Author: Hunter Radesi

  • REVIEW: ‘The Bob’s Burgers Movie’ Delights in Stupidity

    REVIEW: ‘The Bob’s Burgers Movie’ Delights in Stupidity

    People are kind of stupid. They’re also smelly, anxious, stubborn, and unpleasant. It’s something we learn at an early age, that other human beings are packed full of everything we’d like to hide about ourselves. We’ve all been to the slumber party where one of the other kids lets a big one rip, followed by a moment of silence and an appalling scent filling the air. By all accounts, this should be the end of that child’s social life. Expelled for unrepentant nastiness. Yet, this is almost never the case. Instead, in the seconds following a loud fart, most of us do the unthinkable. We laugh. We laugh because we know deep down that we’re just as gross and silly as our friend who might need to change their pants, and, most importantly, we know that’s okay.

    The Bob’s Burgers Movie succeeds because it engrains this knowledge into every crevice it has to offer. Loren Bouchard and Bernard Derriman weave a tapestry that, despite being made of comedy, comes together to create a beautiful image about family and all of its flaws. Don’t get me or my fancy wording wrong, the movie is still very much what you’d expect it to be. It has all the trappings of a typical Bob’s Burgers episode, right down to the daily special displayed on Bob’s chalkboard and the ever-changing business next door. There are goofy musical numbers, blink-and-you’ll-miss-them one-liners, visual gags, and all the familiar guest stars. However, the thing that truly helps the film soar is the major, aforementioned core trait that’s carried over from the series to the big screen – the lovable dysfunctionality of the Belcher family.

    A lot of the story’s action takes place outside of the show’s normal environment, so the movie relies heavily on the group dynamics of everyone’s favorite burger-flipping brood. The story concerns a giant sinkhole opening in front of the Bob’s Burgers restaurant, preventing access to customers and threatening to close the joint for good. Bob and Linda form their own plan to raise money with the help of loyal patron Teddy, while the kids take a dramatically different path and try to solve a murder Louise is convinced will solve all their problems. Impressively, both plots work in equal measure, and the movie manages to organically sow them together in the kind of hilariously chaotic style only Bob’s Burgers could pull off. Every moment with more than one Belcher on-screen was guaranteed pleasure.

    There’s a lot of humor from the jump in this film, and the jokes come at a relentless pace. Surprisingly, almost all of them land. There were several moments where I found myself cackling in the theater, something I haven’t done at a comedy showing in years. It’s often difficult in comedy to maintain that high of a joke rate without tiring the audience out. Sometimes, even if the comedy is well done, the schtick gets old by the time the credits begin to roll. Jackass Forever, for example, is a brilliant slapstick piece that almost became too much to laugh at as it crossed the finish line. Well done and actively funny, but most of my screening stopped laughing out loud about an hour in from fatigue. Conversely, The Bob’s Burgers Movie had everyone in their seats until the post-credits scene made us burst into laughter a final time.

    It took me a while to figure out how this worked, but I think I finally came to a conclusion. As stated previously, the best kind of humor is typically rooted in truth. We can’t help but be amused by other people doing and saying stupid things, because really, we know we’re entirely capable of being just as dumb. Bob’s Burgers rattles off an endless stream of material, all of it based in characters being brainless, and more than once, I caught myself thinking “that feels like something I would do”, or, “that reminds me of [insert friend here]”. Because of this, I was completely engrossed the whole time, and let out an audible chuckle for every fart joke and nonsensical sentence the Belchers and friends emitted throughout.

    Finally, to bring it all home, are the last few words from that opening paragraph. Bob’s Burgers never forgets that, no matter how empty-headed its protagonists can be, it’s all okay as long as they still love each other at the end of the day. This is a movie about embracing your weirdness and being comfortable in it because with any luck, you have other weird people around you to accept it. Even the overly-rich, eccentric landlord has an overly-rich, eccentric brother to understand him. The Bob’s Burgers Movie delights in cherishing stupidity, and the people who’ve allowed it to endure for millennia. Sometimes that’s enough to warm your heart, and it’s definitely enough to justify a trip to the movies.

  • How Marvel Studios Can Continue Netflix’s ‘Daredevil’

    How Marvel Studios Can Continue Netflix’s ‘Daredevil’

    Daredevil lives. After years of wishful thinking on the part of both fans and star Charlie Cox, the Marvel Cinematic Universe will bring Daredevil back to life with a brand new season of television on Disney+. The news was just made official by the outlet Variety, which also revealed writers Matt Corman and Chris Ord have been tapped by Marvel Studios to tackle the story. Almost immediately after, The Hollywood Reporter let slip that the show would be a “new but continued series” from the critically acclaimed three-season run the character previously enjoyed on Netflix. While this is pretty vague phrasing, it likely means that Kevin Feige is hoping to produce a show that can work as a soft “fourth season” of Daredevil while also standing alone as a fresh take on the character.

    You can almost imagine Corman and Ord huddled in a dark room somewhere, furiously attempting to craft the next big solo adventure for lawyer and vigilante Matt Murdock. After all, the duo have a gargantuan task ahead of them. It’s not easy to follow in the footsteps of something so immensely popular, especially while balancing the expectations of fans who want more of the same with a studio that wants something new. Luckily, the pair have two major things going for them – Daredevil is a wildly multifaceted character with decades of tonally varied storytelling to pull from, and the last season of Netflix’s Daredevil ended in a place that allows them to go in almost any direction they please.

    The first three seasons of Daredevil draw heavily from the work of Frank Miller. Each one is darker and more brutal than the last, adapting elements from famously depressing arcs like The Man Without FearBorn Again, and Gang War to bring the protector of Hell’s Kitchen to life one beatdown at a time. Murdock’s violent origin, Wilson Fisk’s steel-fisted rule as Kingpin, and the tragic demise of Elektra Natchios. Even when it strayed from the path of Miller, it still found ways to be generally hard-hearted. The second season used imagery directly from Garth Ennis‘ stress-inducing Punisher comic The Choice, while the third season only broke away from Born Again long enough to copy a famous death from Kevin Smith‘s Guardian Devil.

    The series finale, however, concluded the show with a scene that was seemingly pointing toward a disparate future. Cox‘s Murdock and Elden Henson‘s Foggy Nelson welcome Deborah Ann Woll‘s Karen Page as the latest partner in their ramshackle firm, with all three, perhaps for the first time, looking at a brighter tomorrow with a shared smile. Though many people associate pain and suffering synonymously with Daredevil, this has never been the case in the comics. Miller‘s elongated era of writing the character has, for some reason, become the default representation of how all Daredevil stories should be. Of course, this has led many to forget that his earliest escapades involved villains like The Matador and Leap-Frog, or that more recent comics involved him casually wearing a sweater that read “I’m not Daredevil.”

    This occasional goofiness is something Marvel Studios would be smart to exploit going forward. Erik Oleson and the previous Netflix team couldn’t have teed them up any better. Both in metaphor and in the title, Matt Murdock was born again in Daredevil‘s third season. He comes out the other end of his conflict with Fisk a more optimistic person. In 2013, Mark Waid began a run on the character that aimed to explore the potential of this exact concept in full. Murdock attempts to cope with his traumatic past by forming a renewed sense of adventure, returning to his swashbuckling roots in a classic example of overcorrection. The arc added a new dynamic to Daredevil’s long history, but it never fully ignored the brutality of his past. Adapting this element from Waid‘s run would be an ideal way to give Daredevil a new coat of paint without having to dismiss its former seasons.

    So, Marvel Studios’ Daredevil could begin with a reinvigorated Matt Murdock joyfully taking on crime in Hell’s Kitchen while his best friends keep their struggling law firm afloat. Naturally, there would have to be a conflict that uproots this, and the perfect inspiration can be found in the work of acclaimed creative Brian Michael Bendis. The writer had a run almost on par with Miller in the early 2000s, and some aspects of his comics found their way into Netflix’s live-action show. A key plot point in Bendis‘ Daredevil legacy comes in the form of Out, which saw Matt Murdock’s secret identity discovered by the FBI and eventually leaked to the press. The third season of Daredevil also had a member of the FBI learn about Murdock’s double life, and while he never leaked it to the press, it’s not too much of a stretch to say a fellow agent could find proof of Daredevil’s identity while sorting through Ray Nadeem’s old files and decide to make some extra cash.

    The ensuing chaos would understandably cause some problems in each of Murdock’s two lives. Forced to face the same kind of scrutiny he had just helped Tom Holland‘s Peter Parker escape, Murdock’s fresh outlook on life would be tested. It would also put somewhat of a target on his back for any criminal who might be wanting revenge for a prior defeat, especially one who always hits his mark. Last we saw Wilson Bethel‘s Benjamin Poindexter, he was crazier than ever and in the middle of receiving a fancy new Cogmium spine. All these years later, it’s entirely possible he would be up and operating as the criminal underworld’s most effective assassin. No longer Poindexter, now simply Bullseye (hopefully in an MCU-worthy, comic-accurate costume). Should he need more resources to get even, he would have no problem finding a wealthy benefactor whose thirst for vengeance could equal his own.

    Hawkeye shocked fans by revealing Vincent D’Onofrio‘s Kingpin was still active in New York City. It seems likely he would make an appearance in the next season of Daredevil, but perhaps it wouldn’t be him pulling all the strings this time. The last Fisk was seen prior to Hawkeye, he was being arrested alongside his wife, Ayelet Zurer‘s Vanessa. The last season of Daredevil proved Vanessa wasn’t as innocent as she once appeared, and is potentially more ruthless than Wilson himself. If his most recent arrest is the reason Fisk now operates out of a garage, and Matt’s final threat of ruining Vanessa if Wilson came for Foggy or Karen is the reason all three heroes are still alive, then perhaps a spiteful Mrs. Fisk could be the one hiring Bullseye and calling the shots as the public face of the Fisk fortune. Waid‘s run also had Murdock’s identity being revealed, that time purposefully announced by Matt to avoid being blackmailed. Maybe Vanessa attempts to use the information about Murdock’s identity against him, only for Matt to surprise her by unmasking himself in the court room.

    These hypothetical plot points may not always line up perfectly with the Netflix Daredevil series, but there’s a really good chance the new show might not always follow the previously established canon. At least, not exactly. Bullseye may have a Vibranium spine, the aforementioned arrests may not have gone down quite the same way, and Kingpin might be a little more durable than Netflix remembered to show. Aside from the mention of Ray Nadeem or the FBI, all of these elements could be explained away with a line or two of vague dialogue. Either way, they’d be a fantastic way to give Charlie Cox‘s take on Daredevil a proper continuation whilst also giving Disney+ a fresh tone to work with. I mean, if Matt reveals his identity and ends up disbarred in New York, he’s always got that comic book move to San Francisco waiting in the wings.

  • Jay Roach to Direct a Margot Robbie-Led ‘Ocean’s Eleven’ Prequel

    Jay Roach to Direct a Margot Robbie-Led ‘Ocean’s Eleven’ Prequel

    Warner Bros. isn’t done with the Ocean’s franchise. The Hollywood Reporter has revealed that fan-favorite actress Margot Robbie will star in an upcoming prequel to the iconic film series, set to be directed by veteran filmmaker Jay Roach. Plot details are still being kept under wraps, but the story will reportedly take place in Europe during the 1960s. It will be brought to life from an original screenplay by writer Carrie Solomon. The goal is to begin production by 2023, but THR notes the project has yet to receive an official green light and is still merely in early production.

    This will be the second time Robbie and Roach work together, following 2019’s Oscar-nominated Bombshell. The actress will also produce the film through her production company Lucky Chap, alongside Village Roadshow. Gary Ross, who directed the previous franchise installment Ocean’s Eight, will return in a producing capacity as well.

    The new prequel will look to revitalize a series that began with Steven Soderbergh’s Ocean’s Eleven in 2001, itself a remake of the 1960 film based on a book of the same name. Former stars attached to the movies include major names like George ClooneyBrad PittMatt DamonSandra BullockAl Pacino, and Julia Roberts. The last attempt at bringing the franchise back to life was the aforementioned Ocean’s Eight. Unfortunately, there was never a sequel announcement, even with an all-star cast consisting of Bullock, Cate Blanchett, Sarah Paulson, Anne Hathaway, Mindy Kaling, Helena Bonham Carter, and more. However, with Ross back to produce this new prequel, maybe there will still be some connections down the line.

    Source: THR

  • New ‘Multiverse of Madness’ Concept Art Offers a Closer Look at Scarlet Witch Design

    New ‘Multiverse of Madness’ Concept Art Offers a Closer Look at Scarlet Witch Design

    There is no denying that Elizabeth Olsen‘s Scarlet Witch is one of the Marvel Cinematic Universe’s most powerful characters. Her recent turn to the side of chaos in Doctor Strange in the Multiverse of Madness cemented her as a terrifying force of nature in the eyes of many fans, and a new piece of concept art from visual developer Andy Park reflects this perfectly. The longtime Marvel Studios artist often uses social media to promote his previously unreleased artwork for the company’s shows and feature films, and it delivers every time. Most recently, Park has revealed a new look at Wanda Maximoff’s suit from the Doctor Strange sequel:

    The image displays Maximoff in all her scarlet glory, highlighting the immense amount of power she has gained from fully embracing the use of dark magic. Park comments that the intention of the new design was to stay true to WandaVision‘s grand finale outfit while also giving the character a “darker” spin overall. It would appear the artist was able to do just that, with the help of the film’s Visual Development Supervisor Ian Joyner and the rest of Marvel Studios’ talented concept team. Park started his career designing creatures and characters for the acclaimed God of War franchise, before moving over to Marvel in 2010. Since then, he has worked on a number of films including The Avengers, Captain America: Civil War, Guardians of the Galaxy Vol. 2, and Ant-Man and the Wasp.

    Source: Twitter

  • REVIEW: ‘Chip ‘n Dale: Rescue Rangers’ Is Nostalgia Done Right

    REVIEW: ‘Chip ‘n Dale: Rescue Rangers’ Is Nostalgia Done Right

    Ever wonder what it would look like if The Lonely Island were put in charge of a Disney movie? Wonder no more. That movie is here, and it is Chip ‘n Dale: Rescue Rangers. The newest animated comedy from the House of Mouse is a perfect example of nostalgia done the right way. Director Akiva Schaffer manages to find a perfect blend between classic story of friendship and the admittedly insane amount of cameos and references pulled off during the film’s tight runtime. It’s family friendly, with lots for the little ones to love, but with plenty of jokes aimed specifically at the adult crowd as well.

    Those jokes, however, aren’t necessarily the kind one might expect from a Chip and Dale picture. Gone are the high-pitched chipmunk voices of old, and in are the vocal chords of comedians Andy Samberg and John Mulaney. Naturally, this leads to a lot more deadpan quipping and observational humor than the cornball antics of the original animated series. The strange tonal pivot, which works surprisingly well, is explained away with a rather Roger Rabbit-esque revelation. Chip and Dale were never those famously squeaky detectives that folks tend to think of when their names come up. Instead, they are simply actors, living in a world where humans and cartoons co-exist peacefully. Now, decades after the end of their hit show, they’ve broken up and live relatively normal lives, working jobs that don’t exactly bring them the same kind of fulfillment as the Rescue Rangers once did.

    From here, the movie gets pretty cliche. The duo’s old partner Monty, now voiced by Eric Bana, goes missing, forcing them to reunite and resolve their differences to save their friend. Most of the plot points and story beats are ones audiences will recognize, and most of what goes on is pretty predictable. It’s a really simple movie obviously designed with children in mind, paced quickly for short attention spans, making it easy to follow. However, the fact that so much of the film treads familiar water while also remaining fun for grown-ups is a testament to just how entertaining the rest of it is. Despite not breaking much new ground, Chip ‘n Dale is genuinely pretty funny from beginning to end.

    The movie is injected with that specific style of new-age satire that allows it to be both earnest and self-aware at the same time. For every joke made at the expense of animation and it’s classic characters, there’s also a sense of pure love and admiration for the genre that the filmmakers so clearly grew up on. There are quite a few deep cut references to the history of animation too. Some are more on-the-nose, like Los Angeles’ slum being called the “Uncanny Valley” because it’s filled with poorly rendered CGI avatars from the “early 2000s.” Others, like a surprise appearance by the Tigra from Marvel’s flopped Avengers: United They Stand  cartoon, are just weirdly obscure and specific enough to put a big smile on the face of an older audience. There are many more I’d love to get into here, but I wouldn’t want to spoil the fun of seeing it all for the first time.

    Mercifully, most of the cameos and references happen in a pretty organic way. Trailers for the film made it seem like the Easter eggs may overpower any actual storytelling, but this isn’t the case. The Roger Rabbit setting allows for a litany of references and appearances to happen without anything being forced, with a multitude of famous faces popping in and out as the plot unfolds naturally. It’s essentially what many fans had hoped Doctor Strange in the Multiverse of Madness might be, without the limitations of applause breaks or fear of “being too much.” There are quite a few vocal surprises as well, with guest stars voicing different characters than were advertised leading up to the film’s release. A lot of them produced excited chuckles from myself..

    Ultimately, Chip ‘n Dale: Rescue Rangers succeeds in being a heartfelt tale for kids while also being a viable entertainment option for adults. Truthfully, the movie sort of plays like a project made specifically for people who grew up on the cartoon while simultaneously introducing the characters and concepts to a new generation. Most of the best jokes and surprises are really for the parents. So, get ready to sit down and gear up for a fantastic new family adventure. Sometimes some crimes go slipping through the cracks, but these two gumshoes are picking up the slack.

  • REVIEW: ‘Night Sky’ Lets Its Stars Shine

    REVIEW: ‘Night Sky’ Lets Its Stars Shine

    Sissy Spacek and J.K. Simmons are two remarkable acting powerhouses, and for most of its eight episodes, Amazon Prime’s latest science-fiction offering Night Sky feels designed specifically to point that out. The slow-burn series from creators Holden Miller and Daniel C. Connolly centers around elderly couple Irene and Franklin York, played by the aforementioned Academy Award winners, who live a seemingly normal life in a small Illinois town. Of course, normality isn’t what qualifies the show as science-fiction, so there is one major twist – the couple are hiding a mysterious portal to another planet in the ground under their shed. They manage to maintain a fairly dull life despite this shocking secret, until a strange young man emerges from the otherworldly doorway and turns everything they thought they knew upside down. From that point, it’s mostly just really good acting.

    The show’s premise will draw people in, but Spacek and Simmons will be the reason they stay. Although the written synopsis may appear to promise moments of visual awe and pulse-pounding discovery, that type of storytelling is actually fairly sparse for most of the series’ runtime. Aside from a handful of truly beautiful cosmic scenes and a subplot involving cult-like bounty hunters, the majority of Night Sky is actually a long-form drama about the endless, overwhelming love shared by Franklin and Irene. In fact, it becomes apparent partway through the season that the whole “space door” plot point, and the ancient organization associated with it, are more so catalysts to challenge and examine the York’s marriage than they are real developments of their own.

    This works almost exclusively because the show’s leads are so good at what they do. The series’ writing is very well done, but its pacing is far slower than expected. While the front and back of Night Sky are filled with exciting progress, the middle chunk of episodes suffer from a frustrating lack of life that could leave some viewers in a position of wanting to change the channel. Truthfully, Night Sky does not seem to be structured with the binging model in mind. Most episodes are dense enough that they could use that old-fashioned week of processing and analysis between installments. Attempting to take in more than a couple of episodes at a time could prove to be a bit much, so the recommendation here is to slow your roll and appreciate independent episodes for what they are.

    Once the season gets cooking, however, it has a lot of really intriguing things to say. The main point of tension in the York family is the lingering death of their son, Michael, who passed away decades before the start of the show. His loss of life has caused Irene and Franklin to struggle finding meaning in theirs, with their care for each other as the only thing still keeping them around. The sudden arrival of Chai Hansen‘s curious Jude into their lives threatens to rupture the relative peace Franklin has procured for himself and Irene in recent years, but it means something else entirely for his wife, who sees the situation as an opportunity to experience something real again. Much of the personal conflict that follows revolves around the duo’s differing outlooks on how Jude will change their future and affect their views of the past, and makes for a rather compelling relationship drama from a demographic not seen as frequently on television.

    The other main plotline in the series follows Julieta Zylberberg’s Stella and her teenage daughter, Rocío Hernández‘s Toni. Without getting too far into spoiler territory, the pair spend much of the show’s first season on a cross-country road trip that forces both to confront questions about themselves they’ve been avoiding for most of their lives. As expected, this drama comes to a head around the same time Franklin and Irene resolve their comeuppance. The common theme shared between the two plots is simple, yet effective. Both pairs of family members spend too much time running in circles, desperately trying to avoid the inevitable. They do so because they are scared, and because change, especially immense change, is a terrifying thing to face head-on. It isn’t until they accept fate and embrace change that they realize how glorious life can be.

    The most impressive thing about Night Sky is that it consistently makes you forget there’s a big space portal in the protagonists’ backyard. Where most science-fiction shows tend to bury character drama beneath cool special effects, Amazon’s newest does the exact opposite. The beauty of the series does not come from the infinite universe in which it takes place, but instead from the hearts and souls of the characters that inhabit it.

  • The Star of 1994’s ‘The Fantastic Four’ Comments on John Krasinski as Reed Richards

    The Star of 1994’s ‘The Fantastic Four’ Comments on John Krasinski as Reed Richards

    There’s a new Reed Richards on the scene, and the original Mr. Fantastic has thoughts. Alex Hyde-White was the first person to play the patriarch of Marvel’s First Family in live-action, even if most people don’t remember. He portrayed the character in the unreleased 1994 adaptation The Fantastic Four, famously produced with a very low-budget by Roger Corman. Unfortunately, after the movie failed to hit theaters, his career as a big screen superhero became more of a trivia piece than the foundation for Richards’ cinematic legacy.

    No need to worry though, as Hyde-White is still getting plenty of work, and he’s still just as big a fan of Marvel as he was thirty years ago. Sitting down with The Hollywood Reporter to discuss his fantastic past, the upcoming Nope star was asked directly about John Krasinski’s surprise appearance as the Marvel Cinematic Universe’s new Reed. He couldn’t be more pleased:

    Well, that’s not a surprise. He’s been rumored for a while. It’s exciting! He’s proved himself to be a heck of a storyteller and as a lead actor and a producer and director. Krasinski is a force to be reckoned with because he has a joy of storytelling, and he’s a good leader. Those are Reed Richards’ characteristics… If you were to send out a casting spec for Reed Richards, you would say “Excellent leader, control freak — but nice about it. Collaborator willing to take the blame.”

    Alex Hyde-White

    While it remains to be seen whether or not Krasinski becomes the 616 Reed, his cameo in Doctor Strange in the Multiverse of Madness was a nice surprise for those eager to see him in the role. Until Marvel’s first family is cast, fans can take solace in knowing they’ll (finally) be joining the MCU soon.

    Source: THR.

  • Jeremy Slater Tried Referencing Popular Dracula Meme in ‘Moon Knight’

    Jeremy Slater Tried Referencing Popular Dracula Meme in ‘Moon Knight’

    Before Moon Knight debuted on Disney+, the majority of internet users probably knew the character best from memes rather than comics. A few years ago, it became a trend for online jokesters to take obscure comic panels and alter the dialogue to have Moon Knight shouting explicit, shocking, NSFW statements at other Marvel characters. One of these altered images became a viral sensation. It featured Marc Spector’s Moon Knight screaming at the vampire lord Dracula, demanding that the “big f—-ing nerd” give him his money.

    Speaking with Comic Book, Moon Knight head writer Jeremy Slater confirmed that he did, in fact, attempt to put a reference to this meme in the hit show. Unfortunately, the crudeness of the dialogue made it hard to fit organically into a relatively PG-13 series on Disney’s streaming service:

    I tried so hard. The problem is you can’t say f-ck on Disney+. And so you have to do a really awkward bleep where something breaks right when they say it. But it also felt to have him sort of recreate any part of that meme, but not do the part that people liked the most, which is the sort of inappropriate cursing. It was just kind of shining a spotlight on the fact that we couldn’t curse.

    Jeremy Slater

    Luckily for fans, Slater doesn’t think this will be the last chance someone gets to bring the meme to life. Moon Knight leaves plenty of room for the character to return later on down the line, and the upcoming introduction of Blade into the Marvel Cinematic Universe could open the door for an actual confrontation between Moon Knight and Dracula to occur in live-action. The writer elaborates on the opportunity:

    I still think there’s ways to get some of those memes in there. I’ve also said on the record that I would love to see Moon Knight going after Dracula at some point. And maybe Blade has that area staked out, no pun intended, but look, if Moon Knight goes after Dracula, I can assure you that someone will work that meme in there somewhere.

    Jeremy Slater

    Moon Knight is now streaming in it’s entirety on Disney+.

    Source: Comic Book

  • ‘Fant4stic’ Writer Responds to John Krasinski as Reed Richards

    ‘Fant4stic’ Writer Responds to John Krasinski as Reed Richards

    It might be a while before people stop commenting on the biggest surprise cameo in Doctor Strange in the Multiverse of Madness. When the titular Master of the Mystic Arts and his newest protégé, America Chavez, find themselves stuck on the alternate Earth-838, they are confronted by that world’s mightiest superhero team – The Illuminati. One of the leading members of that team is John Krasinski‘s Reed Richards, billed as the smartest man on Earth-838 and head of the Baxter Foundation.

    The character reveal was a huge shock to audiences. Very few people expected to see the patriarch of the Fantastic Four back on the big screen so soon, let alone played by one of the most popular fan casts in comic book internet history. The last time Richards was in a movie, it was 2015’s Fant4stic, where a younger version of the hero was brought to life by Miles Teller. One of that film’s writers, Jeremy Slater, has now reacted to Reed’s inclusion in the Marvel Cinematic Universe. Speaking with Comic Book, the creative revealed his enthusiasm for Krasinski in the role:

    I think Krasinski is a really cool choice if that’s who they go with for whoever the real version of Reed that gets introduced. I think he’d be an awesome choice. We didn’t get to see him do a lot of fun stuff in there — [the Scarlet Witch vs. the Illuminati] was much more of an introduction and a sort of glorified cameo.

    Jeremy Slater

    Slater just finished a run writing Moon Knight for Marvel Studios. He’s received a lot of flack for his work on Fant4stic in the past, which was a critical and financial failure, but the writer has publicly stated he does not claim ownership for the movie. Supposedly, only a single line of dialogue Slater wrote made it into the final film.

    Go see Doctor Strange in the Multiverse of Madness in theaters now.

    Source: Comic Book

  • REVIEW: ‘The Kids in the Hall’ Revival is Best When It’s Not Being Funny

    REVIEW: ‘The Kids in the Hall’ Revival is Best When It’s Not Being Funny

    “Well, I got a brand new pair of roller skates, you got a brand new key. I think that we should get together and try them out, to see…

    The lyrics to Melanie‘s upbeat 1971 classic, “Brand New Key,” echo hauntingly through the lifeless corners of an underground bunker. A neon sign flashes “On Air,” and water drips from the pipes above. Dave Foley, wearing a long-haired wig and eyeliner, sits by himself at a table covered in radio broadcast equipment. He casts an empty stare into nothing, his expression somehow both devoid of feeling and on the verge of tears.

    “I’ve been looking around a while, you’ve got something for me. Oh, I got a brand new pair of roller skates, you got a brand new key…”

    The record playing in front of Foley skips, breaking him from his trance and transforming him into a “Motor Mouth” DJ named Mike, putting on a performance for an unseen audience. A few cheesy quips reveal that a nuclear holocaust has destroyed the surface of the Earth, and Mike is seemingly speaking to nobody, simply passing the time alone. As soon as his act is finished, he returns to playing “Brand New Key,” his only record, and resumes looking into the void. Maybe, someday, somebody will hear his broadcast, but that day is not this one. Cut to opening credits.

    That is how The Kids in the Hall choose to open an installment of their latest episodic reunion. The Canadian troupe that blew the doors off sketch comedy in the early 1990s with their farcical satire and deadpan absurdity are back with a revival on Prime Video, but things are a little different this time. Now, they’re old, and they have a new perspective on life. Much of the humor in the latest season comes from a place of reflection, analyzing the ups and downs of later adulthood and the world as it has come to be. It’s the kind of topical turn many comedians have made as they’ve aged past the point of youthful rebellion. No longer able to stick it to the man, generally speaking, they begin sticking it to those who do.

    Luckily, the Kids in the Hall avoid falling into the regular “old man trap” of cantankerously complaining about the way times have changed. Instead, they often make themselves the butt of the joke, using their own humility to get the point across. Their sketches are just as much about how well they have, and haven’t, adapted to the changing landscape of culture as they are about their thoughts on those changes at large. What exactly those thoughts are appear to be somewhat subjective, but the unanimous decision made by all five members seems to be that, at the very least, their sense of humor refuses to change. These are the same Kids in the Hall you remember from thirty years ago, even if what they’re talking about is not at all the same. For all intents and purposes, the group are Dave Foley sitting in a bunker as civilization crumbles around them. Still wearing the clothes and makeup they did in 1989.

    Though interestingly enough, many of the season’s highlights happen in ways one wouldn’t quite expect. Like the strange, off-putting bit outlined above, most of the Kid’s best new moments come in the form of weirdly serious, left-field sketches that aren’t exactly outwardly funny. Maybe it’s the modern influence of successful alternative comedy shows like Tim Robinson‘s I Think You Should Leave or Nathan Fielder‘s Nathan For You, but it’s likely the sketches played for confusion or stupidity that will end up appealing most to the younger audiences of today. Of course, it could be argued that the Kids in the Hall pioneered that exact form of hilarity, and credit is due where it’s due. When the Kids commit to the cringe bit, it’s all sorts of wonderful. There are skits with bouncing male genitalia, waiters who can’t comprehend the mind of a tasteless dinner guest, and a neighborhood watch who can’t quite put their finger on what’s actually wrong with their environment. Each of these succeeds because none of their characters show any sign of realizing their actions are increasingly ridiculous. They aren’t trying to be funny, which in turn is hilarious.

    Unfortunately, the Kids’ latest batch of episodes can’t stick to this format for its entirety. It feels like every time an episode hits its stride, it comes crashing down at the behest of a sketch that insists on laughing at itself. A drunk father manages to become a hero in Toronto, a workplace Zoom meeting is interrupted by natural desires, and a man loses his job for culturally appropriating a clown co-worker. These all fail, at least in my own eyes, because they acknowledge that what’s happening could be construed as funny. The Kids and their cohorts play the characters in these sketches as knowing caricatures surrounded by other knowing caricatures. Everyone is in on the joke, which causes the joke as a whole to flounder. Nobody likes to be told when something is funny, they just want to laugh.

    Thankfully, the majority of The Kids in the Hall‘s five screener episodes manage to lean toward the former vibe of unconscious absurdism. It’s not a perfect season of comedy, but it is exactly what fans of the crew might be expecting from their favorite funny Canadians. Even viewers with little-to-no prior knowledge of the group will probably find themselves amused by a lot of what they have to offer. There have been much worse attempts at a comeback made by comedians circling retirement age. Here’s hoping the last couple of episodes, still yet to be seen by critics, live up to the whispered promise that the Kids still have what it takes to shock and delight.