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20th Century Studios has dropped the first behind-the-scenes featurette for Amsterdam, its upcoming all-star mystery comedy which is currently slated to arrive in theaters on October 7.
The video highlights the film’s acclaimed leading trio, consisting of Christian Bale, Margot Robbie, and John David Washington, as they discuss their characters’ unique friendship and what it’s like working with each other.
Amsterdam is written and directed by David O. Russell, which serves as his feature-directing comeback after nearly seven years, with his most recently directed film being 2015’s Golden Globe-nominated feature Joy. This project also reunites Bale with Russell after working together on The Fighter and American Hustle.
“A fascinating and richly intricate tale that brilliantly weaves historical fact with fiction for a timely, cinematic experience, 20th Century Studios’ and New Regency’s original crime epic is about three close friends who find themselves at the center of one of the most shocking secret plots in American history,” reads the synopsis.
The film stars Christian Bale, Margot Robbie, John David Washington, Chris Rock, Anya Taylor-Joy, Zoe Saldana, Mike Myers, Michael Shannon, Timothy Olyphant, Andrea Riseborough, Taylor Swift, Matthias Schoenaerts, Alessandro Nivola, Rami Malek, and Robert De Niro.
Amsterdam is being produced by Arnon Milchan, Matthew Budman, and Anthony Katagas for New Regency, with 20th Century Studios set to distribute the film.
Marilyn Monroe's on-screen costumes are almost as iconic as her. Think of the hot pink strapless gown she wore to sing Diamonds Are a Girl's Best Friend. Or the white halter cocktail dress that billowed up over a subway grate in...
Netflix has released the final teaser for The Midnight Club, Mike Flanagan’s coming-of-age supernatural horror drama that will be available for streaming on October 7. The video is presented as a promotional advertisement in which Heather Langenkamp’s Dr. Georgina Stanton welcomes you into Brightcliffe Hospice. It also continues to highlight the different kinds of terror that the young Brightcliffe patients will be facing throughout their stay at the mysterious hospice.
Based on Christopher Pike’s 1994 novel, The Midnight Club is set in Brightcliffe Hospice, a hospice for terminally ill teenagers, where a group of patients begins to gather together at midnight to share scary stories. The group makes a pact, swearing that whichever of them dies first will contact the others from beyond the grave.
The limited series will star horror icon Heather Langenkamp (A Nightmare at Elm Street films) as she plays the role of an enigmatic doctor who runs the hospice. Joining her are Adia, Igby Rigney, Ruth Codd, William Chris Sumpter, Aya Furukawa, Annarah Shephard, and Sauriyan Sapkota, who will all portray “the titular club of terminally ill young adults.” It will also feature Zach Gilford, Iman Benson, Larsen Thompson, Matt Biedel, Crystal Balint, William B. Davis, Crystal Balint, and Patricia Drake.
The Midnight Club series is created and executive produced by Mike Flanagan, who is also serving as the showrunner. Executive producers are Leah Fong, Julia Bicknell, and Trevor Macy.
This marks Flanagan’s latest collaboration with Netflix after working together on The Haunting of Hill House, The Haunting of Bly Manor, and Midnight Mass. He is currently in production for his fifth horror project for the streamer, which is The Fall of the House of Usher.
Film distributor The Asylum is back at it yet again, this time with a sci-fi film that isn’t entirely a mockbuster of another film but does sport the same name as a hit anime series.
Their latest film, titled Attack on Titan, doesn’t feature any gigantic creatures or ziplining acrobats but does focus on a group of space travelers who are fighting against an alien threat that poses a massive threat to the galaxy.
Check out the trailer for Attack on Titan below:
For those familiar with The Asylum, this should come as no surprise, as the distributor often releases films to go along with other major blockbusters and franchises. Previous films from The Asylum include the Sharknado series, the Syfy original series Z Nation, and more, including a recent Thor: Love and Thunder-timed film.
ComingSoon Editor-in-Chief Tyler Treese spoke with voice actress Courtenay Taylor about her role as Kira in Mortal Kombat Legends: Snow Blind. The film will be available digitally and on DVD and Blu-ray on October 11.
“When Kano and Black Dragon mercenaries become determined to take over Earthrealm, undisciplined Kenshi seeks tutelage from retired Kuai Liang to stop Kano from decimating all of Earthrealm,” reads the film’s synopsis.
Tyler Treese:What’s your relationship been with Mortal Kombat? Were you a fan of the games or the movies?
Courtenay Taylor: I’m a woefully bad gamer, but of course, I’m familiar with the Mortal Kombat “Finish Him” phrasing. Then when I first moved to Los Angeles, I was friends with a girl, a woman named Sandra Hess, who had portrayed Sonya Blade in one of the live-action projects. So I was familiar with that, so I kind of knew that. I think that was from the 90s version of it? Then I read up a little on Kira and saw what she looked like. But I hadn’t really played the games or anything, so it was cool to see. Some of my other friends have been in the universe, so I was familiar with some of their work, but this was pretty new to me.
Kira is one of Kano’s mercenaries in the Black Dragon clan. What did you find most interesting about her character?
I love that she was so good at being bad. I loved the way they portrayed her. They took her in a much more punk rock direction, which I am especially fond of, having been one myself in the past. . I just loved how powerful she was.
You get a great fight scene with Kenshi in the film. What’s your approach to fight scenes? Do you really like doing all the wild grunts and stuff?
I do. I think that in my past life, I boxed and I kickboxed and I ran a fitness gym. I’ve been told by directors that it’s been refreshing because I’ll come in and make any disgusting noise you want. Really, I think physically, [it] has freed me up when doing this kind of work, because I know what it feels like to take a punch or take a kick. To get knocked out, to administer damage to someone. So I’m familiar with that and I think I’m able to bring some realism to that, but also, the challenge of watching her amazing stunts that she does … I am not familiar with knife work or anything like that. So it was really fun to watch the footage and bring both the physical background that I have as well as my imagination to being able to do stunts that obviously I’ve never done before in my life.
Kira’s not the most well-known Mortal Kombat character, so this might be the first time that some fans are being introduced to her. How exciting is it to be that vessel of showing this cool character off to all these fans?
I loved playing her. I would love to play her again. I think that because I’m fairly new to the Mortal Kombat universe that it’s fun to be on par with those fans as well. So I think I can bring in some fresh perspectives because it’s such a huge, huge franchise. I think, in a way, it serves me to have not been saturated with it, you know? To be able to bring something … sometimes when you’re so familiar with a franchise, it’s sort of colors what you do. So I was appreciative that I got to know the franchise better, I got to bring her in, and there isn’t a bunch of other people who have put their stamp on her, so I appreciate that.
You previously worked with WB on Wonder Woman: Bloodlines. What has stood out about working with this animation and production company?
I had the same voice director — a man named Wes Gleason — who I’ve known forever, and he is utterly fantastic. It’s just a joy to work with him. He makes you so comfortable in the room and lets you play. We just have a great time. So anytime I’m going in with him, I know it’s going to be an awesome time. Then with this, it was so much fun to be able to have played Dr. Poison, who is sort of buttoned-down and severe. Then get to play something 180 degrees polar opposite from her, who is just all brawn and rage and has this masculinity about her, [while] Dr. Poison was portrayed in the other project as so covered up and buttoned-down and severe. So it was great that they trusted me to do something totally different. I’m really grateful to them for that opportunity and I hope to be able to bring her back, and Dr. Poison, because I loved playing Dr. Poison as well.
You’ve shown such range throughout your career and you’ve had such a lengthy and successful career. You injured your vocal cords while whispering before. Over the years and from learning your craft, have there been any changes to how you approach the booth over time to try to lower that stuff? How has your approach changed over time?
It’s completely different. I fell into voice acting and didn’t know how to sing. I probably slept through my voice and speech class in theater school. I thought, “Oh, this is fine. I can just do this because this,” because I sort of just fell into it. I didn’t realize that there was training and support that was needed. So once I injured my voice, I realized that I needed to stop taking things for granted. I actually went to a physical therapist and now I work with a singing teacher, and I’m really careful. Losing your voice — not being able to speak regularly for three months — will definitely change how you feel and stop making you footloose and fancy-free about the thing that puts food on your table. So I do straw phonation, I do vocal warmups, I attempt to sing, and I try actually not to scream at the top of my lungs when I go to concerts.
Speaking of concerts, you just saw Foxy Shazam, which is a band I love, and Eric Nally’s voice is so incredible. Do you look at any musical vocalists for inspiration or anything like that? Or is it just admiring their craft?
I actually am wearing a Foxy Shazam shirt right now. I love them and I love that Eric brings this sort of musical theater kid presence to that. That’s a great example of someone who uses their voice every night in a really theatrical way and how you are able to do that. As I get deeper into my singing journey, I’ve actually looked at people who sing metal because I think it’s a really great tool for doing game work as well as … I was on a show called, Okay K.O.! Let’s Be Heroes, and we had the singer for Korn come in and do an episode. We talked for a long time and he talked to me about this technique that he has about where it sounds like he’s really straining his voice, but he almost has this way of compressing his vocal cords. So it allows him to sing with that crazy texture and power without straining his voice. I’m on the hunt to reconnect with him and find out how he learned that.
I think anybody who wants to do this work, both the physical side of things — preparing yourself, physically being in good physical shape, because it can be four hours of screaming — then also having that vocal strength, that you go hand in hand. For somebody like Kira, you’re going to need that. Some of this work can be incredibly physical and you’re going to have to go to another session after that, so you better keep your voice and your body strong.
It’s been a few years since Okay K.O.! Let’s Be Heroes wrapped, so I was curious about your thoughts on just the show’s impact? It had such a positive message and great representation in it. It’s really beloved.
I really wish that it had gotten a better run because I think it’s an incredible show and I hope that somehow it will resurrect because I personally could really relate to K.O. And his sort of alter ego T.K.O. I think that’s such an important message for kids — to know that they can be a good kid and have bad feelings or feelings that are bigger than themselves, and be able to work on controlling them and harnessing them. You can be a good kid and have to make hard choices. So I think there were a lot of things that they explored. I loved that he has a single mom — that really resonated with me. The representation across the board as far as gender roles and societal roles was really important, and I do hope it comes back somehow.
You have such a great initiative with Nerds Vote, so I just wanted to give you the stage to talk about that real quick.
Nerdsvote.com is my initiative to get all the nerds in the nerd space voting. I really feel like, along with my partner, JP Karliak, we are so supportive and want kids and everyone who’s in the nerd space to feel empowered by using their voices to vote. I’m so happy to have so many people in the voice acting community onboard with spreading the word because nerds know what’s up. we understand good and evil, the battle for choice, [and] we understand strategy. All of these things factor in and we’re devoted. So all of these things factor into making choices in how our country’s run. Just like you would choose your own adventure in a game, you can choose to be part of the adventure of this country. If you don’t play, you can’t win.
So I just urge everyone to remember that a lot of elections come down to just a handful of votes, so your vote does matter. If we all get together and row, we’ll start to go places. As Americans, it’s so important for us to use this choice that we have that so many people have fought and died for and many people in other countries don’t have. So I really hope that everyone will show up on November 8th to vote and remember to vote in every election every time.
Netflix has finally dropped the official trailer for Guillermo del Toro’sCabinet of Curiosities, the upcoming horror anthology drama, revealing our first look at its all-star cast including Ben Barnes, Rupert Grint, Eric André, Tim Blake Nelson, Dan Stevens, and more. The series is scheduled to make its debut starting on October 25 as a four-day double-episode event.
The video continues to tease the eight terrifying stories that will be featured in the series including “Lot 36,” “Graveyard Rats,” “The Murmuring,” “The Autopsy,” “Dreams in the Witch House,” “The Outside,” “Pickman’s Model,” and “The Viewing.” From psychological terror, ghouls, creatures, and body horror, the anthology drama has got everything you need this Halloween season.
Guillermo del Toro’s Cabinet of Curiosities (formerly titled Guillermo del Toro Presents 10 After Midnight) is being described as a live-action genre-defining and chilling collection of distinct stories. It is created and executive produced by del Toro, who is also serving as a co-showrunner.
The series is a collection of unprecedented and genre-defining stories meant to challenge our traditional notions of horror. From macabre to magical, gothic to grotesque or classically creepy, these eight equally sophisticated and sinister tales (including two original works by del Toro) will be brought to life by a team of writers and directors personally chosen by del Toro.
It stars Oscar-winner F. Murray Abraham (Thir13en Ghosts), The Walking Dead alum Andrew Lincoln, Ben Barnes (Shadow and Bone), and Tim Blake Nelson (Watchmen). Joining them are Elpidia Carrillo, Essie Davis, Hannah Galway, Crispin Glover, Demetrius Grosse, David Hewlett, Luke Roberts, Sebastian Roché, Glynn Turman, Peter Weller and more.
The directorial lineup includes Panos Cosmatos, Jennifer Kent, Vincenzo Natali, Ana Lily Amirpour, Catherine Hardwicke, Guillermo Navarro, David Prior, and Keith Thomas, with Cosmatos, Kent, and Natali also set to write singular episodes. As for the writers, Haley Z. Boston, Regina Corrado, David S. Goyer, Lee Patterson, Aaron Stewart-Ahn, and Mika Watkins have been tapped to pen episodes of the series.
Guillermo del Toro’s Cabinet of Curiosities is executive produced by Oscar-winner J. Miles Dale (Sex/Life), who is also set as the showrunner and will be reuniting with del Toro following 2017’s The Shape of Water. Executive producers are Gary Ungar and Regina Corrado.
David Beckham has divided the internet after sharing a picture of one of his favourite dinners on social media.The former footballer might be worth hundreds of millions, but the "feast" he enjoyed harks back to his formative days...
This is not a story of boy-meets-girl — this is a story of boy-meets-bro. Bros is a romantic comedy starring Billy Eichner and Luke Macfarlane as two polar opposite men who begin a relationship together. This film is the first gay romantic comedy from a major studio with a principal cast of LGBTQ+ actors. With the theatrically released rom-com dying out in recent years, this is a victorious return to the genre, offering some of the loudest laughs and heartfelt love stories we have seen from Hollywood in a long time.
Eichner does away with the gay best friend of rom-coms past and depicts a gay relationship with loving passion. As co-writer of the film, Eichner brings a lot of his voice into the character he portrays. The protagonist is Bobby Lieber, a podcaster and museum curator who’s out and proud. He uses his platform to comment on the LGBTQ+ community humorously and is helping plan a museum about their history. As he works on all of this, he meets a macho lawyer named Aaron and the two begin an unlikely relationship. This is all handled to near perfection with a script that lands on every level.
This movie is funny — that’s all a comedy should do. Luckily, Bros delivers on the belly laughs with an excellently written screenplay and lots of humorous direction from Nicholas Stoller. The humor in this film works so well due to the fantastic comedic timing from Eichner and his co-stars. It offers a detailed, uniquely hilarious representation of gay men while jabbing at the differences between sections of the LGBTQ+ community. Bros never fails to provide some of the year’s biggest laughs, including a surprisingly well-timed Maroon 5 joke.
It’s a superb comedy, but is it a good romantic comedy? Affirmative. This is a beautiful romance story told in the funniest way possible. The chemistry between the two leads should not make sense, but it does. It offers some of the best sex scenes ever put to screen, plus you get a feel for how these two complement each other — even if they are not perfect. Eichner and Macfarlane are magic together, and the rest of the cast is hilarious in their roles. The supporting cast is excellent, making nearly every character easy to like.
The biggest drawback to the rom-com is the structure and how most follow a formula. If you have seen any romantic comedy of the early 2000s, you know what will generally happen in this film because it’s a very familiar love story. However, Bros works due to its amusing humor and lighthearted exploration of LGBTQ+ individuals. However, the film knows when to pull back, with one scene where Eichner’s character delivers a sad monologue about growing up gay and how people perceive him. His character may strike a chord with many young people figuring out their sexual orientation, and it’s a pleasure to see gay people represented on screen in this way.
While the movie is very much about gay people, Bobby and Aaron are two complex, flawed characters. They have qualities that everyone can relate to, and at its core, this is a story about a romantic relationship. Relationships are unique, messy, and painful at times, but they can be beautiful, necessary, and phenomenal in all the right ways. Bros is one of the best romantic comedies of the decade, offering plenty of laughs and maybe even a few tears by the end of it.
SCORE: 9/10
As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.
ComingSoon is pleased to debut an exclusive track from The Man Who Fell to Earth: Original Series Score, featuring music by Emmy-winning and Grammy-nominated composer Jeff Russo (Star Trek: Picard, Fargo, Oslo). The album is the companion to The Man Who Fell to Earth: Themes and Sketches which was released on June 10. Lakeshore Records is set to release the soundtrack digitally on September 30.
“The performances in The Man Who Fell To Earth, coupled with such an engaging and emotional story, made writing this score incredibly thrilling,” says Russo. “I really got to open up melodically and also have so much fun with it.”
Starring Oscar nominees Chiwetel Ejiofor and Naomi Harris, Showtime’s The Man Who Fell To Earth was inspired by the Walter Tevis novel of the same name and the iconic David Bowie film. The series follows a new alien character (Ejiofor) who arrives on Earth at a turning point in human evolution and must confront his own past to determine our future. Harris plays Justin Falls, a brilliant scientist and engineer who must conquer her own demons in the race to save two worlds.
Jeff Russo is an Emmy Award-winning and Grammy-nominated composer, scoring varied and compelling music for film, television, and video games. Russo received two Emmy nominations in 2021. One for his score of FX Networks’ Emmy Award-winning and Golden Globe-winning series Fargo, for which he won an Emmy in 2016 and earned two additional nominations. The second, for HBO Max’s Oslo, which he co-composed with Zoë Keating. Russo also received a BAFTA nomination for Best Music for Annapurna Interactive’s video game, What Remains of Edith Finch.
Russo’s film credits include Bartlett Sher’s Oslo, starring Ruth Wilson and Andrew Scott; Sabrina Doyle’s Lorelei, starring Jena Malone and Pablo Schreiber, which premiered at the 2020 Tribeca Film Festival; Noah Hawley’s Lucy in the Sky, starring Natalie Portman and Jon Hamm, which premiered at the 2019 Toronto Film Festival; Craig Macneill’s Lizzie, starring Chloe Sevigny and Kristen Stewart, which premiered at the 2018 Sundance Film Festival; Peter Berg’s action-thriller film, Mile 22, starring Mark Wahlberg; and Jon Avnet’s Three Christs, starring Richard Gere, which premiered at the 2017 Toronto International Film Festival.
Track List
01. Birth
02. The Precinct
03. Free To Go
04. Tools
05. Not What She Is For
06. When The Clouds Disappear
07. The God They Can’t Ignore
08. Eye Of The Hurricane
09. All I Have
10. Alaska
11. Interrogation Pt. 2
12. Purpose And Potential
13. 102 End Titles
14. Please Don’t Fire Your Brother
15. More Water
16. The Transformed Man – The Door In Front of You
17. Quantum Fusion Pt. 2
18. Cleanup
19. Base 60 – Don’t Lie To Me
20. Dominguez
21. Flight To Origen
22. Fuck It Man
23. Are You A Presenter
24. Piano Open
25. Bad Dream
26. Bathtub – The Collapse of Newton
27. The Family Home
28. About Thomas Newton
29. Afraid Of Each Other_Newton’s Pain
30. Trying To Survive
31. Your Mission Is My Mission
32. Setting Up At Origen
33. How To Work With Us
34. All Failing Until It Isn’t
35. Be In The Moment
36. The Potential For All Things
37. Beginning The Change
38. Only The Beginning
39. Drones Vs People – Choices
40. Family Consumption – Prayer
41. Grief
42. The Gamut of Emotions
43. Shame And Self
44. Abilities
45. I Made The Call
46. Josiah Falls
47. What Shame Became
48. Desperation
49. Call And Response
50. Fusion
51. Humanity Is Quantum
52. The Op
53. Memories
54. Hydro Power – A New Anthean
55. She’s The Boss
56. Reaching Out
57. Lies
58. Dinosaur Or Alien
59. Caly’s Secret
60. Newton’s Lies
61. Leverage
62. Grapefruit And Soap
63. We Need Another Car – Hatch Exposed
64. This Is The Fight – Won’t Die Tonight
65. I Hate You
66. Bigger Than Us, Pt. 1
67. He’s Dying – Clay’s Exposure
68. The Chance For Redemption
69. Off The Grid
70. Fuck Your Patriarchy
71. Bring Him
72. TT108 End Credits
73. Nothing In The Middle
74. Elements Of Torture – You’ll Wish You Were Dead
75. Dodging The Bullets
76. Bigger Than Us. Pt. 2
77. Clearing The Air
78. First Question
79. Second Question
80. The Asset
81. Thorne
82. 109 End Credits
83. Our Last Hope
84. Best Of Both
85. I Have Faith – The Legend of Faraday And Quantum Fission
86. My Mission Is Your Mission
87. The Next Step In Human Evolution
88. Because You Love Me
89. Go Now
90. 110 End Credits
Friends, family and fans have shared their tributes to popular Kiwi DJ Jay Monds, known as "Bulletproof". Monds, 46, died in Tauranga Hospital last night with his family by his side after suffering a brain bleed on Monday.Fellow...
ComingSoon Editor-in-Chief Tyler Treese spoke to Entergalactic stars Scott “Kid Cudi” Mescudi and Jessica Williams about the Netflix animated event, which begins streaming on September 30, 2022. Mescudi also co-created the TV event with Kenya Barris.
“An original, immersive, animated story about a young artist named Jabari — voiced by Mescudi — as he attempts to balance love and success,” says the synopsis. “Finding the latter brings Jabari a step closer to the former, when moving into his dream apartment introduces him to his new neighbor, photographer it-girl Meadow — voiced by Jessica Williams. An explosion of art, music, and fashion, Entergalactic takes place in the only city that can handle all three: New York.”
Tyler Treese: Scott, I’ve been a huge fan of your music, and one thing you’ve always been able to do is to instill a mood to the listener through the production, your lyrics, and even just your humming. With Entergalactic, you get an extra layer to play with, with the visuals, which look just amazing. So how important was it to have just a great look to the series to really further the art?
Scott Mescudi: Man, I think, you know, with me, I think my whole career has always been about how do I push it. How do I bring new experiences for the listener, for the fans? And with this, before I started, it was kind of like, I was in this place where I was really bored of recording an album and just releasing it and doing two music videos, and then that’d be it, you know? And I always wanted to do some type of visual album type thing, but that’s been done before and I was just trying to figure out my angle.
So when this came around, it was kind of like “Oh, this is perfect.” You know, I can kind of do something where the music is as important as the visuals and it guides the story. And that’s something new, and the animation can be new and groundbreaking and different, you know? Everything is heightened, the music is heightened, the animation is heightened. And meeting up with [director Fletcher Moules], he was key, our director, finding exactly what I wanted with the animation.
We went back and forth for months just trying to get it right. He was a really big help. You know, the first mockup that he did of the character was like, pretty much spot on. I felt like we put it in good hands with Fletch. So, it’s very important for me to just push it and make sure that kids are experiencing something they’ve never seen before.
Jessica, there’s really great love story here. What element of Jabari and Meadow’s relationship did you just find the most moving?
Jessica Williams: The element of Meadow and Jabari’s relationship that I found the most moving was when she hops on the back of his bike. That, I think about that a lot, it’s stuck with me and we’ve done this project over a couple of years. I like the symbolism of it, and I like how cute it is. It’s just as simple as that to me. It’s a really nice layered action between the two of them, and also I think it fits our movie really well. Yeah, I like it.
Mescudi: Yeah. I agree.
This is one of the most incredible casts I’ve ever seen in a TV event.
Mescudi: I know. I’m so lucky.
Similar to an album where you’re getting features. What was it like just getting all of your friends involved, all these great actors, and them wanting to be a part of your vision?
Mescudi: Man, I remember when we first started, I was talking with [executive producer Karina Manashil] and the team, and I was just like, “Man, we got to figure out who can do this. You think they’ll do this?” Like, names would come up, and like, Jessica’s name comes up, and I was like, “All right, she’s in this Fantastic Beasts movie, this huge movie, would you want to do this?”
You know, and it’s just like asking Timothée, even though Timothée’s my boy, I know Timothée’s got Dune and all this other stuff going on, these big movies, would he want to do my small animated show? It really just warmed my heart to see so many people just get behind it and get behind my idea, you know?
And when we did that junket when we were all together a couple months ago, and then we had that question where we were like, “What made you guys all kind of get into the project?” and all you guys [said it was because of me]. Like, that moment right there was like, “Oh my God.” I just felt so good, you know? Because anybody, any artist, especially when you’re trying new things, and you’re going on a journey, and everybody involved knew that this was something different and new, it’s just… It just means so much that there’s so many people that are willing to take that ride with you, you know? That are willing to trust you on this whole ride.
Chloe Grace Moretz struggled with body dysmorphia and became a "recluse" after a cruel "Family Guy" meme.The 25-year-old star has reflected on the way she was talked about online after a photographer snapped her walking into a...
Following the shocking announcement that Hugh Jackman would be returning to the role of Wolverine in Deadpool 3, fans took to social media to wonder what it meant for the 2017 film Logan. Director Nick Mangold isn’t too concerned, however.
Yesterday, Mangold tweeted a GIF of the film that showed Logan’s final battle against a clone of himself, a battle that leaves the original Logan fatally injured. While many took this to be some sort of slight against the announcement that Jackman would be returning, he clarified that it didn’t mean that at all, and that no matter what, Logan will always be around.
Oh my gosh! Everybody chill. Just kidding! I’m all good! LOGAN will always be there. Multiverse or prequel, time warp or worm hole, canon or non-canon or even without a rationale, I cannot wait to see what maddness my dear friends @VancityReynolds and @RealHughJackman cook up! pic.twitter.com/qaCG4Z39x4
“Oh my gosh! Everybody chill,” said Mangold. “Just kidding! I’m all good! Logan will always be there. Multiverse or prequel, time warp or worm hole, canon or non-canon or even without a rationale, I cannot wait to see what maddness my dear friends [Ryan Reynolds] and [Hugh Jackman] cook up!”
In a reply to the tweets, both Ryan Reynolds and Hugh Jackman commented on the matter, calling Mangold “the GOAT” in a praising response.
Can’t believe I’m going to say this but it’s late so let’s go with that excuse … @VancityReynolds is right. @mang0ld is the !
Deadpool 3 is being written by Rhett Reese and Paul Wernick from a previous draft by Bob’s Burgers duo Wendy Molyneux and Lizzie Molyneux-Loeglin. Marvel Studios President Kevin Feige previously assured fans that it will remain as an R-rated film just like the first two movies, which would make it the studio’s first movie with the said mature rating.
It will serve as the first movie in the Deadpool film series that will be released following Disney’s acquisition of 20th Century Fox.
The first two Deadpool films are both box-office successes as they earned a combined worldwide gross of over $1.5 billion. They were both written by Rhett Reese and Paul Wernick, with the first one directed by Tim Miller and Deadpool 2 directed by David Leitch.
Despite what the movie’s title advises, audiences had every reason to worry about Don’t Worry Darling. This movie faced a never-ending onslaught of controversies surrounding a fired lead actor, on-set conflicts between the director and star, and a piece of spit allegedly sent in Chris Pine’s direction. Of course, with a story like that, a movie about the making of this film would be much better than what we got. However, putting aside the never-ending headlines surrounding this psychological thriller, the final product is a decently enjoyable ride that offers enough of the genre thrills to be watchable while not doing much more.
Director Olivia Wilde pulls us back into the 1950s with vibrancy and deliberate color choices that feel like a product of their time. This is an upper-class society where women are stay-at-home wives who send their successful husbands off to work with a kiss while they cook, clean, and attend dance practice. They learn about beauty in symmetry and they move as one. With this concept, Wilde and writer Katie Silberman craft a fascinating world that feels slightly off-kilter.
There are many themes in this film surrounding feminism, though Don’t Worry Darling doesn’t exactly beat you over the head with it. Still, it’s pretty clear what Wilde and Silberman wanted to say about how women are expected to stay within the safety of the men who provide for them rather than question authority. The movie has real-world parallels surrounding women being silenced as men gaslight them while also using a character portrayed by Gemma Chan as a symbol of the women who stand idly by and allow men to get away with this behavior. They’re all interesting concepts to explore in a horror film. Just as Jordan Peele uses horror to depict racial issues in Get Out, Wilde attempts the same with gender issues.
Does it work as well? Not exactly. Wilde’s themes and depictions of it feel like they have already been handled by The Stepford Wives. Sometimes it seems as though Don’t Worry Darling has nothing new to add to the conversation surrounding gender roles. That being said, it’s challenging to write societal issues into a genre film without coming off as preachy. This movie tries to avoid that, but the message is clear — especially in the film’s final act, which pulls back the curtain on what is happening behind the scenes.
This is a mystery thriller with some steamy moments. It can be jarring to cut between scenes of Harry Styles going down on Florence Pugh and strange, haunting ballet imagery. The imagery can sometimes feel scattered and there is little context for all of it, even after the movie gives you its explanation. Furthermore, whenever something scary happens, the film will generally cut to Alice (Pugh) waking up with a start. As a result, it only sometimes feels like she is in imminent real-world danger because all the threats occur in her mind.
Pugh acts circles around everyone else in this film. Styles is acceptable for most of the movie, but his performance elicited a few giggles from my audience during his more intense scenes. Despite its issues and occasional laughable moment, Don’t Worry Darling does what it sets out to do. Unfortunately, this is less strong than Wilde’s directorial debut Booksmart. Still, there is superb sound design and an action-packed finale sequence that feels mostly satisfying, even if the resolution could be better than you’d hope for. It’s a watchable film, but don’t worry if you miss it in theaters.
SCORE: 6/10
As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.
The cast of the upcoming Beverly Hills Cop: Axel Foley has grown in a big way, as Deadline is reporting that Kevin Bacon is set to join Eddie Murphy in the upcoming fourth entry in the film.
Bacon’s role in the film is unknown as of now, but he’ll join a production that is already underway, with filming having begun earlier this year on the highly anticipated film. Luckily for Bacon, his background in the world of crime series is extensive, having starred in The Following as well as in the ongoing Showtime crime series City On A Hill.
The long-in-development fourth installment, which has now been titled Beverly Hills Cop: Axel Foley, is being directed by Mark Molloy from a screenplay written by Will Beall. Joining Eddie Murphy are Inception actor Joseph Gordon-Levitt and Zola star Taylour Paige.
The film is produced by Murphy, Jerry Bruckheimer, Chad Oman, and Melissa Reid, with Charisse Hewitt-Webster and Ray Angelic executive producing.
The original Beverly Hills Cop was released in 1984 and starred Eddie Murphy as Axel Foley, a cop from Detroit who visits Beverly Hills, California to solve the murder of his best friend. The film was a smash hit, earning more than $300 million at the box office and even earning an Academy Award nomination for Best Original Screenplay. The film also spawned two sequels, which were released in 1987 and 1994, but didn’t receive the praise or box office success of the original.
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Tubi has dropped the official trailer for Hot Take: The Depp/Heard Trial, its upcoming film adaptation of one of the most controversial celebrity cases revolving around the defamation trial between former married couple Johnny Depp and Amber Heard. The Tubi original film is scheduled to make its debut on Friday, Sept. 30.
Hot Take: The Depp/Heard Trial stars Mark Hapka (Parallels) as Johnny Depp, Megan Davis (Alone in the Dark) as Amber Heard, Melissa Marty (Station 19) as Depp’s lawyer Camille Vasquez, and Mary Carrig (feLaw & Order True Crime) joins as Heard’s lawyer Elaine Bredehoft.
The video teases two sides of the story as both actors deal with public opinion and the consequences of being involved in the defamation scandal.
The film is directed by Sara Lohman (Secrets in the Woods) from a screenplay written by Guy Nicolucci. It is executive produced by Brittany Clemons, Angie Day, Marianne C. Wunch, Hannah Pillemer, and Fernando Szew. Autumn Federici and Kristifor Cvijetic serve as producers under their The Ninth House banner.
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According to Deadline, WandaVision star Paul Bettany has signed on to star opposite Forrest Gump actors Tom Hanks and Robin Wright in Sony Pictures and Miramax’s upcoming film adaptation of Here, based on the graphic novel by Richard McGuire.
Bettany gained worldwide recognition for his roles in the Marvel Cinematic Universe, where he started as the voice of Iron Man’s A.I., Jarvis, which eventually led him to portray the role of Vision. The Emmy-nominated actor will also next be seen in Miramax’s comedy drama film Harvest Moon.
Here will be directed by Robert Zemeckis (Back to the Future trilogy) from a screenplay he is co-writing with Eric Roth. The film adaptation will be produced by Playtone and ImageMovers.
Set to take place from the past to the distant future, the story will center around a corner of a room and the many people who have inhabited it over the years. Richard McGuire originally published the Here as a 6-page coming strip in 1957. Over five decades later, the graphic novel version of the story was released in 2014 by Pantheon Books.
This marks Zemeckis, Roth, and Hanks’ latest collaboration since 1994’s Forrest Gump, which earned them individual Oscar Awards, including for Best Director, Best Actor, and Best Adapted Screenplay. Zemeckis and Hanks most recently worked together on Disney+’s live-action/CG-animated musical fantasy film Pinocchio.
The gameplay trailer is fairly short, but runs through some of his attacks and costumes. The showcase below is more detailed and reveals some of what Rick can do. He’s mainly based around his cooldowns, which is a strength and weakness. His portals can be used for movement and combos and can even give his blaster more reach. Rick can also summon Meseeks and order them around and those who use them strategically can have a few out at a time.
He can buff his allies and debuff his opponents through his polymorph grenade, as it makes his teammates bigger and more resilient and turns his enemies into a smaller version of Reindog that is unable to attack. One of the buffs comes in the form of seeds which have to be shoved way up there to take effect. Allies with the seed in there get faster cooldowns while seeded enemies are temporarily silenced, meaning they can’t use special moves for a bit.
Player First Games released the patch notes well before the update itself went online. Overall changes include swapping the free tutorial character from Wonder Woman to Shaggy, doubling the experience needed to go from level three to 15, adding a few cosmetics for Steven Universe and Reindog, implementing a new no-stun projectile type for Rick’s arrival, and adding a new anti-infinite combo system meant to decay attacks if the same move has been used more than four times in a combo. 15 characters also received their share of buffs, nerfs, and adjustments, too.
ComingSoon Senior Editor Spencer Legacy spoke with Director of Visual Development at Marvel Studios Andy Park about Thor: Love and Thunder, Kang the Conqueror, and Thunderbolts. The fourth Thor movie is now available on digital, 4K, Blu-ray, and DVD.
“The fourth installment finds Thor on a journey unlike anything he’s ever faced — a quest for inner peace. But his retirement is interrupted by a galactic killer known as Gorr the God Butcher, who seeks the extinction of the gods,” says Thor: Love and Thunder‘s synopsis. “To combat the threat, Thor enlists the help of King Valkyrie, Korg, and ex-girlfriend Jane Foster, who — to Thor’s surprise — inexplicably wields his magical hammer, Mjolnir, as the Mighty Thor. Together, they embark upon a harrowing cosmic adventure to uncover the mystery of the God Butcher’s vengeance and stop him before it’s too late.”
Spencer Legacy: You worked on every Thor film, how has the process of designing such a dynamic character, especially with the tonal shift and his various developments over time, been?
Andy Park: It’s been so much fun because I think, not only is it fun being able to take the inspiration from the amazing geniuses from Jack Kirby to Steve Ditko, Stan Lee — all the creators throughout the decades — but being able to work with different filmmakers. We have the leadership in Marvel and the geniuses there, from Kevin Feige on … Victoria Alonso, Louis D’Esposito, and all the producers, but then for each Thor film, there’s a different director, except for the last two with Taika [Waititi], so they’re all gonna have their own voice. So even though it’s the same character, there are nuances. Obviously, we saw that big shift from, the first two Thor movies to when Taika came on. That’s been a lot of fun, especially when Taika came on. He just completely rocked the boat in a good way. It just made it so fresh.
And it felt like a lot of times when we work on a new character, it’s like, “Oh, it’s so fun to create from the ground up.” Like when we’re working on Guardians of the Galaxy, we’re helping to establish this world, this corner of the MCU that has never been mined yet. That kind of cosmic, crazy world with Thor … we’ve kind of been there with Asgard, but once Taika came, it felt like a new character again that we’re trying to establish with the look, the tone, the character, [and] the visuals. So yeah, it’s been so much fun to be able to be a part of like his journey and his evolution.
In Thor: Love and Thunder, Gorr looks a bit different than he does in the comic. How did you go about altering that design while still maintaining his memorable characteristics?
When it comes to any character we design again, we always go back to the comics first. So a lot of times, because we’re an in-house department of artists that are here full-time, we get to work really early on. For the most part, we’re working at the same time that they’re writing the script. So a lot of times, nothing’s established yet. So the only thing that’s established is that they want Gorr to be the main villain, or at least they’re thinking about Gorr. So that’s when we’re off to the races. Myself, as well as the other artists that are here in the visual development department, as well as hire freelancers … I’ll task them to do different versions and they’re like, “Oh, so do you have any information on them?”
I’ll be like, “Look at the comic!” Because there’s no information yet, besides that they want to use that character … the nuances, we’ll learn as we go. That’ll help influence our decisions in our designs. So in the beginning it tends to be quite comic accurate. We’re going to be doing the tendrils that come out on the sides and making him a little bit more alien and without the nose and the proportions to be like what Esad Ribić, the comic book artist, designed in the comic book series. Then as we start having conversations with the filmmakers, with Taika in this case, then we’ll start finding out about like who Gorr is. His backstory, how he gets betrayed. And then soon after that, we find out casting.
So usually we’re doing designs even before we know the casting. So once we found out about Christian Bale, then we’re like, “Oh wow, that’s awesome!” And then pretty much after finding that out, that’s when we’re told that they want to see versions and explore how we’re not going to lose his performance. When you’ve got an actor like Christian Bale, we don’t want to hide that. So we started taking a lot of designs that we’ve already done, creating new ones as well, and implementing Christian Bale’s face in there. The other reason is because there are a lot of characters that have been out there in other franchises that don’t have the nose, or has these tendrils. From Star Wars to Harry Potter, Voldemort, that kind of stuff. When you design things these days, it’s almost like what “hasn’t been done?” So you have to navigate that where it’s like … it feels too much like something, then it’s like, “Okay, let’s steer away from that.” It’s a journey to find and finally land on that design, but I’d like to mention that our amazing artists, John Staub, one of our in-house visit vis-dev artists, did that final design that you see in the film.
Another character is Russell Crowe’s Zeus, who has a design that’s half mythical and intimidating and half really funny. So what was the process of designing him like?
That one was designed by our amazing costume designer in Mayes Rubeo. So we have a great collaboration between the vis-dev department and the costume department. She was able to — with her artists — take a lot of the gods that you see in Omnipotent City. She was able to really just run with it and have fun. I had a great time seeing the designs that they were doing, because it’s treading that line between coming up with something that’s epic, that’s worthy of Zeus, but then it’s slightly comical, right? So I thought she did a great job.
Your art provided everyone with their first look at Kang’s more comic-esque design in the Quantumania art. What was it like to essentially showcase the next Thanos?
Working on that project was a lot of fun. I led the vis team on that one and being able to tackle … I’ve worked on all the Ant-Man films. The first Ant-Man that I led was Ant-Man and the Wasp. So being able to come back and work with Peyton Reed yet again, that was so much fun. To be able to introduce a character like Kang … I had a team of amazing artists. A guy named Constantine Sekeris did the final concept design for that. Then Sammy Sheldon and Ivo Coveney did the final Kang that you can see, the costume. Especially [with] an iconic character like Kang, right? Growing up, reading Marvel comics, that was one of the … there are certain characters that are the big main villains that Avengers characters have always butted heads with. So Kang, you knew, was going to come eventually. So I can’t wait for you and everyone to be able to see what we’ve all come up with, because it’s an amazing visual, but it’s also just what Jonathan Majors’ performance and what the scriptwriters and what Peyton has brought out in these actors and in these characters. It’s going to be something special.
In a similar vein, your Thunderbolts art was recently shown off and it really shows off the characters’ personalities. How difficult was it to stylistically unite all these characters from different projects and phases?
That part is always fun because I think that’s kind of the magic, the key component, to the MCU that Kevin Feige … whatever that moment was when he decided, “Okay, we’re going to create an interconnected universe of all these disparate characters, and then they’re going to all have their own films, and they don’t necessarily have to feel like the same thing. It could be completely different from each other, but we’re going to find a way to bring them together in The Avengers, the very first film where all these disparate characters came together.”
That’s where the fun is. When you see that lineup, that image that I illustrated, while I was painting it, it’s really fun because, at that point that I was painting it, we already had the Black Widow film. So we got introduced to Yelena and Alexei, the Red Guardian, as well as Taskmaster. We know where they ended up in that film. So it always begs the question, what’s next? What’s going to happen with Taskmaster now? Now that she realizes and all that stuff … all the questions that come up and then you watch The Falcon and The Winter Soldier. That’s where Bucky is and that’s where US Agent is. And there’s always tension there.
And obviously, we know all the stories of Bucky from Captain America to Winter Soldier to Civil War onward and all the Avengers films. Then you see Val being introduced in a similar way to how we saw Samuel L. Jackson’s, Nick Fury in the early days. Then Ghost in the Ant-Man world and seeing how her story ended. So to take all that and bring them together as one team … it reminded me very much of the early days when I was working at Marvel Studios 12 years ago, when working on The Avengers, because I’m like, “Oh, these different characters don’t necessarily seem like they belong.” And then to see them come together and you get to imagine the interactions are going to be fun, how they fight and whatever, whatever they’re gonna end up doing.
Therein lies like the fun, because you’re like, “How is a God going to interact with someone like Tony Stark?” Who’s very snarky, but also Earth/science-based. So in the same way, in a different way, we’re going to see that with Thunderbolts, seeing all these different characters from different franchises coming together. It’s a different type of team-up film that we haven’t seen. We’ve seen team-up, but mainly it’s always been Avengers, right? So it’s going to be a fun one.
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While the series is no longer going forward at Netflix, producers of the show now have the option to shop the series elsewhere.
Grendel was reportedly set to star Abubakr Ali in the titular role — becoming “the first Arab Muslim male actor to portray a series lead in a comic book adaptation” — alongside Jaime Ray Newman (Dopesick), Julian Black Antelope (The Flash), Madeline Zima (Californication), Kevin Corrigan (Scenes from an Empty Church), Emma Ho (The Expanse), Erik Palladino (Watchmen), Brittany Allen (What Keeps You Alive)and Andy Mientus (The Flash)
The series was set to be written and executive produced by Andrew Dabb (Supernatural), who was also going to serve as showrunner for the series. The order was originally the result of Netflix’s first-look deal with Dark Horse Entertainment, which has already produced the hit series The Umbrella Academy, among other series.
Grendal tells the story of successful author Hunter Rose, who by night works as Grendel, an assassin that will seek to avenge the loss of a loved one that takes him through a battle against New York’s criminal underworld. The comic series debuted in 1982 and continues to run to this day, with various spin-offs having been formed from the original book.
Peacock has released the official trailer for the upcoming second season of its mystery teen drama One of Us is Lying, which is currently scheduled to return on October 20. The One of Us is Lying Season 2 trailer features the Bayview Four as they continue to grapple with the consequences of keeping a big and dark secret like theirs. Simon Says returns to torment and blackmails them with impossible tasks that jeopardize their reputation.
One of Us Is Lying is based on Karen M. McManus’s New York Times best-selling book of the same name. It tells the story of what happens when five high schoolers walk into detention and only four make it out alive
“Following the heart-pounding conclusion of Season One, the Bayview Four have a very deadly secret,” reads the logline. “In Season Two we’ll see just how far they’ll go to protect their secret, themselves, and each other.”
The series stars Marianly Tejada as Bronwyn, Cooper van Grootel as Nate, Annalisa Cochrane as Addy, Cooper van Grootel as Cooper, Jessica McLeod as Janae, Melissa Collazo as Maeve, Sara Thompson as Vanessa, and Alimi Ballard as Kevin.
One of Us Is Lying is created and executive produced by Darío Madrona (co-creator of Elite), who is also serving as the showrunner. Executive producers are Erica Saleh, and John Sacchi & Matt Groesch of 5 More Minutes Productions who developed the pilot, which was written by Saled and directed by Jennifer Morrison.
Far Cry 6‘s roadmap ended in early 2022 with the release of its DLC centered around Joseph Seed, the antagonist from Far Cry 5, and its free Stranger Things crossover mission. Months of silence after the completed roadmap implied that Ubisoft was moving on, but a new leak implies the opposite, as a premature listing noted that the studio is releasing another expansion for the open-world title.
Twitter user Aggiornamenti Lumia, who often pulls items from the Xbox Store and Windows Store before they are live, posted the logo for a Game of the Year edition upgrade for Far Cry 6. The logo in question notes of a season pass, Ultimate Pack (which is a bundle of previously released items), and an expansion.
Separating the expansion from the season pass is already a clue that more DLC is coming, but Aggiornamenti Lumia followed by explicitly saying the alleged name for the DLC: Lost Between Worlds. However, they didn’t provide a logo for it.
Ubisoft has not stated that it is developing another expansion to Far Cry 6, nor has it confirmed a Game of the Year edition. The company didn’t even bring up the series at all during its recent Ubisoft Forward event.
But if this listing is accurate, it would mean that Ubisoft is returning to a Far Cry game much later than normal. Far Cry 6 was the 11th best-selling game in the United States in 2021, so going back to a successful title in such a manner isn’t too outlandish, even if it is out of the ordinary for the series. Ubisoft’s Assassin’s Creed Valhalla was also supported far longer than previous entries and even got multiple bundles, the most recent of which includes a season pass and its Dawn of Ragnarök expansion, mirroring what this Far Cry 6 listing is rumored to be.
There’s no clue hinting what this DLC could be about, but Vaas’ surprise involvement in Far Cry 6, his Insanity DLC (and its secret ending), and Far Cry 3‘s incoming 10th anniversary could also be a perfect storm to bring back the character. However, regardless of the listing and the coincidences around it, it’s all unconfirmed, which Ubisoft will hopefully clear up soon.
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Every great war story looks beyond the action that comes with its violent battles. Whether examining former soldiers or the regular civilians affected by the strife, there are many angles that help add extra depth and weight to the conflict at hand. Mobile Suit Gundam Cucuruz Doan’s Island is a fine example of this, as it truly hammers in that these cool space mech battles aren’t as cool for the people that are just trying to get by.
Mobile Suit Gundam Cucuruz Doan’s Island is actually based on the 15th episode of the original Mobile Suit Gundam series, which saw Amuro meet up with an ex-Zeon pilot and the found family he has amassed. It’s quite touching, especially in this remade film. The expanded runtime of the film allows for further exploration into the daily lives of the various children that Doan takes care of, which goes a long way in upping the stakes of the last battle. The kids play with each other, tease one another, do farm chores, and interact like kids do, making these sequences very heart-warming. It probably sounds dull, but seeing all these orphans grow to like Amuro as they perform chores and simply live together is surprisingly pleasant and endearing.
The story behind Doan taking in the war orphans is poignant in its delivery, turning an episode that once felt like a detour into a moving and surprisingly realistic portrayal of war. The parallel narrative of Amuro’s comrades trying to find and save him while Doan’s former comrades try to find and kill him also reinforces the differences between the two sides, all while Doan humanizes the Zeon perspective. It’s impressive how much of what makes Gundam so enjoyable is packed into this single film, even if its placement in the series means newcomers will likely be lost about who all the supporting characters are.
While most of the story is focused on Doan and his family, there’s still plenty of Mobile Suit action to break up the quieter and slower scenes that focus on the children and their daily lives. Early in the movie, we see Zakus plowing through GM suits, setting them up as a bigger threat rather than enemy fodder. Doan’s former squad is established as immensely talented, which makes their final battle with Doan (along with Amuro’s triumphant appearance) a tense and exciting affair. The moving ending nicely sets up the rest of the series, securing Doan’s Island as a brilliant part of Mobile Suit Gundam‘s story.
Everything is stunningly animated. The way that the various Mobile Suits maneuver around and destroy one another is a sight to behold, bringing to mind the exceptional Odessa sequence from the recent Mobile Suit Gundam: The Origin series. A fully reanimated series in this style would be a dream come true, as the team behind Doan’s Island very clearly knows how to make a Gundam series shine.
The story behind this film is as captivating as anything presented in the movie itself. The episode of Mobile Suit Gundam that was adapted was something of a “lost episode” over here. The basic backstory is that this episode faced a myriad of issues, from series art director Yoshikazu Yasuhiko being hospitalized during its production to director Yoshiyuki Tomino having major undisclosed issues with another staffer on the episode. Tomino especially took issue with the episode, as he was the one to request that overseas versions of the original series exclude this episode.
That makes this film a rather new experience for Western Gundam fans, as this side-story was fairly unknown due to its overseas exclusion. Despite being removed from the original run in my region, I’d argue that this film is essential viewing with the original series. It adds layers of emotional value to the far-reaching war while emphasizing the importance of smaller moments like Amuro’s time with the kids. Plus, it reminds you that Zeon pilots like Doan are people too, rather than a blatantly evil group of antagonists.
Mobile Suit Gundam Cucuruz Doan’s Island might be a bit confusing for new fans, but it’s certainly worth watching if you have any interest in Gundam. Even if you’ve seen the original subbed episode this film is based on, I highly recommend checking out Doan’s Island, as it stands out as the definitive way to experience this fascinating chapter of Mobile Suit Gundam.
SCORE: 9/10
As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.
Disclosure: The critic received a screener link for ComingSoon’s Mobile Suit Gundam Cucuruz Doan’s Island review.
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HBO’s Game of Thrones prequel House of the Dragon recently underwent a time jump in its latest episode. While some fans may question why the series did so, its showrunners say it was necessary to accomplish the story.
Showrunner Ryan Condal spoke about the recent time jump, which pushes the story forward about 10 years. Condal said that due to the story the show is trying to tell — which takes place over 150 years in the George R.R. Martin novel Fire & Blood — time jumps were necessary for the series.
“I’m excited about the pace and the structure of the story that we’re telling in the first season,” Condal told The Hollywood Reporter. “It’s very complex. It happens over a long period of time because children need to get married off and then grow up themselves and then have children of their own who grow up in order to tell the story of this generational war that is fought. HBO gave [showrunner Miguel Sapochnik] the creative latitude to tell this incredibly complex story in a really patient and character-driven way that sets up a first season so that it launches you into one of the most famous and bloody conflicts in the history of Westeros — if not the most.”
Asked if he was worried fans might not be happy at the lack of action to start off the series, Condal said he strongly believed they would be rewarded later on.
“No one ever said to us, ‘When’s the drama going to start?’” showrunner Miguel Sapochnik said. “There’s a real advantage to taking the time to get to know the characters because the investment is worthwhile. House of the Dragon season 1 is a slow burn. And it’s worth it because there’s enough in there to keep everybody interested, but we have purposely tried to move away from doing spectacle so that when we return to the spectacle we can do it properly.”
The latest episode of She-Hulk: Attorney at Law has landed on Disney+. The sixth installment of the Marvel Cinematic Universe TV series follows Jennifer Walters (Tatiana Maslany) as she attends a friend’s wedding as a bridesmaid. However, she is faced with uniquely She-Hulk issues in a self-contained wedding episode happening at an unfortunate time. After the conclusion of the fifth episode teased a look at Daredevil, this show somehow thought it was a good idea to have a wedding episode that does not even offer enough entertainment value to make it a worthwhile diversion.
It’s not even like the writers were unaware of what they were doing. An early scene in the episode features Jennifer turning to the camera and joking that this wedding episode comes at an inopportune time, much like real weddings. Unfortunately, fans will have to wait a little longer to see the Devil of Hell’s Kitchen, and while that’s disappointing, it’s made even worse since this show does not have anything to make it worth watching. Although an earlier episode features Jennifer warning the audience not to expect cameos every week and to remember it’s her show, the writing of her show is so weak that you can’t help but wait for the familiar faces.
Episode six features a subplot surrounding a man named Mr. Immortal (David Pasquesi), who repeatedly fakes his death to get out of marriages. Mallory and Nikki chastise him for his behavior. This sets off what appears to be a competition between two storylines for which one can be more uninteresting. There is potential for humor in the Mr. Immortal storyline, which they were clearly going for, but like every other episode in this series, none of it lands.
She-Hulk never fails to squander every possible setup for excellent comedy. For example, a scene where Mr. Immortal’s multiple wives are all lined up at a meeting could have been much funnier. The scene could have displayed the absurd ways Mr. Immortal had “died” in the past, it could have had the women humorously bonding over their experiences with the same man, but it doesn’t do any of that. There is almost nothing enjoyable about any of this show because it feels like the writing process began with several dozen unrelated ideas from which they took a few and made the most random, directionless episodes.
At the wedding, Jennifer meets Josh Miller, a man who flirts with her and is set up as a potential love interest. It’s a cute way to start a possible love story, but time will tell whether Josh’s intentions are pure. Titania shows up at the wedding and engages in a battle with Jennifer. The fight scene that ensues between them is laughable. Marvel’s overworked visual effects team can’t keep up with their endless streaming content, leading to shots where She-Hulk looks like a cartoon in a live-action environment. The Incredible Hulk came out 14 years before this show, and it looked better than this character, who looks entirely digital every time she’s on screen.
The best aspect of the sixth episode is that it finally begins to set up an antagonist. The show previously gave us a glimpse of the Wrecking Crew, who is out to steal She-Hulk’s blood. This episode has more death threats and another plot to steal her blood. However, the show has yet to set up a force powerful enough to stop her, and with it already being two-thirds of the way done, there is no urgency regarding getting the show to an exciting place. If She-Hulk had not teased Daredevil at the end of the previous episode, it would not have even been worth bothering to tune in to this episode or the rest of the show, for that matter.
SCORE: 4/10
As ComingSoon’s review policy explains, a score of 4 equates to “Poor.” The negatives outweigh the positive aspects making it a struggle to get through.
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