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The Robinson family, part of a highly trained mission to establish a new colony in space, is unexpectedly pulled off course forcing them to crash land on a lost planet. Danger will find them. Lost in Space premieres April 13, 2018.
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This Christmas, a new story begins. Here’s your first look at Mary Poppins Returns.
Scroll down to 10 Most Hated Retcon Changes In Marvel Comics–this is a topic which will be covered in a couple of MonSFFA discussion groups: the debate Marvel vs DC, and the presentation on retconning. Click the menu item for MonSFFA programming in the left hand margin.
Compiled by Carl Slaughter:
SUPERMAN
ANTMAN
MARVEL
TERMINATOR
Linda Hamilton and Arnold Schwarzenegger are back in the franchise together for the first time since Terminator 2 in 1991. The chronology will be a sequel to Terminator 2 and the movie will be the first in a new trilogy. Filming begins in March 18.James Cameron is producing, Tim Miller is directing, No one else has been cast. There’s no synopsis, trailer, or poster yet, David Goyer and Josh Friedman are among the writers.
THE TICK
Amazon decided to take on the quirky superhero spoof The Tick in 2016 despite the fact that the last live-action version of the comic was cancelled before it could complete a single season. But that risk seems to be paying off because Amazon has now greenlit a second season of the show even though the first season isn’t yet finished.
DOCTOR WHO
So, is everyone dead then?
Steven Moffat is famous for not quite killing characters off. In River Song’s first story, for example, she dies in reality but has an afterlife when her conscience is downloaded into a library computer (which, based on my experience working in a library, would still be running on Windows XP). Amy and Rory were horribly killed by living a normal human lifespan. In the Capaldi era, Clara dies but is then brought back by the Doctor and given a theoretically infinite fanfic shipping situation. Bill Potts is turned into a Cyberman, but retains her personality and the Doctor believes she will not survive the events of The Doctor Falls. Nardole, too, is presumed to live life on the run but it’s hard to know if he can die (what with being decapitated in his first appearance).
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We have mapped the Earth’s surface, but the creatures that live on it continue to elude us. Every year brings news of thousands of newly discovered plant and animal species, some large (a new kind of orangutan was confirmed last year), some small (the dragon ant of Papua New Guinea) and many whimsical, like a spider that looks like a Harry Potter sorting hat, named Eriovixia gryffindori. The biosphere will always surprise.
So perhaps the root of the story that is Annihilation is not as farfetched as it might at first seem. The first third of the Southern Reach trilogy, written by Jeff VanderMeer and loosely adapted for the screen by director Alex Garland (Ex Machina), it imagines a corner of Florida where biology has run amok, creating monstrous creatures and playing havoc with radio waves and even the brainwaves of those brave or foolhardy enough to intrude.
The latest team to enter “the Shimmer,” as it’s become known, is led by psychologist Dr. Ventress (Jennifer Jason Leigh) and includes a paramedic (Gina Rodriguez), an anthropologist (Tuva Novotny) and a physicist (Tessa Thompson). As the team’s only Oscar-winner, Natalie Portman gets top billing on the poster. But her character also has an interesting background, being both a biologist and a soldier. And her husband (Oscar Isaac) was the only member of a previous team to return, although something about him is off-puttingly different.
The screenplay, a little out of chronological order as though refracted through a prism, throws this team and viewers alike into a confusing but captivating mystery. Three or maybe four days into their trek through the Shimmer, the women realize they’ve completely lost track of time. They come across a weirdly, wildly overgrown and hard-to-kill crocodile. Later they will be visited by a bearlike creature that is almost guaranteed to make a return appearance in your next nightmare.
Meanwhile, the film’s soundtrack teases us with familiarity, only to yank it away: acoustic guitars one moment, the next it sounds like a drunken church choir trying to sing during a thunderstorm. There’s even a love song, Helplessly Hoping, by Crosby, Stills & Nash.
The novel and the movie exist as separate and equally enjoyable entities. I scurried out to buy a copy of the book after watching the film, and found it refreshingly unique. Garland says he read the source material but once and then set it aside and basically filmed his memory of the experience of reading it.
The result is the feeling of entering a dream or a trance, but the enigma never feels capricious. There’s an underlying, fractured logic at work here. Note, for instance, the weird deer that Portman’s character sees moving in perfect unison, and keep an eye out for other duplications and replications. Annihilation is a film that doubles down on both its science and its terror.
The actors do a good job of inhabiting the twilight zone between professional curiosity and personal fear, each one clearly trying to make sense of the oddities that surrounds her, and suppressing the amygdala’s fight-or-flight messages with varying degrees of success. The all-female cast is lifted from the book (published in 2014) but feels oddly of-the-moment as Hollywood continues to grapple with #TimesUp issues. Refreshingly, little is said of the team’s same-sex makeup. What do they have in common? They’re all scientists.
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LOS ANGELES The kooky caveman characters that come to life in Early Man have been kicking around in Nick Park’s imagination for decades.
Long before he created Wallace and Gromit, Park was taken with Ray Harryhausen’s animated dinosaurs in the 1966 Raquel Welch movie One Million Years B.C.
“I just couldn’t believe real dinosaurs moving around with people,” Park said, recalling the film he saw as an 11-year-old that would inspire his love of animation.
Early Man translates Park’s vision into an epic claymation adventure about a tribe of colourful cave people who stake the future of their homeland on a soccer showdown, despite not knowing how to play.
An ambitious young caveman, Dug, and his loyal pet warthog, Hognob, believe the plucky tribe can prevail.
“I’ve never seen a prehistoric underdog sports movie before,” Park mused.
U.K.-based Aardman Studios tapped its largest production team yet — with nearly 40 animators and sets working at once — to make Early Man, which uses stopmotion animation techniques essentially unchanged since Harryhausen’s day.
It’s a slow and painstaking process to bring clay characters to life.
“We’ve used some of the most advanced filmmaking techniques in post-production, together with stop-motion, which is as old as cinema itself,” said animation director Merlin Crossingham.
Stop-motion animation (or “stop-frame,” as Park calls it) creates the illusion of movement through a series of still images. For Early Man, Aardman’s team of artists built a cast of puppets based on Park’s sketches that serve as the film’s actors. Each seven-inch-tall silicone puppet has a jointed metal skeleton inside so it can move.
“They’re like expensive action figures,” Crossingham said.
The faces are made of modelling clay — except for the noses and eyes, which are hard plastic and serve as “grab points” for animators while changing the puppet’s expression.
Mouldable brows and more than two dozen removable and interchangeable mouths allow for a variety of looks.
Animators pose the puppets for each frame — every movement, every gesture — with 24 frames in each second of film. Mouth movements are synced to pre-recorded vocal performances. (Eddie Redmayne, Tom Hiddleston and Maisie Williams lend their talents here.) For every shot, the puppets are bolted into place on exquisitely detailed sets that stand about two feet high.
“Getting about five seconds of finished film is a really good week,” said animation director Will Becher.
Because the process is so timeconsuming, artists make duplicates of every set and puppet so multiple animators can work on various shots simultaneously.
Park also personally worked with the vocal performers, something he wasn’t always comfortable doing.
“I used to find it quite nerveracking working with actors, especially if they were quite famous actors,” he said.
“I find it much easier to manipulate a puppet or a clay character, because they do as they’re told. And if they don’t, you can squish their head in or whatever you want. With actors, you have to be a little bit more tactful.”
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How much you get out of the latest animated shenanigans from Aardman studios may depend on your reactions to the following bits of visual and aural humour: a zebra pelt is used as a crosswalk; and a soccer team’s cohesion has someone referring to them as “early Man United.”
The first gag is a play on Britain’s “zebra crossings,” the second a pun on the name of its Manchester football team. Early Man is a funny romp through prehistory, but it’s staunchly British, and makes no apologies. Though to be fair, most of its caveman humour doesn’t know any geographical boundaries. And most of its cavemen don’t even know how to spell that.
The time period is somewhere between the Late Pleistocene and the Early Plasticine era. Dug, voiced by Eddie Redmayne, is the brightest member of a tribe of cave dwellers whose simple, rabbit-hunting-and-gathering lifestyle is given a shake when they encounter a society that has figured out bronze. The newcomers are led by a Frenchman (Tom Hiddleston doing a Monty Python-style French accent) and his band of Euro-baddies (more Brits). There’s a weird Brexit subtext to the whole matchup, although given the time period maybe it’s more pre-Br’entrance.
The bronze-agers take over the cavemen’s valley, until Dug challenges them to a football match to win it back.
He’s confident, after discovering ancient rock paintings that suggest his tribe invented the game. But the players of “Real Bronzio” have all the latest tech, including puppet-driven instant replays that favour their team. You’ve heard of fake news? This is fake sports.
And so we have the classic setup in which a bunch of underdogs (and one under-pig, a sabretoothed hog voiced by director and co-writer Nick Park), must band together against seemingly impossible odds. They’re aided by Goona (Maisie Williams), a soccer-lover from the bronze side, fed up with not being allowed to play because she’s female.
The humour is all over the pitch, which means some jokes will fly over the heads of younger (and/or non-British) viewers, but also that there’s something for almost everyone to enjoy. (Though I must pause here to make a formal request to comedies: You know that scene where several characters are startled by one another, and the camera cuts from one of them screaming, to another, to another? Please. Stop.)
The stop-motion animation is up to the usual Aardman standards, as is the studio’s unusual but endearing obsession with rabbit characters. It’s not quite the equal of 2015’s Shaun the Sheep Movie, but it’s a step above The Pirates! from 2012. If Early Man was an Olympic competitor, it wouldn’t be breaking any records but would easily qualify for a third-place medal.
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BLACK PANTHER
1/2 out of 5 Cast: Chadwick Boseman, Lupita Nyong’o, Letitia Wright, Andy Serkis Director: Ryan Coogler Duration: 2h14m
It’s been 20 years since we saw Wesley Snipes fighting vampires in Blade and 10 since Will Smith’s turn as the foul-mouthed Hancock, which means it’s time for another superhero movie with a central black character. (No, Michael B. Jordan in the 2015 Fantastic Four reboot doesn’t count, because that movie doesn’t count. It doesn’t even count to four.)
Black Panther is that movie, but it’s something different too — a step up. For starters, it’s the first mainstream superhero film to feature a black director — I said mainstream, Meteor Man! Ryan Coogler was already a force, with his breakout debut feature Fruitvale Station in 2013 and his Rocky sequel Creed two years later.
It also has black writers: Coogler and Joe Robert Cole. And not only is the hero the leader of an African nation, (the fictional) Wakanda, he’s got a kick-ass allfemale posse backing him up.
It’s also more proof that the best movies in the increasingly crowded Marvel and DC cinematic universes are the ones that tell individual stories. Wonder Woman was much more enjoyable than the busy Justice League and give me a Thor-Hulk buddy movie over an all-Avengers melee any day.
Continue reading CLAWS & EFFECTS: Black Panther a solid outing
Black Panther reviewed by Mark Kermode on BBC Radio 5. Spoiler free review (as usual) from Mark, who seems to have really liked it.
Also Kermode on the attempt to game the Rotten Tomatoes audience score for Black Panther.
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It doesn’t take long into a rollcall of female characters in Black Panther to recognize a certain trend.
These women get the job done. There’s Okoye (Danai Gurira), the fierce head of an elite unit of female bodyguards who oversees intel and security for the technically advanced fictional African country of Wakanda and its new king, T’Challa, a.k.a. Black Panther (Chadwick Boseman). Her combat skills are equal, if not superior, to the titular character and she doesn’t need a custom-made vibranium suit to protect herself while using them. There’s also Nakia (Lupita Nyong ’o), a Wakandan spy and Black Panther’s former love interest who is also no slouch in hand-to-hand combat. She also possesses a sense of social justice far deeper than any of the men around her. There’s Shuri (Letitia Wright), Black Panther’s genius kid sister who is far more adept than her older brother when it comes to understanding, designing and explaining Wakanda’s advanced technology.
Finally, there’s Ramonda (Angela Bassett), Black Panther’s mother and queen mother of Wakanda who attempts to hold the kingdom together after her husband is murdered by terrorists.
As Entertainment Tonight’s Nischelle Turner pointed out while hosting a news conference for the latest lavish entry into the Marvel Universe in Beverly Hills last week, the movie may be titled Black Panther but it could very well have been called The Badass Women of Wakanda.
“In African culture, they feel as if there is no king without a queen,” says Bassett, who joined the cast, director Ryan Coogler and producer Kevin Feige in Beverly Hills the day after the star-studded Hollywood première of the film. “In this story, it highlights the queen, the warrior, the young sister. I was so proud to have my daughter and my son there last night. Because in their faces and in their spirit, they were feeling themselves. And they stood taller after last night.”
Not unlike recent blockbusters Wonder Woman and Star Wars: The Last Jedi, Black Panther seems to represent a modern shift in thinking when it comes to the types of roles females can have in action-packed blockbusters. The film must be doing something right. Weeks before its release it became victim of a campaign by an alt-right group to sabotage its score on Rotten Tomatoes. The plan failed miserably, but not before it was revealed that it was hatched by the same basementdwelling trolls who attempted a similar tampering of The Last Jedi a few months earlier because they were disgusted by what they saw as the film’s “feminist agenda.”
There was no talk of a feminist agenda at the Beverly Hills news conference, which happened before the Rotten Tomatoes story came to light. But there was a sense among the female cast that the film deserved to be celebrated not only because it is the first time a black superhero has headlined a Marvel Universe movie, but because it also offered so many deep and meaningful roles for women.
The Walking Dead’s Gurira plays Okoye, both a general of the Wakandan armed forces and the leader of Dora Milaje, the royal family ’s ferocious baldheaded, tattooed bodyguards. In one scene, Okoye bitterly objects to having to wear a wig while undercover.
“Her joy and her pride is walking with that bald head and that tattoo on it,” says Gurira. “It’s so subversive and it’s so subversive in the right way to say you don’t have to have hair to be beautiful. I thought that was so fun. There’s so many great things I could say about how Ryan developed these women characters and allowed us to collaborate. I feel really blessed about it.”
The talent wasn’t just in front of the camera either.
Coogler points out that the film employed a number of women behind the scenes, not to be subversive but because they were the best people for the job.
That included executive producer Victoria Alonso, Oscar nominee cinematographer Rachel Morrison, costume designer Ruth E. Carter, production designer Hannah Beachler, co-editor Debbie Berman and first assistant director Lisa Satriano.
“This film had the involvement of brilliant women all over it, from start to finish,” he says.
All of which offers a strong message for audiences, says Nyong’o, an Oscar winner.
“Each and every one of us is an individual, unique,” she says. “We all have our own sense of power and our own agency and we hold our own space without being pitted against each other. I think that’s a very powerful message to send to children, both male and female.
“In this film, there is so many of us. We really get a sense of the fabric of Wakanda as a nation. We see women alongside men and we see how much more effective a society can be if we allow women to explore their full potential.”
Black Panther opens Feb. 16.
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