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    • The Peter Jackson-produced MORTAL ENGINES gets a sweet teaser trailer!

      1 month ago


      Peter Jackson has been down in New Zealand shepherding a new epic series into existence. It's called Mortal Engines and is based on a series of books by Philip Reeve set in a post apocalyptic landscape where... well, watch the teaser first and then we'll talk about it:

      That's a hell of a teaser trailer. Jackson and his partner in all things (life, work and everything in-between) Fran Walsh wrote this adaptation alongside their LOTR and Hobbit co-writer Philippa Boyens and are producing for their longtime collaborator Christian Rivers who is making his directorial debut on this project.

      You can tell he's learned a lot from working closely with this team for the last couple of decades. Lots of trademark tension building escalation happening in this little teaser trailer. 

      Relative newcomer Hera Hilmar stars with a cast of young faces, including Leila George, Ronan Raftery, Robert Sheehan and Jihae. Vets Hugo Weaving and Stephen Lang round out the cast.

      We're a year out from seeing this one (it sees release December 14th next year), but that's a pretty good first foot forward, I think. What do you guys think?

    • Spoiler-Alert! About Themes and the Beautiful Brilliance of the Ending of Star Wars: The Last Jedi

      1 month ago


      I was going to wait to write a spoiler post about Star Wars: Episode VIII – The Last Jedi early next week, but I'm seeing some catastrophically horrible takes from the movie on Twitter (what else is new, I know) and in my limited back and forth there I got a little bit fired up and decided it would be better to write out some thoughts on the themes and character arcs of The Last Jedi instead of arguing vaguely with strangers on Twitter.

      I know not everybody has had the chance to see the movie yet, so if that is you don't read this article. I will be talking about the finale and some structural and thematic arcs that require heavy spoilers. In fact, I'd go so far as to tell you to get the hell out and not come back until you've seen this movie. Love it or hate it on first blush that initial experience should be your own, untainted by knowing some key things in advance. Below I'm going to be talking like I would to a buddy who just watched the movie with me, which means everything's on the table.


      So, now that it's only people that have seen the movie here, let's dig into this thing, shall we?

      Rian Johnson's The Last Jedi makes some bold, Galaxy-changing moves. Not everybody is going to be all in on these choices and that's okay. As a matter of fact I'd even say some of these choices were purposefully made to throw the audience off balance.

      There's a small moment in the middle of the movie where Rey reaches out with the force, thinking she's grabbing her lightsaber away from Snoke only to have the lightsaber fly over her shoulder, zip around the room and clunk her on the head before floating back to the side of the smiling Supreme Leader. By now we know that the end result for Snoke is the same, but the way we get there isn't the path we think.

      For many fans they are Rey in this scenario and the lightsaber is their expectation. They think they know what they're going to get only to have it fly over their shoulder. After all the condemnation this same group threw at JJ Abrams' The Force Awakens for feeling too familiar you'd imagine they'd be overjoyed to see a movie that defies expectation, but you'd be wrong.

      Johnson is a Star Wars fan who also happens to be a very thoughtful filmmaker, so he knows what you're expecting when a conflicted Kylo Ren is taking Rey before Snoke. He even shoots the elevator ride up to the Throne Room with the exact same framing of handcuffed Luke and Darth Vader in Return of the Jedi. There's a reason for that. He wants you to think this is going to be a redemption sequence when in reality it's exactly the opposite.


      Some have been mad at Snoke's exit from the franchise, but that moment had to happen, and happen that way, to make Kylo Ren a fully realized character. He has now killed two father figures and is hellbent on killing a third.

      What's great about this sequence is Johnson takes your expectation (redemption) and gives you a hot second where you think you have it. You get the thrill of Rey and Ben Solo fighting back to back, working together and then you realize, about the time Rey does, that, as Luke warned her, things aren't going the way she's thinking.

      Kylo needed to not be a lapdog anymore. It's way more interesting to watch him make the choice to become the full-throated leader of the First Order than to see him get a hasty redemption. The other option would be to keep Snoke a mystery until the third film and then that would force JJ Abrams to copy Jedi's structure. I see why he was eager to come back for IX. He has a wide open world to play in now, thanks in large part to Johnson's decision to kill Snoke.

      One of the themes of the movie is about letting go of the past. It's seen in most major characters and in the overall arc of the film. Luke has to get over his mistake with Ben (and the even worse mistake to stop training the next generation). Rey has to move past her abandonment by her parents and realize they don't define her. Finn has to wrestle with his instinct to save himself/his friends and to serve a larger, grander purpose... and to live up to the image he wants to project, that of a Resistance hero. Poe has to come to terms with the fact that his gut instinct isn't always right, no matter where his heart is. Kylo literally repeats this theme in dialogue. He takes it a step farther. “Kill it if you have to.”

      With that in mind, yes the ending of the movie is quite beautiful, not just in Luke's exit but in the lead up to it. His moment with Leia is all about letting go of the past, but unlike Kylo he doesn't want to destroy it. He gives her Han's dice from the Millennium Falcon (even if it's just a mental projection of it). Remember the past. Cherish it. But it's time to move on.

      Luke said he came to that island to die and that's what happens. On a filmmaking level does it make sense to shoot it the way they do, by giving you that false sense of hope that Luke isn't going to Obi-Wan himself? That I find harder to argue against, but I can tell you that on second viewing the emotion of the moment hit me harder than wondering why they chose to have Luke give himself over to the Force alone on Ahch-To. It fits thematically with the whole letting go of the past thing and perfectly sets up the biggest, best emotional through-line of the whole movie for me.

      Above everything else this story is about hope. Not hope in some prophecy or chosen one, but one that can be found in anyone, whether they're a slave child or a pure-hearted low-level resistance engineer. It's about goodness and light inspiring the next generation. That is represented the best in the new character of Rose, played by Kelly Marie Tran, and it's the reason why I scratch my head at people dismissing the Canto Bight section of the movie. Sure, there's some iffy composite shots here and the highest concentration of CGI creatures, but this section is the linchpin of the entire movie.

      It's ultimately not about the search for the master codebreaker, it's about the downtrodden seeing kindness from the dying Resistance. The Resistance is fading. The First Order is close to winning. Not only have they all but wiped out Resistance forces, but they've successfully put enough fear into the galaxy that nobody comes to aid of the remaining handful.

      At the end of the movie all that remains of the Resistance is enough people that can fit on the Millennium Falcon and a broken lightsaber. But that's okay. The Resistance's time is over, much like the Jedi (as we know it) and the Sith (as we know it). The new Rebel Alliance is born in this film. It doesn't exist on the Falcon, but in the newly kindled fire in the hearts and minds of the people of the galaxy. Ordinary people. Extraordinary people who think they're ordinary.

      The word “spark” is used many times in the movie, even in the opening crawl. And that's exactly what Rose and Finn do on Canto Bight. They spark that hope in those children. In the final shots of the movie we see two things play out: one, the myth of Luke Skywalker standing alone against an army told with enthusiasm from one child to another, and two, the ring carrying the symbol of the Rebellion on the finger of a force-sensitive slave child.

      Kylo has it wrong, Luke had it right. Don't kill the past. Embrace it. But look ahead, not backwards. Look to the stars. Look to the double sunset one last time. Have hope for the future and the fire in your belly to bring it about. Don't run from your failures, acknowledge them and move on. Don't run from compassion and love and hope. Inspire it. Every victory the Resistance his comes from a place of love and self-sacrifice, never attack. Even the exhilarating, aggressive space battle at the beginning ends up costing the Resistance more than it does their enemy.

      That little boy on Canto Bight represents that future. He so off-handedly uses the force that he probably doesn't even realize he has any special abilities, but we know for damn sure which side he's going to fall on should the call come again. And it's all because he saw two human, non-super powered people show kindness and bravery. The myth building of the Jedi Knight is cool and inspirational, but it's different seeing something with your own eyes. Surely that kid has heard of Jedis before, but what has he actually experienced? Cruelty 24/7.

      That's why Rose is so important to this film and why that visit to Canto Bight is thematically the richest part of the story. If you write it off you're doing so by willfully ignoring the larger themes at play.


      The Last Jedi leaves us with a wide open playing field for Episode IX. If it really is closing out the Skywalker Saga then it has to be about balance. That's the key theme throughout all the prequels, original trilogy and, now, this new trilogy, especially this movie. Anakin Skywalker was supposed to bring balance to the force and that balance seems to be paying off now. Everything light and dark as we know it is going to be over by the time IX concludes. Leia will be gone, Kylo's pretty much got to go at this point. That will end the Skywalker bloodline and for the ultimate prophecy to be fulfilled that means everything has got to be in balance.

      On second viewing I found The Last Jedi to be even deeper and richer than I did on my first go around. I get that some people feel robbed of seeing Luke being a cool badass force warrior. I think that would have been cool, too, but would it have been right? Definitely not for this movie. That would have betrayed the core theme at play and I'll take smart story structure and strong thematic writing over “cool” any day of the week. The Darth Maul duel in Phantom Menace is cool as shit, but what does it mean in the grand scheme of that movie? Not much other than “oh, shit. The Sith are still here.” and “I guess you gotta be the one to train that Anakin kid now, Obi-Wan.”

      As Rose says it's not about fighting someone you hate, it's about saving someone you love. That is what spawns true good in the galaxy. Luke realized that at the end and that's why he finally found the peace he's been seeking for years and he found it in a way that doesn't put yet another black mark on Ben Solo's soul.  


    • George Lucas weighs in on The Last Jedi!

      1 month ago



      If you watched the spoiler-free video of Ashley, Jon and myself talking about The Last Jedi I brought up the question "Do you think George Lucas would like this movie?" My gut was telling me he just might because if there's one thing Lucas respects it's a singular vision and love or hate The Last Jedi it's clearly not a movie made by committee. 

      Lucas may respect the auteur but remember singular vision or no this is still someone else playing in his sandbox. He made a ton of money selling Star Wars to Disney, but he's an artist at heart and it's gotta sting seeing someone else play with his universe. 

      Well, we don't have to guess anymore. Lucas has seen the movie and, according to The Hollywood Reporter, is a fan. He called the movie "beautifully made" and was highly complimentary towards director Rian Johnson on a phone call after his private screening. 

      Don't forget Lucas was publicly critical of The Force Awakens for being "a retro movie" that relied too much on being like his original Star Wars, so him giving the thumbs up to Rian Johnson's vision wasn't guaranteed. 

      Take it as you like. Is this the director of Star Wars and the main creative force behind Empire and Return of the Jedi or the director of Phantom Menace-Revenge of the Sith saying it's good? The answer is all of the above and, as someone who has seen Johnson's movie, I can tell you that it is definitely the artist respecting another artist. 

      Does this make you feel better about The Last Jedi or do you have visions of Jar Jars dancing in your head? 

    • Star Wars: The Last Jedi is an assured, cheer-worthy, fantastic entry into one of my favorite franchises!

      1 month ago


      Star Wars: The Last Jedi isn't an easy movie to talk about without digging into deep spoiler territory, but by God I'm going to give it a shot!

      I was lucky enough to see the film at its world premiere at the gargantuan Shrine Auditorium in LA this past Saturday, so take that into account. Being in a 6,000 seater surrounded by the cast, crew and random celebrities in the first audience in the world to watch this movie can certainly have an impact on how the movie worked for me. I have tickets for Thursday and Friday nights (because I don't mess around when it comes to Star Wars) and will be able to test just how much being in that audience had an effect on my opinion, but here are some immediate thoughts on Rian Johnson's middle film in the new trilogy of Star Wars films in the meantime.

      The Last Jedi isn't a passive film. Big, big things happen here. By the end of the movie the galaxy as we know it is in a much different place than it is at the start. The film opens just after the events of The Force Awakens. It's actually a pretty great choice to start so close to the ending of the previous film. It gives this story an urgency as the remnants of the Resistance flee their base, the First Order determined to stomp them out once and for all.

      Starkiller Base may have been destroyed, but it did its job in wiping out the central government of the galaxy, leaving the Resistance little but a tiny militia way out-gunned and out-manned by the First Order.

      The spark of the Resistance is dying despite their victory in The Force Awakens. The big question is whether or not the Resistance's actions can inspire the rest of the galaxy to stand up to Supreme Leader Snoke, Kylo Ren and the rest of the First Order because as we begin this new movie the Resistance is down to about 400 people and the First Order won't rest until all of them are eliminated, determined not to make the mistake the Empire did and let the Rebels grow in power.

      Once again they place the hope of igniting that passion in Luke Skywalker. It worked before, surely it would work again, but Rey quickly finds that Luke isn't exactly gung-ho about returning to the spotlight and for good reason.

      Writer/director Rian Johnson has placed every single one of these characters into situations where they have to face their worst fears. Poe has to come to grips with the fact that following his gut has consequences and being good at blowing shit up isn't always enough. Leia has to face the very real possibility that she has failed with the Resistance. Finn found his courage in TFA, but only when it comes to his friendship with Rey. What about his devotion to the movement? That is tested here. Luke has removed himself from the equation completely because he fears he will do (and has done) more bad than good. Can he open himself up to the force once again? Rey confronts the dark and the light within herself.

      People expecting a remake of The Empire Strikes Back are in for a surprise. In fact, surprise seems to be the modus operandi here. Johnson constantly defies expectation, resulting in some of the most cheer-worthy moments of the entire saga. He also makes strong choice that will surely enrage some hardcore fans, delight others and result in hours upon hours of debate, deconstruction and conversation.

      I believe every single one of his choices are inspired and meaningful. Nothing is done cheaply here, every choice is earned and shows a deep insight into character complexity and thematic clarity. The final shot (don't worry, I won't spoil it), for instance, is atypical of this franchise, but sums up every single thing this movie's about in one beautifully composed image.

      The Force Awakens was a rollercoaster ride that re-introduced us to the Star Wars many of us felt had been gone since the Original Trilogy. The Last Jedi has some big moments, but is a little more introspective and actually makes The Force Awakens even better.


      We get a better insight into Kylo Ren in particular. He got criticized for being too emo in the last film, something I didn't really buy. I loved his set up as a lost character, his dark and light nature constantly fighting within him. He desired to be Darth Vader, but had to force himself into the darkest aspects of his grandfather's persona. It didn't come easy. That's interesting to me. In The Last Jedi that struggle is magnified and a choice has to be made, one way or the other.

      Snoke is handled so much better here as well. His power is shown, his intelligence is revealed and the CG work on him is infinitely better than hologram dude from the last film. He's a real threat now and as powerful as he's shown you're not sure how the hell the dwindling Resistance has a chance against him.

      Rey's character growth is actually much more subtle than you'd think from the trailers. Much like Kylo she's trying to figure out just who she is, hanging so much on her parentage to give her a clue what kind of person she is and what her place in the world is, which weirdly mirrors the fandom surrounding the character. The answer to that question is wholly satisfying to me, but I'm not sure how the rest of fandom is going to take it.

      Leia is done very, very well here. She has some meaty stuff to work with. What Johnson does with her character here is some of my favorite stuff in this new film. I love it so much I'll just leave it at that and pick up the discussion after everybody has had a chance to see the movie.

      Luke. It's tough to talk about his character in any sort of detail without putting you ahead of his story, but I will say that Mark Hamill totally brings his all to this part. Luke is frustrating, inspirational, likable, grumpy, dickish, compassionate, cowardly and brave all at once. He's beautifully written and expertly performed. Much like with Harrison Ford's return as Han Solo in the last film there are moments of pure nostalgic magic when you see glimpses of the Luke Skywalker from the OT poke through this older version of the character.


      The new characters likewise benefit from Johnson's rich character writing. Rose Tico, played by Kelly Marie Tran, in particular shines as a lowly grunt that has the heart of a Rebel fighter. She's a true believer and her enthusiasm is the kind that changes hearts and minds. She's a crucial character to this story because she embodies everything good about the Resistance and the Rebel Alliance before it. She's kind, proactive, loyal and doesn't take any shit.

      Benicio del Toro's “DJ” is a murkier character, a rogue in every sense. He's shaped in the Han Solo mold of a pirate that's out only for himself, but Johnson knows that you'll recognize this exact Star Wars character type and makes sure not to take it in the direction you're expecting.

      Laura Dern's Vice Admiral Holdo is not at all what I expected. She's a figure that is quite prominent in the Resistance and ends up carrying some of the most emotional weight of the movie. It's so damn nice to see Dern in this universe and the only problem with casting her in this movie is that she's not in every frame and you kind of want her to be.

      Porgs. What to say about the Porgs? I love 'em. There's an especially awesome scene around a campfire and that's all I'll say about that, but yeah, they're adorable and you're going to either love how cute they are or they'll annoy the hell out of you. Thankfully Johnson doesn't overuse them, so either way you'll be fine.

      The film looks like a million bucks thanks to Steve Yedlin's gorgeous photography. The battle scenes are especially spectacular. John Williams is still on his game with a driving, yet delicate, score that sits shoulder to shoulder with his best Star Wars work. ILM does a great job with the VFX, with only a few wonky comp shots on the casino planet of Canto Bight that stuck out to me. Snoke in particular is an impressive feat considering that he's photoreal and shaped in a way that absolutely can not be makeup yet doesn't land in the dreaded Uncanny Valley. There is one other bit of CG weirdness that is a tad off-putting, but ultimately successful. Vague, right? Trust me, you don't want me to say more than that.


      The practical effects are righteous, too, especially when it comes to some of the creature work done.

      There's some deeper stuff I'm dying to talk about, especially when it comes to some of the main themes of the movie, but even bringing those up could get your geek brains firing in ways that'll put you on the path to figuring out the movie before you see it and I don't want to do that. I will say some of the themes of the movie have to do with Hope and Nostalgia or the lack thereof and to me that's the real interesting thing about this movie, but I'll write something next week that dives deeper into that after everybody's had a chance to see it.

      On the whole, The Last Jedi is a fantastic film that really moves the Star Wars Saga into some unexpected territory. It's not a retread of Empire, but does borrow a little bit of Empire's structure which really keeps the flick moving through its 2.5 hour runtime. All the characters are interesting and complex and there's absolutely no pussyfooting around some real deal consequences to actions taken.

      In short, The Last Jedi is an assured film. If you had any doubt that Johnson wasn't able to make his movie the way he wanted to without being forced into safe territory by some kind of committee then this film should put your doubts to rest. This is a bold, emotional, surprising entry into the Star Wars franchise and one that I can't wait to watch over and over and over again.

    • Disney Wants Rob Marshall To Direct The Live-Action Little Mermaid Movie

      1 month ago



      Disney is king of the world right now. Just about everything they do is printing cash. Yes, you have Marvel and Star Wars, but they also have a rich vein in the live action adaptations of their back catalogue. Alice In Wonderland, Cinderella, Beauty and the Beast, The Jungle Book... all raked in the cash and they're not stopping there.

      Jon Favreau is underway on his photorealistic adaptation of The Lion King and Disney's been prepping The Little Mermaid as well. Today word came out, via Deadline, that the Mouse House wants Rob Marshall to direct Mermaid and... it's a pretty boring choice.

      The man has made some good movies, hell he has a best picture film on his resume (Chicago), but he hasn't hit a home run since in my opinion. Memoirs of a Geisha was pretty, but forgettable, Nine was pretty and forgettable, Pirates of the Caribbean: On Stranger Tides was all around bad and Into the Woods was fun, but slight. 

      Marshall just filmed the long-time-coming sequel Mary Poppins Returns and is posting that movie now, which would explain why he'd be at the top of Disney's list. This would assume that Poppins is turning out great, which is why the studio's so anxious to sign him up. He knows his way around a musical and obviously works well with the higher ups at Disney.

      He's safe, in other words.

      When Jon Favreau took on The Jungle Book he came to it with a love of the original animated film and a storyteller's drive to push technology in a way that he hadn't gotten to before. That spark made that film work. I don't know if I see Marshall bringing any sparks to The Little Mermaid.

      Lin-Manuel Miranda will be contributing some new songs to this film, teaming up with Alan Menken. That is something to get excited about, but if Marshall ends up taking the job (he's still considering it, no contracts have been signed) I think we can expect a well-shot movie whose ambitions aim squarely down the middle.

    • Quentin Tarantino Might Do A Star Trek Movie?!? Let's Break That Rumor Down, Shall We?

      1 month ago


      The big whopper that hit late last night was some word that Quentin Tarantino and JJ Abrams were partnering up for a Star Trek movie. No, April Fools Day didn't sneak up on you. This is a legit story, posted by Deadline's highly accurate scoop-hound Michael Fleming.

      It appears that big Original Series fan Quentin Tarantino had a great idea for a new Star Trek movie that he told to JJ Abrams, who loved it so much he's actively working to set it up at Paramount. Fleming said the idea is to assemble a writers room, let them kick around Tarantino's idea for a bit while he's off filming his maybe Manson Family Murders-related LA period film and when he comes back he'll take a look at their script and decide if he wants to actually direct it.

      I know, the concept of Tarantino directing a Star Trek movie is mind-blisteringly bonkers that it kind of has to happen now or else that void will never be filled by anything else and we'll all be walking around incomplete for the rest of our lives. But don't get too excited. 

      I don't mean to be the doomsayer here, but the chance of Tarantino directing a giant franchise picture that he didn't write from beginning to end himself is... improbable. He famously directed a 2-parter CSI episode that he pitched and had the writing team come up with the final teleplay, but doing episodic TV and a feature film is quite different in terms of personal time commitment and, honestly, prestige. 

      If he's sticking with his 10 and out feature promise that would mean Kelvin Timeline Star Trek 4 is Tarantino's last go-round as a director.

      I'm betting there are three outcomes more likely than Quentin Tarantino directing a Star Trek movie.

      Outcome 1: Tarantino takes a Story By credit and lets someone else run with directing the next Trek movie.

      Outcome 2: This is developed for a while and ends up dropped, becoming simply an interesting deep dive bit of movie trivia.

      Outcome 3 (the one I'm actually pulling for): Tarantino is sparked by this idea and it percolates in his brainpan to such a degree that he can't shake it and it ends up inspiring him do his own, original take on a sci-fi story.

      You'd think I'm crazy to suggest that, but it's happened before. There was time in 2005 where New Line approached him after hearing he was a Friday the 13th fan and rumors began spreading he was going to do "the Ultimate Jason Voorhees Movie." He shot the rumors down within a week. The meeting did happen, but, at the time, he was trying to get his WW2 movie, Inglourious Basterds, written out and had no intention of making Friday the 13th. 

      But that wasn't his next film up, was it? He didn't make Basterds until 2009. The film he made before it? The Death Proof segment of Grindhouse, which he said was his take on the Slasher Genre. 

      Stuntman Mike was the Slasher, but instead of wielding a machete or hatchet he killed with his car. Many slasher tropes are winked at... the slow stalk, the brutal gore and a quadruple down on the final girl trope. 

      That Friday the 13th meeting and subsequent rumors for sure got the juices flowing and gave us admittedly his weakest film to date, but still something I'm quite fond of: a uniquely Tarantino take on a slasher movie with liberal dashes of '70s car fetish road pictures.

      Fleming got no comment from either Paramount or Tarantino's camp, so the other unspoken option here is that this rumor is pure horseshit, but Fleming has a great track record and this is a big story. I doubt he'd go to print unless he was sure it was accurate. 

      I wouldn't hold my breath for this ultimately coming to anything, but we do know Tarantino is a fan of Trek and has some ideas. Hell, he talked on the Nerdist Podcast about his likes and dislikes about the world of Trek, being pretty open about what he feels works and doesn't work about JJ's movies and even about some of his ideas on what he'd do if he were making one. Listen:

      There's no telling if his off-the-cuff ideas spit-balled here are what he took to JJ or if, much like my Friday the 13th/Death Proof theory, this chat got the creative juices running and inspired something we don't know yet. 

      Again, it'd be pretty rad to see a Tarantino-directed Star Trek movie. I just think it'd be even more badass to see a fully original Tarantino sci-fi movie INSPIRED by what he loved about William Shatner's Kirk and Wrath of Khan and the bits and pieces of Trek that absorbed growing up.

      We'll see what the reality is eventually, but I got $20 says he ain't directing a Star Trek movie.

    • Mark Hamill Answers Star Wars Questions... In 1976. Must Watch Video!

      1 month ago


      The internet can be an awful place. But sometimes it can be used as a force for good. You see that when it comes to disaster relief help or getting live updates on the ground in a crisis... and you can see it in the Indiana Joneses out there who go seeking for lost geek treasure, like this video.

      It's not too hard to find YouTube videos with Mark Hamill talking about Star Wars. It's not very common to find one from the year before the first film was released and this is exactly what you have here.

      There are three men on the stage here at MidAmeriCon in Kansas City, Missouri on September 4th, 1976. Left to right they are Star Wars Marketing Director Charles Lippencott, Producer Gary Kurtz (who walked away from Star Wars after Empire) and the then mostly unknown Mark Hamill.

      They have just shown some slides for their space movie to a Comic Con crowd... and when I saw Comic-Con I mean the real, original Comic-Con type crowd, not what exists today. This is an audience of outcasts, nerds back when it was unpopular to be a nerd. Today it is cool to be a geek. In fact it's weird if you're not into geek culture. The roles have reversed. Not so much then.

      And in true Comic Book Guy fashion this crowd is a bit... salty. And unconvinced. The first few questions in particular are dickish, getting nerdy about explosions in space and "cliched" plots. 

      There are some real gems here, though. Kurtz is very clear about the budget and the steep hill they have to climb to find success (a whopping $18 million in print rentals or it's a failure). Hamill's enthusiasm is also on full display and in hindsight it's pretty funny seeing him talk about the love story between him and Carrie Fisher. There's also a question to keep an ear out for toward the end when someone asks if he's worried about being typecast as a sci-fi star should this little space opera maybe find an audience, which is pretty incredible considering right this very moment he's on a press tour talking about his return to the role of Luke Skywalker.

      This is geek catnip. Many thanks to FANAC for uncovering it, cleaning it up and uploading it.

      Watch it and share!

    • David Goyer May Direct The He-Man Movie

      1 month ago



      I'm an '80s kid so of course I have nostalgia for the He-Man cartoons and toys. I had a ton of the action figures (including the Castle Grayskull playset) that my mom sold at a Garage Sale when I was 12 for probably a fraction of what they're worth today.

      Would I be interested in a He-Man movie that actually took place in Eternia? Damn right I would be! Am I interested in one directed by David Goyer... Um... 

      Goyer's very first directorial outing was a great little indie movie called ZigZag starring Wesley Snipes, the star of Blade, a script he wrote that kicked off that franchise and could get credit for being the spark that lit the fuse resulting in today's superhero craze. 

      After that movie everything else has been degrees of awful, though. Blade Trinity is laughably bad and the two horror films he did (The Invisible and The Unborn) are totally forgettable.

      Hollywood Reporter says Goyer is in talks to direct their live-action He-Man and the Masters of the Universe movie and I'm hoping he doesn't get it, to be honest. Not that the franchise is better than him (it's not... it's super silly), but if they're going to make a movie out of it they're going to need someone who can counterbalance the goofier aspects of all these muscly dudes fighting a Skull-faced wise-ass.

      I think a good, solid, fun movie could be made with these characters in this universe, but I think the odds are way more likely it's going to end up looking like The Last Airbender. Goyer doesn't exactly fill me with confidence that it won't go in that direction.

      What do you folks think? Good idea or bad idea? Orco or no Orco? So many ways to go... and I guess no matter which way they choose it's bound to feel more like He-Man than the original feature film...


    • The Hellboy Reboot Gets A Release Date!

      1 month ago


      January 11th, 2019. That's when you can see Stranger Things' David Harbour playing ol' horned himself in Neil Marshall's HELLBOY reboot.


      This is a project that fills me with conflicting emotions. On the one hand I really wanted to see Guillermo del Toro finish out his Trilogy. He was setting up some really dark stuff at the end of Hellboy 2 and I'm invested in Ron Perlman as that character.

      On the other hand Neil Marshall is himself a great filmmaker (The Descent is an all-timer and he's done some spectacular episodes of Game of Thrones) and the reboot promises to be darker, more in line with the comics and R-rated. Plus it has David Harbour as Hellboy, which I'm incredibly curious to see how that plays out.

      Also in the movie are Milla Jovovich, Daniel Dae Kim and Ian McShane. It's a good cast and if it was the first Hellboy movie I'd be jumping over the moon, but since it isn't and the last cinematic adaptation was kind of left hanging I'll always have a little twinge of regret tied in with this project.

      What about you?

    • Shut Yo' Mouth! Shaft Remakequel Gets Dated!

      1 month ago


      So they're remaking one of the seminal films of the '70s. Again. And this time they're making it a comedy. 


      Shaft isn't a prestige film, but it's an important one. For the first time it brought the African American community into the filmmaking process in all the top line positions in front of and behind the camera and was a massive financial success and an Oscar winner (Isaac Hayes won for his original title song). It spawned a whole wave of creative low-budget highly entertaining black-centric films lovingly dubbed "blaxploitation" by cinephiles.

      The film was remade in 2000 by John Singleton with Samuel L. Jackson playing the title character. They made that one a sneaky sequel with Jackson's character actually being the original Shaft's nephew. Now they're remaking it again, but taking a similar tact.

      Tim Story will be directing this new film which is said to feature Samuel L. Jackson, Richard Roundtree and a new member of the Shaft family, played by Jessie T. Usher. It is said that it would be more of a comedy than a straight forward crime story like the previous entries and this film will debut in the prime summer season slot of June 14th, 2019.

      Blaxploitation as a subgenre always had a lighter, fun tone so it's not a huge leap to go funny with this, but I worry for two reasons. 

      One, Tim Story is directing this. He did solid comedic work with Barbershop, but made some of the worst big budget superhero films ever with Fox's Fantastic Four and Rise of the Silver Surfer. He doesn't have the best track record.

      Two, they've already made a couple really great blaxploitation comedies, my favorite of which is Undercover Brother. 

      But I can't deny being curious at seeing Sam Jackson play around in this universe again.

      This might be a good time to point out a few blaxploitation classics you might have missed. These are totally worth tracking down:

      Truck Turner - Isaac Hayes scores AND stars in this film about a washed out bounty hunter who pisses off a Madame played by Star Trek's Nichelle Nichols and she puts a hit out on him. It's super fun!

      Black Belt Jones - Jim Kelly stars as the most kick ass martial artist with the most badass afro you've ever seen. They take a traditional chop socky formula of the mentor's dojo being taken over by rivals (in this case the mafia wipes out the hood's dojo) and the students having to save the day. One of the most purely entertaining movies ever made. 

      Coffy - Pam Grier is the queen of this genre. She has a ton of great leading roles in the '70s, but her most famous (and best) are this, Coffy, and Foxy Brown. In Coffy she plays an older sister who decides to single-handedly take revenge against all the dope pushers in town after her little sister gets hooked. 

      Dolemite - What it lacks in production value it more than makes up for in pure force of personality. Rudy Ray Moore is one hell of a character and boy does he give 110% in this movie. In this movie Dolemite is a pimp who, along with his karate call girls, takes down a rival pimp and his thugs. If you ever saw Black Dynamite that movie's kind of a mix between Shaft, Black Belt Jones and Dolemite. The trailer for this movie is better than most films you've ever seen.

      There's a dozen more quality examples of blaxploitation that covers all sorts of genres, like westerns (Three the Hard Way) and horror (Abby, the Black Exorcist, or Sugar Hill, a zombie movie), but this is a good start.

      Let me know if you track any of these down and what you think.

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