Sunday, 25 September 2016

Saturday, 24 September 2016

bob iger

Disney CEO Bob Iger has admitted he met with a writer for a new movie in the sci-fi franchise, and there are further plans in place for films "beyond" then.  Star Wars, it seems is not going away now or in the future.  Iger said "I had a meeting yesterday with [producers] Kathy Kennedy and we mapped out - well, we reviewed - the 'Star Wars' plans that we have until 2020.

"We have movies in development for 'Star Wars' until then, and we started talking about what we're going to do in 2021 and beyond."

Bob, 65, also described the upcoming 'Rogue One' spin off as "experimental", playing down expectations that it would match the $2 billion box office haul achieved by previous film 'Star Wars Episode VII: The Force Awakens'.

He said: "We never felt it would do the level that 'Force Awakens' did.

"[But] the level of interest [in 'Rogue One'] is as high as it was for 'Force Awakens'. It's really interesting in terms of 'Star Wars' storytelling. 'Star Wars' has only been told as a saga, and this is a moment in time ... we love what we've seen."

'Star Wars: Episode VIII' is to be released in 2017 and 'Episode IX' in 2019.

Source

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Friday, 23 September 2016

Miss Peregrine's Home for Peculiar Children

We’re a week away from the release of Tim Burton's MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN and Twentieth Century Fox are thrilled to present a new featurette called 'The Vision of Tim Burton’, which explores the directing talents of the legendary filmmaker.



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Citizens of Gotham City,

BATMAN - The Telltale Series - Episode 2: Children of Arkham is now available for download on PC/Steam, PlayStation 4, and Xbox One.

This all-new behind the scenes video (below,) hear from Troy Baker (Bruce Wayne/Batman)Laura Bailey (Selina Kyle/Catwoman) and Travis Willingham(Harvey Dent) on their creative process in bringing these iconic characters to life with a fresh spin, as well as the exciting and challenging experience of performing in an interactive narrative. 

In Episode Two, with Gotham City's first family mired in corruption, and an old friend now a dangerous adversary, the life of the Dark Knight is turned upside down. What was Thomas Wayne entangled in, and why was he killed? Determined to learn the truth about his father, Bruce sets out to question those involved in Gotham's criminal past. But which mask will he wear - The billionaire, or the bat? Huge decisions will forever change the Batman and the lives of those around him, as he meets the Children of Arkham.



The series is also available to purchase at retailers now as a special Season Pass Disc, which includes the first of five episodes in the season, and grants access to the subsequent four episodes as they become available for download via online updates. 


Rendered to look like a living, breathing comic book, Telltale's vision of Batman features an award-winning cast of talent, including Troy Baker in the role of Bruce Wayne, Travis Willingham as Harvey Dent, Erin Yvette as Vicki Vale, Enn Reitel as Alfred Pennyworth, Murphy Guyer as Lieutenant James Gordon,Richard McGonagle as Carmine Falcone, Jason Spisak as Oswald Cobblepot,and Laura Bailey as Selina Kyle. Additional cast and characters will be revealed as the season progresses.

BATMAN - The Telltale Series Episode 2: Children of Arkham is rated M (Mature) for Violence, Blood, and Drug References by the ESRB. Future content in the season is yet to be rated by the ESRB. The series is published by Telltale Games in partnership with Warner Bros. 

For more information on Telltale Games, and more news surrounding the series, visit the official website, Facebook, and follow Telltale Games on Twitter@TelltaleGames.





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BATMAN #9

The next great Batman story,  “I Am Suicide,” begins in BATMAN #9 by Tom King and Mikel Janin this October! In order to save Gotham Girl Batman recruits a team to break into the most impenetrable prison in the world and steal from one of the Dark Knight’s greatest foes… Bane.

“She’s been infected by the Psycho Pirate’s fear,” says King about Gotham Girl. "She needs to get that out of her head and the only one who can do that is the Psycho Pirate himself. So to save Claire—to save this one last remnant of this hope he has in issue #1—Batman has to find Psycho Pirate, and that mission leads him directly into Bane.”

"It’s Batman forming his own Suicide Squad,” says King about the new story arc I Am Suicide. "It’s Batman working with Amanda Waller, going into Arkham Asylum and picking out a special team to accomplish a mission that he can’t do on his own or with the Justice League. If you’ve read the end of BATMAN #6, you know that Bane has the Psycho Pirate, who can cure Gotham Girl. Batman needs to get him, but Bane lives in his own country. On top of that, he lives in a prison that’s the worst prison in the history of humankind. So Batman can’t just go in there because it’s illegal and impossible. So he needs a team who can do something illegal and impossible, and that’s the mission of the Suicide Squad. That’s where we start, with Batman making his own Suicide Squad to invade Santa Prisca and try to get Psycho Pirate back from Bane.”

"I don’t think of him as a fringe character,” says King about Psycho Pirate. "He plays a huge part in CRISIS ON INFINITE EARTHS. That’s where I was first introduced to him. He’s the guy who kills Barry Allen! So he’s played a role in the DCU for years. And then Grant Morrison took him into ANIMAL MAN and made him the one character in all of DC continuity who can remember the Multiverse. He remembers what happened beforehand. So he has both those aspects of him—he’s played a key role in this huge crossover and he also has this bizarre memory. He’s this huge character…and he’s a wimp. He’s a nobody! He’s terrible. He’s always manipulated by other people.”

BATMAN #9 arrives October 19th, 2016, written by Tom King with art and cover by Mikel Janin, colors by June Chung, letters by Clayton Cowles. Final order cutoff at your local comic book store is Monday September 26th.


BATMAN #9
BATMAN #9
BATMAN #9
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BATMAN #9

BATMAN #9

BATMAN #9


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take cover episode 9

Grab your bookmarks, it's time to Take Cover as we focus on the writings of the Star Wars galaxy. This month Brian, Matt and Mark discuss the latest book, magazine and comic releases including Star Wars #22, Poe Dameron #5, The Force Awakens #4 and Han Solo #3. Plus, joining us for the first time on Take Cover is Iain Lowson of Build the Millennium Falcon and Star Wars Fact Files fame. You can contact us on Skype at JediNewsNetwork with your comments, views and opinions and be a part of the show.




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Reviewed by Paul and Patrick Gibbs 


Storks
Starring the voices of Andy Samberg, Katie Crown, Kelsey Grammer, Ty Burrel, Jennifer Aniston
Written and directed by Nicholas Stiller






OUT OF FOUR

We're suckers for animated fioms, especially animated animals, and tend to go easier on the lesser (i.e. non Disney/Pixar) animated films than most critics do. And Nicholas Stoller, writer and co-director of Storks, is responsible for what we consider two of the funniest screenplays in recent memory, 2011's The Muppets (which he co-wrote with Jason Segal) and its sequel,  Muppets Most Wanted. And yet for us, Storks was only okay.

The premise goes back to an old legend kids today only know if they've seen Dumbo (heck, that's the only reason we know it): storks delivering babies.  In the film's reality,  the storks actually ceased making these deliveries 18 years ago, and instead now make deliveries for Cornerstore.com, essentially a variation of Amazon. The company is run by a blustery bureaucrat named Hunter (voiced by Kelsey Grammer), who is about to be receive a promotion, and tells the lovable goofy Junior (Andy Samberg) that he can have Hunter's job if he'll fire Tulip (Katie Crown), an 18 year old human girl who was the last baby the storks tried to deliver and has lived with them since the delivery failed.

The story goes pretty much where you would expect it to, with nothing especially new or unexpected.  Of course that won't bother the children who are the movie's primary audience, and the quality animation and endearing character design go a long way. But, disappointingly, the film just isn't nearly as funny as you'd expect given the talent behind it. It's sufficiently amusing to kids, but there's not much there to make adults laugh.  This is puzzling when compared to Stoller's Muppets scripts, which were both funny and clever. Here he settles for tired tropes and simple gags that just don't hit the mark as well as they should, and the result is a film that certainly doesn't qualify as bad, but one which just doesn't inspire a great deal of enthusiasm.

Samberg's Junior is a likable protagonist, while Crown's Tulip is alternately lovable and genuinely annoying at times. Grammer is his usual blustery,  pompous self and Key and Peele are fairly amusing as the leaders of a wolf pack (though not as amusing as they're trying to be).  The character of Hunter's Pigeon Toady, as voiced by Steven Taylor Glickman,  is supposed to be humorously irritating, but only the second part of that works, and it works far too well. The uninspired but perfectly watchable film becomes a bit of an ordeal to sit through whenever he's on screen, and remember that this is coming from two guys so fond of animated creatures they're afraid to call Jar Jar Binks annoying because it might hurt his feelings.

All in all, Storks is a perfectly good diversion for kids, and the adults who go with them might be mildly amused. But in a year where we've had an abundance of quality animated films, this is a lesser effort, and considering the fact that we know its creative leader can do better, that's a shame.

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topps rogue one star wars

Topps, the UK’s leading Collectibles Company, is proud to announce the launch of its brand new Star Wars trading cards collection for “Rogue One: A Star Wars Story.”

topps rogue one star wars “Rogue One:  A Star Wars Story” is an all new epic adventure in which a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire’s ultimate weapon of destruction. With the highly anticipated theatrical release scheduled for 16th December this year, Star Wars fans and collectors alike can begin their countdown to the film with the latest Topps release on shelves from October 6th.

The Rogue One:  A Star Wars Story card collection introduces all the key characters from the stand-alone film with over 250 cards to collect. Cards will be packed with members of both the Rebel Alliance and Galactic Empire, plus a whole host of new vehicles and ships.

Star Wars has a rich intergalactic heritage which carries through into this latest collection, making this a must have product for any fan. The latest packs will include special cards, such as holographic and sticker cards, which will be all important to this super cool trading card set.

Louise Ramplin, Entertainment Marketing Manager at Topps, comments: “We’re really excited for the latest instalment in our Star Wars portfolio. Following the huge success and popularity of our previous Star Wars collections, we’re confident this new trading card collection will be a big hit amongst both Topps fans and movie goers alike.”

For more information, visit: www.toppsdirect.com. For the latest updates, follow @MyTopps on Twitter or visit https://www.facebook.com/MyTopps.
topps rogue one star wars





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Star Wars Rebels

"Steps into the Shadow: Parts I and II" -
the Special One-Hour Season Three Premiere of Star Wars Rebels on Saturday, September 24(8:30 p.m. ET) on Disney XD!

As Kanan deals with the aftermath of his encounter with Maul, Ezra is tasked with leading rebel missions seeking ships, supplies and new recruits eager to join the cause.  With the pursuing forces of the Empire now under the direction of the cunning Grand Admiral Thrawn, the rebels must take greater risks, forge unlikely alliances and face foes from past in their efforts to support the growing rebellion.

Star Wars Rebels

Let by a more powerful Ezra, the rebels break an old friend out of prison to help acquire ships for the fleet, but Kanan discovers that Ezra’s new skills come from a dark place when “Star Wars Rebels” returns this SATURDAY, SEPTEMBER 24 (8:30 p.m., ET/PT) on Disney XD.

We've posted a whole bunch of photos from "Steps into the Shadow: Parts I and II"over on our Facebook page.


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Thursday, 22 September 2016

indiana jones boulder

The popular Youtube channel, Watchmojo.com has taken the slightly difficult task of narrowing the best Indiana Jones moments down to just 10.  Here's how they got on. Let us know if you agree with them.



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Wednesday, 21 September 2016

malibu house steven spielberg

Take a look inside Steven Spielberg's $26 million Malibu House.




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Tuesday, 20 September 2016


David Fox's complete talk at Assembly 2004 (Helsinki, Finland). He talks about his early work on LucasArts games. David was a founding member of the Games Division at Lucasfilm (employee #3) and was the designer, project leader, and one of the programmers for the games "Rescue on Fractalus!", "Labyrinth", "Zak McKracken and the Alien Mindbenders" and "Indiana Jones and the Last Crusade: The Graphic Adventure". He also worked on "Maniac Mansion" as the primary script programmer. Fox was part of the memorable team that included Ron Gilbert and Noah Falstein.



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Reviewed by Paul and Patrick Gibbs

The Magnificent Seven 
Starring Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Haley Bennett, Peter Sarsgaard
Directed by Antoine Fuqua





OUT OF FOUR


The audience that vocally denounces every new remake as an atrocity has been curiously silent about Antoine Fuqua's redux of John Sturges' seminal western The Magnificent Seven, which was of course itself a remake of Akira Kurosawa's masterpiece The Seven Samurai. Or perhaps it's not so curious as neither of those films comes from the 1980's or '90s and the uproar isn't so much over remaking beloved classics as it is over remaking our beloved classics. In any case, the mere fact that Fuqua has managed to make a star-studded western that's a major blockbuster release in 2016 is no small feat in and of itself. The fact that the result is an entertaining film that falls short of being truly magnificent likely won't prevent it from being the genre's biggest success since the 2010 remake of True Grit (though it won't contend for any major Oscars.).

The new film begins in the American West in the post Civil War 1870s, in a small town called Rose Creek, where the good townsfolk are being terrorized by a greedy industrialist named Bartholomew Bogue (Peter Sarsgaard). Bogue is evil enough that it's an understatement just to point out that he deserves a mustache-twirling moniker like "Bartholomew Bogue": this is a villain so brutal and nasty that we are forced to invent the word "bastardacious" to describe his behavior. Not only is he using violence to force the townsfolk away from their homes for his own gain, he couches it in rhetoric about the virtues of capitalism that casts anyone who opposes him as an enemy to God, then burns down a church and shoots unarmed townsfolk to drive his point home (the 21st century political subtext to this is obvious enough without us having to add any commentary.). Emma Cullen (Haley Bennet, who previously appeared in Fuqua's The Equalizer), the determined young widow of one of the men Bogue killed, sets off to find some gun fighters who can help defend Rose Creek and teach the townsfolk (a great western word we are determined to use at least three more times in this review) how to fight and, just maybe, how to believe again. But mostly how to shoot enormous holes in people.

Emma finds her great black hope in the form of Sam Chisholm (Denzel Washington), a duly deputized so and so who demonstrates his very particular set of skills by easily dispatching a group of outlaws in the timed honored "I'm going to stand here and taunt you until you and everyone else in the room goes for their guns so I have an excuse to kill as many people as possible, because I'm the good guy" fashion. Chisholm agrees to help as soon as he hears Bogue's name, though we are not immediately certain whether this is due to a personal connection or merely the knowledge that anyone evil enough to be both named Bartholomew Bogue and played by Peter Sarsgaard has to die. In any case, Chisholm sets about recruiting his own rougher, less numerically impressive version of Ocean's Eleven:

- Joshua Faraday (Chris Pratt), a roguishly charming gunslinger brimming over with bravado, killer instinct and star power for a generation young enough to not really care about Denzel Washington.

- "Goodnight" Robicheaux (Ethan Hawke), a legendary killer who distinguished himself at the battle of Antietam and shares a past with Chisholm.

- Billy Rocks (Byung-hun Lee), an Asian assassin with the deadly knife-fighting skills federal law mandates must be demonstrated by at least one member of any group of western bad asses.

- Jack Horne (Vincent D'Onofrio), a tracker/mountain man who once killed an entire family of bears with his teeth and then stomped on their heads (we made that up, but it fits the character).

- Vasquez (Manuel Garcia-Rulfo), a Mexican outlaw who gives Faraday a chance to show us how much fun racism can be.

and finally,  Red Harvest (Martin Sensmeir), a Comanche warrior who makes vicious killings poetic and oddly spiritual in that special way only Hollywood Native Americans can.

Fuqua has assembled an impressive cast, and all of them give engaging performances. While Washington is really just giving us a variation of the tough guy he's played in umpteen other films for Fuqua or the late Tony Scott, that's appropriate for a John Wayne/Clint Eastwood style cowboy hero, though in this case the intensity that usually lights up the screen like a blazing wildfire is closer to a Popeye nightlight. Pratt shows again that he has the charisma of a genuine movie star, and also that he is best cast as a character who acts like you would expect a man named "Pratt" to act. Hawke nearly steals the film with its most nuanced (if underwritten) performance, and D'Onofrio gives him a run for his money. Garcia-Rulfo is quite engaging, but he and Sensmeir are mostly there to provide diversity and bring the number up to seven, while Bennett ably demonstrates 1. that she is an acceptable Jennifer Lawrence type if the role is too small for an Oscar-Sinning superstar and 2. cleavage sells. Sarsgaard, a skilled if sometimes smarmy and hammy actor, resists the temptation to go too far over the top as he's being bastardacious toward the townsfolk, proving that he can be a better villain than he was in Green Lantern. 

Fuqua's directorial skill continues to grow, and his love of the genre and the reference material is more than evident. When you think about it, many of Fuqua's previous films have been westerns tonally, if not literally, and his King Arthur may have been a lousy telling of the Arthur legend, but it was a pretty good version of The Magnificent Seven (portraying the Knights of the Round Table as a ragtag group of swordslingers protecting the townsfolk at Hadrian's wall), and it's abundantly clear that this is a dream project that has been brewing for a long time. We can clearly see the influence not only of the original, but of countless Clint Eastwood films and especially Lawrence Kasdan's Silverado (there is even an obvious reference to that film thrown in early on.). True Detective's Nic Pizzolotto (a name which sounds nothing like a cheap bathroom joke, and we are ashamed of you for thinking that) and regular Fuqua collaborator Richard Wenk (not even going there), the screenwriters,  provide plenty of snappy dialogue (most of which goes to either Pratt or Hawke), but they leave the characters as thinly drawn western archetypes and gloss over most of their motivations. Pratt's character in particular is directionless and lacking in definition, despite the actor's considerable charm (and his racist jabs at Garcia-Rulfo's character, intended to be comic, come across as particularly distasteful imnthe current cultural climate). This superficial approach leaves the film feeling somewhat empty at the end.

The fight sequences are staged and photographed with considerable finesse, and are extremely entertaining. But they're also absurdly violent: the fact that this film managed to get a PG-13 rating from the Motion Picture Association of America is about as good an example as we've ever seen of what a bad joke their ratings system is. Yes, the mayhem is light on blood, but the sheer number and intensity of the near constant shootings, stabbings, tomahawkings, throat slittings, tramplings, head-stompings, blowing uppings and other acts of extreme violence leave the audience feeling nearly as brutalized as the villains, heroes and townsfolk, and yet somehow the MPAA thinks this is more suitable for children than, say, The King's Speech.  Some of this can be attributed to the influence Tarantino has had on the modern western (the poster design seen here looks like The Inglorious Seven), but as much as we'd like to put as much blame on him as possible, Fuqua has always made hyper-violent films, and it shouldn't be a surprise that he gets carried away with the lawless machismo of the old west. As is too often the case with action pictures, the question of why group A's bloodlust is heroic as opposed to group B's evil bloodlust becomes difficult to reconcile at times, and the slapdash approach to character motivation makes this a bit of an extreme case.

One of the biggest distinctions and chief pleasures the movie has to offer is the final score by the late, great James Horner, and two tracks in particular ("Seven Riders" and "Faraday's Ride") are so good the make you cry and pump your fist at the same tie, but it's a little sad to see it overshadowed by use of Elmer Bernstein's classic theme at the end. But what other choice was there? You really can't make The Maginificent Seven without that theme. It would be like doing Mission: Impossible and leaving out Lalo Schifrin. The result is that we get to mourn for two cinematic music legends for the price of one.

What makes The Magnificent Seven overall work as a flawed but entertaining piece of popcorn entertainment is that, unlike most of the westerns seen in recent years, it has a sense of fun. This will likely be enough to entertain most audiences, and may well even bring us back for a second viewing. But it's too bad the effort  wasn't made to create a deeper, more resonant film. To use the ultimate cliche for discussing a remake, it's not as good as its predecessor. And that's too bad. While it's a perfectly serviceable action film, the talent was there to make this something truly special. Townsfolk.



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Monday, 19 September 2016


Colin Trevorrow's Jurassic World made a huge amount of money at the box office so a second (and a third one) was more inevitable than a lunch box being sold with a Jurassic Park logo on it.  Now the sequel which is being directed by J.A Bayona has a meaty budget.  The director was interviewed by Latin publication El Pais Seminal and said the budget will be $260 million.  That's a huge increase over the first Jurassic World which had a production budget of $150 million.  For the record Steven Spielberg's 1993 Jurassic Park had a production budget of $63 million.

Bayona said that the follow-up movie will belong in the "champion league of cinema" and explained that he initially considered taking on the movie because of Steven Spielberg and Frank Marshall.

The first Jurassic World made over $1.5 Billion at the domestic and worldwide box office.

Figures from Box Office Mojo

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