NECA’s new line of Gremlins action figures has been a blessing for fans who want as many of the little monsters as possible with all the appropriate accessories. This past holiday season brought us two different sets of caroling Gremlins, and a new Ultimate Gremlin before that came with soda, beer, cigarettes, candy, and more. Now NECA is releasing the Ultimate Flasher Gremlin, complete with a trenchcoat and sunglasses, as well as a slew of other accessories from the wild bar scene in the horror comedy.NECA Ultimate Flasher Gremlin Action Figure #gallery-2 #gallery-2 .gallery-item #gallery-2 img #gallery-2 .gallery-caption /* see gallery_shortcode in wp-includes/media.php */
Based off of the Dorry’s Tavern scene in Gremlins, the Flasher Gremlin comes equipped with a removable fabric trench coat. Not only that, he is super loaded with new accessories, including a poker visor, poker chips, mallet, puppet, fedora, bowtie, and more, allowing you to recreate the looks of other Gremlins from the film!
Deluxe 5 panel window box packaging featuring new artwork by Jason Edmiston.
If you thought this Gremlins figure was already released, that’s because all of these accessories, including the flasher coat, were included in what was intended to be a Loot Crate exclusive. However, that package was also meant to include a “Flashdancer” outfit with with a sweatshirt and legwarmers. Those aren’t included in this new figure, which makes me think that might get released as yet another separate figure in the future. But that’s just speculation on my part.
The NECA Ultimate Flasher Gremlin figure is slated to be released sometime in May this year.Source: Slashfilm.com
Although “The L Word: Generation Q” may have tried desperately to speak to a “new generation” of queer women and non-binary folks, fresher creative voices quickly rose to the top in its place. Though people still watched. Showtime’s “Work in Progress” was the best queer comedy of the year, Netflix’s “Feel Good” was an unexpected delight, and “Vida” is returning just in time for queer audiences to catch up on the best show about queer women of color on TV. Yet another contender released a promising first trailer today: “Betty” is a stylish and youthful portrait of Brooklyn teen skaters that already appears extremely queer.
The six-part half-hour arrives on HBO from filmmaker Crystal Moselle, who quickly made waves in 2015 with her her riveting documentary hybrid “The Wolfpack.” “Betty” is adapted from her second feature, the similarly hybridized “Skate Kitchen,” which followed a group of teenage girl skaters in New York City. The film premiered at the 2018 Sundance Film Festival to positive reviews and was released by Magnolia Pictures that year.
In his B+ review of “Skate Kitchen” out of Sundance, IndieWire’s Eric Kohn wrote: “The streetwise alternative to ‘Girls,’ the movie weaves together such a complete vision of its subjects that the rest of the world barely exists. Of course, there's a long-standing precedent to capturing this subculture — ‘Kids’ did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle's subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.”
“Betty” features many of the film’s original stars, most of whom had not acted before, including Kabrina Adams, Dede Lovelace, Nina Moran, Rachelle Vinberg, and Ajani Russell. All accomplished skaters in their own right, the first trailer shows the charismatic crew navigating various crushes and friendship trials with compelling panache and humor.
“Betty” is directed, co-written, and executive produced by Moselle. Lesley Arfin and Patricia Breen are also co-writers. Arfin, who also EPs, is a comedy writer best known for co-creating the Netflix series “Love” with Judd Apatow and Paul Rust.
HBO will release “Betty” beginning May 1 at 11 pm ET. Check out the exciting first trailer below:
The “hidden man” is how editor Lee Smith sees himself in 1917. Not for a second did Smith want audiences paying attention to his cuts or tricks, but to instead immerse themselves in director Sam Mendes‘ World War I story, which is constructed to take place in one seemingly unbroken take. Despite the obvious technical wizardry and razzle-dazzle, they pulled it off. Audiences were caught up in the feeling and exhilaration of 1917, not the craft of 1917.
The war pic isn’t the first time Smith and Mendes collaborated. The two worked together on Spectre, which involved a long take that gave the editor and filmmaker some ideas of how to accomplish 1917. Outside of Smith’s collaborations with Mendes, he’s edited several Christopher Nolan films, Master and Commander: The Far Side of the World, and an underrated gem from the early 2000s, Buffalo Soldiers.
Recently, Smith spoke to us about his intense work on 1917, a few of the movie’s standout sequences, and doing what hasn’t been done before.
Congratulations on the movie. I think it’s an incredible accomplishment.
Thank you. I was definitely the hidden man on that one if I did my job correctly.
That’s what you always want anyway, right?
It’s impressive how you can admire the craft while watching it, but not in a way that makes the movie feel artificial.
That was the thing we always spoke about. The film itself had to be front and center. We never really wanted anyone thinking about how it was made while watching it because our leading thought was just making a great story with great performances. That’s what we were aiming for. As we started to test screen the movie, we realized we achieved that. A lot of people around us were talking about the technique before we started screening, so I’d go, “We gotta stop banging on about technique and make sure the movie works.” As soon as we started screening it, we realized everything is working and all the audience can do is talk about the film. That’s exactly what we wanted to do.
You were editing as they were filming and on the set often. Usually, you have so much time to decide on a take, so how intense was moving at that speed?
Yeah, you could say you’re flying by the seat of your pants. Every day I would watch the shoot the day before the shoot, which could run for two hours worth of material and 39 takes for big sequences. I’d have to talk to Sam in the morning. He’d tell me what he likes, I’d tell him what I like, and we’d ask each other why we liked certain takes. It was a fun conversation, but we had to make up our minds because they were setting up for the next shot.
Generally speaking, you want the shot you’re...