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More Loki in Thor: The Dark World

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NewsDavid Crow8/15/2013 at 3:58PM

Director Alan Taylor confirms that Thor 2 reshoots are to ensure more screentime for Tom Hiddleston's tricky Loki.

Several weeks ago, it became well known that they were reshooting parts of November’s upcoming Phase 2 Marvel Studios epic, Thor: The Dark World. Now, director Alan Taylor confirmed to Collider that it was in relation to putting more Loki (Tom Hiddleston) in the Thor sequel. Sir Anthony Hopkins as Odin too.
 
“We’re doing full scenes, scenes that were not in the movie before,” Taylor told Collider. “We’re adding scenes, creating scenes, writing scenes for the first time…We realized how well Loki was working in the movie and we wanted to do more with him. So, it was that kind of thing. It was like, ‘Oh, we could do this, we could jam this in here, because he’s such a wonderful guy to watch do his stuff.”
 
The former Game of Thrones director said this is part of a smooth process, comparing it to Kevin Feige’s post-production improvements of Iron Man 3.
 
This is honestly not too surprising, as the latest trailer was so much about Loki that Thor seemed to be a supporting character in his own movie. Really, at this point Hiddleston’s Loki is the most popular Marvel Studios character after Robert Downey Jr. as Iron Man.
 
Hopefully, we’ll have plenty to enjoy from the Norse trickster when the film has its U.S. release on November 8.
 
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Jeremy Piven Meeting Tom Cruise at Edge of Tomorrow

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NewsDavid Crow8/15/2013 at 4:21PM

Jeremy Piven has been cast to star opposite Tom Cruise in next summer's sci-fi thriller Edge of Tomorrow.

Despite principal photography having already wrapped, Deadline is reporting that Jeremy Piven (Entourage) is walking aboard Tom Cruise’s Edge of Tomorrow sci-fi summer blockbuster slated for 2014, which is currently undergoing some reshoots in the UK. Piven shall play the role of Col. Walter Marx.
 
Based on Hiroshi Sakurazaka’s sci-fi book All You Need is Kill, the thriller stars Cruise as a hero who must relive the same horrific alien invasion battle day-in, day-out, which always ends with his demise. The more he dies, the better he fights on repeat. Perhaps with the aide of the best alien-killer on the planet by his side (Emily Blunt), he can change his destiny. Think a really disturbing version of Groundhog Day. Or Source Code.
 
Edge of Tomorrow is a thriller directed by Doug Liman (The Bourne Identity, Mr. & Mrs. Smith) and co-starring Bill Paxton, Emily Blunt and Marianne Jean-Baptiste.
 
Tomorrow comes June 6, 2014.
 
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Paranoia, Review

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ReviewMike Cecchini8/15/2013 at 6:12PM

The sleek techno-thriller delivers no thrills...even with Gary Oldman and Harrison Ford providing the star-power.

When not even the promise of Harrison Ford and Gary Oldman as bitter enemies is enough to ratchet up the tension in a movie called Paranoia, you’ve got a problem. Despite the promise of watching these two actors wage technological war on each other, we’re instead handed a flat story with a charmless (and soulless) protagonist, and conflicting messages about ambition and privacy.

Adam Cassidy (Liam Hemsworth), an ambitious young man working for a hot technology company, has big dreams of rising above his working-class roots and making waves in the business. Unfortunately, his ambition leaves him vulnerable to blackmail at the hands of his boss, Nicolas Wyatt (Gary Oldman), who recruits him into a corporate espionage scheme intended to steal tech from his rival, Jock Goddard (Harrison Ford). Along the way, Adam’s loyalties are tested, and he finds himself caught between the man he fears, the man he respects, and the FBI. It's the age old story of a man who has to choose between the life he has and the life he thinks he wants.

Despite the faintly populist tones of Hemsworth’s opening narration, in which he laments the death of the American dream and the rise of greedy executives who earn their bonuses off the backs of decent, hard-working folks (like his dear old Dad), Paranoiacomes across like a love letter to the surveillance state, and the increasingly slick and sexy technology that makes it possible. Set in a post-gentrification New York City that looks an awful lot like Philadelphia, velvet-rope nightclubs and financial district sterility are all seen as more desirable than quaint brownstones and dive bars. Meanwhile, the alleged romance between Adam and the intelligent, unattainable Emma (Amber Heard) feels about as genuine as an Instagram filter. Even the "Brooklyn" Adam returns to at film's end (we are to know it's Brooklyn because, y'know, there's rock music playing in the background), is one of gleaming class and chrome office buildings.

Director Robert Luketic does his best to establish tension in the film’s middle acts, but for the most part, entire sections of the film just feel like an extended smartphone commercial. For a film entitled Paranoia, there’s remarkably little of it on display. After all, it’s not paranoia if people are really after you, and Adam’s suspicions are not only proven to him and the viewer (repeatedly), but the FBI is wise to the entire scheme, warning Adam to get out before it’s too late.

Adam’s father is there to witness this, and needs no further convincing. In fact, there’s never a moment where this young man is left to hang out to dry by his family, friends or the proper authorities (although he has no qualms about abandoning and betraying them). Later in the film, when Adam realizes his every move is being watched by hidden cameras in his multi-million dollar apartment, he trashes the place looking for the bugs. Never has the angry and desperate destruction of an apartment appeared less rock n’ roll.

Paranoiadoes have its moments, however few. Gary Oldman’s villainous Nicolas Wyatt is a study in gleeful amorality. At times a disinterested executive, at others, a venomous corporate supervillain, Oldman has what fun with the role that he can. Julian McMahon (remember him as Doctor Doom from the Fantastic Four flicks? Anyone?) plays oily heavy, Miles Meachum, the guy who does the dirty work for Mr. Wyatt. Meachum lurks on the outskirts of scenes like Wile E. Coyote setting a trap. He’s more amusing than menacing, though, even with a silenced pistol in hand. Harrison Ford is always a welcome presence, and the fatherly, world-weary facade that his Jock Goddard projects is familiar enough, although his more hard-edged moments later in the film fall flat.

Which brings me to another major problem. There are no characters to root for in this film. All are either reprehensible, craven, or (at best) pitiable creatures. This can be excused when you’re dealing with a collection of charming, witty rogues, but these are mannequins. Adam and friends’ one act of “rebellion” involves using a corporate account to run up a $16,000 tab at a posh Manhattan nightclub. Even Gary Oldman’s Wyatt eagerly points out (in the preface to his blackmailing of Adam into a life of corporate espionage) that he could have used that money to pay his father’s hospital bill. There are four females in the entire film: one disappears entirely within fifteen minutes while the other becomes the comic-relief bartender girlfriend of Kevin (Lucas Till). Embeth Davidtz phones it in as Judith Bolton, Mr. Wyatt’s eeeeee-vil personal assistant, and Amber Heard’s character exists solely so that Adam can lift her fingerprints and swipe her phone in order to gain access to the super-secret smartphone that he must steal on behalf of Wyatt. Hilariously, the phone is lit and displayed like the idol in the opening of Raiders of the Lost Ark.

What are the messages of Paranoia? “Greed is good?” Cooperate with the federal government and they’ll cut you a deal? Trust the FBI? If you’re an ambitious woman working for a crooked, high-powered asshole, you may be fortunate enough to find another job working for another crooked (albeit significantly more attractive) high-powered asshole? There is no mention of using technology to make the world a better place or to ease the suffering of others. At best, it may have a military application. But for the sick? The poor? Sorry, folks. You’re out of luck.

However, with all of Paranoia’s shortcomings, perhaps the biggest comes in a rather unexpected way. Richard Dreyfuss, who plays Adam’s working-class, emphysema-stricken father, is a blue collar dude through and through. To illustrate this, the filmmakers never depict him without a well worn baseball cap. The problem is that in some scenes it’s a Mets hat...in others, it’s an equally weather-beaten Yankees cap. This is either an unforgivable continuity error, or an uncharacteristically subtle way for the filmmakers to indicate that the lovable old scamp is more than he appears. After all, as any New Yorker can attest, people who claim to root for BOTH New York baseball teams simply aren’t to be trusted. Perhaps there’s a deeper message here after all, and maybe Paranoiadeserves another look...Nah.

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Lee Daniels' The Butler, Review

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ReviewAlia Haddad8/15/2013 at 6:48PM

Every year or so, there are two types of Oscar-bound films about race relations: one that challenge the status quo and one that conforms to cultural norms. Guess which one starring Oprah Winfrey is?

Every year sees a certain number of films that sprinkle themselves across the race-relations spectrum.  In 1989, for instance, we had Do The Right Thing on the one end and Driving Miss Daisy on the other. In 2004 it was White Girls and Crash, in a respectively bizarre contrast. Still, you get the idea: Movies that attempt to call the race relation game as it really is versus movies that align with a culturally accepted notion of race relations as they have played out in America. This year proves no different, with Fruitvale Station on the one end and Lee Daniels’ The Butler on the other. Quite perfectly, both films in question this year have Forest Whitaker involved in some capacity, enjoy the distribution of the Academy Award-hungry Weinstein Company, and, quite expectedly, do indeed pander for those Oscars.
 
Yet, after seeing both movies, one thing has become clear for me. Fruitvale Station definitely deserves some recognition—if not an actual Oscar or two—while Lee Daniels’ The Butler, which coincidentally was not based on the novel Push by Sapphire, succeeds in little else than whole-heartedly accepting cultural norms. Think The Help, but with way more stars and presidents played by stars. If you can get past the film’s non-groundbreaking stature and just accept that its messages, and not to mention its civil rights timeline, are totally off, then maybe, just maybe, you can non-critically enjoy the film.
 
To be fair, Daniels did get some things right. Namely, and most predominantly, Forest Whitaker. Whitaker is rarely ever not good in a role and his take on Cecil Gaines, the White House butler made famous by a 2008 Washington Post article, proved to be no exception to this rule.  In fact, the only thing that stops him from delivering another downright amazing performance, which tends to be the status quo for Whitaker, originates from what appears to be a facet of the real Gaines, who served as the White House butler from 1952 to 1986: His speech. Which. Sounds. Like. This.

 
Whitaker’s take on Gaines’ drawl and manner of speaking is so slow and drawn out that it feels less like a caricature portrait and more like a racist portrayal of a black man who has not received a formal education. It’s so distracting that it ends up not mattering if Gaines actually spoke like this in real life. Leaving that critique aside, though, overall Whitaker is excellent.
 
The second thing Lee Daniels’ The Butler boasts, which most likely plays a bigger role in the film’s marketability, is its huge (HUGE) cast of stars. With a cast made up of Oprah Winfrey, Cuba Gooding, Jr., Terrence Howard, Vanessa Redgrave, Mariah Carey, Robin Williams, Melissa Leo, James Marsden, Minka Kelly, Live Schreiber, John Cusack, Alan Rickman, Jane Fonda, Alex Pettyfer and Lenny Kraviz, there is no way this movie is not getting a good amount of ticket sales.
 
This is especially the case when considering that, first, Oprah Winfrey plays a huge role as Cecil’s wife, and second, the presidents that Cecil serves throughout his tenure are played by some of the huge actors listed above (Robin Williams as Eisenhower, John Cusack as Nixon and so on). Just how did these two factors play out? Well, Winfrey is fine. Her performance is nowhere near Whitaker’s in terms of quality, but it is adequately serviceable (at least until the big ending).

 
Similarly, the actors playing presidents were hard-pressed to play their actual roles rather than play themselves playing these roles. Instead of watching Eisenhower, I was watching Robin Williams play Eisenhower; instead of watching Ronald and Nancy Reagan, I was watching Alan Rickman and Jane Fonda play Mr. and Mrs. Reagan. That is, the film’s bankable star factor never manages to leave the film. Only the most ardent celebrity filmgoer will be able to enjoy the Lee Daniels’ The Butler dazzling parade of familiar faces.
 
The other defining component of the film is the time periods that it attempted to encapsulate within several hours. Just as eras and their fluid, perceived accuracy are crucial in, say, Forrest Gump, they are critical here. Indeed, half of the joy of the movie is seeing how the hair, clothes, and pop culture references change alongside Cecil’s notions of politics immediately affecting his life. The four main decades represented—the 50s, 60s, 70s and 80s—like the film’s take on the civil rights movement, are quite stock. During the 60s, hair was long; during the 70s, there was a prevalence of afros; in the 80s Nancy Reagan-style reigned. Strangely, these postcard generalities mostly work with the vibe of the film. What did not gel is how kitsch and limited its portrayal of the Civil Rights Movement was (yes, Martin King Jr. and Malcolm X existed at the same time and no, they were not mutually exclusive).

 
Overall, Lee Daniels’ The Butler is passable at best, like Winfrey’s acting, and mildly racist at worst. Going in to see the film with an uncritical eye is important. If you can achieve this lax state of mind, then you will have a more enjoyable experience than this critic. If you are unable to do just that, then at the very least you will have fun watching Jane Fonda play Nancy Reagan—what a trip that was—and seeing the different prosthetics put on the slew of actors to make them look more like their presidential counterparts. Either way, do not go in expecting something Oscar-worthy. Save that for Fruitvale Station.
 
Den of Geek Rating: 2 out of 5 Stars
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Jobs, Review

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ReviewMatthew Schuchman8/15/2013 at 8:26PM

The latest piece of Steve Jobs hagiography is worse than just pandering; it's boringly inept at covering the life of the troubled Apple "iCEO."

First things first, I don’t suckle at the teat of Steve Jobs and the corporate façade that is Apple Computers. Should my pre-conceived image of Jobs play into my assessment of this Jobs? Absolutely not, and it doesn’t; yet, there are certain aspects of what is shown to the audience of this mixed message film that cannot go unmentioned. Condensing his life into two hours that span only 20 of the years he spent building his company, Jobs skips over too many important sections of the man, creating a cut and paste story of some big shot who won’t take no for an answer, instead of exploring the deeper aspects of an obviously troubled mind.
 
From his days as a college dropout to his wave of highs and lows within this company, Jobs focuses mainly on the start of Apple Computers all the way to 1996, when Steve returned to the company following a controversial exile. It’s the chronology of man who built an empire from his garage with the help of some friends, and the desire to retain the public’s view of what they want in life. Within that time period, Jobs did work with other companies in real life, most especially Pixar. These events are not covered in the film though, as this is a movie about what Steve Jobs built, and nothing else; and that right there is the problem.
 
Unless you’re making a multi-part biography, it’s impossible to cover every facet of someone’s life. The scary thing about this film though is that it swiftly breezes over all of the important issues in the man’s existence to zero in only on his struggles to make Apple in his image. In the opening section of his life as a drifting college burnout, the story drops a quick mention about his biological parents abandoning him as a child, and wraps back around to the notion of how it affects him as an adult when he willingly refuses to admit he is the father of his girlfriend’s baby for years. This side of his life is something I’m more interested to delve into and explore, not the stubborn jerk who belittles people into realizing his dreams for him. Jobs was an overwhelming control freak who couldn’t build any of his creations for himself, but could bend the will of almost anyone to get it done for him.
 
Yet too much of his background, the real meat of the troubled childhood that informed his later unstoppable force, is left so shadowed. This begs me to question how he ever got anywhere in life, if I didn’t know any better. After dropping out of college, he spends his days sleeping on campus couches and walking barefoot around the school. Though he is not enrolled or paying tuition, he still has the dean telling him he can attend any class her wants, free of charge. He cannot decide what he wants to do with his life, and the film hints that he isn’t even interested in computers; sneaking out of the classes he isn’t paying for because it bores him.
 
Cut to him sitting in a cushy job at Atari after a trip to India where the company bends over backwards to give him what he wants, even though he spends his day reeking of body odor and yelling at programmers who won’t listen to his orders to change everything. To appease his seemingly precious mind, they leave him to lead his own project, letting him come in at nights to work alone so his offensive odor won’t disrupt the other employees. Of course, he gets stuck working on his project and has to call in his pal Steve Wozniak to finish it for him, telling Wozniak he will get $300 for his work, even though Jobs will collect $5,000 for the finished product.

 
I never read Jobs’ book, I don’t know if this is how those events really happened, but this is where Jobs fails as a sloppy mess of a movie. It runs with the idea that everyone thinks Steve Jobs was God’s official re-imagining of his presence, put on Earth to deliver us gadgets to play time-consuming games on after checking our email while taking a piss. I need information that is not being provided. The film does paint the portrait of a practical cheater who never created anything for himself, just pimping other people’s ideas off as his own, burning every bridge along the way and, to steal a lyric from Elvis Costello, “taking all of the glory, and none of the shame.”
 
Whether he was right or wrong in any situation, Jobs presented himself as an insufferable twit who railed against the world when he didn’t get what he wanted. The fact that the film shows that image onscreen is fantastic, but it all comes wrapped up by playing the, “This guy is a genius card, and he knew he had to fight for what he wanted.” Take this idea as a single message and the point of film is, “You can be a complete jerk to anyone who talks to you, as long as you create something world-changing in the end.’
 
I still don’t know what the biggest draw for the film is; the fact that it’s all about people’s nerdy deity, or that he’s portrayed by Ashton Kutcher. Kutcher certainly doesn’t give a poor performance, but will it change the way some of his detractors feel about him? Maybe, but he doesn’t offer anything that could be considered earth shattering in terms of his acting abilities. He came in and did the job without ruining the picture, and that’s about it. In the end, that’s possibly the best the filmmakers could have asked for, and put in the middle of such an uneven storytelling experience; he actually is the only thing that holds the whole thing together.

 
When all is said and done, Jobs falls in line with every other thought that has been spent on Steve Jobs and what he brought to the world. It doesn’t care about the cracks and faults of a seriously troubled man, it’s just happy people on Macbooks around the world are sending messages to other people with Macbooks about how there’s a movie out there on the dude who totally created the machine their on. And he’s played by that oh so dreamy, Ashton Kutcher.
 
Den of Geek Rating: 2 out of 5 Stars
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Okay you didn't like it, don't think I will either don't suckle at the Steve Jobs' teat or prostrate myself in front of him as a technological god.

50 Movie Plot Holes and Paradoxes

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NewsNP Horton8/16/2013 at 7:58AM

Even the best films have their flaws. Here's Nick's list of 50 movie holes and unexplainable paradoxes...

The suspension of disbelief is crucial to a film's success. Without it, we’d just spend the entire time going, "That couldn’t happen!" which would make watching movies one of the more irritating pastimes we could do. However, sometimes the internal logic of films stretches credulity so much, you can’t but sit up and take notice.Here are 50 of the finest examples where things don’t quite make total sense. Some you definitely know, some you might not, and some aren’t the giant plot holes they’re made out to be. We approach all of this from a position of love: we might be being nit-picky, but we do enjoy most of the movies here. So read on, and add your own in the comments.PLEASE NOTE: There are spoilers here. Check the name of the film, and if you haven't seen it, don't ready the entry!

1. Lord Of The Rings: Eagles

The following is a common complaint in Lord Of The Rings: "Hey Gandalf, here’s a thought – why don’t you just get your giant eagle mates to fly you into Mordor and drop Frodo/the ring-bearer off at Mount Doom?"Yes, it does seem obvious. Yes, it would have solved their problem of getting into Mordor quite easily. But here are a few issues with this. First off, you think Sauron might notice giant eagles flying into his domain, so you still need to create a distraction, like Aragorn at the gates. Secondly, the Eagles are doing their own thing. It’s not their war, they're just helping out their mate Gandalf.And as an internet commenter pointed out elsewhere (I can’t remember where though, sorry), there’s a big difference between asking your mate for a lift into town in his car, and asking him to take you to Spain or the fantasy equivalent…

2. Back To The Future Part III: The extra DeLorean

So, this is most likely one of the first plot holes many of you would ever have noticed. Marty arrives back in 1885 in a DeLorean. Sadly, the time machine springs a leak and loses all its fuel – gasoline proving hard to obtain in the 19th Century. Cue he and Doc creating an ingenious and ridiculous plan to power the DeLorean via a steam train, and various rail hijinks en-route. But: why didn’t they just dig up the fully-fuelled DeLorean the Doc had buried in the mineshaft awaiting his 1955 counterpart? Timey-wimey, wibbly wobbly stuff, I guess. More BTTF paradoxes can be found here.

3. The Shawshank Redemption: The poster

Who put the poster back in place after the daring escape in The Shawshank Redemption? Andy spent months on that tunnel, and covered his tracks thanks to a poster. The hole is only discovered through an unlucky throw of a chess piece. But how did he attach it in place from inside the tunnel? How?Well, it’s pretty simple really – he probably only stuck it to the wall via the top and let it fall down in place naturally. There you go, not just showing you plot holes, but solving them, too!

4. The Terminator: Why doesn't Skynet just send more Terminators back?

You'd think Skynet would want to make sure the job was done. But no, it just very occasionally sends one solitary Terminator back in time and then assumes it’s done completed its mission - a slightly risky strategy for a supposedly infallible sentient machine one might think. It’s not as if there’s a shortage of Terminators lying around. However, my favourite answer to this was suggested by critic Devin Faraci, and neatly ties in Terminator Salvation into the franchise in a way that makes it suck a hell of a lot less. Skynet is damaged at the end of Salvation, almost beaten in fact. It’s been driven to extreme action – using the last of its power to send one Terminator back in time in a desperate attempt to destroy the future, and thwart its own destruction. I really wish they’d put this on-screen.

5. The Avengers: Why don’t they bother keeping an eye on Bruce Banner?

So, SHIELD takes the trouble of taking their top agent, Natalia, off a vitally important mission (right in the middle of a dangerous situation too, and violating what appears to be Russian sovereignty with the threat of blowing up the building with missiles) and sending her to India with a full squad of heavily armed soldiers in order to ask Bruce Banner to come in.They’ve also spent millions researching and actually building a cage for his alter-ego. They know exactly what Hulk can do. Yet once they’ve got him onboard, the top-secret, state of the art HeliCarrier, they let Bruce casually wander around with no restraints, and no one watching him – free to be shocked by Tony Stark into potentially Hulking out. Guess they thought Banner was a really cool guy once they met him in person.

6. Star Trek: What was Nero doing for 25 years?

Nero arrives in the Star Trek past all-guns blazing. It’s one of the finest sci-fi action scenes ever committed to film, and is responsible for much of the goodwill the 2009 Star Trek garnered. Nero has the technology and the motive to wreak havoc across the galaxy. So what does he do? Apparently sits around in his mining ship for 25 years waiting for Spock to arrive. Uh, ok…Now actually, there’s a deleted scene which explains this plot hole – Nero’s ship is damaged from Kirk Senior's heroic sacrifice, and he's therefore unable to prevent his capture by Klingons. So he then spends a good couple of decades in a prison. However, with it out of the film, it does make you wonder. I’m choosing to ignore some of the other plot holes in Star Trek – it’s like shooting fish in a barrel.

7. Ocean's 11: fake money

The ultimate robbery has been committed – Ocean has successfully tricked Benedict into thinking the entire vault has been rigged with explosives ready to detonate unless he gives them all the dosh. Benedict agrees, but not without calling in a SWAT team to secure the vault and getting his men to intercept the van with his money in. Which they duly do, only to find out that the money has in fact been switched for hundreds of flyers of a lovely Las Vegas night lady.Meanwhile, the SWAT team are actually Ocean’s crew – who then sneak the real money out. The fake money is the key to it all here, but stop and think for a moment – just how did they switch it in the first place? There’s literally no time for it to happen – and no way it could. Of the three thieves who get into the vault, Yen smuggles his way inside in a tiny cart, while Ocean and Linus rappel themselves down a shaft laced with lasers. Even Soderbergh admitted on the commentary he was stumped on how it was done, so you’re in good company.

8. Iron Man 2: The Whiplash master plan

In a stodgy Iron Man 2, Whiplash’s attack on the Monaco Grand Prix is a real highlight – and a heart-pounding action scene. Posing as a pit crew member, Whiplash gets onto the track and directly attacks Tony Stark, who just happens to be driving a racing car, after impulsively deciding he wanted to and chucking his driver out (probably someone who would have won the race like Vettel). So how did Whiplash know he was going to do that?Tony Stark didn’t even know he was going to do that until moments before. Is it another case of a villain magically being able to see into the future and being able to plan for everything? (see Skyfall entry later on). Well, actually, I think not. Whiplash knew Tony was likely to be at the Grand Prix – it’s a lavish event after all. And he knew if he caused some shit, Tony would respond – leading to the same fight on the track. He just got lucky with Tony deciding to drive.

9. Edward Scissorhands: Ice blocks

It’s a truly beautiful moment in one of Tim Burton’s most magical and twisted fairy tales – Edward Scissorhands creates artistic wonders in the attic of his home. Just one small detail though, where did he get the ice from? I recently had a long and heated argument about whether Edward Scissorhands was a cyborg or not (I was in the wrong as I believed he was), and this point about the ice started it. So as a warning to you reading this, discussing plot holes can ruin friendships.

10. Raiders Of The Lost Ark: Indy saves Hitler

Indiana Jones, hero of the Nazi Third Reich. Why? Well if Indy had just stayed at home during Raiders Of The Lost Ark, World War II would probably never have happened. By his getting involved and reacting to events, he sets in motion a chain of situations that saves Hitler’s life. Belloq would have eventually uncovered the location of the Well of Souls (he was after all a good archaeologist, if a little misguided) and sent the Ark back to Berlin. Which is where Hitler would have opened it and had his face melted by the Angels of Death. Of course, there is a very fair argument that Belloq would still have opened it pre-Hitler anyway, and thanks to Indy being there, the Ark was prevented from being loosed on the world (and put into storage instead). So maybe Indy isn’t a friend of the Third Reich after all.

11. Jurassic Park: Geography

It’s a famous one – the geography of Jurassic Park makes absolutely no sense. Ravines appear from nowhere during the T-Rex attack, and the fact that the T-Rex can somehow get inside the visitors' centre are questions with no logical answer. But the truth is that it doesn’t matter. It’s why we let plot holes go in the majority of cases – because the film works. Spielberg created such an impressive sequence that it doesn’t need to make sense in the real world. It’s true movie magic, and even knowing that it’s not really possible fails to detract from how it makes you feel. So really I guess what this list is about is defining good filmmaking. If a plot hole feels so stupid that it makes you enjoy the film less, than the director has not done their job. You should be able to acknowledge, but still enjoy.

12. Cars: Who built the world?

There’s a whole world built vaguely along human lines, but inhabited by cars. Who built it? Why do they need towns? I like to think that there’s a whole Planet Of The Apes subplot which will be revealed one day where humans built hyper-intelligent cars who eventually overthrew their masters and then proceeded to remake society along the only lines they knew how – human civilisation. Leaving us with a mockery of our own world. A lot of people also think they’re being clever and ask how they reproduce, but that’s a silly question. They get made in factories. However, the very best solution to this plot hole can be found in the Pixar Theory. If you’ve yet to have the pleasure, I suggest you make a cup of tea and look it up.

13. Transformers: The Allspark creates killer Transformers

So in the critically adored Transformers (well adored by the standards of the series), the Allspark, the creator of Transformer life, is used to bring everyday human mechanical objects into life. These same newly created Transformers then proceed to go on a murderous rampage straight away, suggesting that being evil is in the Transformers' nature. Does this make Optimus Prime and his Autobots some sort of weird hippy peace living cult then? And if Transformers just want to kill, then we should atempt to destroy them – not work with the aliens. This is not the Transformers I was brought up on.

14. The Karate Kid: The illegal kick

The original Karate Kid film tells the terrible tale of how cheating will win you competitions and should be condoned. Keep this movie away from impressionable youngsters, who may decide this is the lifestyle to aspire to. Why such scorn for what is to many a treasured film from their youth? Well, time and time again throughout the film’s karate tournament, we are told that kicks to the face are illegal, and will not be tolerated. How does Daniel-san defeat his nemesis Jonny in the final? By a crane kick to the face.

15. The Hangover: Doug just sits there

So after numerous madcap escapades (which definitely wouldn’t get old and tired over the course of two ‘hilarous’ sequels) Phil, Stu, and Alan finally realise Doug had been on the roof of the hotel the entire time. They rush to his rescue and find a very sunburnt but basically okay groom-to-be. The wedding is saved! Now, I don’t know about you, but I remain very sceptical about his survival up there. It’s an average of 41 degrees Celsius in July over in Vegas, with highs of 49 being recorded.In an exposed space with no shade and no water, for several days, I rate Doug’s chances of making it out alive as very low. If by some miracle, he was still breathing, dehydration would have made him a jabbering wreck, hallucinating wildly and probably leading him to jump from the roof in despair at his abandonment. Not so funny now, is it?

16. Independence Day: Mac compatible aliens

They have travelled across space in order to harvest our planet of its natural resources. The best and brightest of humanity are no match for their initial onslaught, and our cities are destroyed. It’s our darkest day. Luckily, however, the alien invaders of Independence Day are Mac compatible and we’re able to upload a virus and win. Yay! Now anyone who uses Mac products will know that  nothing is compatible with Macs that isn’t Apple produced. Which begs the question – is that what Steve Jobs was really doing back in the 90s? Sub-contracting firms to build vast star ships under the Apple banner? Still, it all made perfect sense to me as an 11 year old boy watching the film for the first time. And honestly, that’s what really matters.

17. Avatar: Go back home

Pandora is saved. Go back home to your dying planet you humans! I like to believe that yes, the defeated humans did reflect on what they had done, and maybe decided to value life and nature above commerce and needless industrialisation. After all, that was the subtle message James Cameron was trying to teach us. But even when watching the film for the first time, all I could think was, won’t the surviving military just go back to their ship in orbit and nuke the now clearly hostile and dangerous natives? Because that’s what I would do. Of course, they might not have had weapons aboard, and the plot of the sequel may well be the return of the angry earthlings. In which case, ignore this.

18. Harry Potter: not the brightest wizard

Dear Harry Potter, while I respect your claims to be the ‘chosen one’ without ever really seeing (or reading) evidence to prove this (instead we just get told repeatedly. Ah well, all hype and that), and admire your ability to foil villains plans by basically overhearing them while wandering around in the dark, there is one thing I cannot respect. Your decision to ignore that you had a proven, working time travel device (see your adventures with the Prisoner Of Azkaban) and let hundreds (if not thousands) die over the subsequent years, including close friends, when you could have easily saved them is pretty poor. Screw you Harry Potter.

19. The Amazing Spider-Man: Lizard’s rubbish plan

Honestly, does creating lizard men make any sense to anyone? Why is he doing it? Does he even know? In fact, the entire character is just completely all over the place and never really defined – can he control when and how he turns into a lizard? Is he simply a lackey of the unseen Norman Osborn? How can he find time to go and fight Peter Parker at his high-school when he’s on a strict evil plan time-scale? But none of the Lizard issues annoy me as much as when Peter dresses up as Spider-Man to keep his identity secret and then goes around taking pictures on a camera which is clearly marked PETER PARKER.

20. Star Wars: Not even target practice?

It’s a classic. And it’s a classic for a reason. In Star Wars, R2D2 and C3PO don’t exactly make a secret getaway after the Rebel blockade runner is captured by the Imperials. The film notes their escape pod hurtling down to Tatooine. But do the Imperials shoot it? No, not even for target practice. Not even due to the fact they’ve just been engaged in a firefight against heavily armed rebels who are suspected of hiding stolen plans for a secret ultimate doomsday weapon, and which self-same plans they’ll most definitely try and get off the ship. How? Probably in an ejected escape pod. No, it’s probably just a malfunction.

21. E.T.: Why doesn’t E.T. just fly after his spaceship?

The iconic bike scene proves E.T. is basically magic and can levitate objects. So… why doesn’t he just levitate himself right at the beginning of the film and get back onto his spaceship? He’s really close to it! Poor E.T.

22. Batman & Robin: Its, er, one flaw

Den Of Geek is well known for its fondness for Batman & Robin. It’s a cruelly dismissed mini-masterpiece of comic camp (don't worry, he's not being serious - Ed), but there’s one thing even we writers on the site can’t accept. If Mr Freeze really does have a terrible condition which has meant he has to lock his body in what amounts to a walking freezer unit, for fear of over-heating and dying, then why is he smoking a cigar? That’s just asking for trouble.

23. Iron Man: Stane’s secret plan

So Obadiah Stane spends years slowly and subtly maneuvering himself into a position where he can take over Stark Industries. He must have been planning this for decades, first befriending Howard Stark and then mentoring young Tony throughout his life. Guiding him where appropriate but always with a incredibly long view to one day usurping the throne. It’s an Iago-worthy shadowy plan – accelerated only when Stane arranges a hit on Tony as he finally makes his move. But Tony survives, and provides Stane with one more incredible piece of technology. It’s then Stane reveals his master plan, one which he finally rid himself of the thorn in his side and control the world’s supply of weapons – all with no one realising. Yep, he builds a massive metal suit for himself and goes mental with it in downtown Los Angeles.

24. Skyfall: Silva’s gift of prophecy

Was this the straw that broke the back of the 'villain meaning to get caught' plot device? Perhaps, as no matter how fine a film Skyfall is (and it is), Silva’s ridiculous plan just gets even sillier on re-watches. Even if we buy into the fact that his plan was first to attack M but not kill her – destroying her office, leak the agents' identities and therefore get the government to summon her to a hearing and dismiss her in disgrace, we then have to accept that this was all to lead her into an exposed position for him to kill her – that two henchmen give him a fake police uniform backs up the fact that the hearing was always the target. But even ignoring that he could plant some explosives to bring down a tube train directly on top of Bond mid-chase, how did he know he would be captured when he was? What if Q took ages deciphering the code? He would have missed the court hearing! Oh well, it’s still a beautiful film.

25. Rise Of The Planet Of The Apes: Never questioning the monkey

Not once - once! - in five years together does Freida Pinto’s character decide to ask James Franco why he has a super intelligent child-ape in his house. There’s nothing else to say.

Disqus - noscript

An Iron Man 2 ditto head. YAWN!

Plot hole number 48 is explained in Toy Story 2, by the second Buzz... They are ordered to freeze when confronted by humans

2. Back To The Future Part III: The extra DeLorean
The fluids were drained for storage for 75 years. Doc even mentions as much in the flick after digging it up. You don't know what a plot hole is, do you?

The Harry Potter "plot hole" isn't really much of one, as Dumbledore clearly explains to Hermione and Harry before they use the Time Turner: "You mustn't be seen." Why? This would create a paradox. If they try and change events, they could end up destroying all of time and space. The threat of a paradox is a staple of any fiction involving Time Travel. It's why Marty buying the sports almanac in the future creates an alternate 1985 when he takes it with him to 1955, where Biff gets his hands on it.

And if you really want to get all mind-bendy (or is it Wibbly-wobbly, Timey-wimey?), have a look at Doctor Who. In that universe, Time Travel is pretty much the core of the series. But even then, The Doctor realizes that there are fixed points in time: Events that MUST happen and can't be changed - The volcano at Pompeii, the destruction of the Mars base, the Last Great Time War and even his own "death."

While Harry and Hermione can go back and make slight changes - saving Buckbeak and freeing Sirius - the Battle of Hogwarts is a fixed point in time. It simply MUST happen, and no amount of Time Turning can change it. Good and Evil MUST face off in a final battle, and sacrifices MUST be made.

I just assumed the ship in "Man of Steel" had machines to make clothing. Not unreasonable on a star ship, like replicators. I suppose they could have had Jor-El's hologram explain that he modified the system with a vibrant color scheme because those colors often appear on Earth flags (France, UK, US, Australia....)

As for Rosebud. Why do we assume he was alone? He was rich so there could have been a nurse sitting by his bedside (the one you see running in is responding to the monitoring nurses calls for assistance). There might also be a recording device off to the side, that Kane was musing for posterity. Maybe he had said Rosebud several times over the last few days, asking for Rosebud from each of his care givers but being too out of it to explain what it was that he wanted, it was his last words to many people.

The story in which the time turner is introduced creates a paradox. They use time travel to alter events, that leaves the door open to larger manipulations.

If they wanted a device that allowed for attending multiple classes in a day, then a non-time travel device would have been a better choice, like a machine that makes copies of the person, the copies disappear at sundown and the original gets all of their memories. Or a tape recorder to listen to the class later.

Or better: Gasoline was commercially available in 1885. They would have to go to New York to get it, and perhaps have to refine it a bit, but it existed for use.

#50: Midnight is not a clock-specific time; it's a subjective approximation based on an object's position relative to the sun. That is, when the Mogwai has gotten as far away from the sun as he is going to get and for as long as he's still farther away than he is close to it, don't feed the mofo.

The Chekov "plot hole" has been talked about for years and dismissed as "not a plot hole" for years. When Chekov becomes a regular on TOS there is no mention a transfer or anything specific to his appearance. Chekov could have easily met Kahn off screen.

The Terminator one is covered in the first film.
Kyle Reese says something about "we won the war", but Skynet was able to send a Terminator back in order to prevent that from happening.

No explanation how it pumped out the T-1000 several years later, but hey, fate is what we make it.

What? Woman Terminator?
No. Didn't happen.

kane's manor was gargantuan and produced a lot of echo, so even if he whispered that word SOMEBODY would have heard

I don't think the Usual Suspects is as much a plot hole. *spoliers* Soze was probably picked up shortly after the incident on the boat, where he and his lawyer use connections to put pressure on the cops to release him. He didn't know that there was a surviving member of the Hungarian Crew in the hospital as his body was discovered that morning in a drain pipe, while Soze was in custody and not in contact with his lawyer. There was only one person who knew he was Soze and so he had to stick his neck out to get him, which involved the line up. Being in the line up and getting arrested meant that he had to keep the police from looking too close at Verbal Kent. So he stayed in character while waiting to be released. It isn't until near the end of movie I believe that he is told he posted bail twenty minutes ago and was free to go. He is out of the station as soon as Agent Coullian lets him go AND he has convinced the cops that Dean Keaton, a dead man, was actually Soze. Thereby, in his mind, completing what he had set out to do; retain his anonymity.

Interesting article, but you didn't understand Back to the Future III. I doubt you even saw it from the beginning to the end.
Doc and Marty couldn't use anything from the hidden DeLorean because that would have resulted in Marty disappearing since the DeLorean could not be available in the future.
Back to the Future trilogy has scientific issues, like old-theory physics, like disappearing if you change the past of your parents (changing the past isn't possible as far as we know - if you manage to travel back to the past, which is theoretically impossible, and change some things, you don't disappear!), but the one of the DeLorean isn't a plot hole, nor a mistake.
Please, be careful.

On Kane, for years I thought the same thing about how anybody could know what his last words were until I watched it a couple years ago. During the interview segment with the butler, he says he heard Kane say Rosebud twice, once after Kane trashes the room when his wife leaves him and again on his deathbed saying he was in the room at the time of Kane's death. You just don't see him then. A little detail I never caught for a long time.

Well i have to give you alot of them but here are the ones i just have to pick out.

2. Back to the future. Well IF you pay attention in the first part labeled "I" you will notice that if marty's parrents don't shag up, marty goes bye bye. Same basic principal, change the premise for martys arrival to that time will make him disapear and only exist in the way and in the time new circumstances allow, IE no hidden time machine = marty stuck in time.

3. Shawshank redemption. The next time you realize the plot hole you wanted to post, wasnt a plot hole, for heavens sake leave it out >.<

39. Man of steel. So you can accept the premisses that a shout ship conveniently has the tech to repopulate earth with Kryptonians, but the means to create a suit based on a projection of Kal's fathers instructions is outrageous ????? Whaaaaaaaaat ?

45. G.I. Joe. You see a movie with that title, based on actionfigures, and you expect the physics to be coherent ??

Honorable mention
12. Cars. You either accept the premis of the movie or you don't watch it.. honestly. And don't pull the pixar theory, if you can accept that much of a silly stretch, then you truely are just trolling here.

How come nobody ever gets this!? The Time Turner doesn't create paradoxes! You cannot change the past with it! It's directly shown in the book and movie that Harry and Hermione's future selves were in the past even when it was the present (that makes sense right?) The stone thrown through the window, the successful patronus charm?

They didn't reverse Buckbeak's death because he never died. They were there during the first pass along to rescue him, but they didn't see that part at the time (nor did the audience). So the point of the time turner is that you can travel to the past, but you can't change it.

They couldn't use the stored DeLorean because then Marty wouldn't have had access to it in 1955. BUT they could have unsealed the cave and re-inforced the fuel line and/or added a note inside to BRING BACK EXTRA GAS!

That wouldn't stop them from using it to grandfather out other events, though, would it? The whole purpose of it is to change events that would otherwise be unchangeable, so why don't they? Why is the whole Buckbeak situation different from literally any other one?

You are arguing technicalities in a movie where little monsters reproduce by getting wet and are turned to goo by only a few seconds of sunlight.

How is the flying car any more silly than the "Beauty School Dropout" sequence? Is it because it's not framed as a dream sequence?

What are you talking about, Cypher wasn't plugged into the matrix? Yes he was. That's how he was meeting with Agent Smith. I'm not sure what is confusing here?

#13 The Allspark brought human technology to life. It was stated earlier in the movie that Modern human technology was created by studying Megatron. So human technology turns into new Decepticons.
#16 Same thing...human computer tech was reverse-engineer from the alien ship.
(I'll defend my conclusion for #13, but, yeah, #16 is weak. :-)

Fun list! One of my favorites that no one has mentioned yet is in "Batman Begins." There is that scene in Ras Al Gul's dojo: Bruce is asked to execute a prisoner in order to complete his induction into the League of Shadows. Bruce takes the moral high ground and refuses to kill. The problem: in order to get out of the situation, he goes ahead and BLOWS UP THE DOJO, killing like 50 guys in the process. Way to stand by your convictions, there, Bruce.

Some of these actually have explanations.....

18.
The Ministry of Magic was in charge of storing all of the time-turners, and they were all kept in a Department of Mysteries storeroom. Hermione returned her time-turner at the end of PoA, and all of time-turners were later destroyed by Luna Lovegood in the OofP.

20.
Two words: The force, but by who though?. Vader may have because he knew it would eventually lead him to Skyalker. Anakin could see future events, so Vader can too, and the force may have had some sort of influence on it.

42.
Have you even seen these movies? C3P0 and Vader have zero verbal interaction in the original trilogy whatsoever. When Vader does see him in Bespin, he would just be another protocol droid. C3PO even ended up in pieces because he wanted to talk to another protocol droid.

Added bonus: Luke's Jedi training being so short.
This always used to bother me, but there is actually an easy explanation. Time and distance. We don't know how long Han hid in the asteroid, the distance to Cloud City, or the distance to Dagobah. We just assume everything is close together and it takes place in a short amount of time.

"Agent Natalia"? Did you actually saw Avengers? Another piece of crap...

Mark Millar on Kick-Ass 2, Jim Carrey, Nemesis and more

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InterviewJames Hunt8/16/2013 at 8:14AM

The creator of Kick-Ass talks to us about his new film, the Jim Carrey controversy, Nemesis and lots more...

A few weeks ago, we heard what Mark Millar had to say about Kick-Ass 2 while it was still being filmed at Pinewood Studios. But how has he felt about the project since? What on Earth was Jim Carrey's sudden distancing from the movie all about? And what is Millar, now a celebrated and in-demand comic and movie industry figure, up to next?

James managed to find out the answers to those questions, and lots more, with this brand new interview with the man himself...

Please NB: There's a mildly spoiler-y exchange in the middle of the interview that mentions the conclusion of Kick-Ass 2 and Man Of Steel 2. It's been clearly marked in case you want to avoid it.

So, Kick-Ass 2 has a different writer and director to the original. Did that make you nervous?

Maybe a little, ahead of time. I hadn't seen any of Jeff's work and I asked Matthew Vaughn, who hand-picked him, if he didn't think Kick-Ass was too British to go to an American. And he said no, honestly, this guy's really good. And I've learned to trust Vaughn, he knows what he's doing. He's not done a bad movie yet, as a producer or director. And then the screenplay came back and it was almost pitch-perfect - there were a couple of small notes - but it was pretty much perfect straight out the gate.

So as it turns out, there was no reason to worry. I think that the British and American senses of humor are actually really close these days. 20 years ago maybe not, but now we love Entourage, they love Ricky Gervais, so I think the two have merged into one sensibility now, and Jeff just got that.

Because the first movie was really well-reviewed and well-liked over here, but in America the response was... maybe not bad, but perhaps more tentative?

Yeah, in the end we only made $100 million dollars. Which I know sounds ridiculous, but people were saying to me, "Oh, that's awful, Iron Man made $600 million!" and I was like "yeah, but we cost a ninth of what Iron Man cost!" - and then on DVDs we got $140 million, so we knew by September 2010 we were doing a sequel because the advance sales on the DVDs were huge. So the profit was almost $240 million on a $12 million investment, so we knew it was happening.

And like a fool I was answering correctly when people asked about a Kick-Ass 2 movie, saying "yeah, yeah, we made loads of money, of course it's happening!" not realising there's a game you play in Hollywood where you pretend you're not doing one to jack up your price with the studio a bit. But I know that now, so when people ask about Kick-Ass 3 I'll just say, "I hope so"...

Like when people wondering whether or not Robert Downey Jr. actually would be back for Avengers 2 and 3 after his contract ended.

Yeah, exactly. I had a feeling he wasn't going to be doing a sequel to his road trip movie [Due Date] you know? Of course he's going to be doing Avengers 2 and 3!

The original Kick-Ass came out in 2010, which was the same year as another indie comics movie, Scott Pilgrim. The creator of that, Bryan Lee O'Malley, said that making the movie influenced the way he ended the comic, so I was wondering: did the process of making Kick-Ass 2 have any effect on the Kick-Ass comics?

No, I kind of had the end marked out in my head from the beginning, and when you see the comic you'll see the symmetry with that. It can only really go one way, because it's a book about a guy with no superpowers trying to fight crime, so it has a very logical conclusion. It's not necessarily downbeat - I think the third one's a lot more upbeat than the second - but I knew the ending and I reverse-engineered the middle part of the story from that. I like to know the destination  before I start writing, Stephen Moffatt or Alan Moore style.

A lot of people do ask if I think of Chloe and Aaron while I'm writing, but I don't think I do, I think of the little doodles. I can never visualise it except as four panels on a page, which is probably why I'm not a screenwriter. Even when I have a bash at doing a screenplay I have to draw it out like it's a comic! 

Kick-Ass 2 does have a lot more of Hit-Girl in, and her and Dave's stories run parallel this time around. A long time ago you told us that project that became Kick-Ass started out as being about Big Daddy and Hit-Girl, and didn't really work until you made it about Dave. So having dropped that idea once, how do you feel that it's sort of come back around?

Oh, pleased. I always intended Hit-Girl to be a big part of Kick-Ass 2, and that's why I ended up doing that Hit-Girl mini-series. I had Johnny (Romita, Jr., Kick-Ass co-creator and artist), but he was also working for Marvel which meant it took us 27 months to release 12 issues, which was just agonising for all involved. And originally we had Leandro Fernandez to do the Hit-Girl comic, but even though I love Leandro and his stuff's really brilliant, when it came down to it, it just felt so disrespectful to Johnny to have someone else drawing his character. So I apologised to Leandro, paid him for one issue out of my own money and we waited for Johnny to be ready. It meant we had this weird situation where Kick-Ass 2, which would end up as acts two and three of the movie, came out before act one, which was the Hit-Girl series. It'll all make sense when you read them in the trades!

But yeah, Hit-Girl's story was always really important to me. I'm not sure if I'm that interested in doing a Hit-Girl solo series or movie because she's been created within the confines of Kick-Ass, and there are so many things we can do with that take - small things, like how she grew up watching Van Damme movies and now she's in high school where they're all talking about Demi Lovato or something, and she has no point of reference, and suddenly she's in with people who are pop-culture savvy, and wear make-up, and she's at an age where she should be like that but she isn't because there's no mom figure showing her how to put bunches in or whatever. And just that idea, of a girl without her mother, seemed so sad to me that I thought it was a really interesting angle for a story.

That arc in the movie is one of my favorite things, actually, because Hit-Girl is this character people think is really cool, and yet she has these very familiar and grounded problems about fitting in that pretty much all of us have had at some point.

Yeah, and the underlying moral is just to be yourself, I mean that's what Kick-Ass was always about on some level. A guy who's an outsider making that work for him. And here it's the same for girls as well. 

*** Possible spoiler-y bit begins ***

The journey they go on has changed a little in the movie. I don't want to spoil the ending but there is a marked difference - the comic's a bit Empire Strikes Back, whereas the movie has a more solid conclusion.

Yeah, although does it? To me it's inconceivable that we wouldn't do another one after that ending. I actually see it more as sending both characters off on their final journeys rather than an end-point. We did shoot the ending as it was in the comic, but whenever we watched it, it felt too downbeat, so it got cut off and changed. I don't know why it worked with Harrison Ford, but for us it just didn't feel right, so we've pushed back that stuff, which you'll know if you've read the comic, into the start of the Kick-Ass 3 screenplay.

That change was actually Matthew's call, and his instincts were right. When you look at this summer it's actually been pretty grim. You've got Man Of Steel ending with a neck snap... and if Kick-Ass 2 had ended the same way as the comic it would've been another sad movie. I actually think the reason this is going to do well is because you'll walk out of it feeling really good about yourself, and wanting to see it again.

*** Possible spoiler-y bit ends ***

Changing tack slightly, just to tackle the big news story around the movie's release... Jim Carrey. What's your take on what happened there?

Okay, so here's what I think happened. Jim has been a massive advocate of gun control for a long time, but the gun lobby has been bombarding him for months, saying you're in a movie that's full of gunfire. And the picture they keep putting up is that one of Colonel Stars and Stripes holding a gun and laughing. They haven't seen the movie so they don't know it's empty, obviously, and that's even what attracted him to the character.

But I think those guys just got to him, because they were tweeting at him every day saying, "You're a Canadian! Get out of our country!" and I think he'd just had enough. You know, he was just sitting in his house, he just did it by himself saying "I'm sorry, I've got to disassociate myself from this movie." and it became an international shit storm! And I contacted Matthew and he knew no more than I did. So for the first hour it was a bit of a panic, and then after that it was just weird. Because you know, you've seen the movie and it's no more violent than the first, and Jim loved the first so much that he dressed up as Kick-Ass. So it just seemed weird for him to be saying this. It was a bit of a curve-ball, but what it's done is give us a free publicity boost equal to, they estimated, around $30 million. So maybe there's a silver lining! 

And just off the subject of Kick-Ass 2, can we get a couple of project updates?

Sure.

So first, is Kapow coming back?

I honestly don't know at this point. I'm doing so many things - three movies back to back, all my comic gigs... and Lucy, who organises it, and Sarah, are doing movie stuff for me at the moment, so they're busy... I hope it'll be back because I loved it, they were my two favorite conventions ever, and we've got such access to people. Maybe we'll move it later in the year. I hope so, but we'll see.

And will Clint be back, or is it wrapping up for good?

We haven't made a final decision yet, but it's just been going along for a few years now. It didn't take off in the way we hoped with the mainstream, it's mainly been selling in comic stores, which isn't what we wanted for it. I think the market's just changed too much for it to work as we wanted, as a kind of outreach for comics, and now people are happy to go to comic shops and bookstores. It's never lost money, but it never made money either so it almost doesn't justify the work that goes into it! It might get folded into the Titan comics line somehow, but we'll see.

And finally, Nemesis 2. Any idea when that's coming out?

I don't know, unfortunately. Steve (McNiven, co-creator) is tied into his Marvel deal and he makes so much more money from Nemesis that he'd love to do it, but he's under contract for another year or something. He said he could maybe do a page a week, but that means it'd take two years to get done, so I told him not to worry and that we'll wait until he's out of his contract and we can do it properly. It's a bit of a pain because I've already written it, but no one else can draw it because it's Steve's thing! But yeah, as soon as he can get to it, it'll happen.

Mark Millar, thank you very much!

Kick-Ass 2 is out in US cinemas now.

 

Director Colin Trevorrow on Jurassic Park 4

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NewsSimon Brew8/16/2013 at 8:16AM

Director Colin Trevorrow has been chatting about 2015's Jurassic Park 4, and correcting a few rumors...

Jurassic Park 4 may be taking a little longer than planned to get to the screen, with the release date seemingly now summer 2015, but we're no less excited for it.

The movie's director, Colin Trevorrow, has played things pretty close to his chest since he got the job, with the internet rumour mill attempting - generally unsuccessfully - to fill in the rest of the blanks. However, he's now appeared on the Jurassic Park Podcast, and revealed as few things about the movie.

With thanks to Bleeding Cool for extracting the key switch, Trevorrow stated his desire to "make a kick-ass Jurassic Park movie", saying "this is not a pay check gig for me". Stating that the movie has to appeal to established fans of the Jurassic Park movies as well as those who have never seen one before, he's clearly a fan of the fact that the movie is so far shrouded in so much mystery.

He did admit though that "I saw some of the rumours on the internet and I would have all kinds of red flags going off if I heard they were going to muzzle a T-Rex. So I would say don’t believe everything you read, there are way more insiders on the internet than there are in real life". Trevorrow certainly experienced this before when he was linked heavily with Star Wars: Episode VII.

He did tease, when asked his favorite dinosaur, "we have a new one that’s pretty cool. I’m not going to tell you anything about it, but… it’s pretty bad ass. I think Jack Horner said something about that too".

The full podcast interview is below.

Jurassic Park 4 should be with us in 2015. And thanks again to Bleeding Cool.


Bradley Cooper May Play Lance Armstrong

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NewsDavid Crow8/16/2013 at 4:05PM

Bradley Cooper in talks to star in one of the three competing Lance Armstrong films racing to the finish in Hollywood.

In a dizzying race to the finish, the life of disgraced 7-time Tour de France champion Lance Armstrong’s is reaching another turn in Hollywood.
 
In breaking news from Deadline, it appears that Bradley Cooper is entering the foray with director Jay Roach and Warner Brothers Pictures’ take on the fallen cycling idol, aptly named Red Blooded American. Cooper is currently in talks to play either Armstrong himself or former cycling teammate Tyler Hamilton, a member of Armstrong’s U.S. Postal Service Team who came forward in a 60 Minutes interview about the doping scandal. Armstrong went after Hamilton following the admission, and the film seeks to dramatize this demoralizing sports story with the director of HBO’s Game Change.
 
Meanwhile Stephen Fears (The Queen, High Fidelity) is also mounting a competing Lance Armstrong film starring Ben Foster as the besmirched Tour de France winner. And finally, there is another project at Paramount Pictures with JJ Abrams set to produce through his production company Bad Robot, based on Juliet Macur’s Cycle of Lies: The Fall of Lance Armstrong.
 
There are enough bikes on the track to give someone whiplash. However, the WB project, with a likely Academy Award nominated Cooper soon attached, will be scripted by Scott Z. Burns of ContagionandSide Effects.
 
Since Armstrong’s fall from grace, he has become the poster boy for American hero worship gone wrong. The story could be viewed with pathos, as he recovered from testicular cancer in 1996, or complete cynicism, as he has been forced to even distance himself from his charities. Either way, we may see of lot of Armstrong films riding our way in the near future.
 
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New Trailer for Vampire Academy: Blood Sisters

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TrailerDavid Crow8/16/2013 at 4:48PM

The popular young adult book series is coming to film, and the first trailer for the bloody school is here!

The newest Young Adult book series about vampires (no, not Twilight or The Vampire Diaries) is coming to the big screen in February for a bloody Valentine’s Day. It’s Vampire Academy: Blood Sisters, and the first trailer promises plenty of PG-13 fang biting and romantic necking.
 
The story will follow Rose Hathaway (Zoey Deutch), a Dhamphir, half-human, and half-vampire, on her new mission to defend her fellow Moroi (peaceful mortal vampires) from bloodthirsty Strigoi (evil vampires). Somehow, I think we can expect the evil vampires to have more fun school year.
 
 
The Weinstein Company adaptation is being helmed by Mark Waters of Mean Girls and written by Daniel Waters of Heathers and Batman Returns. The film will also star Olga Kurylenko (Quantum of Solace), Joely Richardson (The Tudors), Gabriel Byrne (The Usual Suspects, Little Women) and Sarah Hyland (Modern Family).
 
Expect to have a taste of Vampire Academy: Blood Sisters on February 14, 2014.
 
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New Pics of X-Men: Days of Future Past

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NewsDavid Crow8/16/2013 at 5:44PM

In the future, Magneto's head of affairs was always important enough to belong to a museum; and director Bryan Singer prepares for the end of principal photography.

Bryan Singer weaves his Twitter Account like certain mutants dwell in metals or optic beams. Just when you thought he was out of tricks, he finds a new angle to tease and excite fans for next summer’s forthcoming X-Men: Days of Future Past.
 
Why take today for instance, where we apparently learn of the “Future” side of the title’s museum relics: leftovers from the set of X-Men: First Class, including Magneto/Shaw’s helmet! And is that Havok's blaster?

 
But Singer was not done. He confirmed that tomorrow marks the last day of principal photography on the superhero production, as he already has the editing monitors cracked out with Michael Fassbender’s Magneto-mugging face on them. “Loving my monitors today,” Singer tweets.

 
Yes you are. And we’re loving that in the future, the storied history of the X-Men Cinematic Universe has become something worthy of remembrance and collection. Perhaps Comic-Con is thus the Smithsonian of that era?
 
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Joseph Kosinski Headed Into The Twilight Zone

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NewsDavid Crow8/16/2013 at 6:07PM

TRON Legacy director Joseph Kosinski better lookout for that signpost up ahead, because he has just entered The Twilight Zone.

Having already made two science fiction films about being lost in mind-bending worlds and revelations, TRON Legacy and Oblivion, director Joseph Kosinski is now ready to enter the ultimate place of sight and sound with a single signpost up ahead. He is going into The Twilight Zone.

 
At least that is what TheWrap is reporting about the director’s scheduled trip into the forbidden. The director is apparently in talks with Warner Brothers and Leonardo DiCaprio’s production company Appian Way to direct the picture. This is the most significant news on the story since Matt Reeves (Let Me In) was in discussions in 2011 before heading over to another Rod Serling bran child of a franchise, Dawn of the Planet of the Apes.
 
The original Twilight Zone was a landmark television program; as the definitive anthology series, it ran on CBS from 1959 to 1964 with 156 episodes (Serling wrote more than half of them). It was previously adapted into a film with a tragic production by Steven Spielberg, John Landis, Joe Dante and George Miller.
 
It remains arguably the best sci-fi show of all time and is certainly ripe for another adaptation.
 
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Interview with Kick-Ass 2's Jeff Wadlow

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InterviewMatthew Schuchman8/17/2013 at 1:14PM

Kick-Ass 2 Director Jeff Wadlow sits down with Den of Geek to discuss adapting not only NSFW Mark Millar comic books, but also Matthew Vaughn's much loved film. Discussions include real life superheroes, Jim Carrey and everything in between.

Adapting any sort of comic book property is a challenge. Adapting one as brutally violent as Mark Millar John Romita Jr.’s Kick-AssandHit-Girl books while simultaneously following up Matthew Vaughn’s 2010 film is something else entirely.
 
Yet, that is just what writer/director Jeff Wadlow (Never Back Down) attempted in his sequel to the (mostly) beloved geek cult classic. It’s been three years since the first film was released and Wadlow, hired directly by Vaughn on his script, was able to sit down with Den of Geek to discuss the process, real life superheroes and overall comic book mayhem.
 
Den of Geek: Normally when making an adaptation, there is an intense focus on translating the source material. But sometimes, you also have to deal with creating your own film based on what Matthew Vaughn (Writer/Director of the first Kick-Ass film) already laid out with the first film. Did you find it difficult to make it feel like this was your movie?
 
Jeff Wadlow: To Matthew’s credit, he wanted a writer and director to make the sequel who had a voice. He could have just hired a bunch of writers to crank out a script and gone and found a music video director, whose job it would have been to just emulate Matthew’s voice, but he didn’t want that, and hats off to him. Not only cause I got the job, but I think it’s a testament to him as a filmmaker to understand the importance of having a voice and having an opinion about the story you’re telling that’s personal, so I never thought about copying Matthew’s tone or the flipside of that: intentionally making sure my tone or my voice was different than his…I just told the story that I wanted to tell and trusted that, since I loved the first film, what I did would be a love letter to the fans of that film, but also that I’m a different filmmaker and I’m the writer and director of this movie. It would be like asking a painter to recreate a painting that’s in a completely different style than theirs. You can only do what you do, and I can only make the movie that I can make, and I was fortunate that Matthew said, “Make your movie.”
 
DoG: I personally never read the comics, but did read that there were some changes you made to certain characters, like the team of Remembering Tommy; what brought on those alterations?
 
Wadlow: Adaptation is a process. To Mark Millar’s credit, the first thing he also said to me was, “You have to make your movie.” We all know those films that were slavish to adapting their source material, specifically some comic book movies, and I think we can agree that they often suffer as a result. Mark said, “I just want a great movie, so change what you gotta[ change, do what you gotta’ do.” It’s basically the same thing Matthew said to me, so there are changes. In Mark’s comic, he can have as many characters as he wants, he really doesn’t have to worry about servicing them. As a filmmaker, you’re going to pay an actor to be there and you want to service their character, and it’s much more about telling a singular story instead of having other characters there so you can branch out and tell other stories. In the comic, there’s Colonel Stars and Lieutenant Stripes, they’re two different characters, and that didn’t make sense for the movie, so now he’s Colonel Stars and Stripes. Remembering Tommy, it’s kind of cool that they’re in this outrageous 1990s comic book armor with their pads and weird floating head pieces, but it just doesn’t make sense in the real world. They would fit in more at something like a renaissance fair LARP-ing. I’ve seen this documentary about real world superheroes. Not comic book fans, but people who do dress up in costumes and try to make the world a better place, and I was looking for opportunities to reference that, and I thought that Remembering Tommy, they’re not doing this because they’re comic book fans, they’re doing this because they lost their son. The way Mark wrote about it in the comic was so emotional and gut wrenching, so I wanted to do something that felt a little bit more grounded for their characters.
 
DoG: I saw the documentary too, the one on HBO, right? I noticed you had a character in Kick-Ass 2 that resembled one of the film’s subjects; Insect Man, the homosexual crime fighter who refuses to wear a mask.
 
Wadlow: Totally inspired by that character, his name is Z in the documentary. I was so impressed by that guy, and I thought it was such an interesting idea not to wear a mask. Yeah, that’s absolutely an homage to him and what he represents. I think it’s such a powerful idea to incorporate into the film.
 
DoG: The film deals well with the smaller characters, giving them lots of weight, specifically Insect Man. Though Hollywood is generally proactive in the LGBT community, it feels like every gay character is the same stereotypical persona, but not him.
 
Wadlow: Yeah, he’s even the best fighter in the group, thank you.
 
DoG: In general though, you had an embarrassment of riches with this cast. Beyond the returning actors, you have Jim Carrey, Donald Faison, John Leguizamo, Benedict Wong, Lindy Booth. etc. Now, you’re obviously good at what you do, but did it ever get overwhelming dealing with all that talent?
 
Wadlow: No…look, it was an embarrassment of riches. I remember there was a day where I had pretty much everyone there, and I like to consider myself an actor’s type of director; I like to talk with my actors, talk about the scene, and really dig into it. I’m not just setting up a camera and saying, “Yeah, go do your acting thing.” You just can’t really do that when you have 15 of your actors on set, so that was slightly disappointing for me because I would have loved to sit down with them and talk about the scene, but at that point time is money.
 
DoG: Jim was just fantastic in the film, I found him to be brilliantly restrained. We all know what a great actor he is both dramatically and as a comic, but I often get scared before I see a performance of his, fearing that maybe he was going to take things too far. Did you feel you needed to rein him in at times or did it all work perfectly right off the bat?
 
Wadlow: Jim had a lot of ideas in the beginning that didn’t necessarily sync up with what’s in the comic. I had long conversations with him on the phone, and then he really started to click in. When I talked about him being this former mobster who wanted to be a superhero, he started to really feel that a bit. It’s sort of like Rocky Balboa, but instead of becoming a boxer he decided to become a superhero. Jim really likes that a lot and he really dug into that. Then he would come to set with different ideas for the dialogue, and then there was just straight-up improvisation when we started rolling. Between those three things, the script, tweaks to the dialogue, and improvisation, we were just kind of finding the character.
 
To me, my job as a director in that situation, and often when you have to help an actor find their way, is to show some restraint myself and let him do his thing. “Let’s see what happens.” But always keep the larger story in mind, so that we don’t get lost in that world. Let him do his thing, but always look for nuggets that will help us tell our story. He was great, and if there was ever a moment I felt he was doing amazing stuff, but I wasn’t getting that one thing that was going to make the emotional point that we wanted to be making with the scene, I would say something to him and he would give me some version of it or exactly what I was asking for. He always made sure that I had choices and that’s his gift to those scenes; that he gave me so much material to work with, that in post we were able to really strike that balance.


 
DoG: Balance is an important thing to the Kick-Ass movies. A lot of films will be jam packed with violence just for the sake of it, but it actually plays a pivotal role in these movies, because it’s there to contrast the real consequences these young heroes take for granted. Were there times that you felt you maybe were going too far with some of those visuals or conversely, too playful?
 
Wadlow: You kind of have to find your way, right? It’s not that dissimilar to the way I shoot with Jim. You have to have options and make sure you push to get things done on set, because I can always pull them back in post. If you don’t have it you can’t make it, but if it’s there, you can always take it out. That’s the way I would attack the action sequences. There was a cut of the van sequence where you don’t see the bodies go into the car. Ultimately, it wasn’t satisfying; it wasn’t showing you the consequences of these violent actions. These guys were bad guys and they deserved to suffer the consequences of their actions, and you want to see that as a filmgoer. So I was always making sure I had these options, so we could find that balance in post.
 
DoG: Thank you for your time Jeff, can you tell us what’s coming up next for you?
 
Wadlow: I’m writing X-Force for Fox, which is an X-Men spin off, and I’m developing a movie for Sony called Go Fast about the boats that smuggled cocaine from Columbia to the Dominican Republic.
 
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5 Possible Follow-Ups to Kick-Ass 2

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NewsMarc Buxton8/18/2013 at 9:45AM

Comic book writer, Mark Millar has seen box-office success with films like Wanted and Kick-Ass. Hollywood is already calling for adaptations of more of his work. Here are five that you might be buying tickets for soon.

Kick-Ass 2 will be the third film adapted from the works of Mark Millar. Love him or hate him, he certainly leaves an impact wherever he goes. Known for his sometimes crass, always controversial portrayal of superhuman archetypes, Millar has made an impact in the DC and Wildstorm Universes with Superman: Red Son and his ultra-violent follow up to Warren Ellis’ The Authority. He changed the way the world sees the Avengers in the pages of his industry-shattering Ultimates, and paved the way for the current creator-owned explosion with the debut of Wantedin 2003.

Millar has been a polarizing figure, many love him for his cinematic, balls-to-the-wall portrayal of some of comic’s most enduring icons; others despise him for his lack of restraint and exploitative use of rape, drugs, and over the top violence. And while this vocal opposition can have a passionate hate for the writer’s output, many comic book enthusiasts consider him one of the most vital voices of the medium in the 21st Century.
 
Yet what seems most important for the industry at the moment is that Hollywood has fallen on the “love” side of the Millar divide, which has led to several of his creations becoming big budget success stories, starting with Wantedin 2008, which was followed by Kick-Ass in 2010 and Kick-Ass 2 in 2013. Secret Service will also hit the big screen in late 2014 from Kick-Ass, Stardust, and X-Men: First Class director Mathew Vaughn. But these aren’t the only books Millar had a hand in that could work on the big screen. Let’s take a look at five more.



Super Crooks (2012)  
Wantedhad an amazing cast and made a ton of box office, but it strayed from the central premise of the original comic. That comic was the story of the son of the world’s great supervillain, and the freedom that rejecting societal morality gives a person. The protagonist of Wantedwas not a good man, and he was every inch a super villain. The film was the same story, but left out any mention of supervillains (or heroes). While the book was a careful deconstruction of the super villain archetype (well, as careful as a comic can be featuring a character named Shithead, a villain made of poop) the film was a pretty basic but entertaining actioner. Super Crooks, co-created with artist Leinil Francis Yu, can be the super-powered villain film that Wantedwas not.

Super Crooksis the story of a group of lovable super-powered cons who turn their focus away from the big cities protected by major superheroes and decide to pull off a major heist in Spain, because as Millar put it in an interview with the L.A. Times Hero Complex, “there is no Captain Spain.” Super Crooks can be the comic book version of Ocean's 11, a snappy, hip action drama with superpowers and sexy criminals. Spanish director Nacho Vigalondo has already agreed to helm the project, but there has not been a whisper of the film in over a year. There certainly appears to be tons of superhero movies on the horizon, but Super Crooks will finally give the bad guys a chance to shine.


Nemesis(2010)
Imagine a film where Batman is a giant, raging, sociopathic ass-wipe…that’s Nemesis. The original ads for the comic asked: "What if Batman was the Joker?" Millar further upped the ante by promoting the book in interviews with the question, "What if Batman was a (turn your heads kids) cunt?" DC was not happy, and Millar quickly changed the direction of the promotion, but that certainly did not water down the comic published by Marvel’s Icon imprint in 2010 with artist Steve McNiven.

Nemesis is in every way the anti-Bruce Wayne, a rich, bored genius who uses his athleticism, billions of dollars, and detective skills to create chaos instead of helping the world. Instead of allying with the police, Nemesis chooses to destroy the life of Detective Blake Morrow, a very Commissioner Gordon-esque character, by exposing all of Morrow’s secrets (like his wife’s affair and his son’s homosexuality). Nemesis even inseminates Morrow’s daughter with her brother’s sperm and alters her womb so an abortion will destroy her future hopes to have children. Yeah, it’s that kind of book...a well-drawn, dynamically-paced polarizing train wreck that people either love or hate. The body count is huge, and the blood and atrocity flows freely, guaranteeing a hard R-rating.

Maybe Hollywood is ready for a big budget superhero snuff fest, because Nemesiswas optioned at 20th Century Fox with director Tony Scott (Man on Fire, Unstoppable) originally set to helm the project. Scott was well into pre-production when he passed the project on to friend Joe Carnahan (The Grey, Smokin' Aces). The project is still in development following Scott's tragic death in 2012, with Carnahan tweeting in December that he is writing the script.


Superior(2010)
Like a modern day Billy Batson, Superioris the ultimate modern day wish-fulfillment comic. Co-created with frequent collaborator Leinil Francis Yu, Superioris the story of Simon Pooni, an angry twelve year old boy suffering from multiple sclerosis. The only solace Simon has in his life is his love for comics and super-heroes. When the lonely and bitter young man is granted the powers of his hero by a monkey named Ormon, Simon gets to live his dreams. Superiorhas the usual Millar edge, with Simon losing his virginity as Superior and loads of violence, but it is a little more gentle than what we have come to expect. Comic audiences could relate to Simon’s love of the superhero and the often times solitary existence that some fans lead. Hollywood is more than ready for a film featuring a disabled superhero, and Superiorwas optioned by Kick-Ass and Secret Servicedirector Mathew Vaughn, and would be a great metatextual contrast to films like Man of Steeland Marvel’s Avengers.
 

Jupiter’s Legacy (2013)
Co-created with mega-popular artist Frank Quitely, Jupiter’s Legacy is another superhero deconstruction, this time tracking the Golden Age of superheroes and their offspring of today. Only two issues have been published, and on the surface the book seems to be another cynical look at superheroes in a modern context. But if one delves beneath the glitz, violence, and sex of the book, one finds a careful expose on modern consumer and celebrity culture and how celebrity can be analogous to tragedy. The sons and daughters of the old time heroes were not corrupted by their powers but by the idea that they are consumable commodities to be used up and thrown away. Jupiter’s Legacy would be the most complex film so far to come out of Millar’s library as it focuses on a huge cast of heroes from two time periods, rather than a lone protagonist (or ragingly evil antagonist in the case of Nemesis), but the right filmmaker could do wonders with this property.


 

Chosen aka America Jesus (2004)
Published by Dark Horse, Chosendebuted at the same time as Wanted. Chosen, with art by Peter Gross, tracks the story of a young boy who discovers that he is the second coming of Jesus Christ. It is a careful reflection of the superhero coming of age origin stories from comics’ Silver Age, but instead of being bitten by a spider or struck by lightning, the main character of Chosengets his powers through the fact that he is God’s son returned. Collected as American Jesus, Chosen used the classic superhero format to look at modern religion, media and morality. It is a fascinating and restrained (for Millar anyway) look at the greatest of powers and the responsibility that can only be felt by a person who discovers he is the most important boy that ever lived, and the twist at the end is a mindfuck of the greatest degree. I won’t spoil it here, but it changes the entire nature of the narrative and sets up a story big enough for a number of sequels.

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Ted 2 aiming for Passover 2015 release

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NewsGlen Chapman8/19/2013 at 8:16AM

2015 wasn't short of big films on its release schedules. But it looks as if you can add Ted 2 to the list anyway...

You don't need us to tell you that Ted was a massive hit last year, and when films make over ten times their budget at the box office, sequels almost become an inevitability. It's been known for some time that Ted 2 was going to happen. What has held things up however was Seth MacFarlane's work on his second big screen directorial effort, the comedy western A Million Ways to Die in the West. That movie is set for release in May 2014 and will star MacFarlane, Liam Neeson, Amanda Seyfried, Charlize Theron and Giovanni Ribisi.

With regards to Ted 2 though, the wheels are very much turning. MacFarlane has now revealed that the target release date for the movie is Passover 2015, which would make it April 3rd 2015. This date would give it a month before The Avengers: Age of Ultron is released. But with the small matter of the release dates for valet/Superman, Star Wars Episode VII and Jurassic Park 4 yet to be confirmed, there's a fair chance that Ted 2 could face some stiff competition (although it does, so far, seem to have the comedy demographic to itself).

MacFarlane and Mark Wahlberg have been keen on a sequel to Ted for some time so their decision to go ahead presumably is more down to their desire to play the characters again rather than it being purely financially motivated.

More news on Ted 2 when it's available.

Coming Soon


New pictures from The Amazing Spider-Man 2

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News8/19/2013 at 8:24AM

Hints of the Sinister Six in the future lie amongst a new collection of Amazing Spider-Man 2 promo shots...

We've got until next April to wait in the UK for the release of The Amazing Spider-Man 2, which sees Andrew Garfield reprising the role of the webslinger, alongside Emma Stone. Joining them in the cast this time are the likes of Paul Giamatti and Jamie Foxx. And, given that two further Amazing Spider-Man films, there have been suggestions that narrative strands will be put in place, possibly building to the appearance of the Sinister Six at some point in the future.

These latest promotional shots for The Amazing Spider-Man 2 do little to dampen those suggestions, as you can see for yourself. Also included in this new collection is Mr Stan Lee himself.

We'll have more on The Amazing Spider-Man 2 in due course. The first trailer can't be too far away....

 

Disqus - noscript

Can't wait for this film, release a damn trailer already Sony!!!

Marvel One-Shot: New Agent Carter Clip Debuts

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NewsMike Cecchini8/19/2013 at 8:38AM

Watch Hayley Atwell as Peggy Carter showing the boys how its done in this clip from the newest Marvel short film.

Marvel Studios' new short film, Agent Carter is probably the most-anticipated special feature on the Iron Man 3 BluRay release, which hits on September 24th. But in case you can't wait that long, another short clip has just hit the web. Agent Carter is on the trail of a mysterious piece of technology known only as "Zodiac" and it looks like she's found what she's looking for in this clip! 

And just in case you missed it the first time around, here's the first clip that was shown at the San Diego Comic Con in July, proving that Hayley Atwell's Peggy Carter can fight with the best of them, and she certainly isn't about to let something as simple as the institutionalized sexism of the 1940s hold her back.!
Agent Carter is directed by Louis D'Esposito and takes place after the events of Captain America: The First Avenger. It still isn't clear whether or not the events of this film will have any bearing on what we will see in Captain America: The Winter Soldier (or, for that matter, the Agents of S.H.I.E.L.D. TV series) but it's worth keeping an eye on.
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X-Men and Fantastic Four Films to be Shared Universe at Fox!

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NewsMike Cecchini8/19/2013 at 10:22AM

Mark Millar, resident superhero consultant at Fox, fully intends to make the rebooted Fantastic Four franchise a part of the X-Men cinematic universe!

Mark Millar, the man currently consulting on Fox's slate of superhero films, which includes the ever-expanding X-Men franchise and the impending Fantastic Four reboot, has every intention of crafting a shared universe between the two franchises. In an interview with SFX, Millar enthusiastically endorsed the idea. "“Without question I think you have to see some of these guys showing up in each other’s movies. I think the most exciting thing in superhero movies, until The Avengers came along, was when Nick Fury showed up in Iron Man. Even though it was a guy with an eye patch it was really cool – and I expect we will see more of that.”

While the X-Men films continue to be box-office success stories, the Fantastic Four hasn't had an easy time of it, as the previous two films weren't particularly well-received by critics or fans. Linking Marvel's first family with the franchise that made the current wave of cinematic superhero success stories possible is certainly one way to get some support. With the emphasis on super-science that seems to be taking center stage in the upcoming X-Men: Days of Future Past with Bolivar Trask and the Sentinels, a mention of the team that occupies the Baxter Building doesn't seem all that far-fetched. The Fantastic Four reboot is currently scheduled for a March 6, 2015 release, with Chronicle director Josh Trank in place to helm the film. 

Mark Millar has clarified this statement a bit via Twitter: 


This is sensible. The X-Men franchise is crowded enough, and the nascent Fantastic Four franchise need to stand on its own feet before they can branch out into other things. However, none of this rules out the possibility of Reed Richards or Charles Xavier name-checking the other in one of these films, or even brief cameos. It simply means that we won't be getting X-Men vs. The Fantastic Four any time soon!

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First Official Image from X-Men: Days of Future Past

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NewsMike Cecchini8/19/2013 at 10:40AM

Wolverine, Professor X, and Beast are certainly looking like they belong in the early seventies in the first official image from the film we've seen so far.

After months of teased set photos from director Bryan Singer and an absolutely brilliant piece of viral marketing in the form of the Trask Industries website, we're finally treated to the first official image from X-Men: Days of Future Past. It isn't the most exciting thing we've ever seen, but that's alright. There's only so much you can reasonably expect from these types of things.

So, what DO we get? Well, certainly no hint of what's to come, that's for sure. In fact, this photo stays firmly in the "past" element of the Days of Future Past title, with Wolverine (Hugh Jackman), Professor Xavier (James McAvoy), and Hank McCoy/Beast (Nicholas Hoult) looking like they could be extras on the set of Serpico. Nevertheless, the novelty of a superhero period-piece, which was utilized to some effect in X-Men: First Class, hasn't quite worn off yet, and it visually sets these films apart from the seemingly endless procession of superhero flicks out there.


X-Men: Days of Future Past arrives on May 23, 2014.

Source: Hitsville

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The World's End Giveaway: Win a World's End Prize Pack!

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NewsDen Of Geek8/19/2013 at 1:23PM

We've got the goods to giveaway before the barmaggedon releases this weekend...

Focus Features and Den of Geek are teaming up to give three lucky fans a prize pack for The World's End's release this weekend.  Three winners will receive a T-Shirt, Pint Glass, and The World's End Original Motion Picture Soundtrack.



All you have to do to be one of the lucky winners is to email denofgeekgiveaway@gmail.com with your name, address, and what your ONE favorite beer is (don't send a list).  Our very own in-house beer guru Robert Bernstein will choose 3 lucky winners on Saturday, August 24 based on who has the best tasting submissions and announce the winner via our Facebook (go like us).  Must be 21 years+ to enter, and a U.S. resident!

Soundtrack Details

A signature brew of camaraderie, knockabout humor, excessive quaffing, questionable life choices, hand-to-hand combat and explosive surprises, TheWorld’s End’s eclectic soundtrack channels the songs the five main characters heard over 20 years ago when they first attempted an epic pub crawl. Primal Scream’s “Loaded” is something of a theme for the action in The World’s End, and is featured along with high-profile tracks from Blur, The Soup Dragons, Pulp, Suede, Teenage Fanclub, Stone Roses, Sisters of Mercy (whose t-shirt Simon Pegg’s character Gary King wears throughout the film) – and even The Doors’ iconic take on Brecht and Weill’s “Alabama Song (Whisky Bar).”

Tracklist:

1.    Loaded – Primal Scream

2.    There's No Other Way – Blur

3.    I Put This On A Tape For You – Simon Pegg, Paddy Considine

4.    I'm Free – The Soup Dragons

5.    So Young – Suede

6.    Do You Remember The First Time? – Pulp

7.    Welcome – Simon Pegg

8.    What You Do To Me – Teenage Fanclub

9.    Fools Gold – The Stone Roses

10.  We Have Changed – Nick Frost

11.  Get A Life – Soul II Soul

12.  Alabama Song (Whiskey Bar) – The Doors

13.  Wear Your Love Like Heaven – Definition of Sound

14.  I Hate This Town – Nick Frost

15.  20 Seconds To Comply (World's End Bomb Squad Mix Re-Edit) – Silver Bullet

16.  This Corrosion – Sisters of Mercy

17.  Happy Hour – The Housemartins

18.  Let's Boo Boo – Simon Pegg, Paddy Considine

Pre-Order the Album: http://bit.ly/WorldsEndSoundtrack

Cheers!

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