When Haley Atwell returned to voice Captain Carter in Marvel Studios canonical animated series, What If…?, it wasn’t long before rumors began to swirl that the character would eventually make the jump to live-action. In fact, we even speculated here that the What If…? Marvel Legends wave might have pointed in that very direction. Thanks to the new poster for Doctor Strange in the Multiverse of Madness, fans need speculate no longer.
The magnificent new poster for the upcoming film shows what would seem to be the after effects of Strange’s spell in Spider-Man: No Way Home that broke open the multiverse. Among the images reflected on the shards of the broken window of the Sanctum Sanctorum, we can see the shield wielded by Captain Carter in What If…?.
What role will Captain Carter play in the film? Rumors have her among the members of the Illuminati who were revealed in the latest trailer. We’ll all find out together when Doctor Strange in the Multiverse of Madness hits theaters on May 6, 2022.
The Super Bowl hasn’t even started yet, but Marvel Studios decided to drop the new trailer for Doctor Strange in the Multiverse of Madness. It’s probably one of Marvel’s best but what really stands out is we briefly get a moment that Benedict Cumberbatch’s Strange is put before a mysterious council. It’s hinted that he’s on trial for destroying reality as we know it. We don’t clearly see who makes up this council, but we do hear a very familiar voice say the words “We should tell him the truth!”
While we don’t see his face, the voice is definitely that of Patrick Stewart. Of course, there’s only one role he is potentially taking on and it seems likely to say this is Marvel Studios’ way of teasing the recent rumors that Professor X a.k.a. Charles Xavier will make his return in the upcoming Marvel sequel. It’s a clever way to tease his addition without actually showing him which will definitely quell quite a bit of discussion online.
Just recently, we’ve heard from Marvel Studios CEO Kevin Feige that Moon Knight will be quite a bit different from what came before on Disney+. The family-friendly platform may mature with this new project, as it was promised to be “brutal” and a game-changer fo the tonal shift the MCU has been holding up to this day. In a way, it could be close to what the Netflix shows offered, which coincidentally are also leaving the platform. Yet, it seems that the series got the same rating as the other Disney+ series with people noticing a TV-14 rating on Disney+ alongside a great-looking new visual of Moon Knight’s crescent moon.
As the Direct points out, this rating has been shared by every other MCU series on the platform, but that doesn’t mean it might still embrace darker elements. Curious enough, while European shows usually share the same rating, the series is currently still at an age restriction of 12 in the German/Austrian account.
It’ll likely get updated later on, but the description with “Mild-mannered Steven Grant has dissociative identity disorder and shares a body with a mercenary” is a really curious addition. In a way, it’s trying to make us think that Grant is the dominant personality and not Marc Spector, like in the comics. So, perhaps the take on the character might be quite a bit different, especially with Mr. Knight appearing in the character’s premier series. There’s still a good chance we get a new teaser in today’s Super Bowl and the success of this series might push Disney+ to overall accept more adult content moving forward, which is still holding it back.
Uncharted, the next Tom Holland-led project by Sony, won’t release until next week in the domestic market, but some lucky international ones already got their hands on it. It looks like the film is off to a strong start as Holland and Mark Wahlberg‘s video game adaptation as it took the top spot in the 15 markets it released. It now stands at $21.5M and is tracking ahead of Eternals, Black Widow, and Shang-Chi in those markets. Though, as Forbes points out these types of films have stronger legs internationally than domestically.
Sadly, it seems Death on the Nile only took in $12.8M at the box office, which is less than half of the previous entry’s $28.8M. It may have been hit the hardest from COVID, as it seemed like a sure-fire hit at the box office given the first’s popularity and better reviews. The other disappointment of the weekend was the $8M income from Marry Me starring Jennifer Lopez and Owen Wilson, which may have been hit by its simultaneous release on Peacock. Seems Lopez couldn’t carry over the momentum from Hustlers.
In heroic news, Spider-Man: No Way Home still remains one of the most resistant box office performers in such unlikely times. It took in $11M over the weekend internationally and $7.1M domestically. As of now, the film has earned $1.8B worldwide and it is the biggest-grossing film without having ever been released in China, which seemed to be on the horizon but suddenly fell silent after some time. We’ll see if a belated release might push it over $2B but that seems more and more unlikely now. Still, the film’s success is nothing to scoff at.
I generally think the term “snub” is overused when applied to Oscar voting, because it implies intentionality that is often overwhelmed by the chaotic whims of the voting body. For example, I thought Simon Rex gave one of the best performances of the year in Red Rocket, but given the movie’s subject matter, unusual tone, and lack of other nominations, I think it’s fair to wonder if enough voters bothered to watch it, or really understood it. On the other hand, enough people in the writing branch and directing branch loved Licorice Pizza enough to nominate it in those categories, and it made the cut on the Best Picture ballot, where everyone votes, so it’s safe to say a fair number of folks watched that one–and liked it, too! So I do think it comes across as a snub that Alana Haim, the rock musician and first-time actress who helps anchor that movie, didn’t make it in for Best Actress. Granted, Best Actress has been one of the most consistently competitive categories these last few years, and these nominees were lighter on actresses impersonating real people than I feared. But it’s still three-fifths based-on-a-real-person performances (one of which — Kristen Stewart — I think is absolutely terrific and deserves to win) and, again, that does feel like a conscious decision, to rate Jessica Chastain‘s Tammy Faye Bakker or Nicole Kidman‘s Lucille Ball a higher degree of difficulty than Haim. I understand the thinking: Kidman and Chastain are both beloved, respected, talented performers pretending to be other performers–while Alana Haim is playing someone literally named Alana, whose real-life family plays her family in the movie, and so on. Yet what Haim does in Licorice Pizza is so complicated–funny, charming, angry, anguished, relatable, occasionally inscrutable–that attributing so much of the movie’s success to writer-director Paul Thomas Anderson doesn’t seem right to me (and I doubt it would seem right to him, either). And she does all of this as, essentially, a first-timer! Licorice Pizza is my favorite movie of 2021, and as much as I love Anderson, I don’t know if it would have hit me the same way without Alana Haim.
Mary Maerz
One of the most talked-about snubs is Denis Villeneuve not receiving a Best Director nod. I think Adam McKay also deserved a nomination in that same category for Don’t Look Up, or par with his nomination for Best Original Screenplay. But I also believe Cate Blanchett was overlooked for Best Supporting Actress for both Nightmare Alley and Don’t Look Up. Both managed to get Best Picture nominations with no acting nods, but she really stood out in both. Her character was a bit more comedic in Don’t Look Up, which is probably why none of the actors from the film ended up with nominations. But she was probably even more of a force in Nightmare Alley and carried that story.
Filip Mańka
Without a doubt, the biggest snub from this year’s Oscar Nominations is the absence of Denis Villeneuve in the Best Director category. Villeneuve is the creator, the architect for the biggest blockbuster of the year, which garnered 10 Academy Award nominations. The lack of a nomination in best director seems ridiculous and reprehensible, considering how strong Villeneuve’s presence was throughout the season, advertising Dunewith his name.Duneis an auteur film, steeped in Villeneuve‘s vision, which manifests itself in his revolutionary approach to IMAX and the portrayal of scale on-screen. As a big fan of the Canadian director’s work, I can say thatDuneis his most personal film, mixing many styles and dealing with themes close to his heart. A couple of years from now, we’ll be looking at the 2022 Oscars in disbelief that the mastermind behind one of the best sci-fi films hasn’t been nominated for an Oscar, while Kenneth Branagh has. The difference is that Dune will remain in Hollywood history, while Belfast will be forgotten by people relatively soon.
JJ Sabato
The biggest snub this year was for The Suicide Squad. I believe it should’ve been recognized for Best VFX and Best hair and makeup. For King Shark alone the film deserved this nomination, he looked incredible in every scene he was in and looked so real. Of course, Starro as well, him and his extensions as they rampaged through the streets of Corto Maltese. The makeup as well was incredible especially for characters like Polka Dot Man and Mongal. I think the VFX category this year just really dropped the ball when films like Godzilla Vs Kong, Eternals, and The Suicide Squad just were not acknowledged for their achievement in visual effects.
It’s been a weird couple years for movie theaters. Audiences have largely opted to experience their cinema from the safety and comfort of their own home, and who could blame them? There’s a global pandemic occurring at the moment. Yet, the wild success of blockbuster films like F9 and Spider-Man: No Way Home sort of put a limit on that argument. If everyone is willing to throw their lives on the line for big-budget action, were they ever really concerned at all? And if not, what type of movie will get them off their couch? The answer, apparently, is not The Green Knight. David Lowery’s epic retelling of the Arthurian classic was one of the most unique experiences I’ve ever had in a movie theater, for more reasons than one. From its heightened realism to its gripping Shakespearean dialogue, nearly every aspect of the film was executed to mesmerizing perfection. It is exactly the kind of project designed to simultaneously bait the Oscars and put people in theater seats. Which is why it’s so baffling Knight received exactly zero Academy nominations. If not for Best Picture, the movie should have at least scored noms for Adapted Screenplay or Cinematography. And Dev Patel? Robbed.
The biggest Oscar snub in my opinion is that they still haven’t added a new nomination category for stunt work in the industry. It’s an essential aspect of cinema and it still gets no recognition by what is claimed to be one of the biggest award ceremonies of the industry. There has been some amazing stunt work done throughout the year and it just seems like a shame that they still refuse to give it any love.
The future of Star Wars has been somewhat of a mess. The sequel trilogies, which kicked off with Star Wars: The Force Awakens in 2015, weren’t met with the fanfare that Disney may have hoped for. While the first entry did welcome a generation back into one of the most popular franchises, its two sequels managed to sour the experience. Luckily, Disney+’s launch alongside The Mandalorian opened a new gateway for fans of the originals in a series that felt like a true embrace of what made the franchise a classic. As some projects are getting announced and suddenly shelved, it seems that some plans exist for a new post-Sequel era trilogy.
On the podcast, The Ringer, former Vanity Fair reporter Joanna Robinson revealed that there is some interest in tackling a new trilogy that takes place after The Rise of Skywalker. She even hinted that Disney is actively looking into establishing it and there are even some first hints at what the story might be about. It seems that the interest is to revive the Jedi Order, one that avoids the “absolutes” of its earlier incarnation to allow people attachment. Surprisingly, that concept is currently being explored through the eyes of Grogu on The Mandalorian and its recent spinoff.
It wouldn’t be too surprising that Disney wants to return the franchise to cinemas, especially as projects like Rogue Squadron seemingly lost any steam shortly after its announcement. Jon Favreau and Dave Filoni have been spearheading the current iteration on Disney+. So, they might be likely candidates to potentially tackle a new trilogy, especially given Favreau‘s experience in the cinematic landscape. The franchise might benefit from unshackling itself from the nostalgia that tied down the sequel trilogy to take a completely new direction and explore a very different galaxy, far far away.
New set photos from the production of Warner Bros.’ Batgirl are making their way around the internet, and they feature the first look at a character everyone has been waiting to see. The images appear to show Michael Keaton fully suited up as Batman, something fans haven’t seen in live-action in almost 30 full years. While it’s hard to make out any exact details on the suit’s design, the presence of the iconic yellow logo and the actor’s familiar posture would indicate the armor will at least maintain the spirit of its original appearance. Though, it seems unlikely the costume will be completely unchanged from 1992’s Batman Returns.
EXCLUSIVE: 30 years later, Michael Keaton is still the goddamn #BATMAN! #Batgirl
Keaton will reprise his role alongside up-and-comer Leslie Grace, who is set to don the cape and cowl as Batgirl in her first solo film. The project is being helmed by Bad Boys for Life directors Adil El Arbi and Bilall Fallah, with J.K. Simmons returning as Commissioner James Gordon and fan-favorite Doom Patrol star Brendan Fraser coming aboard as the villain Firefly. Taking place within the DC Extended Universe, the film will not be the only comic book movie featuring Keaton as Batman in the near future. Andy Muschietti‘sThe Flash, which will use story elements from the well-known Flashpoint comic, is where the one-time Tim Burton muse will make his grand re-entrance as the Dark Knight.
The Flash will hit theaters on November 4, 2022, and while Batgirl does not currently have a release date, it has been announced the movie will drop straight to HBO Max before the end of 2022.
The new images were shared by @suppertim3 and it once again features Alvida’s ship, which certainly towers over the Going Merry. Of course, there’s also the difference of its placement but Merry always was meant for a smaller crew and it still won’t be the same size as Alvida’s ship given it has three masts, which is common for Barques. You can see the new photos right here:
Miss Love Duck hasn’t changed much from the last time we saw it, but there are some noticeable differences if you compare what we saw before. First off, there are some added details on the sides of the ship that seem inspired by the figurehead. The twirl at the end was normally in the middle section of the boat So, it’s great they included it even as they try to keep the ships as realistic as possible. It’s a great added design that adds some flair. What is quite surprising is that Merry’s mouth seems to be open.
Here’s the last full look we had of the ship from some time ago. It’s curious how the sails are still missing for some reason:
Perhaps the ship is shocked by what’s going to happen to it once they cross the Grand Line? Jokes aside, if we compare the photos we can clearly see that the twirls are still part of its design, but they may have tested out the look to find that delicate balance of adaptation and realism. The sheep figurehead generally seems more realistic in the latest set photo.
What also stands out is that the stern is quite different from the previous version, as it may have been made smaller. Perhaps to make room for Nami’s future orange trees, but they’re certainly were some changes made. It might end up being for a different ship and they still have the more accurate design somewhere that we saw some time ago, but we won’t know for sure until we get an official look or at least a close-up.
There have been many questions on what we can expect from the next live-action Marvel show starring Moon Knight. The franchise is seemingly exploring new corners of its universe, but it seemed unclear if the family-friendly content so far might truly reach the likes that Daredevil or Jessica Jones offered. Well, it seems that March upcoming release of Moon Knight may accomplish exactly that, as, alongside the reveal of an amazing looking Mr. Knight, Marvel Studios CEO Kevin Feige promises that the upcoming Disney+ series
It’s been fun to work with Disney+ and see the boundaries shifting on what we’re able to do. There are moments [in the series] when Moon Knight is wailing on another character, and it is loud and brutal, and the knee-jerk reaction is, ‘We’re gonna pull back on this, right?’ No. We’re not pulling back. There’s a tonal shift. This is a different thing. This is Moon Knight
Kevin Feige
Most of the promotion has teased that Oscar Isaac’s take on the comic character won’t shy away from getting his fits bloody, especially as you can clearly see it on his “moonarangs” and fists. Feige even highlights that “he’s brutal” and we can expect a lot from the project.
Even in the comics, he was more on the darker side of the franchise. So, we might see a completely unhinged Fist of Khonshu which also promises that future entries in the franchise may not shy away from darker storylines and offer visceral action, even if they are on a more family-oriented streaming service like Disney+.
The title might seem harsh but there’s something bizarre about Disenchantment. The fantasy series from the creators behind Futurama and The Simpsons tried to offer a different take on the fantasy stories we grew up with. We follow the ragtag team of Princess Bean, Elfo the Elf, and Luci as they embark on various adventures throughout the fictional country of Dreamland, Steamland, and whatever location they can smack the ending of “-land” onto. We’ve now gotten the fourth part – which seems to be the ending of its second season – and somehow the show still feels like it hasn’t changed much since the first episode.
To be fair, the series mostly explores new storylines with each episode. It adds some variety throughout the ten episodes that are given as Bean escapes from Hell, we explore Elfo’s past, she gets a new half-brother, and whatever the writer’s room could think of. The diversity that still feels like it’s part of this universe remains, and it does make for a fun watch. Yet, most of your experience will depend heavily on if you enjoy the core cast and their shenanigans.
That’s kind of the best way to describe the entire experience. It’s nothing more than shenanigans, as episode after episode things just seem to happen. There are teases of a core narrative with Bean’s mother Sharon Horgan‘s Queen Dagmar is always a delight when she appears, but the core narrative seems to just come and go however it pleases. There’s definite world-building at play, but it always takes a backseat throughout most of the adventure.
There’s a big emphasis on John DiMaggio‘s King Zøg finally recovering from the events from the last part as he lost his mind. He does end up recovering but pretty much ends up exactly where he was a few seasons ago. It just feels like characters yo-yo in their character development, especially when what they say simply doesn’t reflect their actions. Bean and her father pretty much repeat the same “lack of lessons” for the sake of comedy that downplays some more heartfelt moments throughout, especially with the return of Ursula.
Bean is affected the most, as while she’s certainly calmer than she was before, most of her actions are still the same. Abbi Jacobson gives a great performance as always but there sadly isn’t much to her character outside of her issues with her mother, who is always a few steps ahead of her. It gets to a point that it is way too predictable that you can see it coming from a mile away.
Elfo finally gets an origin story and it’s mostly what you could’ve guessed from the fact he was the only green elf. Not sure why as even his mother isn’t green but the revelation was pretty much what you expect from the first time it was hinted at some time ago. That’s kind of the thing, there’s nothing really surprising about any of the “major” reveals. They spent so much time foreshadowing it that the revelation is not something to sweep off your chair.
There’s a disconnect between building upon its mythology and the episodic nature of every story. We get introduced to concepts that end up not mattering later on, such as the whole plot point from the opening of the episode. The best part of this series so far is the romance between Bean and the mermaid Mora. Yet, even that isn’t explored outside of minor instances throughout. There’s the potential of a great story at play here but the show can’t decide what they want to focus on.
There’s still some fun to take from the story, as there are some great comedic moments, and it works well as something you can watch on the side. “Last Splash” still remains the best episode of the series and sadly nothing in these new ten episodes could hold a candle to it. While Mora still plays a central role in Bean’s development, it just seems like the season wanted to return to somewhat of a status quo rather than continue to push forward.
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