We’re still waiting on a GTA 6 release date, with rumours abounding that Rockstar’s next open-world crime game could be set in Vice City and feature a female protagonist. Whether GTA 6 will be wild and wacky or sombre and mature remains to be seen, but I’m hoping for the latter. After almost ten years of madcap GTA Online updates, I want something closer to the mood and brutality of GTA 4 and Red Dead Redemption 2, not the outlandish fun of GTA 5.
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This post contains spoilers for episode four of "House of the Dragon."
One thing "Game of Thrones" deserves more credit (or blame) for is how much it normalized the idea of TV seasons being 10 to 13-hour movies. The show was a massive, sprawling epic with multiple storylines going on at the Wall, King's Landing, Winterfell, Essos, and usually a bunch of other places in-between. This meant that it was rare for any specific episode of "Game of Thrones" to stand on its own.
A typical episode from season 2 through 6 would check in with one character in one location, move on to another character in another place, and so on until the episode ended. There were some rules and patterns viewers learned to pick up on: if a character had an early scene in the episode, odds were they'd at least get to pop back in by the end of it as well. But if a character made their first appearance halfway through, you'd basically have to accept that this was the most you'd get from them that week.
This is why "House of the Dragon" has been so refreshing so far. This week's episode takes place almost entirely within King's Landing, zeroing in on a small handful of characters as they try to make sense of their current place in life. The only time "Game of Thrones" would ever spend this long in a single location is if there was a big battle going on, but "King of the Narrow Sea" takes place in a period of peace. As a result, it's an episode that's both familiar and exhilaratingly unlike anything we've ever seen in the original show.
It's not that the format of "Game of Thrones" was bad, exactly. It helped to create a strong sense of narrative momentum, as every one of a given season's many storylines slowly heat up over the first half, and by the season's end viewers would be treated to one climactic event after another. It was also just straight-up impressive how many threads the show was able to juggle at once without ever falling apart.
But it also led to a sense of disconnection with all the characters. The writers didn't have much time to spend with everyone beyond merely covering each plot point from the books, which meant that most of the characters' complexity from George R.R. Martin's writing was stripped away. As acclaimed as the early seasons of "Thrones" were, you can definitely see the strain the show was under to properly adapt the source material. The show would often check in on a particular character, dutifully get them from point A to point B, and then check out. It was all they had time to do.
"House of the Dragon," meanwhile, has a lot fewer restrictions to work with. The show's based off source material that's nowhere near as popular as the main series, and nowhere near as long. "Thrones" would regularly have to squeeze countless pages of beloved source material into single episodes, whereas the multiple planned seasons of "House of the Dragon" are centered around a 250-page section of "Fire and Blood." Whereas "Thrones" struggled over what to cut from the books, the prequel showrunners have every opportunity to not just cover the book but to expand on it, to make the story their own while still being faithful.
The prequel's latest episode is a messy, emotional dive into Rhaenyra's attempts to deal with the many, many expectations placed upon her. We first see her touching the necklace her uncle Daemon (Matt Smith) gave her back in the first episode as she's in the middle of rejecting a bunch of potential suitors. She returns to King's Landing in time to see her father make peace with her Daemon, a resolution that clearly won't last.
Despite their previous conflicts, Rhaenyra and Daemon have always seemed to have a special understanding of each other. Here, we get to see the two sneaking out of the castle after dark and enjoying a taste of what life is like for everyday citizens. Not only that, but we get to see Rhaenyra happy and excited to be where she is for seemingly one of the few times in the series so far.
And then she and Daemon start hooking up in a brothel. In any other show, this would be a deeply disturbing scene, but for us unfortunate "Thrones" fans, its not even close to the most grossly incestuous thing we've had to witness. Their scene in the brothel is passionate and full of life, a direct contrast to the depressing sex scene between Viserys (Paddy Considine) and Alicent (Emily Carey). What Viserys and Alicent are doing is considered proper and healthy in this society, and yet everything about it just seems sort of sad. As weird and uncomfortable as Rhaenyra's scene with Daemon is, at least she's an enthusiastic, active participant. But unfortunately for Rhaenyra, there's no such thing as a fun night out for someone like her.
The next day, Otto Hightower (Rhys Ifans) gives Rhaenyra's father the news of what had happened. In "Game of Thrones," it's easy to imagine this scene playing out like a cliffhanger, but "King of the Narrow Sea" wastes no time in letting the whole scenario unfold. Viserys gets one of his best moments where he (mostly) defends his daughter, Daemon gets unofficially banished back to the Vale, and Alicent and Rhaenyra have one of their best scenes together yet.
It's there where the many parallels the show's made between the two young women come to a head: Alicent's painfully formal marriage with Viserys may not be fun or fulfilling like Rhaenyra's hookup with Ser Cole was, but at least she's safe. Alicent's not forced to lie to her own friends and family just to avoid losing everything she wants. Both characters are coping with the same terrible system in two very different ways, and as Viserys fires Alicent's father at the end of this episode, it's not clear at all which direction is better.
The question of fulfilling duty versus desire, or the exploration of how women struggle to navigate their extremely limited options in this world, was always a major theme in "Game of Thrones," but rarely did we ever get to see it explored with this much depth. After all, the original show had plenty of other ground it needed to cover.
The difference in approach is particularly noticeable when you look back at the total screen-time each character got in "Game of Thrones." As much as Tyrion seemed to dominate season 2 for instance, he was only on screen for 64 minutes. Every other character got less than that. Fan favorite characters like Arya, Jon, and Daenerys were all treated to what would be just one or two episode's worth of focus in a regularly-plotted show, but stretched out through the whole season.
It made things particularly frustrating if you were a fan who didn't connect with certain characters. By season 3 there was a running joke in the fandom about fast-forwarding through Bran's scenes, and there were plenty of complaints about how frustrating it was to go from something like Jon's compelling Wall storyline to a scene where Theon gets tortured yet again. But "House of the Dragon" rarely leaves you wishing the show could just cut to another character, because there's really only one main storyline we're following.
It's only been four episodes into "House of the Dragon," but it already feels like we've known most of the characters for much longer. After all, if this show were more like "Game of Thrones," the plot of these four episodes would've been stretched out into a whole season.
It might've been initially disappointing to "Thrones" fans that the prequel series doesn't follow a massive cast of characters belonging to dozens of different houses, but in place of that, "House of the Dragon" may have given us something even more compelling. The prequel's structure is much closer to that of a standard TV show, and that might honestly be for the best.
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The post The One Major Advantage House of the Dragon Has Over Game of Thrones appeared first on /Film.
June Carter Cash was destined to be a country music star. She was the daughter of Maybelle Carter, who revolutionized the way country music musicians played their guitars, and, later, the wife and better half of superstar Johnny Cash.
Today, Carter's life and career have become intertwined with the Man in Black, but she made her professional debut at the Grand Ole Opry and toured with Elvis Presley before hooking up with Cash. So when Reese Witherspoon was tapped to play Carter in the Johnny Cash biopic, "Walk the Line," she knew she had some pretty big stage shoes to fill.
Hailing from Nashville, Tennessee, Witherspoon certainly knew that portraying a member of country music royalty was a big job, but she was up for it. However, she was far less confident about singing Carter's famous songs, which she had not initially agreed to do.
Back in 2005, Witherspoon appeared on T"he Conan O'Brien Show," where she discussed her role in "Walk the Line." Witherspoon revealed that while she agreed to portray June Carter, she never conceded to singing any of her songs for the movie. However, two weeks after signing the contracts, the young actress discovered the director had a hidden plan to get her to do just that. In the Conan interview, Witherspoon recounts the moment she discovered she'd be singing Carter's tunes for the movie:
"I was a little bit hoodwinked there. They told me I had this job and I was going to be doing the acting part and play June Carter. Then, about two weeks after I signed all the contracts, the director called me up and said, 'I want you to come to my house.' I came to his house and he said, 'Sing a little something for me.' I was like, 'Why?' He said, 'Oh, because I'm going to have you record all her tracks.'"
While some Hollywood starlets might have embraced the opportunity with open arms, Witherspoon told Conan that she was terrified by the idea:
"I freaked out because I'd never sung professionally before and, moreover, I have stage fright, terrible stage fright. I sweat, my knees sweat, my ears sweat, when I see more than 20 people, it makes me very nervous."
If you've seen the film, and heard her sing, it might be hard to believe that the actress doubted her vocal capabilities, but the voice heard on-screen took a lot of work to develop.
Despite her initial fears, Witherspoon stuck it out and, along with co-star Joaquin Phoenix, took six months of voice lessons. After those lessons, both actors' voices had progressed enough to successfully appear in the film, and the official soundtrack, but how did Witherspoon get over her stage fright so quickly?
During an interview with Charlie Rose, the actress credits her co-star for helping her find the courage to sing:
"When [Pheonix] went on stage, he always had to begin every performance by saying, 'Hello, I'm Johnny Cash,' which, to me, takes so much courage... I couldn't believe he got up there and said it in front of, at one point, thousands of extras, and, after that, I couldn't really bow or duck out of anything. He was very inspiring."
This is a mirror image of what occurred between the real life couple. In reality, Cash found inspiration in Carter, and found the courage to leave his addictions to amphetamines and barbiturates behind. In an interview with Rolling Stone, Cash spoke about his relationship with Carter:
"She loves me in spite of everything, in spite of myself. She has saved my life more than once. She's always been there with her love, and it has certainly made me forget the pain for a long time, many times. When it gets dark, and everybody's gone home and the lights are turned off, it's just me and her."
On the surface, "Walk the Line" is about the life and career of Johnny Cash. Although he is a country music legend, loved by many, the movie doesn't skirt the darker side of The Man in Black, and honestly shows the darkness of Cash's personality and addictions. However, the film focuses on the unconditional love between Cash and Carter, who stuck together through the brightest and darkest moments of their lives.
While the film was promoted as a film about the musical icon, Johnny Cash, the movie is actually about the inspiring nature of love and acceptance between Cash and Carter. It's fitting that a similar connection occurred off-screen between the actors portraying the famous duo.
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The post Reese Witherspoon Was 'Hoodwinked' into Singing for Walk the Line appeared first on /Film.
No dynasty can avoid the constant threat of being destroyed by scandals. Believe it or not, House Targaryen is no exception. You might think that their reputation for burning enemies would make them exempt or maybe that their well-documented family history of incest would make them immune, but nope! It turns out they are just as susceptible to the rumor mill. Rhaenyra Targaryen (Milly Alcock) learns this the hard way when her uncle returns from his war deadset on sullying her reputation and seizing his chance at power.
After three episodes of laying the groundwork, "House of the Dragon" comes out swinging with "King of the Narrow Sea." The table is set, the characters are known quantities and at last, we can finally have some real fun in this new iteration of Westeros. The fourth episode has everything we could've hoped for and so much more: small council meetings, brothel visits, a Westerosi off-broadway performance, marriage proposals, schemes gone horribly wrong, and of course, some very sexy drama. Since scandals, schemes, and sex are the core tenants of Westeros, I can think of no better way to kickstart this new era of Targaryen rule.
One year has passed since the events of "Second of His Name" and Rhaenyra Targaryen has yet to take a husband. It's certainly not for lack of trying on her father's part: when we catch up with the princess, she's holding court for a long line of men who have assembled as potential suitors. Amongst them is what appears to be a pre-teen boy (who turns out to be very handy with his sword) and a man older than her father. Westeros' most eligible bachelorette is unsurprisingly not loving her options, so she decides to ditch them and head home even though she apparently had two months left on this proposal tour.
Honestly, who can blame her? So far, "House of the Dragon" has been 80% marriage proposals, so she's reasonably exhausted. And two more months of irritating men sounds unbearable. Anyway, her timing for heading home turns out to be impeccable: just as Rhaenyra arrives at King's Landing, so does Daemon (Matt Smith), fresh off his success at the Stepstones. In the time since his victory, Daemon has killed 2000 of the Crabfeeder's men and finally fashioned himself a crown. His men named him King of the Narrow Sea but despite boasting glory, Daemon still bows to his brother. Maybe charging into a suicide mission changed him for the better! Maybe the pettiest man in all of Westeros is reformed!
... Just kidding. Daemon has an elaborate ulterior motive: he is secretly a contestant on Westeros' Bachelorette because he too would like a chance to marry Rhaenyra. But instead of just asking (probably due to the minor obstacle of already being married), he has a bats**t crazy plan to sweep her off her feet with a brothel date night. That way, he can seduce her ... and also ruin her reputation. Shockingly, his hair-brained scheme doesn't go quite as planned.
From the first moment that Rhaenyra and Daemon interacted in the throne room, we should've known it would come to this; their sexual tension is unsettlingly palpable, especially in this episode. When he first returns, Rhaenyra tracks Daemon through the crowd, following his every step. Later, he gives her lots of lingering, longing glances. Ew. Most importantly is the fact that Rhaenyra immediately sees through him and knows what to ask: why did you come back? He refuses to give her a straight answer, but later on, we can put the pieces together for ourselves.
Under the shadow of night, Daemon invites his niece into the city, smuggling her out of the Red Keep in boys' clothes through a secret passageway (great security, Westeros). In the moment, it seems like Daemon is just offering her some fun to lift her spirits. In reality, he's a man on a mission. "I know that there is only one true king," he told Viserys (Paddy Considine) when they reconciled; but it wasn't a pledge of fealty. Being King of the Narrow Sea means nothing. It's just a title. Daemon still has his eyes set on the Iron Throne. He's finally abandoned the idea of being renamed heir, but his new path to the seat of power is through Rhaenyra.
The complicated bugger that he is, Daemon doesn't actually seem to go through with his plan. After showing Rhaenyra a good night in the city, they shed their disguises and head to a brothel, silvery hair revealed so they will be recognized. Presumably, he planned to publicly take her virginity so that no one would want to marry the Princess — except for him. But in the end, he backs off and abandons ship, leaving her behind after an intense makeout session. (Once again: ew.)
Maybe this is the Daemon apologist in me speaking, but it feels like the Rogue Prince was thrown off by Rhaeyra not letting him take control. He's met his match ad maybe he caught feelings (yes, for his niece) and it left him so conflicted that he decided against actually ruining her for marriage and instead left. Or maybe Daemon just has some virility issues because lets be real, this is the second time we've seen him back down from sex to go brood in a corner.
Incest aside, this night out is a very important moment for Rhaenyra. Daemon is showing her a new corner of the world and giving her a taste of freedom that she doesn't believe she's ever had. But others might disagree.
In this episode, the Princess is put in direct contrast with the Queen. Alicent (Emily Carey) and Rhaenyra have somewhat reconciled their relationship, even sharing a very few touching moments and joining hands. But things are very different now. They're leading two very different lives. Alicent is constantly checking her friend's privilege — pointing out that most women don't get the pleasure of choosing their husband while Rhaenyra complains about all her relentless suitors. While Alicent simply accepts the circumstances of her womanhood in Westeros, Rhaenyra constantly challenges it. And while Alicent is trapped inside, nursing her children and looking after the king, Rhaenyra is out on the town, exploring her sexuality and seeing the world.
As for the state of their friendship, it's beginning to feel one-sided. Alicent is very decisively on Rhaenyra's side and has been for a while, even when she was being iced out. She isn't actively trying to seize control for her son (despite her father's advice) and truly believes that Rhaenyra should be the heir. But she also believes that they are both beholden to their roles as women — which is why Alicent flips out when she thinks that Rhaenyra slept with Daemon.
As for Rhaenyra? She doesn't hesitate to lie, knowing how poorly the truth would be received. And even more heartbreaking is the way she speaks to Alicent during their confrontation: she consistently addresses her as "Your Grace." She isn't talking to Alicent her friend, but to the Queen, who she needs on her side to get out of this mess. And coming off the heels of Alicent's speech about only being seen as the queen rather than as herself, it seems their friendship hasn't been mended after all.
When it comes to all those nasty rumors about the Princess, Rhaenyra manages to dodge the brunt of the damage. It probably helps that they're mostly false — she sure was spotted at a brothel with Daemon, but she didn't lose her maidenhead to him. Instead, that honor went to Ser Criston Cole (Fabien Frankel), in a wonderfully steamy scene that involves slowly stripping off layers of armor. The fallout of this will be absolutely fascinating. In the moment, Rhaenyra's intentions are hard to read: does she only turn to Criston because Daemon abandoned her? Is she acting on true feelings? Or just having one fun night? And in the aftermath, how does the knight feel?
For Ser Criston, this isn't something to be taken lightly. He is a member of the Kingsguard and her sworn protector. While that doesn't come with a vow of celibacy, taking the unmarried Princess' virtue is dangerous territory. He's also the honorable type — even after they kiss, Ser Cole seems deeply conflicted. But on the other hand, this has obviously been a long time coming. There's an unspoken intimacy between these two; since her friendship with Alicent is in shambles, Rhaenyra has turned to Ser Cole. He has been her confidant and in turn, seems to dote on her (he holds onto her arm for a very long time after she bumps her head). They share a closeness that you'd never expect to see between the King and his Kindsguards knights.
While Viserys knows nothing of her relationship with Ser Cole, he doesn't know what to believe about her night with Daemon. When he confronts his brother, Daemon lets him believe the rumors — even daring to ask for Rhaenyra's hand in marriage. The King doesn't just refuse, but once again banishes his brother from court sending him back to his wife. When Viserys finally confronts Rhaeyra, thanks to some prompting from Alicent, he decides against disinheriting her. Instead, he doubles down on his prophecy obsession and reminds her that Aegon's vision is their main priority. Her duty is to pass on the secret aka have some sons. In the end, it's a two-way street — they must both do their duty to the realm, Rhaenyra must marry Laenor Valryon and Viserys must find a new Hand of the King. If his goal is to keep war from erupting, then he needs to oust Otto Hightower, who is so dead-set on getting Rhaenyra disinherited that he planted spies.
With Otto gone, Rhaenyra remains heir but at the end of the day, Viserys sends Maestor Mellos to her room with some Westerosi Plan B. He assumes that she is lying about Daemon— or at the very least, isn't taking any chances.
Fellas, is it weird to seduce your niece in a brothel? (Yes.)
Viserys, the King of the Seven Kingdoms and Westeros' symbol of strength is uh, not doing so well. At what point do we start making bets on when he drops dead? In addition to his body being riddled with scabs ad poorly healed wounds, he uses his Valyrian steel sword like it's a walking stick. Yikes.
The security in this castle sucks. Why is there a giant secret entrance in the Princess' room? She is the heir to the Iron Throne! Even worse, she's a very controversial heir! Someone could easily slip in and murder her! Seal that s*** up!
Oh, hey, Mhysaria is still around and at Daemon's side. There's not much to say about that, except for my sincerest plea for Ryan Condal and co to free Sonoya Mizuno from this terrible accent in season 2.
And the winner of the great marriage Olympics is... Laenor Valeryon! It takes skill to get a wife without even appearing in an episode, but Laenor happily rises to the occasion. We don't know too much about this guy but you'll probably remember him as the dragon rider that swooped in to help Daemon defeat the Crabfeeder. It's also important to remember that when Rhaenys was passed over, so was Laenor. He could've had a claim to the throne, as a relative of Jaehaerys, but lost out to Viserys' bloodline. So, what kind of man will be: the ambitious kind who wants Rhaenyra's throne for himself? Or is he happy to just be her trophy husband?
Now that we've wrapped up Westeros' version of The Bachelorette, it's time to start a game show for the next Hand of the King! There are many potential candidates of course: naming Corlys Hand of the King would go a long way in mending that relationship. But then again, Viserys is tired of strivers. So the more likely answer is Lyonel Strong, the council member who has repeatedly pushed ambition aside to give the King some great advice. But keep this in mind: when Otto first floated the idea of naming Rhaenyra heir, Lyonel Strong was vehemently opposed.
Really appreciated the parallel of Otto struggling to describe the brothel scene vs the gentle Lady Alicent angrily dropping the f-bomb. It really highlights the difference between these two relationships: Alicent is speaking to her childhood best friend, and that's a level of familiarity that even Otto can't manufacture with the king.
Viserys tells Rhaenyra: "The truth does not matter, only perception." This sounds an awful lot like an old Varys parable: "Power resides where men believe it resides. It's a trick. A shadow on the wall." This is such an important lesson for Rhaenyra to learn that someone else tries to hammer it in too: Daemon points out that if she wants to rule, then she might want to consider the opinions of the smallfolk. Based on the little showcase she saw in Kings Landing, they don't currently hold her in high esteem. It might be time to change that.
The world of Westeros may be continuing under a different title, but we are still playing a game of thrones. Let's take a moment to reflect on the episode's most prominent players:
WINNER: Rhaenyra Targaryen - Rhaenyra is moving up in the world! Sure, she lost her dad's trust but she remains the heir and if her claim can survive a nasty rumor that Viserys himself actually believes, then maybe she's actually got a shot at the throne! Plus, she got rid of that terrible Otto Hightower. I'm sure that won't harm her relationship with Alicent...
LOSER: Daemon Targaryen - Oh how the mighty fall. At the start of the episode, Daemon was on top of the world. He returned from his war successful, had a crown on his head, and even won his way back into the king's good graces. By the end, he's a drunken mess so pathetic that even Viserys could slit his throat in a heartbeat.
WINNER, sort of: Alicent Hightower - When it comes to general happiness and agency over her life, Alicent is definitely losing. This episode is just a montage of her unhappiness and it really, really sucks. But the game of thrones is all about influence and Alicent has proven time and time again that she knows how to guide King Viserys' choices.
LOSER: Otto Hightower - Things could be worse. His daughter is still the Queen. But going from the second most powerful man in the realm to the lord of Oldtown is pretty embarrassing,
STILL IN THE GAME: Corlys Velaryon - Expect to see House Velaryon come back in a big way next week. Corlys has not only successfully taken the Stepstones, but finally got what he wanted all along: someone in his family will marry into royalty.
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The post House of the Dragon Goes Full Bachelorette in King of the Narrow Sea appeared first on /Film.
After playing Frodo Baggins in Peter Jackson's "The Lord of the Rings" trilogy, Elijah Wood expanded his eclectic career by starring in a wide array of films. Despite being invested in several genres, Wood is partial to horror, having started his career in a made-for-TV horror flick titled "Child in the Night." Over the course of his career, Wood starred in several horror offerings, from 1993's "The Good Son" to 2012's "Maniac." Taking his love for horror a step further, Wood founded his production company, SpectreVision, which has churned out standout titles such as "Mandy," "A Girl Walks Home Alone at Night," and "Color Out of Space."
As Wood has been championing the indie horror movement in subtle yet significant ways, he was asked about the opening and closing films he would choose for a Halloween-centered film festival. His answer for the closing film is John Carpenter's "Halloween," an appropriate closer that he describes as "delightful" and "a wonderful classic horror film." But which movie does Wood choose to open a Halloween-themed horror fest? His choice is none other than the unintentionally hilarious, extremely gory "Truth or Dare? A Critical Madness," which is a 1968, straight-to-VHS slasher directed by Tim Ritter. What makes this entry so special?
In his interview with The Playlist, Wood says that he watched "Truth or Dare?" when he was "very young" and has introduced it to "so many people" since then. "Truth or Dare?" is one of those movies that is so bad that it's good, akin to Tommy Wiseau's "The Room," which has garnered a cult following due to its endlessly meme-worthy dialogue. Wood describes the bonkers premise of the film, and why it is so appealing as an '80s slasher horror:
"It's about a guy who is clearly mentally deranged, and at the start of the movie he witnesses a colleague sleeping with his wife and he spins out and drives off in a huff and ends up camping overnight and basically imagines this person next to him and they play truth or dare, and it ends up getting very violent because the dares get very violent very quickly. And it's just wonderful and unintentionally funny and very much of the era. It was super low-budget and, as I said, direct-to-VHS, and it's just awesome, I love it so much."
Simply having a look at the trailer of the film will give you an idea of the kind of experience it has to offer. To paint a clearer picture, here's how the plot evolves. Mike Strauber (John Brace) is admitted to the Sunnyville Mental Institution after mutilating himself during a hallucinated game of truth and dare. After he is released, Mike murders the man who slept with his wife and is re-admitted again. By this point, Mike is driven absolutely insane by the trauma, and kills every man, woman, and child in his way in an extremely extra and tastelessly gory murderous rampage. But that is part of the fun.
"Truth or Dare? A Critical Madness" is not as obscure as you think it is, thanks to Wood's sincere recommendation of the slasher gem whenever he gets the chance. The appeal of the film is simple, yet effective. Brace, who plays Mike, brings a maniacal edge to the role, making for a thoroughly unsympathetic yet enjoyable protagonist.
The film had a budget of $200,000 and was shot on 16 mm film, which grants it an eerie, floaty quality that enhances the violent sequences to good measure. The only comparison I can make to explain the madness of Ritter's film is the "Garbage Day!" scene from "Silent Night, Deadly Night 2," and "Truth or Dare?" seems to be a feature length expansion of the same.
Another reason to check out one of Wood's favorite horror flicks is the way in which the gore is handled throughout. Mike has absolutely no regard for human life; he is so jilted by the past that he thinks it is okay to kill everyone in his vicinity. While this would be a horrific premise in a well-handled psychological horror, "Truth or Dare?" manages to make these kills absurd. Mike wears a gold (?) papier-mache mask and hits a stroller with a baby in it, which flies across the street, and the poor child is instantly dead. He continues his rampage with a chainsaw, a machine gun (no idea how he acquired them), nunchucks, a machete, and more. I rest my case.
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The post The Straight-To-VHS B-Horror Movie That Holds A Special Place In Elijah Wood's Heart appeared first on /Film.
During the Intel Tech Tour 2022, the company confirmed that its 13th Gen Raptor Lake family would feature the world's first 6 GHz CPU.
According to Intel, the 13th Gen Raptor Lake CPUs were never officially planned for launch until 2 years ago when the plans for the Meteor Lake desktop slipped a bit. As such, the engineering team decided to offer an intermediate CPU family, now known as Raptor Lake, to be launched after Alder Lake and optimize the foundations set by Alder Lake, Intel's first Hybrid CPU design. The result is a massive bump in clock speeds which makes the Raptor Lake family the first to feature a 6 GHz CPU and also achieve overclocking frequencies beyond 8 GHz after more than a decade. The first 8 GHz confirmation was reported by us last week which you can read more about here.
Intel's 13th Gen Raptor Lake CPUs will utilize the hybrid core design, featuring a mix of Performance-Optimized 'P' and Efficiency-Optimized 'E' cores. For the new chips, Intel will be using a brand new P-Core known as Raptor Cove which will replace the Golden Cove cores featured on the Alder Lake CPUs. For The E-Core, Intel will retain the existing Gracemont core architecture but it will come with minor improvements. Following are some of the main changes you should expect:
Intel 13th Gen Raptor Lake Desktop CPUs Expected Features:
Intel has also highlighted the product development life cycle of its CPUs & starting with a definition stage to retail on-shelf. the process takes around 2-2.5 years. The first A0 Tape-In happens around 6 months from the definition stage and the first power-on is achieved around 1.5 years from the design phase. The Tape-In and Power-On cycle happens at the Fab while the post-silicon validation and manufacturing happen in the last year or so with the chip going through at least four stages:
The chips are then sent out to the first customers and finally hit retail (on-shelf) after 2-2.5 years of development. So far, IDC has managed to bring the majority of its desktop and mobile products to the shelf within the 1st-month window and only three products have slipped into a 2-3 month window (Skylake Desktop, Ice Lake Mobile, Comet Lake Desktop). There's no product that has missed its retail window.
So starting with the lineup, there are a total of 14 SKUs which include four Core i9 models, four Core i7 models, five Core i5 models, and a single Core i3 model. There are three revisions of the CPUs which start with H-0 for the only Core i3 model, C-0 for the Core i5-13400, Core i5-13500 & Core i5-13600 while the rest are based on the B-0 revision.
The H0 and C0 revisions might have similar silicon and die structures as existing Alder Lake parts minus the upgraded cache from the Raptor Lake designs while the B0 silicon might have the added cache.
Intel Core i9-13900K 24 Core Raptor Lake CPU Specs
The Intel Core i9-13900K is the flagship Raptor Lake CPU, featuring 24 cores and 32 threads in an 8 P-Core and 16 E-Core configuration. The CPU is configured at a base clock of 3.0 GHz, a single-core boost clock of 5.8 GHz (1-2) cores, and an all-core boost clock of 5.5 GHz (all 8 P-Cores). The CPU features 68 MB of combined cache and a 125W PL1 rating that goes up to 250W. The CPU can also consume up to 350W of power when using the "Extreme Performance Mode" which we detailed a few hours ago here.
Intel Core i7-13700K 16 Core Raptor Lake CPU Specs
The Intel Core i7-13700K CPU will be the fastest 13th Gen Core i7 chip on offer within the Raptor Lake CPU lineup. The chip features a total of 16 cores and 24 threads. This configuration is made possible with 8 P-Cores based on the Raptor Cove architecture and 8 E-Cores based on the Grace Mont core architecture. The CPU comes with 30 MB of L3 cache and 24 MB of L2 cache for a total combined 54 MB cache. The chip was running at a base clock of 3.4 GHz and a boost clock of 5.40 GHz. The all-core boost is rated at 5.3 GHz for the P-Cores while the E-Cores feature a base clock of 3.4 GHz and a boost clock of 4.3 GHz.
Intel Core i5-13600K 14 Core Raptor Lake CPU Specs
The Intel Core i5-13600K features a total of 14 cores which include 6 P-Cores based on the Raptor Cove and 8 E-Cores based on current Gracemont cores. That's the same P-Core count as the Intel Core i5-12600K but the E-Core count has been doubled. So we are looking at a 40% core count bump and a 25% thread count bump vs the Alder Lake Core i5-12600K. The CPU comes with 24 MB of L3 and 20 MB of L2 cache for a combined total of 44 MB cache. Clock speeds are set at 3.5 GHz base, 5.2 GHz boost, and 5.1 GHz all-core boost while the E-Cores operate at 3.5 GHz base & 3.9 GHz boost clocks.
Moving over to the rest of the SKUs, we obviously have the lower TDP optimized 65W Non-K SKUs. The Intel Core i5-13400 seems to be a nice upgrade from the Core i5-12400 as it now offers a total of 4 E-Cores besides the 6 P-Cores which should help boost the multi-threaded performance. The Core i5-13500 is another upgraded variant that offers a step up to 6 P-Cores and 8 E-Cores unlike the Core i5-12400 and Core i5-12500 which shared an identical configuration without any P-Cores. The Core i3 lineup only features 1 SKU and that's the Core i3-13100 which will retain its 4-core and 8-thread layout.
There's currently no details regarding the Intel 6 GHz Raptor Lake CPU but it is likely to be the Core i9-13900KS. The Core i9-12900KS already boosted the speeds of CPUs to 5.5 GHz and now, the 13th Gen successor will be offering a 500 MHz speed boost to 6 GHz, making it the fastest frequency for a retail chip.
| CPU Name | Silicon Revision / QDF | P-Core Count | E-Core Count | Total Core / Thread | P-Core Base / Boost (Max) | P-Core Boost (All-Core) | E-Core Boost (Max) | Cache (Total L2 + L3) | TDP | MSRP |
|---|---|---|---|---|---|---|---|---|---|---|
| Intel Core i9-13900K | B0 / Q1E1 | 8 | 16 | 24 / 32 | 3.0 / 5.8 GHz | 5.5 GHz (All-Core) | 4.3 GHz | 68 MB | 125W (PL1) 250W (PL2)? |
TBA |
| Intel Core i9-13900KF | B0 / Q1EX | 8 | 16 | 24 / 32 | 3.0 / 5.8 GHz | 5.5 GHz (All-Core) | 4.3 GHz | 68 MB | 125W (PL1) 250W (PL2)? |
TBA |
| Intel Core i9-13900 | B0 / Q1EJ | 8 | 16 | 24 / 32 | 2.0 / 5.6 GHz | 5.3 GHz (All-Core) | 4.2 GHz | 68 MB | 65W (PL1) ~200W (PL2) |
TBA |
| Intel Core i9-13900F | B0 / Q1ES | 8 | 16 | 24 / 32 | 2.0 / 5.6 GHz | 5.3 GHz (All-Core) | 4.2 GHz | 68 MB | 65W (PL1) ~200W (PL2) |
TBA |
| Intel Core i9-13900T | B0 / ? | 8 | 16 | 24 / 32 | 1.1 / 5.3 GHz | 4.3 GHz (All-Core) | 3.9 GHz | 68 MB | 35W (PL1) 100W (PL2) |
TBA |
| Intel Core i7-13700K | B0 / Q1EN | 8 | 8 | 16 / 24 | 3.4 / 5.4 GHz | 5.3 GHz (All Core) | 4.2 GHz | 54 MB | 125W (PL1) 228W (PL2)? |
TBA |
| Intel Core i7-13700KF | B0 / Q1ET | 8 | 8 | 16 / 24 | 3.4 / 5.4 GHz | 5.3 GHz (All Core) | 4.2 GHz | 54 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i7-13700 | B0 / Q1EL | 8 | 8 | 16 / 24 | 2.1 / 5.2 GHz | 5.1 GHz (All-Core) | 4.1 GHz | 54 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i7-13700F | B0 / Q1EU | 8 | 8 | 16 / 24 | 2.1 / 5.2 GHz | 5.1 GHz (All-Core) | 4.1 GHz | 54 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i7-13700T | B0 / ? | 8 | 8 | 16 / 24 | 1.4 / 4.9 GHz | 4.2 GHz (All-Core) | 3.6 GHz | 54 MB | 35W (PL1) 100W (PL2) |
TBA |
| Intel Core i5-13600K | B0 / Q1EK | 6 | 8 | 14 / 20 | 3.5 / 5.2 GHz | 5.1 GHz (All-Core) | TBD | 44 MB | 125W (PL1) 180W (PL2)? |
TBA |
| Intel Core i5-13600KF | B0 / Q1EV | 6 | 8 | 14 / 20 | 3.5 / 5.2 GHz | 5.1 GHz (All-Core) | TBD | 44 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i5-13600 | C0 / Q1DF | 6 | 8 | 14 / 20 | TBD | TBD | TBD | 44 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i5-13500 | C0 / Q1DK | 6 | 8 | 14 / 20 | 2.5 / 4.5 GHz | TBD | TBD | 32 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i5-13400 | C0 / Q1DJ | 6 | 4 | 10 / 16 | 2.5 / 4.6 GHz | 4.1 GHz (All-Core) | 3.3 GHz | 28 MB | 65W (PL1) TBD (PL2) |
TBA |
| Intel Core i3-13100 | H0 / Q1CV | 4 | 0 | 4 / 8 | TBD | TBD | TBD | 12 MB | 65W (PL1) TBD (PL2) |
TBA |
The Intel 13th Gen Raptor Lake Desktop CPUs including the flagship Core i9-13900K is expected to launch in October on the Z790 platform. The CPUs will be going up against AMD's Ryzen 7000 CPU lineup which also launches in Fall 2022.
The post Intel Confirms 13th Gen Raptor Lake To Feature World’s First 6 GHz CPU, 8 GHz OC World Record by Hassan Mujtaba appeared first on Wccftech.
If you like open-world RPGs, chances are you also like using mods to fine-tune those games to your liking or experience some wacky user-made content. And if that's the case, you'll be pleased to learn that CD Projekt now offers official modding tools for Cyberpunk 2077. You can grab them from Steam or the official website.
Here's more on what this new set of tools does:
Cyberpunk 2077 Modding Tools
Download REDmod — the official Cyberpunk 2077 Modding Tools — to modify and create your own experiences in Cyberpunk 2077. From custom sounds, animations, scripts, and much more, these tools will help you leave your own mark in the dark future world of Night City.
How REDmod works
REDmod allows users to create mods for Cyberpunk 2077. It can be used separately in the command line, or integrated through into the WolvenKit mod editor. We recommend using WolvenKit for the best experience and ease of use.
REDmod will be constantly updated alongside updates for Cyberpunk 2077 to ensure ongoing compatibility.
Read more of this story at Slashdot.
Rian Johnson's "Knives Out" was a wonderful breath of fresh air — an original film with a stellar cast and a funny, engrossing mystery with twists and turns. It reminded us that movies could be, ya know, fun. Seemingly the moment the movie ended, audiences wanted more. Specifically, they wanted the return of Benoit Blanc, the gentleman sleuth with the deep-fried accent, played to perfection by Daniel Craig. Sure enough, Netflix came calling, plunking down a huge chunk of change for Johnson to make not one but two more Benoit Blanc movies. But could Johnson ever match the mystery magic he created in the first film?
The answer is a resounding yes. With "Glass Onion: A Knives Out Mystery," Johnson has brought back Blanc for an even bigger, funnier, twistier whodunnit. Not only does Johnson recapture what made the first flick so special, he actually outdoes himself. Yes, "Glass Onion" is even better than "Knives Out." The key ingredient to that success is that Johnson doesn't try to remake the first film. Yes, Benoit Blanc is once again knee-deep in a murder mystery and surrounded by a cast of suspects, but Johnson isn't interested in giving us the same old same old. Instead, he goes bigger, building a complex mystery that towers over the first film's crime.
But best of all, Johnson has ramped up the humor. "Knives Out" was plenty funny, but "Glass Onion" is loaded with huge belly-laugh moments and the types of ultra-clever jokes that will make you want to cheer. What I'm getting at here is that this Rian Johnson fellow is very good at making movies.
"Glass Onion" begins by introducing us to our new cast of characters/suspects. There's high-strung Senate candidate Claire (Kathryn Hahn); immensely clueless model turned fashion designer Birdie Jay (Kate Hudson) and her assistant Peg (Jessica Henwick); Duke (Dave Bautista), a men's rights activist with a huge online following; Duke's girlfriend Whiskey (Madelyn Cline); and Lionel (Leslie Odom Jr.), a scientist who works for a billion-dollar tech company. The tech company is owned by billionaire Miles Bron (Edward Norton), who is connected to all of these characters. And then there's Andi (Janelle Monáe), Miles' former business partner who had a falling out with Miles that resulted in a nasty court case.
All of these characters are invited to Miles' private island for a weekend getaway. This is something he does with this group of friends every year, and this year, he wants to stage a murder mystery party. And who better to invite along than Benoit Blanc? Johnson plops the film firmly in the midst of the COVID-19 pandemic, and Blanc, who has been sheltering in place (remember when we did that?) has grown restless. He needs a case, and he jumps at the chance of heading to Mile's island, even if it's for a fake murder.
You can probably guess where this is going: the fake murder turns into a real one. But who gets bumped off, and how, I shall not say. The joys of "Glass Onion" involve the plot twists and shocking-but-hilarious revelations Johnson keeps throwing at us at breakneck speed. Every scene is loaded with lightning-sharp wit coupled with a genuinely engrossing mystery. Like Blanc, we're hooked on the idea of solving this mystery.
In addition to the successful humor, Johnson also creates memorable set pieces that demand to be seen on the big screen. At one point, the lights go out at Miles' massive compound, with a nearby lighthouse flashing occasional beams of light in the darkness as various characters scramble about.
Speaking of those characters, one of the draws of "Knives Out" was the ensemble cast, with Ana de Armas being a particular standout. But while the cast of that first film was swell, some of the characters felt undercooked or underused. With "Glass Onion," Johnson remedies that by giving everyone a moment to shine. Hahn is her usual wonderful self, chewing her dialogue with gusto. Monáe is a huge standout, with a particularly tricky role. But everyone around her is also firing on all cylinders. Norton is particularly grand as the billionaire, playing the character with just the right amount of smug self-righteousness. And Hudson garners huge laughs with her dimwitted character. But make no mistake: this is Daniel Craig's movie.
It might seem odd to claim that Craig's best performance is in a "Knives Out" sequel; in fact, you might consider that hyperbole. But I stick by it. I have always enjoyed Craig's work, but I have never enjoyed him as much as I did here. Blanc is even funnier this time around, and Johnson allows Craig to engage in some brief but uproarious slapstick. Forget James Bond — this was the role Craig was born to play. I can't wait to see what case Benoit Blanc gets mixed up in next.
/Film Rating: 9 out of 10
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The post Glass Onion: A Knives Out Mystery Review: Rian Johnson Outdoes Himself With a Hilarious New Benoit Blanc Whodunit [TIFF] appeared first on /Film.
The Marvel Cinematic Universe featured a long build-up to Thanos before the Mad Titan finally took center stage in "Avengers: Infinity War." The villain made a cameo at the end of 2012's "The Avengers," played by stand-in Damion Poitier. But it took two more years for the villain to make a proper debut in "Guardians of the Galaxy," played by Josh Brolin, who would also portray the villain in "Infinity War" and its sequel, "Avengers: Endgame."
Thanos only appears in two scenes in "Guardians of the Galaxy," but he's the one who sets the story in motion: He wants the movie's MacGuffin, an orb containing the Power Stone. So he sends his daughters Gamora (Zoe Saldana) and Nebula (Karen Gillan), along with hired help Ronan the Accuser (Lee Pace), to get it. The quest for the orb winds up bringing the Guardians together.
However, Thanos has no direct role in the story and never confronts the heroes. His role in the film, and desire for the Power Stone, are pure set-up. Speaking to Vulture, director James Gunn copped to this:
"His presence doesn't really serve being in 'Guardians,' and having Thanos be in that scene was more helpful to the Marvel universe than it was to 'Guardians of the Galaxy.'"
According to Gunn, including Thanos meant some extra work to make his movie the best it could be.
In that same Vulture interview, Gunn said that the character introductions were the hardest part of writing the movie. Unlike something like "The Avengers," he didn't have previous movies featuring the individual Guardians to rely on. So it fell to him to establish the characters as best he could.
Thanos' introduction was especially tricky because he shares the screen with Lee Pace's Ronan. Gunn had to establish Thanos as a force to be reckoned with while not undermining Ronan, who is the actual antagonist of the movie. So Gunn decided to sacrifice the Other, Thanos' lackey who had previously taunted Loki throughout "The Avengers." When the Other tries that on Ronan, he gets his neck snapped. Gunn explained:
"I thought that was interesting, because we've had the Other, who's obviously very powerful even in comparison to Loki, and then we see Ronan wipe his a** with him."
Gunn recalls envisioning the Other's death as funnier than it ended up being; in the original script, Ronan tries to meekly excuse the murder, like a teenager who just scratched his dad's car. This is absent from the final cut and the scene is played more solemnly. However, the scene does include one great moment of comedy and what Gunn calls his "favorite Nebula moment in the movie." After Thanos threatens to "bathe the star-ways in [Ronan's] blood" should the Accuser fail him, a bemused Nebula struts away, muttering, "Thanks, Dad. Sounds fair."
Gunn revealed that he's more satisfied with the second Thanos scene, but not because of the Mad Titan himself. Rather, it's because the scene gives Ronan a better showing in the spotlight. Despite Ronan's slaying of the Other, the previous scene established a clear hierarchy, with Thanos on top and Ronan at the bottom. The next time Thanos appears (via hologram), Ronan upends the pecking order.
The movie previously established that Thanos and Ronan had a very specific deal in place: If Ronan brings Thanos the orb, then Thanos will destroy the planet Xandar, a rival of Ronan's people, the Kree. But when Ronan discovers the orb contains an Infinity Stone, he decides to cut out the middleman and destroy Xandar himself. After bonding the Stone to his hammer in front of Thanos, Ronan swears that the Mad Titan will be his next target. Gunn was particularly proud of that moment:
"That scene, to me, makes Ronan kick a**. He tells Thanos, "F*** you! I'm coming for you!" That makes Ronan not admirable, but ... well, sort of admirable! It's the one really great Ronan moment in there, along with some of the ritualistic stuff he's doing at the beginning. So I liked that moment, but the middle scene was one of the tougher things I wrote."
Indeed, the scene directly addresses Ronan feeling like small potatoes in comparison to Thanos. Ronan's lieutenant Korath (Djimon Honsou) cautions him, "Thanos is the most powerful being in the universe." Ronan, gazing upon the stone with terrifying awe and ambition, declares "Not anymore." Ronan is far from the MCU's best villain, but at that moment, he shines. It's the one part of the film where Thanos' presence actually benefits "Guardians of the Galaxy," instead of distracting from it.
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The post Writing Thanos Into Guardians Of The Galaxy Was A Thorn In James Gunn's Side appeared first on /Film.
During Marvel Studios' presentation at this year's D23 Expo, Kevin Feige and co. showed plenty of exciting footage and made some major announcements. One of the biggest revelations from the panel was the official line up for the team featured in "Thunderbolts."
The Phase Five finale, written by "Black Widow" scribe Eric Pearson and directed by "Robot & Frank" filmmaker Jake Schreier, is being called Marvel's answer to "The Suicide Squad." Like DC's reluctant team of villains, the Thunderbolts are also a collection of rogues dabbling in super heroics. However, they started as a front for the Masters of Evil to pose as heroes during a time when the Avengers were presumed dead. Eventually, rather than real villains, the team was made up of reformed evil-doers and other figures looking for redemption. And that seems to be the version we're going to see in the MCU.
Thanks to /Film's Ethan Anderton, who's on the ground at D23, we know exactly who will make up the roster of this debuting team. And as a refresher for True Believers, we'll go down the list and jog your memory so can know the ins and outs of these heavy hitters ahead of their big screen debut as a unit. After all, you can't know the players without a program, right? Without further ado, here's the starting line up for your live-action Thunderbolts!
When it comes to redemption in the MCU, James Buchanan "Bucky" Barnes is at the very top of the list of people looking for exactly that. Captain America's old friend found himself brainwashed by Arnim Zola and utilized as the top HYDRA assassin throughout the 20th century. Thanks to his pal Steve Rogers, Barnes was able to break free of the mind control and attempt to regain a semblance of a normal life while atoning for all the unspeakable acts that he committed while he was under HYDRA control. As we saw in "Captain America: Civil War," "Avengers: Infinity War," and "Falcon and the Winter Soldier," there are varying degrees of success when it comes to his atonement. But with Sebastian Stan set to reprise his role in "Thunderbolts," the Winter Soldier can continue on his path of repentance while doing some good in the world.
Following Steve Rogers' "retirement" in "Avengers: Endgame," John Walker of the United States Army's 75th Rangers Regiment was chosen by the American government as the next Captain America in the 2021 Disney+ series "Falcon and the Winter Soldier."
Portrayed by Wyatt Russell of "22 Jump Street" and "Everybody Wants Some" fame, Walker pursued Karli Morgenthau and the Flag Smashers alongside Lemar Hoskins AKA Battlestar. However, when the pressure to live up to the mantle's legacy started to get to him, Walker took the last remaining dose of Wilfred Nagel's Super Soldier Serum in order to give him the advantage he felt he needed to fully be the new Captain America. But with his newfound strength, he resorted to a much more violent approach to his mission after the death of his partner in the field, which led to Walker brutally murdering a surrendering foreign national in a very public fashion.
By the end of the series, he was stripped of his title and discharged from the army, but Contessa Valentina Allegra de Fontaine approached the disgraced hero with the new codename U.S. Agent and a new mission that we now know to be the Thunderbolts.
Not much is known about the character played by Julia Louis-Dreyfus, but she's essentially the next generation of Nick Fury. The mysterious woman known as the Contessa works for an organization that is interested in people with superhuman abilities. As we saw in "Falcon and the Winter Soldier," she recruited John Walker to her cause and dubbed him U.S. Agent. Later, we saw her again in "Black Widow" with Yelena Belova in the preset day. De Fontaine caught up with the former Red Room operative at the grave of Natasha Romanoff to give Yelena a new mission. The target was revealed to be Clint Barton and this exchange propelled us right into the events of "Hawkeye." After this, she likely goes off to recruit the rest of the names on this list for her developing team.
Speaking of the Contessa's second recruit, it's a no-brainer that Belova would be a part of the Thunderbolts. Florence Pugh's international super spy is likely to take up the mantle of Black Widow after the death of her sister. And though many hoped that she would follow in the footsteps of Natasha Romanoff by pairing up with a partner named Hawkeye, as Yelena and Kate Bishop became very friendly after the events of Bishop and Barton's recent Disney+ show, it's possible that she could still do all of the above as the Multiverse Saga progresses.
Hopefully with all her new responsibilities as the leader of the Thunderbolts, she'll have time to catch up with her old friend over some mac and cheese with hot sauce. But her cooking skills aren't what make her an ideal leader for this team. While she's looking to leave her past as a brainwashed assassin behind her, Yelena is still a stone cold killer trained by the Red Room when she has to be.
With Pugh's Belova onboard, she will likely put in a good word for the next member on the roster because her father figure Alexei Shostakov, aka the Red Guardian, will also be on the team. Played by "Stranger Things" star David Harbour, the crimson-clad shield-wielder was the Soviet Armed Forces' answer to Captain America. After the fall of the Soviet Union, the Russian super soldier was sent deep undercover to pose as an American family man in order to infiltrate and destroy a section of S.H.I.E.L.D. that was controlled by HYDRA. Although, after completing his mission, he ended up in prison until his Black Widow daughters were able to free him years later. It's unclear what he's been up to since the events of "Black Widow," but we're almost certainly going to find out in "Thunderbolts."
In addition to Yelena and Alexei, another figure from Black Widow's past is set to play a part in the Thunderbolts. Fellow Red Room operative Taskmaster is the next person to get a spot on the team. Played by Olga Kurylenko (along with Andy Lister in the suit and Crispin Freeman providing the augmented voice), Antonia Dreykov was freed from her mind control thanks to the Red Dust that also set the other Black Widows free. Now free from her father and the Red Room as a whole, she escaped the events of "Black Widow" to rebuild her life. But with photographic reflexes that allow her to mimic the fighting abilities of any foe, she is sure to make an excellent addition to this ragtag team.
Finally, the last member of the team hails from Scott Lang's corner of the MCU. Following her introduction in "Ant-Man and the Wasp," Hannah John-Kamen will reprise her role as Ava Starr aka Ghost, a former stealth operative of S.H.I.E.L.D. who gained the ability to become intangible after getting caught up in a quantum accident that killed her parents.
Though Bill Foster did his best to find a cure for his young ward's disease by any means necessary (such as kidnapping his former partner Hank Pym to gain access to the Quantum Tunnel), it was ultimately a returning Janet Van Dyne that was able to stabilize Starr's condition with quantum energy. The last we saw of Ghost, she was fleeing with Foster, so does this mean that her admission to the Thunderbolts includes a membership for Laurence Fishburne as well? Time will tell whether he'll be involved in the film or not, but even without Goliath, the Thunderbolts is still pretty stacked.
"Thunderbolts" will release in theaters on July 26, 2024.
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The post Who are the Thunderbolts? A Guide to Each Member of the Newest Marvel Team appeared first on /Film.
In Tim Burton's "Alice in Wonderland," we follow an aged-up Alice Kingsleigh (Mia Wasikowska). At the age of 19, Alice has entered polite London society and is expected to take on duties associated with her womanhood. At a party thrown to celebrate the engagement between her and her fiance, she spies a white rabbit. Like any of us would, she follows it and ends up falling down a hole after him. Thus, she finds herself back in the magical land of Underland, a place that she thought had been a dream, but in reality, she had visited when she was a little girl. Now forced to confront her destiny, Alice has to restore Underland before its too late.
The character of Alice has been a source of creative inspiration since her original debut. First introduced to the world in Lewis Carroll's "Alice's Adventures in Wonderland," Alice has captured the hearts of many over the decades, so much so that the children's novel has yet to go out of print. But not everyone has warmed up to the character.
In fact, during the press tour for his interpretation of "Alice in Wonderland," director Tim Burton owned up to his dislike of the character. The idea of anyone hating the beloved Alice seems so incredibly farfetched. But if anyone was going to be the odd duckling out on the Alice fan train, it would be Burton, and it all boiled down to making her relatable for him.
Tim Burton is no stranger to adaptations and re-imaginings. He's taken on Batman, Roald Dahl's "Charlie and the Chocolate Factory," and more. However, when it came to tackling the story of "Alice in Wonderland," things started off on oddly given his hatred of the titular character. As he explained to The Guardian, he's never been fond of how the character has been depicted in television and film. "She's a very annoying, odd little girl," he shared with his characteristic bluntness. "I wanted to make her into a character I could identify with: quiet, internal, not comfortable in her own skin, not quite knowing how to deal with things, being both young and having an old soul."
Crafting a story that wasn't just a series of vignettes was important to him too. Back in Comic Con in 2009, during Hall H's presentation for "Alice in Wonderland," Burton shared with the audience his motivation for the film's story:
"Seeing other movie versions of it, I never felt an emotional connection to it. It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection. So it's an attempt to really try to give [the film] some framework of emotional grounding that has never been in any version before."
With an "annoying" main character and lack of emotional connection to the source material, Burton had an uphill battle. Then he found Mia Wasikowska.
Aging up Alice for the film was one of the first changes Burton made in his take on the character. But he had to find the perfect actor for the role. With his emphasis on the internal, he had his work cut out for him. Then along came Mia Wasikowska. While chatting with Buzzine, Burton explained the qualities he wanted in Alice and how Wasikowska embodied that for him:
"We wanted somebody who had... it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her."
Looping the story together was the fact that the tale was centered in a coming-of-age fashion with a slight girl power twist. Adapting the character to be feminist-driven was more of a byproduct of that coming-of-age focus because, as he put it to The Guardian, his version of Alice is finding her own strength after the death of her father. With Wasikowska's performance, everything comes together. And, let us not forget, most importantly, it makes the character of Alice more relatable than previous versions.
While Burton's version of "Alice in Wonderland" has been met with mixed criticisms (to put it mildly), we can at least celebrate it launching Mia Wasikowska into worldwide public focus.
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The post Tim Burton's Take On Alice In Wonderland Was Fueled by a Hatred For The Titular Character appeared first on /Film.
Who can you trust? This is probably a question that Nick Fury has asked himself every day of his life. At least, every day since he became the Marvel Cinematic Universe's super spy. As he's grown older, the list of answers to that question has gotten shorter and shorter for one reason or another. But now, the former Director of S.H.I.E.L.D. might as well throw out the whole damn list thanks to "Secret Invasion."
In the latest Marvel Studios series for Disney+, Fury learns that a radical group of Skrulls has been secretly infiltrating Earth for an undetermined amount of time. Due to their shape-shifting powers, they could literally be anybody in the world. From the next-door neighbor to the local mail carrier to government officials to Earth's Mightiest Heroes, the suspects are endless. So it's up to Marvel's spy extraordinaire to solve potentially the biggest mystery he's ever come across. And thanks to the first trailer for the upcoming Phase Five show, we can get an idea of just what "Mr. Robot" creator Kyle Bradstreet has in store for True Believers in the very near future.
As fans saw back at San Diego Comic-Con, the series based on the acclaimed 2008 Marvel Comics crossover event by Brian Michael Bendis and Leinil Francis Yu is shaping up to be a paranoid and foreboding political thriller. .
In addition to Jackson reprising his role as Fury, the legendary actor will be joined in this six-episode event by his "Captain Marvel" co-star Ben Mendelsohn as Talos, Cobie Smulders as Fury's right hand woman Maria Hill, Martin Freeman as Everett K. Ross, and Don Cheadle as Colonel James Rhodes AKA War Machine. Rounding out the cast will be Dermot Mulroney as United States President Ritson, Kingsley Ben-Adir, Olivia Colman, Emilia Clarke, Killian Scott, Christopher McDonald, and Carmen Ejogo.
"Secret Invasion" will premiere on Disney+ in 2023.
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The post Secret Invasion Trailer: Nick Fury Is Back, And More Paranoid Than Ever [D23] appeared first on /Film.
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This post contains spoilers for "Death Note."
"There is no Heaven or Hell. No matter what you do while you're alive, everybody goes to the same place once you die. Death is equal."
Fans of the original "Death Note" anime will remember these words spoken by L, who acts as the antithesis to Light Yagami throughout most of the series. However, in the "Death Note" manga created by Tsugumi Ohba (alongside artist Takeshi Obata), these words are spoken by Ryuk, the Shinigami who dropped the titular book on Earth for his own amusement. Interestingly, Ryuk tells this to Light, who is about to die within 45 seconds after Ryuk writes his name in the Death Note.
While the entirety of Ohba's "Death Note" is rife with twists and turns, with Light usually emerging victorious, this particular moment marks the end of Light Yagami and his rule as the self-proclaimed "god of the new world." Gone is the cold, composed villainy of the character, as Light finds himself at the end of the line, desperate to survive the ordeal. However, it is too late: Near, L's successor, wins, and Light dies, knowing that his actions were in vain. This is how Ohba always intended for the manga to end, and he managed to retain this narrative decision in the end.
However, apart from the narrative certainty of Light dying at the Yellow Box warehouse, there was one particular rule that Ohba had when it came to "Death Note." This particular rule reinforces a recurring theme in the manga: the blurred lines between right and wrong, between what's righteous and what's evil.
In a rare interview with Ohba, whose real identity remains unknown, the manga-ka said ending the manga with Light dying was always part of the plan. Apart from this, the most important part of "Death Note" that he did not want to change on any account was the notion of "nothingness" after death in the story. Ohba said:
"One thing that I didn't allow to be changed was the notion that 'when you die, you become nothingness.' Luckily, I was able to keep this part, and the series turned out almost exactly as I had originally planned...For me, one of the premises of the series was that once a person died, they could never come back to life. I really wanted to set a rule that bringing characters back to life is cheating. That's why death equals 'nothingness.'"
This notion is expressed in the scene where Ryuk talks about death being equal, hinting that Light would not be going to heaven or hell, as they do not exist. Instead, he must go where everyone does after death: pure nothingness, from which there is no return. Within the mythos of "Death Note," a person's deeds while they're alive do not dictate the quality of life after death, as there is no life after death. Instead, justice is achieved in the realm of the living, as seen with the triumph of Near and the SPK (Special Provision for Kira) in the end. Even on the verge of death, Light puts up a childish fight, refusing to either die or go to prison, but his fate was sealed the moment he picked up Ryuk's Death Note. Unlike the anime, where Light quietly surrenders to death, the manga shows Light in a pitiable light, unworthy of anyone's mercy or pity.
The reason why Light/Kira's death in the manga is more resonant than in the anime is that it usurps the core intentions behind his actions. Light starts using the Death Note with seemingly good intentions; the dude simply wants to eradicate crime by killing off criminals. However, there's little nuance to this motive, as Light starts killing indiscriminately and develops a god complex in the process. His version of "justice" is fueled by narcissism and a twisted need to play judge, jury, and executioner, while believing that he is exempted from the same yardstick.
Despite Light's shrewd, charming villainy and his penchant for undercutting everyone's plans to capture him, he fails miserably in the end. Ryuk, the shinigami who is bound to him through the diary, becomes the reason for his undoing. Interestingly, Ryuk does not act out of a need to dole out justice—the shinigami's boredom has been satiated, and he simply wishes to return to his realm. In order for that to happen, Light needs to die. So he does.
Light wanted to leave behind an unforgettable legacy. He does succeed to an extent, as the citizens of Tokyo perceived Kira to be a just, god-like figure for the longest time. However, Light's sudden death in the warehouse directly undercuts what he wanted to achieve. By the end, Near and the SPK are aware of Light's true identity; he is outsmarted in his own twisted game, and has his death scheduled in the diary that used to be his weapon. Death is the great equalizer, reminding Light that he will be going to a place where every dead person went, including L and the people he murdered. Light Yagami isn't special, and his legacy is a broken one: one that isn't worth remembering.
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Considering the legacy of Disney's original 1940 "Pinocchio," it makes sense that the studio would dust the classic tale off the shelf and give it a shiny live-action coat of paint. In this new adaptation (one of many that Hollywood is obsessed with turning out), director Robert Zemeckis takes audiences back into the whimsical and slightly creepy world of a wooden puppet boy and his quest to become real. With a cast filled with exceptional talents such as Tom Hanks, Joseph Gordon-Levitt, Keegan-Michael Key, and Cynthia Erivo, it's no wonder moviegoers are invested in this new version.
In light of this release, chances are you might be on the hunt for another cinematic fairy tale to ingest. Perhaps you're looking for one that will warm your heart? Or what if you're looking for an edgier splash of pixie dust? Don't worry, this list is here to grant all your film-watching wishes, no star required! We're going to examine some films that will likely check all the similar enchanting boxes that Disney's latest take on "Pinocchio" did. Make sure to bring your trusty cricket along so we can dive deep into 10 movies that fans of Disney+'s "Pinocchio" should check out next.
When making a list of this nature, it would seem downright sinful not to mention the Disney flick that directly inspired this latest one. While it might seem shocking to die-hard Mouseketeers, there's likely a portion of viewers that still haven't seen this hand-drawn classic, but is it worth revisiting Disney's original 1940 "Pinocchio" right after seeing Robert Zemeckis' interpretation? There's no doubt about it.
While certainly not the most accessible movie in Disney's animated catalog, there's a richness to the brilliant animation and equally dynamic storytelling within this "Pinocchio" that's hard to surpass. The film established Walt Disney and his team of animators (including The Nine Old Men) weren't just one trick ponies with "Snow White and the Seven Dwarfs," proving they were masters at weaving a tale that's both whimsical, horrific, and intellectual all at once. Simply put, this "Pinocchio" is more than just an animated distraction, it's a genuinely well-crafted piece of filmmaking.
Since you stumbled across this list, chances are you might be looking for another dream-like adventure featuring a young protagonist. Look no further than the fascinating "Little Nemo: Adventures in Slumberland." The movie centers around Nemo (Gabriel Damon), a boy who — through a series of odd circumstances — finds himself in the magical kingdom far beyond the clouds and night sky. As in other similar tales, Nemo becomes part of a battle against good and evil, leading the unlikely hero to go up against the Nightmare King to get his happily ever after.
Something of an animated "John Carter" of its time, this hand-drawn adaptation of Winsor McCay's classic "Little Nemo" comic strip makes some bold choices. It famously was a Japanese and American collaboration that had a bumpy road to getting to the big screen, including a revolving door of talent. Despite its less-than-stellar box office and critical reception, "Little Nemo" deserves to be respected for its achievements and the ambition behind it. It is also worth checking out before the new live-action version "Slumberland" starring Jason Momoa hits Netflix later this year.
For those looking for another Disney live-action retelling with a character searching for acceptance, the 2016 adaptation of "The Jungle Book" might be just the thing for you. Considered one of the crown jewels of Disney's recent big-budget reimaginings, this Jon Favreau-directed film retools the classic Rudyard Kipling story of a "man cub" and his wild pals into an action-packed tale that honors not only the legacy of the original animated film but arguably improves upon it.
From the dynamite voice cast (Ben Kingsley, Scarlett Johansson, Bill Murray, Idris Elba) to the stunning visual effects that bring the photo-realistic animals to life, this "Jungle Book" is some high-quality entertainment. Sure, it might not have as many memorable tunes as its animated counterpart, but what it lacks in musical sequences it makes up for in rich, emotional storytelling. If you want to see what the top tier of Disney's live-action catalog looks like, this is the one to go for.
Right from the get-go, the 1996 adaptation of Roald Dahl's "Matilda" weaves a dark-yet-quirky tale that respects its lead character in every way. Much like the protagonist Pinocchio, Matilda Wormwood (Mara Wilson) has to go through quite an ordeal to get to her happily ever after, which director Danny DeVito (also playing Matilda's father and the narrator) doesn't shy away from showing. From the odd nature of Matilda's neglectful home life to her even crazier school scenarios with the horrifying principal, Miss Agatha Trunchbull (Pam Ferris), the film goes out of its way to present Matilda's insane situations in the most chaotic of fashions.
This take on Dahl's classic story is so entertaining because of its perfect balance of whimsy and mayhem. Between DeVito's quirky but-calculated direction and the cinematography skills of Stefan Czapsky, this adaptation celebrates the aesthetic of the original novel while also creating its own iconic moments and images. Much like most versions of "Pinocchio," this movie certainly has its horrific aspects, but there's enough oddball sweetness in this "Matilda" for anyone to enjoy.
Viewers like the story of "Pinocchio" for different reasons: some prefer it for its heartwarming narrative rewards, while others embrace the fairytale for its spookier elements. If you fall into the second camp, the 1985 cult classic "Return to Oz" might be the right movie to scratch that haunting cinematic itch. The film (which somewhat follows up MGM's "Wizard of Oz") features everything from head-swapping witches, the infamous Wheelies, unnerving stop motion animation, and other unsettling elements that still freak out audiences to this day.
When pushing its scarier aspects to the side, the homages to the source material make "Return to Oz" a must-watch. From the jaw-dropping set design to the detailed creature effects used throughout, every element within this dark fantasy adventure honors "Oz" author L. Frank Baum's unique vision to a T. Plus, there's something to be said about a family film that manages to tackle intense subject matter (such as mental illness and other mature topics) without disrespecting its younger audience members. Ultimately, this movie might spook you to your core, but it's worth a watch for its ambitious nature and incredible visual flair.
Wolfgang Petersen's "The NeverEnding Story" is an exciting mix of whimsy and haunting imagery in the grand tradition of similar family entertainment. Featuring fun elements like the charming luck dragon Falkor (Alan Oppenheimer) and a memorable soundtrack including its catchy title song, it's easy to see why many viewers hold this movie close to their hearts. On the other side of the cinematic coin, just as many find Petersen's fantasy epic to be pure nightmare fuel, leading some to send the movie its metaphorical therapy bills since its theatrical release.
With such a description, you're probably wondering why anyone would recommend watching "The NeverEnding Story" in the first place. The answer is simple: it's about the narrative journey. Much like Pinocchio himself, the protagonists of this fantasy classic have to go through quite an ordeal to get to their happily ever after. Like the puppet who wishes to become a real boy, these characters are also rewarded for their efforts in the grandest ways, resulting in a film that's absolutely thrilling from start to finish.
In Ridley Scott's "Legend," the battle for good and evil takes narrative supremacy. Our lead fantasy protagonists (played by Tom Cruise and Mia Sara) are similar to Pinocchio because they are the embodiments of innocence. Of course, thanks to Tim Curry's Darkness, both characters are tempted to embrace their more chaotic sides as the world falls into madness. As in any fairy tale, it becomes up to Jack (Cruise) and Lili (Sara) to each play a part in saving the day before Darkness takes over not only their enchanted forest but the rest of the world.
On paper, "Legend" might not sound exactly the right fit for fans of "Pinocchio" since it is a fantasy film that makes a lot of odd, mature choices while trying to weave a happily ever after conclusion. Yet what ultimately makes "Legend" such an exciting watch for "Pinocchio" fans is the aesthetics of the entire film. Much like Robert Zemeckis, Scott is a master at bringing his unique touch to large-scale fantasy projects, and this dark fairy tale is no different. Plus, like many of Scott's most famous productions ("Alien," "Blade Runner"), there are several director's cuts and other versions of "Legend" to watch, all of which feature exciting elements that almost feel like completely different movies on their own.
If you liked "Pinocchio," chances are you're in the mood for more odd fairy tales or, even more so, fantasy films that involve donkeys. Well, thanks to the directorial talents of Jacques Demy, his fairy tale extravaganza "Donkey Skin" has got you covered. It stars the beautiful Catherine Deneuve as a princess whose father turns her life upside down, resulting in her having to hide away in the woods of her kingdom. She also has a sassy fairy godmother (something that Pinocchio knows a thing about), a plethora of stunning ballgowns, and catchy musical numbers. What's not to love? Pretty much nothing.
Of course, some casual fairy tale cinema viewers might find this movie a bit odd. There are sequences involving parents trying to marry their children, fairies riding in planes, and townspeople being jerks. Considering you're someone who likely enjoys watching kids getting turned into donkeys and seeing a puppet talk to a fox and cricket for a feature-length running time, this psychedelic fantasy shouldn't be that much of a stretch.
When it comes to thrilling children's stories, none of them get quite as emotional as Frances Hodgson Burnett's "A Little Princess." In Alfonso Cuarón's take, the tearjerking moments are dialed up to 11, making the tale of a down-on-her-luck Sara Crewe (Liesel Matthews) all the more haunting. The young protagonist finds herself having to cope with not only the loss of her father but the terrors of her new headmistress. With the incredible talents of music composer Patrick Doyle and cinematographer Emmanuel Lubezki used to their fullest, there's no denying how absolutely stunning of a film this version is.
Why would an adaptation of this classic story be something that "Pinocchio" fans would like? It's all about Sara's emotional bond with her father. Like Pinocchio's love for Geppetto, Sara's admiration for her father and memories of their past life in India keep her going throughout her constant battles with Minchin. Also like Pinocchio, Sara's final heroic act involves her getting drenched in water, though there are no giant whales to be found here.
In Agnieszka Holland's adaptation of Frances Hodgson Burnett's "The Secret Garden," audiences experience this classic tale with a new whimsically gothic twist. It wonderfully embraces both the dark and light parts of Burnett's story without getting too ridiculous, as other recent takes have done. The story focuses on a young girl named Mary Lennox (Kate Maberly), who after being orphaned is sent to live inside her introverted uncle's lavish home. As she spends time there, she uncovers some fascinating secrets that change her family forever.
Yet what makes this version of "The Secret Garden" a great pairing with "Pinocchio" is how both stories respect the power of their young protagonists. Mary Lennox might seem like a typical young lady of her era, but she's more than that and proves it throughout the film. It's also delightful to see Holland's directorial style honor Mary's agency while not hiding the fact that she is still a kid. Ultimately, this movie is a beautifully enchanting slice of heaven that respects its young characters' intellect while embracing the beauty of childhood.
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Harvey Keitel is known as one of Hollywood's best "tough guy" actors. A favorite accomplice of directors like Martin Scorsese and Quentin Tarantino, movies like "Mean Streets," "Reservoir Dogs," and "The Irishman" have cemented Keitel as an acting legend. His rough and streetwise demeanor suits his often criminal characters perfectly. He has a tendency to work with new, up-and-coming directors, helping legends like Scorsese, Tarantino, and Ridley Scott launch what would become fantastic directing careers.
But Keitel wasn't always going to be an actor. He wasn't in his first movie until the age of 28. Before then, he spent time as a United States Marine and a court stenographer, performing in a few off-Broadway productions before getting his first big role in Scorsese's debut film, "Who's That Knocking At My Door?" in 1967. According to Keitel, who spoke about his relationship with Scorsese at the Marrakech Film Festival in 2019, "Scorsese was the only one who wanted me." It was professional love at first sight, and the two would work together many times throughout their long and illustrious careers.
Interestingly, after working with so many film greats, Keitel credits his time in the Marines with teaching him one of his greatest lessons as an actor.
In an interview with Charlie Rose in 1994, Keitel spoke about his time in the Marines and what he learned from it. "Back in my mind, I will tell you, is an event that occurred back when I was 17 years old -- I've spoke about this before -- when I was a marine private on Paris Island," said the actor, waxing a sort of dark nostalgic. He spoke of sitting in the dark, ready to learn about night combat with hundreds of other marines. He was scared. He figured everybody was scared, but wouldn't admit it.
What he remembered most clearly was a marine instructor, not much older than him, speaking to the group. "We sit down, this marine instructor gets up there in the darkness -- we couldn't even see him -- and he said to us, 'You're all afraid of the darkness because we're all afraid of what we don't know. I'm going to teach you about the darkness, so that you learn how to live in it.'" These chilling words have stuck with Keitel over all these years. "For me, that was the first time I had heard words like that. Wisdom coming from this young marine. I was 17, then he was probably a man of, God knows, maybe 24 or 5. And so that was my introduction into the mythology."
The words he heard, and the way they were spoken, clearly deeply impacted Keitel. He would start studying acting under Stella Adler and Lee Strasburg, and combined the knowledge he gained from his teachers with his natural predilection for cool intensity. He would bring that sort of quiet, confident intensity and darkness to many of his roles. Whether playing a young criminal in "Mean Streets" or an experienced and grizzled one in "Reservoir Dogs," Keitel always has an intensity to his performances, one that manages to be intimidating while still implying the existence of another level of darkness, just waiting to get a chance to emerge.
Keitel carried this lesson, along with a certain discipline and seriousness, throughout his career as an actor. Even in his sillier roles, like getting carried around by Edward Norton dressed as a boy scout, he maintained his harsh visage, his signature trait.
Keitel's story shows that artists can find inspiration for almost anywhere. That someone who's working as a soldier -- hardly a job where one is encouraged to think creatively -- can come away loving acting makes it clear that an amazing artist can emerge from anywhere. As long as that spark of passion is present.
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In the third episode of Prime Video's "The Lord of the Rings: The Rings of Power," we follow captured elf Arondir through the tunnels under the land where the orcs are digging. They're not big fans of sunlight, which burns them, so they've taken humans and elves prisoner to dig for them.
The tunnels aren't just for protection from the glowing orb in the sky. These orcs are also searching for something. One would assume it's the broken hilt of the sword that Bronwyn's son found last week. You know, the one that sucked up his blood like a sponge. To keep their unwilling workers in line, these orcs have several techniques: they have axes, snarling creatures called wargs, and a few have whips, as you can see above.
Does that immediately put a song in your head? If you saw the 1980 animated film "Return of the King" from Rankin/Bass, it probably did. If not, there is a link below. I apologize in advance for your "Where There's a Whip, There's a Way" earworm.
The orcs with whips in the series was probably a sly nod to the animated television film. Whips are a weapon of choice for those guarding prisoners in many fantasy epics, allowing punishment from afar, but it would be a surprise if it weren't a deliberate addition. I can't be the only one who gets this stuck in my head.
"Return of the King" aired on ABC in 1980. It's sort of a sequel to the animation team's 1977 TV film "The Hobbit" by the same creators. (Don't get this confused with the Ralph Bakshi 1978 animated film "The Lord of the Rings." Hobbits were all the rage back then.) The film mostly told the story of "Return of the King," the third part of author J.R.R. Tolkien's "The Lord of the Rings" books, but included elements from "The Fellowship of the Ring" and "The Two Towers."
If you remember anything from "Return of the King," it was probably that song, which takes place when Frodo and Samwise infiltrate a company of orcs. The film was a musical, and that song was pretty funky for an animated movie at the time. It's also a little weird. The orcs in the song are complaining about having to fight, which doesn't seem very orc-y. One of the lines is, "We don't wanna go to war today, but the Lord of the Lash says, 'nay, nay, nay!'"
Let me help you with "The Lord of the Rings" musical rabbit hole you're about to go down. If this made you happy, check out Leonard Nimoy's video for "The Ballad of Bilbo Baggins." You will not regret it.
"The Lord of the Rings: The Rings of Power" is currently streaming on Prime Video.
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The post The Orcs in the Latest Rings of Power Might Have Made a Sly Nod to the Animated Return of the King Movie appeared first on /Film.
"Weird Al" Yankovic may seem like a nerd who wears Hawaiian shirts and plays the accordion, but did you know he got into a war with drug lord Pablo Escobar, engaged in a toxic relationship with Madonna, outsold The Beatles, and inspired Michael Jackson to write "Beat It"? Of course you didn't, because none of that is true. But in the delightfully ludicrous "Weird: The Al Yankovic Story," Yankovic gets a big silly biopic where nothing is impossible. In true Weird Al fashion, this isn't really a biopic — it's a parody of a biopic. The film tracks how the song parody man rose to fame and fortune, but presents it in an almost entirely fictional way, giving director and co-writer Eric Appel (the real Yankovic, who has a cameo in the film, is credited as another writer) freedom to run wild.
The results are consistently hysterical, but we've been here before. Appel already told this story in short form, in a memorable Funny or Die short that had Aaron Paul playing Yankovic. For the feature adaptation, Daniel Radcliffe slips on Al's Hawaiian shirt, and while Radcliffe will forever be known as Harry Potter, this might be the best work he's ever done. He fully commits to becoming this version of Yankovic, who dreams of becoming, if not quite the best accordion player, then at least the most well-known. He also wants to make parody songs, something he starts at a young age, changing the lyrics from "Amazing Grace" to "Amazing Grapes."
But Al's parents are worried. Al's father, the volatile Nick (Toby Huss), loathes the idea of his son playing the accordion. Even though this film is loaded with some point-at-the-screen cameos, Huss is the real MVP here, because he plays his role of a disapproving father 100% straight. Several other actors are clearly winking at the camera, but Huss takes this seriously, which makes it all the more hilarious. There's also Al's mother Mary (Julianne Nicholson), who tries to be supportive of her son, but mostly sides with her husband. "Your father and I think it would be best if you stopped being who you are and doing what you love," Mary tells her son in a heart-to-heart. But Al won't quit. He's going to be a star.
Eventually, Al begins to live his dreams. He writes a parody song of "My Sharona" called "My Bologna" that becomes a radio hit, and his parody of "I Love Rock 'N Roll," "I Love Rocky Road," gets the attention of novelty song DJ Dr. Demento (Rainn Wilson), who takes Al under his wing. Some of this is indeed based on fact, but "Weird" isn't interested in sticking to those facts. Instead, it goes off on its own, putting together a highly unlikely story full of absurdity. We learn that Al's song "Eat It" was not, in fact, a parody of Michael Jackson's "Beat It." In the world of this film, Al wrote "Eat It" first, and it was Jackson who was parodying him.
We also learn Al fell into a relationship with Madonna (a very game Evan Rachel Wood). But does the Material Girl really love Al, or is she using him so he'll write a parody of one of her songs? Through it all, no matter how rich and famous Al gets (his mansion keeps growing in size every time we see it), something is missing. He can't escape the idea that his father — who has spent his life working in a mysterious factory — refuses to accept his son.
All of this unfolds at a rather brisk pace, but sooner or later, "Weird" starts to run dry. While the film is consistently funny — I laughed out loud, and I mean really loud, on more than one occasion — the narrative begins to drag, giving one the sense that Appel was right to make this a short film first, and that maybe, just maybe, it should've stayed that way. Yet it's hard to fault "Weird" since it's so damn convivial. The movie is loaded with great little gags, like when teenage Al gets invited to a party that turns out to be a polka party, where all the teens pass around an accordion as if it were a joint. Or when Al's college roommates suddenly reveal to him they're a killer backup band just when he needs them. "You guys are great," he says after they back him up at a gig. "Why didn't you tell me you could play?" "It didn't seem relevant until now," one of them answers.
Visually, Appel's direction is rather flat, which might be because the film is financed by Roku, the streaming device turned streaming service. "Weird" can't quite escape its "made for TV" look, particularly in a lengthy LSD trip that makes use of some distractingly bad CGI. You could argue that it's intentionally bad-looking to coincide with the film's wacky nature, but I think that would be a bit of a cop-out.
"Weird" is bound to thrill "Weird Al" fans young and old, but it's also great fun for people only casually familiar with Yankovic and his hits. And as funny as the script is, it wouldn't be nearly as successful without Radcliffe, who gives the role his all. Like Huss, he's never letting us know that he's in on the joke. He's becoming "Weird Al," or at least the version of Weird Al that exists in the film's wacky reality. And what an amusing reality that is.
Musician biopics are incredibly stale and formulaic, which makes them ripe for parody. While "Walk Hard: The Dewey Cox Story" remains the king of musician biopic parodies, and "Weird" doesn't even come close to dethroning it, it makes for a nice addition to the genre. As is the case when enjoying Weird Al's songs, sometimes you just want to laugh your ass off at something very silly, and on that front, "Weird" delivers.
/Film Rating: 7 out of 10
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"Westworld" has always been an intricate show in terms of plot. Its first season secretly moves back and forth in time as its lead, an android or "host" at an interactive Western-themed amusement park named Dolores (Evan Rachel Wood), slowly begins to recall memories that were forcibly wiped from her mind. Dolores' journey parallels that of "The Man in Black" (Ed Harris), a sadistic human guest who's convinced there are untold secrets to the park that other visitors have yet to uncover.
Dolores' trek to gaining true sentience and agency is complex yet far from impenetrable. It also led viewers to make a weekly game out of trying to predict where "Westworld" was headed ahead of time in its first season, with some of the more popular fan theories — like William (Jimmi Simpson) from Dolores' past being a younger version of The Man in Black — ultimately proving accurate. In a seeming bid to stay one step ahead of the series' fans, show-runners Lisa Joy and Jonathan Nolan almost went out of their to make season 2 more opaque and convoluted, perhaps to a fault.
That being said, even some of the fans who loved the mind games of the first two seasons felt "Westworld" vanished up its own butt in season 3. Harris didn't exactly love working on the season either, telling The Hollywood Reporter in April 2020 (back when season 3 was still airing), "I didn't like it. I still don't. But that's my problem." Two years later, not much has changed.
Timing, to be fair, wasn't exactly on the side of "Westworld" season 3. The season dropped just as the lockdowns went into effect in March 2020, a moment in which most of the show's fans were, of course, pretty frazzled and far from ready to navigate the series' latest narrative maze. Then there's the actual plot of season 3, which centers on an advanced A.I. machine, Rehoboam, that collects data on the general population in a bid to control the fate of human society and prevent it from collapsing in on itself.
Rehoboam, when push comes to shove, is a big allegory for data mining. It's an interesting concept taken in a vacuum, but it doesn't quite work as a natural extension of season 1 and 2's themes about free will and identity. The other big issue with season 3 is it tries to juggle several story threads featuring Dolores and other returning characters while also bringing in new players like Caleb (Aaron Paul) and Serac (Vincent Cassell), but in a manner that deliberately makes it hard to suss out how all these sub-plots are going to tie together in the end. The subterfuge works at times but as a whole? It ends up feeling like a lot of confusion for its own sake.
Harris, it seems, would agree with that assessment. "It's very interesting, because I'm not sure how the viewership has been going on the season 4 year, but I have talked to a lot of people that were into season 1 and 2, and then season 3 was very, very, confusing," the actor told Awards Watch in August 2022. "I mean, it was confusing to me," he added.
The Man in Black (or William, call him what you will) has an especially trippy time in "Westworld" season 3. He starts off the season suffering from recurring visions of his late daughter, whom he killed after convincing himself she was secretly a host copy of his real daughter in season 2. No sooner is he back to his malicious ways then he winds up being sent to a mental institution by Dolores (that is, a different host with Dolores' consciousness) and, thanks to some nifty future tech, has a group therapy session in his mind with other versions of himself who represent different parts of his identity.
Confused? Harris is right there with you. He admitted to Awards Watch this and other season 3 storylines "threw [him]," explaining:
"There were so many dimensions, and people could be anybody at any given time kind-of-thing. It was bewildering to me, but I just ended up just focusing on, okay, the Man In Black, this is what he's doing. This is what he's trying to do. Blah, blah, blah."
"Westworld" has never been afraid of taking wild swings, and that's precisely what season 3 is. It has its supporters for the same reason, with certain aspects of the season landing strongly enough to make up for the elements that miss. Season 4 even managed to build upon its foundation in compelling and unexpected ways ... at least until it fumbled the ball with its final episode and, in lieu of a season 5 renewal that may not be coming, potential series finale, as the show is sadly wont to do. But if this really is the end of the line for Dolores and the gang, maybe it's only fitting they went out with their reach exceeding their grasp.
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The post Ed Harris Knows Westworld Season 3 Went A Little Off The Rails appeared first on /Film.
With the benefit of hindsight and the full weight of history in our favor, it's easy to forget that Peter Jackson's "The Lord of the Rings" trilogy was never considered a preordained success -- until it landed in theaters and became a runaway sensation, naturally. Without even getting into the various behind-the-scenes issues that plagued the lengthy and unparalleled production, skeptics remained unconvinced that such a fantastical world with all manner of bizarre creatures, exotic settings, and dense lore could possibly sustain four-quadrant appeal among casual audiences. And if it weren't for the sheer technical skill on display through every aspect of the trilogy, the doubters could've very well been proven right.
With "The Lord of the Rings: The Rings of Power" now trying to follow in the trilogy's footsteps, it's only natural to compare the two adaptations to see how this new series measures up to what many consider to be the definitive live-action take on Middle-earth. /Film's own Chris Evangelista said as much in his review for the Prime Video show, noting how much it seems to intentionally hew close to what we've seen before. Yet while that could easily be considered a fatal flaw, what if that proved to be the show's greatest strength instead?
For everything "The Lord of the Rings" had going against it, the key to its legendary status can be found in the smallest source imaginable: those lovable hobbits. "The Rings of Power" has brought in its own smallfolk substitute, their harfoot ancestors, to fill a remarkably similar narrative role. Amid all the grandiose imagery and epic conflicts and magical beings, the presence of the down-to-earth halflings has always set Tolkien apart from any other fantasy tale out there. The harfoots are a welcome -- and vital -- continuation of this trend.
How exactly do we even define what makes an adaptation "feel like Tolkien," as so many fans casually allude to? It's not as if there's any one specific tone or style that the famous fantasy author ascribed to. "The Hobbit" is as whimsical and childlike as "The Lord of the Rings" is poetic and adult-oriented, as "The Silmarillion" is utterly unreadable to anyone except the most insufferable Tolkien snobs. (Okay, as an insufferable Tolkien snob myself, I promise that last part's just a joke. Pitchforks down, folks!) When artists and creatives attempt to filter the source material's sensibilities through their own, the idea of parsing whether a specific adaptation choice would make Tolkien spin in his grave or not is nothing short of a fool's errand.
But while there's no accounting for taste and subjectivity, there is this argument to be made: The existence and specific role of halflings separate Middle-earth stories from any number of imitators. Consider contemporary rivals like "Game of Thrones," "Dune," "Star Wars," or "Harry Potter," all of which contain various elements of fantasy (regardless of their exact genre) but completely differ from "The Lord of the Rings" in ambition, purpose, and especially tone. As much as each property -- "The Hobbit" and "The Lord of the Rings" included! -- relies on the chosen one trope and the hero's journey, Tolkien was most successful by far in shifting perspective away from the most powerful and famous figures in their respective worlds towards the unassuming heroes most worthy of admiration.
By placing hobbits at the forefront of the action, they helped define the earliest stages of the story and ultimately played the biggest role in defeating the evil of Sauron. Tolkien always admired the little guy. The hobbits only made that more literal.
Anyone who watched the opening minutes of the "The Rings of Power" premiere likely felt an odd wave of familiarity wash over them. Here was an elf named Galadriel ominously narrating a sprawling prologue that documents (among other things) the defeat of a dark lord and the rise of Sauron, which eventually leads to a tonal reset with halflings in their communal village adding a spark of joy and lightheartedness to the proceedings. Yep, with a few exceptions in the exact details, that's basically beat-for-beat how "The Fellowship of the Ring" first begins.
Given how well that approach worked the first time, it's hard to fault those behind "The Rings of Power" for attempting a similar trick. In "Fellowship," all of those scenes set in the Shire immediately provided an escape from the doom and gloom prologue of Sauron's dominion over Middle-earth. The hobbits' idyllic home and rustic way of life stood in as a representation of every good and decent thing that would've been lost had Frodo failed in his quest to destroy the One Ring. In essence, the big-footed-nature lovers who live in holes in the ground set the stakes for the entire epic story.
Much the same applies to the harfoots in "The Rings of Power," with Elanor "Nori" Brandyfoot (Markella Kavenagh) and Poppy Proudfellow (Megan Richards) taking up much of the heavy-lifting that Elijah Wood's Frodo Baggins and Sean Astin's Samwise Gamgee once did. The fact that these harfoots feature their own distinct culture and belief systems from the hobbits certainly helps, with Nori adding an entirely different dynamic than Frodo ever did -- notably, rushing headlong into adventure instead of resisting.
While the end of this adventure is yet to be seen, we couldn't imagine it without the harfoots.
Read this next: The Best Lord Of The Rings Characters Who Weren't In The Movies
The post The Rings of Power Understands What Made The Lord of the Rings Such a Singular Fantasy Story appeared first on /Film.
LOTR: The Rings of Power Episode 3 showed us a blurry glimpse of a mysterious person who was greeted by the Orcs respectfully. Undoubtedly, he is a bad guy in the TV series, and from the beginning of the show, fans have been hearing the name of the merciless villain Sauron, who killed Galadriel’s brother. So, everyone’s wondering if Adar is Sauron. Well, we are here to discuss the identity of the newcomer.
The latest episode of The Rings of Power was an action-packed and blood-soaked episode as it introduced us to the Orcs who would do anything to dig the tunnels for themselves so that they could prevent coming across humans and sunlight. And for this, they have also captured Arondir and some of his allies.
MORE: Halbrand Might be the Witch-King According to The Rings of Power Theory
Before proceeding, we would like to clarify that there is no character named Adar in the source material of The Rings of Power – J. R. R. Tolkien’s novels. In fact, Adar was created by the showrunners specifically for the show. Also, as per the Elvish dictionary, Adar means father, so it’s pretty evident that the Orc army sees their leader as a father figure.
The third episode of The Rings of Power showed Galadriel realizing that Sauron’s Sigil is the entire map of Southern lands, and that’s where the Orcs are building their escape channels. Well, that’s where Adar is working on his plan as of now, so Galadriel may travel to the Southern lands and come across both Adar and Arondir (If he stays alive until then).
Episode 3: We’re introduced to the iconic Isildur, the mesmerizing beauty of Numenor, and a shadowy Adar – ruler of the Orcs. The last 8 minutes are adrenaline pumping and leave us with a gut-wrenching cliff hanger…
— Tiare Turang Holm (@TiarePalau) September 9, 2022
It just keeps getting better. I’m all in. #RingsOfPower pic.twitter.com/vSKah1KhRK
Several theories suggest that there are possibilities of Adar being Sauron, but the early leaks by a trusted Twitter user have already confirmed that Adar is not Sauron; instead, he is a corrupted Elf who heads an army of Orcs. The same account has also stated that we may also witness a face-off between the actual Sauron and Adar in further episodes.
Even though we haven’t yet got a clear shot of Adar, we already know that the British Actor Joseph Mawle plays the role on the show. The actor is famously known for portraying Benjen Stark in Game of Thrones.
Moreover, several characters (Including Theo, Halbrand, and the Meteor Man) in the show have the possibility of getting revealed as Sauron. So, let’s not get impatient and enjoy each episode of the show until the biggest twist unravels.
MORE: Who is Patty Guggenheim portraying in She-Hulk: Attorney at Law?
The post Is Adar Actually Sauron? New Rings of Power Identity Explained appeared first on ForeverGeek.
Major spoilers ahead for "Cobra Kai" season 5.
"Cobra Kai" season 5 is finally here, and it's been a rough road for Daniel (Ralph Macchio) and Amanda LaRusso (Courtney Henggeler). Daniel's obsession with Cobra Kai and the evil Terry Silver (Thomas Ian Griffith) has caused friction between the couple before, but in season 5, episode 5, "Extreme Measures," it made her leave with the kids to visit her mother in Ohio. While Amanda is there, she meets up with her cousin Jessica. Does the name sound familiar to you? In the scene, Jessica reveals that she knows Terry Silver, and that he is absolutely as bad as Daniel has been saying. Plus, Jessica was the person who introduced Amanda to Daniel in the first place.
Yes, Amanda's cousin is Jessica Andrews, played by Robyn Lively, and she starred with Ralph Macchio in "The Karate Kid Part III." Let's break down who Jessica Andrews is, and how she fits into the "Karate Kid" universe.
It's entirely possible that you either missed seeing "The Karate Kid Part III," or you've blocked it from your memory, so here's the deal. After returning from Okinawa with Mr. Miyagi (Noriyuki "Pat" Morita), he and Daniel find themselves without a place to live while their building is renovated. Daniel uses his entire college fund to buy Mr. Miyagi a bonsai store (just stay with me, because logic is not a part of this film) across the street from a pottery store. Working at that store is Jessica Andrews, a girl from Ohio who moved across the country after her boyfriend cheated on her. Daniel asks her out, but she refuses, telling him she and her boyfriend are going to try to reconcile, and she's moving back home shortly.
They decide to be friends instead, and she makes pots in her shop for Mr. Miyagi's bonsai trees. In the meantime, Daniel's old enemy, the sensei of Cobra Kai from the first film, John Kreese (Martin Kove) calls his old Vietnam buddy Terry Silver to help him get revenge on Miyagi Do. After sending Kreese to Tahiti, Silver pretends to be another sensei and says he can teach Daniel some things Mr. Miyagi can't. What he really does is manipulate Daniel into becoming more violent, so he rejects the teachings of Mr. Miyagi. Silver uses all sorts of tricks to get him to rely on anger and enter the tournament, where Silver and his hired ringer Mike Barnes (Sean Kanan, also in "Cobra Kai" season 5) will take him down and restore the reputation of the Cobra Kai dojo.
Silver uses all sorts of underhanded ways to get to Daniel, and some of them involve Jessica. She's a mountain climber, something she conveniently has to teach Daniel to do, so he can retrieve a special bonsai tree that Mr. Miyagi had planted on the side of a canyon, because of course he did. She also becomes the target of Silver's goons, who assault her, beat Daniel, and break the special bonsai, after trying to make them fall down the cliff.
Later, when they're out dancing together to celebrate her last night in town, a man hits on Jessica, leading Daniel to break his nose. Of course, that was a set up by Silver. Jessica is angry, but forgives Daniel later before she leaves for Ohio. A few years later, as we learn in "Cobra Kai," she introduced her cousin Amanda to Daniel and the rest is history.
If you wondered why Jessica wasn't a new love interest for Daniel, there was a really good reason. On the podcast Below the Belt, Lively spoke about how she was 16 at the time the film was shot, and Macchio was 27. They changed the script to keep it platonic, which ended up working out very well for the "Cobra Kai" storyline.
A few fun moments in the "Cobra Kai" episode that call us back to the film:
• Jessica comes in with "10 pounds of mac and cheese" for Daniel, since he spoke about loving it in the film.
• She mentions just getting back from "climbing in the gorge," calling back to her mountain climbing pastime.
• The girl Jessica's boyfriend cheated on her with is Elizabeth Anne Rooney, the woman who comes over at the bar in "Cobra Kai" to annoy both Jessica and Amanda.
"Cobra Kai" seasons 1-5 are streaming on Netflix.
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The post A Blast From the Past: Who Is Amanda's Cousin in Cobra Kai? appeared first on /Film.
