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Community Season 4 - Episode 1 Review

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Scott Davis reviews the first episode of Community season four...

"And we're back..."

After months of trials and tribulations surrounding TV's best, but horrifically underwatched show, Thursday finally saw the return of the madcap students of Greendale Community College.

But what should have been a triumphant return turned into a nightmare for its fans, as not only was it shunted back from its original October scheduling to this month, but show maestro Dan Harmon, and his partners-in-crime brothers Russo were let go by NBC, replaced by new head-honcho's....

Original show makers sacked and could-be-disastrous move out of the Fall season in the US? Fans smelt Dean-saster. But, thankfully, all the cast returns, including the departing Chevy Chase, quitting the show after this 13-episode season is over.

But, the good news is that for all it's problems, it's pleasing that Community returns with a bang rather than a whimper. Season 4 kicks off with "The Hunger Deans", another bonkers idea from Dean Pelton (the superb Jim Rash), as he tries to wrestle through nearly all of Greendale's occupants as they fight to attend the latest blow-off class, "History of Ice Cream".

Jeff, now fresh from a summer of online classes and now one credit away from an early graduation, fights to get himself and the study group into the class, much to the dismay of Annie (Alison Brie) who wants the group to stay together for longer.

Meanwhile, Abed (Danny Pudi) continues to search his mind with his therapist Britta (Gillian Jacobs) for answers to his very existence in this "real world", leading to a Abed-style sitcom/laughter track version of day-to-day at Greendale.

All in all, it's a decent start for season 4, but the ghosts of Harmon and company linger large throughout. It's a big risk for NBC to have removed the creators and show-runners: they were undoubtedly the heartbeat of the show, and despite the continued presence of all the cast, it will take some convincing of Community's loyal fan-base (yours truly included) to continue the show as before.

Hopefully the future is bright for Greendale's occupants, if not it really would smell disaster. Community has been built on smart comedy, choosing less obvious sitcom-based laughs, instead mocking them with gleeful wit and a catalogue of superlative film and TV referencing.

It's refreshing slant on the current crop of laughter-track comedies that have hit it so big (The Big Bang Theory, How I Met Your Mother, 2 Broke Girls) is perhaps the reason many choose not to tune-in, but it's smarts are never intimidating in its "thinking" approached, but should be embraced. Like Scrubs before it, Community has no shame in ripping up the sitcom rulebook, and staying fresh, whimsical and new. Lets just hope the new guts at the top don't exit the "Dreamatorium" and into the comedy darkness.

Stay tuned through the season for more reviews on Flicking Myth.

Scott Davis

New trailer for Disney-Pixar's Monsters University

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Those loveable monsters Mike and Sulley are heading back to cinemas this year as Disney-Pixar releases the Monsters, Inc. prequel Monsters University, and the acclaimed animation studio has now released a full-length theatrical trailer, which you can check out below.

"Ever since college-bound Mike Wazowski (voiced by Billy Crystal) was a little monster, he has dreamed of becoming a Scarer—and he knows better than anyone that the best scarers come from Monsters University (MU). But during his first semester at MU, Mike’s plans are derailed when he crosses paths with hotshot James P. Sullivan, “Sulley” (voiced by John Goodman), a natural-born Scarer. The pair’s out-of-control competitive spirit gets them both kicked out of the University’s elite Scare Program. To make matters worse, they realize they will have to work together, along with an odd bunch of misfit monsters, if they ever hope to make things right."

Monsters University is directed by Dan Scanlon (Cars) and sees Billy Crystal and John Goodman joined in the voice cast by the retuning Steve Buscemi, Jennifer Tilly, John Ratzenberger and Frank Oz, alongside Helen Mirren (Hitchcock), Kelsey Grammer (Frasier), Alfred Molina (Spider-Man 2), Ken Jeong (The Hangover), Charlie Day (Pacific Rim), Rob Riggle (Step Brothers), Joel Murray (God Bless America), Dave Foley (Toy Story 2), Sean Hayes (Will & Grace), Julia Sweeney (The Goode Family) and Peter Sohn (Ratatouille).


Monsters University is set for release on June 21st in North America and July 12th in the UK.

Win tickets to an Anti-Valentine's Day film screening with NOW TV

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NOW TV has teamed up with the Rooftop Film Club @ The Roof Gardens, Kensington to Veto Valentine's this year by offering you the chance to win a seat at an exclusive Anti-Valentine's Day film screening which will take place this coming Wednesday, February 13th.

The screening will include two Anti-Valentine's films, both of which will be announced on the night. As a hint, NOW TV has put together an Anti-Valentine's collection which you can view here. To be in with a chance of winning, all you have to do is guess which of the Anti-Valentine's films from the list will be screening on the night. Tweet your answer along with the hashtag #NOWTVVIP for your chance to win a pair of tickets to this exclusive screening. First tickets will go to those who answer correctly, with any remaining tickets then given away at random.

The folks at NOWTV will be reading every tweet that uses the #NOWTVVIP hashtag, and winners will be picked at random right up until the event on February 13th. There are 200 tickets to give away, and winners will be notified by Twitter... so what are you waiting for - check out the list, and then get tweeting!

DVD Review - Defenders of the Earth - The Complete Series (1986)

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Defenders of the Earth - The Complete Series, 1986.

Created by Gerry Conway, Ross Andru and John Romita, Sr.
Featuring the voice talents of Lou Richards, Peter Mark Richman, Peter Renaday, Buster Jones, Loren Lester, Diane Pershing, William Callaway and Ron Feinberg.


SYNOPSIS:

When the planet comes under threat from the evil Emperor Ming the Merciless, Flash Gordon teams up with fellow heroes The Phantom, Mandrake the Magician and Lothar to form the Defenders of the Earth (DEFENDERS!).


Following the blockbuster success of Marvel's The Avengers last summer, it seems that superhero teams are all the rage. Warner Bros. is not-so-secretly working on a Justice League adaptation, Fox has the forthcoming X-Men: Days of Future Past and Fantastic Four, and Marvel Studios' upcoming slate includes Guardians of the Galaxy and The Avengers 2. So, in an effort to satisfy our cravings for superhero teams, FremantleMedia Enterprises has dug deep into the Marvel vaults to bring us... no, it's not more Avengers... it's not the X-Men either... nor is it the Defenders, although that one's pretty close... okay, give up? It's none other than the classic 80s animated series Defenders of the Earth.

Okay, so strictly speaking, Defenders of the Earth isn't a Marvel superhero team, given that it's based around four of King Features Syndicate's classic comic strip characters - Alex Raymond's Flash Gordon and Lee Falk's The Phantom, Mandrake the Magician, and Mandrake's crimefighting companion Lothar. Nevertheless, the show was co-produced by Marvel Animation, developed by Marvel veterans Gerry Conway, Ross Andru and John Romita, Sr., and the lyrics to its theme tune (which we'll come back to in a minute) were penned by Marvel legend Stan Lee, so that's about as 'Marvelous' as you can get without the property actually stemming from the pages of Marvel Comics itself.

Having drained his homeworld Mongo of its natural resources, the evil Ming the Merciless sets his sights on planet Earth, so Flash Gordon returns from space and recruits his hero buddies The Phantom, Mandrake the Magician and Lothar to form the Defenders of the Earth and well... defend the Earth (it's a mission statement that Flash will remind us about at least four times each episode). Together with four youngsters - Rick Gordon (Flash's son), Jedda Walker (The Phantom's daughter), L.J. (a.k.a. Lothar Jr.) and the street orphan Kshin, who's joined by his fluffy little alien companion Zuffy - the Defenders of the Earth strive to protect the planet from Ming's dastardly schemes, which typically involves him acquiring some kind of new weapon, or seeking out a mystical artefact in order to develop a new weapon. Occasionally, there's a morality tale thrown in there as well, such as when L.J. learns that women are people too, or a stoned Rick Gordon discovers that drugs are bad.

Now, I assume that anyone thinking of purchasing Defenders of the Earth - The Complete Series will fall into one of two camps - those with fond memories of the show from their own childhood, and those looking for something to keep their kids occupied for a few hours. If it's the latter, then be advised that your children are probably going to wonder A) who these characters are, B) why the animation is so bad, and C) why you couldn't have bought them the latest Ben 10 or Star Wars: The Clone Wars DVD instead. On the other hand, if like me you remember watching Defenders of the Earth every Saturday morning back in 80s, then your level of enjoyment of the series today will likely be commensurate with how big of a fan you used to be; personally, I preferred the likes of He-Man, ThunderCatsTransformers and G.I. Joe (or Action Force, as it was known here in the UK), but Defenders was still a staple of my Saturday morning viewing back in the day and as such, I enjoyed revisiting the adventures of the Defenders of the Earth, even if it all started to get a little repetitive after a while.

Nostalgia aside, Defenders of the Earth is a fairly generic entry 80s action cartoon, but it is elevated immensely by its opening theme song, which could actually be the single greatest opening song in the history of animation. It's so insanely catchy that it's been playing on repeat in my head for the best part of a fortnight, which would be annoying if it wasn't so utterly brilliant. I'm constantly fighting the urge to burst into song at the slightest trigger, and just writing the word 'Defenders' makes me want to stand up and recite the entire thing from start to finish, with a particular emphasis on Mandrake's verse. Still, it's a bit of a double-edged sword, as a thirty-one year old bloke really shouldn't be belting out "master of magic, spells and illusion..." walking round the aisles of Asda on his weekly food shop, and I fear the next time it happens my better half will call forth the power of ten tigers and become 'The Girlfriend Who Walks'. 

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.

A new trailer for Bryan Singer's Jack the Giant Slayer

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We've been hearing an awful lot from Bryan Singer lately, but oddly enough it's all been about next year's superhero sequel X-Men: Days of Future Past, as opposed to his next film, Jack the Giant Slayer, which is set to arrive in North American cinemas in just a few short weeks. Considering it was shot back in April 2011, it's possible that Singer has forgotten all about it, so in a last-gasp effort to create some buzz, Warner Bros. has released a brand new theatrical trailer for the fairytale adventure, which you can watch right here...

"Jack the Giant Slayer tells the story of an ancient war that is reignited when a young farmhand unwittingly opens a gateway between our world and a fearsome race of giants. Unleashed on the Earth for the first time in centuries, the giants strive to reclaim the land they once lost, forcing the young man, Jack, into the battle of his life to stop them. Fighting for a kingdom, its people, and the love of a brave princess, he comes face to face with the unstoppable warriors he thought only existed in legend--and gets the chance to become a legend himself."

Leading the cast as the eponymous Jack is X-Men: First Class star Nicholas Hoult (who has just been confirmed as signing on for Rise of the Planet of the Apes director Rupert Wyatt's upcoming adaptation of Sebastian Faulks' Birdsong), while other cast members include Eleanor Tomlinson (Alice in Wonderland), Stanley Tucci (Captain America: The First Avenger), Ian McShane (Pirates of the Caribbean: On Stranger Tides), Bill Nighy (Harry Potter and the Deathly Hallows) and Ewan McGregor (Star Wars).


Jack the Giant Slayer opens in North America on March 1st and arrives in the UK on March 22nd.

The Green Lantern no longer shines for Geoff Johns

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Today an essay has been posted by writer Geoff Johns on the DC Comics’ official blog, The Source where he talks about bringing to a conclusion his superhero partnership with Green Lantern.  Here is the complete text:

So here’s the sad news: Doug Mahnke and I are closing the Green Lantern Saga that began with Green Lantern: Rebirth #1 with this May’s 64-page Green Lantern #20. As every storyline is coming to a head, it feels like the right time. The book is still doing great. The characters are as vibrant as ever. Let’s go out how we started – on a high note.

Counting up between the Green Lantern monthly series, Rebirth, Blackest Night, and the various one-shots and specials…that makes over 100 issues of Green Lantern I’ve had the absolute privilege, pleasure and fortune to write.

I’m obviously ending my run with a little sadness because I love these characters, every single one of them. But I’m walking away feeling very proud of what we’ve done and very grateful for the opportunity to collaborate with so many fellow creators. It’s that collaboration, and every reader out there, who have made this a truly special experience. It's hard to imagine a Green Lantern universe without characters like Atrocitus, Larfleeze, Saint Walker, the Indigo Tribe or the rest of the gang anymore. And I can't count how many Lantern t-shirts of all colors I continue to see.

It was Dan DiDio and Peter Tomasi who I first spoke with about Green Lantern. Dan was the Executive Editor of DC Comics at the time and Pete my editor on JSA. They both wanted to relaunch Green Lantern. My very first proposal that I could find dates back to September 2nd, 2003 meaning I’ve been working on Green Lantern for nearly ten years in some way or another. I’ll never forget Dan telling me his idea for the title, “Rebirth,” he said.

Through Blackest Night and Brightest Day, literally, Peter Tomasi has always been there. From the incredibly long conversations and debate on Rebirth to later writing Green Lantern Corps beginning with the conclusion of Sinestro Corps and up until today, Pete has been my creative partner in crime and what Green Lantern grew into would not have happened without him.

And, of course, look at the amazing artists I worked with: Ethan Van Sciver, your mad genius was key to everything we expanded the universe into – the endless energy you have for creation is unmatched. Ivan Reis and Joe Prado, you brought a scope only you two could deliver culminating with Blackest Night  – and you’re showing the world what Justice League should be. And Doug Mahnke…he’s the current superstar I work with every month on Green Lantern and have for years now. Doug, you’re one of the most amazing and unique artists in the business. Your power, grit and sense of wonder can be seen at its very best in the gatefold cover for Green Lantern #20.

I’m fortunate enough to continue working with Doug as we head over to a new project later this year.

We all owe a debt to Julius Schwartz, John Broome and Gil Kane for creating such an incredible foundation to build on with Hal Jordan and the Green Lantern Corps. Without them, there would be no Green Lantern.

So what will Green Lantern #20? The bizarre return of Hal Jordan, the final fate of Sinestro, the revelation of the First Lantern and an ending that I hope pays off everything we’ve ever done and ever created with Green Lantern. It has art by Doug Mahnke, Ethan Van Sciver, Ivan Reis and Joe Prado and I’ve poured everything I can into the script.

I’m off to focus my energy on the Justice League universe as we head into what I hope is an exciting plan – Simon Baz and B’dg will be along for the ride in Justice League of America – and you’ll no doubt see Hal Jordan and some of the other Lanterns in the world of the Justice League before too long. And Sinestro…? You’ll have to read Green Lantern #20 for that…

Thank you again for reading – whether you started with Rebirth or started this month – I sincerely appreciate your time and imagination.

In Brightest Day, In Blackest Night –

All Will Be Well,
Geoff

Green Lantern #20 image courtesy of DC Entertainment.

The CW renews Arrow for a second season

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Following the ratings success of its DC Comics adaptation Arrow, The CW has announced that it has picked up the hit superhero series for a second season, as well as renewing The Vampire Diaries and Supernatural, with all three shows set to return to the network's line-up in Fall 2013.

"We said last year that one of our goals was to establish building blocks to grow on, and now with our new hit Arrow and fan favorite Supernatural on Wednesday night, and the continued success of The Vampire Diaries on Thursday, we’ve been able to do that," said Mark Pedowitz, President of The CW. "Not only do Arrow, Supernatural and The Vampire Diaries perform well on-air, they’re also extremely successful for us both digitally and socially. I’m thrilled to have all three shows returning to our schedule next season."

Based on the DC Comics character Green Arrow, Arrow delivered The CW's best series premiere since 2009 and is currently the network's most watched show. The series stars Stephen Amell in the lead role as Oliver Queen, while other regular cast members include Katie Cassidy as Laurel Lance, Colin Donnell as Tommy Merlyn, David Ramsey as John Diggle, Willa Holland as Thea Queen, Susanna Thompson as Moira Queen and Paul Blackthore as Detective Quentin Lance.

Guest stars on the first season of Arrow have included Colin Salmon (Resident Evil) as Walter Steele, John Barrowman (Torchwood) as Malcolm Merlyn, Jessica De Gouw (Dracula) as The Huntress, Bryon Mann (The Man with the Iron Fists) as Yao-Fei, Kelly Hu (X2: X-Men United) as China White, Seth Gabel (Fringe) as Vertigo, Colton Haynes (Teen Wolf) as Roy Harper, Ben Browder (Stargate SG-1) as Ted Gaynor and Manu Bennett (Spartacus: War of the Damned) as Slade Wilson / Deathstroke.

Arrow currently airs on Wednesday nights on The CW.

Wolverine, Iron Man and Thor get mashed into Mr. Potato Heads

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For those wondering if Marvel and Pixar might ever get together to do a project the closest it would appear at the moment is a Toy Story meets X-Men and Avengers combination courtesy of Hasbro Inc and PPW Toys.



What am I talking about?  If you visit the upcoming New York Toy Fair this February you will witness Mr. Potato Head figures attired in the costumes of Wolverine, Iron Man and Thor.  We even have the pictures to prove it!

This new superhero spud line has been created with the collector in mind, is fully-functional and will be available for sale at speciality retailers and e-tailers starting Summer 2013.


Josh Holloway cast as the lead in CBS' Intelligence

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A familiar face to television is returning to start in his own show. CBS has announced that Josh Holloway (Lost) is set to star in their newest drama Intelligence.

Intelligence is centered at U.S. Cyber Command and focuses on a unit that has been created around one agent with a very special gift — a microchip has been implanted in his brain that allows him to access the entire electromagnetic spectrum.

Holloway will be playing Gabriel Black, a former Navy SEAL and dedicated intelligence officer. David Semel is set to direct the pilot, with Michael Seitzman and Tripp Vinson executive producing.

It’s great seeing another actor from Lost, one of my personal favorite shows, get a lead role on another show. CBS seems to be stocking up on Lost-alums already having Daniel Dae Kim on Hawaii 5-0 and Michael Emerson on Person of Interest.

The Terry Gilliam Retrospective Part 2: Escaping the Shadow

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Paul Risker continues his Terry Gilliam retrospective...

Jabberwocky sits as an important entry in Gilliam’s canon, representing the realisation of his directorial aspirations. It afforded him a solo directing credit, as well as the opportunity to pursue what he considered to be the aesthetic vision of a professional director he found difficult to pursue previously.

From the animator who dreamt of directing, to the co-director who aspired to achieve a solo directorial credit, Jabberwocky was a comedy whose narrative compromised of sketches, and starred three Pythons: Michael Palin, Terry Jones and Terry Gilliam. If that was not detrimental enough the more than noticeable Pythonesque humour would cost Gilliam the earlier opportunity to break free from his identity as the sixth Python, to finally assert: I am Terry Gilliam.

Though perhaps I have interpreted this wrong, and perhaps I am not alone. Jabberwocky should be defined not as an exit but rather as a stepping stone, a bridge if you will between Monty Python and the Holy Grail and 1981’s Time Bandits - the latter when Gilliam finally steps out of the shadow. In discussion of Jabberwocky, Gilliam has stated that he does in fact perceive it as a transitional film, an attempt to not escape Python so much as to avoid boxing himself into the comedy genre. I would imagine the irony is not lost on anybody reading this, dare I say even Gilliam himself who remarked, “… in my naiveté and arrogance I thought we could make a medieval film with a lot of comedy, have three Pythons involved  […] and not be accused of making a Python film.” Gilliam did however perceive in Jabberwocky an opportunity to be a more ambitious romance and adventure story. Here I would play devil’s advocate and argue that Holy Grail could be described as a comedy adventure: Arthur and his knights on a quest to recover the Holy Grail.

The renaming of Jabberwocky for U.S. distribution was against Gilliam’s wishes, but Don Rugoff, head of Cinema 5 distribution had little idea how to market the movie, and believed it would fare better with the title Monty Python’s Jabberwocky. Gilliam’s ensuing protests to both the distributor and the critics can be perceived as an early move towards Gilliam’s identity as a maverick director. In his correspondence with the critics, he explained to them that it was not a Monty Python film, and suggested that the film would be better written up as an homage to Breughel and Bosch. The critics were unlikely to ever compare what they perceived as an underwhelming medieval comedy to two such respected artists. The backlash was inevitable, with Newsweek derisively labeling him, ‘Gilliam the questionable’ - an attempt at an amusing comparison of the director to Jabberwocky’s King Bruno the Questionable. Inevitably this conflict over the film’s title serves to show the difficulty Gilliam encountered in escaping the shadow of Python. If Holy Grail was a baptism by fire for the first time co-director, the experience of Jabberwocky was a harsh one, though it could be argued that he was his own worst enemy.

If only as a technical example of filmmaking, the movie set Gilliam aside as a competent visual storyteller; though I believe it does more than that. It is shot with the aesthetical eye of a professional filmmaker, scenes shot from a variety of angles, and the introduction of the Jabberwocky is possibly Gilliam’s crowning achievement. At first limited to Dennis’ point of view of the terrified expressions of the other characters, Gilliam follows that shot up with Dennis’ restricted point of view through his helmets visor. Whilst most monsters are a guy in a suit, the legs and the limbs bending the wrong way, Gilliam with a film designer’s eye simply corrected this by having the guy in the suit stand with his back to the camera. The scene is a testament to Gilliam’s skill as a visual storyteller, no doubt attributed to his animation background, a skill he would continue to exploit to great effect.

Ironically, Gilliam only ended up making Jabberwocky because a previous project stalled. This original project would have been tantalisingly distinct from Holy Grail; in fact even now it would sit as a stylistically original entry in the Gilliam canon. The project was World War Three and All That, a film that would mix animation, World War II footage, and a soundtrack comprised of Beatles songs.

Fast forward to 1981’s Time Bandits. If Gilliam was ever to escape the shadow of Python, it was paramount for him to break free from the style of humour that had featured so predominantly in Jabberwocky. So, in contrast to the Pythonesque medieval comedy, his time travelling movie would introduce Gilliam as the maturing narrative filmmaker.

Gilliam's first three directorial efforts rely heavily on situational comedy, a mockery of events to drive the narrative forward. Time Bandits is no different, featuring comical situations in the past with the likes of ‘obsessed with his own height’ Napoleon Bonaparte. It would however feature a more maturely constructed narrative, void of sketches, one complimented by the comedy, a generically broad film, and full of characters who we laugh with rather than at.

In truth, neither Jabberwocky nor Time Bandits were about Gilliam escaping the Python shadow. Python is in his blood. He cut his teeth on Monty Python’s Flying Circus and the Python films. A friend steeped in Python comedy recently remarked to me “He never quite escapes the humour of Python, because it is his humour. When he is funny it is Pythonesque.” For me the genius of Gilliam is embracing his Pythonesque roots and combining it with his own auteurial vision, realising that he can transcend the limits of Python whilst incorporating the comedy of his roots. Gilliam is a director of two halves, the man and his shadow, both of whom leave an imprint on his cinema; the Gilliamesque imagination and the Pythonesque humour. Time Bandits is when this first occurs, and from that point on, Gilliam has taken his place as one of American cinema’s true auteurs. Such a cinematic vision could never have been realised were it not the air of seriousness that derived from his maturing as a narrative filmmaker.

Even as early as Time Bandits, ambition was becoming a characteristic of the director. Jabberwocky featured a subversive ambition, a fairy tale story with the wrong happily ever after ending, a running commentary on corrupt commerce, and the value of the monster to the bureaucrats. Meanwhile Time Bandits, in consideration of genre, was a revolutionary film for its time. Gilliam has asserted that it was made with everyone in mind, a film for everyone. In 1981 that was a problem. Family entertainment had yet to take off; in fact it was not until a year later when Spielberg’s E.T. was released that family entertainment became the lucrative sub-genre the studios would embrace. At that time only Disney were doing broad family entertainment.

An additional problem for Gilliam’s film was that it couldn’t be pigeon-holed. Time Bandits is an amalgamation of genres: action, adventure, sci-fi, fantasy and comedy. I agree with Gilliam that whilst Jabberwocky was somewhere between his singular directorial vision and Python, it nevertheless features a visual and narrative ambition that gets overshadowed by this criticism. I would also agree that any connection to Python is shared with a connection to two prominent European artists - Breughel and Bosch, the influence of whose art are evident in Gilliam’s postmodern fairy tale.

Whilst Jabberwocky demonstrates Gilliam’s fulfillment of a directorial aesthetic, Time Bandits serves to demonstrate his evolution as a narrative storyteller. His first time travel narrative represents a director discovering himself, an auteur full of creative ambition, making peace with his two selves to merge the auteur and the Python. Never was it about escaping the shadow.

Sadly, it would be this ambition that was to set him on a collision with Universal and Sid Sheinberg, for what has become known as ‘The Battle for Brazil.’

Paul Risker is co-editor in chief of Wages of Film, freelance writer and contributor to Flickering Myth and Scream The Horror Magazine.

The 1990 Captain America movie heading to Blu-ray

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Before Chris Evans donned the star-spangled suit in Captain America: The First Avenger and The Avengers, Matt Salinger (Revenge of the Nerds) brought the Sentinel of Liberty to life in director Albert Pyun's (Cyborg) low-budget 1990 adaptation Captain America.

Pulled from a theatrical release in the States (due to it being terrible, and all), Captain America went unreleased for several years before hitting shelves direct-to-video in the early 90s; currently only available via MGM's made-on-demand program in North America, the film is now gearing up for a Blu-ray release courtesy of Shout Factory, and is set to arrive in stores this coming May.

Captain America sees Steve Rogers (Salinger) transformed into the iconic super soldier during World War II, but the hero is frozen in ice as he battles his nemesis, the Italian fascist Red Skull (Scott Paulin; Turner & Hooch). Defrosted decades later, Captain America then sets out to rescue the President of the United States (Ronny Cox; RoboCop), who has been captured by the Red Skull - now the head of a powerful crime family responsible for killing the likes of Martin Luther King, JFK and Robert Kennedy.

Captain America is due to arrive on Blu-ray on May 21st... and is one for Marvel completists only.

Black Mirror Season 2 - Episode 1 Review

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Luke Owen reviews the first episode of Charlie Brooker's Black Mirror season 2...

Back for a second series, Black Mirror once again holds up its broken mirror to society to show us what we may not want to see.

In the first episode Be Right Back, Martha (Hayley Atwell) struggles with the death of her boyfriend Ash (Domhnall Gleeson) when a friend suggests that she sign-up for a new process which allows you to communicate with the dead as if they were alive. It's another brilliant idea from Charlie Brooker that is handled quite well for the most part, but does lose its way by the last quarter.

Unlike the first episode of the last season where it was a black comedy that poked fun at social media and how it runs the media rather than the other way round, Be Right Back is a more sombre, low-key and all together depressing affair about grief and how people deal with it in different ways. In this alternative future, there is a way of contacting those you've lost by a computer accessing everything they've put out publicly via social media and then create an accurate profile of how they may talk. This goes a step further when Martha uploads videos and phone calls to the system so she can talk to Ash before things take a disturbing turn of events.

Because the story is simple in nature, at the centre of this episode is Atwell's performance which is simply fantastic. She shines as the troubled Martha with such brilliance and realism in what is easily the best performance of Black Mirror's short lifetime. We have two more episodes left, but I can't see her being outdone here. Gleeson is equally as great and gives a nice and sweet performance at the start which instantly attaches you to him - making his death all the more tragic. From there he is reserved to voice acting only before the mid-show reveal in which he again gives a stellar performance. Even though their relationship isn't given a whole lot of screen time, you feel an instant connection with them which adds a lot of gravitas to the mid and closing moments of the episode.

As with all good anthology shows of this ilk, it raises important questions. Is this a good way for people to deal with grief in a social media obsessed world? Just because we want to talk to someone we miss, would that help the grieving process, especially when that person isn't real?

By the mid-point of the show, the episode takes a strangely dark turn as Martha connects with Ash in an almost Chia Pet style which leads to some incredible character moments and ideas. I think I preferred her talking to Ash via phone as it was a more powerful image, but this visual aspect was very thought provoking and made for a great story dynamic. Atwell's performance in these scenes is simply breath-taking which is coupled beautifully with director Owen Harris' low-key shot and lighting choices. Harris' vision of the future is also ideal for this story with technology moving faster than life itself, which means that the surroundings look familiar and the technology doesn't look that farfetched - adding to the believability of the story.

However, I do think the fault of the episode lies in its conclusion. After a wonderful slow burn build we're left with a fairly anti-climactic ending which doesn't really conclude any of Martha's character progression. She makes her decision and through some simple words and emotions screws herself into a life she clearly doesn't want. While it's certainly an impactful ending and did leave me shell shocked, I don't think it was right for the character or the story.

Regardless of the ending, Be Right Back is an incredible piece of television that is beautifully crafted. It's slow burn storytelling and sombre atmosphere make for an immersive experience and Atwell's performance is sublime. It's a great start to what I'm sure will be another great series of Black Mirror.

Luke Owen is one of the co-editors of Flickering Myth and the host of the Flickering Myth Podcast. You can follow him on Twitter @CGLuke_o.

Amanda Seyfried to join A Million Ways to Die in the West

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Amanda Seyfried
Amanda Seyfried looks set to make the journey from Paris to the Wild West. The young actress is still riding high from her portrayal of Cosette in Tom Hooper’s Oscar-nominated adaptation of Les Miserables and according to The Hollywood Reporter, Seyfried will be joining Charlize Theron (Snow White and The Huntsman) in Seth McFarlane’s new comedy A Million Ways to Die in the West.

MacFarlane will be performing triple duties by writing, directing and starring in his new comedy set in the Wild West. The film centres on MacFarlane as a rather timid cowboy who ducks out of a gunfight and then sees his girlfriend (Seyfried) leave him. The cowboy then meets and begins to train as a gunfighter with a famous outlaw. However he then begins to develop feelings for the outlaw's wife (Theron).

Seyfried is enjoying a fine run of form at the moment with a great deal of buzz surrounding another one of her projects, namely the Linda Lovelace biopic which she stars in as adult film star. Lovelace premiered at the Berlin International Film Festival and due to be released soon.

Robert Downey Jr. wins Black Mirror rights for movie adaptation

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The second series of Black Mirror started last night (you can read our review here) and Bleeding Cool are reporting that Robert Downey Jr. (Iron Man) has prevailed over other bidders (including George Clooney) for the rights to the first series episode The Entire History of You.

"In the near future, everyone has access to a memory implant that records everything they do, see and hear - a sort of Sky Plus for the brain. You need never forget a face again... but is that always a good thing?"

Written by Peep Show's Jesse Armstrong, the episode was a highlight of the first series and probably the most fitting for a cinematic adaptation (not sure pig sex would go down well with cinema audiences). It may come as a surprise to some that the show managed to grab Hollywood's attention, but there has been an intense bidding war over the rights to the episode with Downey Jr. coming out on top who will now look to adapt the material. Outside of producing the movie, it's not clear if he'll be acting in it.

With the second series debuting last night, it's perfect timing for some press and promotion around Black Mirror and could hopefully drive more people to go back and check out the episode on 4oD.

Movie Marathon VII - Godzilla (Showa Era)

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Luke Owen and his movie marathon cohorts takes in a 15 movie Godzilla marathon...

Movie Marathon Meeting - Where 3 guys watch franchise movies one after the others. This marathon is sponsored by curry, beer and a lack of sleep.

To date, our longest marathon was the initial marathon of Friday the 13th at 12 movies which spanned over 24 hours due to travel back and forth from London. But never had we taken on a marathon over 10 movies in one location.

With Pacific Rim heading into cinemas soon and the Godzilla reboot going into production next month, I decided to give my fellow Movie Marathon Meeting co-founders a history lesson in Kaiju cinema by taking in the Showa Era of Godzilla movies (1954 – 1975). The King of the Monsters has featured in 29 movies (including the American one) and we were about to watch the first 15 of them. It’s our longest marathon to date.

I had always been hesitant of doing a Showa Era Godzilla marathon as… well… Godzilla movies are an acquired taste. If you can’t buy into suitmation, can’t stand bad dubbing, cheesy sci-fi storylines, cheap miniature effects and all that comes in between, you will struggle to find a lot to like about the Godzilla franchise. Even watching them singularly, each film has a particular feel to it (save perhaps the first one) and you’d be forgiven for thinking that they’re all quite “samey”. Not to get ahead of ourselves, but I love this franchise and can forgive all of its little flaws. Would my fellow co-founders be as forgiving?


20:09 – Godzilla (1954)

With its gritty tone, moody visuals and bleak presentation, Godzilla is a marvellous movie and a clever way of pushing an anti-nuclear war message. It may not be subtle in its endeavours, but it’s incredibly effective. The scenes in the hospital after the destruction and the woman holding on to her children before getting killed are very disturbing and would be a stark contrast to the movies that would come after it. There is a reason why this is described as the “original Japanese masterpiece” as this is a fantastic movie and one that I can watch again and again.

21:47– Godzilla has been destroyed by the Oxygen Destroyer but is about to Raid Again…

22:00 – Godzilla Raids Again (also released as Gigantis: The Fire Monster) (1955)

As Kyle from the Kaijucast said recently, the history behind Godzilla Raids Again is a lot more interesting than the film itself. The movie was released just 6 months after the original movie was in cinemas so you can imagine that it’s pretty simplistic. But not only that, it’s just a bit of a bore. Not a whole lot happens outside of the fight between Godzilla and Anguirus which annoyingly happens ¾ of the way through the movie – leaving the last twenty minutes to be nothing more than filler of Godzilla being shot at while standing on an iceberg. After the brilliance of Godzilla, Godzilla Raids Again is quite a let down.

23:32– The King of the Monsters would be left buried for 7 years but would be brought back for one of the most legendary rumbles ever put on celluloid.


23:43 – King Kong vs. Godzilla (1962)

I know a lot of people like it and have a nostalgic attachment to it and I’ll be the first to admit that I do too, but when you take a step back and look at the film without rose-tinted glasses it’s actually pretty lame. The suits look awful, the miniature effects aren't as good as the previous two movies and the comedic nature of it detracts from the impact of the fight. I must add that we were watching the English language version so we don’t get the commercialism commentary and instead get two white actors getting dinosaur knowledge from kid’s books, but the film as a whole is a bit of a dud - however it is a very entertaining dud. I should also add that my fellow co-founders found the visual of Japanese actors in black face to be hilariously bad.

01:10– I do like this movie, but it does get a free pass from nostalgic fans. Up next, Godzilla would take on one of Toho’s other kaiju…

01:19 – Mothra vs Godzilla (also released as Godzilla vs. The Thing)

This is the most critically acclaimed kaiju movie outside of the original and it’s easy to see why. It tells a fantastic story, even in the American dub, of the capitalistic culture Japan was experiencing at the time. Mothra is not my favourite of the Godzilla characters, but this movie is just so much fun to watch. I also love the human villains and adore their fight scene for its brutality and realism. It seems weird to think that even though it’s a monster movie, I actually enjoy the human element more than the kaiju action.

02:48– One of my favourites of the series, even with its dreadful ending. But coming up next was the debut of one of Godzilla’s most formidable opponents…


02:54 – Ghidorah, The Three Headed Monster

Oh man do I love Ghidorah. For those not in the know, he’s a three headed dragon from outer space who shoots lightening from his mouths and destroys buildings simply by flying over them and, even though he only shows up in the last twenty or so minutes, he is the shining star of this movie. The final monster battle between Godzilla, Rodan, Mothra and Ghidorah is fantastic and the human storyline is also a good watch. If you couldn't tell, I love this movie. Apart from Mothra vs. Godzilla, it's the most complete movie in the franchise.

04:28 – Ghidorah is defeated and Godzilla becomes a good guy. What next for the King of the Monsters? Well space of course!

04:40 – Invasion of Astro-Monster (also released as Godzilla vs. Monster Zero)

Just as Jason Voorhees and the Leprechaun, Godzilla was heading to space for an adventure in the most sci-fi heavy of the Godzilla franchise. It has an incredibly cheesy and clichéd storyline and I love every second of it. I mean c'mon, just look at that title! Unlike others, I really, really like this entry and although the monsters play a secondary role to the humans, I think they get a good run. The celebration dance is a little stupid, but I can overlook it. It's probably my third favourite movie in the whole franchise.

06:20– We’re all starting to feel the fatigue now and we still have another 10 films to go…

06:25 – Ebriah, Horror of the Deep (also released as Godzilla vs. The Sea Monster)

The first film in our series to be directed by Jun Fukada, who gets a lot of flak from Godzilla fans for directing the ‘not so good’ entries into the series (when compared to Ishiro Honda). For me, the problem with Ebriah, Horror of the Deep is that it doesn't feel cinematic and could easily be mistaken for a made for TV movie. In fact, it was the first movie not to see an American cinema release. But for all its flaws and silliness, I actually kind of like this entry. I think if I were a kid growing up with cable, I’d love this movie. The story is simple and the fights between Godzilla and Ebirah are, if you ask me, among his best. It has a lot of issues, but I can look past them.

07:49 – We’re nearing the 12th hour mark and we’re not even half way through this marathon yet! We decided to get through one more film before attacking breakfast. What’s next for the King of the Monsters? Parenthood.


07:57 – Son of Godzilla

I'm going to throw this out there – I don’t get the hate for this movie. Is it because Godzilla is a father and not a message of nuclear war? Is it because it's aimed more at kids? Is it the comedic tone? I just don’t understand why people hate this movie so much because I, and the rest of my co-founders, actually really enjoyed it. The relationship between Minilla and Godzilla is incredibly sweet and the final scenes between the two are very touching. The fight scene between Godzilla, Minilla and Kumonga is actually quite intense and suspensful and is made all the more engaging because of the relationship built up throughout the movie as well as the threat of Kumonda. On top of that, the main human relationship is really nice and I found myself routing for the leads and booing the bad monsters. It’s one of the more mocked movies, but I really dug Son of Godzilla.

09:45– Some technical issues slowed us down on this watch and breakfast was in order. We we’re going to need all the strength we could get.

10:38 – Destroy All Monsters

If Toho had stuck to their guns, this would have been the last movie on our list to watch as Destroy All Monsters was intended to be the final movie of the Godzilla franchise. Because of this, every monster (even ones who hadn't appeared in Godzilla movies like Gorosaurus and Mandra) makes an appearance to all join in the final fight against the evil King Ghidorah. This is another great movie in the franchise where the human story is fun and the monster rumble is epic. For a movie where the monsters should have had more screen time, I do feel like they’re given the back seat a little too much but it doesn't hamper my love of it.

12:07– Breakfast is consumed and the movie is enjoyed. That food will do us the power of good to get us through this next battle…

12:10 – All Monsters Attack (also released as Godzilla’s Revenge)

While All Monsters Attack is a terrible movie, it’s hard to hate it because it was made specifically for young children. If you cut out all of the scenes in between, this could be a Best Of Godzilla fight compilation as it has an insane amount of stock footage from Godzilla vs. The Sea Monster and Son of Godzilla. This is a bad movie, but we had a good chuckle watching it.

13:22– I’d like to say that we’re past the worst, but that couldn't be further from the truth…


13:32 – Godzilla vs Hedorah (also released as Godzilla vs. The Smog Monster)

I can’t hate All Monsters Attack because it was made for kids, but I can hate Godzilla vs. Hedorah because it is a bad, bad, bad movie. I get that Yoshimitsu Banno was trying to return to Godzilla’s serious routes and use him against a symbol of pollution, but the movie is so incredibly goofy with bizarre cartoon sequences, science lessons and horrid exposition dialogue. In fact, the majority of the film is exposition explaining Hedorah’s existence which just makes the already long run time drag. We got a massive laugh from the stupid trumpet music that accompanies Godzilla throughout the movie that co-founder Jon pointed out sounded the same as the music played when Tom from Tom and Jerry was drunk:


The fight is boring, the set-up is boring, the presentation is boring and the music is stupid. A failure on a massive scale.

14:50– We’re 2 movies down on the 4 bad Godzilla movies. Up next was the cheap stock-footage-tastic Godzilla vs. Gigan

14:53 – Godzilla vs. Gigan

I like parts of this movie. I really do. I like the sci-fi element of the plot and even the idea behind it, but the film is incredibly flawed. The reveal of the cockroaches did get some titters from my fellow co-founders but I loved it. The problem with the movie is that it looks horrendously cheap and rushed. The fight scene at the end (and indeed some of the initial attack) are padded out with stock footage from Destroy All Monsters and Ghidorah, The Three Headed Monster that it becomes infuriating to watch. It may have some plus points, but it has far too many negatives.

16:22– One more bad movie left – and we have only 3 more movies left to go…


16:30 – Godzilla vs. Megalon

Although Universally panned, Godzilla vs. Megalon is not as bad as people make it out to be. Don’t get me wrong it’s a bad movie and deserves to be mocked, but it’s not all that bad. The problem the movie has is that, just like Ebirah, Horror of the Deep, it looks like a made for TV movie and incredibly cheap. It comes as no surprise that Godzilla was only put in the movie for marquee value as the focus of the film is around Jet Jaguar and the underground people’s Megalon. It’s a bad movie, but it’s not as bad as Godzilla vs. Gigan and Godzilla vs. Hedorah.

17:53– While they had gotten sick of this marathon a few movies back, my fellow co-founders were now about ready to kill something. Just 2 movies left and they’re two of the best(ish).

17:57 – Godzilla vs. Mechagodzilla

I love this entry. The story is great, the villains are great, the monster fight is fantastic and the whole presentation once again feels cinematic. Gone are the cheap knock off stock footage cheap movies and in are superb effects, great costumes and superb action. Mechagodzilla is a great villain and the ape aliens are a wicked addition to the cannon. It’s insane to think that it was currently 6pm and we hadn't had a truly great movie since 4am that morning. It had been a long day…

19:24– We can’t quite believe it, but we've only one movie left to go.


20:26 – Terror of Mechagodzilla

After an obscenely long hour waiting for food, we sat down to take in the last movie in our marathon and the last movie of the Showa Era of Godzilla. Serving as a sequel to Godzilla vs. Mechagodzilla, Terror of Mechagodzilla is another good edition to the cannon, albeit one with many flaws. Titanosaurus is not that great of a monster and it’s a shame to see that the aliens aren't ape creatures any more. The story isn't as strong as it's predecessor or as other entries in the franchise which does make the film drag slightly.  What I do love however is the human relationship between Ichinose and Katsura and how difficult it is for a man to find out that he is in love with a machine - it's such a warming tale and a good distraction from the monster action. It’s a fitting end to the series, but it’s not the best of the lot.

21:57– 26 hours after we started this adventure, we’re finally done. Bed anyone?


My apprehensions were correct. By around Son of Godzilla my co-founding friends were tired of these movies. To paraphrase Mr. Tako from King Kong vs. Godzilla, they were “sick of Godzilla”. Next month we’d planned to watch the Heisei Era movies but after this experiment, I don’t think they want to watch another Godzilla movie for quite some time. Me? I could happily watch another one right now and enjoy it. I am a big fan of this series and am happy to have taken part in this marathon. It’s a franchise with more holes than great movies, but I have such a reverence for the character and genre that I can’t hate the series.

The other side of the coin is that, perhaps watching 15 movies in a row is just too much. Speaking to co-founder Jon yesterday he said that if we'd split this marathon into two, he may have enjoyed it a bit more than he did. I'm inclined to agree. I don't think we'll be doing one of this length again...

From Best to Worst:
1.Ghidorah, The Three Headed Monster
2.Mothra vs. Godzilla
3.Invasion of Astro Monster
4.Godzilla
5.Godzilla vs. Mechagodzilla
6.Destroy All Monsters
7.Son of Godzilla
8.Terror of Mechagodzilla
9.Godzilla vs. King Kong
10.Ebirah, Horror of the Deep
11.Godzilla vs. Megalon
12.Godzilla Raids Again
13.All Monsters Attack
14.Godzilla vs. Gigan
15.Godzilla vs. Hedorah

Total Runtime (including breaks): 26 hours, 6 minutes

This hasn't gone down as well as previous marathons and I don’t think we’ll ever do one this long again. Perhaps if my co-founders had seen each film individually this could have been a different story, but as it stands I didn't convert them to the kaiju way of cinema. With this in mind, we’re changing things up for the next marathon…

Next Time: Lethal Lottery


The Web has run dry in Ultimate Comics Spider-Man #23

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I guess with any job it gets tiresome, especially when it involves people trying to kill you every single day.  But is that the real reason why Miles Morales has decided to abandon his role as Ultimate Comics Spider-Man?


To put the rumours to rest read Ultimate Comics Spider-Man #23 which arrives in May 2013 under the creative direction of writer Brian Michael Bendis and artist Dave Marquez.

Judge Dredd passes judgement again for a limited time for IDW

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Looks like Judge Dredd is going to get the IDW Limited Deluxe Hardcover treatment starting with a Red Label edition which features the signatures of artist Brian Bolland and co-creator John Wagner along with a set of 12 limited-edition lithographs.  "Back in the ‘70s, when 2000 AD was first published, the stories were printed on low-grade newsprint paper, which has yellowed with age, so it's great to see Dredd published again in new formats," says Bolland. "Fans should be delighted with this limited-edition book. John [Wagner] and I have signed every copy and the art portfolio that comes with it captures a dozen of our favourite moments from the series. It's a top-notch presentation of work we're very proud of."

Only 325 copies of Red Label book will be produced and will include hand-built, custom-designed slip case with artwork by Brian Bolland.  The dozen lithographs are a collection of key covers and memorable moments illustrated by Bolland and are stamped and hand-numbered.  "With strong design and packaging, plus the involvement of [Brian] Bolland and [John] Wagner, we've managed to do something special here," says Judge Dredd editor Justin Eisinger. "Which is no small feat, considering this material has been beloved by generations of fans and seen reprint in several forms. Hats off to everyone for their efforts!"

Judge Dredd: The Complete Brian Bolland Delux Limited Edition Red Label Book is available for pre-order now and details will soon be released regarding a Carlos Ezquerra limited-edition.

Special Features - I'm Already Sick of Star Wars

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Anghus Houvouras explains why he's already sick of Star Wars...

It's hard to believe it's only been four months since Disney purchased Lucasfilm for $4 billion.  I say that because the last four months have felt like a freaking eternity.

New Star Wars films has cranked the internet into overdrive.  Rampant speculation has surrounded every aspect of the film.  Every day brings forth new, mostly unfounded rumors that are likely to drive traffic to the sites and drive rational people insane.  There was months of discussions regarding who would be tapped to direct the first new installment.  And before J.J. Abrams was named there were at least a dozen directors discussed.  Now that the project has a helmer, we're learning that Disney wants to not only continue the series with a new trilogy, but also release standalone films.  Once again, the internet cracked in half with speculations about Young Han Solo, Boba Fett, and Yoda films.

At some point this week all this baseless, unsourced Star Wars speculation went from a mild annoyance to downright frustrating.

Maybe it was the story that hit every corner of the net.  A story about Fringe star John Noble being tapped to play the villain in the forthcoming seventh installment.  Here's snippet:

John Noble, Walter Bishop himself, is supposedly set to play the villain, at least according to some random radio host in Melbourne who revealed she "has it on very good authority that Aussie actor John Noble will be appearing as the villain." - Movieweb

Every major website ran a variation on this story.  Most of them with headlines like "IS JOHN NOBLE THE NEXT STAR WARS VILLAIN?"

Notice the question mark.  In the age of internet reporting, it's the clear sign that something is probably a) untrue and b) a lazily written piece. 

Of course, days later, it turns out that even the basic source of the story, a "random radio host in Melbourne" did not in fact make such a statement.  Totally made up.  The crew over at Moviehole debunked the story.  The Melbourne based radio hosts were two guys named Matt and Jo from Fox FM.  Turns out they never said anything about Noble and Star Wars

"I can confirm to you that this is as false as whatever hides under Pammy Anderson’s togs. This was not discussed on Fox FM, and neither Matt or Jo know anything about it. It was, in other words, simply the creation of a bored fanboy who masterfully tricked a few into running." - Moviehole.net

And the thing is, everyone knew this story was about as authentic as Mark Wahlberg's member in Boogie Nights.  Like all internet rumors, there's a small smattering of potential truth.  John Noble was on Fringe, which was executive produced by J.J. Abrams.  Abrams is directing Star Wars: Episode VII.  It doesn't take a rocket scientist to put together the possibilities.  It's conjecture, but it's conjecture that still exists in the realm of possibility and so websites run the story knowing very well the slim likelihood of its authenticity.  And because they add the question mark to the end of the sentence, they're not really making any declaratory statement.  They are simply posing a hypothetical.  It's like Jeopardy.  Everything is fine as long as you pose your story in the form of a question.

Take a look at your favorite online film sites.  How many stories a day are they running with question marks at the end?  Those are the ones that don't bother doing their homework.  Here's some examples I found just today at a number of popular sites.

What's the first standalone Star Wars film to be made? - AintItCoolNews.com

I think Aint it Cool News invented the question mark headline.  When you have no sources or basis in fact you simply add it to the end of a sentence and, viola, you can preserve a shred of dignity.

Frank Oz to voice Yoda? - Latino-Review.com

This one almost feels insulting.  Since there has been no formal announcement about a Yoda film, doesn't it seem almost idiotic to speculate on Oz's involvement.  I'm guessing that if there is a Yoda film, Oz would be the first choice.  This particular story tells you nothing other than the fact that Oz would like to do it, should this film actually materialize.  That's a shocking piece of information there. 

And this is why I'm already sick of Star Wars. Because the internet is intent on strangling this thing in the crib.  Disney is going to spend the next twenty years milking the franchise.  If you thought Lucas was over marketing the brand, you ain't seen nothin' yet. The market will be flooded with Star Wars product, which means websites will continue to run every half cocked rumor at warp speed.  It's only been four months, and frankly, I've heard enough.

Beware the question marks, my friends.  It's killing entertainment journalism.  Oh, sorry.  What I should have said was:

IS QUESTION MARK REPORTING DESTROYING ENTERTAINMENT JOURNALISM?

I think we know the answer.

Anghus Houvouras

Guardians of the Galaxy get their own Trading Cards

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If you want to trade for your favourite member of the Guardians of the Galaxy or collect them all, Marvel will be launching special limited edition trading cards in March 2013.  Making things even more interesting is that one of the trading cards will be more exclusive than the others.








As for the comic book series being written by Brian Michael Bendis (All New X-Men, Age of Ultron) and drawn by Steve McNiven (Civil War, Old Man Logan), the press release states:

Fans are in for the ride of their life as the Guardians of the Galaxy put their lives on the line for the sake of the Marvel Universe. There’s a new rule in the galaxy, and it’s put Earth off limits to any outsiders. But why has Earth become so important? That’s what Star Lord, Gamora, Drax, Rocket Raccoon, Groot AND Iron Man are about to discover.

Guardians of the Galaxy #1 goes on sale March 27, 2013.

Wreck-It Ralph knocks Les Mis from the top of the UK box office

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UK box office top ten and analysis for the weekend of Friday 8th to Sunday 10th February 2013...

Wreck-It Ralph movie poster
It was game over for Tom Hooper's Les Misérables this past weekend as Disney's Wreck-It Ralph knocked the acclaimed musical from the top of the box office, with the video game-inspired CG animation banking a solid £4,526,380 to take first place and give Disney its second-highest non-Pixar UK opening behind 2011's fairytale adventure Tangled.  

Les Misérables added another £1.64m to push its five-week gross to £33.46m, while the romantic comedy I Give It a Year opened in third with £1,450,023. Quentin Tarantino's Django Unchained was the only other release to break seven figures, with the Spaghetti Western homage and Robert Zemeckis' Flightboth dropping two spots apiece to fourth and fifth.

Leading the bottom half of the chart was the third of this week's newcomers Warm Bodies, although a £895,509 debut seems to indicate that audiences prefer vampires to zombies when it comes to undead romances. Meanwhile the only other new release to crack the top ten this week was British filmmaker Sacha Gervasi's Hitchcock, which opened with £606,817 to finish up in eighth behind Steven Spielberg's Lincoln. Despite falling four places, Ang Lee's Life of Pi continues to show strong sea legs, edging towards the £30m mark in ninth place after eight weekends on screens, while The Impossible also drops four spots to round out the chart in tenth.

Number one this time last year: The Woman in Black

1. Wreck-It Ralph - £4,526,380 weekend (New)
2. Les Misérables - £1,640,857 weekend; £33,456,340 (5 weeks)
3. I Give It a Year - £1,450,023 weekend (New)
4. Django Unchained - £1,073,775 weekend; £12,407,764 (4 weeks)
5. Flight - £925,049 weekend; £3,186,967 (2 weeks)
6. Warm Bodies - £895,509 weekend (New)
7. Lincoln - £809,196 weekend; £5,916,579 (3 weeks)
8. Hitchcock - £606,817 weekend (New)
9. Life of Pi - £462,559 weekend; £28,098,112 (8 weeks)
10. The Impossible - £351,193 weekend; £12,751,395 (5 weeks)

Incoming...

Several new films arrive in cinemas this week, looking to make their mark this Valentine's Day. First up on Wednesday is the supernatural fantasy romance Beautiful Creatures (cert. 12A), while Thursday's offering include the latest Judd Apatow comedy This Is 40 (cert. 15), and - for those couples who prefer explosions to romance - Bruce Willis returns as John McClane for A Good Day to Die Hard (cert. 12A). Meanwhile there's also limited one day re-releases for Baz Luhrmann's Moulin Rogue! (cert. 12A) and Romeo + Juliet (cert. 12A), while Friday sees the release of the 3D animation Sammy's Great Escape (cert. U).
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