Blog

  • New Look at Pablo Schreiber’s Master Chief in Paramount+’s ‘Halo’ Series

    New Look at Pablo Schreiber’s Master Chief in Paramount+’s ‘Halo’ Series

    Halo has been going through quite a revival, as not only has the Halo: Infinite multiplayer been welcomed with open arms but its campaign was added recently. Entertainment Weekly used the opportunity to also share a new look at Pablo Schreiberā€˜s upcoming take of the franchise’s protagonist, Master Chief. The production was hit hard by the pandemic, as they had to take a six-month hiatus during its filming in Budapest. Luckily, after a long wait, we’ll finally see what a live-action take on the franchise might look like and Master Chief’s design looks quite fateful to the games.

    HALO

    The actor has described the role as ā€œa herculean taskā€ and what it meant to bring the character to life for the now Paramount+ original series. It’s planned to finally release later this year. In a recent interview he highlighted the weight that was on their shoulders for tackling this project:

    It’s a huge job, from setting the tone on set down to the grueling task of waking up at the crack of dawn to work out, then go to shoot, and go home to work out some more. Nothing about it is easy, and I wouldn’t want it to be.

    He promises that the series will ā€œcrack the veneerā€ to bring the iconic video game franchise to life, especially with how most adaptations face some issues in translating into other mediums. It’s an exciting prospect and here’s hoping it can live up to the weight of the original.

    Source: Entertainment Weekly

  • ‘Marvel’s Avengers’ Next Roadmap to Arrive Early 2022

    ‘Marvel’s Avengers’ Next Roadmap to Arrive Early 2022

    The latest content drop has arrived for Marvel’s Avengers, which includes the game’s first raid, Spider-Man as a playable character for PlayStation consoles, a complete rework of gear and cosmetics. While all of it was dropped at once, the game usually maps out future content throughout multiple months. The first time we got one was the build-up to Black Panther’s initial release back in August. So, it was a bit underwhelming but it’s still an impressive update. Now, the eyes were all on the next entry and it seems we’ll have to wait a little longer.

    As revealed in the latest War Table blog entry, we won’t get the roadmap before the holidays. It looks like the release won’t be until early 2022, but there’s no definite date confirmed. The first one was released around March, around the same time Hawkeye was added to the game. We’ll see if the wait is around the same, but here’s hoping it might be an earlier kick-off to 2022. Here’s the full quote:

    After a lot of hard work to give you the Discordant Sound Raid, and Spider-Man for PlayStation players, the Crystal Dynamics team is preparing for the holiday break. We will still be tackling bugs and issues while we also prepare for next year for the remainder of the month. Keep an eye out in early 2022 for the next roadmap!

    They’ve also announced that the Red Room Takeover event is making a return, which is kind of perfect timing. We’ll see what the future has in store for the game, as many rumors are already pointing to who might potentially join the game and how they might expand the game based on learnings from this year. Plus, the new rework was teased as the beginning of a lot more, which is an exciting prospect.

    Source: Play Avengers

  • Alfred Molina Loved the Freedom CGI Gave Him in ‘Spider-Man: No Way Home’

    Alfred Molina Loved the Freedom CGI Gave Him in ‘Spider-Man: No Way Home’

    Spider-Man: No Way Home will finally see the return of Doc Ock to the silver screen. Even better, Alfred Molina will return as the character, which he last played in 2004’s Spider-Man 2. Of course, modern technology offers new ways for him to bring the character to life, and his mechanical tentacles are no longer brought to life through puppeteering but rather CGI. Of course, it has raised some people’s eyebrows on the choice, but it seems Molina was quite happy with the new direction.

    In the latest episode of Hot Ones, Tom Holland was interviewed about the upcoming film and he offered some insight into how excited he was to work alongside the Spider-Man veteran in the new film. Not just that, he even offered some insight into how they brought the iconic mechanical limbs to life in the series, especially in comparison to 2004.

    His robotic arms were puppets. They were real tangible things and they’d have a guy on each one and they would puppeteer them while he was performing. So, he had to work in tandem with the other four guys. On this film, obviously, technology has advanced. CGI is so prevalent in these films. So, it was amazing seeing him have a bit more freedom on set with the way he could move without having to rely on other people.

    Tom Holland

    Holland even offered a little insight into how they made it look like he was using the limbs to walk. He goes on to highlight that the actor had a lot of fun with the new set-up, especially as it would swing him around.

    We have this thing called da toothpick rig, which is like a long bar, almost like a crane, with a platform on one end and weights on the other. And, they’d put him on that crane so they can move him around so that it looks like the arms are carrying him. And he loved it. Like, he absolutely loved it.

    Tom Holland

    He also goes on to share that Molina would even get dragged off in the middle of a conversation while being attached to the toothpick rig. It sounds like they had a lot of fun during production and it’s great to see the actor embrace the new technology, especially as it probably made it easier for him to tackle action sequences even with his age. It’ll be interesting to see the final product come to life once the film is finally released next year.

    Source: YouTube

  • Disney Shares First Look at Animated Film ‘Strange World’, Eyeing Thanksgiving 2022 Release

    Disney Shares First Look at Animated Film ‘Strange World’, Eyeing Thanksgiving 2022 Release

    Who knows how many projects Disney is working on. As it’s uncertain if we get a new Investors Day this year, the House of Mouse is looking for new ways to share first looks at upcoming projects. So, Disney took to social media to unveil next year’s animated project, Strange World. The film will be directed by Don Hall alongside Qui Nguyen, who also wrote its script. It’s eyeing a Thanksgiving release in 2022. Not only did they unveil their logo but also offered a first look at the fantastic world we can expect from their latest project where our heroes ā€œjourneys deep into an uncharted and treacherous land.ā€

    Don Hall is famous for his work on Big Hero 6 and Raya and the Last Dragon, where he worked alongside Qui Nguyen. The story is inspired by the popular pulp magazines that was made on wood pulp paper, which is the reason for its naming. The film’s logo also takes inspirations from those designs and it means we can expect a fun sci-fi adventure. Hall shares his love for the genre and what inspired him to tackle the project.

    Source: Twitter, Variety

  • ‘Hawkeye’ Director Shares Why Marvel Studios Now Includes Multiple Directors in their Disney+ Productions

    ‘Hawkeye’ Director Shares Why Marvel Studios Now Includes Multiple Directors in their Disney+ Productions

    Marvel Studios had quite a unique approach to their long-form storytelling early on. The initial Disney+ series, WandaVision, Falcon and the Winter Soldier, and Loki, relied on a single director to bring the unified vision to life. Yet, the latest entry, Hawkeye, has taken a very different approach. The last two episodes moved from Rhys Thomas’ direction style to that of the director duo Bert and Bertie. It highlights that Marvel Studios is still learning how they bring their shows to life and it paid off so far.

    In an interview with ComicBook.com, director Bertie of the duo offered some insight on what might’ve inspired the production studio to take that very approach. The third episode includes a one-shot that kicks off one of the series’ longest action sequences. Kate and Clint drive off from the Tracksuit Mafia while shooting them down with the help of trick arrows. Even the latest ended on a rooftop showdown and it seems the prep work needed for action is one of the leading reasons they’ve started moving on from the one-director concept.

    We can only imagine that that was a choice based on wanting to make sure that every episode had a lot of attention on it. It’s such a huge universe, and when you’re doing these action sequences, there’s so much prep that goes in that…by being a team with [director Rhys Thomas], as we were, to kind of create and craft the whole thing with [producers Trinh Tran and Kevin Feige] and a whole team, but then to be able to concentrate on our individual episodes, it was actually a way of ensuring that each episode had its own stamp and its own arc and its own bigness, if you like.

    Bertie

    It wouldn’t be too surprising to see this standardized throughout future entries, as it allows each creative team to tackle projects how they see fit. Not every director has experience with action sequences and can set their focus on dramatic storylines. Loki had some great depth and character work but was a bit lacking in its action, as the Asgardian seems to struggle with everyday people. So, we’ll see what it might mean for future entries in the franchise.

    Source: ComicBook.com

  • EXCLUSIVE: John Harvatine IV and Seth Green On Developing the Unique Animation Style in ‘Crossing Swords’ Season 2

    EXCLUSIVE: John Harvatine IV and Seth Green On Developing the Unique Animation Style in ‘Crossing Swords’ Season 2

    In a world that’s become almost infested with adult animated comedies, it’s becoming harder and harder to stand out amongst them all. The first show to really present a unique style wasĀ Robot Chickens’ stop-motion animation style.Ā Robot ChickenĀ writersĀ Tom RootĀ andĀ John Harvatine IVĀ definitely took a page out of that book when developingĀ Crossing Swords, with the show’s unique style revolving completely around peg people, and pushing the limits with what they could do with this limited style.Ā 

    We recently had the chance to chat with Root and Harvatine about the upcoming second season, and one thing we were curious about was the show’s animation style, and how they went about improving it and trying out new things.

    I think this season what was fun and what we were looking to do was more practical effects, like more in camera stuff. We really liked last season how we used fiber-fill and hot glue, and things like that. This season we pushed it, we did even more of it, so I think visually going into the season we really wanted to do as much in camera and as little in the computer as possible, so that was something we wanted to do and I think we achieved.

    John Harvatine IV

    Executive producer and voice of Blinkerquatz, Seth Green, added a bit more on how they evolved the animation style of the series.

    Also we were able to use a lot of the motion control rigs to get some far more dynamic cinematography then we’ve had before.

    Seth Green

    Using peg people to make a series is not an easy task. However, Crossing Swords continues to push the envelope on its animation style. Fans will be able to see more of what Harvatine IV and Green mean when Season 2 of Crossing Swords drops on Dec. 10, exclusively on Hulu.

  • Fra Fee on Why His Kazi in ‘Hawkeye’ Strays from the Comic Version

    Fra Fee on Why His Kazi in ‘Hawkeye’ Strays from the Comic Version

    When it was announced that Fra Fee would be bringing Kazi Kazimierczak to the screen in Hawkeye, fans on the iconic Matt Fraction and David Aja run on the comic of the same name were thrilled at the idea of seeing the character terrorize Clint and Kate. In the comics, Kazi certainly displayed all the characteristics of a psychopath but, so far in the show, we’ve seen a much more subdued take on the character. Fee talked to ComicBook.com about the differences between the character we’ve seen so far on the show and the one from the comics and whether or not we might ever see him unleash the true evil he displayed in the great run.

    I was fully aware of the origins of this character. And I think it was a really intriguing character in the comics. And there was a lot that I was able to take from his persona in the comic books. What I love about Kazi, he’s got this really intense, sort of brooding, everything’s simmering at the surface sense of himself. And I believe that’s because he’s harboring a lot of stuff. There’s a lot of issues and there’s a lot of painful things that have happened. And also deep rooted passions that make for this very intriguing character that doesn’t necessarily wear on his sleeve, unlike his counterparts in the mafia that are big, brash versions of themselves. He’s not, he’s got a quiet intensity. Whether or not it is to be seen that he takes on this persona that is traditionally viewed in the comics, we’re not sure. But like you said, I think that the comic book figure is inherently evil.

    It’s always interesting to hear how deeply involved actors become entangled in the characters they play. Fee has clearly put a great deal of thought into how who Kazi WAS defines who he IS.

    What I love about Marvel Studios and how they’ve tackle tackled villainous characters is that we have a much more fully fledged out version of themselves. There’s a sense of history, there’s always a reason to be, there’s always a reason why these characters act the way that they do. And so to be able to actually figure out why Kazi is who he is, how he’s got to the place that he has found himself, that’s really, really exciting rather than just playing an evil dude. Whether you need to know the why, and I think we’re able to do that here.

    Through four episodes, Fee’s relationship with Maya seems to be vital to who is at the moment, a relationship he discussed here with our own Charles Villanueva. It would be interesting to see what might become of Kazi should his relationship with Maya fall apart. As Fee said, the reasons the characters become who they are is a part of fleshing out the characters for these adaptations, so maybe, in this adaptation, we’re just in the middle of Kazi’s Clown persona’s origin story.

    Source: Comicbook.com

  • Tom Holland Wants Spider-Man to Fight Morbius Next

    Tom Holland Wants Spider-Man to Fight Morbius Next

    There is absolutely no shortage of villains in the next bigĀ Spider-ManĀ film.Ā No Way HomeĀ will see the famed web-slinger take on the likes of Doctor Octopus, Green Goblin, Electro, Lizard,Ā andĀ Sandman, but it’s a bad guy we won’t see that starĀ Tom HollandĀ wants to face off against next. In a recent interview with Fandango, the British heartthrob reveals it’sĀ Jared Letoā€˜s Morbius, the Living Vampire, that he wants Spider-Man to battle on the next film.Ā HollandĀ cites the terrifying nature ofĀ Letoā€˜s character as part of his attraction to the potential future battle. Check out his full explanation in the following tweet posted to Fandango’s feed:

    HollandĀ must enjoy a good fright, considering it’s also the reason he listsĀ Willem Dafoeā€˜s Goblin as one of his favorite antagonists to film with thus far. Although Morbius is a natural fit for Blade’s rogue’s gallery, the character actually originates from the pages of Spider-Man. Morbius has been a recurring foe for the wall-crawling hero over the past several decades and was famously featured in a large role onĀ Spider-Man: The Animated Series.Ā 

    Fans will get their first live-action glimpse of the Living Vampire’s full power when Morbius drops in theaters on Jan. 28, 2022. The Daniel Espinosa film follows the story of Letoā€˜s Dr. Michael Morbius, a talented medical professional who gains vampire-like abilities after a dangerous attempt at curing his own rare blood disease.

    Spider-Man: Far From Home hits theaters later this month.

    Source: Twitter

  • Lucasfilm Eyeing Amandla Stenberg to Lead Disney+’s ‘The Acolyte’

    Lucasfilm Eyeing Amandla Stenberg to Lead Disney+’s ‘The Acolyte’

    We’ve been hearing quite a bit more from Star Warsā€˜ upcoming Disney+ series, especially their The Mandalorian spinoff, Ahsoka. Well, it looks like a bit more has been happening with their other project, The Acolyte. We know very little about this upcoming project outside of the fact it is eyeing an early 2022 production start. There have been a few rumors surrounding the project led by Leslye Headland. Luckily, The Illuminerdi might have gotten their hands on something interesting.

    According to them, Lucasfilm has already set its eyes on its potential leading star. For a while, they’ve been focused on hiring a woman of color in their late teens. It seems that they might have decided that The Hunger Gamesā€˜ Amandla Stenberg would be perfect for the role. Stenberg, who identifies as non-binary, has gone on to star in The Hate U Give, Where Hands Touch, and they recently appeared in Dear Evan Hansen.

    UPDATE: Variety has confirmed Stenberg is in talks to star in The Acolyte. Per the outlet, details regarding their role are not known.

    Source: Illuminerdi

  • REVIEW: ‘Cowboy Bebop’ 1×09 “Blue Crow Waltz”

    REVIEW: ‘Cowboy Bebop’ 1×09 “Blue Crow Waltz”

    What is it with Western shows and their pre-season finale flashback episodes? It’s a funny trend that continues in Cowboy Bebop. Yet, in a way, the timing is perfect as Spike’s fight with LeFou knocked him out land Vicious unleashed his wrath. So, once again we move away from the trio that is supposedly at the forefront of the series and explore Spike’s time as Fearless and what lead to his new identity. Is it worth the detour, or are we just treading water until the show comes to an end?

    COWBOY BEBOP Recap: (S01E09) Blue Crow Waltz

    John Cho carries the show once again, but Alex Hassell does continue to have some fun with the role this time around. It feels like we get more of the unhinged version at times that we were given a glimpse of during the last episode. It does add a lot of weight to this interpretation of Vicious, who is described as mostly unhinged and childish. It’s definitely the character we’ve seen in the past episodes, but it does seem like a more clichĆ© approach given how little he changes across the season’s runtime.

    Julia also gets more character development, as we find out how exactly she met our two Syndicate members. I’ll be honest, the romance feels a bit rushed here, especially when you consider how strong it was in ā€œBinary Two-Step.ā€ Elena Satine gives a good performance but having to know how she became a singer didn’t seem like a necessary addition to this story. Her introduction through the song may have been more efficient as it adds a layer of mystique to her that is gone, especially given what happens in the finale.

    Do Julia and Spike End Up Together in Cowboy Bebop?

    The strength of the episode, however, lies in Fearless’ storyline. We finally find out what the references for what he blames himself for were all about. It’s a strong moment that punctuates a well-done action sequence, but it adds one point of confusion. He has his affair with Julia, who Vicious is dating at the time, but also goes out of his way to save his ā€œbest friend.ā€ While I get why he wants to leave the Syndicate and it’s a rushed action out of love, it still seems like the build-up to that moment was a bit, lacking. That’s kind of the drawback of telling this entire story in an episode, just in time to highlight the eventual meeting of everyone involved in the finale.

    While a lot happens in this episode, it feels like there’s not that much to talk about. We mostly get some clarifications on some smaller elements that were built up, but it felt like it could’ve been also scattered through flashbacks by Spike. I liked the idea to use the new storytelling structure to build up the mystery of our protagonist’s time with the evil corporation, but it’s not the strongest landing. Most revelation or story elements were already hinted at, which makes most of the ā€œbigger revelationsā€ less impactful s they could’ve been. It’s a competently made episode with some strong moments but a bit forgettable overall. Here’s hoping the finale can continue where episode eight left us off on.