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honeylikewords · 5 years

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I am freaking out over all the Marvel news out of Comic Con. You?

Honestly, when I first got this ask, I was going to answer “no” because I legitimately hadn’t heard anything from Marvel at all. All I knew was that we were in for a bunch of Disney+ shows like Loki, which I wasn’t interested in, and Falcon and Winter Soldier, which I am interested in but concerned about.

But then I did a quick Google, and saw that there’s plenty of other stuff to be excited about, so here’s a listicle-style breakdown of what I am and am not excited for, as was released in the press junkets regarding the SDCC Marvel Hall H panel.

1. Black Widow: Nope, not interested. Way, way back in 2012, I might have cared, given that Natasha was LITERALLY THE ONLY WOMAN in the MCU with any agency or hero role, but now that we have significantly more women, significantly more interesting women, and women of color (who aren’t played by white women stealing roles from actual WOC lmao), I think we don’t really... need a Black Widow movie. I mean, cool that David Harbour will be in it, but, uh... yeah, count me out of that one.

2. Falcon and Winter Soldier: Yeah, I’m excited for this one! Anthony Mackie and Sebastian Stan have a lot of fun chemistry, and I hope the series plays up the fun buddy-cop aspect of their relationship rather than “doom and gloom, Steve is gone, boohoo” stuff. They deserve to be heroes in their own rights and to not live in Steve’s shadow. Also, I’m not hugely into Bucky Barnes (I kinda find him boring, sorry) so I hope the series will, at least a little, start to endear me more to him. But I am very excited to see Sam getting more screentime!

3. Eternals: Eh, can’t really say. I don’t know enough about the original Eternals, nor do I have any information about who the new Eternals will be to weigh in. Ask me again when we’re closer to the release date.

4. Shang-Chi And The Legend Of The Ten Rings: Honestly, some warning flags are popping up for me on this one. Much as I want more POC led MCU films (and just, fucking, like, any films in general), Marvel comics has a pernicious history surrounding Asian fetishism and mysticism. I’ve talked about it before with my hatred for Iron Fist, and the problems Marvel had during the big “Asian Craze” of the 60s and 70s, but I really do worry about re-adapting works based in and rooted in the comics made during those times. I don’t know enough about Shang-Chi’s origins to weigh in just yet, but I am on high-alert about how this could go wrong. Hopefully, though, with actual Asian and POC actors involved in the project, it will be done tastefully and respectfully. Hopefully.

5. WandaVision: Nah. I never liked either character to begin with so I’m not really gonna waste my brainspace on some TV show about a random white girl and her toaster boyfriend. I know that sounds mean but I have a lot of pent up anger about how the MCU depicted the Maximoffs, given that the Maximoffs were originally Jewish and survivors of the Hol*caust, but then somehow the MCU decided to make them not only white, but white people working with a literal N*zi organization. So I have beef with that, and I just... don’t care about Wanda or Vision. They haven’t been with us long enough for any of us to really, you know, see them have arcs or be meaningful people. They’re just kinda there. So no thanks. Maybe if the show turns out to be great, I’ll watch, but as it stands, I’m uninterested.

5. Doctor Strange: Multiverse Of Madness: Eh. I never saw the original Doctor Strange because of the whitewashing issues and Benedict Cumberbatch’s, shall we say, history of anti-autism comments and classist perceptions about poor and undereducated people, so I just noped out of that. But I also didn’t like Stephen Strange from what I saw in the other MCU films I have seen him in, so I don’t feel like I’m missing much. If this movie turns out to be cool (apparently, it’s going to be the MCU’s first “scary” film, whatever that means?), I might see it, but for now it’s largely off my radar.

6. Loki: Nnnnnnnnnot especially excited. As I’ve said before, I like Ragnarok Loki, and that’s about it. 2012 Loki was, no joke, literally set up as a N*zi, and y’all know how I feel about N*zis. I’m not being hyperbolic. He is literally supposed to be equitable to a N*zi. So I’m disappointed that we’ve regressed all of his character development back in time to his worst stage, and we’re going to be seeing that play out in his show. Hopefully, the directors allow Tom Hiddleston to have more fun with Loki, because holy shit does Tom have great comedic timing, and I hope we get some redemption for Loki, because as it stands, I feel sad and hurt that they just threw away everything Loki grew into being. And if you’re one of those salty “Loki is a Classy, Intelligent, Sexy Villain, And Ragnarok Made Him DUMB, Give Us Back Our King” fans, please leave me alone. He was gross and greasy and weird and Ragnarok made him funny and likable, in me humble onion. Also, Loki is canonically not straight, not cisgender, and has been pregnant with horse babies, so, uh, let’s all just chill out and have some fun.

7. What If...?: The What If...? comics can be really confusing and fun, alternatingly. So it’ll be interesting to see how this show manifests itself to match the wild, changing, freewheeling chaos of the What If...? storylines. Let’s see what happens!

8. Hawkeye: FUCK I AM SO MAD THAT THIS ISN’T AN ANIMATED SERIES BASED ON THE HAWKEYE COMICS THAT CAME OUT RECENTLY. FUCK. I would have loved that! But instead we’re getting Ronin Hawkeye (which sounds so dumb and also question-mark-y racist?). At least we’ll be getting Kate Bishop, I guess. C’est la vie. Not a fan of the Jeremy Renner Hawkeye, tbh, so I don’t know how this show will keep my interest, but fingers crossed.

9. Thor: Love and Thunder: BUCKLE UP BOYS I FINALLY HAVE A MOVIE TO CARE ABOUT YEEEEEEEEEEEEEEEEEEEEEEHAW AMEN PRAISE GOD WE HAVE A GOOD MOVIE COMING YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA FEMALE THOR AAAAAAAAAAAAA GAY RIGHTS YAAAAAAAAAAAAAAAAAAA

FUCK! I AM SO HAPPY OH MY G O D!

10. Blade: YEE FUCKING HAW! Mahershala Ali has been in the MCU three times now (1st as Cottonmouth in Luke Cage, 2nd as Uncle Aaron in ITSV, and now as Blade!) and I’m both pleasantly surprised and a little confused, since the MCU very rarely reuses actors. Oh, well! I’m so happy to see him back and I hope Blade does him justice. I worry that the original Blade (comics and movie alike) were a little, uh, Blaxploitation-y, so I hope this update will be more thoughtful and more progressive in its depictions. But at the end of the day, this is one I’ll be watching.

11. Fantastic Four: I’m worried but hopeful. The last swings at making a Fantastic Four film have been, um, mixed to say the least. Fingers crossed for a diverse set of characters this time! Although I do think that David Harbour being in the Black Widow movie does rule him out of being The Thing, as was previously speculated. Well, anyway, here’s hoping it’s good.

12. Black Panther 2: SHIT BOI DO I DIE I AM READY YES YES YES YESSSSS

But please for the love of GOD bring back Ryan Coogler to direct. I don’t trust this story in the hands of, well, non-black people, especially because the story of Black Panther is so intrinsically tied to the black experience. That being said, I’m ready and excited for a return to Wakanda and to see what is next in T’Challa’s saga. Also, please, more Shuri, more Nakia, more Okoye. Honestly, Black Panther brought us some of the best women in the MCU so just... bring back all the ladies. Ramonda too!

13. Guardians of the Galaxy 3: I’m a little nervous about this one re: the issues surrounding the firing of James Gunn (which is, like, such a can of worms to get into), but fingers crossed. The GOTG films are really fun and such a great break from the rest of the dull, painfully self-absorbed MCU, so I hope that the light-hearted tone and center on found family comes back. I also hear that this one will be more female-centric (focusing on Gamora, I believe?) so that’s good to hear!

14. Captain Marvel 2: I didn’t see the first one, but, hey, my lesbian friends sure are happy to have Carol back so you’ve got my approval on that one, Marvel.

15. Mutants: DOES THIS MEAN...MCU X-MEN...I’M SCARED...SOMEONE HOLD ME

16. This one technically isn’t MCU but it’s what I’m most excited for...

THE SPIDERMAN 2099 COMICS ARE COMING BACK!

I’M SO HAPPY I GET TO SEE MY BOY MIGGY AGAIN I AM SO SO SO SO HAPPY OH MY GOD I WAS SO SCARED THEY’D PERMANENTLY CANCELLED MIGGY BUT HE’S HOME I GET TO SEE HIM AGAIN I COULD JUST C R Y AAAAAAAAAAAAAAAAAAAAAAAAAAAAH!

anyway, that’s just what I’m excited for. Y’all tell me if I missed anything or if there’s other updates or news! Or tell me what you’re excited for-- I’d love to hear!

#long post #messages #anonymous #k reviews #sorta?? this is all very preemptive so if shit turns out to be good i'll change my mind

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aion-rsa · 3 years

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Coming 2 America: How Wesley Snipes Got Into Rhythm with Eddie Murphy

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Eddie Murphy’s Prince Akeem left his prospective queen to go to America in Coming to America. And he didn’t even have the good grace to leave her at the altar either. Rather she was dismissed while still barking like a dog (under the prince’s orders). The princess and her brother, General Izzi (Wesley Snipes) never forgot. And in Coming 2 America, he’s prepared to go to war over it.

Snipes may be most beloved to certain audiences as the half-vampire martial arts master in the Blade superhero movies. But his comic chops are supernatural. From 1989’s Major League through White Men Can’t Jump, and To Wong Foo, and Thanks for Everything! Julie Newmar, his choices are fearless and his timing is fierce.

This coalesced in his impatiently poignant turn as D’Urville Martin, who directed Murphy’s Rudy Ray Moore in the film within the film Dolemite is My Name. The pair are at odds again in Coming 2 America. Wesley Snipes talked with Den of Geek about revisiting an iconic classic comedy, and the art of cinematic challenges, from the superhero variety to his all-time classic work in gangster cinema like New Jack City.

Den of Geek: I have been a fan since your character Willie Mays Hayes in Major League, and you stole that movie like it was second base.

Wesley Snipes: How did it go, “Play like Mays, but run like Hayes?”

And you were definitely MVP on Dolemite. Is it easier to capture that “cinemagical” reality when you’re working back-to-back on two films with the same actor, like you’ve now done with Eddie Murphy?

Yeah. It makes it a lot easier. It makes it a lot easier. You begin to harmonize with the rhythms and the style, and you get a little more comfortable after the first one. So you get to create more and expand on that creativity, have a lot of fun with it and then also push the envelope of your skills and see where you’re at.

Does the give-and-take become like a sport?

An art is the expression of the art. I would say that the competition is with yourself, the mastery of the skills, like as a martial artist or as an archer. It transcends just the other person. It’s about your relationship with the art form itself and what you find in that mirror, right? And it just so happens, when it works well, you’re in the company of others who are also doing the same thing.

So how did you first meet Eddie and how did you get involved in Coming 2 America? Were you a fan of the original film?

Yeah, I had this girlfriend and everything was going well. And then, Eddie Murphy did a movie. I was in a restaurant one day and I went to the bathroom, came back and my girl was sitting there at Eddie Murphy’s table. Yeah, that was pretty much how we met. The whole internet was like, “Eddie Murphy stole Wesley Snipes’ girlfriend!” It’s not true. It’s a joke. It is a joke, it’s not true.

No actually, we know each other from New York. And during those days also Def Jam was big, big. A lot of musicians had restaurants and little spots and cafes, lounges. I think we met first in one of the lounges. I actually think I met Charlie first before I met Eddie. Yeah, in a club in New York.

What was the key to General Izzi? And where did you get your royal gait for that film?

I think the key to General Izzi is his rhythm, his sense of rhythm. He, like the animals, moves with rhythm and tries to blend in with the rhythms of energy, rhythms of life. And then that embodies that shapes how he talks and how he sees himself. It was grand and beautiful, like a peacock with rhythm, a dancing peacock.

Were you tempted to ask about playing any of the extreme makeup characters that Eddie and Arsenio do?

Wow. I would love to do something like this… Oh man, yeah, throw me in. I’d be another guy. Somebody else in a barber shop and [I’d] do two of them. Definitely. I’d love to do it with an accent too. Like, I do something in French, but everything I’m saying is complete gibberish. [Does a faux French run]. Stuff like that, and he was like, “He didn’t say shit!”

I also cover What We Do in the Shadows. When you appeared, you did it via video chat. Were you warning us about social distancing?

I was, I was. As frustrated as he was, yes. You caught that. Very good. It worked. I told you, I tell you there’s a virus out there. I told you!

You said in the past that you’re flattered Mahershala Ali is carrying on the role of Blade. Have you talked to him at all about taking on the role?

No, he hasn’t called me. We haven’t talked about characterizations or how he should play it or anything like that. I can’t imagine that call ever coming in. That would be really strange. But we did communicate about how much we appreciate each other’s work, and how I’m comfortable with saying, ‘Hey man, go rock it, baby. If you got it, do it.’ It ain’t gonna be easy. There’s a whole lot of it that you don’t know [with] them action movies. Everybody ain’t cut like that. They ain’t made for it. But if you got it, let’s go. I got your back 1,000 percent. Let’s go.”

You had a vision for a Black Panther movie back in the way, which at some point included Mario Van Peebles and John Singleton.

As writers, yeah. They were considered the two of the directors that were considered. Yeah.

Did you find a similar feel in Ryan Coogler’s film to what you saw in your head?

My initial idea was closer to Ryan Coogler’s expression. Yes. That was the idea because that’s what’s closest to the comic book and the idea of using vibranium for extra non-invasive operations, surgeries. This was all written in the original comics, a society that was cloaked and was a high society, highly technical. It had a nice balance between technology and nature. Oh, man, that was the vision, but we had no Pixar. We had no Pentiums. We had none of that in those days.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", mediaId: "e7edea70-27c4-49af-993f-717e4ef85870" }).render("0270c398a82f44f49c23c16122516796"); });

I want to ask a question for myself. New Jack City is in my top 10 movies of all time.

Straight gangster, straight gangster.

Nino Brown to me is very much like Humphrey Bogart’s Baby Face Martin in Dead End. What do you pick up from the old classic actors that you still use in your on screen performances?

Oh yeah, man. It’s the body language. It’s the relationship with the camera. Their understanding of how to turn, how to position themselves. How to stand a certain way and deliver the line in a way that wasn’t awkward because the posture is cinematic, it’s photographic, cinemalogical, as they would say.

But it was straight gangster, straight gangster, and also how they would act and do action in character. They would play the characters and play the action like the character, not as an actor doing an action scene now. Yeah.

Are there any more superhero movies or franchises in your future that you’re looking at?

We hope so. Of course we’ve developed some wonderful things internally with Mondi House. I think you recall my book Talon of God is kind of cinematic, set as a cinematic horror film, action film. And that’s something that we’re looking to put into production as well. So whether we work with Marvel or we want to work with the Marvelettes, we’ll be ready in a way.

I see you as an actor who has special relationships with directors. You’ve done multiple films with Spike Lee from the earliest films to Chi-Raq. What directors challenge you in the best ways?

The ones who have a real appreciation for the craft and a good sense of story. Appreciation for the craft [means] preparation, sensitivity around what it takes to craft a great character, and to pull off a great performance that’s like The Godfather [movies] of the world. Not all of the directors have this, not all of them even care.

And then those who have a good sense of story and narrative that can help find authenticity or keep continuity with the rules that have been set, even if it’s action. Once you set the rules and you tell the audience, “These are the rules,” then you stick to them. And the best of the ones I’ve worked with know how to do that very well.

Coming 2 America will hit Amazon Prime Video on March 5.

The post Coming 2 America: How Wesley Snipes Got Into Rhythm with Eddie Murphy appeared first on Den of Geek.

from Den of Geek https://ift.tt/3q6BH3u

#aion-rsa #Den of Geek

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jaydenbennett · 6 years

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Vega, Cassiopeia, Andromeda, Comet

Vega: What’s something you’ve done that you wish you hadn’t?

I wished I hadn’t bought Mass Effect: Andromeda because now all of my free time goes to playing that beautifully brilliant game.

Cassiopeia: Favourite book?

I don’t think I have one, but I couldn’t put down ‘Fahrenheit 451′ when I first picked it up about 15 years ago. I’m excited for the movie, so I might as well read it again soon.

Andromeda: Do you consider yourself social?

Answered.

Comet: What’s your big dream?

To work with Denzel Washington, Ryan Coogler or Ava Duvernay. Also, I’d love for @mjxbrooks to do the costume design of any project of mine.

SEND A SPACE THING FOR QUESTIONS

#answered memes #Anonymous

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mattbrothersscriptwriter · 5 years

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My Top 20 Films of 2018 - Part One

Hello people, time to once again resurrect this defunct blog to ramble about some films again. You may notice a trend if you scroll back through.

OK so I saw a BUNCH of movies this year, thanks again in part to some fantastic arts cinemas, film festivals (well, Sundance London and Frightfest) and yet another banner year for Netflix original content. There were many I didn’t catch like A Star is Born, First Reformed, Aquaman, BlackkKlansman etc but for my FULL ranking of all 135 films I did manage to see, as always go to my letterboxd list here - https://letterboxd.com/matt_bro/list/films-of-the-year-2018-1/

Alrighty then, let’s kick things off:

20. A Quiet Place

As a writer who is hugely inspired by high concept ideas with a grounding in genre, it thrilled me no end to see this ‘elevator pitch’ of a thriller do so well, both critically and commercially. Set in a world where making the slightest noise means certain death from these horrifying, Starship Trooper looking motherfucking bug aliens, we follow a desperate family trying to survive and all the hardships that entails when communication is cut down to a bare minimum.

Of course, this film – which in the wrong hands with a lesser script could easily devolve into a Birdemic style mess – has a helping hand right out the gate in both the star power and gravitas of Emily Blunt and the assured (almost TOO assured) direction of co-star John Krasinski. Their performances ground the action superbly (along with the excellent, actually deaf newcomer Millicent Simmonds) and the tension can be cut with a knife for practically the entire runtime. Famously, people’s enjoyment of the film usually came down to how well behaved their cinema audiences were, which is perhaps the most cruellest of circumstances because the irony is that this is a film that simply must be seen with a rapt audience in a huge dark room… but the second anyone breaks the unwritten code of the cinema, the illusion is shattered. Luckily, within the first three minutes, my crowd were practically holding their breath to maintain the silence. And when I felt a sneeze coming on, let me tell you, that was maybe the scariest moment of the lot!

A tense thrill ride with a genuine ‘why didn’t I think of that’ premise, A Quiet Place is another runaway success for modern horror and I truly hope the inevitable sequels don’t fuck with it’s power.

19. Avengers: Infinity War

Inevitable spoilers for the ending of Infinity War below:

The blockbuster to end all blockbusters, this culmination of ten years of the MCU was a huge triumph, somehow managing to juggle a billion characters jostling for screen-time via some savvy scripting and a focus on a core combination of story strands; namely Thor’s personal journey of revenge, the last stand at Wakanda, Tony’s crew misadventures in space and Thanos being ingeniously positioned as the protagonist. For a mainstream Disney movie to essentially end with the villain winning, there were perhaps no bigger statement this year than the words ‘Thanos Will Return’ at the end of the credits, cementing the fact that while we thought we had been watching a fun, superhero greatest hits package, we’d actually been watching the story of an ambitious, driven individual overcome the odds and claim his victory over all those pesky superheroes. Yes, his plan might be insane but you have to hand it to him; he did it. He actually did it.

This being a comic book movie - with at least a further ten years of comic book movies to come - obviously means that what is done can always be undone but still, this climax provided such a stark (pun intended) resolution that it left half of my audience in stunned silence and the other half in tears.

Outside of the game changing finale, the film has a lightning pace and a whole host of fun set pieces, characters colliding (hello Rocket meets Bucky) and a real sense of... at least occasional... intimacy that somehow doesn’t get completely swallowed up by the spectacle.

18. Annihilation

Now here is a fascinatingly original sci-fi movie that I just was utterly transfixed and terrified by. Much like Jonathan Glazer’s mesmerising Under the Skin, this jettisoned much of the source novel (outside of the general premise and characters) in favour of a stronger focus on the things that a visual medium can really excel at, namely atmosphere, tone and deeply disconcerting visuals/sound design. I quite enjoyed Jeff VanderMeer’s book but this feels like a much more authored and singular vision. Book weirdness has been replaced by movie weirdness and it actually ends up feeling like a true adaptation and if any book truthers are upset, believe me it could have been so much worse.

A group of scientists, led by a stoic Jennifer Jason Leigh, including Natalie Portman, Gina Rodriguez and Tessa Thompson, venture into ‘the shimmer’, a baffling electromagnetic field surrounding a crashed alien meteor. Each has their reasons for volunteering for this suicide mission and they are soon faced with the simply unknowable machinations of this particular alien biology, leading to some incredibly memorable encounters, not least of which is a nightmarish mutant bear attack. The practically wordless finale is something I WISH I could have seen for the first time on the big screen.

Eerie, haunting and a miracle of mid-budget, practically distribution-less filmmaking, this is one I can see revisiting many times over and I continue to be obsessed over anything Alex Garland is involved with.

17. Anna and the Apocalypse

Now here’s a surprise. And a delight. And a goddamn joyful burst of sunshine in a bleak bleak world. I went along to see this at the Frightfest Film Festival in August and boy did it deliver. It’s a (*huge breath*) super independent, low budget, Scottish, high school, coming of age, zombie comedy… Christmas… musical! That’s too many things, I hear you say! And normally you may be right but this film has so much heart, so many breakout stars, so many ingenious, human moments, that it transcends the hurdles of it’s genre mashup trappings and actually works dammit.

The film follows Anna (a wonderful, future star in the making Ella Hunt) who falls out with her father (Mark Benton, the heart and soul of the piece) when she tells him that when school finishes, she’d rather go travelling than go to university. Dad being Dad, he’s appalled at the notion and though he clearly has her best interests at heart, their relationship has been strained since Anna’s mother died and this conflict soon gets ugly. Joining her in this teenage angst are her friends; John (Malcolm Cumming), her best friend who is hopelessly in love with her, Steph (Sarah Swire – who pulls double duty as the film’s choreographer) a gay American outcast, Chris (Christopher Leveaux) a struggling filmmaker and Lisa (Marli Siu), Chris’ girlfriend and talented singer. Together, they butt heads with the panto villainy of the hilarious, scene stealing, scenery chewing Paul Kaye as the maniacal headmaster Mr Savage. Then of course, comes the ultimate spanner in the works… a zombie apocalypse.

As the film pivots from charming high school/slice of life melodrama to genuinely threatening zombie horror comedy, we cannot forget about the musical numbers (!), which are all pretty uniformly catchy as hell, singalong ready and really fucking integral to the entire emotional arc. You start out laughing as Anna sings her way to school completely oblivious to the zombie uprising happening behind her but by the time she’s singing a powerful duet with her father during the finale, there won’t be a dry eye in the house either. It’s a credit to the consistent tone and solid performances that the whole thing doesn’t descend into an overlong sketch and it’s the core relationships that make you care and give weight to the heavier moments in the second half.

It’s funny, smart, endlessly rewatchable and bound to be a new Christmas staple but above all else, it earns it’s emotional gut punches, marrying showtunes with real, life or death stakes that the film doesn’t fuck about with or ignore. People die here, sometimes unfairly but that’s the key to a great zombie flick. And if nothing else, you’ve got bad boy Nick (a stand out Ben Wiggins) shepherding his gang of idiot lads lads lads as they gleefully smash zombie heads in whilst singing “when it comes to killing zombies, I’m the top of my class!”.

The year’s best kept secret and a real hidden gem. Seek it out.

16. Black Panther

Ryan Coogler man… Ryan fucking Coogler.

Fruitvale Station and Creed are both five star movies to me and while this foray into the Marvel machine didn’t quite hit those heights, I think he did the best job he could have in blending his own style, ethos and interests with another chapter in the MCU – a production line rather famous for (until recently) stamping out individuality in favour of the bigger, uniformed picture. Sometime around Phase 2, we were getting somewhat bland creative choices like Alan Taylor (Thor: The Dark World) and losing auteurs like Edgar Wright (initially set for Ant Man) but after the success of the nutty, bold and gleefully anarchic Guardians of the Galaxy, it’s like the flood gates opened, Kevin Feige learned the lesson of diversity and taking bold risks in his directors and suddenly we had a mostly improvised Thor movie from idiosyncratic Kiwi Taika Waititi and then Black Panther.

Having introduced the character in Captain America: Civil War, this film was free to dive right in – and what a world we’re introduced to, one full of colour, afro-futurist designs and the grand daddy of Marvel villains (in my eyes) in the form of Coogler’s lucky charm, Michael B. Jordan, as Killmonger. Here was a man who believed himself abandoned and betrayed by his own people - his own family - who had massively different ideas about what Wakanda’s secretive technological advancements could do for other marginalised societies around the world. Of course, this being a comic book, his plan inevitably boils down to arming terror factions but in theory, it did address the imbalance and selfishness of the Wakandan people.

Outside of some dodgy super suit vs super suit CG fight scenes and some rather silly battle scenes involving rhinos, this was the most engaging and confident Marvel movie in some time, with the aforementioned B. Jordan and T’Challa himself Chadwick Boseman being supported by a whos who of incredible performers, from Letitia Wright and Lupita Nyong’o to Daniel Kaluuya and Andy Serkis.

15. The Square

This film killed me. It’s so very very dry in its humour and nearly every scene plays out in these often painfully long takes but it never fails in making every moment that bit funnier as a result, swinging right round from awkward to cringe back to hilarious again. From Christian’s (Claes Bang) repeated encounters with a very angry child to a deliriously off-kilter Elisabeth Moss fighting for control of a used condom, there’s a Curb-like immaturity to many of the sequences here that clash with the high brow, art world characters that populate it.

Not to mention one of the scenes of the year - period - as Terry Notary terrorises an elitist crowd of poshos, descending into performance art hijinks as he embodies a roaming Gorilla. Becoming genuinely threatening as the line between acceptable “art” and full blown menace gets increasingly blurred, the reactions (or lack thereof) from many of the crowd says much more than words maybe ever can.

14. Summer of 84

Another genre hit that I caught at Frightfest, this is the follow up to one of my favourite films of 2015: Turbo Kid. Directed once more by RKSS (the group moniker for François Simard, Anouk Whissell and Yoann-Karl Whissell) the film seems to operate, at first glance, in the same territory as their previous movie (aka as a horror influenced, 80s throwback) but it is treated with a completely different tone. Whereas Turbo Kid is ‘Mad Max on BMXs made like an 18 rated Saturday morning cartoon’, this plays like a much straighter Stephen King style pulp thriller.

The comparisons to Stranger Things are inevitable (group of nerdy teenage boys, suburbia, bikes etc) but unfair. This story doesn’t wallow in nostalgia, rather it is played like a film from the 80s rather than knowingly about the 80s. Yes there are references but they aren’t shoehorned in and it doesn’t take long for the central mystery to take centre stage. A little bit Rear Window, it follows these goofy teenagers (all unknowns to my eyes, all equally brilliant and believable) who begin to suspect that their homely, cop neighbour (Mad Men’s Rich Sommer) is actually a serial killer. It’s to the film’s credit that the outcome of this central question – is he or isn’t he – teeters back and forth so well for so long... that by the time it nosedives into a nasty, pulpy final act - taking the conventions you’ve come to expect and beating you into the ground with them - your heart will be so far in the back of your throat that you won’t notice. And again, another classy retro score from Le Matos helps tie this all together.

A genuine change of pace from RKSS, despite the continued 80s fixation, and further proof that they have many more tricks up their sleeve.

13. First Man

Along with Ryan Coogler, Damian Chazelle is the other wunderkid whose career has been producing nothing but five star films for me (well, Whiplash and La La Land; I haven’t seen his actual debut). And First Man, like Black Panther, is another one that gets really close to perfection but falls slightly short. Having said that, I definitely think I like First Man a lot more than the general audience consensus. People have complained about its insular, intimate focus on a rather dull, introverted lead subject and the nauseating treatment of space travel but I loved both of these elements.

This is less a film about triumphantly going to the moon and waving a flag around and more about a grieving man who is so out of touch with his own emotions that he a) speaks to his own children as if he’s attending a press conference and b) is hurting so internally that rather than talk to anyone about the loss of his daughter, he’d rather make the dangerous, unprecedented, insane mission to a cold, dead rock about as far away from anyone as you can get. That feeling - of wanting to shut yourself away from literally everyone - is universal. The actualisation of it - man goes to moon - is personal. And made history. And having the foresight to connect that emotional journey of Neil Armstrong with the otherwise feel-good true story of astronauts (and America!) winning the space race is genius.

Add to that compelling supporting turns from everyone from Claire Foy, Kyle Chandler, Christopher Abbott and Shea Wigham, another dynamite score from long-time collaborator Justin Hurwitz and some nerve shredding rocket based set pieces and what you have is a fresh direction for Chazelle to take and one that I think we be re-evaluated in the years to come when his filmography expands to much more than just jazz-infused dramas.

12. Phantom Thread

This film is just gorgeous. A riveting character study of a supremely difficult man, Phantom Thread portrays a constant battle for dominance in a troubled yet surprisingly cinematic relationship. Vicky Krieps and Lesley Manville give as good as they get from Daniel ‘this is my last film, I swear’ Day-Lewis, an undeniable acting giant who effortlessly breathes as much life into Reynolds Woodcock here as he did Daniel Plainview before, in his last collaboration with Paul Thomas Anderson.

Beautifully shot with another fantastic score from Johnny Greenwood, this one really feels like old school movie magic, like a lost melodrama from the 50s but with a modern mentality bubbling underneath, ready to blow it’s top at the mere, ear-splitting scrape of butter on toast.

11. Widows

Who’d have imagined the director of Hunger, Shame and 12 Years a Slave would be the one to team up with Gone Girl’s Gillian Flynn to deliver one of the best action thrillers of the year?

Adapted from the 80s TV mini-series and given a modern makeover, this film wastes no time getting right to the important stuff as Liam Neeson’s latest heist takes a deadly turn, leaving the widows of him and his crew to deal with the fallout of the failed money grab. Forced into desperate action to pay off their debts, Viola Davis leads this mismatched group of women into the belly of the beast. The cast in this thing is insane - even outside the main players (Elizabeth Debicki, Michelle Rodriguez, Cynthia Erivo) you have Colin Farrell, Bryan Tyree Henry (having one hell of a year), Daniel Kaluuya, Robert Duvall, Carrie Coon, Jacki Weaver, Garrett Dillahunt... not a weak link amoung them.

It’s clear that McQueen is a master storyteller and this is a supremely exciting and suspenseful thriller that if nothing else, adds fuel to my ‘Jon Bernthal shared universe’ fan-theory, haha. Imagine, if you will, that he plays the same character in this as he does in Baby Driver. In both films, he takes part in an opening heist and then disappears for the rest of the movie. In Baby Driver, as he’s walking off after a job well done, he says that if you don’t see him again, he’s probably dead. Cut to him joining up with Neeson on THIS job and promptly getting blown to pieces.

Boom.

COMING UP - star shaped earrings, reloading biceps, fish sex and a mutant pig

#top 20 #films of the year #films of 2018 #20-11 #a quiet place #avengers #infinity war #annihilation #anna and the apocalypse #black panther #the square #summer of 84 #first man #phantom thread #widows

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theatlantafans-blog · 6 years

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BITE THE SANDWICH. A conversation with Emmett Hunter of FX’s Atlanta.

Even if you live under a rock you’ve probably heard of FX’s hit show ATLANTA. Donald Glover is perhaps the hottest thing in Hollywood at the moment, and anticipation for season two of the series has been building for some time now. Though there were several moments in the debut season that stood out, one in particular stuck with me. Glover’s character, Earn, sits on the bus with his young daughter. This scene, following a stressful day for the series’ protagonist, culminates with a man who appears to be in the Nation of Islam, sitting down near Earn and offering him a bite of a [freshly made] Nutella sandwich. Following Earn’s rejection of the snack, the man exits the bus and disappears into the woods with a dog. Strange to say the least, huh? My friends and I have gone back and forth on what this scene means for nearly a year. We haven’t really gotten anywhere. Recently, I had the opportunity to speak with the actor who portrays the now infamous character that is Ahmad White, AKA “The Notorious Nutella-Offerer.” His name is Emmett Hunter.

So first and foremost, for the people who don't know, who are you? What's a bit of your background?

First off I appreciate you reaching out to interview me, brother. My name is Emmett Hunter. I am originally from the Tampa Bay area, specifically the Clearwater/Largo, Fl area. I went to Jacksonville University where I met my wife of fifteen years and we have three beautiful kids together. I also played college football as well. But deep down inside I've always had a passion for the arts. Believe it or not, I was even part of a rap group called the “Juda Knights” from around 9th grade to my junior year of college. I'm also a huge fan of African-American literature as well as a low-key poet. (Laughs.)

Of course the reason we're speaking right now is because you obviously were on Season one of ATLANTA. On FX. Your character was a character who many people seemed to be intrigued with. The scene on the bus where you offered Donald Glover's character a sandwich, which he rejected, (laughs) was a scene that got a lot of people talking. Talk a little bit about your character on the show and the role he played in season one.

I played a character named Ahmad White in season one of ATLANTA. My character appeared in the first episode as well as the Emmy Award winning “B.A.N.” episode which was written and directed by Donald. I knew the bus scene with Donald and I would go down as one of the most memorable scenes of season one. I remember right before we shot the scene the director, Hiro Murai, told me this was his favorite scene and that he was excited to finally shoot it, which made me really nervous! (Laughs.)As crazy as the bus scene was, the conversation Donald and my character had was really powerful to me. I think Ahmad was trying to tell Earn to trust this process we call life and it will take you where you're destined to go.... I believe Ahmad's role on the show was a bit of “semi-crazy philosopher” that actually presented the world with truth mixed with a little “off-the-wallness! I'm sure that's not a word. (Laughs.) In my mind, Ahmad White was that weird guy that you find in every hood, on every block, and on every subway or bus. The weird “wino” like guy that roamed the streets [and] always had something valuable to say, but that could also snap on you at any moment. I knew plenty of guys like Ahmad growing up. They would talk a bunch of craziness to you, but in the mist of the ramblings would say some thoughtful truths.

My friend Tyler and I are always discussing the significance of you offering the sandwich to Donald. We still don't really understand what that fully meant. Can you help us out?

I've been asked to explain the significance of the sandwich probably a thousand times. Honestly my take on it is that when you're creating these scenes, [it’s] essentially art…and when it comes to art, some things are left up to the viewer or listener’s interpretation. The reasoning for Ahmad wanting Earn to bite the sandwich could mean different things to different people.

What was it like working on the show? Set life, table reads, the filming process, etc. And of course, everyone wants to know what Donald is like. It's not like you filmed in another state or whatever and it was edited in, you filmed a very intimate scene with him. Can you talk about that?

Working on the set of Atlanta was surreal. It is truly one of the highlights of my life. I had the opportunity to meet Donald... Lakeith [Stanfield] and Brian Tyree Henry. All of those guys were so laid back and down to earth. The Atlanta set was such a welcoming and comfortable atmosphere. I didn't feel like I was working at all. As far as working with Donald, I don't know if I've ever met a superstar that was so humble. In between takes we shared some small conversation, but honestly I didn't say much because I knew we were there to get the scene done. When I came back to shoot the B.A.N. episode he was behind the camera directing. He smiled and embraced me and said "Thank you for coming back." I thought to myself "[How] am I supposed to turn an opportunity like this down?" (Laughs) I knew after reading the script for the B.A.N. episode that it would be a classic. To this day I still pop that script [out] and read it just for the fun of it. It's one of the most brilliantly written pieces in all of television. A lot of people don't know that a lot of what Ahmad White said during the B.A.N. episode wasn't originally in the script. As I was doing my takes he would just throw extra stuff in there. I would say my lines and out of nowhere he would say, "Now say, “If you'd like to be smart as a baby dolphin call now.”” Everyone in the room would just bust out laughing.

That’s hilarious. How did you land the role?

My agent sent me the script for ATLANTA when it was initially a pilot and told me I had an audition. After I read the script for the role I immediately connected with the character. As I was doing the audition I genuinely felt every one of those words. The moment was like magic. I had done over 100 auditions before that, but I knew that role was mine. It really felt like it was meant to be. I sent the audition to my agent and waited for what seemed like an eternity for a reply. My agent contacted me about a month later and told me production wanted me to audition again, but with a few more directions. I did the audition and sent it to them and they finally offered me the role. Man, I was so excited I just can't really put it into words.

With Season two now here, can we expect another appearance from you?

As far as season two is concerned, unfortunately my character will not be returning. I honestly thought my character would return for sure, so needless to say I was a little shook. But at the same time it's not over until it’s over. Donald if you're reading this, pencil ya boy in somewhere in season three! (Laughs) On the real though I'm grateful to Donald, Hiro [Murai], and the whole FX crew. They gave me the platform to showcase my talent and I will forever be thankful for the opportunity.

Shifting gears now, I feel like recently people who look like "us" in the industry are finally starting to get some notoriety. (Laughs) You know, brown skin. From ATLANTA, to “Get Out” and “Black Panther” is obviously red hot right now. What have been some of your favorite films and shows recently?

I feel like it's our time now, brother. There is so much greatness out there that’s being created by black people. Shows Like Atlanta, Blackish, Luke Cage, Power, The Chi, Insecure, and so many others. My favorite show right now is “The Chi.” I love that show, man. It's absolute magic from top to bottom. Of course my favorite movie right now is Black Panther. I've actually seen it twice and I have to admit, it brought a brother to tears. In all honesty Black Panther had the greatest exhibition of acting I've ever seen in an action movie. Chadwick [Boseman]... Lupita [Nyong’o]... Winston [Duke]... they all killed it. Black people are finally getting the opportunity to tell our stories from our perspective and it is beautiful to watch.

Black Panther is amazing. I should check out The Chi, I’ve heard great things. Who's someone you'd like to work with that you have not already?

My dying wish is to work with Ryan Coogler. That brother is a freaking genius! I've been following his work since Fruitvale Station.

I saw you were on an episode of South Beach Tow. That was dope. What's next for you? More roles coming soon?

As far new roles go, you can catch me in season seven of Homeland which airs on Showtime.

I’ll check that out. What something about the entertainment industry that you think people should know? Primarily pertaining to people of color.

I think our people should know that we have now. It's our time. There are so many ways for us to get our stories out to the world. From YouTube, to Netflix, short films, indie films, or however you decide. People like Donald and Issa [Rae] have paved the way. They've shown us that you don't have to be one-dimensional. You can write, create, direct and star in your own projects and there is an audience out there that looks like you that can't wait to see it.

Any advice for a kid who wants to act and/or direct?

The advice I would give to kids out there is [to] use all the tools available to you to tell your story. From your cell phone, to social media, your friends, etc. Don't sit around and wait for someone to give you an opportunity. Create your own! As an actor I can tell you, you will audition a lot, and face a lot of rejection. You have stay positive and keep pushing until your time comes. Just trust the process.

This interview has been condensed from its original version. Catch Emmett Hunter on HOMELAND Season seven on SHOWTIME now. Season two of ATLANTA premieres March 1st, 2018.

Courtesy: Christopher Charleston. @ChristophEaston

#atlanta #fx #donald glover #gambino #atlantafx #robbinseason #atlantaonfx #emmett hunter #childish gambino

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njawaidofficial · 6 years

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Inside The Impossible Job Of Writing “Avengers: Infinity War”

https://styleveryday.com/inside-the-impossible-job-of-writing-avengers-infinity-war/

Inside The Impossible Job Of Writing “Avengers: Infinity War”

The cast and crew of Avengers: Infinity War at the Los Angeles global premiere on April 23, 2018.

Jesse Grant / Getty Images

The notion that Avengers: Infinity War is the most ambitious crossover event in history has spawned an entire ecosystem of skeptical memes, but also, let’s face it, it’s completely true. With roughly 40 significant roles, pulling from storylines spanning 18 separate movies over the last 10 years, Infinity War is unlike any feature film ever attempted by Hollywood.

At the front lines of that effort: screenwriters Christopher Markus and Stephen McFeely. The duo — who cut their teeth on franchise filmmaking with three of the Chronicles of Narnia movies — started working at Marvel Studios in 2008. They’ve written all three Captain America movies, as well as 2013’s Thor: The Dark World, and they helped create the spinoff series Agent Carter for ABC. Which is to say, they’ve been as steeped in the world of the Marvel Cinematic Universe as just about anyone short of studio chief Kevin Feige.

For what has been billed as the concluding chapter of this iteration of the MCU, Markus and McFeely were tasked with writing two films: Infinity War, opening in theaters now, and an untitled sequel due to open a year from now, both chronicling the collision between the disparate superheroes within the MCU and the designs of cosmic supervillain Thanos (Josh Brolin) to wipe out half of all life in the universe by collecting the six all-powerful Infinity Stones.

To date, the effort has consumed nearly two years of Markus and McFeely’s lives: four months developing the key story beats at the end of 2015, five months writing each screenplay, and then another year rewriting the scripts as the films entered parallel production throughout 2017.

“It was unwieldy,” McFeely told BuzzFeed News, with perfect understatement. “We started shooting before [2018 Marvel films] Black Panther and Ant-Man and the Wasp, and they both finished shooting before we were done.”

Thanos (Josh Brolin) in Avengers: Infinity War.

Marvel Studios

The center of the film, by necessity, was Thanos. “He set the story,” said Markus. “He’s the driver. Once we figured out what he was doing and what he wanted to do, everyone else, we just figured out how they slotted into either trying to stop [him] or not.” But while sorting out how to thread that ginormous purple-faced needle, Markus and McFeely also had great fun playing with all the characters in the MCU — quite literally.

While working on the script, the pair holed up inside a vast conference room in Marvel Studios headquarters, one entire wall of which was filled with baseball cards featuring every character within the MCU. Then the screenwriters shuffled them around to figure out who should be matched up with whom. “We knew we didn’t want 25 people in a room, 25 people in a room, 25 people in a room,” said McFeely. “We thought smaller stories that weave together. They’re all pretty simple, because it’s about somebody’s coming for your stuff. But by weaving them together, it will feel complex.”

Handling the classic Avengers — Tony Stark (Robert Downey Jr.), Captain America (Chris Evans), Thor (Chris Hemsworth), the Hulk (Mark Ruffalo), and Black Widow (Scarlett Johansson) — was second nature for the duo. The bigger challenge was incorporating the characters who’d remained largely on the fringes of the MCU before now. Here’s how they did it.

Opening three months after Black Panther started as a potential curse, and then became a massive blessing.

Marvel Studios

Of the many hurdles facing Markus and McFeely, one of the most daunting was the knowledge that their film would be coming out just months after Black Panther — and yet given the enormous size of both films, they had to start their writing process before Ryan Coogler and Joe Robert Cole began writing Black Panther.

“We’re writing a story that has a substantial action sequence that takes place in Wakanda, but we know that three months earlier, [Black Panther is] probably going to have an action sequence that’s going to take place in Wakanda,” said McFeely. “We thought, Are we repeating ourselves? Are they any other options? There were none better than what we had for the story. So we went with it.”

A battle scene in Wakanda in Avengers: Infinity War.

Null

Markus and McFeely said while they did speak with Coogler and Cole, their main conduit for intel on Black Panther was executive producer Nate Moore, who’d worked with the screenwriters on the previous two Captain America films. “We would ask permission: Is this ridiculous or cool?” said McFeely.

Of course, the world now knows that Black Panther was nothing less than a historic phenomenon. “We felt a little smart and lucky,” said McFeely with a laugh. “It feels pretty cool that people are excited about [seeing Wakanda again], as opposed to, Oh god, we’ve got to go to this place again.”

That was especially true of their decision to give the Black Panther character of Shuri (Letitia Wright) a crucial role in the film’s third act. “We didn’t know that Shuri was going to become a beloved national treasure,” said McFeely. “But we knew that she played an integral part, and we could use her.”

One big moment in Black Panther connected deeply with the core theme of Infinity War.

Chadwick Boseman in Black Panther.

Marvel Studios

At the end of Black Panther (spoiler alert for a movie literally everyone has seen), the titular hero T’Challa decides to reveal to the world his country’s true nature as the most technologically advanced society in the world, after defeating Erik Killmonger (Michael B. Jordan), who wanted to do just that (but with bombs). “I’ve never seen the hero change his mind even after defeating the villain,” said McFeely, in awe. “It’s fascinating.”

T’Challa’s decision also has massive, and ominous, repercussions in Infinity War — it’s one of the reasons Markus and McFeely chose to set the film’s final act in Wakanda.

“One of the themes of the movie is the cost of your own heroism,” said McFeely. “What are you willing to do to get what you want, and given how you behave, what are the consequences? Bad things are now going to happen because you’ve chosen to be a hero to the world, and not just a country.”

The Black Panther cast contributed one of the film’s most chill-inducing moments.

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youtube.com

Arguably the most effective piece of marketing in the massive promotional blitz for Infinity War has been the TV ad (which you can view above) in which T’Challa leads the Wakandan forces in a war chant against Thanos’s mounting horde. And it was all the actors’ idea.

“Yeah, we did not write any chants,” said McFeely. “[The actors] showed up on set and said, ‘We do this thing,’ and he goes, ‘Yibambe!’ And everybody went, ‘Holy crap!’ My hair stood on end. ‘Do that!’ It was really like Wakanda came to the movie.”

Null

Given their extensive experience within the MCU — including introducing T’Challa in 2016’s Captain America: Civil War — there were only two major franchises whose title characters Markus and McFeely had not yet written for: the Guardians of the Galaxy — Peter Quill (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), Groot (Vin Diesel), and Mantis (Pom Klementieff) — and Doctor Strange (Benedict Cumberbatch).

For the Guardians’ particular style of snipe-y, snappy banter, Markus and McFeely consulted with two-time Guardians of the Galaxy writer-director James Gunn, and they also relied on the actors’ considerable improvisational skills. “Those actors know their characters really well,” said McFeely.

“In some ways, they were the ones we were most excited about bringing into it. It spices things up,” added Markus. “That tone is closer to real life than Iron Man talking to Captain America. That doesn’t happen that often, but people are sniping at each other in my house all the time! So that was reasonably easy to sink into.”

Writing for the Guardians wasn’t just a joke parade, though. The connection between Gamora and her sister Nebula (Karen Gillan), and their adoptive father Thanos, also lent their scenes crucial dramatic weight. “Even though [the Guardians] may be the lightest and in some ways jokiest pie slice of the MCU, they’re also the closest to this nightmare that’s about to happen,” said Markus.

As for Doctor Strange, Markus and McFeely decided to pair him up with Tony Stark, despite how counterintuitive it might have seemed at first — and their inspiration was a classic NBC sitcom. “Two egotistical guys with goatees — is that overkill?” said Markus. “It made us think about, well, on Frasier, they had an uptight guy, and the instinct would be to make his brother, like, a truck driver. Look, it’s a crazy odd couple! But they made [his brother] even more uptight, and it worked fine. So that was our inspiration.”

There wasn’t much time for character development.

From left: Tom Holland, Robert Downey Jr., Dave Bautista, Chris Pratt, and Pom Klementieff in Avengers: Infinity War.

Marvel Studios

Those familiar with Peter Quill’s story from the Guardians films know that the character was born on Earth, only to be whisked away from his home planet as a child, never (yet) to return. In Infinity War, Peter will meet the first humans from Earth he’s seen since that day (at least, that we know of), but don’t count on him to savor the opportunity to wax nostalgic about home.

“This is driven by a very propulsive, time-sensitive plot,” said Markus. “So we didn’t have that much time for people to sit back and go, like, ‘Are there still Dairy Queens?’”

“We would love to tell the four-hour story of every plot strand coming together, and echoes from six movies ago,” added McFeely.

“As much material as there was on the side that you could have done, this giant purple guy is coming,” continued Markus. “So there was never that much available real estate to fill up with this stuff.”

Balancing characters between both Avengers movies was key.

Don Cheadle, Chris Evans, and Scarlett Johansson in Avengers: Infinity War.

Null

Indeed, given the vast amount of story to cover, and characters to include, in Infinity War, Markus and McFeely are acutely aware that many fans will end up feeling frustrated by how little their favorite MCU characters made it into the film. But while they were both loath to discuss any spoilers for Infinity War, they did quite tellingly emphasize that the movie is one half of a larger story.

“[Characters] don’t have the same amount [of screentime] in each movie,” said Markus. “They only get as much as the story demands for them. You might feel, I could’ve used 15% more Captain America there, but, like, you’d be riffing as opposed to telling a story. So I think over the span of two movies, everyone gets exactly the amount of screentime they need and deserve.”

Added McFeely, “You may walk away from movie one and go, Well, I could’ve used more of the character. Odds are, you’ll get a lot of that character in the next movie.”

Keeping secrets is surprisingly easy when you’re the screenwriters.

Christopher Markus and Stephen McFeely at the Los Angeles global premiere for Avengers: Infinity War.

Jesse Grant / Getty Images

Despite literally being the first people to know of many of the most critical plot and character developments in Infinity War and its sequel, Markus and McFeely said they have weathered almost no difficulty keeping those secrets to themselves.

“No one asks us crap,” McFeely said with a laugh. “No one knows who we are! We’re completely invisible.”

“Everyone I see at work knows the answer, so they’re not asking me,” added Markus with a weary smile. “And everyone I see at home does not give a damn. So it’s like, ‘Hey, I know something about Thanos!’ ‘Uh-huh. That’s great.’”

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trendingnewsb · 6 years

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Solo: A Star Wars Story and the False Hope of Really Great Trailers

Good day, rogues; a new Solo: A Star Wars Story trailer dropped last night. It looks really incredible. Donald Glover’s Lando Calrissian drips swagger. Emilia Clarke is in High Society Khaleesi mode, minus the dragon white hair. There’s even a few seconds of Thandie Newton for folks who can’t wait for Westworld to come back. Chewie is 190 years old and he looks great! It’s easy to have a really good feeling about this.

But that’s what trailers are supposed to do. It’s their whole job. There’s a science to it—one that nobody knows better than the folks at Disney. (Or whoever they hire to make their trailers for them.) That’s not a dig; it’s just the way it is. And it doesn’t mean the movie will be just as entertaining as the teaser.

Related Video

Culture

Rogue One: A Star Wars Story Trailer

Trailer for Rogue One: A Star Wars Story.

Read more: https://www.wired.com/story/solo-star-wars-story-trailer/

from Viral News HQ https://ift.tt/2v8MvHd via Viral News HQ

#IFTTT #Viral News HQ

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recentanimenews · 6 years

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Princess Knight Rides Again

On April 30th, Tezuka Productions will unveil the first issue of Tezuka Mix, a monthly magazine that will serialize new stories about Astro Boy, Princess Sapphire, and Ambassador Magma. The twist? Each story will be written by a different artist. First up is Mauricio de Sousa’s “Princess Night (Princess Knight x Roman Holiday),” a mash-up of Tezuka’s ground-breaking shojo manga and Audrey Hepburn’s break-out film. This won’t be the first time that De Sousa has done such a crossover; in 2012, he published a two-part story featuring characters from Monica’s Gang (his signature comic series) and from Tezuka’s oeuvre — a project done with Tezuka Production’s blessing. Also on deck: a “remix” of Black Jack by Ken Niimura and Joe Kelly (I Kill Giants), and a fresh take on Jungle Emperor Leo by Reno Lemaire (Dreamland).

MANGA LINKS

April looks like a great month for manga and light novels, with over 100 new titles arriving in stores. The Yatta-Tachi crew compiles a master list, organized by release date. Me? I’m reserving the slots on my dance card for new installments of Again!!, The Promised Neverland, and Silver Spoon. [Yatta-Tachi]

In honor of Women’s History Month, Tia Kalla profiles trailblazing shonen artist Rumiko Takahashi. [Women Write About Comics]

As volume four of Golden Kamuy arrives in bookstores, Kelly Chiu lists eight reasons why this fan favorite deserves a place on your pull list. [B&N Sci-Fi & Fantasy Blog]

Headed to Anime Boston? Vertical Comics will be holding its panel on Friday, March 30th at 4:30 pm, where it plans to announce new licensing acquisitions. [@Vertical_Comics]

And speaking of Vertical Comics, the first volume of Chi’s Sweet Adventures drops on May 1st. The latest installment of the Chi saga was “inspired by the new Amazon PrimeTV anime,” and will be printed in full color. [@MangaNews_US]

Could coffee manga be the next Big Thing with American readers? [Brain vs. Book]

The Stanford University Department of Religious Studies is currently hosting a poster exhibit “Religion in Manga and Anime,” which examines spiritual themes and motifs in Japanese popular culture. The show, which is free and open to the public, runs through April 15th. [Mountain View Voice]

COMICS LINKS

As Black Panther continues to shatter global box office records, Ashley Terrell praises director Ryan Coogler for “magnifying the beauty and resilience of black women” through the characterizations of Nakia, Okoye, Shuri, Ramando, and Ayo. [Black Girl Nerds]

Sure, you’ve heard of Corto Maltese, but what else do you know about comics, Italian style? Andrea Tosti’s two-part history of the medium makes a great starting point for exploring Italian’s vibrant comics culture. [European Comics]

Stop the presses: the New York Times just announced that Hillary Chute and Ed Park would be sharing duties as the Book Review’s new comics and graphic novel reviewer. Their column will debut in April, with Chute and Park writing in alternate months. [The New York Times]

By: Katherine Dacey

#Anime #News #Manga Bookshelf

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healthcaretipsblog · 6 years

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Black Panther is /Film’s second most anticipated movie of 2018, so you bet we’re watching the early critical reactions like a panther stalks its prey. Or like how Black Panther stalks those who threaten the safety and security of Wakanda, the advanced African nation he rules over and protects.

While the review embargo remains in effect, the social media embargo on reactions to Ryan Coogler‘s superhero adventure has fallen and yes, that means the first wave of Black Panther buzz has arrived.

Introduced to the Marvel Cinematic Universe in Captain America: Civil War, T’Challa is the first black superhero in the MCU to have his own solo film. Black Panther picks up shortly our hero’s adventures with the Avengers and finds him back in Wakanda to take his place on his late father’s throne. Naturally, things don’t go well…because it wouldn’t be a superhero movie if there weren’t fights to be had and bad guys to defeat. But first, the King must face one of the toughest opponents out there: critics. Here’s what they’re saying.

Black Panther Early Buzz

Black Panther looks, feels and sounds unlike any Marvel film to date. A visual feast. Wakanda is amazingly realized, the antagonist actually has an arc with emotional motivations. Marvels most political movie. So good. #BlackPanther

— Peter Sciretta (@slashfilm) January 30, 2018

Ryan Coogler knocked it out of the park, some great sequences presented in a “single take/shot.” If this movie isn’t nominated for costume, art and production design awards next year, I would be seriously shocked. #blackpanther

— Peter Sciretta (@slashfilm) January 30, 2018

#BlackPanther is exceptional – the James Bond of the MCU. You've seen nothing like this in a superhero movie – it's bold, beautiful & intense, but there's a depth & spiritualness that is unlike anything Marvel has ever done. It's 100% African & it is dope af. pic.twitter.com/Z77IjnIjf2

— ErikDavis (@ErikDavis) January 30, 2018

The best part of #BlackPanther is how it unravels this deeply emotional & complex story about family ties & protecting your tribe. While lots will tout Michael B. Jordan as the stand-out, my favs were Danai Gurira & especially BP's lil sis, Letitia Wright pic.twitter.com/VSEwa98BnI

— ErikDavis (@ErikDavis) January 30, 2018

Lastly, #BlackPanther is an audience movie. See it with a crowd cause they will be loud. It is a very proud movie & a female first movie, and I hope it crushes at the box office, paving the way for a future full of much greater representation pic.twitter.com/OBAmAt8eZL

— ErikDavis (@ErikDavis) January 30, 2018

#BlackPanther is riveting on many levels: visually astonishing, but more importantly, so unpredictable. Incredible to watch a major blockbuster celebrate blackness while exploring its relationship to various facets of pop culture. “Stop scaring me,” colonizer!” #wakanda4ever

— erickohn (@erickohn) January 30, 2018

#BlackPanther: I never wanted this movie to end, and as soon as it did I wanted to go back. Solid action, smart story, tons of personality. Shuri is my new fave, Nakia is everything, Killmonger is incredible, T'Challa deserves to rule the MCU. Coogler has done it again. ???????????? pic.twitter.com/t9gG3DLuCL

— Angie J. Han (@ajhan) January 30, 2018

BLACK PANTHER is like a Marvel movie, but better. the action is predictably awful, but this is the first MCU film that has an actual sense of identity & history & musicality. Wakanda is alive. whole cast is great but the women (and the war rhinos) steal the show — Danai Gurira!

— david ehrlich (@davidehrlich) January 30, 2018

BLACK PANTHER is not screwing around. By far the most political Marvel chapter, to the point I had to remind myself this is a Marvel movie. BLACK PANTHER is a movie with a lot to say.

Also, Michael B. Jordan … damn

— Mike Ryan (@mikeryan) January 30, 2018

#BlackPanther is simply awesome. Extremely bold and as touching as it is thrilling, it boasts GOT-style intrigue, crazy innovative action and a deep bench of memorable characters. Top 5 all-time Marvel movie, easy. More later. pic.twitter.com/mmz8Nuf1sy

— Brian Truitt (@briantruitt) January 30, 2018

Hey Black Panther is dope

— Ross A. Lincoln (@Rossalincoln) January 30, 2018

Killmonger is the best and most interesting villain out of any of the MCU movies. Michael B. Jordan is so good.

— ???????? ????????? (@bdgrabinski) January 30, 2018

BLACK PANTHER is incredible, kinetic, purposeful. A superhero movie about why representation & identity matters, and how tragic it is when those things are denied to people. The 1st MCU movie about something real; Michael B. Jordan’s Killmonger had me weeping and he’s the VILLAIN

— jen yamato (@jenyamato) January 30, 2018

A list of further reasons why #BlackPanther is great:

CHADWICK LUPITA MBJ DANAI LETITIA

Did I mention I cried a bunch

— jen yamato (@jenyamato) January 30, 2018

BLACK PANTHER is the most spiritual Marvel movie yet! Family and heritage is a big part of the story — there are moments in this movie that get real deep. Danai Gurira is a scene-stealer and the movie elevates whenever Michael B. Jordan shows up. #BlackPanther pic.twitter.com/KIxiAItnEY

— Jason Guerrasio (@JasonGuerrasio) January 30, 2018

#marvel does it again with 'Black Panther'. Very impressed with the story and filmmaking. @michaelb4jordan absolutely kills it as the villain and is the best one since Loki. Also @DanaiGurira kicks so much ass and I loved every second of it. Going to make serious $. pic.twitter.com/YBrg2x3Nnz

— Steven Weintraub (@colliderfrosty) January 30, 2018

Marvel has outdone themselves, #BlackPanther is remarkable and the best #Marvel film to date. Finally, a mature superhero film that doesn’t feel like a superhero film. Prepare to have your mind blown. Black Panther has officially redefined the superhero genre as we know it. Bravo

— Scott Menzel (@TheOtherScottM) January 30, 2018

#BlackPanther is everything we all wanted it to be. A smart, emotional, well-told story. And just f'ing beautiful. pic.twitter.com/dvNDgEH7k0

— Roth Cornet (@RothCornet) January 30, 2018

The MVP of #BlackPanther is Letitia Wright's hilarious, ebullient Shuri. I want a Shuri supercut, I want a Shuri spinoff, I want a capsule collection of Shuri sportswear at Opening Ceremony, and I want these things now!

— Kyle Buchanan (@kylebuchanan) January 30, 2018

Black Panther is the best MCU movie ever. I was blown away from start to finish and I’m not even being biased. This was by far the best marvel movie to date. Thank you, Ryan Coogler! #BlackPanther pic.twitter.com/8Qh0hlOYAb

— Geeks of Color (@GeeksOfColor) January 30, 2018

#BlackPanther is all you want and more. Unlike any Marvel movie to date, great villain in @michaelb4jordan, @chadwickboseman is regal as he is badass and @DanaiGurira is all I want to be in life. Can’t wait to see this one again with a new audience. pic.twitter.com/y0MpJLGeBH

— Brian Particelli (@BrianParticelli) January 30, 2018

#BlackPanther is as exhilarating, bold & epic as you hoped. Digs its claws into real-world profundity – both social & political. Adored that the women of Wakanda are valued for their badass physical & intellectual acuity over being a love interest, or succumbing to daddy issues.

— Courtney Howard (@Lulamaybelle) January 30, 2018

I liked #BlackPanther.

— Todd VanDerWerff (@tvoti) January 30, 2018

Black Panther hits theaters on February 16, 2018. The sprawling cast includes Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, and Andy Serkis. Coogler co-wrote the screenplay with Joe Robert Cole. Here’s the official synopsis:

Marvel Studios’ Black Panther follows T’Challa who, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king. But when a powerful old enemy reappears, T’Challa’s mettle as king—and Black Panther—is tested when he is drawn into a formidable conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people and their way of life.

The post ‘Black Panther’ Early Buzz: What the Critics Are Saying About Marvel’s New Movie appeared first on /Film.

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(via Production Designer Hannah Beachler On ‘Black Panther,’ Her Job + Advice For Black Creatives [Interview])

The wonderful Danielle Scruggs gets some choice time with production designer extraordinaire, Hannah Beachler, as they talk about Marvel’s Black Panther, the importance of her job and offers advice to fellow creatives for @Okayplayer.

The past three years for production designer Hannah Beachler have been charmed after having worked on critically acclaimed movies such as Creed, Fruitvale Station, the Academy Award-winning Moonlight and Ryan Coogler’s forthcoming, wildly anticipated adaptation of Black Panther.

(Not to mention she was responsible for the set designs of eight out of the 11 videos for Beyoncé’s LEMONADE.)

Make no mistake: Beachler’s story is not one of overnight success. She has been grinding in a field that has been none too friendly to women—let alone black women—for the past 15 years. But now Beachler is a highly sought after artist whose precise attention to detail and work that requires knowledge and execution of a blend of disciplines (urban planning, architecture, construction and painting just to name a few) have brought various worlds to life that say as much about any given character as the dialogue does.

Think of the kitchen where black women of various ages, shapes and shades prepare a meal in a kitchen filled with natural light in the prologue to the “Freedom” video from LEMONADE; the Philly bar drenched in red light where Bianca (Tessa Thompson) and Adonis (Michael B. Jordan) have a flirty reparteé in Creed; the half-painted white and pink walls in the apartment of Juan (Mahershala Ali) and Theresa (Janelle Monae) and the crown on the dashboard of Black’s (Trevante Rhodes) car in Moonlight.

All of those details were brought to life by one person—Hannah Beachler. Additionally, her job also requires breaking down the script, working closely with the director, managing the set decorator, costume designer, prop master, and construction workers and even long-haul road trips from time to time. She is so sought after that we are ecstatic to exclusively announce that Hannah Beachler has signed on to work with Nicolas Winding Refn’s new series, Too Old To Die Young for Amazon Studios.

As busy and in-demand as Beachler is, she was kind enough to grant @Okayplayer an interview, which has has been edited and condensed for clarity.

Okayplayer: Black Panther is the third film you’ve worked on with Ryan Coogler. What’s your working relationship with him like? And have you two developed a shorthand since you’ve been working together for a while now?

Hannah Beachler: Yeah, we certainly have. I mean, Ryan [Coogler] is a really important filmmaker to me. I think his voice and his vision is an important one. He’s like my brother. I mean, it’s cool, you know? The best I could say is he’s family. So, we stick around each other, we tease each other, we hang out, you know? His wonderful wife, Zinzi, and I hang out together as well, so it just has developed into a close situation. That’s something that we did after Fruitvale Station. He turned that crew into a family and we are all still in touch to this day. I mean, we all still watch each other’s careers, work together occasionally, talk to each other, check in with each other. That’s something I think that Ryan has done on all his past projects with people.

OKP: What are your personal expectations for Black Panther? Not just in terms of box office, although I’m sure if my conversations that I’ve been seeing are any indication, it’s going to just blow everything out the water. I guess just as far as, cultural impact.

HB: Absolutely. I mean look, my expectations don’t really ever have to do with the box office for anything that I do. I think the biggest expectation I have, and hopefully I’ve done it successfully, is basically giving the world a perspective they haven’t seen of African / black folks’ world. That there is a history beyond slavery that we don’t know, and that history is really rich and diverse on its own, you know? So those are some of the things [I enjoy], and my expectations [are] that people will have fun because I love fun movies, I love to go have fun, but the type of filmmaker that Ryan [Coogler] is… there is something greater there, there is a substance. He fills the cup and presents it to you in a way that is an enjoyable experience or an experience that’s some sort of visceral experience. Whether it’s Fruitvale, where he’s giving this humanity to Oscar Grant or if it’s Creed, and he’s talking about the old generation passing on what they know to a new generation, or issues here, which I can’t do much about. But in Black Panther you know there’s going to be something that really binds it all together and makes it a full and complete experience.

OKP: I wanted to get into the process of what production design entails because I know it’s kind of a way of telling the story of the characters through the objects that surround them, but I was just really curious as to, how does that process start? In terms of talking to the director, talking to the cinematographer, how does that come together?

HB: I mean the first step in any of it for me always is sitting down with the script and connecting. I’ve got to be able to connect to the script, and then you know the filmmakers as well. With that, I will pretty much do a deck or a lookbook, and depending on the film and how big the presentation is, obviously. That sort of is like, what fell out of my head as I read the script, and then the notes that I took, and this is what I saw. My first reaction, my first initial reaction to that. That’s something I share with the director, and we sit down and we talk about that. I think if he or she, they, feel that my instincts are correct or that there’s something there. Like he can connect with what I’m doing, or she can connect with what I’m doing, then we move forward.

Then after that it’s just about digging in, and yes I work with the cinematographer. I work with the costume designer to make sure that the canvas that we’re painting as a group, uses the right tools and the right brushes and so on and so forth in that metaphor, that’s going to actually paint the picture of this film. Because each film is different so, often times you’re working with different crew of people. It’s always necessary to sit down and sort of know what their work has been … I’ve worked with the great Ruth Carter on Black Panther, and Rachel Morrison, who is a director of photography. It was really important for all of us to sit down together and talk about what I’m doing, what Ruth’s doing, what Rachel’s doing, how does that mix together to become one aesthetic that not just compliments… but that they compliment each other as we go on.

Once that’s complete, then I start conceptualizing, and that’s always different. Depending again on a film, say, Black Panther, everything was from the ground up. It was really building an entire civilization, and then on top of that the bigger world of the film. So, you’re taking that one step at a time, because if you took it all together it would feel very overwhelming. Ryan was in Africa writing for a little while. He would send me these pictures of just the people. It would be somebody’s feet on the ground with the bells around their ankles. It would be a man in his African shirt or a mask. He just starts sending me these images, sort of saying this is sort of what he’s feeling and seeing; and then I would take those images and be like, ‘This is how he feels.’ This is sort of the essence with all, and Ryan specifically, and why he’s one of my favorite directors to work with.