Billy Zane in 1996’s ‘The Phantom’. Photo: Paramount Pictures.
First published in newspaper comic strip form, ‘The Phantom’ follows a fictional costumed crime-fighter who operates from the fictional African country of Bangalla.
The character has been adapted for television, film and video games through the years, including a previous live-action series and the 1996 movie starring Billy Zane as the title character.
‘The Phantom’ TV series: the studio talks
Here’s King Features president C.J. Kettler on the new development:
“The development of a live-action series for the iconic comic strip ‘The Phantom’ marks a pivotal expansion to meet the current cultural zeitgeist for this brand. By partnering with award-nominated director Reginald Hudlin, who possesses a deep reverence for the comic industry and source material itself, we are confident this adaptation will meet the high expectations of both longtime and new fans globally.”
(L to R) Billy Zane and Kristy Swanson in 1996’s ‘The Phantom’. Photo: Paramount Pictures.
This writer doesn’t look to Marvel Studios for deep, penetrating, sober films about the existential crisis of the human race or the inner workings of the heart. At their best, Marvel movies have occasionally delivered something along those lines, but for the most part, they’ve offered the cinematic equivalent of the comic books themselves – fun, breezy to read, occasionally awesome, and genuinely surprising at times.
If that means we’re a little more forgiving of Marvel movies, so be it. But there’s no question that the franchise has had it rough the last few years, with a sense of aimlessness permeating even the best of the recent films and a miasma of apathy seeping out of the worst (hi, ‘Thor: Love and Thunder’). So it gives us great pleasure to report that ‘Thunderbolts*,’ directed by Jake Schreier (‘Paper Towns’), is a focused, fun, character-driven adventure that recaptures a lot of the spirit of the MCU at its best pre-‘Avengers: Endgame.’
The cast is superb, with several standouts, and largely expands on characters who have been mostly second-stringers up to this point. The action is crisp, not as heavy on the CG as in the past, and germane to the story, which is given a lot of heart, humor, and humanity in the script by Eric Pearson and Joanna Calo. And while no one would accuse the MCU of going too deep into more weighty topics, it does handle the subjects of mental illness and depression with sensitivity. ‘Thunderbolts*’ is a more human superhero story than we’ve seen in recent times from this franchise, and it’s all the better for it.
If ‘Thunderbolts*’ does have any major flaw, it’s that the story follows a pretty straightforward course that you can determine not just from the trailers, but from the fact that it’s been done more or less along the same lines with other MCU properties – specifically, ‘Guardians of the Galaxy.’ But the action is firmly earthbound here, as Yelena Belova (Florence Pugh), sister of the late Natasha Romanoff (Scarlett Johansson), is sent on a clandestine mission by CIA director Valentina Allegra de Fontaine (a haughty Julia Louis-Dreyfus) to track someone who’s intent on robbing secret materials belonging to de Fontaine and her secretive OxGroup organization.
It’s clear early on (and from her previous MCU appearances) that de Fontaine is corrupt up to her eyeballs and dealing in things she doesn’t want the government to know about. That draws the attention of Congressman Bucky Barnes (Sebastian Stan), who’s given up the superhero life for the Washington D.C. cocktail and committee circuit, although he’s already bristling at it. But he knows de Fontaine is up to something and wants to get the goods on her for impeachment or even jail.
Meanwhile, Yelena arrives at the OxGroup facility buried deep under the desert somewhere and quickly finds out that she – along with other de Fontaine operatives John Walker/U.S. Agent (Wyatt Russell), Antonia Dreykov/Taskmaster (Olga Kurylenko), and Ava Starr/Ghost (Hannah John-Kamen) – have been set up: they’ve all been led there so that de Fontaine can incinerate them from afar and tie up her loose ends. But what no one has foreseen is the presence of a dazed, seemingly loopy young man named Bob (Lewis Pullman), who doesn’t remember how he got down there but whose very existence both alarms and excites de Fontaine once she finds out he’s alive.
Although this disparate group of “losers,” as de Fontaine describes them, initially distrust and dislike each other, they must work together to escape the facility and intend to bring down Valentina with the help of Yelena’s loud, colorful adopted father, Alexei Shostakov, aka Red Guardian (David Harbour), and Bucky, who discards his suit and tie for something more battle-ready. But their plan hits a new, potentially catastrophic snag as Valentina reacquires Bob – the only test subject to survive an experimental process to create a superbeing – and reawakens the power placed within him via the Sentry project. Except that Bob is not equipped mentally or emotionally to become a god.
Under Jake Schreier’s smooth, free-flowing, yet economical direction, ‘Thunderbolts*’ succeeds at giving its characters space to breath and its audience a chance to understand what makes many of them tick. Yes, some characters inevitably get short-changed – we’re thinking of Ghost and Taskmaster in particular – but there’s still enough time spent with almost all of them to earn their eventual (and inevitable) formation into a team. A number of the characters get their own individual moments, and thanks to an early ability exhibited by Bob we get to find out what haunts several of them as well.
Every one of these people is damaged in some way, and looking for peace of mind and acceptance. Since they’re castoffs, not heroes, and certainly not the Avengers (who we’re told are not coming back, although it’s never really been explained where everyone who’s still alive has scattered to), they have to find it where they can get it in a world that doesn’t know they exist and in which they don’t even trust each other.
‘Thunderbolts*’ also addresses depression and mental illness, in a comic book way to be sure, but still with enough tact to drive the pain of both home. Yelena, Walker, and Bucky all strive to find meaning in their lives, while Bob struggles to keep his darker impulses in check with disastrous results. This makes ‘Thunderbolts*’ darker than usual in some respects, although the film is still leavened with humor throughout. The third act, however, delves fully into the darkness, both on a physical and psychological level, making for one of the more satisfying MCU climaxes in a while.
While care has been taken to differentiate the action from some of the more generic Marvel set pieces of the past, Schreier’s strength is still with the characters. This is a quieter than usual Marvel movie in some ways, with long scenes of people talking, but that makes the action pop more when it happens. Some of the film’s scenes are well-suited to IMAX projection, making the movie look bigger than other MCU efforts, and it’s all powered by a propulsive yet nuanced score from Son Lux.
Does the film feel familiar in some ways? For sure. That template of a bunch of misfits coming together as a team is well-worn within the MCU. The movie doesn’t veer in the big picture from the Marvel house ‘feel’ and ‘style.’ But it does add enough depth to the characters and their actions to recover the energy that has been missing for a lot of the last five years.
Everyone does excellent work here, but Florence Pugh is the clear leader of the pack. Facing an existential crisis of her own and still grieving the death of her sister, Yelena is deeply haunted by the copious red in her own ledger as well as a future than she only sees as bleak. “Your light is dim even by Eastern European standards,” Alexei tells her solemnly, although even he can’t reach her (nor does he try very hard at first). Pugh gives a full, emotional, and complex performance, while also effectively portraying Yelena’s compact, deadly physicality.
Equally heartrending to watch is Lewis Pullman as Bob, who is one of the better supervillains of recent MCU vintage. Like Yelena and the others, Bob is damaged goods, but his wounds may run deeper than anyone’s and ultimately manifest themselves in more dreadful ways. Pullman’s heel turn from slightly off, clumsy, yet enigmatic doofus to frightening harbinger of death and destruction is chilling and believable.
Of the rest of the pack, Sebastian Stan is so comfortable with Bucky now that he’s the grounding presence of the movie, linking it to adventures past. David Harbour’s Red Guardian is hilarious and scenery-chewing throughout – until he isn’t, in a scene with Yelena that’s lovely and emotionally resonant. Wyatt Russell’s John Walker – the “dime store Captain America,” as he’s reminded – was hard to like in ‘The Falcon and the Winter Soldier’ and initially obnoxious here, but grows into a genuine hero despite his own personal pain. And Julia Louis-Dreyfus clearly relishes having her most screen time yet as de Fontaine, who can be charming, deceptive, and manipulative all at the same time and enjoying every minute of it.
It goes without saying that you should stick around for the end credits of ‘Thunderbolts*’. The mid-credits scene is amusing if slight; the post-credits scene is not only important, but actually points to a not-too-distant payoff, unlike many other recent bonus scenes in Marvel movies (ask Harry Styles, Brett Goldstein, and Charlize Theron how they feel about theirs).
That fact alone only adds to the impression that Marvel has at least started a major course correction with ‘Thunderbolts*,’ which at one time was arguably considered a kind of also-ran in the MCU release schedule. Yet this under-the-radar movie fixes a lot of the problems that have become more visible in other Marvel entries, while telling an entertaining, exciting, quite dark, and also moving story populated by characters you like to spend time with and wouldn’t mind seeing again.
ySD9fRBhzaiO2TcznWDp2
What is the plot of ‘Thunderbolts*’’?
A group of dangerous, unstable antiheroes and castoffs are set up on a doomed mission by a government operative (Julia Louis-Dreyfus), only to find themselves confronting a powerful new menace that threatens Earth.
Who is in the cast of ‘Thunderbolts*’?
Florence Pugh as Yelena Belova
Sebastian Stan as Bucky Barnes
Wyatt Russell as John Walker/U.S. Agent
David Harbour as Alexei Shostakov/Red Guardian
Hannah John-Kamen as Ava Starr/Ghost
Olga Kurylenko as Antonia Dreykov/Taskmaster
Lewis Pullman as Robert “Bob” Reynolds
Julia Louis-Dreyfus as Valentina Allegra de Fontaine
Will Smith in ‘Hancock’. Photo: Sony Pictures Releasing.
Preview:
Will Smith says moves are being made on a ‘Hancock’ sequel.
It would continue the story of the 2008 original.
Smith teases that Zendaya has been approached for a role.
Was the world truly anticipating a follow-up to 2008 superhero pic ‘Hancock’?
Yes, it starred Will Smith, Jason Bateman and Charlize Theron, and it made more than $629 million worldwide from a $150 million budget, but the reviews were far from positive and it didn’t exactly enter the public consciousness in the way that, say, fellow 2008 release ‘Iron Man’ helped launch a slightly successful cinematic universe.
And these days, the odds are even more stacked against it; star Smith rebuilding his career following the Oscar slap incident of three years ago (in his defense, he’s certainly seen success with the likes of ‘Bad Boys: Ride or Die’) and audiences in general have begun to tire of the endless parade of super-beings on screen, with even the latest Marvel releases –– aside from the blip that was ‘Deadpool & Wolverine’ –– no longer putting up the giant box office of years past.
Still, that isn’t stopping famed hype man Smith from talking up the latest development on a sequel to the movie about an alcoholic superhero who causes more trouble than he helps.
As reported by Deadline, the actor appeared on Canadian influencer xQc’s live stream on Twitch and answered some fan questions.
34545
Among them? One about the ongoing potential of a new outing for Hancock. Here’s what he said:
“There’s a really cool ‘Hancock 2’ idea. We haven’t even talked about it.”
But he wasn’t done. There was also the requisite Big Celebrity Name to drop:
“I’m going to give you one little piece. Zendaya is being approached for a role in ‘Hancock 2.’ ”
Whether or not that turns out to be fanciful thinking remains to be seen. Smith is still something of a force in Hollywood, but Zendaya is no slouch in the power department and doesn’t have to say yes to just any role.
Plus, it’s not as if she doesn’t already have a good superhero gig going thanks to her role as MJ in the lucrative ‘Spider-Man’ franchise, and she also has a busy schedule right now between new ‘Euphoria’ filming, Christopher Nolan’s ‘The Odyssey’ and the fourth Spidey instalment.
Right now, it sounds like Smith is more putting the name out into the world as a way to try and manifest her involvement.
Will Smith in ‘Hancock’. Photo: Sony Pictures Releasing.
The action-comedy stars Smith as John Hancock, a disheveled superhero with extraordinary powers but a troubled, reckless attitude. Despite his ability to fly and immense strength, Hancock is disliked by the public due to his destructive methods of saving lives, which often cause collateral damage.
The film takes a turn when Hancock saves the life of a public relations executive, Ray Embrey (Bateman), who offers to help improve Hancock’s image.
As they work together, Hancock’s past is revealed, including his connection to Ray’s wife, Mary (Theron), who harbors secrets of her own. The story explores themes of redemption, accountability, and the complexity of heroism.
In the climax, Hancock learns about his true origins and the nature of his powers, leading to a confrontation with bank robber Red Parker (Eddie Marsan).
The original script was written by Vy Vincent Ngo in 1996. It languished in development hell for years with various directors attached, including Tony Scott, Michael Mann (who would later co-produce the film), Jonathan Mostow and Gabriele Muccino.
“Hancock is not your average superhero. Every day he wakes up mad at the world. He doesn’t remember what happened to him and there’s no one to help him find the answers.”
Hancock: Comments on the Sequel
Will Smith in ‘Hancock’. Photo: Sony Pictures Releasing.
Talk of a ‘Hancock’ sequel has been floating around since the original movie’s release, with Berg excitedly announcing in 2009 that “everyone” –– presumably Smith, Bateman and Theron –– would want to return for the sequel.
Yet in 2012, with little sign of forward movement, he was putting the delay down to an issue of getting schedules in sync while talking to Comicbookmovie.com:
“We’ve been talking about the sequel between us, Will Smith, [producers] Michael Mann and Akiva Goldsman and myself. We’re all interested, but we literally just have trouble getting into the same room at the same time. We did have a series of meetings last year and started to hash out an idea for sequel — and Will Smith actually had the idea — so I think it will happen, it’s just a question of timing.”
Finally, Theron was asked about the possibility of showing up for the new movie, but seemed to still be interested when asked by ComicBook:
“You know, for a while we [talked about a sequel]. I think closer to when the movie came out, but not in recent years, no. We’ll be super heroes with our walkers, you know. And I’ll still go! I’ll still make that movie; I would do it in a heartbeat.”
When will the ‘Hancock’ sequel be in theaters?
Will Smith in ‘Hancock’. Photo: Sony Pictures Releasing.
Hold on there, don’t get too excited. Despite his seeming road-to-rehabilitation image and remaining megastar influence, Will Smith saying a movie is back in the works does not mean it’ll actually get made.
And given the scheduling issues, we wouldn’t expect any completed movie much before 2027 at the earliest.
We’d guess Sony would be the ones to release it when it is finished, given that the original arrived via Columbia Pictures.
(L to R) Will Smith and Jason Bateman in ‘Hancock’. Photo: Sony Pictures Releasing.
(L to R) Tom Hopper and Aidan Gallagher star in Netflix’s ‘The Umbrella Academy’ season 4.
Moviefone recently had the pleasure of speaking with Tom Hopper and Aidan Gallagher about their work on ‘The Umbrella Academy’ season 4, their reaction to the final scripts and if they met their expectations, what the show has meant to them personally, what they’ll miss most about the series, and working with showrunner Steve Blackman.
You can read the full interview below or click on the video player above to watch our interviews with Hopper, Gallagher, Robert Sheehan, Justin H. Min, Ritu Arya, and showrunner Steve Blackman.
Moviefone: To begin with, Tom, what was your first reaction to the screenplays for the final season and did they meet your expectations?
Tom Hopper: I thought the screenplays of the season, just what I recognized straight off the bat, they were funnier. There was across the board, they were much more comedic and fun, but then they never lost what the deeper meaning of what the show is all about, which is the family and their struggles. It’s through those themes that is why it’s so great as a show. But I loved it, and my concern really was that we were going to be able to tell this story in 6 episodes instead of 10 to really finish it off, but I thought Steve Blackman did a great job at sculpting it.
MF: Aidan, what was your reaction to the final screenplays and the direction your character would take this season?
Aidan Gallagher: Well, we don’t receive them all at once. As we’re shooting, we’ll get further and further episodes, but there is a pitch meeting where they’ll talk about arcs, so at least you know where you’re going, and you can lay the foundation for your path. But that kind of makes it better as a viewer because by the time you get around to watching the show, a lot of it feels like a new thing to you, and you don’t know what the sets look like or how the performances are edited. By the time everyone’s done their bit in collaborating, you’re left with something you didn’t expect, which is wonderful. The screenplays specifically of just reading the scripts, I was incredibly happy for the arc that Five goes on this year. I thought it was a universal thing and just an interesting place to find and leave the character.
MF: Aidan, how much were you told about your character’s arc before you started shooting season 4?
AG: When we’re approaching a new season, there is a pitch meeting of what we’re told is going to happen on a story arc level, but we don’t know everyone else’s bits. We just know our own character arc. So, there’s a day-to-day thing of you arrive on set with the crew and try and make the best of the scene, and it is only as good as everybody else around you, and we have incredible production and cast, and every day I just try not to bring that down and try and maintain the bar of excellence.
MF: Tom, what has it meant to you to be part of this series and work with this cast?
TH: From day one it’s been a real gift for me personally and as an actor. I think if you get one gig like this your entire career where it hits all the boxes like this one has, then I think you’re very lucky. I feel very fortunate. It ticks the box in terms of success, the fun we have on the show, how it comes across, the whole shebang, and the friendships you’ve made. We really created a family environment on this and became so tight as people on and off camera. So, it’s been such an amazing journey.
MF: Aidan, what will you miss about working on this show?
AG: The experience of getting to work on this show over the course of from 13-years-old to, I think I was maybe 19 or 20 when we left off shooting, but it’s a big chunk of your life. I learned a lot. I get to work with some incredible people. It’s a hard thing to sum up, but I’m going to miss the specific way that that all felt. Everything in life has its own colors that come together to make the way that you feel and your own perspective of it, and I’m never going to get that exact combination again. So, I’m just trying to appreciate it while it’s fading away.
MF: Finally, Tom, what was it like working with showrunner Steve Blackman on this series and watching him execute his unique vision for the show?
TH: Steve’s just been the best. He’s become a very close friend as well. His ability to collaborate and give us freedom as actors has been, I think one of the best things about the experience really. We’ve been able to play and really find these guys ourselves and bring ourselves to these roles. He’s given us that license. But he’s very good. He’s so talented at sculpting out a show and giving us the best material to work with. As I said at the beginning, it’s truly a gift, what he’s created for us here. I’m very grateful to Steve for the opportunity to come and play this role and get to play with these guys.
BbGsk6NsPGlqKDvvDs44R7
What is the plot of ‘The Umbrella Academy’ Season 4?
The Hargreeves siblings (Elliot Page, Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, and Justin H. Min) have scattered after the climactic showdown at the Hotel Oblivion led to a complete reset of their timeline. Stripped of their powers, each is left to fend for themselves and find a new normal — with wildly varying degrees of success. Yet the trappings of their uncanny new world prove too hard to ignore for very long. Their father Reginald (Colm Feore), alive and well, has stepped out of the shadows and into the public eye, overseeing a powerful and nefarious business empire. A mysterious association known as The Keepers holds clandestine meetings believing the reality, they’re living in is a lie and a great reckoning is coming. As these strange new forces conspire around them, the Umbrella Academy must come together one last time — and risk upsetting the shaky peace they’ve all endured so much to secure — to finally set things right.
Who is in the cast of ‘The Umbrella Academy’ Season 4?
Premiering on Prime Video beginning August 26th is the new original superhero movie ‘Samaritan,’ from director Julius Avery (‘Overlord’).
The movie stars Javon Walton as Sam Cleary, a young boy living with his single mother (Dascha Polanco) trying to survive in a rough neighborhood. Sam looks up to a superhero named Samaritan, who went missing decades ago after an epic battle with his archrival.
When a gangster named Cyrus (Pilou Asbaek) starts threatening Sam and his mother, he turns to a neighbor named Joe Smith (Sylvester Stallone) for help, who Sam believes might be the real Samaritan.
Moviefone recently had the pleasure of attending a virtual press conference, along with several other members of the press, to hear what Hollywood legend Sylvester Stallone had to say about his work on ‘Samaritan.’
You can read the interview below or click on the video player above to watch interviews with Stallone, Javon Walton, Dascha Polanco, and Pilou Asbaek.
Stallone began the press conference by discussing why he wanted to make an original superhero movie. “Well, it’s very reflective of what’s going on” he said. “Quite often, people say, we’re basically good people who can take care of ourselves. Let’s be on the honor system, and quite often it backfires. Then they go, how do we get rid of all this violence and fear?”
“In the movies, it’s always this mythic character,” Stallone continued. “But in the end, I say to the people, you have to take care of yourself, that’s what it’s all about. So, it’s kind of a cautionary tale, that when you get rid of your hero, then maybe you need a hero back, because you’re just not ready to take on the responsibility. But in this particular case, he had an issue that is so personal, that he couldn’t face the facts. That’s why he disappeared.”
The actor also talked about the challenges of creating a new superhero universe. “There has been a tremendous accomplishment by certain directors and certain companies in Marvel and DC, that have really pushed the universe to the max,” Stallone said. “I mean, everything that you could possibly imagine has been created.”
“I always feel there is nothing quite as relatable as almost getting hit by a car, or walking down a dark alley,” he continued. “That’s very relatable. So, we try to make the events and the danger plausible, in a sense, and identifiable. This could happen to you. It’s something that’s very tangible. It’s not from another universe, it’s from right here in the streets.”
Stallone was also asked to talk about the relationship in the film between his character and Sam, played by Javon Walton. “I hate the fact that he’s making me face reality quite often,” Stallone joked. “I think one of the main assets people have is a fading memory. Every day my character tries to forget something new because he doesn’t want to remember. It’s bad times, it’s mistakes, it’s this and that. This kid is dragging me back into my memories, and he’s making me face who I was.”
Having appeared in franchises like ‘Rocky,’ ‘Rambo,’ and ‘The Expendables,’ Stallone is no stranger to physically training for a movie, and the actor talked about how he prepared differently for this role. “I think there is a point where you say okay, you can’t do a 29-year-old ‘Rambo’ thing because you also have to honor who you at your age,” he said. “That’s the part of it that you’re not who you were, but you’re still there.”
“Actually, there’s a line in the movie about how you start to fall apart when you stop caring about everything, meaning life, and yourself.” Stallone explained. “So, I thought that this guy, his trait would be in his resolve. He still has great physical power as opposed to speed and he’s not jumping through the air. He’s not that kind of guy.”
“He’s like a very powerful individual that is still in the world of reality, a little bit,” the actor continued. “He can’t fly, and fire doesn’t come out of his mouth. He’s just a unique superhero. He’s almost a modern-day Hercules. He’s that kind of a mythic hero. I think those are ones that you can identify with. He can die. I mean, if he gets hit enough, he’s gone.”
Finally, Stallone was asked what superhero fans can expect from ‘Samaritan.’ “Because this guy is much more pedestrian, you could be standing next to him on a bus and not even know you’re standing next to some guy that can literally lift the bus up,’ he said. “There’s a kind of simplicity to it, and it’s a simmering boil. It eventually erupts as opposed to triumphant music, special effects and guys hitting the ground with their fists like a seismic wave.”
“So, you can expect a hero that is very regular, and does irregular things,” Stallone continued. “That’s what it is. It’s not like if ‘Rocky’ was a superhero. It’s something that is identifiable and street-like. It’s not set in some super fantastic universe. It’s set among brick and concrete, and identifiable situations about the neighborhoods we live in. That’s what I liked about it.”
Owen Wilson as Jack in ‘Secret Headquarters’ from Paramount Pictures.
While Marvel and DC certainly have a stronghold on releasing popular superhero movies, Hollywood has produced its own original superhero films over the years.
For example, the original superhero movie ‘Secret Headquarters‘ premieres on Paramount+ August 12th and stars Owen Wilson and Michael Pena. In honor of ‘Secret Headquarters,’ Moviefone is counting down the ten best original superhero movie of all time.
To qualify for this list, the movie must include superheroes but cannot be based on a previously published book, comic book, or other type of media.
When New York architect Matt Saunders (Luke Wilson) dumps his new girlfriend Jenny Johnson (Uma Thurman) – a smart, sexy and reluctant superhero known as G-Girl – she uses her powers to make his life a living hell!
After his father, an assassin, is brutally murdered, Nick Gant (Chris Evans) vows revenge on Division, the covert government agency that dabbles in psychic warfare and experimental drugs. Hiding in Hong Kong’s underworld, Nick assembles a band of rogue psychics dedicated to destroying Division. Together with Cassie (Dakota Fanning), a teenage clairvoyant, Nick goes in search of a missing girl and a stolen suitcase that could be the key to accomplishing their mutual goal.
Hancock (Will Smith) is a down-and-out superhero who’s forced to employ a PR expert (Jason Bateman) to help repair his image when the public grows weary of all the damage he’s inflicted during his lifesaving heroics. The agent’s idea of imprisoning the antihero to make the world miss him proves successful, but will Hancock stick to his new sense of purpose or slip back into old habits? Also starring Charlize Theron.
Three high school students (Dane DeHaan, Alex Russell, and Michael B. Jordan) make an incredible discovery, leading to their developing uncanny powers beyond their understanding. As they learn to control their abilities and use them to their advantage, their lives start to spin out of control, and their darker sides begin to take over.
After his wife falls under the influence of a drug dealer, an everyday guy transforms himself into Crimson Bolt (Rainn Wilson), a superhero with the best intentions, though he lacks for heroic skills. Also starring Elliot Page, Liv Tyler, and Kevin Bacon.
Dr. Peyton Westlake (Liam Neeson) is on the verge of realizing a major breakthrough in synthetic skin when his laboratory is destroyed by gangsters. Having been burned beyond recognition and forever altered by an experimental medical procedure, Westlake becomes known as Darkman, assuming alternate identities in his quest for revenge and a new life with a former love (Frances McDormand).
An ordinary man (Bruce Willis) makes an extraordinary discovery when a train accident leaves his fellow passengers dead — and him unscathed. The answer to this mystery could lie with the mysterious Elijah Price (Samuel L. Jackson), a man who suffers from a disease that renders his bones as fragile as glass.
In a violent, near-apocalyptic Detroit, evil corporation Omni Consumer Products wins a contract from the city government to privatize the police force. To test their crime-eradicating cyborgs, the company leads street cop Alex Murphy (Peter Weller) into an armed confrontation with crime lord Boddicker (Kurtwood Smith) so they can use his body to support their untested RoboCop prototype. But when RoboCop learns of the company’s nefarious plans, he turns on his masters. Also starring Karen Allen, Ronny Cox, and Miguel Ferrer.
Bob Parr (Craig T. Nelson) has given up his superhero days to log in time as an insurance adjuster and raise his three children (Sarah Vowell, Spencer Fox, and Eli Fucile and Maeve Andrews) with his formerly heroic wife (Holly Hunter) in suburbia. But when he receives a mysterious assignment, it’s time to get back into costume.
(L to R) Walker Scobell as Charlie, Owen Wilson as Jack, Keith L. Williams as Berger, Abby James Witherspoon as Lizzie, and Momona Tamada as Maya in ‘Secret Headquarters’ from Paramount Pictures.
The movie stars Owen Wilson (‘Wedding Crashers‘) as The Guard, a superhero struggling with finding a way to balance his crime fighting with spending time with his young son, Charlie (Walker Scobell). But when the bad guys attack their home, led by an evil tech-genius (Michael Pena), Charlie discovers his dad’s secret.
While based on an original idea, the movie is basically a mash-up of ‘Iron Man’ and ‘Home Alone,’ and doesn’t offer anything new for the audience. The film tries to explore the complexities of being a superhero and a father, but by the end abandons it for action and cheap laughs.
The movie begins in the past, with Jack (Wilson), his wife (Jessie Mueller), and young son Charlie (Scobell) camping in the woods when they see what looks like a spaceship crash in the distance. Jack goes to help and meets Captain Sean Irons (Jesse Williams), who is with the military and has been tracking the UFO. Both men enter, while a glowing orb suddenly merges with Jack giving him powers.
Owen Wilson stars in Paramount Pictures’ ‘Secret Headquarters.’
The opening credits illustrate that Jack becomes the hero The Guard, and that his marriage and relationship with Charlie suffers due to the stress. We then flash-forward ten years to discover that Irons is no longer with the military, and instead working for a tech CEO named Ansel Argon (Pena) trying to locate the source of The Guard’s power.
Meanwhile, with his parents divorced and his father never having time for him, Charlie grows to resent his dad. When Jack suddenly has to leave while Charlie is spending the weekend at his house, Charlie invites his friends over only to discover a secret headquarters under the house. They soon realize that Charlie’s dad is The Guard, and use his power source to create gadgets for themselves.
But the fun is interrupted when Argon and Irons discover the secret headquarters and capture the kids. Now, the kids must defend themselves and the power source until The Guard can arrive, and more importantly, Charlie must come to terms with the truth about his father.
Since the explosion of superhero movies about twenty years ago, with a few exceptions, Marvel and DC have pretty much ruled with decades of characters and stories to utilize. So, creating a brand new superhero universe for a film can be difficult, and I appreciate the filmmakers taking a big swing with ‘Secret Headquarters.’ However, the movie takes too many ideas from existing properties to truly be original.
Owen Wilson as Jack in ‘Secret Headquarters’ from Paramount Pictures.
The Guard is clearly Iron Man, even down to the symbol on his chest. Jack is basically wearing a super-suit, and the powers are about the same. There is also clearly a reference to Green Lantern, as an alien spacecraft crashing and passing its power on to a worthy human being is the same origin story. There is even a little Batman thrown in there with all the gadgets, cool cars and secret headquarters itself.
You could also make an argument that Michael Pena’s character is basically Lex Luthor, and Captain Irons is his henchman. But about halfway through the film, once Argon and his men have gotten in the house and confront the kids, the movie becomes ‘Home Alone’ with super powers.
Part of the problem with the movie is that there is not enough time to really explore Jack and Charlie’s relationship in a meaningful way. There are a few brief scenes between the two characters at the beginning, but then Jack leaves, and once he returns it becomes all about saving the kids. Even the film’s conclusion doesn’t really address their relationship and how it changed through the course of the movie.
Once the movie goes into ‘Home Alone’ mode, anything it was trying to say about the sacrifices a hero has to make and their complex personal lives is completely abandoned and the movie just becomes silly kid’s stuff. Pena keeps the sequences moving with his over-the-top character and is quite funny throughout.
(L to R) Michael Peña as Argon, Keith L. Williams as Berger, Walker Scobell as Charlie, and Momona Tamada as Maya in ‘Secret Headquarters’ from Paramount Pictures. Photo: Hopper Stone/Paramount Pictures.
Owen Wilson is fine as Jack/The Guard, and it was fun seeing the actor finally play a superhero. But he is not in a lot of the film, and we never really see The Guard in full action. It would have been nice to see more of the character’s backstory as a hero, but Wilson gets a few moments of great action towards the end of the movie.
Walker Scobell, who was fantastic in ‘The Adam Project’ stumbles a bit here, creating a whinny brat of a character that you have a hard time rooting for. However, his supporting cast of young actors all shine, creating fully realized and fun characters.
Momona Tamada is excellent as Maya, a strong-willed classmate of Charlie’s, who he has a crush on. Abby James Witherspoon plays Lizzie, a TikTok obsessed pre-teen who has a humorous onscreen relationship with Kezii Curtis’ Big Mac.
One of the funniest young actors in the movie, Curtis’ character is actually named Eugene Burger but goes by Big Mac because as he says, “I’m the tastiest Burger.” Keith L. Williams plays the younger Burger brother and has some funny scenes with Curtis, who’s character goes ballistic when called “Eugene.”
In the end, ‘Secret Headquarters’ is a harmless, family-friendly movie that probably won’t be satisfying for adults or fans of the genre but may entertain your kids.
‘Secret Headquarters’ receives 2.5 out of 5 stars.
(L to R): Keith L. Williams as Berger, Walker Scobell as Charlie, Kezii Curtis as Big Mac, Momona Tamada as Maya, and Abby James Witherspoon as Lizzie in ‘Secret Headquarters’ from Paramount Pictures. Photo: Hopper Stone/Paramount Pictures.
5WZAt7bAURYRiwPvfYkMU5
‘Black Adam’ marks that rare superhero movie where the person playing the role is more famous than the character. Sure, we’ve had the likes of Robert Downey Jr., who was probably better known than Tony Stark when he starred in ‘Iron Man’, but Dwayne Johnson is undoubtedly a mega movie star, while to the average person Black Adam is unlikely to generate all that much recognition.
Your usual history lesson, then: created by Otto Binder and C. C. Beck, the character is one of the archenemies of Shazam (as played in his own movies by Zachary Levi) and the nemesis of the Shazam Family. Black Adam first appeared as a one-time villain for the first issue of Fawcett Comics’ ‘The Marvel Family’ comic book December 1945 (a reminder here that Shazam was once known as Captain Marvel, before Marvel had Carol Danvers out there).
Black Adam was revived as a recurring character after DC Comics first licensed and then acquired the Fawcett characters and began publishing Shazam Family stories under the title ‘Shazam!’ in the 1970s.
While Johnson was at one point going to play the character as a direct villain to Levi’s Shazam, that plan evolved to give him his own movie (not a bad idea when you have someone with the Rock’s audience appeal). And in keeping with how he’s evolved in the comics, the tone shifted more towards him being an antihero rather than a straight up bad guy.
9hP0PyDh
In the movie’s story, Johnson’s Teth Adam rose from being a slave, dying, being reborn a god and meting out his particular, powerful brand of justice in the society of Kahndaq 5,000 years ago. It didn’t end so well for him, after he’s betrayed and imprisoned.
But he returns to dispense some no-nonsense justice in the present day, something that will bring him into conflict with more straightforward heroes, including, in the film the Justice Society Of America, including Hawkman (Aldis Hodge), Dr. Fate (Pierce Brosnan), Cyclone (Quintessa Swindell) and Atom Smasher (Noah Centineo).
As shown in the trailer, Adam essentially has a choice – with his immense powers, he can choose to save the world… or he can destroy it. We’re fairly confident we know what he’ll end up doing, but it might be a close run thing. As one moment in the trailer has it, Hodge’s Hawkman tells him, “heroes don’t kill people.” “Well, I do,” comes the reply.
Tone-wise, the trailer switches between action blockbuster, portentous dialogue from The Rock about his past and some moments of comedy, such as flinging someone out into the ocean. And, of course, there are the “hero” shots – though to bring it back to ‘Iron Man’, there might be some who think that tackling a plane and catching a missile remind them of that movie.
The movie was written by Adam Sztykiel, Rory Haines, and Sohrab Noshirvani, and directed by Jaume-Collet Serra, reuniting with Johnson after they collaborated on Disney’s ‘Jungle Cruise’.
‘Black Adam’ will fly into theaters on October 21st.
(L to R) Jack Quaid (Hughie Campbell), Karl Urban (Billy Butcher), Tomer Capone (Frenchie), Karen Fukuhara (Kimiko), Laz Alonso (Mother’s Milk). Credit: Courtesy of Prime Video. Copyright: Amazon Studios.
Debuting with the first three episodes on Prime Video today, ‘The Boys’ returns for its third season having lost none of its capacity to shock and delight in equal measure.
The show about dysfunctional superheroes – and the vigilantes who are dedicated to keeping them in check – is back in a more crowded market for such stories – James Gunn offered plenty of gore and chaos in ‘Peacemaker’ and ‘Invincible’ unleashes animated mayhem with each successive episode.
‘The Boys’ follows a world in which superpowered people (or “supes”) – many of them the creation of the less-than-moral Vought corporation mingle with us regular folk, performing heroic acts and behaving much like movie stars for their adoring crowds. The wrinkle here though is, like some celebrities, they’re also extremely fallible souls, prone to bad behavior and selfish, abusive attitudes, and when you combine that with the ability to lift cars, fly or explode heads, it’s a very, very hazardous combination.
Vought views them as commodities, marketing tools to sell toys and other merchandise, producing movies around “The Seven” core characters. They’re pimped like DC or Marvel’s stable, making public appearances, and signing endorsement deals.
Antony Starr (Homelander). Credit: Courtesy of Prime Video. Copyright: Amazon Studios.
Prime among them is Homelander (Anthony Starr), who believes he’s god’s gift to the world, an emotionally stunted man-child who acts out and causes endless problems for those around him. Starr’s performance is pitch-perfect, smug, and entitled, preening and impervious (literally). There are hints of humanity under the surface, but this season he doubles down on the desperate need to be in control of everything around him.
A sweary ying to his yang is Billy Butcher (Karl Urban), the uncouth cockney leader of the rag-tag opposition group named in the title. The “boys” – plus Karen Fukuhara’s superpowered Kimiko – who all have their reason to dislike supes, and to hold grudges against them. Some, such as Laz Alonso’s Mother’s Milk, lost their parents to Supe activity, whereas Hughie (Jack Quaid, who began the show as the audience’s way into this conflict, (but is now firmly entrenched in it, not least because he’s dating Annie/Starlight, a superhero played by Erin Moriarty), saw his girlfriend exploded into bloody vapor thanks to the careless speedy actions of the Flash-like A-Train (Jessie T. Usher).
As Butcher, Urban holds the vigilante side together, his character is a mix of his own foibles and insecurities, not least because last season he learned that his son was fathered by Homelander. Oh, and his wife died when said son tried to save her from a psychopathic Nazi supe, accidentally wounding his mother.
Season 3 kicks off with the characters in even more disarray – Homelander is facing challenges to his authority, which only serves to make him even angrier, while Billy confronts one of the eternal questions of the show – just how far are you willing to go to achieve your aims? And when does fighting the good fight become an obsessive quest that threatens everyone around you?
(L to R) Karl Urban (Billy Butcher), Antony Starr (Homelander). Credit: Courtesy of Prime Video. Copyright: Amazon Studios.
It’s no spoiler to say that this year Billy gets a real upgrade in his fight, (his glowing eyes are all over the trailer), but we’ll leave the specifics for you to enjoy. It all plays well into the show’s regular obsessions, especially if you ponder what happens when Butcher becomes the thing he hates, even if it’s temporary.
Yet with the space to tell its story (the show is eight episodes this season), ‘The Boys’ has never just been about Homelander and Butcher. Almost every character enjoys a relatively meaty storyline this year, whether it’s Kumiko dealing with her desire to lose her powers, charismatic veteran soldier Frenchie (Tomer Capone) trying to maintain his relationship with her while his past comes back to haunt him or Starlight diving into trying to take down Homelander from within her position on the Seven team.
There are moral compromises, bad decisions, terrible actions, and regrettable turns all over the place, with no one in this world entirely good or entirely bad (well, Homelander’s pretty much irretrievably awful at this point).
Of course, ‘The Boys’ is also still sticking to its house style, adapted from the comic book series by Garth Ennis and Darick Robertson, itself unafraid to leapfrog over lines that most other stories would be too afraid to cross. If you’ve seen an episode (or, let’s be honest, a few minutes) of this show, you’ll know its propensity for blowing people up, hacking off limbs or causing other horrific injuries, and that continues in fine style here.
Jensen Ackles (Soldier Boy). Credit: Courtesy of Prime Video. Copyright: Amazon Studios.
There is a moment within the first 10 minutes here that involves someone with the ability to shrink to minute size and another person’s… Well, that would be telling. Suffice to say, we would not suggest eating while the sequence occurs. In fact, that’s probably a good idea through most of the episodes, because a lot of bad stuff happens to various characters, some of it violent, some of it sexual. The commitment to startling vulgarity can sometimes be wearing, but the show balances that out by keeping the cast compelling and the writing fantastic.
Among the biggest developments this year is the introduction of Soldier Boy (played by Jensen Ackles, who worked with ‘Boys’ co-show-runner Eric Kripke for years on long-running CW series ‘Supernatural’. Though he’s more hinted at initially, this twisted take on Captain America, a man that the country has come to view as a great hero who, when you meet him is certainly no Steve Rogers. He’s a drunken, foul-mouthed man out of time, but fits perfectly into the show and becomes a big plot driver for the season.
This is not a series for the faint of heart, or for anyone who prefers their superheroes squeaky clean. But for those who are willing to engage with it, to go with the (bloody, gross) flow, it remains one of the most entertaining and surprising shows out there.
Last week’s episode ended with us in paradise, welcome to the season finale of ‘Moon Knight’.
We open on Marc being dragged out of the pool by Arthur’s men, who place the scarab on his chest and leave. Only for it to be picked up by Layla. Arthur is stopped, and we witness Ammit’s power. Layla goes to kill him, only to be held back by Tawaret taking over her body to tell her she needs to break Khonshu’s statue to bring Marc back.
Harrow breaks into the vault of the gods, getting into a fight with the other avatars and defeating them. He breaks the statue, releasing Ammit back into the world. The goddess asks who brought her back and mentions that Arthur’s scales “lack balance.” Layla also finds and destroys Khonshu’s prison, releasing him. She refuses to become his avatar, only agreeing to help if they can work together.
We cut to Marc in the afterlife being told his scales are balanced. Tawaret explains to him that his afterlife is everything he wanted. Sensing it isn’t right, he tells the goddess they need to get Steven back. Marc runs the other direction and paradise instantly fades. Marc finds Steven buried in the sands, and finally admits he saved him. Apologizing that he couldn’t protect him, all as Marc slowly turns to stone.
The golden door opens and the two of them come back. Tawaret helps Marc and Steven get back to the world of the living while Khonshu and Ammit fight in the Vault. Khonshu senses them returning and inhabits Marc’s body again. He now must talk to both Steven and Marc, and they strike up a deal. They will be his avatar, but once Ammit is gone, they will be freed.
Layla learns how to trap Ammit, but she needs more avatars. Without even words, it’s revealed she’s accepted Tawaret’s offer for help. Arthur makes it to the top of the great pyramid, now working as Ammit’s avatar, eating the souls of the unworthy.
Marc & Steven make it in time, and their fight with Arthur shows how the two of them both have control over the Moon Knight power. Layla appears just as Arthur is about to get the upper hand, looking nearly as powerful as they are, and is the Marvel Cinematic Universe version of the Scarlet Scarab.
Layla saves a car full of people from Arthur and is asked if she’s an Egyptian superhero. In a very moving, but quick scene, she hastily replies, “Yes.” Arthur gets the better of Marc, same as Ammit with Khonshu. It seems Marc’s about to lose before he blacks out, waking up to Arthur nearly dead beneath him. Once again, it wasn’t him or Steven who did it!
They take Arthur back and return Ammit to his body as a prison. Khonshu tries to get Marc to kill the body and Layla tells him to stop. He sides with Layla, telling the moon god to release them.
Steven is shown back in the white room with the doctor. He asks the doctor if he believes gods are real, to which he responds, “No.” Marc returns to tell him “What if we disagree?” The doctor walks away bleeding, and Marc and Steven team-up to escape their personal afterlife. Marc wakes up back in Steven’s apartment, with two of everything, including goldfish. And that’s the end!
Now before we touch on anything else in the episode, let’s discuss that end-credit scene.
We’re shown Arthur is now in a mental hospital, really, this isn’t a dream. He’s shown being led away by a man in black, and is taken out to a white car, passing the bodies of killed nurses. He gets thrown into the car and is shown Khonshu in a very fancy suit. He explains that Marc truly thought he left, and that the god needs an avatar strong enough to do his work and not be afraid to get their hands dirty. But that isn’t Marc or Steven.
The god Knocks on the windows, and we’re introduce to Jake Lockley, another alter of Marc’s and the cause of the blackouts. He aims a gun at Arthur, and fires, presumably killing him, and drives off. So ‘Moon Knight’ finally gives us Jake Lockley, but only in the post-credit’s scene. And that, this whole time, it is implied Jake was Khonshu’s avatar. Almost like Marc and Steven were borrowing the powers for themselves.
This version of Lockley is a bit different; we’re obviously shown him more brutal, almost gleefully killing Arthur at the end. In the comics, Lockley was a taxi driver, basically Moon Knight’s ears to the ground. He would gather info on targets, but he was never seen as a killer. So, it’s very interesting where they’re taking the character in the future!
Now, for my verdict. How did Marvel do with ‘Moon Knight’? Well, in my opinion, there was way more highs than there were lows. While the show was plagued with Marvel’s telltale CGI fights and spectacles, especially in this last episode, there was plenty of heart and emotion.
A lot of that praise can be placed on Oscar Isaac for absolutely killing it as Marc, Steven and now Jake. He gave a crazy different performance for each character and seeing him switch between two personalities near the end of this last episode blew me away. I would easily put him up there with the likes of Robert Downey Jr. and Chris Hemsworth as fantastic Marvel character casting.
Ethan Hawke plays a very interesting villain, but he weirdly starts off incredibly scary in my opinion but then eventually…is less menacing? At least, he doesn’t stay as threatening as the show puts him up to be, which can be chocked up to Moon Knight himself being way deadlier. I guess I just wanted more of Harrow as a villain. On the outside, he’s a creepy cult leader that is reminiscent of real life evil, but as the show progresses, I just didn’t feel that at the end of the series.
But, even with all the flaws ‘Moon Knight’ had, it’s still one of my favorite series set in the Marvel Cinematic Universe. I cannot wait to see where the hero goes in the future, and if Layla will ever return in her superhero form.
