Chimera Strain trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Chimera Strain is a 2019 science fiction drama/thriller film written and directed by Maurice Haeems, and produced by Jay Sitaram and Maurice Haeems.

Initial release: March 15, 2019

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Film synopsis :  

Vertical Entertainment has unleashed this trailer for CHIMERA STRAIN which hits theaters and on VOD March 15

Written & Directed by Maurice Haeems

Cast Henry Ian Cusick, Erika Ervin, Kathleen Quinlan

Running Time 80 Minutes

Rating”R” by the MPAA

Imagine a world without aging, injury, disease or death. Quint’s obsession with this utopian dream pushes him to the edge of his sanity. Rather than risk losing his dying children, Quint decides to freeze them alive, thereby preserving them in a cryonic ametabolic state. Meanwhile he feverishly researches genetic modifications that would give them the regenerative abilities of the “immortal” Turritopsis jellyfish. Quint’s experiments require human embryonic stem cells and this sets him on a collision course with his Masterson, a shadowy figure, whose bizarre motives trigger a chain of events with far-reaching consequences.

MOVIE INFO: 

Directed by Maurice Haeems
Written by Maurice Haeems
Starring Henry Ian Cusick, Kathleen Quinlan, Erika Ervin
Music by Aled Roberts[4]
Cinematography David Kruta
Edited by Fritz Feick, Brian Scofield
Distributed by Vertical Entertainment, Lionsgate
Release date
15 March 2019
Running time
80 minutes
Country United States
Language English

Film Review: 

Most of us know actor Henry Ian Cusick from his work on Lost or The 100, but his new role features him going over the edge for scientific discovery. io9 is excited to exclusively debut the new trailer for Chimera Strain.

In Chimera Strain, a new film from filmmaker Maurice Haeems, Cusick plays a scientist who freezes his kids alive as he explores the DNA of an immortal jellyfish to try and cure a fatal disease they have. As you may expect, things don’t just go awry, they go horrifically wrong in this gruesome blend of sci-fi, psychological thriller, and horror.

The Chimera Strain, which also stars Kathleen Quinlan, Karishma Ahluwalia, and Jennifer Gjulameti, hits select theaters and VOD on March 15. What do you think of the new trailer?

Chimera Strain is an upcoming high-concept/low-budget sci-fi film about a mad scientist trying to save his children by editing their DNA. It comes from first time writer-director Maurice Haeems. I love a mad scientist story, and with all the controversy and philosophical dilemmas posed by CRISPR, this movie seems to be very timely. Let’s hope that it lives up to its potential.

Here is the synopsis: “A brilliant but disturbed scientist named Quint (Henry Ian Cusick) freezes his own two children alive, while he races to cure their deadly genetic disease by decoding the DNA of the immortal Turritopsis jellyfish.”

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The film also stars Kathleen Quinlan, Erika Ervin, Jenna Harrison, Karishma Ahluwalia, and Jennifer Gjulameti. Chimera Strain has played at a few film festivals and will be released in select theaters and on VOD by Vertical Entertainment on March 15. Are you going to check it out?

Captive State trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

This is no longer our planet. From the director of Rise of the Planet of the Apes.
Initial release: March 15, 2019 (USA)
Director: Rupert Wyatt
Budget: 25 million USD
Music composed by: Rob Simonsen
Screenplay: Rupert Wyatt

Captive State Full Movie Watch

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Film synopsis :  

When the end of the world comes, who would you rather have protecting you more than John Goodman? Goodman may be our most versatile actor working today; in the last two years he has revisited his sitcom roots (“Roseanne”), brought gravitas to a stylish indie spy thriller (“Atomic Blonde”), and anchored a blockbuster hit with critical support (“Kong: Skull Island”). For his next trick, he will combine those skills to good use in Focus Features’ spring sci-fi offering, staving off an alien invasion in “Captive State,” which just released its first official trailer.

Though much is still unknown about the movie’s particulars, the official synopsis reads: “Set in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, ‘Captive State’ explores the lives on both sides of the conflict – the collaborators and dissidents.”

MOVIE INFO: 

Directed by Rupert Wyatt
Produced by
  • David Crockett
  • Rupert Wyatt
Written by
  • Erica Beeney
  • Rupert Wyatt
Starring
  • John Goodman
  • Ashton Sanders
  • Jonathan Majors
  • Colson Baker
  • Vera Farmiga
Music by Rob Simonsen
Cinematography Alex Disenhof
Edited by Andrew Groves
Production
company
  • Amblin Partners
  • Participant Media
Distributed by Focus Features
Release date
  • March 15, 2019 (United States)
Running time
109 minutes
Country United States
Language English
Budget $25 million

Film Review: 

There’s a new alien invasion coming to theaters, and there’s nothing the humans in Captive State can do to stop it because it happened 10 years ago.

This new sci-fi post-apocalyptic film, written and directed by Rupert Wyatt (Rise of the Planet of the Apes), explores what happens when it’s already too late for humanity. The film picks up 10 years after aliens took over the planet and established a governing body called “The Legislature,” but even before that, society was plagued by war, famine, crime, disease, and disasters.

Captive State looks equal parts The Purge, Colony, and Arrival with perhaps the greatest resemblance to Battlestar Galactica Season 3. Or better yet, Interstellar if they never sent anybody into space.

As part of a historical record on a viral marketing website, one section reads, “In its darkest hours, an alien force saw opportunity and swooped in to enslave humanity under the guise of “peaceful unity.”

Intrigued? Here’s everything else we know about Captive State.

John Goodman plays Chicago Police Officer Mulligan, a man who fell in line with great zeal after the Legislature took over and is eager to please his alien overlords. Of course, not everyone is ready to fall in line. Ashton Sanders plays Gabriel, a young man who becomes connected with a rebellious organization called “Phoenix.”

Hence the synopsis: “Set in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, Captive State explores the lives on both sides of the conflict — the collaborators and dissidents.”

The first full-length trailer for Captive State has been released and it looks intense. John Goodman and Ashton Sanders star in the gritty political sci-fi movie, which looks incredibly dark and compelling. Rupert Wyatt (Rise of the Planet of the Apes) directed the movie and it takes place in Chicago, ten years after an occupation by an extraterrestrial force, but it doesn’t focus on one side of the conflict. Instead it looks at those who decide to collaborate with the aliens and those who do not. It looks like it’s a lot tougher for the dissidents than it is for the collaborators as seen in the trailer.

Ashton Sanders’ Gabriel character in Captive State can be seen asking for a lawyer after being detained, but John Goodman’s character lets him know that things don’t work like that anymore since the aliens arrived on the scene. Gabriel is being torn in two different directions: either join up with the collaborators or meet up with the Phoenix resistance group. By the looks of the trailer, Gabriel chooses the latter, which will be a struggle to stay alive and out of sight from the alien surveillance.

 

Captive State was originally supposed to hit theaters in August of this year, but it was later pushed back to March of next year, though no reasoning was given. The first trailer focused on the aliens while the second put the focus on The Phoenix resistance. The latest trailer brings everything all together, while keeping the plot details under wraps. There is definitely some heavy sci-fi vibes going on, but there is clearly something else far more unique bubbling underneath the surface, which is evident right from the start of the latest trailer.

Related: Captive State Trailer Promises a Better Life Through Hostile Alien Takeover

In August of 2016, it was announced that Rupert Wyatt had signed on to direct Captive State from a screenplay written by Wyatt and his wife Erica Beeney. Later that year, it was revealed that John Goodman and Ashton Sanders joined the cast. In early 2017, it was announced that Vera Farmiga, Machine Gun Kelly, and newcomer Jonathan Majors had joined the cast as well. Kelly claims that he was roughed up during the filming by someone playing a police officer and suffered a hairline fracture of his sternum. The rapper claims that he was told to “suck it up” on the set.

Now that we have a better look at Captive State, more people will likely get excited about what the movie actually is. There’s clearly a political undercurrent, but it’s unclear what it is at this time. Why would the humans want to collaborate with the aliens? Thankfully, we won’t have to wait too much longer since the movie opens on March 29th, 2019.

Captive State Full Movie Watch

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While we wait to see the true reasoning behind the alien invasion, you can watch the latest trailer for Captive State below, thanks to the Focus Features YouTube channel.

Five Feet Apart trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Seventeen-year-old Stella spends most of her time in the hospital as a cystic fibrosis patient. Her life is full of routines, boundaries and self-control — all of which get put to the test when she meets Will, an impossibly charming teen who has the same illness. There’s an instant flirtation, though restrictions dictate that they must maintain a safe distance between them. As their connection intensifies, so does the temptation to throw the rules out the window and embrace that attraction.

Initial release: March 15, 2019 (USA)
Director: Justin Baldoni
Based on: Five Feet Apart; by Rachael Lippincott
Screenplay: Tobias Iaconis, Mikki Daughtry
Producers: Justin Baldoni, Cathy Schulman

 

 

Film synopsis :  

An upcoming romantic drama about two young people with cystic fibrosis is angering some in the community. Though the film aims to raise awareness of the life-shortening genetic disease, a number of advocates say it could do more harm than good.

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The directorial debut of Jane the Virgin actor Justin Baldoni, Five Feet Apart stars Haley Lu Richardson and Cole Sprouse as cystic fibrosis patients in the same hospital who fall in love but aren’t allowed physical contact with each other due to their disease. The film’s title comes from the “six foot rule,” a guideline set by the Cystic Fibrosis Foundation that says two patients must be kept at a minimum of six feet (two meters) apart to minimize the risk of cross infection.

MOVIE INFO: 

Directed by Justin Baldoni
Produced by
  • Cathy Schulman
  • Justin Baldoni
Screenplay by
  • Mikki Daughtry
  • Tobias Iaconis
Based on Five Feet Apart
by Rachael Lippincott
Starring
  • Haley Lu Richardson
  • Cole Sprouse
Music by Brian Tyler
Breton Vivian
Cinematography Frank G. DeMarco
Edited by Angela M. Catanzaro
Production
company
  • CBS Films
  • Welle Entertainment
  • Wayfarer Entertainment
Distributed by CBS Films
Lionsgate
Release date
  • March 15, 2019
Country United States
Language English

Film Review: 

This March, Haley Lu Richardson and Cole Sprouse will surely tug at your heartstrings with the release of their new film, Five Feet Apart. They play Stella and Will, two teens who fall in love while dealing with their respective battles with cystic fibrosis. As the trailer teases, you will definitely cry more than once, get swept off your feet, and yes, be entranced every time Cole strokes his luscious hair.

The film follows Stella (Haley Lu Richardson) and Will (Cole Sprouse), two teenage cystic fibrosis patients who fall in love. Due to their mutual illness, the pair must remain six feet apart from each other at all times.

Moises Arias, Kimberly Hebert Gregory, Parminder Nagra, Claire Forlani, Emily Baldoni, Elena Satine, Gary Weeks and Sophia Bernard round out the cast. The film was directed by Justin Baldoni and is based on the Rachel Lippincott novel of the same name, with Mikki Daughtry and Tobias Iaconis adapting the book for the big screen.

The trailer opens with Will introducing himself to Stella. After Nurse Barb (Hebert Gregory) interrupts and tells the two to remain six feet apart, Stella says, “Let me guess. You’re the kind of guy that ignores the rules cause it makes you feel in control. Am I right?”

In a vlog, Stella explains that her lung function is down to 35 percent. A montage shows the nurse sorting out medication and Stella walking down a hallway and putting on a face mask when she sees Will.

“People with cystic fibrosis aren’t supposed to get within six feet because we could end up catching each other’s bacteria,” Stella explains. Due to the fact that she is waiting for a lung transplant, Stella makes sure to take care of herself.

While Stella takes her health regimen seriously, Will believes that they’re “breathing borrowed air.” She then requests to see his regimen and volunteers to do her treatments with him to ensure that he takes his health seriously.

The two eventually develop feelings for each other and decide to go on a date, though the six-feet separation rule proves to be a challenge.

Later in the trailer, Stella sees the implications of Will’s B. Cepacia infection. “Catch his infection and you can kiss new lungs goodbye,” Barbs tells her.

“This whole time I’ve been living for my treatments instead of doing my treatments so I can live,” Stella says in a voiceover as a montage plays of her and Will bonding.

Will later watches one of Stella vlogs that shows her explain that she has cut 12 inches off of the six-foot separation rule. “After all the CF has stolen from me, I don’t mind stealing something back,” she says. “One foot. Just one foot closer.”

Five Feet Apart will be in theaters March 15. Watch the full trailer above.

 

Richardson has her plate full with work and oh, planning for a wedding that might not happen for a while. In 2018, Richardson and her longtime beau, Jane the Virgin actor Brett Dier, announced their engagement after Richardson popped the question. “We’ve been together for seven years. We just want to take our time.

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We’re still not used to the word fiancé. It’s so pretentious in saying it. Neither of us are used to it. We still call each other boyfriend and girlfriend. We’re just engaged. And I love Brett. And we’ll get married one day.”

Wonder Park trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Initial release: March 15, 2019 (USA)
Director: David Feiss
Budget: 100 million USD
Production companies: Nickelodeon Movies, Paramount Animation, Ilion Animation Studios
Producers: Josh Appelbaum, André Nemec, Adam Herz, Chris Moore, Kendra Halland 

Film synopsis : 

Parents need to know that Wonder Park is an animated adventure comedy set in a magical amusement park. A creative girl named June (voiced by Brianna Denski) stumbles on a rundown amusement park in the woods that bursts to life with magic when she arrives. She realizes the park came from her imagination, and, along with several new talking animal friends, she sets out to restore and save it. Jennifer Garner, Mila Kunis, Matthew Broderick, Kenan Thompson, and Ken Jeong join the voice cast. Expect some action-packed sequences and humor that might be too much for the youngest viewers, but overall this looks OK for kids and families.

MOVIE INFO: 

Produced by
  • Josh Appelbaum
  • André Nemec
  • Adam Herz
  • Chris Moore
Screenplay by
  • Josh Appelbaum
  • André Nemec
Story by
  • Robert Gordon
  • Josh Appelbaum
  • André Nemec
Starring
  • Brianna Denski
  • Kenan Thompson
  • Ken Jeong
  • Mila Kunis
  • John Oliver
  • Jennifer Garner
  • Matthew Broderick
Music by Steven Price
Cinematography Juan García Gonzalez
Edited by Edie Ichioka
Production
company
  • Paramount Animation[1]
  • Nickelodeon Movies[2]
  • Ilion Animation Studios[3][4]
  • Midnight Radio Productions
Distributed by Paramount Pictures
Release date
  • March 15, 2019 (United States)
Country
  • United States
  • Spain
Language English
Budget $100 million

Film Review: 

When Wonder Park, the embattled Paramount and Nickelodeon animated film, released its first trailer, we had some concerns. Now, we have even more.

The original question, which still stands, is: how does the theme park in this movie (which may or may not actually be named Wonder Park) get its denizens? The whole thing seems to be run by animals and one small child, so it stands to reason that they’re not exactly running a business here with robust ticket sales, safety regulations, and concession stands. Did these animals kidnap a buncha people?

Now, after seeing the second trailer for Wonder Park, I have even more questions. Specifically: what is the history of theme parks in this world? Per this trailer, we get more of the actual story outline of the film, which stars the voices of Jennifer Garner, Kenan Thompson, and John Oliver, among others. The young heroine, June, creates a theme park in her backyard, to disastrous effect. Defeated temporarily but not in spirit, June absconds to the woods? I guess? And finds… the real theme park she imagined, built IRL, and probably also constructed in detail in Rollercoaster Tycoon? And it’s buried in the forest, watched over by talking animals, one of whom is John Oliver.

Okay, uh, how does a theme park get buried in the forest? Provided this isn’t some profound act of imagination on the heroine’s part, this suggests a world with such a history that a theme park could be very old, and could go not just abandoned but forgotten long enough for it to be almost entirely reclaimed by vegetation. What apocalyptic terror would be necessary to create these conditions? What, but some awful act of violence or disaster, could create such a rift in collective memory? Whither is your history, Wonder Land? What has become of you?

 

Oh, yeah, and this movie looks pretty cute, too. It comes out on March 15th, and in the meantime stick with us at io9, where we come from the future and overthink cartoon movie trailers.

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The Wedding Guest trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Jay is a man with a secret who travels from Britain to Pakistan to attend a wedding – armed with duct tape, a shotgun, and a plan to kidnap the bride-to-be. Despite his cold efficiency, the plot quickly spirals out of control, sending Jay and his hostage on the run across the border and through the railway stations, back alleys, and black markets of New Delhi – as all the while attractions simmer, loyalties shift, and explosive secrets bubble to the surface.

Initial release: March 1, 2019 (USA)
Director: Michael Winterbottom
Screenplay: Michael Winterbottom
Cinematography: Giles Nuttgens
Producers: Dev Patel, Michael Winterbottom, Deepak Nayar, Melissa Parmenter, Nik Bower

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News

The internet will correct me if I’m wrong, but I’m pretty sure “The Wedding Guest” is the first time Dev Patel has handled a firearm in one of his movies. Five minutes into Michael Winterbottom’s Pakistan-set thriller, the actor walks into a shop, asks to try out a gun, and proceeds to inspect a semiautomatic pistol before settling on another. At this point, we don’t know the character’s name — and besides, we’ve seen him slip passports with four aliases into his suitcase — but Winterbottom is already actively manipulating stereotypes.

“The Wedding Guest” turns out to be the story of a professional, played by Patel but of the sort usually embodied by white men with square jaws and power-drill stares, who is contracted to kidnap a woman (Radhika Apte) on the eve of her arranged marriage and deliver her to the man she loves. But Winterbottom, as globe-trotting and genre-defying a filmmaker as they come, shows only limited interest in telling that kind of movie, leveraging unconventional settings, actors, and techniques to overturn what we expect from such a plot.

 

So, while “The Wedding Guest” assumes the superficial aspects of an action movie, it is, in fact, a far subtler enterprise at its core: In its attention to the gender dynamics and subtle power games underlying such a premise, the film plays out like Iranian director Asghar Farhadi’s “About Elly” with guns, providing an edgier (if ultimately less effective) take on how a woman betrothed to a man she doesn’t love manages to disappear. Beneath the surface — and the somewhat artificial suspense of whether Apte’s character will run off with Patel — Winterbottom’s film serves as a critique of the limited options available to women in the Middle East.

It is not, as you may imagine, a movie that audiences will be flocking to see in theaters, or on demand for that matter, and through indie distributor IFC Films has enjoyed a certain amount of success with Winterbottom (dating back at least to “The Killer Inside Me,” but with “The Trip” and its sequels especially), this title seems destined soon to be forgotten by all but Patel’s fans.

The actor’s career began just over a decade earlier with the British coming-of-age series “Skins,” and took off in a significant way the following year when he starred in the Oscar-winning “Slumdog Millionaire.” Around that time, Patel gave an interview to a British paper in which he noted, “Asian actors tend not to be sent Hollywood scripts that are substantial or challenging. I’m likely to be offered the roles of a terrorist, cab driver, and smart geek.” This film is a step above, but hardly the breakthrough Patel deserves.

As fellow British actor Riz Ahmed recently explained to NPR, non-white actors often face a frustrating three-stage process to overcome typecasting. Early on, they tend to be offered what he called “Stage 1” roles — reductive, race-based bit parts — whereas “The Wedding Guest” provides Patel a rarer “Stage 2” opportunity, what Ahmed describes as “stories that take place on explicitly ethnicized terrain, but aim to subvert those [stereotypes].” The goal, in Ahmed’s eyes, is to reach “Stage 3,” “where I’m not shackled to my ethnicity.” But Patel has a unique kind of problem: He’s an infinitely likable actor of limited range, and as such, he’s bound by more than just his skin color: Regardless of race, he’s a scrawny, youthful, and thoroughly non-threatening presence onscreen.

To see Patel wielding a gun, as we do in “The Wedding Guest,” doesn’t register as it ought to. It’s assumed, but never explored, that such a for-hire specialist would have navigated situations like this before, but he botches the extraction, shooting an armed guard in the escape, and he does a clumsy job of explaining the situation to the client. Why present Patel as the middleman at all? Wouldn’t it have been more directly engaging if he had been the bride-to-be’s secret lover, come to spirit her away on the eve of her marriage? And wouldn’t the unexpected course their relationship sets in its final minutes have worked just as effectively if he’d been infatuated with her since the beginning, as opposed to falling for her so late in the film?

Winterbottom has spent far more time than most Western directors making Middle East-set stories. He first featured Pakistan in 2002’s “In This World,” and has returned to the region several times since, which pays off here in the almost casual way he incorporates the atmosphere of his Indian locations — whether it’s a crowded market or an isolated desert-scape — into the film. What’s lacking is personality from the human characters, which is a serious failing, considering how the film shifts into character mode as Apte slowly emerges as an equal to Patel, while both remain too guarded for audiences to fully appreciate as people.

That’s not entirely surprising since Winterbottom’s best movies have been those credited to writers other than himself. Here, watching him juggle the expectations of genre with the elements intended to make this particular entry feel original, one is easily reminded of more successful attempts at refreshing the abduction/rescue formula — films like “Out of Sight” or “You Were Never Really Here,” whose directors mixed a specificity of character with their lead actors’ natural charisma to steer things in an original direction. Winterbottom works differently, taking a material shot in a dizzying array of locations and honing it down as if making a documentary. While that approach makes for an unconventional thriller in an unusual milieu, it mistakes texture for the sort of character details that would have made such an excursion feel convincing.

Reviewed online, Feb. 27, 2019, Los Angeles. (In Toronto, Palm Springs film festivals.) MPAA Rating: R. Running time: 97 MIN.

PRODUCTION: (U.S.) An IFC Films release, presented with Stage 6 Films, in association with Ingenious Media, Riverstone Pictures, of a Revolution Films, Deepak Nayar/Nik Bower production. Producers: Melissa Parmenter, Michael Winterbottom, Deepak Nayar, Nik Bower, Dev Patel. Executive producers: Andrea Scarso, Peter Touche. Co-producers: Anthony Wilcox, Pravesh Sahni.

Review

Michael Winterbottom’s thriller The Wedding Guest finds Dev Patel in a broody, sexy role — a departure from his typically fresh-faced, nice-guy performances — and it’s impressive how well the actor fits the part; his long face and lanky frame give him a captivatingly melancholy countenance. In the film’s opening passages, as he arrives in Pakistan and moves from town to town, shifting identities and picking up tools — a car, a gun, duct tape, etc. — he makes for a dashing, mysterious presence. We don’t know what he’s up to, but we know it can’t be good. But still, it’s Dev Patel, so we know it can’t be too bad either. He shows his range without entirely undermining his persona, the sign of a true movie star.

Patel’s character is named Jay in the credits, though I don’t think he ever gives his name in the film. Or rather, he gives multiple names. He’s a professional, hiding beneath different layers of subterfuge. He’s arrived at a wedding in Pakistan to seize the bride-to-be, Samira (Radhika Apte) and deliver her to her true love Deepesh (Jim Sarbh), who hired Jay back in England. It’s an intriguing, modern-day spin on a common story found in many cultures: the bridal-abduction romance. Jay and Samira move from town to town, covering their tracks and making their way to Amritsar, India, where Deepesh is supposed to wait for them. But the lover isn’t there; he’s having second thoughts, and he’s also a little freaked out that Jay killed a guard during his attempt to sneak Samira out of her home.

I won’t say more about the plot, though we sort of know where it’s all headed. The chemistry between Patel and Apte is exciting; they’re both beautiful, but mournfully so. She’s just had her life upended, and he’s in the middle of a job that’s falling apart. When they reach out and touch, it doesn’t just feel like an inevitable narrative development; it feels like two broken souls hanging on for dear life.

Winterbottom is one of those prolific directors with a reputation as a journeyman: His work has gone from self-aware adaptations like Tristram Shandy to playful biopics like 24 Hour Party People to vérité social dramas like In This World; he’s also done a variety of documentaries, though his best-known recent pictures are probably the Steve Coogan–Rob Brydon The Trip films. But before he started making a thousand movies a minute, Winterbottom’s work had an ineffable romantic sweep and formal grace.

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(If you ever get a chance to see his adaptation of Jude the Obscure, starring Kate Winslet, don’t miss it. And his masterpiece might be the snowbound period epic The Claim, which was dumped by its distributor back in 2000.)

 

 

 

Gloria Bell trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

A free-spirited divorcee spends her nights on the dance floor, joyfully letting loose at clubs around Los Angeles. She soon finds herself thrust into an unexpected new romance, filled with the joys of budding love and the complications of dating.

Initial release: March 8, 2019 (USA)
Director: Sebastián Lelio
Distributed by: A24
Production company: FilmNation Entertainment
Screenplay: Sebastián Lelio

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Film synopsis :  

Director Sebastián Lelio made history at the 2018 Academy Awards when he brought Chile its first ever Best Foreign Language Film prize. Though the movie he won it for, A Fantastic Woman, almost seems like it could be the title of his entire oeuvre: Again and again, he bathes his female subjects — from the dancing divorcée in 2013’s Gloria to Fantastic’s trans nightclub singer to the Orthodox lesbian lovers in last year’s Disobedience — in a kind of tender, full-fledged humanity that other auteurs, let alone mainstream Hollywood, rarely touches.

MOVIE INFO: 

Directed by Sebastián Lelio
Produced by
  • Juan de Dios Larraín
  • Pablo Larraín
  • Sebastián Lelio
Screenplay by Alice Johnson Boher
Story by Sebastián Lelio
Starring
  • Julianne Moore
  • John Turturro
  • Michael Cera
  • Caren Pistorius
  • Brad Garrett
  • Jeanne Tripplehorn
  • Rita Wilson
  • Sean Astin
  • Holland Taylor
Music by Matthew Herbert
Cinematography Natasha Braier
Edited by Soledad Salfate
Production
company
  • FilmNation Entertainment
  • Fabula
Distributed by A24
Release date

 

  • March 8, 2019 (United States)
Running time
102 minutes
Country
  • United States
  • Chile
Language English

Film Review: 

Sebastián Lelio’s “Gloria Bell” is the second film this year to end with the Laura Branigan song “Gloria” — the kind of high-energy empowerment anthem that recasts its leading lady in a different light — the other being Netflix’s recent Gloria Allred docu “Seeing Allred.” Speaking of recasting leading ladies, it also happens to be the second of Lelio’s films to close with that song, although there’s a perfectly good explanation for that: “Gloria Bell” is a nearly scene-for-scene remake of the “A Fantastic Woman” director’s 2013 single-woman drama, this time in English and featuring Julianne Moore in the role that earned Paulina García the Berlin Film Festival’s best actress prize.

Many were skeptical when the project was announced, much as they were to the news that Jack Nicholson might star in an American version of “Toni Erdmann,” and yet Moore insisted in this case that if she were to play the role, Lelio must agree to direct. And so we get a film that shares the original’s generous view of the title character — of all its characters, really — along with a great many of its creative choices. But even with the same director and nearly the same script, “Gloria” and “Gloria Bell” are hardly the same movie, in the way that no two stagings of “Hamlet” can be the same when cast with different leading men. And it’s easy to imagine audiences who showed no interest in a Spanish-language version of this story responding to what Moore does with the role when A24 releases it next spring.

That’s true of not just Gloria but also fellow divorcé Arnold (John Turturro), a paintball enthusiast who picks her up at the club one night, enjoys a tender connection back at her place (there is sex, though Lelio recognizes that the afterglow is more meaningful for both of them), and shyly calls her up a few days later, after wrestling with the question of whether he deserves to feel the emotions she awakens in him. Moore is great in the movie, uncovering — and sharing — all sorts of new facets to Gloria’s character, but Turturro is a revelation, taking what was always a frustrating role (Arnold’s still too attached to his needy ex-wife and daughters, who are constantly calling him, and it’s a drag to watch Gloria competing for his attention) and recognizing what that character is feeling as well.

But even if Turturro finds soul in the male part, “Gloria Bell” remains one of the great female-led films of the 21st century, passing the Bechdel test with flying colors — which explains why Moore would be so keen to remake it. The actress’s fan base loves when she goes slightly over the top, gnashing her teeth at the pharmacy counter in “Magnolia” or bowling in a Valkyrie costume in “The Big Lebowski,” but she’s a master of subtlety as well, and here, the challenge is to see ourselves in a character who prefers to blend in. Even at the club, she’s a bit of a wallflower (though it’s interesting that Gloria is nearly always the one to initiate contact with others), though Lelio adds a few nice scenes at work and home (where a neighbor’s hairless cat keeps showing up uninvited) while still managing to deliver a film that’s eight minutes shorter overall.

Although García and Moore were born in the same year (under the same sign!), Lelio is more mature now than he was when he made the original film, and he brings that experience to the project in small but crucial ways, namely by shifting ever so slightly the points when audiences are invited to laugh, more often directed at other characters than at Gloria herself. Meanwhile, he treats quiet, private glimpses into her life — singing to outdated pop songs in the car, hand-washing her undergarments in the sink — with what’s best described as dignity.

 

The same goes for the nude scenes, which hardly feel as revealing as the places Moore goes to explore Gloria’s insecurities and later, the strength she finds to be independent. The character’s look (she wears two pairs of oversize spectacles, one red, the other blue) has been toned down somewhat, as has the film’s overall style — still elegant yet not nearly so surface-oriented, replacing the nightclub gloss of the original with a warmer pastel glow from “The Neon Demon” DP Natasha Braier (who could certainly have outdone the original in the other direction, if Lelio had wanted it).

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A remake like this is something of an anomaly, but it would be fascinating to explore the character with other actresses in additional countries — say, Cate Blanchett in “Gloria Down Under” or Isabelle Huppert in “Gloria de France” — with each new “cover” undoubtedly finding fresh notes.

I’m Not Here trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

As the power is shut off and the fridge runs empty, an aging and debilitated man contemplates a life full of loss and mistakes. As he relives his significant memories, he hopes to move past the pain and forgive himself.

Initial release: March 8, 2019 (USA)
Director: Michelle Schumacher
Music composed by: Nima Fakhrara
Producers: Michelle Schumacher, Randle Schumacher, Eric Radzan
Screenplay: Michelle Schumacher, Tony Cummings

I’m Not Here  Full Movie Watch

I’m Not Here  Full Movie Download

Film synopsis :  

Even though it’s his 60th birthday, Steve (J.K. Simmons) has confined himself to his home. The tragedies of his past have emotionally overwhelmed him, and he spends his days wallowing in alcohol and the silence of his unkempt home. With numerous mementos and titbits scattered around him, he reflects on the memories that have brought him to this point.

We flashback to his time as a child in the swinging 1960s (Iain Armitage, who will soon be seen as the lead in the upcoming sitcom Young Sheldon); where the difficulties of his parents marriage (Mandy Moore and Max Greenfield) sets him down the wrong path.

Accompanying this we see him in the 80s/90s as a middle-aged adult (Sebastian Stan); and witness how the lessons and pain of the past shapes the relationship with his wife, Karen (Maika Monroe).

Bouncing back and forth between all three time periods, it is revealed how decisions and actions, both big and small, have brought Steve to the low point he finds himself in the present day.

MOVIE INFO: 

Directed by Michelle Schumacher
Produced by
  • Michelle Schumacher
  • Randle Schumacher
  • Eric Radzan
Written by
  • Michelle Schumacher
  • Tony Cummings
Starring
  • J.K. Simmons
  • Sebastian Stan
  • Maika Monroe
  • Mandy Moore
  • Max Greenfield
  • Iain Armitage
Music by Nima Fakhrara
Cinematography Pete Villani
Edited by Michelle Schumacher
Production
companies
  • Rubber Tree Productions
Distributed by Gravitas Ventures
Release date

 

  • March 8, 2019 (United States)
Running time
81 minutes
Country United States
Language English

Film Review: 

J.K. Simmons holds the spotlight as a broken old man in the trailer for Michelle Schumacher’s drama, I’m Not Here. For years, Simmons made his trade as a celebrated character actor, playing everyone from Peter Parker’s delightfully loud-mouthed boss J. Jonah Jameson in Sam Raimi’s Spider-Man trilogy to Ellen Page’s good-natured dad in Juno. However, since his Oscar-winning turn as the music conservatory instructor from hell in Damien Chazelle’s Whiplash four years ago, Simmons has started to get the spotlight to himself, more and more often.

While he’s continued to show up in everything from Justice League to Jason Reitman’s political drama The Front Runner, Simmons now has his own TV series in the form of Starz’s acclaimed sci-fi thriller Counterpart. He also plays the lead in I’m Not Here, his second collaboration with Schumacher after the comedy 3 Geezers! (which also marked the latter’s feature debut as director). The film arrives in theaters and On Demand next March, following its world premiere at the 2017 Raindance Film Festival and its screening at San Diego’s annual film festival earlier this year. In the meantime, a trailer has been released online, ahead of its debut.

As the trailer demonstrates, I’m Not Here is a showcase for not only Simmons, but also Sebastian Stan as the younger version of his character. It Follows’ Maika Monroe also plays an important role here, as do Mandy Moore, Max Greenfield, and Young Sheldon’s own Iain Armitage. You can watch the trailer below, followed by the film’s official synopsis.

By the sound of it, I’m Not Here (which Schumacher also cowrote) moves back and forth in time in an effort to explore how toxic masculinity and conformity to gender roles not only poisoned the relationship between Steve’s parents (Moore and Greenfield), but also his own marriage to Karen (Monroe) when he was a younger man. The juxtaposition between warmly-lit scenes in Steve’s past and the increasingly darker glimpses of his failures as a husband – culminating with shots of an older and emaciated Steve shuffling around his shadowy home in the present – is pretty effective in the trailer, which bodes well for the film itself. Really, any movie that gives Simmons the spotlight is doing something right, and having Schumacher calling the shots only improves the odds of I’m Not Here making for an interesting study of a man trapped by his own flawed sense of masculinity.

 

Get ready for a star-studded sadness from I’m Not Here. Seriously, there are no more stars in the sky because they’re crying in this trailer. J.K. Simmons plays Steve, a man who’s haunted by his past and relives each painful moment when he interacts with the objects in his home. Steve is also portrayed by Sebastian Stan and Young Sheldon’s Iain Armitage. Steve’s parents are played by Mandy Moore and Max Greenfield.

I’m Not Here  Full Movie Watch

I’m Not Here  Full Movie Download

It Follows star Maika Monroe plays Steve’s super dead wife. I’m Not Here is co-written and directed by Simmons’ wife, Michelle Schumacher. On a barely related note, isn’t it weird that both I’m Not Here and I’m Not There feature multiple stars in a single role? Get Cate Blanchett on the horn, and ask her why she’s not in this.

The Kid trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

Chaplin’s first full-length feature is a silent masterpiece about a little tramp who discovers a little orphan and brings him up but is left desolate when the orphanage reclaims him. Chaplin directed, produced and starred in the film, as well as composed the score.

Initial release: January 21, 1921 (USA)
Director: Charlie Chaplin
Screenplay: Charlie Chaplin
Music composed by : Charlie Chaplin
Box office: 5.45 million USD

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The Kid

Charlie Chaplin was already an international star when he decided to break out of the short film format and make his first full-length feature. The Kid doesn’t merely show Chaplin at a turning point when he proved that he was a serious film director—it remains an expressive masterwork of silent cinema. In it, he stars as his lovable Tramp character, this time raising an orphan (a remarkable young Jackie Coogan) he has rescued from the streets. Chaplin and Coogan make a miraculous pair in this nimble marriage of sentiment and slapstick, a film that is, as its opening title card states, “a picture with a smile—and perhaps, a tear.”

SPECIAL FEATURES

  • New 4K digital restoration of Charlie Chaplin’s 1972 rerelease version of the film, featuring an original score by Chaplin, with an uncompressed monaural soundtrack on the Blu-ray
  • New audio commentary featuring Chaplin historian Charles Maland
  • Jackie Coogan: The First Child Star, a new video essay by Chaplin historian Lisa Haven
  • A Study in Undercranking, a new program featuring silent-film specialist Ben Model
  • Interviews with Coogan and actor Lita Grey Chaplin
  • Excerpted audio interviews with cinematographer Rollie Totheroh and film distributor Mo Rothman
  • Deleted scenes and titles from the original 1921 version of The Kid
  • “Charlie” on the Ocean, a 1921 newsreel documenting Chaplin’s first return trip to Europe
  • Footage of Chaplin conducting his score for The Kid
  • Nice and Friendly, a 1922 silent short featuring Chaplin and Coogan, presented with a new score by composer Timothy Brock
  • Trailers
  • PLUS: An essay by film scholar Tom Gunning

 CAST

 

Carl Miller———————————-The Man

Edna Purviance ————————The Woman

Jack Coogan ———————————-The Child

Charles Chaplin —————-A Tramp

News

Charlie Chaplin’s career underwent many transitions and transformations, but none more important than the one marked by the making of The Kid. During his time at Mack Sennett’s Keystone Studios in 1914, Chaplin had moved from simply acting in films to directing them. In a few brief years, his movies grew from less than half an hour in length to an hour or more. Released in 1921, The Kid was Chaplin’s longest title to date. Although earlier films of his—A Dog’s Life and Shoulder Arms (both 1918)—had burst the concise forms of the shorts that preceded them, The Kid was Chaplin’s first true feature, at six reels (originally more than an hour) and with a new dramatic structure. The Kid embeds Chaplin’s Tramp character in the drama of the Woman (played by Edna Purviance), who abandons her illegitimate child and spends her life regretting it. (In Chaplin’s 1972 revision and rerelease of The Kid, the Woman’s story still frames the film, but he eliminated several scenes involving her, as if he regretted splitting the audience’s emotional engagement between the father-son bond that develops between the Tramp and the Kid and the pathos of the Woman’s situation.)

Chaplin’s expansion of the dramatic scope of his films also signaled a shift in mood. Although his melancholy and sentimental side had emerged early on in his filmmaking career (arguably first appearing at the end of 1915’s The Tramp), it was with The Kid that he first fully embraced an emotional approach. The movie announces this with an intertitle: “A picture with a smile—and perhaps, a tear.” This ambiguous tone would mark Chaplin’s films from this point on, and it is here that the roots of the filmmaker’s graceful dance between laughter and grief can be seen. Some critics have claimed that this new emotional depth lifted Chaplin’s art above its slapstick roots. Others feel that it spoiled a rich vein of rough-and-tumble humor and domesticated cinema’s original wild man into a sentimental clown. The truth is that The Kid reveals how closely Chaplin’s irreverent slapstick could be intertwined with his sentiment. And rather than simply making the Tramp more palatable to middle-class tastes of the day, Chaplin’s new emotional range provided the core of his lasting appeal.

Chaplin was born in London in 1889, into a Victorian culture whose art was based in sentimentality. His childhood was one of hardship and deprivation, and his art can be seen as springing from his ambivalence toward that dominant culture, from which he felt excluded but to which he aspired—a love-hate oscillation that fueled both his greatest moments and his most embarrassing lapses. The era’s most popular dramatic form, the melodrama—with its contests between vice and victimized innocence—was already appearing a bit old-fashioned by the end of the nineteenth century. Chaplin’s own background as a performer from early childhood was primarily in the English music hall, where knockabout farces might alternate with sentimental songs, and British working-class entertainment generally found room for both moods, in spite of their apparent contradiction. When he started in movies, he found himself very much at home at Keystone, where Sennett had devised a comic formula that burlesqued the morality, characters, and sentimentality of traditional melodrama while introducing thrills and speed to provoke narrative action. Chaplin joined in this wholesale liquidation of nineteenth-century melodramatic tropes with originality and gusto. Even after he left Keystone, the unmasking of conventional displays of emotion remained essential to his comedy.

In one of the short films Chaplin made for the Mutual Film Corporation, The Pawnshop (1916), a stock melodramatic figure, the honest old man fallen on hard times, enters the Tramp’s pawnshop to sell his wedding ring. Wary at first of this odd customer, the Tramp mocks the character’s theatrical poses. But with a cut in to a closer medium shot, the little fellow’s attitude changes as he listens—while continuing to munch on a cracker—to the old man’s histrionically pantomimed tale of woe and loss. Chaplin’s gags frequently pit natural appetites against ideals of sentiment—and he always sides firmly with the natural man and his needs. As the old man tells his sad story with conventional gestures and expressions, the Tramp expresses increasing sympathy and grief, his lip quivering—even as he continues chewing. The scene’s literal climax occurs when the Tramp can no longer contain his sobs and spews out a shower of cracker crumbs right at the camera, not once but three times. Chaplin’s gag parades its technique: two radically antithetical activities collide—grief and empathy for the old man encountering the physical processes of mastication and swallowing. The disturbingly material (but frankly hilarious) action undoes Chaplin’s emotional expression, exploding sentimental convention by giving grief the form of a torrent of undigested food.

Chaplin was warned by a number of people as he embarked on The Kid that slapstick and sentiment would not mix and that gag comedy could not support the length of a feature film. The success of the movie proved them wrong, even if it remains poised on a knife-edge between a wonderfully original comedy and a perhaps too predictable maternal melodrama. But the old-fashioned plot offered Chaplin the chance to base his comedy not simply in burlesque but in a deeper exploration of the primal emotions of separation and abandonment. His engagement with melodrama no longer relied on Keystone’s parodies of mustachioed villains in top hats pursuing innocent maidens but on the genuine feelings of a family separated and then reinvented, and of a child’s fear of loss and desire for union and security.

The autobiographical aspects of The Kid are often invoked by critics, and they undoubtedly played a role in bringing that emotional authenticity to the film. Chaplin and his brother, Sydney, endured a childhood defined by an absconding father and a mentally ill mother whose children were occasionally turned over to institutions. The Chaplin boys provided emotional support for each other, and that bond lasted all their lives. And shortly before Chaplin started production on The Kid, his teenage bride, Mildred Harris, gave birth to a malformed baby that survived for only three days. While such details may provide background, their explanatory role is never simple. If The Kid responds to tragic aspects of Chaplin’s life, it is by replacing them with a human drama of emotional bonding. The horror of abandonment, the pathetic vulnerability of an infant in a harsh world, provides the dark backdrop against which that vision stands out. Instead of denying such horrors, Chaplin learned from melodrama that hardship could be confronted and defeated. His way of defeating horror was to transform it—by converting loss into gags.

If the film’s opening scenes of the Woman being released from a charity hospital and abandoning her baby seem lackluster, The Kid takes on life with the entrance of the Tramp. His reaction to discovering the infant is entirely unsentimental. He tries to leave the bundle of joy next to some garbage; tries to palm it off on an unsuspecting mother; then finally considers dropping it down a storm drain. The laughs that these acts elicit express humor’s dark side—its delight at forbidden solutions and its tacit acknowledgment of the cruelty of life. The detailed grubbiness of the alleyway and tenement building sets buttresses the hard bite these scenes carry. But Chaplin’s genius lies in the way he reveals how real care and nurturing can emerge from desperation. The Tramp responds to the infant’s absolute dependence after reading the pleading note his mother has pinned to him and, with a shrug, shuffles off into the duties of fatherhood.

Chaplin’s poetic response to the world relies on his ingenious redefinition of objects. Many of his gags repurpose things, transforming their uses and meanings through his inventive play with them. The Tramp’s undertaking of the chores of parenting displays this bricoleur’s imagination. We see him efficiently cutting up and folding cloths for the baby’s diapers, acknowledging from the start that care includes the most basic of bodily functions. Instead of a traditional cradle, the baby hangs suspended in an improvised hammock. His nutritive needs are taken care of by a similarly hanging teapot with a nipple forced onto its spout. The baby voraciously suckles on the nipple, and when it slips from his mouth, the Tramp deftly redirects it. Besides supplying this system for nourishment, the Tramp also entertains the baby with a series of facial contortions, which the infant interrupts his suckling to watch with delight. Rocking the hammock, the Tramp feels dampness, wipes his hand, and again improvises: he cuts a hole in the bottom of a chair, which he then places beneath the baby’s hammock and over a cuspidor on the floor. More fanciful than practical, this conduit for infant urine again shows us Chaplin’s poetic redefining of things, again wedded to the frank acknowledgment of the physical.

All these gags serve to articulate the close bond between child and ersatz father, giving it humor as well as emotional depth. The heart-wrenching sequence in which the Tramp rescues the Kid (Jackie Coogan) from the authorities and they kiss and embrace carries an authenticity the opening scenes of the mother’s plight cannot touch. While the Woman’s maternal dilemma seems lifeless, Chaplin portrays the power of an improvised family and invented home, originating an idea that has had resonance throughout American cinema, with its recurring ad hoc families of misfits, from Rebel Without a Cause to Boogie Nights.

Nowhere is the genuinely poignant sense of human needs and ideals that Chaplin creates through the collision of sentiment with the physical and everyday more poetically achieved than in the Tramp’s dream of heaven when he believes he has lost the Kid forever. Chaplin’s heaven remains a tenement alleyway, albeit bedecked with flowering vines and filled with angelic slum dwellers in nightshirts and wings, playing harps as they skip merrily around. The Kid awakens the sleeping Tramp by tickling his nose with an angel’s feather. Even doggies have wings, and when the Tramp is outfitted with his own pair, he scratches them with his cane and sheds feathers like a puppy sheds fur. But this burlesque paradise is soon invaded by demonic tempters, who sow sexual desire, jealousy, and violence and undermine its harmony. Angelic battles erupt in a flurry of feathers that not only recalls the explosion of crumbs in The Pawnshop but anticipates the shower from a burst pillow in The Gold Rush (1925).

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A cop-angel terminates the Tramp’s flight with a pistol shot, and Charlie crashes very solidly to earth. This image ends the dream: Chaplin as a fallen angel with crumpled wings. It captures his unique, almost surrealist imagination, and his creation of a new claim on our emotions, founded in the contradiction between desire and reality, heavenly love and a harsh world.

 

Captain Marvel release date, dc wiki, dc comics, Budget, trailer, review, imdb Rating, Cast, Cast Salary 2019

Captain Marvel gets caught in the middle of a galactic war between two alien races.


Initial release: March 8, 2019 (USA)
Directors: Anna Boden, Ryan Fleck
Budget: 152 million USD
Music composed by: Pinar Toprak
Screenplay: Anna Boden, Ryan Fleck, Nicole Perlman,

CAPTAIN MARVEL

In Theaters March 8th, 2019 Directed by Anna Boden and Ryan Fleck. Starring: Brie Larson (Captain Marvel), Samuel L Jackson (Nick Fury), Ben Mendelsohn (Talos), Clark Gregg (Phil Coulson), and Lashana Lynch (Maria Rambeau).

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MOVIE INFO

The story follows Carol Danvers as she becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races. Set in the 1990s, Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe.
Rating: PG-13 (for sequences of sci-fi violence and action, and brief suggestive language)Genre: Action & Adventure, Science Fiction & Fantasy

Directed By: Anna Boden, Ryan Fleck
Written By: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet
In Theaters: Mar 8, 2019, Wide
Runtime: 128 minutes
Studio: Marvel Studios

News

Captain Marvel is set to be released on March 8, 2019 — the first solo female superhero movie in the Marvel Cinematic Universe. The film stars Brie Larson as the lead character, Carol Danvers.

Danvers was introduced to Marvel comic books in 1968; due to a freak accident, she has powers like super strength and the ability to fly. Captain Marvel’s story has been through many iterations and twists and turns, but the upcoming film will focus specifically on a 2012 comic book arc that features a revamp of Danvers’s character. Captain Marvel has a dedicated, passionate fandom, many members of which are hoping to learn more about Carol Danvers’s origin story and the secrets of her past.

There have been 20 movies in the Marvel Cinematic Universe so far, and this one will make history as the first Marvel film starring a solo female superhero. In 2017, Warner Bros.’ Wonder Woman was a worldwide box office hit and proved that audiences will watch a female superhero. If Captain Marvel is a box office success, it could change how moviegoing audiences perceive superheroes — and could encourage studios to invest in more women-led superhero films.

While the story takes place in the Marvel Cinematic Universe, it’s independent Of the events of Avengers: Infinity War. So Avengers fans hoping for clues about the fate of the Avengers will have to wait until Avengers: Endgame hits theaters in April

It seems that Captain Marvel had some of its inspiration in the best of places as the directors have said that part of the movie comes straight from Robocop.

During a recent interview with Screen Rant, the pair of directors talked at length about their upcoming film. This included the comic run that was the biggest inspiration to them and even some homages to The French Connection. The most interesting bit, however, came when the directors were asked about the alleged similarities to Robocop.

The two were quick to shoot down the notion that the film would have nearly as much dark humor. Instead, they focused in on when Robocop walked through his house and began to remember fragments of his past. While the two directors did not confirm that Captain Marvel would have such a deliberate moment, they did say that it was one of the first things that they talked to Marvel about in terms of the character remembering her past:

There will be humor. It is not a dark movie in that way like Robocop I think that what is exciting to us about Robocop was this idea of a character who’s finding himself and finding his past and even though it’s a dark movie it’s also like extremely emotional in that way. If you remember that scene of him walking into his own home, you know, and remembering those moments from his past life and remember who he was I mean that’s big. And that was one of the first things we talked to Marvel about in terms of this character the idea that self-discovery and reconnecting and rediscovering your humanity and who you were and it’s a huge part of this film.

From the look of things, there is going to be a major revelation for Captain Marvel before this film is through!

 

My name is Charles, and I can’t Magic Eye.

Despite what the elderly might tell you, the ‘90s were a particularly odd (read: often bad) time for optical illusions masquerading as entertainment. Take, for example, Magic Eye, the books popularized by N.E. Thing Enterprises that convinced people they were having a good time staring at images distorted to give the impression that they had depth to them.

In its latest bit of reminding you that Captain Marvel is set in the ‘90s, the movie’s Twitter account has posted a series of Magic Eye images that presumably reveal something interesting about the characters, but I couldn’t tell you because my eyes are apparently not at all magical. What exactly am I not seeing ?

Pretty much since the original Avengers movie, Marvel movie fans have speculated that the cinematic universe could slowly build toward the most infamous interstellar skirmish of Marvel’s comic history: the Kree-Skrull War. It’s taken awhile, but Captain Marvel looks like it could finally be the film to do it—so here’s what you need to know.

The Avengers ultimately went with the Chitauri as its cosmic goons, but still, the idea slowly percolated in the background of the Marvel Cinematic Universe for years, until Agents of SHIELD and eventually Inhumans paved the way for the Kree’s arrival, and Guardians of the Galaxy went a step further with the addition of characters like Korath the Pursuer and Ronan the Accuser. But now, Captain Marvel is blasting the path toward one of the biggest cosmic scraps Marvel Comics has ever seen by actually introducing not only more of the Kree people, but the whole other side of the conflict: the sinister shape-shifting Skrulls.

The Kree-Skrull War is actually technically two things—there’s the actual war itself, which spans millennia in the background that has had an impact on corners of the Marvel Universe beyond the realms Carol is concerned with, and then there’s the 1971 comics event of the same name, by Roy Thomas, Sal Buscema, Neal Adams, and John Buscema, that ran in the Avengers series and was one of Marvel’s earliest and most influential cosmic event sagas. That event will likely not be a direct inspiration for Captain Marvel’s story with the Kree and Skrulls, but we’ll explain that first before getting into the mythos that’s much more likely to form the basis for what the movie sets up.

Beginning in June 1971, the Kree-Skrull War storyline included a whole bunch of super teams like the Avengers, the Inhumans, and the Fantastic Four. It included several plotlines interwoven around the return of Mar-Vell, the Kree warrior who was the original Captain Marvel, years before either Carol Danvers (or Mar-Vell’s actual successor in the role, Monica Rambeau) took on the title. At the time, Mar-Vell had actually spent years trapped in the alternate dimension known as the Negative Zone, where he battled Annihilus, got doused with lethal radiation that threatened to kill him and…had a kid with a Skrull princess? He was busy, but really, that’s not what matters: Mar-Vell escapes returns to Earth, and is promptly taken in by some of the Avengers.

It’s here the shit hits the fan and a bunch of different story threads spin out. First, the Avengers find themselves fighting the now-outlawed Ronan the Accuser as he attempts to revert the Earth back into a prehistoric state to use it as a staging ground for the war against the Skrulls. That battle sees Mar-Vell’s alien identity exposed to the world and the formation of the Alien Activities Commission under Senator H. Warren Craddock, a thinly-veiled take on the real House Un-American Activities Committee that investigated private American citizens the government believed to be Communist sympathizers or otherwise disloyal to the United States.

Refusing to hand over Mar-Vell during a hearing with the AAC leads to the Avengers’ reputation being tarnished in the public eye, and even temporarily sees Earth’s Mightiest Heroes disbanded—only for a bunch of the Avengers and Mar-Vell to be captured by a group of Skrulls, who want Mar-Vell to build a doomsday device called an Omni-Wave Projector for them to use on his own people, and whisk him off-Earth.

After a short sidestep into the realm of the Inhumans—where the Avengers help Black Bolt deal with a coup attempt by his brother Maximus, secretly working with the Kree to overthrow Black Bolt in exchange for offering up the Inhumans as soldiers in the Kree-Skrull War—the Avengers head to space to rescue Mar-Vell. But first, he’s forced to build the projector, which opens up a portal to the Negative Zone and sucks in Mar-Vell’s human ally Rick Jones (did I mention Rick was with the Avengers? Look, a lot is going on in this story!).

In the Negative Zone, Rick encounters the Kree’s ruler, the Supreme Intelligence, and not only learns about the long and bitter war between the Kree and the Skrulls, but unlocks his own superpower, known as the Destiny Force, which basically lets him summon astral projections of classic Marvel heroes like the original Human Torch and Namor. Rick uses the Force against the Skrulls, seemingly ending the war and somehow reverting Senator Craddock back to his true Skrull form. Surprise, the anti-Mar-Vell and Avengers guy was secretly a Skrull! The real Craddock is found and a crowd of alien-hating protesters beat the Craddock-Skrull to death, which sorts out the Avengers’ PR crisis and reunites the team when they return to Earth.

The Kree-Skrull War is cited as one of the most influential early “event” storylines in Marvel’s history, praised for its wild scope and seen as the herald of storylines like the iconic Secret War or the X-Men’s own cosmic excursions with the Shi’ar Empire. But beyond the fact it’s got the Kree, the Skrulls, and a Captain Marvel in it, it likely won’t have much impact on the Captain Marvel movie. Although elements of it have made their way into the movie universe already—such as the burgeoning romance between Scarlet Witch and the Vision, which began in this story—there’s so much wackiness and other superteams involved it could be a while before we see any more elements work their way into the MCU.

The war itself has been a part of both the Kree and the Skrulls’ backgrounds for millennia in the lore of the Marvel universe; however, it didn’t really start with the event, even if this was where we really started learning a bit more about its origins.

In the comics, the Kree and the Skrulls have been at each others’ throats for thousands upon thousands of years, ever since the Skrull Empire—a once peaceful spacefaring civilization that explored the galaxy offering trade and technology to other worlds—first encountered the Kree homeworld of Hala. At the time, Hala was home to two species, the Kree and the Cotati—of similar technological and evolutionary levels, the races lived in relative harmony. That is, until the Skrulls decided to make a game out of their benevolent arrival. They decided that only one species would gain the benefits of Skrull technology and trade, and set up a competition in which some of the brightest minds of the Kree and Cotati would be sent across the stars to construct a project with supplies gifted to them by the Skrulls.

The Cotati, sent to a distant moon in barren parts unknown, built a sustainable garden in the year they were given by the Skrulls. The Kree, meanwhile, were sent to another moon—and not just any moon, but Earth’s moon, a million years ago—and built a fabulous city in an artificial environment created by the Skrulls for them to work in, an area that would eventually become known as the Blue Area of the Moon (that’ll get important later).

While the Skrulls were impressed with both efforts, they ultimately declared the Cotati the victors. And the Kree were pissed. So pissed, they promptly wiped out the Cotati on Hala and the Skrull delegation overseeing the contest—stealing the technology from the ship the Skrulls arrived in and setting about repurposing it so the Kree could launch an attack on the Skrull Empire at large.

The outbreak of the conflict kickstarted the process that transformed Skrull society into the warlike race we know it as now, but it also eventually had an interesting impact on another area of Marvel Comics lore beyond the cosmic realms: the Kree-Skrull War is what gave us the Inhumans. With the War in full swing, the Kree returned to the solar system the Skrulls had taken them to for their contest and established a series of outposts, including one on the Blue Area of the Moon—where they discovered sentient life on Earth and began experimenting on a group of humans to turn them into potential soldiers to be used against the Skrulls, creating the process of Terrigenesis and giving birth to the subspecies that would form the basis for Inhumanity.

In the Marvel Cinematic Universe, some of this has already come into play thanks to both the arrival of Inhumans on Agents of SHIELD and the Blue Area of the Moon (as well as Attilan, the floating city-state home of the Inhumans) being presented in the absolutely awful Inhumans TV series. But we know Captain Marvel will at least dabble in some of the wider implications of the Kree-Skrull War, simply because we know one of the reasons Carol, acting as an operative of the Kree Starforce, comes to Earth is to hunt down Skrulls that have infiltrated the world.

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Whether she meets any Inhumans or even mentions them along the way remains to be seen, but given how poorly the Inhumans show went down? She probably won’t.

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