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#josh trank
cypionate60mg · 3 months
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in-love-with-movies · 2 years
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Chronicle (2012)
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Title: Fantastic Four
Rating: PG-13
Director: Josh Trank
Cast: Miles Teller, Michael B. Jordan, Kate Mara, Jamie Bell, Toby Kebbell, Reg E. Cathey, Tim Blake Nelson, Joshua Montes, Dan Castellaneta, Owen Judge
Release year: 2015
Genres: science fiction, adventure, action
Blurb: Four young outsiders teleport to a dangerous universe that alters their physical forms in shocking ways. Their lives irrevocably upended, the team must learn to harness their daunting new abilities and work together to save Earth from a former-friend-turned-enemy.
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This is the Buddy for for April 13th. He's surrounded by family this time.
Here we have him, his twin brother, his older brother Billy Lynch, his oldest brother Tommy Lynch, his sister Sissy Lynch, his dad Elias Lynch (also known was Wally), and his mother, Dolly Lynch (or María de las Dolores).
There's also a younger brother, Baby Lynch, not in the picture (babies are hard to draw).
I was reading an interview with Tom Scioli (the comic book artist) and he talked about his book Godland being a book about a family, with not a lot of room for romance. I haven't finished that series yet, but that's an interesting way to put it, and he says that it was writer Joe Casey's idea - it was an artistic choice that made the book less popular. Although I'm not part of the audience that has any interest in romance, I know some fans are all about it.
So, he moved on to American Barbarian. It's pretty awesome. After that, he started working on Transformers vs GI Joe, and that's really not the type of stuff I'm into. I'm not that into He-Man, either, or Thundarr the Barbarian, but American Barbarian was fun. I still haven't read Transformers vs. GI Joe, maybe it's be good.
The thing is, it seems like some authors, be them comic creators or even movie directors, are creative in their early work, then get stuck making IP adaptations that reduce them to guns for hire, taking orders from the studio, and trying not to offend the fans.
The tyranny of fandom.
I know a lot of people complain about Marvel doing that to creators. You've got horror guys like James Gunn and Sam Raimi, and they're stuck making superhero movies with no gore. What gives? But I kind of think in the case of superhero comics, it's a bit more forgiveable because a lot of pop director nowadays are fans of superhero comics.
Still, I can't really resent people who complain about that.
Just like there's the Oscar carrousel that makes it so people who deserve the Oscar never get it, there's the adaptation carrousel that makes is so adaptations are never any good. In Scioli's case, for instance, you have American Barbarian, which is a great He-Man adaptation - but the actual licensed comics he made aren't as much fun because they're constraining that creative artist to using characters he didn't design, so, what's the point?
And of course, he was free to add a few twists to American Barbarian he wouldn't have been allowed to if it was a licensed comic. Make the main character a bit of a moron, add some gross jokes and postmodern elements...
A clichè example is the Fantastic Four movies. Terrible. But Brad Bird made The Incredibles - the perfect Fantastic Four movie, with different names for the characters. Why did they choose Josh Trank to make that creepy, dark, dull movie in 2015, then? Because he had made a great Akira adaptation a few years earlier, called Chronicle.
There are a lot of other examples. Supreme? Into the Spider-Verse. Kick-Ass? Super. Turok, Son of Stone? Prey.
And that happens with a lot of movies, because directors are fans, but the unpleasant realities of copyright law keep them from making the movies they want. So, you've got stuff that's inspired by other stuff, written around the trademakrs, parodies that are better than the original, character interactions that could never happen...
But, the real money's in adaptations. Even if they're not very good. It's a pity, really. And of course, a really big movie has to follow the demands of executives and the audience, more than being a faithful adaptation or a personal vision.
So, if we ever had a movie adaptation of Godland (which is very unlikely anyhow, since it's a cult comic), there'll probably be a romance subplot shoehorned in.
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fabioemme78 · 1 year
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healed1337 · 2 years
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Fantastic Four month 4 - Fan4stick
Fantastic Four month 4 – Fan4stick
Nope, I’m not giving this movie the dignity of calling it by its actual title. It doesn’t deserve it. After Rise of the Silver Surfer disappointed at the box office (despite still making a profit), 20th Century Fox waited until 2009 to announce their plans to reboot the Fantastic Four film franchise. They soon hired Michael Green to write the screenplay (also known for Blade Runner 2049, Alien:…
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silveragelovechild · 2 years
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https://deadline.com/2022/04/spider-man-jon-watts-exits-marvel-fantastic-four-film-1235013110/amp/
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ruleof3bobby · 1 year
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CAPONE (2020) Grade: F
I can't believe this movie. It's horrible. How did anyone thought this script was a good idea is insane or Josh Trank is just amazing at pitches. Skip it.
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whaddahelk · 1 year
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Ending this once and for all😑
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logangarfield · 1 year
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Films (re)watched in 2023 [5/?]:
Chronicle (2012) dir. Josh Trank
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traincat · 2 months
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On a scale of 56 to 348, how bitter would you be if the MCU F4 movie is the first to break the curse while also having THAT casting for Johnny?
The Curse of the Fantastic Four manifests in mysterious ways. For all we know a director's dog will do $100k worth of damage to a rental property during filming. Again. (Josh Trank.)
I don't... really care that much lol I think the Curse of the Fantastic Four films is like, a funny way to frame the inherent problems in adapting the F4 for film specifically, like balancing four main characters, a historic lack of interest in the Four from the greater fandom, the Doom Equation, fandom's preconceived notions about Reed and Johnny, etc. But also it's an MCU movie. There's a good chance it will do well. Or it will do terribly! And then do very well in streaming numbers on Disney+. It's hard to say. Also while I'm not thrilled about Quinn's casting, I could end up being pleasantly surprised with the writing + character direction. I'm not feeling overly positive about it but I'm not feeling overly negative at the moment either. That could change! I am really interested to see if it IS a '60s piece like everyone is now thinking because I think there's a lot of interesting things you could do with Johnny with a '60s to present day story. (They most relate to the character's history of queer subtext so I don't think those would actually like, be done by the MCU. But it is fun to speculate on what could be done.)
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godwithwethands · 1 year
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MILES TELLER as Reed Richards in Fantastic Four (2015), dir Josh Trank
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weclassybouquetfun · 2 months
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Meet your FANTASTIC FOUR cast.
Pedro Pascal as Mr Fantastic
• Vanessa Kirby as Sue Storm
• Joseph Quinn as Johnny Storm
• Ebon Moss-Bachrach as The Thing
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Josh Trank shat the bed with his FANTASTIC FOUR, but it wasn't without its merits. He amassed a great cast. Shame that Toby Kebbell was wasted. Loved the body horror aspects of it. Loved that people thought Michael B. Jordan would play the adopted brother of Kate Mara, when it was Sue who was adopted.
At least the film brought Kate and Jamie together.
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thebrikbox · 2 months
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MCU’s FANTASTIC FOUR
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The dynamic duo, Jack Kirby and Stan Lee, created a super hero family with powers to protect the world from dastardly evil beings with plots to rule the earth. The mighty team is led by scientist Reed Richards - Mr. Fantastic, Susan Storm (Mrs. Richards) - The Invisible Woman, Johnny Storm - The Human Torch is Susan’s brother, and Ben Grimm - The Thing is Reed’s best friend.
The team went a test flight expedition aboard a space ship when they were hit by a cosmic storm containing a massive amount of gamma radiation. Though they weren’t injured, they soon discovered that the exposure to the radiation altered their DNA, each having a different life-changing effect. They each learned their abilities and became superheroes.
Reed’s body became elastic and rubbery, stretching to unbelievable lengths. Susan can make herself invisible along with the ability to create force fields. Johnny’s body ignites into flames as hot as the sun and he can fly. Ben’s anatomy transformed into stone with unmatchable physical strength. Together, the combined abilities of the team makes them one to be reckoned with, but challenging for their foes to want to conquer.
From Pages to Screen
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THE FANTASTIC FOUR first came to life in 1963 with ten episodes.
Cartoon series entertained fans of all ages in 1967, 1978, and in 1994 - all fun and enjoyable to watch.
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In 1994, a TV movie was made but not released. The budget was low and it was during screening that producers refused to air it because of the low quality special effects and acting.
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In 2005, 20th Century Fox released the first of two the FANTASTIC FOUR films starring Ioan Gruffudd as Reed Richards, Jessica Alba as Susan Storm, Chris Evans as Johnny Storm, Michael Chiklis as Ben Grimm, and Julian McMahon as Victor Von Doom. The movie’s budget started at $87.5 million and when production wrapped, it cost the studio $100 million to make. FOUR fans rushed to theaters to see their beloved heroes earning the studio $333.5 million dollars.
In 2007, the cast reprised their roles in FANTASTIC FOUR: RISE OF THE SILVER SURFER. Budget for this production was $120-$130 million and had box office earnings of $301.9 million.
Both films were directed by Tim Story. Mark Frost, Michael France, and Stan Lee wrote the screenplay in 2005 and the 2007 film was written by Don Payne and Mark Frost. Critics weren’t fond of either movies, but they fared well in earnings and fans. Of course, Stan Lee had adored cameos that had us tickled pink with delight. If you’ve seen the movie, I’m sure you may have been critical about the CGI, but keep in mind that that particular technology was blooming and it was decent and watchable for its time.
Both films had critics that felt the movie had a lack-luster feel and felt generic when compared to SPIDER-MAN. (I don’t believe these critics read any of the comic book series). Despite their opinions, comic fans enjoyed the movies for what they were: cartoon heroes that came to life and non-comic book fans enjoyed the movies for pure entertainment.
Marketing FANTASTIC FOUR products like toys, clothes, and even comic books soared, earning both the studio and Marvel Comics significant profit.
Movie grade: 0.0 to 4.0
2005 scores 3.6
2007 scores 3.8
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In 2015, 20th Century Fox released another FANTASTIC FOUR (FANT4STIC) movie that is based on the original comic book series by Jack Kirby and Stan Lee, but the movie went in a different direction that became a blockbuster flop.
The film starred Miles Teller as Reed Richards, Kate Mara as Susan Storm, Michael B. Jordan as Johnny Storm, Jaime Bell as Ben Grimm, Toby Kebell as Victor Von Doom, and Reg E. Cathey as Dr. Franklin Storm. The doomed flick was directed by Josh Trank and written by Jeremy Slater, Simon Kinberg, and Josh Trank.
In this version, the team consists of super intelligent teenagers ousted by peers. They teleport to an alternate universe and during the transport, something goes horribly wrong and the four are physically altered with their newfound special abilities. They are forced to combine their powers to defend the earth from a friend turned enemy determined to rule the planet.
Reviews were less than favorable and critics weren’t at loss for words with a few walking out of theaters unable to finish watching it, and I was one of them. I did eventually finish the movie on Disney+, and it was grueling. It cost the studio $120 million to make and the studio earned only $167.9 million overall compared to the previous releases with only $56.1 million in the states. Expectations and hype were crushed and for millions of FOUR fans, this film is too unbearable to view.
Movie grade: 0.0 to 4.0
Movie scores a -0.0
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Marvel Studios announced its production of a new FANTASTIC FOUR movie for release in 2025. The new cast has fans reeling with excitement. The new faces of the beloved heroes are Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, and Ebon Moss-Bachrach as Ben Grimm. Marvel hired Matt Shakman (WandaVision) to direct with Josh Friedman, Jeff Kaplan, and Ian Springer set to write the screenplay.
As a seriously devoted fan of Marvel Comics and movies, I look forward to seeing the 2025 release.
*photos: Hanna-Barbera, Marvel Comic, MCU, Warped Factor, Getty Images, Variety
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denimbex1986 · 9 months
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'Along with its spellbinding portrayal of a morally complex American figure and harrowing depiction of the meticulous creation of nuclear bombs, Oppenheimer is an exhilarating cinematic showcase that audiences have not experienced in years. The new film by Christopher Nolan is being celebrated for its dense cast of movie stars and sturdy character actors. There is plenty of justified acclaim for the likes of Cillian Murphy as the titular role, Emily Blunt as Kitty Oppenheimer, Robert Downey Jr. as Lewis Strauss, and even Jason Clarke as Roger Robb, but a cast this expansive and eclectic is prone to overshadow dynamic supporting performances, such as the brilliant performance by Dane DeHaan.
Dane DeHaan Is Part of a Hugely Talented Cast in 'Oppenheimer'
As news hit the public about the film's production, many were transfixed by the deep bench of its supporting cast. The extensive cast is a testament to Nolan's refraining from writing composite characters. It wasn't about who was starring in Oppenheimer, but who wasn't. Anticipation for Murphy receiving the promotion to leading status in a Nolan film and Downey finally emerging out of the post-Tony Stark shadow was paramount. He granted actors like Josh Hartnett and Alden Ehrenreich a revival after years of mainstream dormancy. Kids of the 2000s were baffled, but intrigued by the casting of Josh Peck and Devon Bostick in this austere historical biopic. On top of all this, Oppenheimer will also remind everyone why Dane DeHaan was one of the hottest assets in Hollywood not so long ago.
DeHaan, most known for his entrancing leading role in the Gore Verbinski film, A Cure for Wellness, Josh Trank's found footage superhero thriller Chronicle, and a handful of indie productions, had the makings of an off-kilter but captivating movie star. His appearances in films such as The Place Beyond the Pines, Lincoln, and Lawless equally shaped DeHaan as a reliable character actor. With his piercing blue eyes and gaze of inscrutability, the actor could undermine his boyish good looks with an internal sinister quality. A big break for DeHaan was unfortunately compromised by the unfavorable reception to Amazing Spider-Man 2, where he played Harry Osborn. The box-office bomb that was Luc Besson's Valerian and the City of a Thousand Planets in 2017 certainly didn't help matters either. His quick rise to fame in the 2010s appeared to have completely dissipated until he received the call from the master director of populist sentiments with ostentatious thematic structures, Christopher Nolan.
Who Does Dane DeHaan Play in 'Oppenheimer'?
In the new film about J. Robert Oppenheimer and his coordination of the creation of the atomic bomb under the Manhattan Project during World War II, DeHaan plays Major General Kenneth Nichols. He worked as a civil engineer on the Manhattan Project and subsequently joined the Atomic Energy Commission following the war as a military liaison. In 1953, Nichols was elevated to the general manager of the AEC, which was led by Lewis Strauss, who also spearheaded an investigation into Oppenheimer's loyalty to the United States as a result of his past ties to the Communist Party.
Like many of the roles played by recognizable faces, including Oscar-winning actors such as Casey Affleck, Gary Oldman, and Rami Malek, DeHaan doesn't have that much screen time. However, as is the case with the rest of the steep cast, it is not about what DeHaan brings to the plot but rather the presence he conveys. Captured in exquisite black-and-white photography, his reserved menace is tapped into throughout the film. From his first appearance, he is strikingly unmistakable with the glasses, slicked-back hair, and military officer uniform.
Oppenheimer is filled with countless mesmerizing shots under the eye of Nolan's cinematographer, Hoyte van Hoytema. In the same wavelength of under-the-radar magnitude, a scene involving a meeting between Oppenheimer, Strauss, and other AEC officials features a quick and subtle shot of a floral arrangement being moved aside, which reveals Nichols sitting in a seat previously blocked by the object. He is seen glaring into the soul of Oppenheimer, as the film has established to be following from the physicist's perspective. The reveal has the suddenness of a jump scare, and with this seemingly innocuous shot, Nolan shows that a minor character with nefarious intentions for our protagonist is lingering, waiting for his moment.
In the film's somewhat divisive third act, which intercuts between Oppenheimer's security hearing, a more-or-less character deconstruction covertly ordered by Strauss, and the confirmation hearing of Strauss' appointment as Secretary of Commerce by President Dwight D. Eisenhower, Nichols plays a subdued, yet crucial role. Strauss, who resents Oppenheimer for dismissing his concerns regarding the Soviet Union's progress in manufacturing atomic weapons, digs up the physicist's alleged ties to communism, notably surrounding his romantic relationship with Jean Tatlock (Florence Pugh), to effectively deny his influence in bureaucracy.
While in Los Alamos, New Mexico, the location of the Manhattan Project, Oppenheimer wants to hear the status of his government clearance and he asks Nichols, who was in charge of security parameters of the site. In choice words, he informs the soon-to-be father of the atomic bomb that he is overstepping his boundaries with this inquiry. The U.S. military-industrial complex, and by proxy, him, ultimately determines the fate of Oppenheimer and the entire project. The doctor triggers suspicion among his military superiors when a colleague of his is believed to have leaked intel to the Soviets regarding the Manhattan Project. At this moment, Nichols operates as a sobering reminder of Oppenheimer's obligation to serve under a master in the U.S. government. His virtuosic mind for quantum theory does not run the show here.
DeHaan Conveys a Quiet Menace in a Brief Amount of Screen Time
In the timeline presenting the legal face-off between Oppenheimer and Strauss, Nichols enlightens the latter on the former's questionable background. Taking place in the early 1950s, when the second Red Scare led by infamous Wisconsin senator Joseph McCarthy was rampant in the political climate, Nichols is dauntingly representative of the paranoia at the heart of the bureaucratic system, as he feeds Strauss with the indictable information of Oppenheimer's loose communist ties. DeHaan conveys a particular brand of government sleaze in his brief performance — a deplorable superior officer who uses power to maintain control at all costs. He precisely embodies the government's lack of integrity depicted in the film, the kind that expresses no remorse for deploying weapons of mass destruction, but aggressively upholds a moral panic over political alignment.
DeHaan's performance crystallizes an important overarching theme of the film. The collision of idealistic groundbreaking science colliding with the military-industrial complex amounts to Robert Oppenheimer being a helpless figure, contrary to Nolan's claim that he is the most important individual in the history of civilization. The power and influence that figures like Nichols possess is a rude awakening for hopeful pioneers like Oppenheimer, who is immensely conflicted with his ego and the monstrosity that he created, and Strauss, who fancies himself more as an advocate for science rather than an empty-suit bureaucrat. Both of them are expendable in the eyes of the suppressive system carried out by Nichols.
Despite his prowess and inclination towards spectacle-driven action and science fiction, Christopher Nolan allows Oppenheimer to excel as a chamber drama featuring dynamic performers talking in legal hearings. The film is the closest instance of Nolan directing an Aaron Sorkin script (many have cited The Social Network as a fitting companion piece to this film). Banding together this plethora of compelling screen presences to discuss nuclear physics and yell in suits over eyewitness testimony is an ingenious way of exploiting their respective untapped abilities. It is refreshing to see this volume of familiar and respected faces on screen, even in a limited amount of screen time such as Dane DeHaan, who brilliantly portrays a general conveying the overbearing power of the military-industrial complex, sometimes with just a glare.'
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data-reel · 1 year
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Fantastic Four - (2015) dir. Josh Trank
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