished our goals. Those talks usually ended with a laugh when the romance would result in our catchphrase — “I’m rich, bitch!” A phrase borrowed from Chappelle’s Show.
A year earlier comedian Dave Chappelle premiered his new sketch comedy show Chappelle’s Show. “I’m rich, bitch!” was a quick line spouted out in a high-pitched, scratchy voice during a skit and used in the end credits. By January 2004, when our magazine was prepping its first issue, Season One was a hit, and Season Two was just about to get underway.
By the time Season Two ended, Chappelle’s Show was undoubtedly the funniest show on TV. Comedy Central offered Chappelle 50 million dollars to produce more seasons of the show. Chappelle was indeed, rich, bitches, and it only felt like the beginning. But, as history tells us, it was only moments away from the end. Season Three abruptly ended when Chappelle quit the show and virtually vanished off the face of the earth.
Over the years people dealt with Chappelle’s departure by plowing through the five stages of grief: Denial, Anger, Bargaining, Depression, and Acceptance. We couldn’t believe it, we were angry, pleaded for a return, realized it was never going to happen, and determined it was better to have loved and lost than never to have loved at all.
But we never stopped loving.
Chappelle didn’t vanish for long and returned to where he feels most comfortable — the stage. Stories would come out of a bad show here or a heckler there. However, stories of the comedian only reminded people of the show we’d lost, and it only made us want more. So, Netflix, masters of creating streaming content, convinced Chappelle to come back for real and to sweeten the deal they gave him two things: creative control and 60 freakin’ million dollars!
Chappelle returned to TV as host of Saturday Night Live.
The deal consists of three comedy specials. It seems Chappelle scored a major victory here. Two of the three specials were released last week and were recorded in 2015 and 2016 respectively. So, if you think about it, Chappelle is being paid sixty million dollars for the third special, yet to be taped, which will ultimately include new material. Business genius from a comedy genius.
The first is The Age of Spin, filmed at the Palladium in California during the summer of 2016. Chappelle covers topics ranging from the letters in LGBTQ to Bill Cosby. The entire special is given a rhythm as Chappelle seamlessly breaks things into segments punctuated by stories of the comedian’s four encounters with OJ Simpson.
The second special, Deep in the Heart of Texas is from 2015. Critics have pointed out that the material is a bit dated with jokes about Paula Deen’s racism. It’s entirely fair. And yet, it doesn’t matter. Chapelle’s style, the comfort he exudes on stage, and the way he delivers his punchlines, work nonetheless.
Chapelle’s ease on stage is evident in both specials. While the comedian did many movies through the 90s and created one of the funniest shows of the 21st century, he never felt at home in front of the camera like that. On stage, however, Chappelle is king. And you don’t have to take my word for it. Comedians like Kevin Hart, who Chappelle highlights in a funny bit, concede that Chappelle has a comfort on stage that’s uncanny.
During the Kevin Hart bit, Chappelle takes his son to one of Hart’s shows. And for 10 minutes audiences are brought to the show with Chappelle and son. The story ends with going backstage to meet Hart. I won’t spoil it, but as usual, the punchline is unpredictable, self-deprecating, honest, and hilarious. The joke even prompted Hart fans to ask the comedian what he thought of it. Hart’s response: “It was amazing!”
Amazing is the ultimate sentiment I can share about Chappelle’s two new specials. They aren’t perfect, particularly the older one of the two, but they are amazing. The great jokes are so great that it doesn’t matter that there’s a few that don’t fly. It’s amazing to watch Chappelle do what he does best. And it’s amazing to see the comedian give his adoring fans what they’ve craved for so long … jokes and jokes and jokes and jokes!
Welcome back, Dave Chappelle. I’m glad you’re rich, bitch!
As Shout! Factory continues its quest to get every episode of Mystery Science Theater 3000’s original run on home video, the new Volume XXXVIII may represent one of the harder sells for anyone but die-hard fans. At the same time, there are plenty of treasures to discover under the surface of some seemingly middling episodes mostly from the sixth season.
Experiment 602 – Invasion USA
Invasion USA sees new host Mike Nelson well-settled into performing riffs instead of just writing them. The film itself is a propaganda piece to encourage people and businesses to submit to the “universal draft” – a commitment of resources and labor in the event of another war. To illustrate the point, an illusionist played by the late great character actor Dan O’Herlihy (RoboCop) forces a handful of bar patrons to experience a communist invasion of the United States.
Curiously, the communist and the filmmakers want the same thing: control of the American industrial complex, a paradox Mike and Bots never focus on. But they get a lot of mileage from the thinly drawn characters — like a rancher desperate to get home to Arizona — a tepid love story and the wavering accents of the strangely unidentified communist enemy. The absurdity of the film and the speed of the riffing pair well and overcome the initial lack of momentum.
And even if the film leaves viewers cold, the episode features the best moral hygiene short MST3K ever took on: A Date with Your Family. The short stresses that “pleasant, unemotional conversation” is the key to a good dinner. They zero in on the repression suggested by the narrator. And in the sketch afterward, in the which the crew attempt to suppress their emotions, is a highlight.
Experiment 605 – Colossus and the Headhunters
If there is one dependable genre for MST3K, it’s the poorly dubbed Italian gladiator films of the 1960s. Colossus is no exception as Maciste – a traditional Italian hero in the vein of Hercules – helps a group of people escape the apocalyptic destruction of their island. Or it’s about Maciste settling a feud between warring factions of the next culture he encounters. Or it’s about Maciste romancing the Princess of said culture.
In fact, the imprecision of the plot leads to some of the best riffs as Mike and the Bots continue to be baffled by the shifting goal posts in the story, the disappearing characters, and the fact “Maciste” sound like “My Cheesesteak” whenever anyone utters the hero’s name. While the writing offers plenty of places to hang great jokes, the film is visualy interesting thanks to color photography and the wealth of resources Italian sword-and-sandal pictures had at the time. It may also be the episode you return to the most as it really is just that baffling.
The episode also features a running joke throughout the sketches about a genetically engineered ball of cute known as Nummy Muffin Coocol Butter. The dog-bunny creature sheds all over the Satellite of Love, driving Crow nuts, and leaves TV’s Frank so despondent that he sings a song about his loss.
Experiment 618 – High School Big Shot
Perhaps the most competent film in the collection, High School Big Shot aims to tell the tale of a smart, but disadvantaged high school senior plotting a robbery to win the hand of the class bad girl. Well shot, if modestly produced, the film looks legitimate. But the Satellite of Love crew finds plenty to riff on as the hero is a weird loner, his dad a stereotypical drunk and the film introduces two thieves halfway through who are far, far more interesting than the title character. Sadly, they never pick up on the film’s misogynistic undertone as all the women featured in the film only want money or riches.
This episode also features the bizarre industrial short Out of this World, in which a bread delivery route becomes a struggle between an angel and the Devil. Though the print is faded, the saturated colors pop off the screen even as grocery stores at the time appeared to all be painted a dull brown. Industrial shorts became a specialty for Mike, and the this one does not disappoint. Crow’s impression of the Devil is a delight.
Experiment 1007 – Track of the Moon Beast
While there is an immediate charm to the zany B-grade horror movies of the 1950s, extremely low budget horror films from the 1970s also offer their own Malaise Era giddiness. Provided, of course, one is ready to plow through the muddy photography of these pictures. Track of the Moon Beast is one such film and it is possibly the reason to get Volume XXXVIII.
Shot entirely in Albuquerque, New Mexico, the film combines werewolves and aliens for an unconvincing creature costume and one of the most non-committal romance subplots ever committed to screen. But Mike and the Bots excel with these sorts of slow, drab monster movies – particularly in the SciFi Channel era. Besides riffing on a recipe for stew and awful 70s fashions, one sketch points out the strange way characters in the film explain the entire concept of pranks to the protagonist.
Extras
Special features include the un-riffed version of High School Big Shot and an interesting documentary about Invasion USA producer Albert Zugsmith, who went from producing B-pictures to Orson Wells’ Touch of Evil and then back to B-pictures. Trailers for Invasion USA and Track of the Moon Beast are also included, as is an interview with actress Leigh Drake, who recalls her experiences on the set of Track of the Moon Beast and its later fame as a MST3K episode.
The highlight of the extras, though, is Mike, by Joel, a featurette on the Colossus disc featuring MST3K creator Joel Hodgson discussing how Mike Nelson first came to be head writer on the series, the go-to performer for guest characters, and eventually the show’s host. He points out the way Mike was more of an equal with the Bots, setting up a different dynamic. He also suggests everyone involved in the show could have handled the transition better, preventing decades of Joel vs. Mike debates.
While not the set to get someone hooked on the show, Mystery Science Theater 3000 Volume XXXVIII is still a must have for die-hard fans. Though none of these episodes are considered classics, they all offer great riffs, a number of funny sketches and one of the best shorts the series ever took on. It will definitely tide fans over until the new season debuts in mid-April.
Say what you will about video game movies, the upcoming Tomb Raider franchise is something to be excited about. The film will star Academy Award Winning actress Alicia Vikander (Ex Machina) as Lara Croft and thanks to Vanity Fair we have our first look at Vikander as the iconic video game character.
In the images, it is clear that Lara Croft’s look has been inspired by the 2013 reboot of the video game franchise. The first image shows Lara in a jungle with a bow and a quiver of arrows.
The film will separate itself from the video games and the previous movies starring Angelina Jolie by creating an entirely new backstory for the character. A new description of the film was provided by Vanity Fair.
seven years after the disappearance of her father, 21-year-old Lara has refused to take the reins of his global business empire, instead working as a bike courier in London while taking college classes. Eventually she becomes inspired to investigate her father’s disappearance and travels to his last-known location: a tomb on an island somewhere off the coast of Japan.
In the second image Vikander’s Lara is clutching a large piece of wood and I can only imagine she’s gonna use it against the guy heading her way. From the looks of things, this version will find Lara trapped on the Island and will focus on her trying to find out what happened to her father while also using her survival skills.
“When I was asked to take on this role I got really excited—Lara Croft is a truly iconic character,“ Vikander told Vanity Fair. “I think people can identify with her for lots of different reasons, but for me I very much see her as a model for many young women. She’s trying to carve out her place in the world and connect her future with her past. She also has a fantastic mix of traits—tough, smart, vulnerable, plus she’s kick ass! She is also uniquely different to other characters I have taken on previously. It’s a lot of fun trying to get into Lara’s head and the challenge of getting to grips with such a physical role is an element of this project that I find an absolute thrill.”
“Alicia Vikander brings tremendous depth and vulnerability to this character,” added Producer Graham King, “which is every bit as important as Lara Croft’s fierce strength, determination, and physicality. Our film takes Lara from her early origins to the physical and emotional challenges through which she ultimately becomes the Tomb Raider. It’s a complex character, requiring a range of elements and Alicia brings all of that together brilliantly in her portrayal.”
Another look at Vikander in Tomb Raider was released by Warner Bros. on the studio’s official UK twitter account. The image (below) shows Lara in the now iconic costume, covered in dirt with nothing but a climbing ax.
Looking at all three of these images it’s clear that the upcoming Tomb Raider movie will show Lara exploring this Island. These three images show the character in very different locations and surroundings and each one looks amazing in its own unique way. If the movie can show Lara exploring these different areas and have a different look for each I will be more than happy.
Tomb Raider is directed by Roar Uthaug and will land in theaters on March 16, 2018! The film also stars Dominic West, Walton Goggins, and Daniel Wu.
Man, The Walking Dead really knows how to kill momentum. The excitement that came from last week’s episode was squashed. While ‘The Other Side’ promised conflict, ‘Something They Need’ let it go to waste. The Walking Dead spends too much time on building up to conflict, without delivering on it.
First, there’s the conflict between Sasha and the Saviors. It seemed like last week’s episode was leading to an amazing covert strike. However, we see NONE of that in the episode. Instead, we’re told that a conflict happened, and Sasha is stuck getting almost sexually assaulted. Negan makes Sasha the same deal he made Daryl, Carl, and Eugene, which makes him seem extra forgiving. The four killed more Saviors than last season, and those deaths made Negan kill Glenn and Abraham. Negan’s been softened so that no major deaths can happen – until the finale, probably. Not only that, but Sasha’s badass moment was robbed from her, replaced with her cowering in front of Negan.
Meanwhile, Rick and his gang essentially become Saviors in this episode. The Walking Dead turns their heroes into terrorizers, doing the same thing Negan does. Considering how Tara was semi-friendly with the Oceansiders, it seems totally uncalled for. Especially considering how quickly they jump to protect the gang, it feels odd. The motivations of the characters, across the board, don’t make a lot of sense. With The Walking Dead’s love of adding in side characters to kill, you’d think the Oceanside ladies would be joining the fight. And perhaps they’ll be tossed into the fray in the finale. But for now, it makes no sense why they were introduced, only to be robbed blind.
Many of the characters this episode had poor motivations. Dwight joining the gang feels like a bland take on Merle’s change of heart. Gregory’s indecisiveness is getting old, and it makes it hard to feel excited to watch. Negan’s defense of Sasha follows his authoritative bloodlust, but not his hatred of all things Rick. At least Eugene is consistent, but that’s largely because he’s defined by his big words.
Once again, The Walking Dead hints at conflict, while giving us none. Yes, there’s some light walker-stabbing, but that’s old hat. By this point last season, the group had taken on several cells of Saviors and won. The fact that The Walking Dead hasn’t given us a shred of conflict is unimaginably infuriating. In fact, a lot of this season has felt reminiscent of season three – Negan is The Governor, and Dwight is Merle. Season three’s finale was a major disappointment, and it took halfway through S4 for a somewhat satisfying conclusion. If The Walking Dead repeats this, it’ll show a fundamental problem of repeating mistakes. But as long as it isn’t another protagonist-killing cliffhanger, I suppose that’s better than nothing.
Sorry about this Marvel fans. According to a new report from Collider, Sony plans on creating their own Spider-Man universe starting with the recently announced Venom movie but there is one catch. Spider-Man won’t be a part of this Spider-Man universe.
The report claims that starting with the Venom movie, Sony Pictures will begin to release more superhero films. This includes the rumored Black Cat and Silver Sable spin-off. Collider states that they’re hearing Sony is planning to create a darker universe and the Venom movie will be an R-Rated attempt.
Will Spider-Man & Venom Exist In The Same Universe?
After confirmation that a Venom movie will happen, fans have wondered if Sony has any plans to connect the character to Tom Holland’s Spider-Man and the Marvel Cinematic Universe. If we can trust this report we’re being led to believe that Sony will keep this new Marvel universe separate. The article also makes sure we understand that this could change before the villainous film lands in 2018.
It is worrying to hear that this character won’t exist in the same universe as Spider-Man. I’m not 100% sure if that could work but looking at the planned tone for this Venom movie I couldn’t be happier. It definitely seems like Sony is learning from what Fox has done recently with Deadpool and Logan. If the studio can recreate the success of those movies with characters like Venom, I’d be more than willing to buy a ticket.
You can’t really blame Sony for wanting to stay separate from the Marvel Cinematic Universe. This is a major Hollywood Studio and movies are a business. Sony has access to hundreds of Marvel characters so it’s not really surprising to hear that this company is developing solo movies and not cutting Marvel in on the profits.
Do you want to see an unconnected Spider-Man universe? How about a few R-Rated movies?Let us know in the comments section below!
In the latest episode of the FilmKind podcast, Kieran reviews the recently released reboot of Power Rangers. How does the reboot compare to the 90’s television series? What do the Rangers look like with a bigger budget? Listen to the review below and find out!
The FilmKind Podcast is an awesome new show discussing the latest movies and movie related content. With amazing weekly episodes and detailed reviews!
Listen to FilmKind’s review of Power Rangers below.
Five ordinary teens must become something extraordinary when they learn that their small town of Angel Grove – and the world – is on the verge of being obliterated by an alien threat. Chosen by destiny, our heroes quickly discover they are the only ones who can save the planet. But to do so, they will have to overcome their real-life issues and before it’s too late, band together as the Power Rangers.
Directed byDean Israelite, Power Rangers stars Dacre Montgomery, Naomi Scott, RJ Cyler, Becky G, Ludi Lin, Elizabeth Banks, Bill Hader, and Bryan Cranston.
Like the episode? Be sure to comment at let us know what you think and make sure you let us know what you thought of Power Rangers. For more episodes of the FilmKind podcast make sure you subscribe! Be sure to check back with Monkeys Fighting Robots for more amazing content!
Monkeys Fighting Robots Exclusive: ‘Saban’s Power Rangers’ Video Review
About Last Night is a movie review show, where movie critic EJ Moreno talks about the film he saw last night. This week’s episode is about the film ‘Saban’s Power Rangers’.
Check out my written review for the film, as well!
