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  • 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.

  • Jon Favreau and Dave Filoni Had Heated Debates Over ‘The Mandalorian’s Grogu

    Jon Favreau and Dave Filoni Had Heated Debates Over ‘The Mandalorian’s Grogu

    The Mandalorian was the series to not only kick off Disney+ but also redefine Star Wars storytelling. With Jon Favreau at its head, the same man who kickstarted the Marvel Cinematic Universe, we’ve started to see a new expensive network of shows all based around this series, such as last year’s The Book of Boba Fett and Dave Filoni‘s upcoming Ahsoka.

    In an interview with Vanity Fair, Lucasfilm CEO Kathleen Kennedy talks about what it’s like working with him and how ended up developing The Mandalorian.

    I knew that Jon Favreau was always deeply interested in Star Wars. He was the first person I went to. He said, ‘Not only would I have an interest, I have an idea.’ What’s unique about Jon is his commitment. He’s had a sole focus pretty much on this for the last several years. That’s been a godsend.

    Kathleen Kennedy

    She reveals that after they met in her office in Santa Monica, Favreau already started working on the series. He ended up writing up around four episodes even though he didn’t even have a contract at the time. Interestingly enough, there were multiple conflicts when he started developing the series based on a Mandalorian. Not only was James Mangold originally developing a Boba Fett-centric film, but Dave Filoni also had plans for it.

    So, Kennedy had a simple way to remedy this issue, as while Mangold went on to tackle Indiana Jones 5, she simply had Filoni and Favreau sit down and talk about their visions. Once they started exchanging ideas, they started combining them into what would eventually become The Mandalorian.

    They got along instantly, like gangbusters,” Kennedy revealed but there was one element they couldn’t fully decide on. It seems that Favreau’s idea of Grogu, who many dubbed Baby Yoda early on, was quite a ferocious discussion point between the two. Yet, she highlighted this as them trying to challenge each other to truly refine the concept and it led to us getting the series that became a staple of Disney+.

    Source: Vanity Fair

  • How An MCU-616 Earth vs ‘X-Men ’97’ Showdown Could Be the Multiverse Saga’s Endgame

    How An MCU-616 Earth vs ‘X-Men ’97’ Showdown Could Be the Multiverse Saga’s Endgame

    On the heels of Doctor Strange in the Multiverse of Madness, much of MCU fandom is focused on the phases to come, particularly the next Avengers: Endgame-level event. For most of them/us, “Secret Wars” seems to be the destination. But trying to figure out exactly what form the MCU storytelling will take as it prepares to adapt Jonathan Hickman’s 2015 epic has been thorny, especially because the most recent Doctor Strange film gave us another thing to chew on: The Illuminati.

    New Avengers #2 (2013)

    The Illuminati featured prominently in the Hickman New Avengers run that preceded Secret Wars, but unlike in Marvel Comics, where the Fantastic Four and X-Men have been mainstays since the 1960s, the appearance of Reed Richards and Charles Xavier in the MCU (albeit in its Earth-838 universe) was a momentous event, one that jump-started speculation as to how and when we’d see both the F4 and mutants properly introduced into the narrative. And while I do have my ideas about the role the Fantastic Four will play, I think that the bigger question centers on the mutants, and their biggest brand, the X-Men.

    Back in November 2021, Marvel announced during its Disney Plus day special that a revival of the popular 1990s X-Men: The Animated Series, often referred to as “X-Men ‘92,” would debut in 2023 under the title X-Men ‘97. Storylines and continuity from the original series would be picked up on, as the timeline would press ahead. However, now that the MCU Multiverse is firmly in play, questions about the canonicity of these new episodes abound. Which brings us back to Secret Wars.

    Avengers #44 (2015)

    In Hickman’s “Time Runs Out” storyline, the narrative that led directly into Secret Wars, “incursions’” of alternate universes into the main 616 universe led to the Illuminati, among others, taking drastic steps to eradicate those universes so that ours would survive, until only two universes were left — the 616 and the Ultimate Universe, designated 1610, home to Miles Morales, the evil Reed Richards known as The Maker, and others. The finale, which immediately preceded Secret Wars, was an all-out battle between the two universes, which, although ultimately fruitless for both universes, was epic.

    The MCU doesn’t have an Ultimate Universe; if anything its 616 universe, what with its Samuel L. Jackson-inspired Nick Fury and its teenage Peter Parker, shares quite a few similarities to it. And with a 15-year head start, there’s no time for Marvel to build up a new Marvel Universe for us to grow attached to. But what they can do is bring back a universe that we have a preexisting attachment to: the X-Men animated universe.

    Once that classic theme song hits, our nostalgia feels will come rushing back, and an audience that has been fed a steady diet of uneven live-action X-Men content by Fox will be reminded of how good they once had it, and how good it could be again. By the end of the first season, I’m sure that fans will be fully reinvested in the characters and their universe. By the end of the second or third season, when their universe faces an incursion by the 616 MCU, fans won’t be eager to see that universe be sacrificed. And if that means X-Men battling Avengers, so be it.

    Introducing X-Men into the MCU this way has many advantages. For the mutant concept to maximize its potency, the weight of history — of a world where they have been hated and feared for years, and where some characters have formed relationships over decades — should be maintained. That can be highlighted and reinforced, and the animated series can do that far better than the Fox films, which admittedly still have some goodwill, but are nowhere near as universally loved and revered.

    Now, will it be tricky to eventually bring the characters from that animated series into live-action? For sure. But one needs to look no further than Marvel’s Disney Plus sister property, Star Wars, to see that it can be pulled off, and be well-received by audiences. And given the stakes of this universe-destroying cataclysmic battle, Marvel can be forgiven for a stunt casting or two alongside longer-term castings of characters who will return after Secret Wars and the eventual Multiverse realignment. But many of us have been waiting decades to see comic-accurate, iconic looks in live-action, so one should expect the fan reaction to those characters making the transition be massive.

    After Avengers: Endgame, fans and media alike have been trying to figure out how Marvel could top itself, and Secret Wars could definitely be that. But more so than seeing different versions of the MCU heroes squaring off against one another, seeing Avengers face X-Men with their respective universes at stake would be a spectacle unlike any we’ve seen to date. And X-Men ‘97 could play a vital role in bringing that about. Both universes can encounter Kang variants, and both could experience Incursions that would lead the heroes of their respective universes to do whatever it takes to preserve them. It would be a massive, epic storyline, with the potential to energize and galvanize fans. And of, course, it could be the biggest Marvel event of all time.

  • Marvel Studios Confirms ‘Echo’ Cast

    Marvel Studios Confirms ‘Echo’ Cast

    Production on Marvel Studios’ Echo is currently underway in Atlanta, and in order to announce the new, Marvel Studios has shared a brand-new image from production.

    Along with the image, the studio has announced a slew of cast members set to join Alaqua Cox’s Echo. As previously mentioned, the series will also star Devery Jacobs (ReservationDogs) and Graham Greene. Joining them will be Chaske Spencer (The Twilight Saga), Tantoo Cardinal (Wind River), Cody Lightning (Four Sheets to the Wind), and Zahn McClarnon (Reservation Dogs), who will undoubtedly reprise his role as Maya’s dad, Willie Lopez.

    Fans will surely note that both Charlie Cox and Vincent D’Onofrio are not listed as being a part of the cast. It is of note that the above cast more than likely only teases a fraction of the show’s cast. And let’s not forget, Marvel Studios never announced D’Onofrio or Cox would return for Hawkeye or Spider-Man: No Way Home, respectively, so it’s entirely possible the rumors of their returns are accurate.

    Echo, a spinoff series from Hawkeye, will see the character forced to face the consequences of her ruthless behavior in New York City. As she tries to face her past, the character will need to reconnect with her Native American roots and embrace the meaning of family and community if she plans on moving forward.

    Echo will premiere exclusively on Disney+ sometime in 2023.

  • Sydney Freeland and Catriona McKenzie to Direct ‘Echo’

    Sydney Freeland and Catriona McKenzie to Direct ‘Echo’

    As production has finally started on the Hawkeye spinoff Echo, we’ve finally gotten a first look and hint at what’s to expect from the upcoming Disney+ series. That is not all, as it also gave us a confirmation that Reservation DogsSydney Freeland is indeed directing, which she technically indirectly confirmed back in March, and she’ll be joined by Catriona McKenzie.

    Now, a big part of the upcoming Disney+ series is about Alaqua Cox‘s Echo retracing her Native American roots. As such, a big part of the series is also dedicated to exploring the meaning of cultural heritage and one’s Indigenous roots. McKenzie is an Indigenous Australian director, who is Gunaikurnai. She’s worked on a variety of series such as How to Get Away With Murder, Supernatural, and The Walking Dead.

    Sydney Freeland is of Navajo descent and has worked on a variety of projects, which includes Rutherford Falls, Star Trek: Strange New Worlds, and Fear the Walking Dead. She’s also one of the creative minds behind FX’s Reservation Dogs, which included all Indigenous writers and directors.

    It’s great to see the talent they are pulling in for this project, especially with the series making it an important push for the representation given its main character’s background. It’ll be interesting to see how it might tie to her upbringing under Wilson Fisk and how visiting her hometown might change her way of looking at her past and future.

  • Disney+ Plans to Release 3 ‘Star Wars’ Series a Year

    Disney+ Plans to Release 3 ‘Star Wars’ Series a Year

    Disney+ is continuing to expand at a rapid rate. While its subscriber numbers have slowed down, there are expectations it could pass Netflix within the next few years. As they grow, so is also their need to keep content pumping out at a considerable rate. In the new Star Wars special from Vanity Fair, they have unveiled that Disney+ is expecting “three separate Star Wars shows within a year.”

    It’s unclear if that includes releases that move into the new year, such as The Book of Boba Fett which is technically a December 2021 release but premiered its finale this year. With uncertainty surrounding The Bad Batch and The Mandalorian Season 3 releasing this year, it would still match their strategy if that spinoff series counts alongside Obi-Wan Kenobi in a few weeks and Andor later this summer.

    Of course, the statement that they demand three does not mean they are open to having more releases within a year. The question remains what else might release next year, as the only production confirmed for a 2023 release is Ahsoka. If The Mandalorian finds its way to Disney+ in that same year, it would mean that the animated series The Bad Batch also perfectly fits to match that demand.

    The Acolyte seems to still be in very early development and is likely not going to release until 2024. No definite release window has been stated, but it does seem like we shouldn’t expect it until then. For now, whatever project starts production soon is very likely going to be the next 2023 release, but we may find out more during the Star Wars Celebration.

    Source: Vanity Fair

  • First Look and Synopsis for ‘Hawkeye’ Spinoff ‘Echo’, Eyeing a 2023 Release

    First Look and Synopsis for ‘Hawkeye’ Spinoff ‘Echo’, Eyeing a 2023 Release

    Marvel Studios has been busy working on its various spinoff series to further explore the different corners of the Marvel Cinematic Universe. They’ve just recently started work on some of their next productions, such as the Hawkeye spinoff series focused on Alaqua Cox’s Echo. The deaf former gang leader has made peace with what happened to her father and the events that transpired at the hands of Clint Barton as Ronin, as she now visits her hometown. There, she must face her past and reconnect with her Native American roots, as she learns what it means to be part of a family and community once again.

    The Disney+ series is confirmed to release in 2023, but no exact time window has been given. With Secret Invasion already wrapping up work, it’s very likely it might take the summer spot going by what is currently in production. Yet, that also depends on when we might expect the next season of the animated What If…? series, which we’ve heard very little about in the past few months. We also got a first look from the series, giving us a look at Echo back at home, seemingly helping out.

    Image

    It’s definitely going to be interesting to see how they tackle this series, as it may be similar to Moon Knight, as it may exist in its own little pocket. The small town location is also a nice change of pace with most Marvel stories taking place in cities or across the world. So, getting to not only spend time with a smaller and more intimate cast of characters but also sticking to one location could benefit the story pacing, which has been some criticism put against the Marvel Studios productions.

  • REVIEW: ‘They Talk’ is Great Until it Forgets What it Wants to Be

    REVIEW: ‘They Talk’ is Great Until it Forgets What it Wants to Be

    There are plenty of indie horror films that hit every year. Some are good. Some are terrible. (Thanks, Heckle and Trip.) Then there are some that are great, until they’re not. They Talk is one of the latter.

    When the movie first starts, They Talk seems promising. It’s well-shot, the story seems intriguing, and it essentially throws viewers directly into the chaos. If only the movie managed to keep it together. It’s frustrating watching They Talk at times because it does have potential. It’s a different type of indie horror film. The acting is shockingly good for such a low-budget title. Heck, even the cinematography and music are enjoyable. And yet, it is as though the film forgets what it wants to be by the end.

    The movie tells the story of Alex Browlin (Jonathan Tufvesson), a sound engineer who accidentally records mysterious voices of those in the afterlife. Despite the voices warning him of imminent and terrifying danger, Alex initially ignores the warnings. When someone from his past suddenly re-emerges, it triggers a chilling paranormal phenomena that leave behind a trail of corpses. It’s clear something has triggered these events, and it’ll be up to Alex to try and figure it out before it’s too late.

    Giorgio Bruno, who has worked on all of nine titles to date, is the director of this film. While Rocco Marra, who has been working since 2001, is the cinematographer. While it’s hard to say whether to not Bruno leaves his mark on this film, as it can be uneven in its direction, Marra does seem to have a clear eye regarding cinematography. The cinematography is often what makes the film work when the dialogue and acting are subpar. The framing work is very good for the most part, as is the saturation. The moments that need to scare? They do because of Marra.

    Unfortunately, though, while They Talk has promising moments – and perhaps even some decent scares – the entire third-act tanks the movie. Nothing else comes to make sense by the end. It’s almost as if the writers forgot what they were attempting to do with the film. It loses focus and tries to be something more only to become like every other indie horror film before it. Overall, for those looking for a good scare, steer clear of this one. Don’t waste the time on a film that doesn’t seem to care about the audiences’ time.

  • Star Wars: The Evolution of the ’Obi-Wan’ Project

    Star Wars: The Evolution of the ’Obi-Wan’ Project

    When Disney acquired Lucasfilm in Oct. 2012 for $4 billion, it was clear the Mouse House had the intent to revamp the franchise. What no one could imagine at the time was how expansive the Star Wars universe would become… on the small screen.

    With The Force Awakens, Lucasfilm looked to kickstart a new story within the beloved franchise by bringing back some of the core cast members of the original trilogy. While the latest trilogy hasn’t necessarily been the rest-received, Lucasfilm has had better luck on the small screen thanks to The Mandalorian. Now, the studio is looking to explore characters we’ve come to know before whether it be through the films or animated series. One of those projects is the long-rumored Obi-Wan, which brings back both Ewan McGregor and Hayden Christensenfrom the prequel films. As exciting as their returns to the franchise might be, the stars haven’t always had the best reaction to being a part of the Star Wars universe – and rightfully so.

    In a new interview with Vanity Fair, McGregor explains how the poor reception to 1999’s The Phantom Menace affected the cast and crew knowing there were still two more installments ahead. “It was hard because it was such a huge decision to do them, such a big event. It was quite difficult for all of us to deal with that, also knowing you’ve got a couple more to do.”

    For the actor, getting to put Star Wars behind him was exactly what he needed. Then in 2017, he was invited to introduce a film as part of a marathon of every Star Wars film. It was this that essentially reignited his love of the character, so when he was later asked if he would ever return to the role, McGregor’s answer was much different than before. The actor was willing to return, but it wasn’t until Kathleen Kennedy approached him to be sure he truly meant yes that things began to fall into place.

    At the time, the plan was to make Obi-Wan Kenobi a feature film which would’ve been directed by Stephen Daldry(Extremely Loud & Incredibly Close). McGregor was on board to not only star in and produce the project, but after the project morphed into a television series for Disney+, Daldry exited the project which then brought Deborah Chow on board. It was important that the series considered whether or not it wanted to bring back characters from the prequels, which eventually resulted in Chow sitting down with Christensen about reprising his role as Anakin Skywalker. Much like McGregor, Christensen hadn’t had the best experience with the prequels, but Chow assured the actor that the series would “would add a new dimension that could ultimately reframe the way fans look at their classic duel in the original movie.”

    For Christensen, part of the appeal was getting to explore a new layer to his character. “I was originally hired to play a very specific portion of this person’s life. Most of my work was with Anakin. And now I get to come back and explore the character of Darth Vader.”

    Fans will get to see the two characters battle it out once again when Obi-Wan premieres later this month on Disney+.

    Source: Vanity Fair

  • ‘Ahsoka’ Confirmed for 2023 Release

    ‘Ahsoka’ Confirmed for 2023 Release

    Production on the Star Wars streaming series Ahsoka has only been underway for a short while and in a very uncharacteristic move by Lucasfilm, we already have confirmation of when we can expect to see it.

    In a comprehensive look at Lucasfilm’s Star Wars slate, Vanity Fair revealed that the live-action series, which is being developed by Ahsoka creator Dave Filoni, will stream in 2023. Filoni worked with Jon Favreau to find a way to fit Ahsoka into The Mandalorian in hopes of allowing the character’s amazing arc to continue in her own live-action series. And, according to Filoni, fans who are looking to see the character’s solo series follow up on Ahsoka’s appearances in Season 2 of The Mandalorian and The Book of Boba Fett, which hinted at her continuing her journey from her appearances in the animated series and search for Thrawn, probably won’t be disappointed.

    Ahsoka is a continuous story. It is definitely driving toward a goal, in my mind, as opposed to being little singular adventures. That’s what I want the character to be doing, and I think that’s what fans want now. They have such a relationship with her. I’ve only recently started to understand that all those kids that watched Clone Wars are now a lot older—they’re very excited about all the things they grew up with, as they should be.

    Unfortunately, with Star Wars’ recent recommitment to secrecy, that’s probably about as much as fans will learn about the plot of the series from any official channels. Despite star Rosario Dawson teasing online that Hayden Christensen would be part of the project’s cast, a move that would pair the wayward Jedi with her master-turned-Sith, Lucasfilm is staying mum on the possibility. The article does, however, confirm that Mary Elizabeth Winstead, who was reportedly added to the cast in January of 2022, will star in Ahsoka alongside Dawson, albeit in an unspecified role.

    Despite the intense secrecy surrounding the project, it seems fans of the character have much to look forward to, especially with Filoni continuing on as caretaker of the character.

    Source: Vanity Fair