Currently King_Arthur’s Modular Eagle Transporter project over at LEGO Ideas has 2373 supporters–which is awesome and shows not only support for the great work he has done but much love for one of the most iconic spacecraft in science fiction.
Above is a photo of the Eagle Transporter from Space: 1999
And here’re King_Arthur’s LEGO-used version
It’s a pretty remarkable likeness, which is particularly significant when you take into account the Eagle is in places pretty curvy, which is not something LEGOS are known for.
The next benchmark King_Arthur’s project has to reach is 5000 supporters and with your help it might do just that (when it reaches 10,000 supporters LEGO will create a kit based on his work, which will be made available in stores)!
If you’re a fan of Anderson’s show, or just like LEGOs, this project is a way to have your cake and eat it too!
These days as a mover goer I know full well that practical effects combined with CGI can create virtually any type of effect imaginable.
Though what I find infinitely more interesting is when a movie’s special effects are so seamless that I don’t know that what I happen to be looking at is a special effect, which brings me to Captain America: Civil War.
There were two scenes where I recall the Black Panther (Chadwick Boseman) was a full-on CGI character: when he was sliding down the side of a building when chasing the Winter Soldoer (Sebastian Stan) and another when he was slowing hinself down after momentum carried him beyond the Soldier in a second confrontation.
Beyond those two instances, I assumed that the character–as well as many of the locations–were entirely practical.
Imagine my surprise to learn that virtually every scene featuring the Panther had three or four layers of CGI over a practical stuntman, and most of the locations were CGI enhanced as well!
Movie magic indeed.
While Marvel Studios is doing some amazing things in the movie space, we sometimes forget that Marvel Television is making waves of their own on the small screen.
And while they have been doing solid work with Agents of S.H.I.E.L.D. and Agent Carter arguably their strongest work so far has been the series that have have done with Netflix, Daredevil, Jessica Jones and Luke Cage.
Along with a distinctive visual palate, each series is aurally unique was well, each evocative of different places and/or eras.
Daredevil opening sequence
Jessica Jones opening sequence
Luke Cage opening sequence
Daredevil’s theme was composed by John Paesano, Jessica Jones’ by Sean Callery and Luke Cage’s by Ali Shaeed Muhammad and Adrian Younge.
At this point I can’t wait to see and hear what Iron Fist and The Punisher bring!
Numerous sites have declared Marvel Studios’ movie based on the Inhumans as either dead or removed from the Phase Three production slate.
Though there are reasons to suspect that the former isn’t true and a feature–while removed from Phase Three–is still very much alive.
In an interview with The Hollywood Reporter with Channing Dungey, ABC Entertainment Group president, a interesting bit of information was revealed.
“ABC also hopes that Inhumans — which is not a spinoff of the network’s Agents of SHIELD and does not replace the planned feature film (italics mine).”
Whether or not The Inhumans remains in development at Marvel Studios remains to be seen, but the possibility that it does suddenly looks a little bit brighter.
The idea that James Gunn (Slither, Guardians of the Galaxy) is particularly fond of Moon Knight is really great news because I can think of nothing better than seeing the Fist of Khonshu on the big screen.
But the hurdles for that happening are two-fold. First Gunn is occupied working on Guardians of the Galaxy, Vol. 2, so he doesn’t have time to direct.
The second issue is that Marvel Studios’ production slate is booked so far in advance that even if Gunn were ready to go tomorrow there’s no guarantee that they could fit it into their schedule (according to Screenrant their production slate is filled all the way to 2028).
And that’s working on the assumption that Kevin Feige even thought it was a good idea.
But there’s a way to make it happen. Instead of directing, what if Gunn wrote a treatment that could be ready for shooting but more than likely would form the basis of the movie that others could build on.
Then Marvel Studios would create a new imprint, in the vein of Marvel Knights, that would handle more adult-orientated characters that might warrant an R-rating (and Kevin Feige has said that he didn’t want to create R-rated movies. This way he technically wouldn’t have to though more importantly the characters would remain faithful to the versions that their fans have come to expect).
An important aspect of this strategy would be production budgets falling somewhere in the ballpark of $50-80 million because, while no one wants a movie to fail, if it weren’t able to meet expectations losing somewhere in the ballpark of $80 million is small change compared to the production budgets of most superhero movies today.
What? You thought Bane deserved all the credit?
In the past few months Warner Bros has been on a charm offensive, as far as the movies of their DC Extended Universe go, but I’m not buying it.
Another thing I’m not buying are those people who claim that what is preported to be a lighter tone for the upcoming Justice League movie was in the cards all along.
Reason being, Man Of Steel took itself way too seriously. Batman V Superman: Dawn Of Justice upped the ante on dourness, if that were even possible–while working with a story so nonsensical that a bit of levity would have made the whole thing that much more palatable–and now I am supposed to believe that all of a sudden Zach Snyder realized that Superman is based on comic books (that were originally meant for children), and not an object of Ayn Rand’s Objectivism?
The more likelier explanation is that Warner Bros executives saw that the DCEU movies with Zach Synder as architect–while not box office failures–were severely underperforming (that you could put three of the most iconic superheroes in the same movie and can’t reach $900 million at the box office, never mind a billion, is the proverbial canary in the coal mine) so something had to be done.
And what that seems to be is an demotion of sorts for Snyder, in two ways. The first is that Ben Affleck was appointed as executive producer on the upcoming Justice League, and apparently is very influential over what happens on screen. And perhaps more importantly, Geoff Johns and Jon Berg were made co-presidents of DC Films, seemingly with a mandate to resort a sense of hope and optimism to movies sorely lacking such virtues.
My problem is that I am reaching Transformers levels of frustration with the movies of the DCEU (something Suicide Squad by no means changed) so for me it might be a little too late.
And it’s worth mentioning that I have given up on the Transformers, and refuse to see them in theaters.
I’m in the process of editing my review of ROGUE ONE: A STAR WARS Story so check back for the full version!
Though I have to say that I really did not like this movie. Say what you will about the prequels, at least they felt like Star Wars movies.
Rogue One? Maybe the last 35-40 minutes felt like a Star Wars movie though the bulk of it felt like the worse kind of war movie, namely the type where you don’t give a damn about anyone.
Such a lack of character development you can get away with in a three or four minute short, though when you’re talking about a movie that runs almost two hours and a half it’s near inexcusable.
I honestly can’t tell if it’s the writing or the direction that’s at fault, but dealing with any sort of human emotion isn’t exactly director Gareth Edwards‘ strong suit (something’s that’s fairly obvious if you have seen either Monsters or Godzilla, though to be fair Rogue One makes Monsters feel almost pornographic in its displays of human emotion and relationships).
Clearly people are seeing the movie, but I get the feeling that if there weren’t the connection to Star Wars, most wouldn’t give a damn.