Filipino artist Ty “Bong” Dazo, known for his memorable work on Marvel’s Deadpool and Dark Horse’s Star Wars: Knights of the Old Republic, passed away.
A Disney casting call appears to suggest Marvel is looking to cast the character of Kamala Khan. According to the casting call, Marvel intends the hero to star in a standalone Ms. Marvel film, to begin production next year.
Marvel visionary Kevin Feigerecently revealed that the studio has plans for the character of Kamala Khan, aka. Ms. Marvel. "Ms. Marvel is definitely in the works," he revealed, to the delight of the young hero's many fans.
Just days ago, speaking at the Production Guild's 10th annual Produced By conference, Feige explained why the studio has held back on Kamala to date.
"We wanted to get Captain Marvel out there first," he noted, "so that there is something for a young Muslim girl to get inspired by." Those comments clearly seemed to imply a comic-book-accurate portrayal.
Brad Bird's sequel to his superhero-family Pixar classic doesn't build on the first film so much as dutifully replay it. It's fun, but far from incredible.
We’ve been swimming in movie sequels for close to 40 years now. Yet for all the deluge of cinematic déjà vu, all the middling rehashes and (yes) the fun, rousing, and genuinely imaginative second, third, or fourth chapters, there is one category of Hollywood sequel that remains so elite — and so rare — that we hardly even think about it. And that’s the sequel to an unabashedly great movie.
I don’t mean great in the fanboy sense of “Did you see [fill in the title of the last Marvel film] ? It was great!” I’m not even talking about beloved popcorn touchstones like “Die Hard” or “Scream” or “The Bourne Identity.” I’m talking about movies of singular and awesome artistry, like “The Godfather” or “Star Wars” or “Night of the Living Dead” or “Toy Story.” When a sequel gets made to one of those, it’s axiomatic that you want — and almost expect — it to be a great movie, too. For if that isn’t the standard, then what is?
The movies listed above all got the sequels they deserved (“The Godfather Part II,” “The Empire Strikes Back,” “Dawn of the Dead,” “Toy Story 2”). In the case of each follow-up, the original film’s vision was sustained, enhanced, even enlarged. And I don’t think it’s too much of a stretch to say that many viewers will be hanging that same desire for greatness on “Incredibles 2.”
That’s because “The Incredibles,” which came out 14 years ago, was an extraordinary movie — an instant Pixar classic, bedazzling and humane, a virtuoso act of computer-animated showmanship that spoke about things like work, family, ego, and the passion of ambition in ways that few Hollywood movies have before or since. Written and directed by Brad Bird, it was a superhero comedy of daffy corkscrew wit; the most poetically extravagant action caper since the James Bond ’60s; a portrait of middle-class American domestic life that took in its joys and its perils; and the most exquisitely designed animated feature since “Yellow Submarine.”
That’s a lot to live up to, and I wish I could say that “Incredibles 2,” which Bird also wrote and directed, is the great sequel “The Incredibles” deserves. It is not. It’s got a touch of the first film’s let’s-try-it-on spirit, and it’s a perfectly snappy and chucklesome and heartfelt entertainment, with little retro felicities you latch onto, yet something is missing: the thrill of discovery — the crucial sensation that the movie is taking us someplace we haven’t been.
“Incredibles 2” offers a puckishly high-spirited but slightly strenuous replay of the original film’s tale of a superhero family working to prove its relevance. Once again, the family’s members are on the cusp between humdrum domesticity and saving-the-world bravura. Yet what was organic, and even obsessive, in the first outing comes off as pat and elaborate formula here. The new movie, energized as it is, too often feels like warmed-over sloppy seconds, with a what-do-we-do-now?riff that turns into an overly on-the-nose plot.
Kevin Conroy, who has voiced Bruce Wayne-slash-Batman across several iterations for 26 years, said the DC animated universe — or the Timmverse — dried up because the creators “ran out of ideas for stories.”
Appearing at MCM Comic Con London on May 26, Conroy was asked if he’d consider reprising the role in a reboot of Batman: The Animated Series, saying, “Oh gosh, yeah, I’d love to.”
They didn’t stop making the shows because the audience wasn’t there or the actors weren’t there, they stopped, really, because the creators ran out of ideas for stories. And they didn’t want to compromise on the quality of what they had and start creating kind of silly stories,” Conroy explained.
“So they go, ‘Look, we gotta go in a whole new different direction.’ So then they went to Batman and Robin, they brought in Robin, that was the next series. Then they went into Batman Beyond, you know, recruiting a young guy. And then it was the Justice League. They were always looking at different ways to re-imagine the characters, just so they can get new storylines. A lot of it had to do with trying to come up with stories that weren’t becoming ridiculous.”
“But all the actors would love to have done more of them,” Conroy added. “You could get all those actors back today, in a booth, to do more animated series shows because everyone loved it that much.”
Batman: The Animated Series launched in 1992, running through 1995. It was later re-introduced as The New Batman Adventures, bringing in young sidekick crime-fighters Robin, Nightwing and Batgirl.
Futuristic sequel Batman Beyond launched in early 1999, which saw Conroy’s older, grizzled Batman pass the torch to 16-year-old Terry McGinnis. Conroy’s Batman would be back in action twice more in 2001 animated series Justice League and its sequel, 2004’s Justice League Unlimited.
In addition to both theatrical and straight-to-video feature-length films, Conroy has also voiced the Dark Knight in the popular Arkham video game series — influenced by the Timmverse — and has since voiced the character in animated movie Batman and Harley Quinn and the ongoing kid-friendly Justice League Action.
Now that Negan has been thrown in jail, never to torment the likes of Alexandria again, it's time for The Walking Dead's next major villain to arrive and torment the survivors. It looks like the walker skin-wearing creeps known as The Whisperers are on their way to AMC's horror series, potentially arriving next season.
According to TVLine, some casting intel "all but confirms" the arrival of The Whisperers. The report suggests that Season 9 casting has begun for girlfriends Yumiko and Magna, characters from Robert Kirkman's comic series that have a large part to play in The Whisperer War.
If you're not familiar with the source material, Yumiko, Magna, and a few other survivors arrive in Alexandria and are initially greeted as potential enemies. However, after some time they prove themselves as helpful allies, and become important characters in the story.
When The Whisperers first arrive, led by the cold-hearted Alpha, Magna and Yumiko take up arms with the rest of Alexandria to fight them off.
While this report does mean that The Whisperers are likely coming to the show, casting hasn't yet started for Alpha, arguably the most important character in the Whisperer arc in the comics.
Earlier this season, ComicBook.com had thechance to speak with Walking Dead star Andrew Lincoln about the future of the show, and we asked his thoughts on the potential arrival of Alpha and her Whisperers.
"I don't know if we're going there but I hope we are because I think it's extraordinary," Lincoln said. "Everybody keeps talking about talking about Alpha being the most bad-ass of bad-ass but we'll see. I don't know if we're gonna pick up directly or after a time jump but certainly those scenes could be... The vision that Carl had for the future, this Utopian dream, I don't think it's gonna be a happy journey towards that. There seems to be a lot of descent between the communities in that last act of last night's episode."
Are you excited to see The Whisperers arrive on The Walking Dead? Could Alpha top Negan as the best villain in series history? Let us know what you think in the comments below!
The Walking Dead will return for its ninth season in the fall. Fear the Walking Dead airs Sundays at 9 pm ET on AMC.
Source : CBR
WARNING: This article contains spoilers for Venomized #1 by Cullen Bunn, Iban Coello, Matt Yackey and Joe Caramagna, on sale now. Change seems to be a constant in the life of Peter Parker. In the pages of Amazing Spider-Man, the web-slinger went from billionaire tech genius to disgraced science editor at his former employer, the Daily Bugle. As for Peter’s alter ego Spider-Man, the hero has to contend with the return of Norman Osborn and his new deadly persona, the Red Goblin. Venomized May Have Explained the Return of Spider-Man’s Black Costume. Another upcoming change will come behind the scenes when writer Dan Slott steps down from his 10-year run on Amazing Spider-Man, with writer Nick Spencer and artist Ryan Ottley relaunching the series in June as part of Marvel’s “Fresh Start.”Spider-Man’s new beginning will also include the return of his black costume. Not much is known at the moment regarding why Spider-Man has decided to go back to black, but Venomized #2 suggests the suit could be another Klyntar symbiote — similar to the one worn by the antihero Venom. These Symbiotes Are… Different The Poisons’ first objective when they arrive on Earth is to infect the superhuman population with symbiotes, so they can then feast on them and steal their powers. Spider-Man was one of the first heroes to be bonded with a symbiote, but when he tried to remove it using the sound of a clock belltower, he was unsuccessful. Somehow, the Poisons have altered Spider-Man’s symbiote to remove one of its known weaknesses.
Avengers: Infinity War
Opened in theaters last week, as the culmination of 10 incredible years of the Marvel Cinematic Universe. After watching these films introduce us to countless Marvel heroes, the ultimate destiny has finally arrived, decimating box office records in one unbelievable opening weekend.
After making history as the first woman of color to helm a $100 million-plus live-action film in A Wrinkle In Time, Ava DuVernay will continue to play in the event film sandbox. She’s closing a deal with Warner Bros and DC to direct a big-budget screen adaptation of The New Gods, the creation of revered comic book impresario Jack Kirby.
The studio has set Kario Salem (Chasing Mavericks) as the writer; he’ll craft the narrative and work closely with DuVernay.This is a bold move for Warner Bros/DC and not just because this is the second superhero franchise they’ve handed to a female director after Patty Jenkins turned Wonder Woman into a crowd-pleasing blockbuster and is working on the sequel with Gal Gadot. Unlike recent DC fare, this is a freestanding world created and designed by Kirby back in 1971, not long after the prolific comic legend had exited Marvel.
There is no connection to the other DC worlds being exploited for film right now by Warner Bros, where studio boss Toby Emmerich and his newly installed DC production president Walter Hamada are moving forward with new approach to filmmakers on their DC-based fare.The New Gods was the Genesis of the uber-villain Darkseid. Also called “Fourth World,” the Kirby creation debuted in a trilogy of related comics written and drawn by Kirby that were published in the very early 1970s: New Gods, Forever People and Mister Miracle.
The New Gods came into existence after the world of the gods of classic mythology were destroyed during Ragnarok. The deities inhabit two planets: one is New Genesis, a lush paradise, and the other Apokolips, which sounds like Dante’s version of hell. War ensues. There is a rich universe of extraordinary characters for DuVernay to play with here. This will be a fun one to follow.
John Campea is a movie pundit who doesn’t break a lot of movie news. But he was one of the first people to say that Ben Affleck wouldn’t star in The Batman and he broke the news that Jake Gyllenhaal met with director Matt Reeves about playing the Dark Knight. So his recent track record is pretty good.
The Walking Dead’ Says Goodbye to Carl Grimes..
Returning Sunday, February 25, after several weeks away, The Walking Dead devoted most of its 82-minute runtime to saying an extended goodbye to Carl (Chandler Riggs), who survived the zombie apocalypse (not to mention puberty) through eight seasons only to get bitten by a walker while trying to escort a new acquaintance back to Alexandria.
We watched as he took selfies with a sister who will barely remember him, told Michonne she was his "best friend" and made his father promise to try and make peace with the Saviors for a hopeful future
Sony has plans for a five-film shared universe based on comic characters from Valiant Entertainment. Harbinger is expected to be the first movie.
Bloodshot, created in 1992, currently can be found in the pages of Bloodshot Salvation.Â
Universal Pictures and Skybound Entertainment just announced they’re teaming up to bring Image’s comic Birthright to the big screen.
Despicable Me writers Cinco Paul and Ken Daurio have partnered with Robert Kirkman’s Skybound Entertainment to adapt the fantasy comic Birthright. The film is being developed as part of Skybound’s first-look deal with Universal Pictures.
Written by Joshua Williamson and drawn by Andrei Bressan, Birthright centers on a family devastated by the disappearance of their young son. A year later, a grown man appears, claiming to be their missing child and saying he’s been to another world. The series debuted in October 2014 from Skybound/Image Comics.
Birthright is a giant fantasy epic but at its core it’s a story about family, and I’m really excited that a creative team who values those same storytelling elements will be adapting Birthright,” Williamson said in a statement. “Andrei and I have put so much of ourselves into developing the Birthright comic and we know that Cinco, Ken and the entire Skybound team will do the same as they adapt it for the big screen.”
"Beetle Bailey" was among the first cartoons to mark a shift in the funny pages from the serial strips of the previous decade to the graphically simpler gag-a-day model that predominates today.
Mort Walker, whose "Beetle Bailey" comic strip followed the exploits of a lazy G.I. and his inept cohorts at the dysfunctional Camp Swampy, and whose dedication to his art form led him to found the first museum devoted to the history of cartooning, died Jan. 27 at his home in Stamford, Conn. He was 94.