Hellboy NYCC Trailer Description: The Last & Only Hope

One of the most exciting events at New York Comic-Con this year was the Hellboy panel, in which star David Harbour (Stranger Things), his co-stars Daniel Dae Kim (Lost) and Sasha Lane (American Honey), and Hellboy creator Mike Mignola presented fans with the first trailer for the upcoming movie reboot. Directed by Neil Marshall (Dog Soldiers), the movie pits Hellboy against Nimue, the Blood Queen (Milla Jovovich), an ancient sorceress who is hell-bent on revenge and the destruction of mankind.

Hellboy faces the challenge of winning over audiences after two well-liked Hellboy moves from director Guillermo del Toro, which starred Ron Perlman in the title role, but fans seem to be open to this new take and excited to see what Harbour can bring to the role. During the panel, the actor described Marshall’s Hellboy as “a monster movie right out of Frankenstein, updated for 2018.” It will have more of a monster movie tone that emphasizes the horror elements, in contrast to the fantasy tone of del Toro’s movies. We’ve pieced together descriptions of the trailer from several sources to give those who weren’t able to attend an idea of what to expect when Hellboy arrives in theaters next year.

Related: Hellboy NYCC Poster Reveals Professor Broom, Blood Queen, & More

The trailer opened with a scene in which Hellboy arriving at a crime scene, with cops surrounding a building. When Hellboy exits his vehicle a panicking SWAT officer shoots at him and Hellboy, annoyed, yells “I’m on your side!” The officer apologizes, replying, “My bad.” From there, the footage launched into a collection of brief clips set to Billy Idol’s “Mony Mony.”

  • A series of clips introduce the Bureau for Paranormal Research and Defense (BPRD), which Ian McShane’s Professor Bruttenholm describes as, “The line in the sand, we fight against the forces of darkness.”
  • The BPRD arrive at their secret headquarters in England, whose front is a quaint little shop. Hellboy is skeptical, and Kim’s Ben Daimio asks him if he expected it to be labelled “Secret Headquarters.” When they go in, the old lady behind the counter asks Hellboy for ID and he asks, “Are you serious?”
  • Hellboy is asked if his Hand of Doom can do anything special. He replies, “It smashes things real good,” and then offers a demonstration.
  • Ben Daimio isn’t too happy when he first meets Hellboy, saying, “I thought we were fighting monsters, not working with them.” Hellboy retorts, “Who you calling monster, pal? You look in the mirror recently, Scarface?” In another clip, Hellboy calls Ben an “asshole.” It seems like there’ll be a fair bit of friction between these two.
  • Hellboy wonders aloud if he’s nothing more than a weapon, and Professor Bruttenholm tells him that he wants him to be the best version of himself that he can be.
  • Professor Bruttenholm gives Hellboy his gun, the Good Samaritan. Hellboy cocks the gun and comments, “Some parents get their kids LEGOS.”
  • Hellboy and Alice (Lane) are seen fighting side-by-side in a setting that resembles a factory, with Bruttenhol saying in voiceover, “You are our last and only hope.”
  • Hellboy interrupts a ritual being held by the Blood Queen, sardonically asking her, “Did I interrupt?” She replies, “No, you’re right on time.”
  • There’s plenty of action, including one particularly bloody clip of someone getting shot in the head and gore splattering towards the camera, emphasizing that this will be an R-rated affair.
  • The trailer ends with an impressive shot of Hellboy in his full demonic glory, rising from a pit with his flaming sword and crown. The crowd went crazy when they saw this.

You can expect to see an emphasis on practical effects over CGI in the movie, with Harbour even throwing a little shade at Thanos when comparing his character with the big purple villain of Avengers: Infinity War. Harbour quickly amended that by saying that he thinks Infinity War is “a great movie,” but went on to say, “I do lament that [Hollywood] uses a lot of CGI right now, and I love the practical stuff.”

Unfortunately the trailer was not released online, so it may be a while before everyone else gets a look at Harbour’s version of the character in action. However, the positive response from fans in attendance definitely has us excited for this one, so hopefully Lionsgate won’t keep us waiting for a trailer much longer.

More: Hellboy 2019: Every Update You Need To Know

Source:, IGN, Deadline, Gizmodo

Source link
2018-10-06 05:10:55 – Hannah Shaw-Williams

A Star Is Born’s Ending Is Bad (And Always Has Been)

WARNING: Major spoilers for A Star Is Born

A Star Is Born‘s ending undoes what could have been a Hollywood classic – but that’s not exactly Bradley Cooper’s fault. From its first version in 1937, A Star Is Born has always had a problematic resolution to its story, one that’s only got worse over the past century, and this latest version is no different.

A Star Is Born is a classic story that Hollywood loves so much it’s told it four times (with a suspiciously-similar earlier version, several failed attempts and many, many imitators). A top-of-his-game star (in 2018, Bradley Cooper’s rock star Jackson Maine) is suffering from alcoholism and in a stupor discovers a struggling artist (Lady Gaga as Ally, a waitress moonlighting in a drag bar), falling in love with both her and her talent. He provides her with a big break, sending her fame into the stratosphere just as his addictions begin to derail his career. The pair marry, but despite their love things begin to fray.

Related: Read Our A Star Is Born Review

It’s a tale of rags to riches, of falls from grace, of the power of love, and personal identity within all of that. And, for much of the runtime, A Star Is Born 2018 is genuinely a great version of all those stories. Gaga’s first major concert leaves you floating, Cooper shows mental affliction with grace, both perform their songs incredibly (to actual live crowds, no less), and are utterly believable as troubled lovers. It is, for much of its runtime, a very good film worthy of that deafening hype.

However, everything implodes into a black hole of pretentiousness as what could have been a great film its own right has to follow through on being called A Star Is Born

  • This Page: The Problem With A Star Is Born’s Ending
  • Page 2: A Star Is Born’s Ending Has Always Been Bad
  • Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

What Happens In A Star Is Born’s Ending

We’ll stick with Cooper’s take for now before going deeper into the past. A Star Is Born‘s third act is kicked off by Ally winning the Grammy for Best New Artist – a major step for her career, undercut entirely by Jack drunkenly taking to the stage with her and relieving himself on live TV. He goes into rehab and she wrestles with where her focus should lie, eventually deciding to try and protect her recovering husband. She cancels her European tour when her agent, Rez, blocks the duo playing together.

As a result, Jack kills himself. He’s confronted by a seething Rez who has no sympathies or expectations of sobriety and states outright Jack’s ruining his wife’s career. When she matter-of-fact states the tour cancellation, he sees the impact of his actions and, while she plays a concert, he hangs himself in their garage.

Related: Every Song On A Star Is Born’s Soundtrack

This breaks Ally at first, leaving her emotionally distraught, before her understanding the meaning of Jack’s sacrifice – to enable her to truly become the star he always saw – helps her pull through. The film ends at a tribute concert in Jack’s memory. “My name is Ally Maine.” she declares before singing “I’ll Never Love Again”, a song based on their relationship they wrote together while he was recovering. A flashback shows the pair singing, she looks through the camera at the audience, the end.

Why A Star Is Born’s Ending Is Bad

Removing the ending of all presentation and self-imposed importance (a character looking into the camera at the end is an overused trope that Cooper simply doesn’t earn), in just writing down the events of A Star Is Born its problems should be obvious.

Jack decides to kill himself to save his wife, committing suicide because it’s the only way to set her free. This comes about two hours into a film which has slowly built up its numerous interpersonal relationships, and so comes as a drastic and rather unearned turn. Now, there is an argument to be made about accuracy to the unpredictability of mental illness, but given the intimacy audiences had with both Jack and Ally up until this moment, that doesn’t fit with the rest of the film. A Star Is Born, plainly, presents suicide as the only way out. It’s meant to come across as a selfless act but still values success as a true route to happiness, meaning anything emotional about the “gesture” is laced with hypocrisy.

But it’s what comes after and Ally’s coming to terms with her loss that’s so disquieting. For all her innate talent being the drive of the story and her freely made decision to step back what motivated Jack to kill himself, the final scene makes everything about Jack; the mononymous singer for the first time takes on her husband’s surname at his concert, where she performs a song that he helped her write in her original singer style. The suggestion is meant to be that Jack was holding her back, but in the shadow of the previous two hours the strange implication is that the act of a true star being born came from the adversity of Jack’s sacrifice. Making Ally’s success symbiotic to her dead husband is already heavily in the text of the film, but the final scene makes her final ascension even more indebted to his drastic act.

It’s hard to not read A Star Is Born‘s ending as trivializing suicide down to a plot point to give the fundamentally broken male lead the defining role in its female protagonist’s arc. It’s a weird move to make in 2018, although don’t believe this is just the product of an 80-year-old movie being remade. There’s something flawed at the heart of A Star Is Born.

Page 2: A Star Is Born’s Ending Has Always Been Bad

The True Story Behind A Star Is Born’s Ending Explains The Problem

There have been four versions of A Star Is Born: the 1937 Hollywood-skewering original starring Janet Gaynor and Frederick March, the 1954 musical starring Judy Garland and James Mason, the 1976 shift to the music industry with Barbra Streisand and Kris Kristofferson, and the latest Cooper/Gaga release. Each one has its own quirks, but all endeavor to tell the same story of love and fame intertwined, and all have the same basic ending. But the 1937 version isn’t the start. While A Star Is Born‘s narrative is a fiction, it’s very much based on truth; each movie is rooted heavily in the entertainment industry of the time – Hollywood for the 1937 and 1954 versions, music for 1976 and 2018 – and aims to tell an encapsulating story. There are some real-life events that inspired it.

The established star falling for an unknown as she climbs to the top was seen in actors Barbara Stanwyck and Frank Fay’s relationship, with the pair marrying in 1928 when the former was an unknown after starring in a Broadway show together. Their marriage fell apart after she rose above him and he fell into alcoholism. They separated in 1935 after seven years of marriage, two years before A Star Is Born was released. This appears to have been composited with the death of silent film actor John Bowers, who died at sea in 1936 after failing to win a part (whether it was a suicide or not is unclear). There are others (as we’ll see) but these are regarded as the ones who powered the 1937 version.

Related: Lady Gaga Fans Are Trolling Venom With Fake Bad Reviews

Of course, there’s one key distinction between inspiration and movie: in real life, it was two unrelated stories. There are the famous lovers who piggyback success and the past-it star who takes his own life, but in all cases these two aspects are entirely independent; the woman goes on to greater success by cutting the man out, while elsewhere another man falls from grace. Both stories epitomize Hollywood together, and taken alongside each other rather than melded have an ingrained believability. A Star Is Born trades that for something more streamlined in having the suicide be the culmination of the romance, but it’s also idealistic and wistful, losing the real moral of either.

This is reflected in what is regarded as a proto-Star Is Born, the 1932 film What Price Hollywood? Released five years before the 1937 version and produced also by David O. Selznick (and directed by George Cukor, who was approached for the first A Star Is Born and directed the first remake), this is regarded as something of a dry run at the story. Obviously from the release year it can’t share the same real-life inspirations (although, because this is the Golden Age of Hollywood, there are others pointed to), but the core concept and even smaller story beats are there, albeit with one massive difference: the leads are not romantically involved. Lowell Sherman’s Max drunkenly finds Constance Bennett’s Mary and helps make her a star, eventually killing himself after he sees realizes how far he’s fallen and is hurting his friend, while Mary’s suffers an ill-fated marriage that breaks down due to her absences filming and is reconciled at the end.

Watched today, What Price Hollywood? has a cynicism about the film industry ahead of its time despite ultimately being a movie romanticizing Hollywood – and at the core of this is the tragic story of Max and its impact on Mary’s life. The title question is apt.

How The Remakes Have Tried To “Fix” The Ending

In contrast to What Price Hollywood?, A Star Is Born 1937 carries a self-awareness and charm, but in bridging the romantic and the career side of protagonist Esther creates the problematic suicide reading. It’s not helped by dated elements, including the defining part of Esther’s ascension being the actress known as Vicki Lester taking on her husband’s name with a declaration “This is Mrs. Norman Maine“. It works given the time period, but even 16 years later needed an update.

Related: Watch the Trailer For A Star Is Born

The 1954 version is, for the most part, a beat-for-beat remake, just with dance number expansion to make it a musical, but it does make some strides to justifying the ending. The toll that caring for a drunk has on Judy Garland’s Vicki Lester is shown gradually, most upsettingly in an off-stage breakdown she immediately returns to filming from: an unavoidable presentation of the line between art and performer. But, ultimately, it ends in the same way: Norman Maine overhears Vicki’s plans to quit acting to care for her husband, so he feigns going for a swim and drowns himself; after a traumatic period and being unmasked at her funeral (the invasion of the press), Vicki returns to the public eye where she declares herself “Mrs. Norman Maine“. Every issue discussed is here.

The 1976’s A Star Is Born is overall incredibly melodramatic, nowhere less than its handling of the ending. What it should be praised for is its attempts at giving the female lead a greater sense of autonomy: throughout Streisand’s Esther makes decisions that power the narrative, not just being led along by Kristoffersen as those who came before her, but that’s lost thuddingly in the finale. After his meltdown, John Howard has imposed isolation – not rehab – and when returning home immediately sleeps with a reporter wanting an interview for Esther. The couple tries to power past this, but John figures he’s still broken and crashes his car at high speeds. Again, Esther is sad before taking his name (and singing at a tribute event).

Like we’ve already explored with A Star Is Born 2018, all versions have tried to provide their own contemporary spin on the tale to iron out its kinks, yet all wind up having to repeat the same suicide-anger-name triple-tap that doesn’t belong. A degree can be accounted to the changing times, but that ignores that the original trio of movies released over nearly 40 years, and that Cooper wasn’t able to address it either.

Page 3: Why Bradley Cooper Couldn’t Fix A Star Is Born

Why Bradley Cooper Can’t Fix A Star Is Born

Bradley Cooper certainly tries to bring a modern slant to the worn tale of A Star Is Born. He invests heavily in making Jack and Ally’s opposite trajectories operate independently – Jack is suffering from tinnitus before he’s heard a note of “La Vie En Rose”, while Ally’s SNL appearance is deemed to contradict his advice – while making the love story more immediate. It’s a bigger story, more personal and considerably more consummately paced.

But, like all the others, the ending hits a snag. And some of his decisions make it worse. The method of final descent is different, with the awards show upset and rehab undone not by Maine going off the rails again as in every other take, but rather by Ally’s agent calling his supposed bluff. It’s implied from the British Rez knowing when exactly Jackson first toured across the pond that he was once a fan, now disillusioned with his hero, making him a millennial scapegoat to any affronting reading.

Related: 2018 Fall Movie Preview: The 30 Films to See

This generational push and pull could have been what sent A Star Is Born to greatness. Sam Elliott’s speech about there only being twelve notes played over and over, with the majesty coming from how the artist uses them is a beautiful sentiment that sees Cooper self-justifying another remake and appears like a zen view on the entertainment business that birthed it. Except it isn’t, because this idea is also trying to explain the ending, claiming that the music industry is cyclical and that stars are born and then new stars are born later; Jack’s death is enabling that. What the film seems to miss is that for one state to ever enter another, a star must always die. Ally will fall too. The raw textual argument is that the failures are as eternal as the successes, raising the question of worth, yet the film provides no further exploration and presents it as somehow immediately uplifting.

And that’s the hump that A Star Is Born 2018, like its predecessors, can’t get over. The story thinks it’s a biting, self-aware take on itself, but it’s too close to the subject to see that it’s really just propagating a harsh cycle. This isn’t helped by the film being weighted by so much – the casting of Lady Gaga, his writer-director-producer-actor whammy, even Sam Elliott as the Sam Elliott-type – although those concerns are also the key explanation for what’s really going on.

A Star Is Born Only Exists Because Of Ego

Throughout this article, there’s been one question dangling unspoken. Why are there four versions of A Star Is Born anyway? It’s a story that is flawed and dated, on a topic which has been tackled in more films than any other. Yes, each movie got serious Oscar nominations and wins, but that alone isn’t enough to justify going back. The true answer is enlightening.

1954’s A Star Is Born was conceived as a bid to restart Judy Garland’s career after it stalled over the 1940s. 1976’s A Star Is Born was Barbra Streisand’s attempt (along with then-husband Jon Peters) to boost her standing in Hollywood. And 2018’s A Star Is Born is Bradley Cooper’s grand attempt to win the Oscar that he believes he deserves (his entire post-Hangover career is a carefully played game of chess with a Golden Baldie the King). There are studio concerns too (before Cooper, Warner Bros had been attempting to get a remake off the ground since the early 2010s, although as a Beyonce vehicle has the same career expansion goals), but those are the primary purposes of each version. A Star Is Born is a vanity project on repeat.

Related: A Star Is Born Is An Oscar Favorite – But Could An Infamous Producer Hurt Its Chances?

Now, vanity projects needn’t be bad, and indeed a lot of good comes from each of these attempts. Indeed, each was ultimately successful in both their primary and commercial goals: Garland’s career was rejuvenated; Streisand won her second Oscar; and Cooper’s currently the front-runner in multiple categories for next year’s Academy Awards.

But this aspect appears to be why each version of A Star Is Born struggles to understand the real meaning of its ending. Each powering force believes this movie will be what takes them being a Norman/Jack Maine to a new Esther/Ally while missing that it’s built into the story to be impossible. They believe so much in the two contradictory Hollywood legends wholesale, so don’t see that the story is almost warning against such a thing.

A Star Is Born Is No Longer Needed

In recent years, we’ve seen Hollywood’s reliable rotation of movies about itself take a genuinely incisive slant. 2015’s Best Picture Winner Birdman was an ostentatious exploration of ego that too ended with the protagonist committing suicide, but there it was with the wry critique that fame and adoration are fleeting and that such a bold act was the only way for the self-involved hero to reach the heights he dreamed of. Then there’s 2017’s almost-Best Picture Winner La La Land, which was a celebration of Hollywood-gone-by looking at love in a city of stars, eventually concluding that success required the sacrifice of the central relationship.

Together, these take on all the ideas that A Star Is Born is playing with and apply them in a more thoughtful way. The messages are more widely applicable and their endnotes have considerably less of the hypocrisy. Birdman and La La Land may find joy in the arts, but they also uncover the trials of creativity and fame, keeping the brutal truths in earshot while presenting from a position of success.

A Star Is Born 2018 is a good movie, an undeniable achievement for both Bradley Cooper and Lady Gaga. But there is a flaw at the heart of the tale that just doesn’t ring true. Unless it’s made with a completely revisionist, ego-less eye, in twenty years we do not need another one.

More: Every Version Of A Star Is Born Ranked, From Garland To Gaga

Source link
2018-10-06 01:10:52 – Alex Leadbeater

Richard Dreyfuss Thinks Jaws Can Be Improved By Adding a Digital Shark

Jaws actor Richard Dreyfuss thinks the classic shark thriller should be re-released with a CGI shark in place of the movie’s notoriously awful-looking mechanical beast. Upon its release in 1975, Steven Spielberg’s Jaws became a sensation on its way to grossing a then-astonishing $260 million domestically (which translates to $1.187 billion when adjusted for ticket price inflation).

But before the movie’s release to enthusiastic audiences, few in Hollywood believed the thriller had much of a chance to succeed. The film was plagued by all sorts of production issues, not the least of which was the clunkiness of the mechanical shark (nicknamed “Bruce“) that was created to menace the movie’s stars. As a result of the shark’s fake-ness, Spielberg elected to minimize its on-screen presence and instead use indirect methods to create thrills. Many would argue the movie became more terrifying as a result of Spielberg’s technique to overcome the limitations of his shark.

Related: Steven Spielberg Had An Awesome Idea for Jaws 2

Though Jaws is still considered a classic today, the movie’s dated special effects – and especially that fake-looking shark, which still gets plenty of screen time despite Spielberg trying to keep it hidden – arguably stand in the way of younger audiences embracing the film. Now one of the movie’s stars, Richard Dreyfuss, is calling for modern-day VFX experts to step in and remedy the Jaws mechanical shark problem. Speaking to Deadline, Dreyfuss said he supports CGI being used to replace the fake shark with a more convincing beast, so that younger audiences can see the film and fully appreciate what it has to offer. Dreyfuss said:

“I think they should do it, it would be huge and it would open up the film to younger people. Is that blasphemy? No, no, I don’t think so. The technology now could make the shark look as good as the rest of the movie.”

Indeed, Jaws is much more than just a movie about a big, fake shark attacking people. The film also contains some all-time classic performances from stars Roy Scheider, Robert Shaw, and Dreyfuss as the three men charged with killing the shark after it menaces the beaches of Amity at the height of the summer season. Many cite the extended sequence when the three principals hunt down the shark in Quint’s too-small boat as one of the best examples in movie history of characters coming together under pressurized circumstances. Overall, the blockbuster contains some highly praised examples of thriller technique and many point to the film as exemplifying visual storytelling.

Naturally, there are purists who will argue that Jaws is perfect as it is – even with a bad-looking shark – and should be left alone. It’s also fair to wonder if fixing the fake shark problem would be enough by itself to make the movie engaging to younger audiences. Though Jaws certainly has its moments of tension, it also has longer periods where nothing scary is happening and characters are just interacting. The storytelling is not nearly as fast-paced as what audiences have become used to in modern moviemaking, and that may be a turn off. Then again, in recent years, audiences have seemed more willing to embrace horror filmmaking that doesn’t necessarily rely on relentless scares. The success of movies like Hereditary and A Quiet Place might suggest that modern audiences are willing to sit still through movies that feature slow-paced build-ups.

One thing that is certain: sharks are still popular in today’s culture. That was proven again this year with the release of The Meg, a shark movie with state-of-the-art CGI that grossed $142 million domestically. Of course, The Meg is considerably less subtle than Jaws, and is much less reliant on good performances and old-school thriller technique. In the years since Jaws came out, shark movies have generally become a lot cheesier, unfortunately.

More: James Gunn Reveals His Top 50 Horror Movies for Halloween

Source: Deadline

Source link
2018-10-03 02:10:10 – Dan Zinski

Kevin Smith Thinks Hawkeye Getting His Own TV Show is a Terrible Idea

Kevin Smith is not at all interested in a Hawkeye TV show, and said as much recently on his podcast. While the character’s absence from Avengers: Infinity War had some fans wishing for his return, clearly that’s not how everyone feels.

The recent announcement that Loki and Scarlet Witch would be receiving their own limited series on Disney’s as yet to launch streaming service no doubt has fans wondering what other MCU characters might get their own spinoffs. Marvel’s confirmed that Thor’s adopted brother and Vision’s love would not be the only characters to have shows on the new streaming service, but so far, no other announcements have been made.

Related: Kevin Smith Shows Off New Skinny Physique After Dropping 50-Plus Pounds

While brainstorming the most ideal MCU characters to receive such treatment on his Fatman Beyond podcast (via Cinema Blend), Smith shot down a suggestion from the audience that posited Hawkeye as the star of his own vehicle:

Oh, God, come on. Didn’t they take like…Remember in the middle of Age of Ultron, they showed us a whole episode of The Hawkeye Show and nobody wanted to watch it? We all tried to change the channel but it was a movie so we had to sit through it and shit. Yeah, the Hawkeye show I’d be interested in is like, [in the] opening episode he gets killed, and we spend the rest of the episodes with everyone going, ‘He was a pretty good guy.’ And then they go on some adventure and shit like that.

To be fair, while Smith’s answer sounds flip, he goes on to make the point that despite being wicked cool in combat and possessed of a loyal fanbase, Hawkeye simply doesn’t have the enduring popularity to ensure the return on investment Disney would require from such a venture. He and co-host Marc Bernardin also discussed the merits of a Yondu series that either brought him back to life or simply explored his backstory, as well as a similar idea surrounding Bucky Barnes’ life as the Winter Soldier prior to reuniting with Steve Rogers. They also practically salivated at an audience suggestion about a series that explored the life of King T’Chaka during his days as Black Panther in the 90s.

Listening to those suggestions, Smith’s disdain for the idea of a Hawkeye series makes more practical sense than comes across upon first reading of that quote. While there are loyal Hawkeye fans who want the archer to have a solo movie. and even Jeremy Renner’s expressed his support for such an outing, the idea of a series – even a limited one – surrounding the character seems like a recipe for disappointment. On an unrelated note, the above quote should go a ways toward dispelling the notion that Smith is on the Marvel payroll and his positive opinions have been purchased ahead of time.

More: 20 Crazy Details About Hawkeye’s Body

Source: Fatman Beyond (via Cinema Blend)

Source link
2018-09-30 06:09:08 – Alexandra August

Game of Thrones Star Thinks Series Finale Will Divide the Fanbase

Game of Thrones‘ own Sansa Stark actress has a feeling that the series finale could create a divide among the show’s loyal fanbase. The final season of the acclaimed series has been the epicenter of heightened curiosity, especially since filming wrapped back in July. Avid fans have been kept waiting over a year since the release of the most recent episode, and anticipation – like the threat posed by the white walkers – continues to mount.

Creators David Benioff and D. B. Weiss decided their series would end after an eighth season, much to the dismay of the author of the book series the show is based on: George R.R. Martin. The fantasy drama may be coming to a close, however HBO, swift to appease the show’s large fandom, has already begun work on a prequel series that is set to begin filming in February 2019.

Related: Game of Thrones Season 8: Peter Dinklage Reflects on Final Day of Filming

Speaking with IGN, Sophie Turner – known for her role as Sansa – provided details about the finale. She referenced how sad it was to read “End of Game of Thrones” on the final page of the script and expressed how the actors found the ending to be “satisfying“. Conversely, Turner is not sure how fans will view it, stating “I think a lot of fans will be disappointed and a lot of fans will be over the moon.”

Sansa Stark goes though some of the most dramatic changes of any character in the series. She begins her journey as a spoiled young girl, and through a slew of traumatizing experiences, becomes a stronger, more adept woman. In her interview, Turner touches on this transformation, going even further to claim that Sansa ends the series as perhaps the “most self assured character in the show.” It’s perhaps difficult to imagine the naive girl who dreamed of marrying Prince Joffrey becoming that well-adjusted, but fans may just have to wait and see.

There’s been buzz around the Game of Thrones series finale since its announcement. Then rumors began to circulate about the multiple endings the show may or may not film. Then, as filming wrapped, fans were teased with an onslaught of tantalizing, yet vague details from the stars of the show. With this recent announcement of a perhaps polarizing ending, fans are thrown another curveball. What could possibly divide the Game of Thrones fandom? Perhaps Game of Thrones will end similarly to fellow HBO classic, The Sopranos, with a vague open-ended finale that solidly divides fans into two camps. Maybe, like the perpetual Tony lived or Tony died discussion, fans will be left forever debating the fate of Jon Snow.

More: Game of Thrones Final Season Might Premiere Later In 2019 Than Expected

Source: IGN

Source link
2018-09-28 08:09:40 – Gabby Means

Justice League’s Ray Fisher Thinks Cyborg Would Be Costly To Make

Ray Fisher talks about the possibility of making a Cyborg standalone movie, saying that it may cost around $200 million considering all the VFX work needed in the film. It’s no secret that Cyborg’s Justice League story was significantly changed after Joss Whedon took over reshoots from director Zack Snyder. Instead of exploring Victor Stone’s life before being cybernetically reconstructed – which includes his football career, as well as his relationship with both his mom and his dad – the ensemble film barely tackled his origin story. And whatever was revealed in the movie was done by exposition rather than actually showing previously filmed sequences. Considering his ties to the Mother Boxes, he was a used as a plot device more than anything.

However, fans were given hope that they’ll know more about him when Joe Morton (Silas Stone) confirmed a Cyborg solo movie is still in the DCEU cards and implied that some of the hero’s deleted scenes in Justice League might eventually end up in his standalone. Despite this, Fisher maintains that he’s not aware of any plans about his solo superhero flick.

Related: Is the DCEU’s Cyborg Movie Still Happening?

Appearing at a panel during Heroes & Villain Fan Fest (via ComicBook) over the weekend, Fisher talked about the chances of seeing him suited up as Cyborg in his own solo adventure. Rather than giving any false hope the project is coming, the 31-year-old candidly opened up about the factors that may be hindering the film to push through, specifically money-wise.

“I don’t know. I can’t comment on that specifically, because they don’t tell me anything until the very last minute. There’s a ton of people making those kind of decisions behind the scenes. And it would be a very, very costly movie to make because it is so CGI heavy with Cyborg, because I’m the only member of the League that’s not in a practical costume. You’re going to be looking at $200 million just to make it. So it’s one of those things you have to take into consideration. It’s a numbers game for some people at the end of the day.”

Despite Fisher’s realistic way of thinking, that doesn’t mean he’s already giving up on the possibility a Cyborg standalone will come to fruition. He remains optimistic about it and urges fans to continue campaigning for the movie. “If we keep making noise, it can happen. It’s about what the people want. And that’s what people understand, that’s what they recognize,” the actor said. Additionally, while there are no concrete plans for his headlining project, he revealed last month that Fisher is not abandoning the DC role.

If Warner Bros. decided to skip a Cyborg standalone, he’ll be the only original member of the Justice League that won’t have a solo film. Both Superman and Wonder Woman have had their first films (with Wonder Woman 1984 in production), and Aquaman arriving later this year, while the Flash’s and Batman’s individual adventures are in development and could hit theaters by 2020. Admittedly, out of the six DC characters,  Cyborg has the least fanfare, which could be a factor when it comes to people’s interest in seeing his solo film. But if there’s anything that the MCU has proven, lesser-known comic book heroes can be hotshot film characters if given the right story. The fact that Cyborg’s mythos hasn’t really been explored on the big screen gives Warner Bros. the creative freedom to create his own story without the burden of being compared to other movie iterations of the character.

More: The Cyborg Movie Could Be Blocking the Snyder Cut’s Release

Source: Heroes & Villain Fan Fest (via ComicBook)

Source link
2018-09-10 07:09:19 – Ana Dumaraog

Captain Marvel’s Ben Mendelsohn Thinks Skrulls Are “Misunderstood”

Ben Mendelsohn believes Skrulls are just misunderstood aliens in Captain Marvel. Marvel Studios’ first film in 2019 is a major one for the Marvel Cinematic Universe. Brie Larson will be the first female to lead an MCU film as Carol Danvers, aka Captain Marvel. It’ll also be the first MCU film set in the 1990s, a currently unexplored era in the franchise. However, the movie is also the first to feature Skrulls in the MCU as well, and directors Anna Boden and Ryan Fleck have brought their Mississippi Grind star Ben Mendelsohn onboard to lead the shapeshifting race.

The Skrulls will be a major part of Captain Marvel, as the film heavily revolves around the Kree-Skrull war. As Talos, Mendelsohn will be at the forefront of the dispute, but also helping lead a hopeful invasion of Earth. The war, and the Skrull’s larger plans for world domination will put them on the opposite side of Captain Marvel, but Mendelsohn asserts that the invading alien race is just misunderstood.

Related: Captain Marvel Image Provides First Look at MCU Skrulls

EW spoke to Mendelsohn as part of their Captain Marvel cover story, which included the first look at Larson suited up, and he quickly came to the defense of the “bad guys” in the movie. From his perspective, it’s the Kree that are causing all the problems, and the Skrulls’ intentions are just not being interpreted properly.

We gotta deal with the Kree. The Kree are punks. And the Skrulls, I mean, we’re just misunderstood. At the end of the day, the Skrull is really misunderstood.

Mendelsohn is clearly playing into his role for the entirety of the interview, so it isn’t likely that audiences will walk out of Captain Marvel agreeing that the Skrulls’ plans and motives were just misunderstood. He lets Talos show through a bit too much, as he’s talking about how great the Skrulls are, but asserting how it’s actually the Kree who are the bad guys. It likely won’t be so black and white/good and evil in the movie though. The Skrulls do want to take over a planet (a traditional goal for villains), but the Kree have plenty of less-than-upstanding members as well. Fans already know Ronan the Accuser (Lee Pace) and Korath the Pursuer (Djimon Hounsou) will turn bad, and we’re already theorizing Jude Law could do the same.

Whether the Skrulls are simply misunderstood or not, it’s fun to see Mendelsohn completely buy in to that mindset. Captain Marvel likely won’t be the last time the Skrulls appear, as Marvel may be laying the foundation for the Secret Invasion storyline to take shape in Phase 4 and beyond. If that arc is explored, then the Skrulls, and maybe even Mendelsohn, could return in future movies. Mendelsohn’s hoping to join the pantheon of memorable Marvel villains too, so whether he sees himself and the Skrulls as bad guys or not, fans can only hope they deliver as such in Captain Marvel.

MORE: Two 2019 Marvel Movies Will Feature Very Different Skrulls

Source: EW

Source link
2018-09-07 03:09:07 – Cooper Hood

William Shatner Thinks He Doomed Star Trek 5 By Directing

Just shy of 30 years after the fact, William Shatner has acknowledged in a new memoir that directing Star Trek V: The Final Frontier may have been a mistake. While the franchise is enjoying a bit of a resurgence with Star Trek: Discovery and an upcoming Emmy Governor’s award, it’s had some rough spots along the way. The odd-numbered entries in the long-running film series have always suffered a reputation for lack of quality, but most agree that the fifth film represented the bottom of the barrel for the original crew of the U.S.S. Enterprise.

Criticized both for being too religious for a Trek film and bearing too many similarities to the not-well-received Star Trek: The Motion Picture, this outing saw the Enterprise forcibly commandeered by Spock’s long-lost half-brother Sybok (Laurence Luckenbill), to undertake a literal quest for God. While some of the comedy bits and the relationships between the characters drew praise, most dismissed the film as a mess that tried to answer a question that no one asked, “What does God need with a starship?”

Related: Star Trek: 20 Things Wrong With The Movies We Choose to Ignore

Ahead of Shatner’s new book Live Long And… What I Might Have Learned Along The Way hitting shelves, the website Trek Movie has offered up some tidbits gleaned from its pages. Among them is a recollection that when producers rejected Shatner’s original idea (which was inspired by televangelists, and would have revealed “God” as actually being the devil), they offered him a deal: compromise on the script and he could still sit in the director’s chair. Shatner now believes that his willingness to alter the story “doomed the picture from the beginning.

While whether or not keeping the original idea of having Kirk square off with Satan in order to rescue Bones and Spock from Hell would have saved the film from infamy is debatable, at least Shatner now acknowledges that he bears some responsibility for an entry that almost killed the franchise. Along with that admission, the article describes some other interesting selections from Shatner’s memoir, including an experience with magic mushrooms in Australia. Of course, there’s absolutely no indication that those two stories are in any way related, but one does have to wonder.

These days Shatner seems to be doing just fine, whether he’s angling to do a cameo in Quentin Tarantino’s proposed R-rated Star Trek movie, or pressing on Twitter for Star Wars’s Carrie Fisher to get a star on the Hollywood Walk of Fame. While CBS is intent on restoring the franchise to it’s former glory, and another Enterprise captain is set to reprise his role in a new show on the network’s All Access streaming service, Shatner seems content to enjoy a less hectic pace of life than a regular TV role would allow. After a lifetime of adventures (and misadventures) both in front of and behind the camera, he’s probably earned the break.

More: CBS Wants Star Trek TV Shows Airing All Year Long

Source: Trek Movie

Source link

Chandler Riggs Thinks Carl’s Aging on The Walking Dead is a Plot Hole Too

Like many fans of The Walking Dead, Chandler Riggs is incredibly confused about how his character Carl Grimes managed to age so quickly relative to the other people on the show. When Walking Dead first began in 2010, Carl was about eleven years old. But by the time Carl exited the show in season 8, he looked to be at least in his late teens – even though only about 2 years had passed in the story.

Carl’s aging became the butt of jokes over the years, as he seemed to speed through puberty at a completely unnatural rate. Things became even stranger when Carl’s mother Lori gave birth to her and Shane’s baby Judith, and Judith seemed to get stuck in infancy while her half-brother experienced accelerated development. Of course, the show put an end to all the Carl speculation by killing off the character in the middle of season 8, angering fans of the comic who expected Carl to stick around for a lot longer.

Related: Walking Dead: 15 Things You Didn’t Know About Carl Grimes

As it turns out, the actor who played Carl is just as confused as everyone else about Carl’s inexplicable aging process. In a new Screen JunkiesSerious Questions” segment, Riggs asks what many Walking Dead fans have asked about Carl, and theorizes as to what may have caused his head-scratching growth spurt.

Hilariously, Riggs wonders if Carl got a mutated version of the walker virus that caused him to grow up so fast. “I’m gonna look like Hershel when I’m thirty,” Riggs laments. Elsewhere in the segment, the actor also addresses other issues that have cropped up over the years Walking Dead has been on the air, including the fact that zombies are called “walkers” instead of zombies. Riggs wonders, if zombies don’t exist in the pop culture of The Walking Dead’s world, does that mean their Michael Jackson never made his “Thriller” video? Also, how come the gasoline never runs out? And what happens to all the walker bodies? And why does Negan always wear his leather jacket even though it’s clearly very hot and humid out?

Finally, Riggs addresses the real elephant in the room when it comes to his character: Why did his dad name him “Coral?” As it turns out, Rick was a huge fan of NBA Hall of Famer “Koral” Malone. Chandler Riggs may no longer be a cast member on The Walking Dead, but it’s obvious that he still has the show on his mind. And since he’s no longer employed by the series, it’s possible for him to now join the rest of the internet in poking fun at The Walking Dead and its many plot holes.

More: Walking Dead Season 9: Every Update You Need To Know

Source: Screen Junkies

Source link

Adi Shankar Thinks Star Trek 4 Can Work Without Kirk

Producer Adi Shankar believes it’s possible to make Star Trek 4 without the character of James T. Kirk. Chris Pine has played the fearless captain of the USS Enterprise three times since taking over the role in 2009 and is arguably the face of the rebooted franchise. That’s what made it surprising when talks between Pine and Paramount broke down while negotiating the actor’s deal for the upcoming fourth film. Pine was looking for a larger payday in light of the success of Wonder Woman, and the studio would prefer to keep costs down.

It goes without saying Kirk is an integral part of Star Trek lore, so the notion of Pine leaving the franchise is quite alarming. Some fans, including Kevin Smith, doubt the sequel could even work properly without the participation of the leading man. But if Paramount never comes to terms with Pine, it wouldn’t necessarily spell doom and gloom for Star Trek 4. It could be an exciting opportunity for the filmmakers.

Related: Star Trek 4 Casting Main Female Villain

Screen Rant asked Shankar his thoughts on Pine possibly stepping down from Star Trek, and he had a very interesting response about the possibilities it presents:

“Losing Pine and Kirk is not a big deal and kind of cool. Actors don’t matter, stories do. This is the universe presenting an opportunity to do something different and boldly go where no suits have gone before.”

Kirk has been the main protagonist in the Kelvin Timeline films, going through arguably the most substantial character arc in the franchise. At first glance, it would seem odd to move forward with Star Trek 4 if Pine wasn’t onboard, but this property isn’t defined by a single character. Especially since other members of the principal cast are signed, Paramount could decide to move forward and accept the challenge of telling a story sans Kirk. Perhaps a new character assumes control of the Enterprise, or a pre-existing crew member is promoted. Both of those scenarios have the potential to be quite fascinating, serving as a fresh angle in addition to whatever the villain has in store. Obviously, Paramount would prefer to have the fan-favorite Pine back, but if he leaves for good, there are ways to salvage the film.

Pine wasn’t the only Trek veteran Paramount was having issues with. Negotiations also fell apart with Chris Hemsworth, who was planning on reprising his role as George Kirk, Jim’s father. Hemsworth, of course, has come a long way since his brief part in the opening of 2009’s Star Trek, becoming a foundational figure of the Marvel Cinematic Universe. Paramount would need an entirely new concept if they lose both Kirk boys for good, but as long as they adapt the mentality of Shankar and don’t panic, it could work out for the best. As a studio, they’re a little thin on tentpoles (Transformers is in a state of flux), so whatever they end up doing for Star Trek, hopefully it delivers another crowd-pleasing hit.

MORE: Zachary Quinto Says Tarantino’s Star Trek Brings Back Abrams Cast

Source link