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Special Features - Why Arkham Asylum should be a live-action movie

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With the animated movie Batman: Assault on Arkham set for release later this year, Anthony Stokes feels that Arkham Asylum would be better suited as a live-action movie...

A lot of the time I find myself stuck in the middle of excitement and disappointment with news that is generally regarded as a reason to celebrate. For example, Captain America 3 and Thor 3 being announced means that Marvel Studios won't be as focused on launching original properties.  There are always implications that are bigger then the news itself.  That being said, I was excited by the announcement of a movie based upon Batman: Arkham Asylum, until I realised it was an animated movie.

Personally, I've never been much of a fan of animated superhero movies. They just don't have the same attention to detail as the live action movies, and it seems there's never as much effort put into them either.  Even the DC animated movies which are supposedly great, such as Justice League: The Flashpoint Paradox and Justice League: War - they have great premises but are hampered by weak dialogue and character development.  And Batman: The Dark Knight Returns, which I thought was the best of the genre, I'd still prefer to read the comic book.  Batman: Arkham Asylum has much more potential as a live action movie than it does as an animated movie, and here's why...

First off, it's going to be hard for Warner Bros. to get audiences invested in Batman again with its DC Cinematic Universe incarnation.  Fans were skeptical enough with The Amazing Spider-Man coming out five years after Spider-Man 3, but Warner Bros. will be re-introducing a completely different Batman from Christopher Nolan's trilogy four years after The Dark Knight Rises.  A great way to pull in fans would be to make a currently popular iteration of the character and his story influence the movies.  At this point the Arkham video games are probably the most popular form of Batman fiction and would bring in casual audiences, video gamers, and fans of the comics alike.

Fans have been cheering for a more comic book faithful adaption of Batman.  As much as I like Nolan's Batman, he didn't do detective work.  In The Dark Knight he pulled a fingerprint off of a bullet and used a sonar machine to stop The Joker, relying more on technology than his skills of deduction.  And if he's going to be an important part of the Justice League, he and his villains need to be more fantastical.  Nothing in any of the previous Batman or Superman movies suggest that Batman could stand a fighting chance against Superman. Going off the Arkham Batman, they could keep him somewhat grounded, while still building him up to face bigger and badder threats.  More or less, Arkham Asylum is a spiritual sequel to Batman: The Animated Series, and using this as the basis for the new Batman would be a great way to throw fans a bone whilst providing a great template for the character.

An Arkham movie would also enable the filmmakers to throw in each and every Batman villain without them being shoved in for fan service, much like what The Amazing Spider-Man 2 seems to be doing.  The entire Rogue's Gallery could show up and it would make sense in context of the film and serve the story. But most importantly, it would also set the foundation for an Arkham City movie. Ben Affleck is playing The Dark Knight in Batman vs. Superman and his style is bleak and grim, and focuses around dangerous locations with a lot of personality.  He knows how to draw out tension and I have no doubt that he'd be great at making an Arkham Asylum movie with touches of horror sensibilities , but where he'd excel at is making Arkham City come to life.  There's no other directors better suited to direct a Batman solo movie and while his skills behind the cowl are untested, his skills behind the camera are not.

I'll still watch the Batman: Assault on Arkham animated movie, but I feel like it's a waste of potential.  It would make much more of an impact as a movie.  It deserves a big screen adaption and so do the fans. And I'm not trying to suggest that the animated movie will be particularly bad, but I don't think anybody will argue that a direct-to-DVD superhero movie is even partially as effective as a live-action one.  I just hope the higher ups at Warner Bros. and DC consider it, so that we can get a new Batman who can step out of Nolan and Bale's shadow.

Anthony Stokes is a blogger and independent filmmaker who also assists with the music blog DopesterMusic and co-hosts the podcast Delusional Losers.

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J. Jonah Jameson launches tirade against Spidey in latest Amazing Spider-Man 2 viral

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While Sony seems to be throwing every possible Spider-Man character into its movie franchise, one who appears to be absent from the rebooted universe (barring a surprise cameo in The Amazing Spider-Man 2) is Daily Bugle publisher and all round Spidey-hater J. Jonah Jameson. However, JJJ has now penned the latest viral article for the Bugle, and of course he's ranting about the Spider-Menace...

Spider-Man: Who Pays for the Damage?
An editorial from Daily Bugle publisher J. Jonah Jameson

Recently, Spider-Man got involved in the apprehension of a carjacker. The web he spun blocking the thief’s path on East 61st Street forced the driver to divert to First Avenue. While driving in the wrong direction, the carjacker hit four cars, one of which crashed through the front of a coffee shop…one of those places that serves that stupid latte art Melissa Hutchins loves so much. Fortunately, no one was hurt, but police estimate over four hundred thousand in damages were incurred.

Of course, civilians applauded as the wall-crawling vigilante pulled the thief out of his damaged car. Did any of them notice the damage left in Spider-Man’s wake?

Last December, Spider-Man pursued a bank robber named Herman Schultz who was using homemade weapons that emitted vibrational shock waves. Over two hundred photos of Schultz, hanging upside down from a twisted street light in a cocoon of webbing, were posted online. Including several with police officers (all of whom were reprimanded).

Did anyone consider that during Spider-Man’s prolonged pursuit and apprehension of Schultz, a city bus, a police car, two streetlights, a fire hydrant and twenty feet of sidewalk were destroyed? Estimated damage: $2.8 million dollars.

And who’s paying for Spider-Man’s actions? I am. You are. And every other taxpayer in this city. It’s clear Spider-Man’s results do not justify the reckless methods he employs. When is he going to finally realize this and just stop?



The Amazing Spider-Man 2 is set for release in the UK on April 18th and North America on May 2nd, with Marc Webb directing a cast that includes the returning Andrew Garfield (Peter Parker / Spider-Man), Emma Stone (Gwen Stacy), Sally Field (Aunt May), Chris Zylka (Flash Thompson), Campbell Scott (Richard Parker), Embeth Davidtz (Mary Parker), Martin Sheen (Ben Parker) and Denis Leary (George Stacy) alongside new additions  Jamie Foxx (Django Unchained) as Electro, Dane DeHaan (Chronicle) as Harry Osborn, Paul Giamatti (12 Years a Slave) as The Rhino, Chris Cooper (American Beauty) as Norman Osborn, Colm Feore (Thor) as Donald Menken, Marton Csokas (The Lord of the Rings) as Dr. Kafka and Felicity Jones (Like Crazy) and Sarah Gadon (Cosmopolis) in as yet unrevealed roles.


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UK trailer for the Japanese remake of Unforgiven

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Ahead of its UK release later this month, Warner Bros. has debuted a new trailer for Yurusarezaru Mono (A Thing That Can't Be Forgiven) - a.k.a. the Japanese remake of Clint Eastwood's western classic Unforgiven, which sees Ken Watanabe (The Last Samurai, Inception) taking on the Eastwood role, albeit as an aging samurai in feudal Japan.

Yurusarezaru Monu is directed by Lee Sang-il (Akunin) and also stars Koichi Sato (The Magic Hour) in the Gene Hackman role and Akira Emoto (Villain) as the main character’s old friend, portrayed by Morgan Freeman in Unforgiven.


Yurusarezaru Monu is set for a UK release on February 28th.

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First trailer for Wolves starring Jason Momoa and Lucas Till

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David Hayter, writer of the likes of X-Men, X2: X-Men United and Watchmen, is set to make his directorial debut this year with the horror flick Wolves, starring Jason Momoa (Game of Thrones) and Lucas Till (X-Men: First Class). The first trailer has arrived online, and you can watch it below after the official synopsis...

Cayden Richards, 18, has it all: Captain of the high school football team; straight-A student; gorgeous girlfriend. But when he wakes one dark night to find his parents brutally murdered, he is horrified to realize that he is turning into an animal: a wild, savage wolf. Panicked, Cayden runs, determined to find out what is happening to him. His quest leads him to the strange, isolated town of Lupine Ridge, where two clans of wolves are on the brink of war. The opposing clans are lead by Connor, the powerful, pure-blood alpha of a savage pack and John Tollerman, an old farmer, committed to protecting the human citizens of Lupine Ridge. But when Cayden falls for Angelina, the beautiful, young mate promised to Connor, a battle to the death is inevitable. And as the past begins to reveal itself, Cayden’s place in the world becomes clearer – as does his power to put an end to the savage violence building up around and within him…


Wolves is due for release later this year.


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Al Pacino Retrospective - Scarface

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Jackson Ball continues our Al Pacino Retrospective with Scarface...

Some films are almost inexplicable watchable. Measured solely on their individual components – such as foul language, unrelenting gore and non-stop, start-to-finish intensity – these films ought to drive audiences away, or at least make them think twice about a second viewing. However, the ultimate sum of those components can result in a film that is so unashamedly gripping that it demands the audience’s attention, almost hypnotically, time and time again. Brian De Palma’s Scarface is one such film.

It is easy to forget that De Palma’s film is a remake; a retelling of sorts of the 1932 film of the same title. Fans of the original will recognise the same rise-and-fall narrative, however now it has been saturated with the bright lights and dark pastimes of 1980’s Miami. De Palma’s vision, combined with Oliver Stone’s script, pumps the story with equal measures of sex and violence and sprinkles the whole mixture with unfathomable amounts of cocaine.

The whole film embodies the term ‘excess’ in every sense of the word, and that is never more evident than in Al Pacino’s performance. As immigrant-come-drug lord Tony Montana, Pacino gives arguably his most potent and unyielding performance. Sure, you could argue there aren’t many ‘layers’ to Montana (he starts at rage and just gets angrier), but from the film’s opening shots to its iconic climax, Pacino mesmerizes.

Just eleven years after his precise and measured first turn as Michael Corleone in The Godfather, Pacino’s performance as Montana reaches the opposite end of the spectrum. Perhaps it is an example of the actor’s skill and ability that he is able to generate a performance that reflects the entire tone of each film (Godfather: subtle, restrained, and layered. Scarface: brash, intense and loud.)

Indeed, the ‘excess’ of Scarface transcends Pacino’s performance and is inherent in the contributions of the film’s other key players: Brian De Palma and Oliver Stone. De Palma’s direction effectively reflects the dizzying chaos of the story and era; the swirling camerawork and top-speed editing disorientate the audience to the extent that you feel as though you are on as big of a trip as Montana himself. All this whilst Stone’s screenplay manages to squeeze the odd coherent sentence in between the tidal wave of obscenities.

To sum up, Scarface’s keyword is certainly ‘excess’ (with ‘fuck’ probably being a close second). Despite the lack of moderation though, it remains inescapably consuming to watch. The film oozes bravado as often as it gushes blood, and in doing so has become a timeless treasure of modern pop culture.

Jackson Ball - follow me on Twitter.


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Bloody new promo images from From Dusk Till Dawn: The Series

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Ahead of its premiere next month, The El Rey Network has released a batch of twelve lobby cards from Robert Rodriguez's upcoming small screen adaptation From Dusk Till Dawn: The Series, and you can check them all out right here...













From Dusk Till Dawn: The Series sees D.J. Cotrona (Dear John, G.I. Joe: Retaliation) and Zane Holtz (Holes, The Perks of Being a Wallflower) taking over from George Clooney and Tarantino as the Gecko brothers, while the rest of the cast includes Robert Patrick (Terminator 2: Judgment Day, The X-Files) as Jacob Fuller, Madison Davenport (Save Me, Shameless) as Kate Fuller, Brandon Soo Hoo (Tropic Thunder, Ender’s Game) as Scott Fuller, Don Johnson (Django Unchained, Nash Bridges) as Sheriff Earl McGraw, Adrianne Palicki (Friday Night Lights, G.I. Joe: Retaliation) as Vanessa Styles, Jake Busey (Starship Troopers, Enemy of the State) as Professor Aiden Tanner, Lane Garrison (Bonnie & Clyde, Prison Break) as Pete and Eiza González(Lola: Érase Una Vez) as Santánico Pandemonium.


From Dusk Till Dawn: The Series gets underway on March 11th.


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Anthony Mackie on playing Falcon in Captain America: The Winter Soldier

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Speaking to Total Film (via CBM), Marvel Cinematic Universe newcomer Anthony Mackie has discussed his role as Sam Wilson  - a.k.a. Falcon - in the upcoming superhero sequel Captain America: The Winter Soldier, discussing how his character gets his name, and revealing that his costume is set to evolve in future Captain America sequels.

"The Air Force had a specialty group,” said Mackie on the origin of the name Falcon. “Like the Navy SEALs. But instead of giving them the ability to quietly go in and manoeuvre through hazardous territories, they gave them the ability to fly. It’s a lot of me on wires screaming and them saying ‘Action’ and me flying around. I’m deathly afraid of heights, they always say, ‘Oh, we’re just gonna take you this high.’ Then they take me and swing me... It’s 10 times tougher performing with wings. I’m like, ‘Wait, I’m the only dude that’s on strings? Everybody else gets to walk around or drive cars and I gotta fly?’ When we had our first conversation about the movie, my biggest statement to the Russos was, ‘You better not make me look like an idiot.’ That was my greatest fear. Even though I wanted to wear red spandex, I was hugely afraid of looking like a pigeon!"

Mackie then went on to discuss his suit, stating that: "As the Falcon aged [in the comics] and grew up, his uniform grew up. The uniform we have now is the uniform of an adult… The Ultimate look gives him a sense of purpose and makes him look like a badass. The wings can look funny at times, so you have to do something to combat that – at no point in time do you want him to show up on film and have people laugh. That’s what we’ve been able to find, between the tactical suit and the Ultimate suit. As the franchise goes on and you see more of me and Captain America, the suit will evolve into the Ultimate look, the hard-leather black look. The suit that he has in this movie is more of a military suit because it’s the first time you see it."


Captain America: The Winter Soldier also stars Chris Evans (Captain America), Scarlett Johansson (Black Widow), Sebastian Stan (Bucky Barnes / The Winter Soldier), Samuel L. Jackson (Nick Fury), Cobie Smulders (Agent Maria Hill), Hayley Atwell (Peggy Carter), Toby Jones (Arnim Zola) and Maximiliano Hernandez (Agent Jasper Sitwell) alongside franchise newcomers Emily VanCamp (Revenge) as Sharon Carter / Agent 13, Frank Grillo (Zero Dark Thirty) as Brock Rumlow / Crossbones, George St-Pierre (Death Warrior) as Georges Batroc / Batroc the Leaper, and Robert Redford (All Is Lost) as Alexander Pierce. The film opens in the UK on March 26th and in North America on April 4th.


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Blu-ray Review - Machete Kills (2013)

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Machete Kills, 2013.

Directed by Robert Rodriguez.
Starring Danny Trejo, Alexa Vega, Mel Gibson, Carlos Estevez, Amber Heard, Vanessa Hudgens, Sofia Vergara, Jessica Alba, Lady Gaga, Michelle Rodriguez, Cuba Gooding Jr., Demián Bichir, Zoe Saldana, Edward James Olmos, William Sadler, Antonio Banderas, Tom Savini, and Walton Goggins.


SYNOPSIS:

Machete is recruited by the U.S. President to take down a madman revolutionary and an eccentric billionaire arms dealer who plan to spread war and anarchy across the planet.


While the original Machete trailer was one of the highlights of Robert Rodriguez and Quentin Tarantino's 2007 double feature Grindhouse, containing more entertainment value in its two minutes than the entirety of Death Proof, the 2010 feature version failed to live up to the promise of the faux trailer. Personally, I thought it played things a little too straight, if you can say that about a film that has its protagonist abseiling from a hospital window using some poor guy's intestines. The same can't be said for Machete Kills however; the sequel is goofy, immature, over-the-top and unashamedly ridiculous, and it's all the better for it.

After a trailer for Machete Kills Again... In Space, things get underway with Machete recruited by the U.S. President (Charlie Sheen, credited by his real name Carlos Estevez) to take out Demian Bichir's cartel leader Marcos Mendez, who happens to have a WMD pointed at the States, and the trigger attached to his heart. Capturing his target, Machete heads north for the border, pursued by Madame Desdemona (Sofia Vergara) and her crew of gun-toting prostitute assassins, not to mention the mysterious face-changing assassin El Chameleon (Walton Goggins, Cuba Gooding, Jr., Lady Gaga and Antonio Banderas). And of course it's only a matter of time before Machete tracks down the real big bad, Mel Gibson's Star Wars-obsessed billionaire industrialist Luther Voz, who harbours ambitions of destroying the Earth from the comfort of his private space station.

As you'd expect, the plot here paper-thin and little more than an excuse for Danny Trejo's former Federale to get the women, kill the bad guys, deliver one-liners, and kill more bad guys. Trejo hacks his way through countless kills while Rodriguez bombards us with increasingly crazy scenarios and supporting characters, although in fairness it's only really Vergara, Bichir and Gibson who add much to proceedings, hamming it up as their respective villains. You'll need to switch your brain off at the door, but if just you're looking for a couple of hours of ludicrous action, cartoonish violence and mindless entertainment, then you'll no doubt want to give Machete Kills a watch.

Flickering Myth Rating - Film: ★ ★ / Movie: ★ ★ ★

Gary Collinson is a writer and lecturer from the North East of England. He is the editor-in-chief of FlickeringMyth.com and the author of Holy Franchise, Batman! Bringing the Caped Crusader to the Screen.



First trailer for Angelina Jolie's Unbroken

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The first trailer for Angelina Jolie's latest directorial effort Unbroken debuted last night during the Winter Olympics, and you can watch the three minute preview of the historical drama right here after the official synopsis....

Academy Award winner Angelina Jolie directs and produces Unbroken, an epic drama that follows the incredible life of Olympian and war hero Louis "Louie" Zamperini (Jack O'Connell) who, along with two other crewmen, survived in a raft for 47 days after a near-fatal plane crash in WWII—only to be caught by the Japanese Navy and sent to a prisoner-of-war camp.

Adapted from Laura Hillenbrand's ("Seabiscuit: An American Legend") enormously popular book, Unbroken brings to the big screen Zamperini's unbelievable and inspiring true story about the resilient power of the human spirit.

Starring alongside O'Connell are Domhnall Gleeson and Finn Wittrock as Phil and Mac—the airmen with whom Zamperini endured perilous weeks adrift in the open Pacific—Garrett Hedlund and John Magaro as fellow POWs who find an unexpected camaraderie during their internment, Alex Russell as Zamperini's brother, Pete, and in his English-language feature debut, Japanese actor Miyavi as the brutal camp guard known only to the men as "The Bird."



Unbroken is set for a Christmas Day release in the States, and is currently slated to open here in the UK on January 16th 2015. 


Lots of new footage in The Amazing Spider-Man 2 featurettes

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Sony Pictures has released two new featurettes for The Amazing Spider-Man 2 entitled 'The Price of Being a Hero' and 'Lights, Camera, Action'; the first of which features some new footage from the upcoming superhero sequel, as well as comments from director Marc Webb and stars Andrew Garfield (Peter Parker / Spider-Man) and Emma Stone (Gwen Stacy), while the second takes us behind the scenes of the film. Check them out after the official synopsis...

"We’ve always known that Spider-Man’s most important battle has been within himself: the struggle between the ordinary obligations of Peter Parker and the extraordinary responsibilities of Spider-Man. But in The Amazing Spider-Man 2, Peter Parker finds that a greater conflict lies ahead.

It’s great to be Spider-Man. For Peter Parker, there’s no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen. But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro, Peter must confront a foe far more powerful than he. And as his old friend, Harry Osborn, returns, Peter comes to realize that all of his enemies have one thing in common: OsCorp."



The Amazing Spider-Man 2 is set for release on April 18th 2014 in the UK and on May 1st 2014 in North America, with a cast that also includes the returning Sally Field (Aunt May), Chris Zylka (Flash Thompson), Campbell Scott (Richard Parker), Embeth Davidtz (Mary Parker), Martin Sheen (Ben Parker) and Denis Leary (George Stacy) and new additions include Jamie Foxx (Django Unchained) as Electro, Dane DeHaan (Chronicle) as Harry Osborn, Paul Giamatti (12 Years a Slave) as The Rhino, Chris Cooper (American Beauty) as Norman Osborn, Colm Feore (Thor) as Donald Menken, Marton Csokas (The Lord of the Rings) as Dr. Kafka, B.J. Novak (The Office) as Alistair Smythe and Felicity Jones (Like Crazy) and Sarah Gadon (Cosmopolis) in as yet unrevealed roles.


First trailer for Locke starring Tom Hardy

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Ahead of its release next month, Lionsgate has debuted the first trailer for director Steven Knight's (Hummingbird, Peaky Blinders) upcoming thriller Locke, which stars Tom Hardy (Inception, The Dark Knight Rises) and takes place entirely within the confines of a car.

"Ivan Locke (Tom Hardy) has worked hard to craft a good life for himself. Tonight that life will collapse around him. On the eve of the biggest challenge of his career, Ivan receives a phone call that will set in motion a series of events that will unravel his family, job and soul."

Check out the first trailer here...


Locke is released in the UK on April 18th with a cast that also includes Tom Holland, Olivia Colman, Andrew Scott, Ruth Wilson, Ben Daniels and Alice Lowe.


Cosplayers UK - The Movie hits DVD shelves today

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Cosplayers UK - The Movie hits DVD shelves today
Today marks the release of directors Ed Hartwell and Johnnie Oddball's Cosplays UK - The Movie, the first feature-length documentary on the thriving UK cosplay scene, which follows a small selection of talented cosplayers as they take part in 2011's MCM Expo.

"We made this film to inspire and promote the Cosplay scene in the UK," says Hartwell, whose other films include Bus Kong, The Day the Robots Woke Up, and Strange Hill High. "We followed a handful of attendees over 48 hours at the biggest Cosplay event in Europe asking questions and taking interviews with talented players who have found new friendships and fame in the world of Cosplay. It’s a positive look at the UK Cosplay scene and we hope it will inspire, or at least give people an insight into this fascinating world."

Check out the trailer here...


Cosplays UK - The Movie is released on DVD today int he UK by ISIS Entertainment. You can order it via Amazon.


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DVD Review - The Fifth Estate (2013)

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The Fifth Estate, 2013.

Directed by Bill Condon.
Starring Benedict Cumberbatch, Daniel Bruhl, Anthony Mackie, David Thewlis, Alicia Vikander, Stanley Tucci, and Laura Linney.


SYNOPSIS:

A dramatic thriller based on real events that reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century's most fiercely debated organization.


The Fifth Estate is a dramatic thriller based on true events that charts the rise of one of the most influential organisations of the 21st century, Wikileaks, and their quest to expose the deceptions and corruptions of those in power.

Without knowing too much of the story before I sat down to watch this, I really had no idea what I was in for. I’d only heard of Julian Assange and Wikileaks on the news but never actually sat down to find out more. I thought that this might have been a problem as I expected that my lack of knowledge might lead me to not understand everything that was happening; thankfully though, this was not a problem.

The film starts off with a wonderful credit sequence which charts the evolution of the press over the years in both an aggressive and wonderfully technical manner – effectively setting the tone of the film and giving you clues as to how the story might develop.

We pick up with our two leads, Daniel Berg and Julian Assange (played by Daniel Brühl and Benedict Cumberbatch respectively) meeting for the first time. It’s an interesting meeting as they don’t seem to have any immediate connection other than Berg’s fascination with what Assange is doing with Wikileaks. Berg follows Assange like a fan would follow a rock star and it’s only through his persistence that they become friends – and it’s this friendship that is the centre of this story.

The story follows Berg and Assange on a globetrotting adventure as they uncover corruption, war crimes and more across the world and we watch on as their relationship becomes strained by the intense pressures that they’ve drawn upon themselves. This pressure slowly turns the slight differences between them into something greater and the conflict between idealism and egocentricity helps give this film a fitting and surprisingly rousing conclusion.

Without going into much more detail on this story, as some of it has to be seen to be believed, there is a lot to fit in. Surprisingly though, despite how much information you’re bombarded with, the film is an incredibly coherent piece of work that doesn’t leave out any details while respecting you enough to assume that you’ll understand it all.

Of course, with a script as complex and pacy as this, you’ll need a cast that stands up to it and thankfully the cast do an excellent job. From top to bottom, the entire cast should be commended for infusing such a dense topic with so much life and verve. The real stars of the show though are of course Brühl and Cumberbatch, who play off each other marvellously and are to be congratulated for portraying each character with all the flaws that both men most likely have in real life.

The one minor issue I had with this film is that it’s a little biased towards one or two of the characters. You have to remember when watching this film that it was based on two books, one written by Daniel Berg and the second written by journalists David Leigh and Luke Harding, and as such doesn’t show all sides of the story – Assange may have a slightly different opinion on how things actually happened.

All in all, this film is an intelligent and fast-paced thriller that should be watched just to learn more about a story that’s shocking, surprising and at times downright unbelievable.

Flickering Myth Rating - Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Ozzy Armstrong is a Stargate and Rocky superfan. Follow him on Twitter.


Colossus gets an X-Men: Days of Future Past character image

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Another day, another character image from X-Men: Days of Future Past... continuing what's likely to be the best part of a month-long promotional campaign, the X-Men Movies Twitter account has released its daily image, this time focussing on Piotr Rasputin, a.k.a. Colossus, who's once again played by Daniel Cudmore...

Daniel Cudmore as Colossus in X-Men: Days of Future Past

Check out the previous character images for Past Magneto (Michael Fassbender), Future Magneto (Ian McKellen), Past Xavier (James McAvoy) and Future Xavier (Patrick Stewart).

"The ultimate X-Men ensemble fights a war for the survival of the species across two time periods in X-MEN: DAYS OF FUTURE PAST. The beloved characters from the original “X-Men” film trilogy join forces with their younger selves from “X-Men: First Class,” in an epic battle that must change the past – to save our future."

X-Men: Days of Future Past is set for release on May 23rd with a cast that also includes Hugh Jackman (Wolverine), Jennifer Lawrence (Mystique), Nicholas Hoult (Beast), Lucas Till (Havok), Halle Berry (Storm), Anna Paquin (Rogue), Ellen Page (Kitty Pryde) and Shawn Ashmore (Iceman) alongside franchise newcomers Evan Peters (American Horror Story) as Quicksilver, Booboo Stewart (The Twilight Saga: Eclipse) as Warpath, Fan Binbing (Iron Man 3) as Blink, Adan Canto (The Following) as Sunspot, Josh Helman (Mad Max: Fury Road) as William Stryker, Evan Jonigkeit (Girls) as Toad and Peter Dinklage (Game of Thrones) as Bolivar Trask.


House of Cards Season 2 - Episode 3 Review

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Jackson Ball reviews the third episode of House of Cards season 2...

House of Cards Season 2 poster
The third chapter of House of Cards’ second season has Francis ‘Frank’ Underwood (Kevin Spacey) well and truly back in the swing of things, after the ‘inconvenience’ of episode 1. Storms are brewing in Washington over the impending amendments to entitlement laws, creating a genuine political obstacle for Frank to overcome.

Spoilers Ahead – You’ve Been Warned!

Himself declaring that his opponents have him “by the teabags” Frank has to pull out his arsenal of manipulation to gain the upper hand. This has him once again going toe-to-toe with President Walker (Michael Gill), but this time with a pleasant surprise. To their credit, the show’s writers seem to have finally given the President a long-overdue back-bone. I understand that the President is supposed to appear as a puppet, for Frank and the other ‘sharks’ to influence as they see fit, but that doesn’t mean he has to be the total drip he was for most of the first season. Walker not only stands up to Frank’s antics, but does so in way that suggests there is more to the character than we had been led to believe.

Outside of Frank’s plot, Episode 3 spends much of its time building the character arcs of some of the supporting players. There’s a lot going on here with a lot of intertwining sub-plots, and in true House of Cards style each character gains another layer with every scene, all whilst slowing pushing the plot forward.

First of all, we see the Frank’s replacement as House Majority Whip, Jackie (Molly Parker) as she struggles to rally a patriarchal congress. Parker is a great addition to the cast, while her character Jackie seems like another crucial ingredient to the show. She’s been hand-picked by Frank, a man she’s never truly trusted (and rightly so!), and now faces a battle to survive in the male-dominated environment; there’s something very reminiscent of Lisbeth Salander about the character.

Elsewhere, reporter Lucas (Sebastian Arcelus) descends further into the cyber underworld in his quest to avenge Zoe’s death. Unpredictability and originality are two of House of Cards’ best features, but this plotline feels painstakingly regurgitated. The whole ‘hackers vs. government’ angle is one that has been used so often in both TV and film, that is was almost a relief when season 1 finished without resorting to it; a fact that makes it all the more disappointing to see it so brazenly executed here. Still, there’s always the chance that this is just another red herring by the writers to make us wrongly believe we know where the story is going.

Sadly, with all the good character-building going on here, Claire Underwood (Robin Wright) is forced to take a back seat in proceedings. It’s understandable that there is only so much they can squeeze into one episode, and some of the lesser character do get some much-needed fleshing out , but with all the revelations about her character in episode 2, it’s a shame we’re left without our Claire fix now.

Jackson Ball - follow me on Twitter.



First look at Star Wars Rebels with two teaser promos

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We've seen a few propaganda posters and behind-the-scenes featurettes, but now Disney and Lucasfilm Animation has given us our first proper look at the upcoming Star Wars Rebels with two thirty-second teaser promos featuring the young hero Ezra Bridger (Taylor Gray), along with a brief glimpse at 'cowboy Jedi'Kanan (Freddie Prinze Jr.) and 'grumpy astromech Chopper....



"Star Wars Rebels continues the epic tradition of the legendary Star Wars saga with all-new exciting, action-packed adventures. It is a dark time in the galaxy, as the evil Galactic Empire tightens its grip of power from world to world. As the series begins, Imperial forces have occupied a remote planet, ruling with an iron fist and ruining the lives of its people. But there are a select few who are brave enough to stand up against the endless Stormtroopers and TIE fighters of the Empire: the clever and motley crew of the starship Ghost. Together, this ragtag group will face threatening new villains, have thrilling adventures, and become heroes."


Star Wars Rebels is set to air on Disney XD later this year, with Dave Filoni (Star Wars: The Clone Wars), Simon Kinberg (X-Men: First Class) and Greg Weisman (Young Justice) producing and David Oyelowo (Lee Daniels' The Butler), Vanessa Marshall (Justice League: The Flashpoint Paradox), Taylor Gray (Bucket and Skinner's Epic Adventures) and Steve Blum (The Avengers: Earth's Mightiest Heroes) also featuring in the voice cast.


Gal Gadot shows off her Wonder Woman physique in preparation for Batman vs. Superman

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It seems that every major casting addition for Zack Snyder's Man of Steel sequel Batman vs. Superman has met with controversy. We've seen it with Ben Affleck as Batman, Jesse Eisenberg as Lex Luthor, and of course Gal Gadot as Wonder Woman, with the Israeli actress coming in for criticism from some fans for not having the right "physique" to play the Amazon Princess. Well, Gadot has been hitting the gym in preparation for Diana's big screen debut, and she's posted an image to Facebook showing off the results of her training routine....

Gal Gadot shows off her Wonder Woman physique in preparation for Batman vs. Superman

So, for those of you against Gadot's casting, has that done anything to change your mind? Let us know your thoughts, either in the comments below, or over on The Flickering Myth Forum.

Batman vs. Superman is set for release in May 2016 with a cast that also includes Amy Adams (Lois Lane), Diane Lane (Martha Kent), Laurence Fishburne (Perry White) and Jeremy Irons (Alfred Pennyworth).


Oscar Opinions: Are Russell & Hustle Realistically in the running for Best Director & Best Picture?

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Gavin Logan asks whether David O. Russell and American Hustle are realistically in the running for Best Director and Best Picture...

Over the past 85 years the two categories at the Oscars that seem to go undeniably hand in hand with each other more than any other are Best Picture and Best Directing. In the last twenty years alone all but four winning Directors would later that night go on to see their Picture also pick up the coveted golden statue. The exceptions being Steven Spielberg for Saving Private Ryan (lost to Shakespeare in Love), Steven Soderbergh for Traffic (lost to Gladiator), Roman Polanski for The Pianist (lost to Chicago) and Ang Lee twice winning for Directing on Brokeback Mountain (lost to Crash) and last years Life of Pi (lost to Argo).

However despite the above mentions, I'm inclined to believe that this year will be no different from the norm and will not be another exception to the "rule". Whoever wins for Directing will also see their movie go on to win Best Picture.  By this reasoning, that only leaves five Best Picture nominees - Nebraska, The Wolf of Wall Street, American Hustle, 12 Years a Slave and Gravity. Out of these five I can really only see two of the directors also winning. Steve McQueen for 12 Years a Slave and Alfonso Cuaron for Gravity.

"But what about David O. Russell for American Hustle?" I hear you all screaming in tandem!

In recent years David O. Russell has become somewhat of a darling in the Academy's eyes. Okay maybe that's going a bit far but he's obviously been ticking all the right boxes. The praise he and his movies has received is certainly justified. The Fighter was a phenomenal story with equally phenomenal performances from Mark Wahlberg, Amy Adams, Christian Bale and Melissa Leo. The latter two both winning Oscars for their respective Supporting roles. Even more praise was heaped on his shoulders for 2013's Silver Linings Playbook which was nominated for an impressive tally of 8 Academy Awards becoming the first movie since Warren Beatty's Reds to be up for the "Big Seven" (Picture, Director, Actor, Actress, Supporting Actor, Supporting Actress, Screenplay). Even though it ended up only winning one of the those five (Jennifer Lawrence, Lead Actress) everyone was waiting with baited breath on O. Russell's next project. And when it was announced that Lawrence, Adams, Cooper and Bale would all be re-teaming with the director, Hollywood began to get goosebumps and what followed was the brilliant American Hustle.

American Hustle is without question a movie worthy of recognition. The writing and acting are spot on. Bale especially is channelling his inner young De Niro and doesn't fail to deliver. The rest of the ensemble are all at their very best and it's clear Russell brings something extra out of each of them. But for me, it doesn't ever venture into the same league as 12 Years a Slave or Gravity. It's the personality picture of this year's Oscars. It's like that one person at the party that everyone really likes but would never get off with. And this is why I don't think it will be a realistic runner for BEst Picture.

So that makes it a two horse race. An epic dog-fight between Steve McQueen / 12 Years a Slave and Alfonso Cuaron / Gravity for both Director and Picture. In a perfect world, both men would share the accolade but that's not going to happen. Although I would rather see McQueen and 12 Years win both awards, I have a distinct feeling it's going to go the other way. And who could blame the Academy. Cuaron boldly went somewhere audiences weren't fully prepared to go but in a strange twist became engrossed by both his intimate and boundless vision. 

But who knows? The Academy have made some strange choices over the years and if they do give Russell and Hustle the nod, then I feel it will only be a decision made out of sheer benevolence and a blatant attempt at redemption on account of their lack of winning votes last year. Surely the Academy aren't that political, are they? Well that's another topic for another day.

Gavin Logan - Follow me on Twitter and A-Z Movie Challenge.


Three new images from Guardians of the Galaxy

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The first trailer for Guardians of the Galaxy is confirmed to arrive tomorrow, and to whet our appetites Marvel Studios has released three new stills from the cosmic superhero team-up featuring Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista), Rocket Raccoon (Bradley Cooper) and Groot (Vin Diesel), as well as the Guardians' ship, The Milano; check them out here courtesy of USA Today....




Meanwhile, the USA Today article also has some plot details about the film:

The movie teams five disparate personalities: Peter Quill (Pratt), aka Star-Lord, was taken from Earth as a 9-year-old, possesses a mysterious orb artifact and pilots the Milano, a muscle car of a spaceship. Gamora (Zoe Saldana) is connected to Thanos, arguably the cosmos' biggest baddie. Drax the Destroyer (Dave Bautista) is a muscular dude you don't want to upset. And then there are the aliens Rocket Raccoon and Groot (computer-generated characters voiced by Bradley Cooper and Vin Diesel, respectively), who are best pals and potentially the biggest things to happen to pop culture since Chewbacca. Their stories converge in the space prison Kyln. After the characters break out, they venture to Knowhere (the severed head of a celestial being that serves as a hangout for aliens) and visit the weird menagerie of the Collector (Benicio Del Toro). They also have to avoid two villains, Ronan (Lee Pace) and Nebula (Karen Gillan), who are in hot pursuit of Quill's orb, which has the power to destroy the galaxy.

Guardians of the Galaxy is set for release on August 1st with a cast that also includes Djimon Hounsou (Blood Diamond) as Korath, John C. Reilly (Step Brothers) as Rhomman Dey, and Glenn Close (Damages) as Nova Prime Rael. 



Counterpoint: The Avengers and the Serialization of Franchise Films

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Ryan Maloney offers a counterpoint to the argument that the serialization of franchise films is killing the blockbuster...


With the global success of both Iron Man 3 and Thor: the Dark World, last year Marvel Studios proved that not only could their properties exist together in a shared universe, but they could be just as profitable in solo adventures as well. Thus, it comes as no surprise that other major Hollywood studios are following suit with whatever characters and franchises they’ve got stored away in-house, from Paramount’s Jack Ryan to Fox’s two remaining Marvel licensees, Fantastic Four and X-Men.

But recently IndieWire, in discussing  Sony’s recent move to expand the Spider-Man franchise to spin-off into Venom and The Sinister Six films, have put forth the argument that this “serialized” mentality is turning movies into TV enterprises, and killing blockbuster films as a result. Their arguments are valid, to an extent – having faced huge losses last year in non-sequel tentpoles like The Lone Ranger and After Earth, having a brand to rely on for guaranteed income is a no-brainer. But like anything else, Hollywood is a business, and often has a distinct tendency to turn these franchises into part of its machine, churning out sequel after sequel without thought nor care.

I’m writing to respectfully disagree with this author’s claims. Ideally, the potential exists for studios to build some fantastic, exciting shared universes with its properties, while still ensuring each film is a quality part of that enterprise.

It’s important to clarify – unquestionably, appropriating TV mentality for cinematic franchises doesn’t work. Take 2011’s Green Lantern– a failure by most (read: respectable) standards, the film’s chief problem seemed to be its painfully ordinary script by Michael Green, Greg Berlanti, and Marc Guggenheim. No matter what A-list cast and crew Warner Bros. had signed on, at the end of the day, the script failed to provide a compelling vision for the character and convince audiences Lantern was a mythology worth adapting. A little over a year later, the same writers experienced tremendous success adapting Green Arrow for the CW Network.


Why? Because Guggenheim and Co. are inherently TV writers, most of their experience coming from setting up and paying off plotlines over multiple episodes. In Green Lantern, people saw the setups coming a mile away. And they groaned. Boy, did they groan. Not to mention, this TV-style writing doesn’t work for movies over a long term, because with film, audiences are fatigued quicker, and forget the details of the last movie easily between the years of their release. TV shows can ride a consistent approach for years, but films demand to be consistently fresh and exciting. A poor TV episode is nothing compared to the $200+ million losses a studio faces putting out a poor film.

Now take Thor: the Dark World. Compare the bold, operatic vision Kenneth Branagh employed in the first film to bring the world of Asgard from the page to the screen, to the derivative, copy-and-paste design of Alan Taylor’s sequel. The latter could easily pass for a big-budget TV movie, boasting writing and direction that suffered hugely in comparison to its predecessor. It’s Marvel’s way of bringing costs down, hiring a TV director like Taylor to helm a film already designed by Marvel to take Branagh’s template and recycle it for the sequel. It saves the studio the trouble of hiring another auteur (ahem, Patty Jenkins), by simply hiring someone safe to helm an otherwise uninspired film which, all things considered, is just “another Thor.”



Above: Compare the striking, tangible vision of Thor to the predominantly blue-screen scenery of Thor: The Dark World.

Now a lot of that can be chalked up to opinion, but consider this. IndieWire’s article argues that The Dark World lacked tension due to the fact that Thor just got back from fighting off an epic alien invasion in The Avengers. While I wasn’t enthused with The Dark World, I certainly wasn’t sitting in the theater thinking, “Psh, why don’t the other Avengers come help? Malekith is so lame compared to the last alien invasion.” The fact is, Thor has worked perfectly well in both solo and team-up comics for years. I have to conclude the article’s author isn’t a fan of comics, but had he read them, would he really read them comparing each of the thousands of conflicts in Journey into Mystery with the conflicts of Stan Lee’s Avengers? Really, if you’re watching The Dark World and wondering why Iron Man isn’t circling around nearby waiting to help, you’re missing the point entirely.

Rather, what I suppose I’m most concerned with in studios crafting shared universes is the possibility that movies will no longer play like movies. While I’m eager to see Batman and Superman duke it out on the big screen, the inclusion of Wonder Woman has me worried the more intimate character moments to be had between the title protagonists will be lost in an Iron Man 2-esque clutter of plots leading up to an even bigger team-up. You’d think Batman and Superman alone would already pose a narrative brimming with possibilities; cramming in several other heroes unnaturally or unnecessarily may detract from the arc of its main heroes. Similarly, there’s been rumors of the Man of Steel sequel potentially ending with a direct link to a Justice League movie, and thus lack a concrete conclusion. We’ve already seen this in films like The Hunger Games: Catching Fire, and now even X-Men: Days of Future Past is reported to immediately lead into the next sequel, X-Men: Apocalypse, a full half-year before the former is even out. Could we be seeing the beginning of studios abandoning traditional resolutions altogether?

What it really comes down to, as it always does, is the integrity of the creative process. Bringing TV writers in to execute cinematic ideas may be a lost cause, however, hiring more filmmakers to collaborate on several different films which can co-exist naturally does, as we’ve seen with Marvel’s largely successful Phase One. Look at the original Star Wars trilogy, films rooted in the mentality of Flash Gordon/Buck Rogers serialization. Those films worked so well because of the effort put behind each installment. And an even more pervasive example would be the James Bond franchise – while not every film has worked, the reality is that so many different filmmakers have come in to leave their mark on the franchise, and when it has worked, it’s worked fantastically.

Really, turning comic book movies in particular into serialized enterprises is kind of the point. Fans don’t want to see Hulk or Batman’s origin story retold by a new filmmaker every five years, they want to eventually see Hulk fighting aliens as a gladiator on another planet, or Bruce Wayne being framed for murder and leaving his colleagues to prove his innocence. Comics have continued for decades in the same universe, why shouldn’t their film adaptations? The move will hopefully nix some of Hollywood’s most tired practices, like thinking in terms of trilogies, and rebooting every few years. The reboot-happy mentality in particular would be near-impossible with movies whose stakes are so heavily tied to several others. Now, if filmmakers are knee-deep into the third installment of Spider-Man and it turns out to be a stinker…tough. Better luck next time. Hopefully, this will spur studios to do their best every time, for every film.


Onward and upward…

And I like the idea of Sony spinning off its Spider-Man franchise into multiple properties. While I could not be any less interested in Marc Webb’s take on the character, I am excited to see what Ed Solomon and Drew Goddard do with Venom and Sinister Six. While there’s potential for these films to risk audience fatigue in their characters (after three movies, I’m already sick of Loki), I think there’s just as much opportunity with a backlog of films for new audiences to pick up. Even if they don’t like a particular brand, they can still check out the other brands within the same universe. So if Thor isn’t your thing, maybe Captain America and Iron Man will be.

Creating a network of movies allows audiences to be smart shoppers, picking and choosing which characters they want to follow, and thus better communicating to studios how they want their heroes to be portrayed. In the past, if you didn’t like Tim Burton’s Batman, tough, that’s THE cinematic Batman, and you’re not getting another for a while. Now, with so many different incarnations throughout the years, I predict different filmmakers will be the ones who will keep audiences coming back for fresh new takes on their heroes, allowing them to pick and choose which interpretations they like best. It’s why I’m still excited for Anthony and Joe Russo’s Captain America: The Winter Soldier after disliking Joe Johnston’s The First Avenger.

In a world without Marvel’s The Avengers, we also wouldn’t be promised the several lesser-known comic adaptations we’ll soon be receiving. David S. Goyer, seemingly the architect of the DC Universe on film now, will be spearheading several lesser-known DC properties like Suicide Squad and Deathstroke to receive the big-screen treatment. So just because Batman and Superman are dominating the box office, doesn’t mean they’ll keep other DC characters from getting their time to shine.

In short, I’ve found nothing wrong with the practice of serialization itself, so long as it’s done thoughtfully. I’m an optimist but a realist, so I realize the future is likely to hold some great movies, some terrible ones, and many, many middle-of-the-road ones. Hell, when Marvel first unveiled its plan for a shared universe back in 2008, I think we all pictured things going a bit more smoothly than they did. Filmmakers now have a responsibility to put their best foot forward crafting not just a series’ first installment, but each subsequent installment to keep audiences coming back. Regardless of these films’ eventual quality, it’s an exciting time to be a fan, and I’m ready and willing to take the journey.

What are your thoughts on serialized blockbusters? Let us know below or head on over to
The Flickering Myth Forum...

Ryan Maloney is a freelance writer/blogger maintaining Heraldic Criticism, where you can read more of his critiques of comics, movies, and comic book movies.


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