Love this.
Artist Mauricio Abril imagines just how much Spider-Man wants to play with his colleagues the Avengers.
Alas, Marvel sold the rights to Sony and Spidey is in his own playground.
Maybe someday.
In the meantime, check out Abril’s wonderful art.
Well, well.
There’s nothing like a little controversy to raise awareness of your movie.
So today the Motion Picture Association of America – the conglomeration of studios and production companies that oversee the ratings process for movies – apparently turned thumbs down on the character poster for Eva Green in “Sin City: A Dame to Kill For.”
The MPAA’s objections, according to Deadline.com?
“For nudity — curve of under breast and dark nipple/areola circle visible through sheer gown.”
You can almost hear the nervous stammering and imagine the sweaty palms of some guy in the MPAA office as the whole matter was adjudicated and that verdict was being prepared for release.
Anyway, the movie version of Frank Miller’s comic comes out on Aug. 22.
Hopefully this whole ugly mess will be behind us by then.
Right.
Don Draper is one of the biggest mysteries, as well as one of the most anti-heroic anti-heroes, on TV.
Through six and a half seasons of “Mad Men” on AMC, we’ve rooted for Don (as payed by Jon Hamm) even though we probably wouldn’t want to work with him and we certainly wouldn’t want to be married to him.
The temperamental artist, serial philanderer and distant father has been undergoing a transformation in the seventh season, however. After hitting rock bottom – rejected by his latest lover, despised or pitied by coworkers, left behind by his latest wife, who’s off in California to pursue her dreams – Don seems to be trying to remake himself.
He offers to do the right thing by Megan. He hands off a successful pitch to Peggy, who had, probably rightfully so, grown tired of the behavior of her mentor. He turns down offers from women who fling themselves at him (well, mostly; does the threesome that included Megan count?). He even inspires loyalty from Roger Sterling, who – in this week’s final episode of the year, before the final seven episodes of the series play out next year – rallies after a season of restlessness and experimentation to save not only Don but the partners in the agency.
It’s difficult to tell where “Mad Men” creator Matthew Weiner is going with the series, but then it always is. While we might have had a sense of forbidding about Lane Pryce a couple of seasons ago, this past season or two Weiner has been stringing us along with foreboding balconies and Sharon Tate hints. Who would have thought we would reach the final episode before the last seven episodes only to find that Don has mostly righted himself?
“Waterloo” was satisfying in the way that good “Mad Men” episodes are. Almost every character gets his or her moment, from Pete’s goofy comparison of Don to a thoroughbred to Peggy’s version of Don’s classic pitches to clients to Roger’s newfound steel – and his punchlines – to young Sally’s continuing voyage through teenagerhood.
I still don’t think the series knows what to do anymore with Don’s estranged wife, Betty. And old Bert Cooper was never more alive, ironically, than at the end of “Waterloo,” a moment that let vintage song-and-dance man Barry Morse shine.
What do we want to see in the final seven episodes, coming in 2015?
A clear path for Sally. Will she rebel or follow her mother into conservative stuffiness?
A bright future for Peggy as the queen of Madison Avenue.
Roles that feel comfortable for Roger and Joan. Maybe even together.
Maybe a successful comic strip for Lou Avery. Anything to get him out of the ad business.
Enough success to choke schemers and graspers – even enjoyable ones – like Pete and Harry.
And maybe redemption for Don following a lifetime of deception and deceit and self-loathing.
Tune in next year.
I’m not sure there is a stranger big-screen superhero franchise than the “X-Men” movies.
I’m not counting the new series of “Spider-Man” movies, which Sony is apparently trying to expand into an entire universe by basing movies on villains and second-string characters. You think the general public hadn’t heard of Iron Man before 2008? Try basing an entire movie on Black Cat or Venom.
And I’m also not talking about the “Fantastic Four” reboot, which seems alarmingly intent in removing everything “fantastic” from the story, characters and situations of Marvel’s First Family.
Heck, I’m not even talking about “Ghost Rider,” which is inherently weird.
It’s just that, since 2000, the “X-Men” movies have followed an oddball path. Director Bryan Singer made two good movies – I’d even say that the first sequel, “X-Men United,” was a great superhero movie – then left the series for the unfortunate “Superman Returns.” Some “Wolverine” spin-offs ensued which gave us charismatic Hugh Jackman and little more. Matthew Vaughn’s “X-Men: First Class” was a terrific return to form, showing the origins of Professor X and Magneto and Mystique and featuring a charismatic cast in a tale of the swinging 60s and the sudden appearance of mutants in the world.
So I wasn’t quite sure what to expect with Singer’s return in “X-Men: Days of Future Past.” He brings back nearly every character and actor from the earlier films, either through starring roles, cameos or flashbacks. He introduces others, most notably Peter Maximoff, the mutant known as Quicksilver. (Quicksilver is the only character so far appearing in both the mainstream Marvel Cinematic Universe and these offshoots, making appearances here and in the tag at the end of “Captain America: The Winter Soldier” and in next year’s “Avengers: Age of Ultron.” He’s by a different actor in the MCU films.)
The story, loosely based on a classic tale from the comics, opens in a future time when a war between mutants and Sentinels – mutant-hunting robots created by Bolivar Trask (Peter Dinklage) – has ravaged much of the globe. A few X-Men, including Professor X (Patrick Stewart), Magneto (Ian McKellan) and Wolverine (Jackman) come together with a plan to change history: If they can stop young Mystique (Jennifer Lawrence) from killing Trask back in 1973 – thus speeding up the Sentinels program – they can stop the war.
To stop Mystique, they task Kitty Pryde (Ellen Page) with sending Wolverine’s mind back into his 1973-era body. There, he must find young Charles Xavier (James McAvoy) and young Eric Lehnsherr (Michael Fassbender) at a time they are decidedly not filling their fated roles as Professor X and Magneto and persuade them to help.
The plot is reminiscent of how the older Spock sent Kirk on a mission to win over young Spock and become a team and at least offers a better explanation for why a simple sit-down between key players couldn’t have resolved matters much more easily.
The movie does a pretty good job in immersing its story and characters in 1973, with period-appropriate clothing and jokes about “all three” TV channels – and PBS – and events and figures from the day, including a healthy supporting role for Richard Nixon.
The movie is relatively light on the “future” sequences, where Storm (Halle Berry) joins some younger mutants in fighting off the Sentinels until Wolverine’s consciousness can complete its mission.
The light-hearted tone of “First Class” is mostly gone. There are moments of humor – most of them involving Wolverine – but the tone is one of urgency and distance, with Charles, Erik and Raven all blaming each other for the estranged relationships among them.
The movie’s got big battles and impressive special effects, but what stuck with me after seeing the movie is the ending, that’s full of warmth and hope and could certainly lead to more stories featuring the “classic X-Men” cast. But I have the feeling the future of the franchise rests with the younger actors.
On that count, we’re left with a much murkier picture of the future.
Random observations:
I was somewhat surprised by how much Wolverine seems like a spectator in this movie. The storyline really focuses on young Charles, Erik and Raven.
One thing the movie does not have: Any sense of an explanation as to how the storyline follows the tag at the end of “The Wolverine,” which had Xavier and Magneto meeting Logan at an airport with an urgent mission … that they apparently wait a few decades to dispatch him on.
The movie has some fun cameos from familiar faces and a post-credits scene that is mystifying but apparently points toward a sequel Singer has announced based on the “Apocalypse” storyline from the comics. Who will fill out the ranks of the mutants remains to be seen.
So this was “Avengers” mastermind Joss Whedon’s reaction to fellow director Edgar Wright’s departure from Marvels “Ant-Man.”
Whedon tweeted this picture last night. Head bowed, he’s holding aloft a Cornetto – the British sweet that gave its name to Wright’s “Cornetto Trilogy,” including “Shaun of the Dead” – like a candle at a vigil.
It’s already been dubbed “The Cornetto of Solidarity.”
Nicely done, Mr. Whedon.
The news today that Edgar Wright would no longer direct “Ant-Man” – but that the movie, set to kick off the Marvel Cinematic Universe’s Phase Three, immediately following 2015’s “Avengers: Age of Ultron” would continue under another director – seemed like a bump in the road that Marvel’s been building since before “Iron Man” came out in 2008.
Maybe a major bump.
It’s possible we’ll find out what “creative differences” occurred between Wright, maker of “Shaun of the Dead,” and Marvel and MCU honcho Kevin Feige. These things happen, but aside from some disgruntlement from writers and directors and Jon Favreau’s departure after “Iron Man 2,” we haven’t seen a lot of discord in the Marvel Cinematic Universe.
As a matter of fact, compared to DC/Warner Bros.’ problems getting its superhero slate booted up, Marvel has had a pretty smooth time of it. Despite the fact that Marvel is somewhat notoriously cheap in its movie-making.
But Wright’s departure, we have to believe, doesn’t come about because of money. There must have been some fundamental disagreement in how “Ant-Man” was going to come out and how it would fit into the MCU.
What’s even stranger is that Feige recently said that Wright – who has been working on “Ant-Man” since 2006, before most people even knew there was an MCU – was integral in how the universe was developed.
Feige said:
“We changed, frankly some of the MCU to accommodate this version of Ant-Man. Knowing what we wanted to do with Edgar and with Ant-Man, going years and years back, helped to dictate what we did with the roster for Avengers the first time. It was a bit of both in terms of his idea for the Ant-Man story influencing the birth of the MCU in the early films leading up to Avengers…”
Since the movie has mostly been cast, with Michael Douglas and Paul Rudd as older and younger Ant-Men Hank Pym and Scott Lang, and the movie was about to start filming soon, it seems unlikely we’ll see major changes in the story. More likely it will be a matter of tone and execution. Wright was going to do his movie his way and Marvel couldn’t abide by that.
I was excited about “Ant-Man” for a couple of reasons. For one, the character is a lynchpin of the comic-book Marvel universe. He was a founder of “The Avengers,” for pete’s sake.
And the apparent plan to use “Ant-Man” to flesh out the mostly unexplored middle years of the MCU – with Douglas as Pym active in flashback scenes in the 1960s or 1970s – was even cooler.
We still might see that all play out.
Or we might not.
“Ant-Man” might be terrific even without Wright. After all, we all hated the thought of Favreau leaving the “Iron Man” series.
We’ll all be lucky if the MCU can continue on smoothly after this bump in the road.
Here’s the latest in our ongoing series about 1970s movie posters.
If you remember, I started throwing a few classic 1970s movie posters out there after the inspiration of the 1970s-style poster for “Captain America: The Winter Soldier.”
I maintain that some of the best movie posters of all time were produced to help market 1970s movies, including drive-in movies.
I still vividly remember seeing “Electra Glide in Blue” at a drive-in movie theater in 1973 with one of my older brothers.
Robert Blake was yet to achieve fame and notoriety as the star of TV’s “Baretta” – not to mention his late-in-life suspicion of murdering his significant other.
Here, Blake – small of stature but always a cocky bastard – plays a motorcycle cop drawn into a murder mystery.
All the early 70s movie touchstones are here, including rock music, “fuzz” vs “hippies,” and a twist ending.
It’s worth a look, and so is the poster.
It gets a bit silly, all the outrage on the Internet.
But then again, people keep saying stupid things.
No matter if they’re fanboys acting like assholes on the topic of female fans or they’re … well, I don’t know how to describe “Man of Steel” screenwriter David S. Goyer, who was all over the web today for really stupid comments he made in a recent interview.
You see, today was supposed to be DC’s big day, announcing the title of that “Man of Steel” sequel coming out – maybe – in a couple of years. It’s “Batman v Superman: Dawn of Justice,” a title so stupid it immediately inspired exactly the opposite reaction that DC must have wanted.
Not only doesn’t the title – really, it’s just too stupid for me to write again – make anyone think that Warner Bros. and DC have their shit together in their efforts to be more like Marvel and create a big-screen universe.
It sounds obvious, even desperate and grasping. I’ve seen it lampooned today as a courtroom drama and Lifetime movie.
Compare that reaction to the Comic Con reveal of “Avengers: Age of Ultron.” Fandamonium.
Anyway, Warners and DC might have only just begun regretting their title decision when Goyer, who as writer of most of DC’s very uneven efforts to bring its iconic superheroes to life, was widely quoted for some boneheaded remarks he made in a recent Scriptnotes podcast.
First, Goyer insulted the longtime Marvel hero She-Hulk – who, admittedly, does have a silly name – by noting that she was clearly superhero porn and served only as someone to have sex with the Hulk.
I wonder, did Goyer know before today that the characters of Hulk and She-Hulk were cousins? I’m assuming he does now.
Then Goyer went on to say an incredibly stupid thing that shows just how tone-deaf he is.
In talking about Martian Manhunter, a long-established character made popular on the “Justice League” and “Justice League Unlimited” animated series a few years ago, Goyer made fun of the character and asked how many people had heard of him.
Of course, most of those in attendance had. Probably surprised by this, Goyer then said:
“How many people that raised their hands have ever been laid?”
Really?
In one utterance, Goyer shows his ignorance about Martian Manhunter – a major character from the ONLY truly successful iteration of DC characters in the past decade – and also insults comic book movie fans.
You know, the people who pay to see his movies.
Ross Lincoln summed up Goyer’s attitude nicely on his “The Escapist” blog: Goyer and his partners at Warner Bros. are ashamed they’re making superhero movies.
Think about it. Nolan’s Batman movies, which had some strong points, dwindled to awkward absurdity through Goyer’s scripts. “Man of Steel” was awful. Hell, it couldn’t even see fit to actually call its hero Superman.
It’s sad, really, that three quarters of a century of great characters and stories are squandered in such hands.
We’re all a little Groot, aren’t we?
Marvel released the new trailer for “Guardians of the Galaxy” today and it’s pretty fun.
The trailer gets across that the movie is – aside from an adaptation of the comic series and Marvel’s attempt to branch out into the cosmic superhero realm – sort of a mix of “Star Wars,” “Firefly” (especially with the ragtag band of borderline criminals as heroes) and its own brand of comic adventure.
Fun tough guys.
And Rocket, the space raccoon who’s probably the heart of the movie.
You can find the trailer here, on io9.
“Guardians of the Galaxy” opens Aug. 1.
Those were the days, weren’t they?
80 pages of comic book action for 25 cents.
Even though the “giants” were mostly reprints – many from the Golden Age or early Silver Age – they were many times over our money’s worth.
keithroysdon 