|PLANET OF THE APESBLACK WIDOWSTAR WARS|
Fans were really not sure about recent reports that the upcoming movie in the Planet of the Apes franchise would be a reboot. With the trilogy that began back in 2011 with Rise of the Planet of the Apes having been so well-received it did not make much sense to many why the studio would decide to reboot instead of continuing the story of Caesar and his son, Cornelius. Well. director of the new movie, Wes Ball, has now clarified things a little via social media.'It's never been easier for film journalists to actually get in touch with the actual people who actually know... but maybe it's the point to NOT fact-check these days? Regardless. Don't worry. I won't ruin the surprises, but it's safe to say Caesar's legacy will continue...'
Taking a shot at movie journalists, Ball calls out for more fact-checking rather than reporting rumors. Where is the fun in that? He then goes on to state that, though he will not ruin any surprises, his movie will continue Casaer's legacy. What this means exactly is open to some interpretation, as the movie could still reboot and remake the original 1968 Charlton Heston Planet of the Apes, but using Matt Reeves' trilogy as the foundation.
So, though we're still lacking any real details, we do now know that Andy Serkis' ape-leader Casaer will be involved in some capacity, though the movie may not exactly be a direct sequel. At the very least Wes Ball's movie will continue the legacy of the past three entries in some way. Whatever that ultimately means, the director certainly sounds very excited about it, teasing surprises that he has in store for us.While the idea of Disney rebooting the franchise would not have exactly been surprising, considering how long the series has been around for, Matt Reeves' brillaint War for the Planet of the Apes was only three years ago, and even though we do now live in a time where franchises are rebooted within the blink of an eye, Reeves' trilogy is so great that it would be a dreadful shame to just cast it aside and start again.
Director Wes Ball was hired to the next Planet of the Apes movie following the cancellation of the much-anticipated adaptation of Mouse Guard. Though we have not heard much at all about what his Planet of the Apes movie would involve, the recent reports that it would be a reboot were disappointing for many, so it is nice to have some clarification from the man himself.
Whatever the story may be, it is promising to hear that Casaer will live on in some form, and perhaps the movie will focus on his son, Cornelius, which is something fans have wanted to see since Matt Reeves' trilogy ended. For now, though, we will just have to wait and see. This comes to us from Wes Ball's official Twitter account.
It's never been easier for film journalists to actually get in touch with the actual people who actually know... but maybe it's the point to NOT fact-check these days?Regardless....
If we weren’t in the darkest timeline right now, Marvel’s Black Widow would be arriving in theaters in a little under a month. Unfortunately, the globe is dealing with a dangerous pandemic, and the entire movie release calendar is being shuffled around every week as studios push back some of the biggest movies of the year following the closure of pretty much all movie theaters everywhere. Last week, Marvel Studios announced a new November release date for the movie starring Scarlett Johansson, and now a couple of new Black Widow photos have been released.New Black Widow Photos
First up, we have Scarlett Johansson being cautious as other agents from the Red Room Academy are in pursuit. They’re decked out in the standard tactical catsuit while Natasha Romanoff appears to be caught off guard, wearing only her street clothes.
As the most recent trailer for Black Widow explained, the Red Room operatives are being controlled by the villain Taskmaster, who has manipulated them by somehow giving them full consciousness, but unable to make choices of their own free will.
Romanoff’s surrogate sister and fellow Red Room agent Yelena Belova Florence Pugh, above somehow escaped, and she’s getting their makeshift family back together, including David Harbour as Alexei Shostakov AKA Red Guardian and Rachel Weisz as Melina Vostokoff.
Together, they’ll try to take down Taskmaster, who is quite the formidable opponent due to the fact that he can mimic the fighting styles of the rest of The Avengers, such as Black Panther, Captain America and Spider-Man, not to mention Black Widow herself. Oh, and his identity is unknown too, so that’s fun.
Will any of them besides Natasha make it out alive? Let’s not forget that she said The Avengers were the only family she has left throughout the events of Avengers: Infinity War and Avengers: Endgame. Plus, she recently offered up this perspective in an interview with Total Film via sister site Games Radar:
“I think part of Kevin Feige’s genius is that he always thinks about what fans expect out of these films and then gives them something that they never could’ve dreamed of. The idea of Natasha Romanoff in a family drama is the least expected thing, and I had to wrap my head around what that was going to be because there’s such a big tonal shift.”
Directed by Cate Shortland and produced by Kevin Feige, Marvel’s Black Widow now hits theaters on November 6, 2020 after being delayed by the coronavirus pandemic. The entire Marvel Studios release schedule has been shifted due to the new release date, and you can get the full new release calendar right here.
In Marvel Studios’ action-packed spy thriller “Black Widow,” Natasha Romanoff aka Black Widow confronts the darker parts of her...
There’s one particularly telling and effective moment in The Skywalker Legacy, the feature-lenght documentary that’s included on the Star Wars: The Rise of Skywalker home release that sums up much of the ambivalence and consternation that some had with J.J. Abrams’ return to the Star Wars universe. After showing the intricate construction of a giant, practical snake monster, the doc cuts back to footage of Jabba The Hutt, that old analogue beast that slithered its way into our hearts. The sentiment is clear – we’re making movies like we used to! A celebration of practical effects, the dripping of k-y jelly to give viscosity just like the old costume days, it’s all there. There’s excitement on set, everyone talking about how amazing it looks, how lifelike, how this is how you’re supposed to do movies like this.
Cut to Visual Effects Supervisor Roger Guyett who shatters the myth, letting us know the creature was replaced by a CGI version in post.
Guyett’s resume is mighty. Having made his bones on groundbreaking films like Twister and Casper, he helped Spielberg bring the events of D-Day to screen in Saving Private Ryan, helped bring to life the best looking film in the Harry Potter series, Alfonso Cuarón’s Prisoner of Azkaban, and even made the theatrical version of Rent feel more than a stage production. Guyett has had many collaborations with Abrams – from the Star Trek Reboots through The Force Awakens and The Rise of Skywalker he was even second unit director on the former, as well as working with George Lucas on Episode III to round off the prequels. He’s in a unique position to speak to these changing landscapes of epic filmmaking.
We spoke at length about the apparent contradictions and indulgences in making a Star Wars film, and he made the case for why nothing was wasted and all contributed to the final presentation. He was erudite and open to the discussion, making for a dream conversation with a man who quite literally has helped shape what amazes us on screen for decades.
The following has been edited for clarity and concision.
We see practical effects being championed as almost a marketing ploy with the “postquels” as a mix of nostalgia and an attempt to delineate from Lucas’ second trilogy. In some ways the love of the practically-realized snake undercuts the extraordinary CGI you and your team accomplished, and raises questions about why the need to fetishize the on-set inclusions when they’re replaced anyway. Could you talk about that ethos, that somehow doing stuff on a computer is a “cheat” while doing an effect practically is not?
I think at the end of the day we’re all trying to do the best that we can, trying to make the best, most dramatic or emotional movie we can visually. I’m coming from figuring out how do you get the most...