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#so basically russians made a film based on a russian comic series and it's so good
annetteblog · 3 years
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I love this dark St. Petersburg aesthetics and I love Sergey Razumovsky
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alexandria-millie · 3 years
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BLACK WIDOW: 24 EASTER-EGGS AND MARVEL FILM REFERENCES
A simple american family
The film has a very interesting opening set in the 90s, which shows us how Natasha Romanoff had already lived in the United States in her childhood. Not only that, she was joined by Alexei Shostakov, Melina Vostokoff and Yelena Belova, all living as if they were a family. This idea is not new in pop culture, as there are several films, series and books about Soviet agents infiltrating the United States, united as if they were a traditional American family. On the internet, many are seeing strong parallels with The Americans series, which has this premise.
Ducktales
Black Widow is, after all, a Disney production - so it's only natural that the film has its many references to other productions and works from the studio. A beautiful example of this is at the opening, when Natasha's entire "family" gathers for dinner. On television, we can briefly see an episode of Ducktales, the classic Disney series focused on Uncle Scrooge and Donald Duck's nephews. This goes to show how they went out of their way to impersonate an American family, including consuming US culture.
Red room
After this electrifying opening, we have the most incredible opening credits ever made by Marvel Studios, as they are very reminiscent of the openings of 007 and 2000s action movies. However, while we have the credits, we also see some details about the origin and the past. of the Black Widow. For example, it's during these credits that we get a great deal of exploration into how the Red Room worked, co-opting young girls from a very young age, brainwashing them and preparing them to be the perfect spies. Historical figures and songs In this opening, we can also see a bit of how the "order" of the Black Widows worked, as we can note several important historical figures who appear alongside General Dreykov. They appear with their faces scratched, as if they were targets of spies. In addition, it is important to draw attention to the film's musical choices. In the beginning, we heard American Pie by Don McLean, one of Yelena's favorite songs. Next up is a dark cover of Nirvana's Smells Like Teen Spirit by Malia J. during the opening credits.
Civil War echoes
Considering the general context of Marvel's Cinematic Universe, Black Widow's solo film is the only one that deals very well with the events and aftermath of Captain America: Civil War, as it continues from Natasha Romanoff's escape after betraying the Man's team of iron. Therefore, the beginning is full of references to the events of the film and throughout the story, we have mentions of heroes such as Captain America, Falcon and even Ant-Man. In addition, we have a brief guest appearance by General Thaddeus Ross, played by William Hurt.
Winter Soldier's Fighting Style
In the first scene where we see Yelena Belova as an adult, on a mission as Black Widow, we can see that her fighting style is much rougher and heavier than Natasha Romanoff's, as she doesn't waste time using all her strength to ruin your opponents. However, one moment in particular stands out when she is fighting a former Black Widow. She uses a knife and makes a move very similar to Winter Soldier - which makes a lot of sense, since in the comics, Bucky Barnes was once one of the Red Room instructors.
Trainer Training
Another reference to Captain America: Civil War - and this time, it's nothing new, as the scene was present in the trailers. At the beginning of the movie, we can see the mysterious Trainer being "activated" to face Natasha Romanoff and Yelena Belova. However, he first appears in a room, watching a monitor that carries several footage of the Civil War airport battle. We can see that he is studying the movement of each of these heroes - something he employs to perfection later, when facing Natasha on the bridge.
Rick Mason
Although many believed that O-T Fagbenle would be the Trainer, his role is much more restrained and he appears little, despite having a recurrent presence. Here, he plays Rick Mason, a private contractor who is always helping Natasha Romanoff get what she wants. In the comics, he is a mercenary known as The Agent, who is also the son of Phineas Mason, the villain Fixer - who has even appeared in Spider-Man: Back to Home. In the film, it is never mentioned if Rick has any connection with Phineas.
007 Against the Rocket of Death
While fleeing the US government for refusing to participate in the Sokovia Accords, Black Widow hides in an isolated trailer in Norway. There, she spends her days in normality, and we can see in a scene that she watches 007 Against the Rocket of Death. The choice of the film is right - not only because it is a feature film of spies like the entire James Bond franchise, but because it features the secret agent investigating a space capsule and a plot that could cause the genocide of all humanity.
Budapest
After almost ten years, we finally have an explanation for what happened in Budapest, exploring the past of Black Widow and  Hawkeye. When the heroine finds herself as Yelena Belova in the city, she says that she was on a mission there many years ago. In the mission, she had to kill General Dreykov - this would be the baptism of fire in the S.H.I.E.L.D.. However, to complete her plans, she also ended up "killing" Dreykov's daughter in the explosion, and this murder still haunts her in her memories.
Special participation
Later, when Yelena and Natasha run away from Coach, we are taken to a hideout in the Budapest subway, where Natasha claims to have stayed with Clint Barton for a few days. There, she has a flashback of her mission in Budapest and we have a "participation" of Hawkeye. In fact, the hero doesn't actually appear in the flesh, but we can hear his voice through Natasha Romanoff's communicators. This shows us how Clint Barton knew of the Black Widow's "dark past" and still accepted it wholeheartedly.
Heroic poses
A recurring joke in the film begins when Yelena Belova draws attention to the various "heroic poses" that Natasha Romanoff is always doing during combat - especially when she "lands" on the ground and raises her head, always pouting. According to director Cate Shortland, this joke was included to comment a little on the sexualization of heroine in films since her first appearance. And throughout the film, we see Yelena reminiscing about this over and over - and even trying to do the same pose.
Vest
Throughout the film, we have an explanation for a detail that many fans had already noticed in the trailers and promotional material: the green vest that the Black Widow wears in Avengers: Infinite War actually belonged to Yelena Belova. Natasha's "sister" uses the item throughout the movie as a way to distance herself from the other Black Widows. She sewed the vest herself, putting in several pockets so that she could have several items at her disposal at once. At the end of the movie, she herself gives the vest to Natasha as a souvenir.
Obsession with Captain America
Halfway through the movie, we see Natasha and Yelena need to rescue the Red Guardian in a gulag. And when we meet the Soviet hero, he's bragging to other prisoners about how he was an archenemy for Captain America. In the comics, the character has always been obsessed with Steve Rogers. Here, he says he even fought the Captain in the 1980s - which we know is a lie, since at that time Steve Rogers was frozen to the bottom of the ocean.
Ursa Major
However, this same scene brings the participation of a very curious character. In prison, the Red Guardian fights an arm wrestling match with a prisoner named only Ursa - and this ends up going very wrong for the opponent, who loses badly. This appears to be an easter-egg for Ursa Major, a Russian hero who, being a mutant, had the power to transform into a humanoid bear. In the comics, this character was part of the Soviet Super Soldiers, who were basically the "Avengers of Russia".
White costumes
In the scene where Natasha and Yelena are looking for the Red Guardian, we can see them wearing white outfits, which were well used during the promotion and promotional material for the film. These clothes are made to camouflage better in white and snowy environments. However, this costume is not an invention of cinemas. In the HQ Black Widow: Fatal Origin, we can see a white look with the same functionality - camouflage in icy environments. In fact, the movie seems to be quite inspired by this particular comic book arc.
The iron Lady
After rescuing the Red Guardian, the spies go after his "mother", who they believed was dead. Melina Vostokoff is a scientist and lives isolated on a farm, raising pigs that she uses to do her mind control experiments. In a brief moment, we can see behind her some masks and some details that appear to be an armor, which is an easter-egg for her secret identity in the comics: the Iron Lady. There, she was a Black Widow's villain who wore a tech costume and a silver mask.
Scarlet dynamo
When Yelena Belova has a very emotional conversation with her "father", the Red Guardian, she ends up calling him by the name of Scarlet Dynamo, purposely missing her alter ego to hurt the man's ego. However, this character exists in comics. The Scarlet Dynamo was basically the "Russian version" of Iron Man, and turned out to be a big enemy of the comic book hero. He was also part of the Soviet Super Soldiers, alongside Ursa Major. He was one of the inspirations for Iron Man's Black Whip 2.
The New Red Room
Right at the climax of the film, we discover that General Dreykov survived Natasha Romanoff's attack on Budapest and rebuilt the Red Room, this time on an airbase above the clouds that is beyond the range of ground radar. This is also a reference to the Black Widow: Fatal Origin arc, where the heroine ends up facing a villain at an air base that looks a lot like a SHIELD airship. In the movie, we also get some glimpses of the Black Widows training ground.
Dreykov
At the end of the film, the Black Widow finally reunites with her greatest arch-enemy, General Dreykov - who is played by Ray Winstone. The scene is very interesting because we see Natasha using face mask technology to impersonate Melina (as she has used in other films). However, most interestingly, this scene carries echoes of another very memorable scene from The Avengers, which takes place when the Black Widow interrogates Loki without him knowing. The same thing happens here, and it ends with Natasha saying, "Thank you for your cooperation".
The Coach's Secret Identity
By the way, talking about this specific Loki scene, it's important to remember that the villain mentioned something about "Dreykov's Daughter" in his speech - and through the heroine's solo film, we believed it had to do with the fact that she killed the girl in Budapest. However, at the climax it is revealed that the girl survived and her father made her transform into Trainer, the perfect weapon, which has some brain implants and goes through the same brainwashing process as the other Black Widows.
Reflections of "Captain America: The Winter Soldier"
When we look at the movie as a whole, it's not hard to see that it looks like a huge mirror of Captain America: The Winter Soldier (considering that, for many, this was the Widow's best movie so far). The entire structure of the film is very similar to the Captain's feature. This gets even more intense at the climax when Natasha Romanoff and her allies must invade this air base while fighting soldiers, stealing information and making the entire structure plummet from the sky. Even the end of "Coach" is very reminiscent of the Winter Soldier.
New look
Before the credits go up, we can see Natasha Romanoff's last encounter with her "family". She already appears here with a new look that she would wear in Infinite War, with platinum hair and Yelena's vest, before saying goodbye and leaving on a new mission. As the scene reveals, she's about to help Captain America rescue the trapped heroes on the Ferry, a scene that takes place at the very end of Captain America: Civil War. Thus, we know that she has always been involved with the underground heroes.
Valentina Allegra de la Fontaine
In the film's post-credits scene, we see Yelena Belova pouring out her feelings at Natasha Romanoff's grave after her death in Avengers: Ultimatum. And soon, we find out that she works for Valentina Allegra de la Fontaine. The character first appeared in Falcão and the Winter Soldier and must have a great future in MCU. Here, she appears sending Yelena on a mission of revenge against the "responsible" for the death of Natasha, Hawkeye.
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agentnico · 4 years
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Fantômas (1964) Review
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Today I shall reveal to you a hidden gem of French cinema of the 60′s...
Plot: The best men of France - a brave journalist and an extremely energetic commissioner - attack the trail of a mysterious criminal mastermind.
This 60′s French series of films comprising of Fantomas (1964), Fantomas Unleashed (1965) and Fantomas vs. Scotland Yard (1967) were pop culture phenomenons in the European circuit back in the day. Whilst not making a big impression to mainstream audiences in Great Britain or USA, these movies had a vast cult following in places such as France, Italy, Germany and Russia. Being of Russian descent myself and having been raised on Soviet cinema, I also had the opportunity in my childhood to get acquainted with such foreign gems that may not be so well known in Hollywood. French cinema especially was broadcast a lot in the Soviet Union, with a strong spotlight on comedies and lighthearted genres, whether it was Jean-Paul Belmondo parodying James Bond in Le Magnifique (1973) (also titled in some countries as The Man from Acapulco) or Alain Delon imitating Zorro in The Black Tulip (1964) or actually being Zorro in the conveniently titled 1975 film Zorro, or the pairing of Gerard Depardieu and Pierre Richard exemplifying their comical antiques in movies like La Chevre or The Fugitives (1986)......damn, the French really knew how to make people laugh! And no French comedy represents this more as Fantomas. Let me explain...
Its just great. Okay, I’ll give you more than that, but the basic sum-up is that this movie is great. From the acting, to the dialogue to the comical timing with the slapstick farce and the one-liners, this movie is goofy relentless bonkers fun. It is interesting to note that this movie is based on a series of pulp fiction books by writers Marcel Allain and Pierre Souvestre revolving around the shape-shifting evil villain Fantomas. The novels influenced French surrealist and avant-garde artists/writers because of their fascination with moral transgression and black humour (a term coined by the surrealist Andre Breton in the 1930s). Most of these books were grim in tone depicting horrendous murder scenes. However, with this movie, director Andre Hunebelle rebooted the Fantomas universe so radically by dropping all of the detective stuff and instead turned the noir story into a comedy mocking James Bond movies. Think of it as the French Austin Powers! Which one is better? Debatable but to me it would be Fantomas without a doubt due to personal nostalgia.
The entire movie is ridiculous. If you like slapstick comedy, you will enjoy Louis de Funes energetic over-the-top turn as Inspector Juve, as he jumps and screams about Paris acting like he’s the most intelligent person on planet Earth. In reality, its the opposite! Then the titular villain wears a Green Putin-shaped mask with the character even doing the stereotypical Russia laugh that, in a deep voice, goes “he he he”......look, I watched this film in Russian dub so it’s possible that the dialogue expression has been changed up but I cannot help but acknowledge the comparison! Speaking of Russian, this is one of the best foreign language dubbing I’ve ever heard/seen. The choice of the Russian voice actors was so well cast for each part. Especially standing out is, again mentioning Louis de Funes, Russian actor Vladimir Kenigson, who’s radical constantly-exasperated tone fit so seamlessly with the exaggerated mimic of the original actor. But putting Russian dubbers aside, the original film cast themselves are all fantastic. I can keep blabbering on endlessly about Louis de Funes’ comedic chops, but also Jean Mares is worth mentioning duo-rolling as both the titular villain and the main protagonist of the film. As the hero, he’s not so much a James Bond-type but still very much a cool presence. Then there is beautiful French actress Mylene Demongeot who is just gorgeous!
Sure, the film is badly made by today's standards with the cinematography and certain gags coming off a bit amateur, however the movie is so much fun and also its a rare time where the bad guy is smarter than the good ones and always outwits the heroes, which is still refreshing to see compared to most oh-so-morally-PC Hollywood flicks today.
Overall score: 8/10
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“Are the MCU Spidey films good Spider-Man movies?”
If you mean are they good adaptations, as in good stories respecting the spirit of the character, the kind of stories that you could easily imagine happening in the comics themselves and are in line with the core values and concepts from those comics...then no absolutely not.
 “Spider-Man was established as a secondary character in someone else’s story before we followed him on any adventures of his own”
And that’s fine if not for the fact that he remained subservient to that other character’s story. He was deliberately constructed in Homecoming and Far From Home to revolve around his relationship with Tony both to provide further development for Tony and fuel for his later arc in IW and Endgame but also to provide and epilogue and lasting legacy for him.
 Even if Peter was the lead in his solo films he still existed within the shadow of Tony, he was still effectively to Tony what Robin was to Batman. Batman fundamentally contextualizes Robin to such a degree that everything Robin does, even subtextually, either stems from or comments upon Batman.
 Even his transition into Nightwing, into being his own man and leader of the Titans did this because that was understood as him BREAKING AWAY from Batman’s shadow. But on a metatextual level he never truly can. A similar thing happened with Peter in FFH. Even if Tony was dead his legacy hung over FFH and Peter, his legacy conextualized part of the intended arc for his character in that film (as poorly handled as it was regardless).
 And this...is what is unacceptable about MCU Spider-Man in terms of being an adaptation. It’s not simply that existing in Iron Man’s shadow or being contextualized by him wasn’t a factor for his character (thought that’d be justification enough to call out). It’s that Spider-Man was so particularly DESIGEND by Lee and Ditko to NOT be like that at all to NOT live in the shadow of another hero but be independent and more importantly for the driving force behind everything he does as a hero to be the death of his father which he was indirectly responsible for.
 “The spider bite and death of Uncle Ben is stuff that’s in the past and has happened”
 Has it though?
 There is no evidence of that in the film, not even circumstantial.
 I’m all for not showing it for a third time but neither Peter nor May act like they’ve recently lost a loved one or are grieving at all. We’ve seen Peter more affected by the death of Iron man than of Uncle Ben.
 The only reason anyone can even float the idea that Spider-Man’s origin happened at all is that we all simply know that origin. But you still need to acknowledge in some way it happened which the MCu has absolutely never done. As far as the MCU is concerned the closest thing we have to even acknowledging Uncle Ben existed in the first place is a suitcase with presumably his initials on it.
 But for all we know Peter fished that out of a dumpster. For all we know Uncle Ben might never have existed, May might be his biological aunt and Ben her deadbeat husband who ran off with someone else.
 Simply saying referring to all May has been through recently isn’t enough because it implies she’s been through  something serious recently, but that could be anything not necessarily a bereavement. More poignantly it doesn’t imply PETER has been through anything when that’s way more important because being sad about Ben’s death is the book of Genesis for Spider-Man. You NEED to have that pain, that grief in there somewhere.
 Him saying giving the great responsibility speech isn’t enough because the film never clearly conveys that he learned this lesson from someone close to him dying. It’s just something he takes very seriously (in Civil War but apparently not much in Far From Home!) and for all we know always has.
 Peter’s dialogue in Civil War DOES NOT imply Peter learnt this lesson from something that WAS his fault. It COULD mean that, but in context it COULD just be something he learned third hand.
 More importantly even if we were to say the dialogue DOES spell out his origin that’s not really the point. Because Ben’s presence in the film still needs to be acknowledged. A picture, his name being uttered, a gravestone, a long look at an empty chair at the breakfast table something. But there is absolutely NOTHING besides a suitcase. And more egregiously what he represents has been wholly supplanted by Tony.
 “Peter likes tech. Tony likes tech. Tony would naturally be a huge inspiration going forward”
Not really. Just because you love basketball doesn’t mean Michael Jordan is definitely going to be your inspiration. In the comics Reed Richards wasn’t Spider-Man’s idol or anything. And his desire to impress him in the comics at best didn’t manifest itself the way he wanted to suck up to Tony in the MCU.
 And again, this misses the point. There are LOTS of things that would technically be organic in the MCU but it’s about finding a balance between something organic that is also respectful of the core concept and spirit of the characters. Case in point. Having T’Challa’s origin tied into Civil War is very organic and different from the comics but it doesn’t disrespect the spirit of his character because his Dad still dies and passes on the mantle of King and Black Panther to him and still provides fuel for him to live up to his father’s memory.
 It’d totally organic Black Widow to be a former HYDRA operative based upon the established world building of the MCU, have the Black Widow program be something set up by the Red Skull even. It’d even make sense given the colour coding involved. But it’d be disrespectful to the spirit of Black Widow’s character as a RUSSIAN convert.
 “If he wants to live up to Ben he’d want to be the best superhero he could possibly be”
Sure...but that doesn’t mean becoming an Avenger. Again, comic book Spider-Man never regarded being a big name hero as neccesarry for being a good hero or the best he could be. That’s an elitist way of looking at it.
 In particular it omits the good he does for the little guy which is his driving motivation. He doesn’t do this to save the world he does this to save individual people. His ‘original sin’ as it were stemmed from an incredibly small scale individual crime.
 So accepting Tony’s help when he wants to make him the next Avenger wouldn’t be in line with the SPIRIT of the character.
 We could argue that logically this could happen and therefore it MUST happen but at the end of the day it was just that the writers WANTED Peter to be a fanboy and nothing more than that. They didn’t HAVE to write him that way. They could’ve had him have doubts about Tony, have his idealized visage of Tony crack as he grew to learn about the real man.
 And if we’re going to use the argument that this HAS to happen and we have no choice to write it that way because logic dictates it then...why haven’t the MCu heroes resolved any number of things logically they absolutely could. Tony can’t fix global warming? Wakanda can’t? Or to switch over to DC Superman can’t end how many disasters or problems in the world?
 At the end of the day logic exists within superhero stories but it is always tempered by the genre conventions and spirit of the characters.
 I know this channel loves Doctor Who, who is arguably a kind of superhero anyway, so I will draw upon an example from Dr. Who. I forget who it was, possibly Russel T. Davies, but in a commentary track for an episode of Doctor Who in 2008-2009 someone said something very smart regarding a fundamental of the lore. They said that really the Doctor could fix the chameleon circuit of his TARDIS so it need not always look like a police box...but that it was ‘right’ that he didn’t. In other words logically the Doctor COULD do something and indeed it would be very beneficial but it’d go against the spirit of his character, the show and the internal mechanics of the series for them to do that.
 The same applies here. If you have a Spider-Man who’s got a rich high tech superhero sugar daddy you have broken Spider-Man, he doesn’t work properly creatively speaking.
 “A large part of Peter’s story in Homecomign is being told when to stay out of it”
 Again this goes against the spirit of the character because hello...his whole origin is about that one time he did stay out of it and it broke his family.
 For a Spider-Man story to basically repeatedly enforce the message that Spider-Man NOT acting and Spider-Man being passive is the right thing to do is to do a story which misunderstands the character fundamentally.
 It gets worse when you consider his actions actively make things worse 90% of the time in that film and the message is muddled anyway as Iron Man was only in a position to stop Vulture because Spider-Man wasn’t passive.
 “There are some things Peter isn’t qualified to take on”
Low rent thugs with high tech weapons is something he isn’t qualified for?
 How many versions of early days Spider-Man dealt with that and worse entirely competently?
 “Throughout all of this like a father figure Tony Stark is looking out for Peter”
First of all no he’s really not, he’s absent a lot of the time.
Second of all the mere FACT that Tony Stark is Peter’s father figure at all is part and parcel of WHY these are bad Spider-Man movies.
Tony Stark being Spider-Man’s father figure is as broken as a Dick Grayson origin movie where Batman ISN’T his father figure or indeed wholly absent. You are severely MISSING THE POINT if you do that.
“If Uncle Ben were important then when Tony took away his suit he’d leave it to other people instead of getting involved himself”
That logic doesn’t follow.
To begin with the entire movie repeatedly made it clear Peter was willing to disobey Tony and get involved so him continuing to do so is consistent, it doesn’t have anything to do with Uncle Ben’s importance or lack thereof.
Secondly as stated above this is all built upon the PRESUMPTION Ben existed and Spider-Man’s origin played out in a similar way it always does but there is 0% in-movie evidence for this happening. We simply know Peter lives by a philosophy the same as the philosophy he had in other movies but we don’t know in this universe how he came to believe in that philosophy.
He certainly doesn’t seem like it was through the loss of a loved one because he doesn’t mention, reference or think about Ben in the slightest and doesn’t act as anyone who’s lost someone they loved a lot very recently, certainly not other versions of Spider-Man who went through that.
“The red and blue home made suit represents a spider-Man who does what he does not because Tony Stark got involved”
But again there is no evidence in the movies that he does what he does because of Uncle Ben because Uncle Ben isn’t even implied in-story.
More importantly this isn’t the main critique of the MCU Spider-Man. the main critique is that Tony is incredibly important and defining to this version of Peter even if he was active before Tony showed up. The entire arc of Homecoming rests upon the motivation of Peter wanting to be an Avenger.
That’s not even my interpretation either, Tom Holland SAID that himself. The villain is an evil Tony Stark who became villain because of Tony Stark and who’s goal is Tony’s stuff. Peter’s self-actualization as a character happened when he was spurred on by Tony Stark.
Tony is BAKED IN to the foundations of this version of Spider-Man in a way that’s vitally more important than Uncle Ben because everything revolves around Tony. And again it SHOULDN’T, it shouldn’t anymore than Robin should NOT revolve around his relationship with Batman.
“That isn’t Peter saying he wants to be the next Iron Man”
Not in Homecoming perhaps but that’s clearly the direction the film Pushes Peter in in FFH.
“Just because Uncle Ben existed doesn’t mean Tony will fall on deaf ears”
Again not the point, the point is Tony is more present and impactful than Ben.
Put it like this. Aunt May clearly EXISTS in the MCU...but based upon the character arc and defining features of MCU Peter is she really as if not more important than Tony?
No she’s not, you could tweak the movies to exorcise her and they wouldn’t be that different.
“It’s a representation of this kid fighting for his uncle...it represents even before he met Tony he would’ve battled a villain who is concerned with Tony Stark“
Again...the uncle that the movies do not confirm even existed.
Again...the mere FACT that Tony is so integral to the fabric of so much stuff in this version of Spider-Man like Mysterio is against the concept and spirit of Spider-Man.
And even if we ignore all of that...Spider-man only beats Mysterio when he uses Tony’s tech to build a costume like Tony did set to Tony’s soundtrack so like...is the film actually affirming Tony’s presence is irrelvent to his heroic journey?
“Do you really think the hooded suit was put in for the sake of fanservice?”
I mean...it’s far from impossible we got like 5 different number plates that acted as fanservice. Chris Evans appeared in Thor: the Dark World for fanservice. The fact we got a giant Mysterio hand was nothing but fanservice.
“That hooded Spider-man IS Uncle Ben”
...then why....isn’t...he...mentioned!
It’s for a similar reason Aunt May is nothing more than Iron Man’s friend’s new girlfriend.
“You don’t keep everything associated with someone when they die”
This is a case of writing the movie for Marvel at this point.
Yes hypothetically it’s possible that there are other possessions associated with Uncle Ben which mean more to Peter than his suitcase.
But what are they?
Do they even exist?
We don’t know because again the suitcase is the closest thing we have to proof that Uncle Ben even EXISTED in these movies.
“The Stark suit was in the suitcase that got destroyed”
How does this disprove that Tony was more important than Ben?
Because Peter was at least sad about Tony’s death and there is no confirmation Peter was sad about Ben’s death nor even that Ben existed.
“This doesn’t show a good understanding of grief”
This whole movie didn’t show a good understanding of grief!
Peter is more concerned about hooking up with MJ than grieving Tony. It’s not denial or running away it’s inconsistent writing and characterization.
“Peter wanting a holiday is believable”
Sure...but like was Tony even that close to Peter?
They shared exactly six scenes together in person.
“People expect Spider-Man to act in the movies the way he does in that meme”
Half the critics of FFH aren’t saying that and the other half...are kinda right. In character Spider-Man is wracked with pain over remembering Ben. Not because his Dad simply died or even died when he was young but that he died violently and it was HIS FAULT!
“The subject of grief is present in the MCu version of Spider-Man”
Yes...but not over Uncle Ben, over Tony.
“Both with Tony and Ben”
What scene ever clearly shows us Peter grieving Ben’s death. Because the bedroom scene in Civil War doesn’t do that, we the audience project onto that scene that he is probably talking about Ben and he’s probably sad about it but there is no evidence in the movie even implying that to be the case.
The PS4 game at least had a picture.
“It’s handled in a very, very, very subtle way”
No it’s handled in a way that omits and covers him up in order to build up Tony and avoid repetition from the older movies.
It’s not subtle because the MCU by and large is not subtle and that includes Civil War. Tony and Pepper’s break up isn’t even all that subtle in the movie.
This isn’t written to be subtle it’s written to be plausible deniability.
“Just because Ben started Spider-Man and is the essence of him doesn’t mean other people aren’t going to have some kind of influence on him”
Sure...but it should never have been Tony stark.
Because Peter Parker shouldn’t be fanboying over anyone, it goes against his core concept.
“It’s unfair to project one interpretation of grief on every Spider-Man”
Sure. Peter and Miles and Mayday and Gwen and Cindy and Anya won’t all react to grief in the same way.
But if you are doing a version of PETER PARKER and you are having him react to grief in a way that is not broadly consistent with PETER PARKER then you are not doing your job.
He’s supposed to be in spirit a version of Peter Parker and a version of Peter Parker would not react to grief by never even mentioning or thinking about Uncle Ben.
“This was never an origin story for Spider-Man”
Nor was Spider-Man 2 and yet you know...Uncle Ben and the grief over his death was till present in that.
“You can cite the Raimi movies and bring it over to the new lore”
...that...that isn’t how any of this works. The Raimi films aren’t canon to the MCU unless the MCU acknowledges them as such.
“It may be a different Peter Parker but the story is still the same”
If the story is still the same then where are Harry, Mary Jane and Norman Osborn?
Why is Spider-Man not living in the suburbs?
Why is Peer 15 instead of 18?
Even if you take that statement to mean the GIST of the story is the same it creates problems because why would Peter ever say “I’m nothing without this suit Tony” in HC when he knows he definitely isn’t because he knows he can make a difference with or without the suit because of Ben’s death proving that point.
It’s not canon to the MCU unless there is EVIDENCE proving that to be the case.
As of right now Ben might not even exist in the MCU.
More importantly the FACT THAT HE’S NOT MENTIONED is you doing Spider-Man wrong full stop.
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klaudiaspiechowicz · 4 years
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Vector Artists
Olly Moss
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“Born in the UK, 1987. Currently living and working in`Winchester, UK. “
http://ollymoss.com/about
“He was commissioned by Marvel Entertainment executives Craig Kyle and Kevin Feige to createva poster for the cast of Thor. Other notable works include the cover artwork for the Resistance 3 video game, which prompted a trailer to be created in similar style. He also created the covers for the first digital copies of J. K. Rowling's Harry Potter book series, as well as a seven-part series of prints based on each book. In February 2013, to coincide with the 85th Academy Awards, Moss released a poster wherein eighty-five years' worth of Best Picture winners are represented with individual Oscar statuettes.”
Moss uses a lot of natural backgrounds and has a very defined distinctive colour palette for each one of his pieces that makes them stand out from one another. I really love how he uses the environment in his pieces to create illusions of other objects like Darth Vaders’s/ Kylo Ren’s masks or using the 2 suns from Tatooine to create C3Po’s eyes, I feel it’s a very creative way  to make his pieces look natural and as if everything belongs meanwhile putting multiple references to the movies he’s creating the posters for.
He also includes an amazing amount of detail in his work like the trees or birds in the bottom picture or the branches of the trees on the previous one. It makes his work look very impressive and gives of a feeling that he puts great care in every one of his posters/designs.
I also really like his colour choices for each piece, they really do set the setting liken the bottom picture through the use of pink and orange he creates a feeling of a warm sunset on a campsite while his deep blues and greys in The Force Awakens poster gives off a gloomy dark feeling of unease. I really appreciate the attention Moss pays to his colour choices, they really do end up complementing his artwork.
Matthew Skiff
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I’m not really a fan of the black outlines Skiff uses in his pieces, they kind of defeat the purpose of Vector art for me because you can achieve the same line art comic effect in literally any other program so I don’t really know what makes his pieces special except the fact they were made in a Vector program which only achieved the fact that the artist has do spend way more time drawing this. There is no or barely any shading in his pieces making his works look really flat, some of them still manage to look good because of the thick black lines but those that don’t include these lines just look really obnoxious, the colour choices tend to be way too bright and there is no use of a colour palette it all seems to be chosen at random.
I also don’t like how his style changes between every one of his pieces. It makes his work way less recognisable unlike artists like Moss or Whalen that keep a consistent style throughout all their pieces. I think its a shame because I’ll admit few of his pieces are actually quite amazing but they look nothing like the others so you can literally look at 2 of his pieces endnote be able to tell he created both.
Tom Whalen
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“Tom Whalen is an illustrator and designer. His distinctive art style, described as "modern vintage", is inspired by Russian constructivist poster art, Saul Bass, comic books and horror film posters, among other things.”
I really like Whalen’s works they all look alike and he clearly keeps a theme with his use of similar colour pallets and oversimplified shapes to create faces and objects. I also really like the compositions he creates, every one of his works includes practically every character from the movie he’s presenting and the name of the movie and he makes them stand out from each other by using different compositions. He often makes the main characters of the movie the main focus of his pieces.
I also really like how he manages to include important parts of the story while not putting them up in your face, for example in the Thor Ragnarok poster he sneaked in the rainbow bridge as the floor pattern or in the Toy Story 4poster he sneaked the funfair that is a very important part of the movie.
Aaron Draplin
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“He started his career with a snowboard graphic for Solid Snowboards. In April 2000, he accepted an art director position at SNOWBOARDER magazine. He won Art Director of the Year for Primedia 2000.
In 2002, he became a senior designer at Cinco Design Office of Portland. His clients have included Nike, Burton Snowboards, Esquire, Red Wing, Ford Motor Company and the Obama Administration.
Draplin has been featured on TED Talks and talks at Google. In 2019 he designed the Star Ribbon, a US postal stamp. Draplin is the co-founder of and designer for the Field Notes brand.”
I like how simplistic his voxel art is. its interesting how much he can convey by using only simple shapes and basic colour pallets. I especially like the last picture with the bridge, it stands out from all the other ones because it doesn’t include a solid black outline like all the other ones, I also think the colours in it work really well although I think the green would look better if it was slightly lighter.
I think his work could be even better if he kept a consistent colour pallets like Favre does but I guess he does have a theme anyway as most of his works include black lines.
Malika Favre
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“Malika Favre is a French artist based in London. Her bold, minimal style – often described as Pop Art meets OpArt – is a striking lesson in the use of positive/negative space and colour. Her unmistakable style has established her as one of the UK’s most sought after graphic artists. Malika’s clients include The New Yorker, Vogue, BAFTA, Sephora and Penguin Books, amongst many others.”
I really like the consistent colour pallet she uses infall her works, the individual colour very quite a bit but all her works include white, black, red and blue which makes all of them look very similar to each other and all the colour choices complement each other and stand out at the same time.The red on the white pops out making all the lip sticks and nails grab the attention of her viewers. 
I also really like the simple shapes she uses in her style, she doesn’t do anything overcomplicated making her works easy to understand and quite attention grasping. I like her use shadows and how she mostly uses navy-blue to create them making the shadows stand out more than the highlights which is quite unusual.
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whitelippedviper · 6 years
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Gundam Diaries: Mobile Suit Gundam 0079 Compilation Movies
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This article originally appeared on my patreon...for more content like this, plus art from my comics, subscribe to my patreon.
“The life Ral and I had was so much richer than yours!  And the one who ended it, kid, was you!” -Lady Hamon, Mobile Suit Gundam the Origin (Yaz)
Watching the Mobile Suit Gundam 0079 movies, I was really struck by how much an elegy they are.  This is something that is really ramped up in Origin--but is still very much in this series.  Ostensibly, Amuro Ray, our “hero” stalks his way through the old world order, destroying everything in his path without sentiment.  It’s notable that Ray is not the one who kills the actual terrible members of the Zabi family, like Gihren.  Instead Ray kills good people like Ramba Ral, Lady Hamon, and Lalah--and then a bunch of random zeon soldiers who get in his way, counting them being the only sentiment he really can conjure up.  You get the sense that he is only with the white base because that’s where the gundam ended up and nothing more.  
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I was trying to pinpoint the moment Amuro switches over from the false justification of protecting others to simply ushering in a new newtype era--but I don’t think that moment exists.  When his father says that the gundam is more important than people--Amuro questions him that once, and that I think is the question that ends up powering his character through these films.  Do human lives matter more than the gundam?  And the Gundam is the way by which Amuro’s powers become manifest and he is able to become a god and decide who lives and who dies(with only the sort of antichrist figure Char to oppose him).
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Char is interesting because even though he eventually gets the point of espousing a newtype supremacist message, it’s also at the same time that he is professing to be a man “who has abandoned his past”--which he says while riding a horse he learned to ride in the colony he grew up in, TO his sister, who it turns out he never actually abandons.  And even when he says he revenge against the Zabi family was no longer his goal, even that eventually is shown to be something of a lie.  Char is such a conflicted identity--I mean he’s three people--he’s the child Casval pledging revenge, he’s Édouard Mass--an identity and age between two points, not quite Casval anymore, but not Char yet--and then Char, hero of Zeon.  I think fundamentally he’s someone who could never let go of the pride of being ostensibly royalty. So everything he does is to protect his vanity, and not admit his own fault--and so his ideologies, mostly just shift to what identity is most flattered by that moment.  He’s like one man with three faces, behind a mask, trying desperately to make sense of the horror of his world and the catastrophic choices he’s made.  The difference between Char and Amuro is that Char has a conscience that he has to ignore to function--Amuro doesn’t--Amuro only knows one direction and that is forward to the new age.  And Amuro was like that even before the war started.  Or you could say the war started for him early, since his father basically split his family apart to go make weapons. It reminds me of the weapons manufacturing links to something like the columbine shootings, and this was something Dylan and Kleebold brought up, was that this was a place where the bombs were made.  I wonder what kind of strain it puts on you as a child to reconcile the prosperity of those around you in your community with the exportation of death around the world?  I think it must have some effect.  Like for me as a kid, the issue was the idea of a judgemental divine omniscient being that I remember even like five or six years old, just being torn apart by that idea.  And how going through that kind of existential crisis at such an early age, made it easier for me to sidestep the kind of angsty teen approach to religion a lot of people get, and helped shaped my empathy for others in a weird way.  I don’t know what it is to be a child and be confronted with weapons manufacturing for the empire? I think in Amuro’s case, it helps turn him into a sociopath.  Since his father doesn’t love him and instead loves weapons, Amuro never learns to love humans, and instead learns to fetishize machines.  There’s a panel in Origin that I can’t get out of my head when watching 0079.  It’s Sayla watching as a zeon ship is destroyed, “In that flash of light, hundreds of lives ended, and you get used to it...yes...I can tell”(Origin, YAZ)--everytime Char or Amuro blow up an entire ship, I just think the only difference between that ship and the white base is we actually get to see the lives of the people on white base.  And I think the difference between Amuro and Char in this is that when Char destroys these ships, it’s his Char personality--the zeon hero--he’s doing it as part of his larger, Casval scheme for revenge against the Zabis--so I like to think maybe the Édouard Mass part of his personality hates it all, because Édouard hated bullies to a large extent, and he doubted authority.  Amuro doesn’t have those bifurcations.  He’s pure newtype.  In that respect, his rival was really Lalah, who was a much purer character in some respects--she only fought out of love of Char.
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Which is probably larger theme I’ll talk about in terms of Gundam--like where is the turning point where fighting for something so micro and personally important becomes just an inconsequential needle in the haystack of slaughter that is war?  Also when is war justified?  Is it ever justified?  In 0079, we are presented with a situation where earth was definitely exploiting the colonies to an unbearable degree--but then a fascist took charge of that moment and dropped one of those colonies on earth--at what point did the justifiable position of Zeon independence become an attempt to wipe humanity from earth?  But also why did Revil turn down peace talks?  Was he right to take that attack on earth as such an unconscionable act that it demanded even more blood?  Think about it in terms of the US after 9/11...we frame all of these wars as after 9/11--but the attacks themselves are rooted in a bloody imperialist history dating back to WW2.  We say, like Revil, that we are the victims and someone must pay--but the people who pay, were already paying before 9/11 and that’s why 9/11...and you roll it over in your mind enough times, and the only thing that you see that makes sense is just the senseless slaughter of people--we are all people, some were born here, some were born there--but we all want the same things--but history has been thrust on us, and these systems are in place that perpetuate themselves in terms of hatred, in terms of blood, in terms of war.  The US itself exists to the degree of prosperity that it does, because it profited off of both world wars.  Basically all the wealth of europe that europe had taken out of the rest of the world got transferred to the US at that point--and once we got a taste for that, we just kept it going.  The cold war was mostly just Americans and Russians getting fat of exporting war around the globe.  Even today the US and Russia are the top two weapons dealers, and third place is very distant.  This happens in 0079 too.  One of the colonies, Side...6 I think...professes neutrality, but is mostly just profiting off of selling weapons to both sides.  So I’m just like...where do you say these things start?  Where do they ever end?  How many more Chars and Amuro’s were made to repeat this cycle? I dunno.  Kai is the only real dude in this whole show.
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The Punisher
Ever since season two of Daredevil, I was ready for the continuation of Frank Castle’s story. Waiting one year and eight months in anticipation was definitely worth it, because The Punisher surpassed all of Netflix’s Marvel titles and my expectations. In a day, I finished the season greatly satisfied and wanting more.
There wasn’t much I knew about The Punisher, other than the basic knowledge of a man who lost his entire family, which drove him to become the merciless vigilante and anti-hero. There have been several film adaptations of Frank Castle: The Punisher (1989), The Punisher (2004), and Punisher: War Zone (2008). The first two tweaked his origin story, family, and created new archenemies; although the 2004 version did have Russian, a villain in the comics, and Dave who is based on Microchip. War Zone, set six years after his family’s death, was probably closest to the comics, as Microchip was a partner and Jigsaw the nemesis. He’s also made two appearances in Spider-Man: The Animated Series, which I vaguely remember (damn, I’m old). Other than the knowledge of the films’ existence and old memories, he was totally out of my radar in the Marvel-verse. But, based on merchandise I’ve seen, the films made an impact on his popularity, especially with males and fathers (unless they were worn for the cool design). Besides the orchestra of violence, unlike most action films Frank’s story has plot and goals with a backdrop of misery that makes one understand, approve, or question his morals; approve seems to be the leading factor.
With Netflix’s The Punisher, it was pretty much a character study about a man who went through a traumatic ordeal, but has always been haunted by a deep need inside him--a part of himself he had been afraid to accept until his family was killed. And let’s not forget the acknowledgement of veterans and PTSD. Many fans of the comics are military and police officers who relate to Castle and his ideals; something Jon Bernthal understood. It’s a big deal how the military and veterans are represented in media--they are seen more heroic and less human. Bernthal played a man who battles everyday with his past, his loss, and himself. What seemed to be the best remedy, even for Frank, is to have someone who understands the pain and suffering. Micro/David Liebermann (Ebon Moss-Bachrach), Curtis Hoyle (Jason R. Moore), and Karen Page (Deborah Ann Woll) were people in Frank’s new life who brought back what little of himself there was left before Punisher. 
As far as the MCU goes, there were no supernatural elements. So long ninjas, aliens, and immortals, and hello normals. A refreshing turn to say the least. And like Daredevil and its MCU counter parts, the series follow the comics... in a certain way. We get to see Jigsaw’s origin and other villainous appearances, as well as Micro, which could only mean a season two! Frank’s origin is true to the comics, but was extended to make room for further development in his overall arc.
Needless to say, I loved it. Truly and absolutely loved it. The Karen Page moments were small, but impactful. David’s and Frank’s relationship was humorous and wholesome. Iranian characters with an Iranian cast (except Amber Rose Revah who is of Polish-Kenyan-Indian origin). And let’s not forget the eye candy moments...
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10/10! For the series, obviously...
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eyeofhorus237 · 5 years
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The Space Odyssey series is a series of science fiction novels by the writer Arthur C. Clarke. Two of the novels have been made into feature films, released in 1968 and 1984 respectively. Two of Clarke's early short stories may also be considered part of the series.
Literature
Short stories:
"The Sentinel" – short story written in 1948 and first published in 1951 as "Sentinel of Eternity"
"Encounter in the Dawn" – short story first published in 1953 (re-titled "Encounter at Dawn" or "Expedition to Earth" in some later collections)
Novels:
2001: A Space Odyssey – produced concurrently with the film and released in 1968
2010: Odyssey Two – 1982 novel, adapted as the 1984 film 2010: The Year We Make Contact with screenplay by Peter Hyams
2061: Odyssey Three – 1987 novel
3001: The Final Odyssey – 1997 novel
Comic books:
2001: A Space Odyssey – 1976 oversized Marvel single-issue comic book adaptation based upon the 1968 film of the same name
2001: A Space Odyssey – ten-issue Marvel comic book series based upon the 1968 film of the same name that ran from 1976 to 1977
2010 – based on the 1984 film of the same name, originally published in Marvel Super Special #37, then again as a two-issue miniseries; both versions published by Marvel Comics in 1984
Films
2001: A Space Odyssey (1968)
2010: The Year We Make Contact (1984)
Future
It was reported on Yahoo Entertainment in 2000 that M.G.M. and Tom Hanks were in discussions regarding turning both 2061: Odyssey Three and 3001: The Final Odyssey into movies (Hanks would reportedly play Frank Poole in the 3001 film). An update in 2001 stated that there was no further development on the project.[1]
On 3 November 2014 it was reported that the U.S. cable channel Syfy had ordered a miniseries adaptation of 3001: The Final Odyssey into production, planned for broadcast in 2015. The miniseries would be executive-produced by Ridley Scott, David W. Zucker and Stuart Beattie; the latter would also be the primary script-writer. The estates of both Clarke and 2001: A Space Odyssey director Stanley Kubrick were reported as having "offered their full support", but the extent of their involvement was not known at the time.[2] In February 2016, the series was mentioned as one of Syfy's "in development pipeline" projects during their press release for Prototype,[3] though no further announcements have been made since that time.
Development
The 2001 screenplay was written by Clarke and Stanley Kubrick jointly, based on the seed idea in "The Sentinel" that an alien civilization has left an object on the Moon to alert them to mankind's attainment of space travel. In addition, the 1953 short story "Encounter in the Dawn" contains elements of the first section of the film, in which the ancestors of humans are apparently given an evolutionary "nudge" by extraterrestrials. The opening part of another Clarke story, "Transience", has plot elements set in about the same time in human history, but is otherwise unrelated.
The 1972 book The Lost Worlds of 2001 contains material that did not make it into the book or film.
Clarke's first attempt to write the sequel to 2001 was a film screenplay, though he ultimately wrote a novel instead that was published in 1982. Clarke was not directly involved in the production of the second film, although he did communicate with writer/director Peter Hyams a great deal during the production via the then-pioneering medium of e-mail (as published in the book The Odyssey File) and also made a non-speaking cameo appearance in the film. Kubrick had no involvement in the 2010 novel or film, or any of the later projects.
The Space Odyssey series combines several science-fiction narrative conventions with a metaphysical tone. Since the stories and settings in the books and films all diverge, Clarke suggested that the "continuity" of the series represents happenings in a set of parallel universes. One notable example is that in the 2001 novel, the voyage was to the planet Saturn. During production of the film, it was decided that the special effects for Saturn's rings would be too expensive, so the voyage in the film is to Jupiter instead. The second book, 2010, retcons the storyline of the first book to make the destination Jupiter as seen in the film.
Clarke stated that the Time Odyssey novels are an "orthoquel" (a neologism coined by Clarke for this purpose, combining the word sequel with ortho-, the Greek prefix meaning "straight" or "perpendicular", and alluding to the fact that time is orthogonal to space in relativity theory) to the Space Odyssey series.[4]
Characters
HAL 9000 is a sentient computer (or artificial intelligence) that becomes the primary antagonist of 2001: A Space Odyssey. HAL is also in the sequel novels and the film sequel 2010. In both films he is voiced by actor Douglas Rain.
Dr. David "Dave" Bowman serves as the protagonist of 2001: A Space Odyssey. The character later appears in the sequel story released first as a book, 2010: Odyssey Two, and then as a movie, 2010: The Year We Make Contact, albeit as a non corporeal entity, and also returns in two more books by Arthur C. Clarke, 2061: Odyssey Three and 3001: The Final Odyssey. In the forewords to both 2010 and 2061, Clarke makes it clear that the plots of the movies and books do not necessarily follow a linear arc, and should be seen as taking place in parallel universes, or as being variations of a main theme; consequently there are apparent inconsistencies in the character of David Bowman throughout the series. In the two movies, Bowman is played by Keir Dullea.
Dr. Heywood R. Floyd first appears in 2001: A Space Odyssey as one of the astronauts on the mission to track the source of an alien artifact found on the Moon. After the events that took place in 2001: A Space Odyssey, he is the protagonist of 2010: Odyssey Two and 2061: Odyssey Three. Heywood Floyd was born in 1956 in the USA. By 1999, he is chairman of the National Council of Astronautics, in charge of overseeing all American spaceflight operations. He has two daughters (only one in the movies, born 1994) and was widowed when his wife Marion died in a plane crash. In 2010: The Year We Make Contact, Floyd has a new wife and a 5-year-old son named Christopher. William Sylvester played Floyd in the film version of 2001: A Space Odyssey but was replaced in the role by Roy Scheider in 2010: The Year We Make Contact.[5]
Dr. Frank Poole is an astronaut aboard Discovery One on the first manned mission to Jupiter in 2001: A Space Odyssey (Saturn in the novel). He and Dave Bowman are the only crew members who were not put on board in suspended animation (hibernation). His boyhood hometown was Flagstaff, Arizona, where he visited the Lowell Observatory at its museums on many occasions. These visits sparked his interest in astronomy and astronautics, and hence he went to college to study these subjects.[6] He is the main character of 3001: The Final Odyssey. In Stanley Kubrick's 2001: A Space Odyssey, Poole was portrayed by Gary Lockwood. Tom Hanks once expressed interest in directing a film version of 3001, in which he would have played Poole, but this never came to pass.
Walter Curnow appears in the book and movie versions of 2010: Odyssey Two as the American engineer who designs Discovery and helps to build Discovery II to go back to Jupiter. When the joint Soviet-American mission on the Leonov is planned instead, Curnow is one of the three American experts to go on the trip, along with Heywood Floyd and Dr. Chandra. Curnow is one of the first people to set foot on Discovery again, along with Maxim Brailovsky. Due to his engineering expertise, Discovery becomes operational again. In the 1984 film adaptation, 2010: The Year We Make Contact, Curnow is played by John Lithgow.
Dr. Sivasubramanian Chandrasegaram Pillai (often abbreviated to Dr. Chandra) is mentioned in the novel of 2001: A Space Odyssey as a scientist who instructed the computer HAL 9000 in its basic functions (in the movie, it was a "Mr. Langley"). He is a main character in 2010: Odyssey Two where it was established that he was in fact the creator of HAL, and he is a member of the joint Russian-American expedition to Jupiter on board the Soviet spacecraft Alexei Leonov. Although the character does not make any further appearances in the Space Odyssey novels, he is briefly mentioned by an elderly Heywood Floyd in the novel 2061: Odyssey Three. In the movie version of 2010, Chandra was played by Bob Balaban and is referred to as Dr. R. Chandra.
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swipestream · 6 years
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Star Wars Rip-Offs: The Good, the Bad, and the Weird
A more innocent time, when a Swedish actor playing an Asian villain bothered no one.
As a major, SJW-infested corporation trots out another installment of a beloved franchise, devoid of excitement and fresh ideas but pumped to the gills with Social Justice, it’s interesting to go back to an earlier, more innocent time, shortly after the first Star Wars (1977) came out.  Not only was it legitimately excellent, it also became an insane success that changed the very economics of the film industry from a system dominated by directors making serious art for adults (think Network (1976), Chinatown (1974), or even more action-oriented fare like The French Connection (1971)) to one focusing on special effects-laden blockbusters for teens.  Many, myself included, would argue this was ultimately for the worst, but that’s a topic for another column.
The point is that in the wake of Star Wars’ success (the second-highest grossing film of all time when factoring in inflation, after Gone with the Wind (1939)), there were a slew of imitators.  Ignoring obvious foreign crap like the infamous Turkish Star Wars (1982), let’s look at a few of these.
Flash Gordon (1980)
Sure, Flash Gordon started as a comic strip in 1934 and there were several film serials released in the late 30s and early 40s.  But would there possibly have been a big-screen adaptation 40 years later if not for the success of the Star Wars franchise at the time?  Not a chance.  And it was produced by none other than Dino de Laurentiis, the brilliant, incorrigible, and utterly insane Italian mogul.
The film is a mess in many ways.  It went through numerous directorial changes (at various points, Fellini, George Lucas, and Sergio Leone were all considered!) and according to script writer Lorenzo Semple Jr, they couldn’t figure out whether to make it more serious or comical, eventually settling on the “wrong” choice of a cartoonish approach.  The lead Sam Jones physically looks the part of a tall, well-built, handsome American hero.  Unfortunately, being a nude model with no acting experience, he lacks charisma and even basic personality.  A disagreement with De Laurentiis also led to much of his dialogue being overdubbed.  Beyond that, the movie is a series of one set piece after another, frequently mediocre, with little rhyme or reason for them, but full of Three Stooges style hijinx.
And yet, there is a definite charm to the picture.  While Jones fails to impress, future James Bond Timothy Dalton is a fine roguish prince, the great Max Von Sydow is a solid villain, and the wonderful British character actor Brian Blessed, with his booming voice, is a memorable leader of the Hawkmen.  It’s a loud, boisterous movie, with colorful costumes and a genuine energy to it, no matter how silly the set piece.
And of course, it features a genuinely great soundtrack by Queen.  When most people think of the film, the opening lines of the theme play in their heads, and many of its other flaws melt away.  The song being used for the final, climactic battle is genuinely thrilling.
Krull (1983)
Reminds me a little of the character select screen for Golden Axe!
As I’ve mentioned in the comments here, this is my absolute favorite of the Star Wars rip-offs, which is equal to or even superior to the original in many ways.  Directed by the great, now slightly forgotten English director Peter Yates, it was my favorite movie as a child.  I dreaded revisiting it as an adult, as my reaction to most of what I liked then was “How the hell did I ever like THAT?!  This is crap!  I must have been a dumb kid!”  However, watching it as a jaded adult, not only did I enjoy it, but at its best, it inspired the same feelings of awe and wonder I had felt as a child.
Krull is a sprawling epic, with a ragged band of adventurers going on a hero’s journey to rescue a princess in a beautiful, enchanting, and deadly world.  Unlike Flash Gordon mentioned above, the set pieces in this movie are incredible, and feature considerable ingenuity.  Even the mystical weapon in the movie, a multi-bladed mix between a shuriken and a boomerang called a glaive (not to be confused with the actual historical weapon of the same name) proved so popular it has been many used in many fantasy properties since.
The fights are thrilling, the heroes likable, and the villains, including their creepy, insane castle, are dark and menacing.  In fact, it succeeds at many of the same metrics that Star Wars did, if not to the same extent.
However, in one regard it is clearly better than Star Wars, and that is the soundtrack.  Yes, Star Wars is excellent there, but I consider James Horner’s work on Krull to be the best in all of film history.  Even better than Basil Poledouris’ work on Conan the Barbarian (1982) or Ennio Morricone’s numerous masterpieces.
The music is ever-present, a constant element throughout the picture, elevating each scene.  If the picture wasn’t fundamentally good, the soundtrack wouldn’t matter so much.  But in this case, it infuses with that additional drama, pathos, and heroism to go from good to great.  The main theme is outstanding and the Ride of the Firemares is thrilling, but my personal favorite is The Widow’s Lullaby.
If my enthusiasm didn’t make it obvious enough, I encourage every reader here to check out this simultaneously overlooked and underrated classic.
Wizards (1977)
“Dull, adventure-less fantasy of propaganda and Marxism” would be more accurate.
Okay okay, I’m cheating here, as this was actually released three months before the first Star Wars.  Still, I can’t resist highlighting this left-wing, scaremongering screed masquerading as a fantasy film, since it shows the pitfalls of political propaganda in movies and was made 40 years before the current year.   It’s similar to Star Wars in some ways, including an earlier use of plasma rifles.
The plot of this animated movie would make any fairy tale seem complex.  In a post-apocalyptic world, magic is everywhere, and a Good Wizard defeats an Evil Wizard but spares him.  The Evil Wizard then stumbles upon an old reel of Nazi propaganda (I wish I was kidding), which he displays on a projector to a bunch of monsters.  Instead of being confused at what the fuck they’re watching, the monsters become an unstoppable killing machine, routing elves and other good creatures in battle.  The Good Wizard, along with a few travel companions, go on a journey to stop the Evil Wizard.
I’m not simplifying this, either.  The Good Wizard is even named Avatar and the Evil Wizard Blackwolf.
The use of film as a weapon of propaganda is classic SJW projection, as Wizards is as heavy-handed as anything by Leni Riefenstahl.
The story is thoroughly idiotic, features no adventure and little in the way of excitement.  Instead, it is constantly cloying and preaching what would have been cutting-edge leftist sociopolitical orthodoxy back then.
Amusingly, as soon as the projector goes out, Blackwolf’s unbeatable Nazi army of hulking monsters gets easily slaughtered by a bunch of scrawny elven wimps.  I thought this was illogical and stupid when I saw it, but it makes perfect sense now, understanding the pathology of leftist thinking.  They always think it will be a piece of cake to defeat their enemies, contrary to all evidence.  (Admittedly, this is a trap certain right-wingers fall into as well, in the opposite direction)  And American leftists never appreciate what a force the Nazis truly were, which is also an insult to their victims.  Being a Russian Jew, with many ancestors who had fought in the war, the sober assessment I heard growing up was that the Germans were the best soldiers in the world then.  But in this film, Blackwolf’s army is actually weak, and their success is based around a single film projector.  Ergo, the menace of the villains is revealed as illusory, and there is nothing significant worth celebrating in the elvish victory.
Also, in a climactic scene, the hippy, non-violent good wizard Avatar, who had spared Blackwolf and preaches non-violence and mercy, shoots Blackwolf dead with a gun.  In cold blood.  There is nothing wrong with such a solution by a different protagonist in a different situation, but after all the preaching we’ve heard, it makes Avatar nothing more than a hypocrite, fraud, and very possibly evil himself.  It also renders the high-minded leftist themes that the movie had pushed so hard as nothing more than trite bullshit, to be disposed of whenever convenient.  (Gee, doesn’t that attitude sound familiar?)
Anywho, I hope you have enjoyed this look at some old movies similar to Star Wars.  Sadly, among major studio releases these days, one is far more likely to get a picture in the mold of Wizards than that of Krull!
Star Wars Rip-Offs: The Good, the Bad, and the Weird published first on http://ift.tt/2zdiasi
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iftekharsanom · 7 years
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10 Unknown Things About John Wick, You Should Know !!
We are a little over a week until John Wick: Chapter 2 debuts in theaters (February 10, to be exact). The long awaited sequel to the hit 2014 John Wick shareholder examined in the fascinating world of comics in the original film and see Keanu Reeves as the title character, a former killer who can not escape to expand introduced his past crimes. John Wick is one of the refreshing action images of all ages, to minimize digital effects and introduce character-plucking cutters full of nuances, and a lot of fucking action mixed with subversive humor. It's brutal, nice and cool, and the classic action movie tropes to combine into a new formula for success. So what exactly does John Wick do? What is behind the character, the supporting cast, myths and the creative team of the film series? Here are 15 little-known Wick factoids to help fill in the blanks and you pumped while we waited for 2 John Wick chapter. 1.WHAT IS ACHIEVING IN CHAPTER 2?
So what can John Wick fans expect in Chapter 2? The main arguments are still secret, but we know some details about what the focus of action. Firstly, the movie Wick against its killers is past. That means he travels no way to retirement, with the character at Rome a former employee to do justice to. What is your connection? All the details are scant but we know that there is a blood pact with Wick is to aggregate forces through loyalty, while the consortium plans to seize the killers who are both members. Or, in Wick's words, his goal is simply to "kill them all." We can also expect more return artists on display, including Ian McShane as Hotelier Gangster Continental, Bridget Moynihan died as Wick woman, and John Leguizamo as Aurelio owner of the combine harvester. Often, the villain will play, accompanied by several other new cast members, including Ruby Rose (orange is the new black) and the aforementioned Lawrence Fishburne. So expect a lot of action, espionage, intrigue and plenty of body full of hot lead. 2. A TV PREQUEL IS IN THE WORKS 
In addition to John Wick Chapter 2, it may still mysterious killer be in our future, but this time on the small screen. Chapter 2 Director Stahleksi launched the idea of a prequel television for life and said in an interview with the film. "Basically, we have almost a prequel written, but it would save on other aspects of ownership Lionsgate is interested, a program of this TV John Wick, and this seems very attractive to us, those creatively to give this entity ideas because I could really improve the TV believe it is and what we could only in a two hour movie we would like to finish the story we tell you now ;. and maybe all our prequel to save ideas and ideas impossible task for this medium. " Given the interesting cast of the series of character films and many issues raised about the past Mafia Wick, the idea could certainly be thrilling when they performed well. Hopefully Reeves interested to make up for a TV project, just because we did not imagine anyone else to fill in Wick's fashionable outfits. Given the interesting cast of the series of character films and many issues raised about the past Mafia Wick, the idea could certainly be thrilling when they performed well. Hopefully Reeves interested to make up for a TV project, just because we did not imagine anyone else to fill in Wick's fashionable outfits. 3. THE BABA YAGA
Set to help One of the earliest films of legendary skills of the murderer John Wick occurs when Yusef Tarasov of Alfie Allen (Game of Thrones) threw his father attacks, head Viggo the crowd, played by Michael Nyqvist (girl with the dragon tattoo). When Yusef of jokes as he killed the dog and stole his car Wick (unconscious connection Wick with his family) suggests I bore him in the stomach. Then he goes on to explain how horrible a mistake he made: "It is not what you did, my son, that irritates me so much who he was ... he was once a partner ... we call Baba Yaga .. . When Joseph Reply "The Boogeyman"? Viggo replied, "Well, John was not exactly" The Boogeyman "He was the one sent to kill the f ******" Boogeyman ". The Baba Yaga may originated in Slavic folklore, marked as a supernatural being (usually in the form of a female), the friend or foe being, depending on the circumstances. Although there is a strange connection with Reeves' character to explain except how they condemn his strength nature skills that can help win his loyalty, or those who cross to certain death. 4.THE MEANING OF THE BACK TATTOO
Before John Wick was a man, a vengeful full killer return to the world who wanted to escape, we see Reeves in the shower with a big tattoo on his back. The Latin term "Fortis Fortuna adiuvat" appears in large letters at the top large, and translates into English as "the future of the favors of the global economy". The origin of the term is military, the motto of the naval base 3rd Battalion of Kaneohe Bay, Hawaii. This suggests Military Wick past his time as a mob killer, as well as an allusion to the Hawaiian heritage star Keanu Reeves (his father was a Hawaiian) is used. The fact that the tattoo is not in this short shot in the film, in his very material on the co-directors Chad Stahelski and David Leitch's trust explained or referred to leave an air of mystery, adding enough texture and intrigue without the need for Explain every detail. But one message is clear: Wick sucks. 5.THE MATRIX CONNECTION 
One of the interesting aspects of John Wick Chapter 2, the meeting between Keanu Reeves and Matrix co-star Lawrence Fishburne will be. His team is just one of many composites for the iconic series of science fiction films, which occur in the year 1999 John Wick's first film also featured several matrix graduates, including Daniel Bernhardt (who played an actor in the studio) and Randall Duk Kim (the Keymaker). Both directors his great opportunity as coordinators tricks in the Matrix trilogy, which would be accidental if Reeves wanted, when he wanted to choreograph the action scenes in John Wick. The duo felt so strongly about the project to convince the producers to allow them to direct the film. What, as Reeves and Laurence Fishburne were connected to the then Stahleski again (the only director in Chapter 2), he explained: "Keanu, I Laurence all worked and together in the Matrix trilogy. So, if Derrick (Kolstad, screenwriter) had written The character he plays in the Laurence script, in the sense that it was actually written with Laurence ... Keanu gave us a good introduction when they met. " There is even an Easter egg in the original movie Matrix: Neo in the game during the safe house scene is a character name. 6. KEANU REEVES DID MOST OF HIS OWN STUNTS
Reeves gave an intensely physical presentation on John Wick (talk about his one-bit training program) and his rings of authenticity on almost every picture in the real movie. The actor did 90% of his tricks (one of the few scenes that was a necessary stunt that the porch, oh, so painful fall into nightclub battle). This is particularly encouraging, since the fact that the actor had a flu outbreak during filming. Reeves was getting stuck action sequences so obsessed that the entire sequel to the movie nightclub on the same day was filmed. Reeves work tricks not only fight sequences, of course. He also has a driving experience, including the scene of him stepping out of a car from a private airport. In typical modesty, Reeves despised his talent. In an interview in 2014 with Indie Wire, he says it's just an extension of his role is .. "If I do this, it's not a trick stunts tricks ... I, I can do some physical action involved in any action , But they are not tricks. The guys turn, I threw, run, jump, play. " 7. PAYDAY 2
Two days before he made his film debut, John Wick was actually included as a downloadable character in Payday 2, a popular first person shooter. The result of a promotional partnership between Lions Gate Films and Overkill Software, including the Game Wick (by voice actor Dave Fouquette played) in Washington, DC assault involved in a gang, targeting banks, acting as a drug dealer and Even manipulate elections and smuggle nuclear weapons. The Low Wick was a smart move, as fans of first person shooters the perfect audience for one of the best shoot 'em up thrillers would be age. And John Wick is not the only character who shares synergy between Lionsgate and exaggeration in the series of payday games; Also mark remake of Point Break has to offer, the two partner companies. Overkill would get movies with STX Unconditional Entertainment Henry, a Russian actor continued to be killed as a first person shooter. 8. CAPTAIN AMERICA: CIVIL WAR
As you may have already noticed John Wick's story, it was inspired by comics and comics. And insurance and visual aspect of the directors Leitch and Stahelski were not lost in Hollywood. Civil War: The duo was used as the second unit director of Captain America at Marvel Studios. The creative team was already familiar with the comic books, of course, as the work Stachelski trick Iron Man 2 did, and both made second unit work on The Wolverine. Civil War Director Joe Russo explains why he knew the two of them would be perfect for the production environment, saying, "We asked them if they came and helped us execute some of the action sequences with Spiro Razatos, Boy along with Chad and Dave ... we knew we had to work really hard to raise our Winter Soldier game. " You can see the work of Leitch and Stahelski on the scene of the Civil War, the adrenaline battle between The Avengers and Crossed Bones in Lagos, Portugal opening. And Leitch did not end with the superhero genre - recently announced that the long-awaited sequel Deadpool addressed. 9.EVA LONGORIA’S PRODUCING CREDIT
John Wick had many producers including co-director David Leitch, filmmaker James McTeigue (V for Vendetta), Basil Iwanyk and Michael Witherill. But the most prominent participants was the lead producer (and Desperate Housewives actress) Eva Longoria. So what attracted Longoria to the project? Do not ask or Stahelski Leitch, who gave the commentary on the film they found in the 2014 production: "I've never met ... but thanks for writing a check" Make online what the inspired actress for the co-produced film proved to be a difficult task, but a look at her IMDB profile shows that a diverse work, provocative documentaries (The Harvest, food chains) produced, Comic series - TV (Devious Maids, Soap Opera) and even an animated series for adults (Mother Up!). Surprisingly, given the financial success of the original, the actress is not preparing John Wick Chapter 2. However, Wick diehard fans a debt debt of gratitude to write for this check, and to help with the care, the potential to perform the film. 10.GUN FU
Another item that John Wick made for another action thriller, was his action sequence with only intense stylistic violence. And perhaps the most memorable element and incidence in these scenes was the shooting that described filmmaker as "fu gun". The technology is not really arisen in John Wick. Gun Fu was made by director John Woo in his classic Hong Kong thriller, A Better Tomorrow, known that American films would influence Matrix, where future directors Stahleski and Lietch in the technical coordination of built-in tricks. And John Wick is perhaps the most dynamic fighting style to intensify with filmmakers his game in great shape. What exactly was fu gun? It is basically built around martial arts shooting, with the grace and agility of a ballet room. It is safe to say that Keanu Reeves pulled the technique with precision and remarkable attitude, so we expect more fu weapons in Chapter 2.
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aion-rsa · 6 years
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Ant-Man and the Wasp: Complete Marvel Universe Easter Eggs and Reference Guide
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We're tracking down every Marvel reference in Ant-Man and the Wasp! Here's a complete guide for you.
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Gavin Jasper
Ant-Man and The Wasp
Aug 4, 2018
Marvel
After seeing everything build up into Avengers: Infinity War, the Marvel Cinematic Universe hits another big milestone with its twentieth movie, Ant-Man and the Wasp. Peyton Reed’s sequel to 2015’s Ant-Man (AKA the moment when we just kind of accepted that Marvel could get away with nearly any concept and make it a hit) is in theaters now and acts as both a follow-up to the original and Scott Lang’s misadventures in Captain America: Civil War.
Absent in Infinity War, Ant-Man only got a shout-out as being under house arrest. Now we get to see what that’s all about, taking place a short while before that big blockbuster. Here are some Easter eggs and references from Scott Lang’s Day Off.
Lots of spoilers coming!
THE WASP/JANET VAN DYNE
Clever thing about the movie is that the title has a double-meaning. It’s both about Scott Lang and Hope Van Dyne as well as Hank Pym and Janet Van Dyne. Janet had a short scene in Ant-Man in full costume in a flashback, but here she’s an actual character. Janet first appeared in Tales to Astonish #44 back in 1963. Much like Hank, Janet was one of the original members of the Avengers and was even the one who came up with the team name at the end of the first issue.
Wasp’s movie death/disappearance is, in retrospect, very similar to Bucky Barnes’ comic book death in the sense that she sacrificed herself and seemingly died to prevent an enemy rocket from killing innocents. Her return has more in common with Brian Michael Bendis’ run on Avengers.
In the story Secret Invasion, Wasp was infected with tainted Pym Particles that turned her into a living bomb. Thor prevented her from causing massive destruction, but she still dispersed into nothingness. Towards the end of Bendis’ run, she was able to communicate with several Avengers and let them know that she was in fact alive and marooned in the Microverse. Hank and the others were then able to rescue her and bring her back to the normal world.
GHOST
Ghost was introduced in Iron Man #219 (1987) by David Michelinie and Bob Layton. While the appearance and powers are on-point, the comic and movie versions are pretty different. For one, the comic villain is a white male and is obsessed with destroying corporations. His real name has never been revealed, but according to his origin, he was a brilliant programmer who was exploited, manipulated, and almost murdered by his bosses. While mostly a villain, he spent a good amount of time as an anti-hero member of the Thunderbolts.
As far as I know, Ava Starr is a brand new character. Her father, on the other hand, is Egghead. Introduced in Tales to Astonish #28 (1962) by Stan Lee, Jack Kirby, and Larry Lieber, Egghead was your run-of-the-mill mad scientist. But hey, he was a regular thorn in the side of Hank Pym, so that’s something.
BILL FOSTER
Hank Pym’s old friend first showed up in the pages of Avengers #32 (1966) and almost a decade later, he became a superhero. In the movie, he mentions working on something called Project Goliath, based on enlarging people, which is fitting since his hero monikers have included Black Goliath and just plain Goliath. He’s basically most well-known for being the big casualty of the Civil War comic series.
Er, as long as you don’t count Captain America in the aftermath.
JAMES WOO
FBI agent James Woo has a long history in Marvel Comics. Originally appearing in Yellow Claw #1 (1956) by Al Feldstein and Joe Maneely, Jimmy Woo was an agent out to oppose the Yellow Claw, one of your usual “yellow peril” racist comic villains of that era. He was later turned into a SHIELD agent and had a role in a task force put together to stop Godzilla back when said monster had its own Marvel series.
Woo is mostly known for leading the Agents of Atlas, a team of obscure and forgotten comic characters from the 1950s. Originally, it was a one-off story from the What If series back in the 70s, but the concept was brought into canon in the mid-00s. Listen, if dorky SHIELD agent Phil Coulson can get a TV spinoff, I think dorky FBI agent James Woo can get an Agents of Atlas spinoff. The world is ready for Gorilla Man and his robot buddy.
Even though this is Woo’s first actual MCU appearance, he did get namedropped on Agents of SHIELD as being a contact on Melinda May’s cell.
SONNY BURCH
Much like Ghost, Burch is another Iron Man villain being repurposed for Ant-Man. In the comics, Burch was only around for a single storyline back in 2003-2004. Introduced in Iron Man #73 by John Jackson Miller, Jorge Lucas, and Phillip Tan, Burch had more in common with the film version of Justin Hammer than his own movie counterpart. Burch was a businessman who exploited a legal loophole that gave him ownership of some older Stark armor tech. Caring more for profits than regulations and quality, he tried to exploit this technology and it became publicly disastrous. He ended up shooting himself rather than face charges.
GEOFFREY BALLARD
Although he didn’t get much screentime, the FBI agent contacted by Burch and given the tip to catch Hank and Hope is a supervillain in the comics. With the villain name Centurion, he debuted in Black Goliath #4 (1976) by Chris Claremont, Rick Buckler, and Don Heck. Even though he first showed up in Bill Foster’s comic, he ended up being more of a Ms. Marvel villain.
MISCELLANEOUS
- Scott’s daughter Cassie early on remarks, “I wish we could shrink for real.” Much like with Bucky Barnes wielding the shield and Jim Rhodes cracking wise at the silver Iron Man armor, this sounds like foreshadowing. Teenage Cassie followed in her father’s footsteps in the comics as Stature, a member of the Young Avengers. With the rumors of Cassie being a teenager in Avengers 4, we’ll see if there’s more to this quote than meets the eye.
- While being kidnapped, Scott is watching Animal House (1978). More specifically, he’s watching a scene where Pintlo (Tom Hulce) and Dave Jennings (Donald Sutherland) have a pot-fueled discussion about how there are galaxies within atoms.
- Kurt talks up Baba Yaga, a bogeywoman of Russian folklore. She has at least made some appearances in Marvel Comics, usually in relation to Captain Britain.
- Luis makes a strained reference to the Budweiser “Wassap” commercials which aired...in 1999. Almost 20 years ago. Oh my God. Why am I just now recognizing these gray hairs?
- When Bill Foster notices a bunch of ants crawling through the lab, he lets out a hammy, “It’s them!” At first glance, this might seem like a basic line, but it’s almost definitely a subtle joke reference to Them!, the 1954 movie about giant ants. The same film is being watched by Scott, Hope, and Cassie at the end of the movie.
- According to his cameo, Stan Lee apparently did a lot of acid back in the 60s. Sounds about right.
- The mid-credits scene takes place during the final moments of Avengers: Infinity War after Thanos snapped his fingers. While Scott survives, Hank, Janet, and Hope aren’t so lucky. Even alive, Scott is stranded and the post-credits stinger adds a question mark to, “Ant-Man and the Wasp will return.”
Any other references you noticed? Sound off in the comments!
Gavin Jasper is going to be a good boy for the rest of this year and then ask Santa for an Agents of Atlas movie. Follow Gavin on Twitter!
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