Controversies have been piling on since Ezra Miller‘s escapades in Hawaii have led to them pulling in quite a bit of bad press for Warner Bros. Discovery’s upcoming The Flash film. As they are currently busy restructuring the company, it seemed like they may make some harsh decisions regarding the film and its future, especially as we’ve seen many other actors end up getting replaced due to mounting controversies, such as Mads Mikkelsen taking over for Johnny Depp as Gellert Grindelwald in Fantastic Beasts: The Secrets of Dumbledore. Yet, it seems that this won’t happen for The Flash.
In a new piece by Variety, they talk about the fact that if they decided to replace Miller, they’d be forced to reshoot the entire film. They are supposedly in pretty much every scene and it would require magic to find a way to replace them in the film. It’s already at a point where it could be deemed very risky even releasing in theaters given how often the production on The Flash was pushed back with Warner Bros. losing writers and directors at an alarming rate.
Variety points out that it costs way too much money to scrap and to turn a profit the film has to release in theaters. Miller‘s involvementwith the before-mentioned Fantastic Beasts was also kept at a minimum, as it wasreleased just as the controversies hit their peak. Yet, it’s a bit more complicated when they are playing the main title role. They already postponed the film, once again, by an entire year, and with a mid-2023 release, there’s quite a lot of time to let the controversy “pass by” as costs simply keep mounting for Warner Bros.
There’s been a lot of discussions surrounding the many rumors in regard to Tenoch Huerta‘s role in Black Panther: Wakanda Forever. While not officially confirmed by Marvel Studios, there are many rumors pointing to him tackling a very different take on the iconic anti-hero known as Namor the Submariner. Huerta was one of the first casting announcements for the film and has been hidden for quite some time in regards to who he might end up playing. Now, a new piece by Vice on his efforts to fight racism in Mexico also includes a rather curious detail.
According to Vice, who very openly writes that he is playing Namor in the upcoming sequel, they highlighted that the Huerta has been busy learning the Mayan language for a role that he spent months filming in Atlanta. This may seem small at first, but it actually further adds to the weight that the MCUs take on Atlantis will be quite different and explore the sunken city as part of Mayan culture. A recent crew gift featuring a Mayan Jaguar god, mirroring Wakanda’s own deity, also further hinted at this new origin.
At this point, it does seem safe to say that they are very likely heading in this direction and it’s bizarre that they still haven’t confirmed the casting so far. Perhaps they are letting the rumors spiral similar to Spider-Man: No Way Home before catching everyone’s attention with the trailer. They kept Christian Bale‘s Gorr the God Butcher a “secret” until the second trailer and they may be taking a similar direction with the marketing. We’ll see if this works in their favor and how people react to the new addition to the MCU.
Have you ever dreamed what it would be like as a cheater in 18th century France? Ever wondered if you could untangle a web of lies and intrigue to take your claim amongst the noble? If yes, then Devolver Digital’s Card Shark might be exactly for you, as you set out on a journey to traverse the politics of the 18th century with only your wit and deck at hand. Though, it raises the question if you’re playing the game or the game plays you? In a world of trickery, who knows if the game can deliver.
There’s one thing that is unmistakable about Card Shark and that is it’s style. Every scenery and location feels like a painting come to life and there’s quite the variety at play here as you progress from one deceit to the next. Accompanied by historically-fitting music by Andrea Boccadoro, the art of Nicolai Troshinsky drags you into the 18th century and adds its own flourishes to even bring some nice comedy. Even something as simple as your silent protagonist making a strange gesture to show his reaction adds that little charm and personality.
Yet, the game is, appropriately so, all about the game itself. This isn’t your traditional card-based video game. You’re not building a deck throughout your adventure like with Inscryption but rather learning various ways to cheat and gamble your way through France. While a base knowledge of the suits is swiftly taught, you go though a wide variety of tutorials that continue to increase in difficulty. With your trusty teacher Comte de Saint-Germain, inspired by the real-world historical figure, you start to find your way into nobles’ pockets.
The game, however, isn’t just about tricking people out of their money. There’s actually an interesting historical mystery at play, as each new game helps you find your way closer and closer to unraveling of the so-called Twelve Bottles of Milk. It adds a wonderful splendor to the experience, as you swindle money and information out of your prey, which leads to some rather tense moments. Don’t be surprised if you find yourself facing the barrel of the gun or forced to duel to save your hide. Nothing is more sacred than information, and people will make sure to keep that as safe as possible.
There’s a charm to this game, as its a simple concept at heart. Each new trick comes with specific control inputs; and some quite memorable names. Some even include unique flourishes where quick-thinking will be your friend. Don’t be alarmed if you make mistakes, as a lot of the game is practice. Sometimes you jump into one and think you have it all figured out, only for the complexities or the timings to just not work out in your favor, especially when it throws you a curveball. There’s a learning curve that mainly depends on you investing the time to figure out some of the tricks, especially as it starts mixing and matching them later on. It’s less about the difficulty but more about the execution and how the game surprises you.
There are times where failing seems like nothing more than a slap on the wrist if you fail, but that slap can get frustrating at times. There’s no checkpoint during a game and you can’t just re-enter an area to play the again instantly. You collect cash throughout your journey, and if you run out, you have to go back to your base as a separate loadable area and it only gives you the minimum amount. You can’t determine how much money you get; the game does it for you. So, if you lose over and over again, you have to repeat the process of returning to the base, going through dialogue to get the money so you can start the mission again. At least you tend to get a shortened intro to that mission, but if you’re having a bad day, it’s not going to get much better by having to repeat this process.
To be fair, they do add a special area where you can farm money. However, it only gives you the option to choose between three types of cheats. Once you reach this point, there is one aspect of the game that gets quite apparent. Throughout your journey, you learn 28 different techniques. Some of them aren’t card-focused but there are enough that make it a bit difficult to remember where and when you use specific techniques like injogging. It’s not that the tricks are difficult, it’s just that you get bombarded with so much information that it’s difficult when you suddenly have to revisit a technique you probably have already forgotten at that point.
There’s a menu with the overview of what kind of techniques you’ve learned, but you do not have an option to rehearse them in case you, for example, took a break for a few days and are having trouble getting back into the swing of things. So, if you haven’t kept every step of every technique memorized, you’ll face some trouble until you get the next tutorial. Ironically, you can try out some techniques at your base of operations, but it’s only for very specific non-card tricks, which you use the least. So, the game could use an NPC or location, where you can try out the scam you learned 20+ games ago and might be having an issue remembering.
Otherwise, you are very dependent on if that trick will return in your travels to a new location which most of the time is with something new added in. And sadly, this is the one big gripe with the game. It’s a great experience and the trickery combined with the politics makes for a great gameplay loop, but most of the game is a tutorial. You learn how to do the trick on your way there, put it together with the pressure of not being found out, and doing it for a few rounds until the other player runs out of money. If it weren’t for the various tricks and some of the stories surprises, it could get quite repetitive. Yet, you also don’t spend enough time either with one trick to really master it. You’re only option is to redo the tutorial multiple times but it’s commonly a simpler version of what you’re about to face.
Card Shark will test you and make sure you can think on your feet. It’s a special kind of experience that even with its more “tutorial”-esque nature gives you some really challenging moments. It’s at its best when it even surprises you, such as someone else using some familiar strategies. If you’ve ever been interested in sleight of hand and just want a somewhat different type of card game, this is definitely one to not miss out. Even as it can test your patience at times, it’s stunning visuals and music will definitely keep you calm.
All eyes have been on the many productions making their way to cinemas from Marvel Studios. Yet, we still have anxiously been waiting for updates on future projects such as Mahershala Ali’sBlade adaptation. After some silence on the project, it looks like we finally got some more details.
According to Next Best Pictures’ Will Mavity has shared that cinematographer Damiàn Garcia has joined the Blade adaptation. He is best known for his work on Narcos: Mexico, Museo and I’m No Longer Here.
Cinematographer Damián García (Museo, I'm No Longer Here, Narcos: Mexico) is shooting Marvel's upcoming "Blade" film with Mahershala Ali
It they found a cinematographer, it’s a good sign that production may start soon. This film is a passion project for Ali who approached Marvel Studios to tackle a project. Ir’ll be his second time in the Marvel world after a memorable performance in the Netflix series Luke Cage.
We’ve long wondered what the future has in store for the Fantastic Four project. Many were shocked when Spider-Man: No Way Home director Jon Watts stepped down from leading the charge on the project. There was some belief that it meant they may have found someone else to take over the project, but it looks like that might not be the case. In a little exclusive dropped late at night, Deadline’s Justin Kroll has offered a curious update on the film’s progress.
It looks like Fantastic Four is a top priority for Marvel Studios, but we shouldn’t expect an announcement anytime soon. They are currently going through a long list of potential candidates with a source hinting that they might take at least until labor day to find someone. Marvel is actively going after a mix of candidates as Kevin Feige and his team is also trying their chances with some big names. Kroll shared that:
One source close to process, “Kevin doesn’t want oversee entire shoot and after not having to worry about that with Raimi, he is very game to same outcome with this shoot.”
There’s a lot riding on a successful adaptation of the Fantastic Four, as previous iterations haven’t been quite what comic fans nor movie-goers hoped for. The first version released in 2005 offered a comedic approach and even gained a sequel with Rise of the Silver Surfer, 2015’s Fantastic Four, also jokingly called Fan4stic, left a sour taste with viewers.
The fact that Feige is also looking to replicate what happened with Sam Raimi’s work on Doctor Strange in the Multiverse of Madness highlights that they further are focusing on giving their creative teams more freedom. This development has been seen since Feige moved away from Ike Perlmutter‘s influence and it highlights the lessons they’ve learned along the way. So, here’s hoping they can find someone to perfectly bring the Fantastic Four back to the silver screen.
There’s been a lot of discussions on where exactly Netflix is heading after its market collapsed due to the first mention of a loss in subscribers. Timings are terrible as many more competitors are entering the market and they are losing some of their biggest streaming offerings that kept binge-watchers subscribed. Now, the studio is looking to take some drastic measures moving forward.
We already saw them take a hammer and drag down their entire animation division, which is a bizarre highlight of how that type of filmmaking always seems to become a scapegoat with the future of that division rather questionable. A new report by The Hollywood Reporter highlights that their biggest re-evaluation is in the form of Scott Stuber‘s feature film division.
They already let 150 employees go, which is 2% of their workforce, but they are still in the middle of re-arranging their projects. Every division was pretty much affected, and Netflix is eyeing to release bigger productions but fewer of them. They had tried to tackle the arthouse genre with some projects from masters from the industry, but are noticing that it’s not quite necessary for these projects to be a hit. Ted Sarandos shared in an April Earnings call that:
Today, we’re releasing some of the most popular and most-watched movies in the world. Just over the last few months, things like Don’t Look Up and Red Notice and Adam Project, as examples of that.” But what this “bigger, better, fewer.
Ted Sarandos
What does that mean for the future? It doesn’t mean they will cut smaller projects but they will refocus more moving forward. They will dial back the number of films they’ll produce and might move away from high-budget projects with a “carte blanche” offer to talent, Martin Scorcese‘s high-budget The Irishman was highlighted as such an example. The wording “vanity projects” was something given by THR, but it doesn’t mean they are gone but more focused on the future.
Netflix is more driven by algorithms than any other studio out there, even if some have made up their mind about what is and isn’t. It seems that they’ve realized that the quantity of films they put out at high production values doesn’t quite offer them what they wanted and are dialing it back as a result. For now, we’ll have to see how many projects that’ll affect moving forward. Here’s hoping they will still offer auteurs a home for their passion projects that might not survive the usual studio system.
Top Gun: Maverick was already making numbers over the weekend as it seeks to potentially take the crown home as the biggest domestic release, its new competitor is already starting a dominant swing internationally. Jurassic World: Dominion was already released on June 1st in South Korea. It will be followed by Mexico and Argentina. While the film won’t officially be released until June 10th, Japan even being as late as June 29th, the film has already earned $6.05M in South Korea on its first day. That is higher than Spider-Man: No Way Home ($5.3M) and Doctor Strange in the Multiverse of Madness ($5.9M).
It’s the year of box office gainers, as we are more and more gaining momentum from before the pandemic. Dominion also has quite the legacy factor of its own to play with as the main cast is joined by veterans Sam Neill, Laura Dern, and Jeff Goldblum. The film is currently eyeing a potential $130M opening which would be lower than both Fallen Kingdom ($148M) and the first Jurassic World ($160M), which was a surprise hit that no one saw coming at the time.
Unlike most blockbuster franchises that have people doing superhuman things, including Top Gun Maverick, Jurassic World was the more down-to-earth concept if you ignore the human eating dinosaurs revived to life in a zoo. It may stand out from the rest and we’ll see if Top Gun gave the box office the momentum it needed as older audiences are slowly willing to enter cinemas again after taking a break through the pandemic.
It looks like the long-awaited prequel to Mad Max: Fury Road is finally in production. George Miller once again takes a seat as its director, as he further explores the early days of Charlize Theron‘s Furiosa. Not much is yet known about how they’ll tackle her story, but we do know that Anya Taylor-Joy will take over the iconic role and is joined by Yahya Abdul-Mateen II and Chris Hemsworth. The latter has now taken to his Instagram account to share that production has started on the film with a first look from the set.
Sadly the photo doesn’t reveal much from the actuals et, but it does confirm two things. The logo is all about Furiosa and offers a great design to make it stand out from the Mad Max one. Yet, production logos generally go through many changes and it wouldn’t be too surprising that it looks drastically different the moment it gets advertised. That’s not all, as we also get the confirmation that they are shooting it on 35 mm film, which highlights Miller‘s love for the medium.
While Theron has considered the recasting as “heartbreaking” as they replaced her with a younger actress, there’s a lot we don’t know about what the approach is for this series. Here’s hoping that perhaps we get an appearance of Theron as the character she made famous to tie the past with the future. With George Miller at the helm, it would be more than just a simple legacy piece.
As the third episode of Obi-Wan Kenobi already arrived in just a few days, we didn’t have to wait too long to see where the journey leads Obi-Wan and Leia, as they find themselves on a new planet and facing some familiar threats. The story still is very much about Kenobi’s internal struggle with the past and having the literal future face him every step of the way. Now that he realizes his biggest mistake is still out there, it may come to haunt him sooner than he might’ve imagined. The question remains: can the series carry the momentum as we now reach the halfway point?
The series continues at a slower pace, as we take our time having our two main leads interact and try their best to stay out of sight. Obi-Wan continues to cry out to his former master, which continues to build up the momentum of Liam Neeson to appear as Qui Gon Jinn. Still, the main focus is the arrival of our duo on a mining system. Kenobi remains untrusting and it ends up forcing them into a situation that could’ve been avoided, but thankfully made for good storytelling. The moment he pretends to be Leia’s father was a nice moment, especially when she realizes that he knew her real mother. It was kind of heartbreaking when she also asked about her father, whose ghost is currently haunting the former Jedi Master.
The strengths of Obi-Wan Kenobi continue to come to the forefront with its writing, as the dialogue scenes and especially the final confrontation of this episode are some of the best the series has to offer. Yet, the action sequences have made rather a curious choice that just doesn’t seem to hold up as well. The show looks great and is visually impressive with how it uses its cinematography to highlight Kenobi’s loneliness through the environment.
Yet, as soon as action sequences take over it becomes this shaky, uncoordinated experience. They aren’t bad sequences, it just takes you out of the experience and it feels like the camera movement is reflective of Kenobi’s inner turmoil. The once elegant and prideful Jedi Master barely even wields his lightsaber, generally even tries to avoid using it at all cost. It may be a more thematic choice that could become relevant later on once he and the camera steady at some point. However, I have to highlight the poor Stormtrooper that fell on top of the laser gate and getting split in two was quite the fatality in this otherwise somber series. Also, they really didn’t need to reactive the fence, could’ve just walked around it.
Moses Ingram continues to give an energetic performance with Reva that is only lacking in fully understanding her character, which is likely a revelation kept in the dark for later. They seemingly hinted at what her ambitions are, which fits the Sith we know from the original and perhaps reflects the Master and Student dynamic being disrupted with these groups of former Jedi and force-sensitive people. There are too many Sith that lead to a whole new problem even Vader isn’t happy to deal with.
Speaking of, we finally have the return of Darth Vader on-screen and he’s as intimidating as always. The version we meet here is not the one we see in Rogue One, as he feels a bit rougher around the edges. Anakin is shining through here and that seems intentional given he’s still holding on to a very important grudge. Every time he is on screen though, it’s an absolute highlight for the series. The intensity remains even with the rougher edge, and the cinematography used with him is quite something. Especially how they used fire to have it reflect in his eyes to highlight his anger towards his former Master was a perfect touch.
Also, the way he simply “took care” of the townsfolk without even batting an eye leaves quite the impression, especially on how unhinged he is as Vader. You can even see the fear in the eyes of the Inquisitors and hopefully, we’ll get a conflict later on that highlights his overwhelming power that further solidifies Obi-Wan’s journey to once again standing toe-to-toe with his former pupil.
The series is already at its halfway point and it does feel like the story is going to ramp up for the eventual final showdown. Kenobi learning to trust people and find his inner peace again is a perfect story to explore here. It was a surprise to see Vader’s arrival this early but it felt like the perfect way to escalate the story and force him to face his past. The only issue remains that the action sequences just feel a bit off in comparison to the rest. What makes the episode stand out is it’s final third and it hopefully builds into the final few episodes and we see Kenobi’s journey come full circle as he lets go of that blaster.
It looks like some more wrap gifts have found their way online from the Guardians of the Galaxy Vol. 3 productions. While it doesn’t give us any big revelations or teases for the future entry, it does include one rather interesting detail. markmantastic has taken to his TikTok account to share some of the best and worst wrap gifts he received while working on various films. He included in one video a look at a new jacket from Vol. 3 that includes a brand new logo on the sleeve of the jacket, as shared by @dano_cosmic alongside other little details from crew merch.
The original logo seemed strongly inspired by the Nova Corps from the first film, but the updated one has quite a bit more texture to it. There are added elements, but it’s unclear if it finds their way into the actual film. The original log wasn’t highlighted in the first two films, but we did see some set photos of the team wearing an actual uniform. So, it may be part of that as the family unites to face their biggest threat yet. The neon-esque design is also an interesting detail that may be a signifier of which direction director James Gunn is going with the threequel’s visual palette.
It wouldn’t be surprising to have Gunn go all out with this potentially being his last entry in the franchise. So, we might expect the most emotional storyline of them all, which is not an easy task after the gut punch that was Yondu’s death in Vol. 2. The fact Rocket is highlighted in the cap and he’s been a character that’s been heavily highlighted for taking center stage in the upcoming story does continue to add pressure to the many theories surrounding the project.
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