Wednesday, September 30, 2020

Netflix Announces Premiere Date For Chadwick Boseman’s Final Film

Netflix Announces Premiere Date For Chadwick Boseman’s Final Film

The world is still coming to terms with the tragic death of Chadwick Bosemanwho passed away at the age of 43 last month after a private battle with colon cancer. The news came as such a shock since the actor kept his illness under wraps for years, which is made all the more surprising by the fact that he was still making movies almost right up until the end.

Indeed, he delivered a whole handful of phenomenal performances while battling the disease which he ultimately died from and the fact that he kept on going, even while dealing with all this, is just a testament to his unbelievable drive and determination. And though he may now be gone, there is still one final film of his that’s yet to release.

That’d be Netflix’s Ma Rainey’s Black Bottom, which is based on the play by August Wilson. Earlier tonight, the streaming giant brought us our first look at it via the photos below and in doing so, they also announced its premiere date, and thankfully, it’ll be here before the year’s out.

Yes, Chadwick Boseman‘s final movie is set to drop on Netflix on December 18th and tells the story of “a fateful recording session of “Mother of the Blues” Ma Rainey in 1927 Chicago.” Viola Davis plays the titular role, while the Black Panther star will show up to lend support as he steps into the shoes of “ambitious trumpeter Levee,” who’s eager to “stake his own claim on the music industry.”

Directed by George C. Wolfe, this one’s got awards season contender written all over it. And with the above photos now out in the wild, surely some footage can’t be too far behind. In fact, we wouldn’t be surprised if Netflix decided to drop the first trailer later this week. As always, watch this space for more.



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Netflix Reveals First Look At Chadwick Boseman’s Final Movie

Netflix Reveals First Look At Chadwick Boseman’s Final Movie

Chadwick Boseman‘s final movie is on its way to Netflix and tonight, the streaming giant revealed our very first look at it.

The tragic death of the Black Panther star last month rocked Hollywood and his millions of fans around the globe. As we know, he had been suffering from colon cancer for several years but because he kept his battle private – even from Marvel Studios and Disney – only those closest to him knew. And so, when the news broke that he had passed away, it caught almost everyone off guard as so few people were even aware that he was sick.

During this time battling cancer, Boseman still worked hard and managed to complete his roles in a number of films, including one that’s yet to be released. That’d be Ma Rainey’s Black Bottom, an upcoming Netflix project helmed by George C. Wolf and based on the play by Pulitzer Prize winning writer August Wilson. Viola Davis takes the lead as real-life blues icon Ma Rainey, with Boseman stepping into the part of “ambitious trumpeter” Levee. And now, thanks to the photos below, we have our first look at the pic.

For more, here’s the official synopsis, straight from Netflix:

“Chicago, 1927. A recording session. Tensions rise between Ma Rainey, her ambitious horn player and the white management determined to control the uncontrollable “Mother of the Blues”.”

Ma Rainey’s Black Bottom was filmed last summer, between June and August, and the rest of the cast boasts names such as Glynn Turman, Colman Domingo, Michael Potts and Taylour Paige. Just from these photos alone, we’re certainly intrigued to see what’s in store for us and with any luck, now that the first stills are out in the wild, a trailer won’t be too far behind. In fact, it could even drop this week.

For now, though, these pics give us a nice little glimpse of what will be Chadwick Boseman‘s final movie and you’ll be able to catch the full thing when it arrives on Netflix on December 18th.



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Ryan Reynolds Takes Jab At Dwayne Johnson With New Instagram Post

Ryan Reynolds Takes Jab At Dwayne Johnson With New Instagram Post

If there’s one thing the world knows about Ryan Reynolds, it’s that he’s a perpetual jokester who loves to poke fun at his friends and colleagues. For instance, the Canadian comedian’s long-term friendly rivalry with his buddy Hugh Jackman has offered years of hilarity as the two endlessly bicker with one another and go to great lengths to take potshots for the sake of humor.

But on the set of his new movie Red Notice, Reynolds has found himself goofing off with his good pal Dwayne “The Rock” Johnson. But rest assured that Johnson can dish it out just as easily as he takes it – something we’ve seen previously with his amusing back and forth interactions with Kevin Hart.

Of course, Reynolds and Johnson have been good friends for around 15 years, so they’ve probably got plenty of inside jokes and know one another’s buttons quite well, giving them ample opportunity to crack jokes and keep the good times rolling. As a matter of fact, before production of Red Notice was originally shut down due to COVID-19, it has been said that it was already running behind due to the two actors’ hijinks on set.

Reynolds has recently taken to Instagram to take a new jab at his good friend, this time claiming that he’s imagining what Johnson – who has kept a perfectly shaven head for nearly his entire career in wrestling and film – would look like with bangs. It’s absolutely a humorous thought, and it’ll be funny to see what Johnson will do to retaliate in the near future.

Red Notice is expected to meet its November 13th release date, though complications with COVID-19 or a couple of goofballs messing around could always change things. And honestly, knowing Ryan Reynolds, the latter is more likely.



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Kit Harington Opens Up On His Gender-Fluid Childhood

Kit Harington Opens Up On His Gender-Fluid Childhood

On Game of Thrones, Kit Harington played the lonely, taciturn and somber Jon Snow, whose status as a bastard child within the Stark household informed his aloof personality. In next year’s MCU film Eternals, he’s set to play the Black Knight, and a broody name like that might make you assume he’ll be a similarly gloomy hero. Well, a new interview with the actor hints that this may not be the case.

Speaking with The Telegraph, Harington revealed that his parents raised him in what he describes as a “gender-fluid” environment, saying:

“I idolised my mum. I followed her around the house. It was because of her that I wanted to be an actor. She used to take us to the theatre at least twice a week. I asked for a Mighty Max and she bought me a Polly Pocket. I asked for an Action Man and I got a doll – it was very gender-fluid from the word go. And I went with it.”

He went on to discuss how rigid gender boundaries are harmful to men and boys, going on to talk about how it informs his future choice of roles, explaining:

I feel that emotionally men have a problem, a blockage, and that blockage has come from the Second World War, passed down from grandfather to father to son. We do not speak about how we feel because it shows weakness, because it is not masculine. Having portrayed a man who was silent, who was heroic, I feel going forward that is a role I don’t want to play any more. It is not a masculine role that the world needs to see much more of.”

He makes a good case and the troubled yet silent superhero who bottles up his feelings has certainly become a cliche. It’s notable that some of the most critically acclaimed comic book movies have tried to get under the skin of these types of characters and give them a deeper emotional dimension. For example, Logan peeled back the layers of Wolverine’s gruff personality and Avengers: Endgame showed Captain America (who is actually from World War II) leading a support group meeting to help people process their feelings after Thanos’ Snap.

Showing a generation of young male viewers that being open about what makes you happy or sad isn’t unmasculine has got to be a positive thing. Let’s hope this is a hint that Kit Harington‘s Black Knight lives up to these ideals and is an emotionally literate character and not trapped in outdated patriarchal gender roles.



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Mark Hamill Says The Presidential Debate Was Worse Than Star Wars Holiday Special

Mark Hamill Says The Presidential Debate Was Worse Than Star Wars Holiday Special

Much loved and presumably still embarrassing for a lot of folks, the 1978 Star Wars Holiday Special is famous for its strange creative decisions, Bea Arthur, Lumpy and much more. Despite its reputation, though, it’s actually led to a lot of surprising Star Wars tie-ins and in-jokes, with a reference to Life Day even making its way into the first episode of The Mandalorian.

For those unfamiliar, the Star Wars Holiday Special was produced to fill the gap between A New Hope and The Empire Strikes Back, airing on November 17th, 1978 on CBS. To say the least, it turned out to be a hot mess and probably something that Lucasfilm wishes had never happened. But happen it did and for better or for worse, everyone still remembers it.

As bad as it was, though, it apparently wasn’t on the same level as last night’s presidential debate. Or so says Mark Hamill, who took to Twitter following the event to share that it was “the worst thing” he’s ever seen. And as he reminds us, he was in the Star Wars Holiday Special.

Mark Hamill

Indeed, just like the aforementioned special, the debate was also a bit of a mess, and everyone’s been weighing in with their opinions on it. Earlier today, for instance, Fantastic Four reboot writer Jeremy Slater echoed Hamill’s thoughts, sharing the following on Twitter:

With more debates still to come, and things likely to go the same way as the first one, it’ll certainly be interesting to see what all these celebrities have to say about the next time Donald Trump goes up against Joe Biden. Maybe the second one will be even more of a disaster than Battlefield Earth, which is widely considered one of the worst movies ever made?



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Paradise Killer Review

Paradise Killer Review

While it’s not exclusively defined by it, Paradise Killer’s pastel world derived from Miami and Tokyo, painfully retro presentation, and smooth jazz soundtrack tick enough of the boxes of the all-important aesthetic to be conclusively considered a vaporwave game. It’s probably the most noteworthy title to carry that designation, so adherents to the inexplicable artistic movement practically owe it to themselves to play it. For everyone else, here’s an open-world cosmic horror detective game that looks, sounds, and feels very strange for basically no reason – take it or leave it.

The story takes place on Paradise Island, a pocket dimension devised by the psychically-empowered Syndicate as a base of operations for restoring the cabal of variously unavailable alien gods they worship. The leaders of the Syndicate have all been mysteriously killed, so the formerly-exiled detective Lady Love Dies (who the game helpfully informs us was born under the sign of a god named Kiss Me to the Moon) is dispatched to investigate the case. This task involves digging into a flamboyant cast of characters practically ripped from the pages of JoJo’s Bizarre Adventure, with names like Doctor Doom Jazz and Eyes Kiwami.

I remember wishing I could tell the writers that words are supposed to mean things very early in the game, so I was surprised to discover that the plot actually makes perfect sense within its idiosyncratic framework. Naturally, the conclusions are a lot more complex and unique than “Colonel Mustard in the study with the lead pipe,” but the impressively well-defined set of rules for this universe are never broken. The setting’s careful construction also helps to assuage fears that the developers have merely juxtaposed disparate words and images in lieu of originality. One particularly interesting feature of the premise is that the entire Syndicate, including the protagonist, is unambiguously evil but stills abides by its own laws, systems, and internal personalities.

At first, Paradise Killer‘s open-world structure appears as a hindrance to the experience. There are large stretches of believable but inconvenient landscape between the major players, and it’s all dotted with seemingly arbitrary collectibles. Eventually, however, these aspects are revealed to fulfill supporting roles. The collectibles provide crucial world-building details, and by exploring to find them, you become familiar with the island’s geography and stumble upon hidden clues, both of which assist with the investigation. A valuable lesson from Breath of the Wild has been taken to heart – exploration relies on using interesting scenery to pique players’ curiosity rather than spewing map icons at them. Unlike BotW, though, traversal in Paradise Killer involves annoyingly realistic first-person jumping and fast travel tied to a finite resource.

What really lets the game down is its anemic detective gameplay. While exploration awards some clues, most are acquired by checking off a self-updating list of questions with each character, and all of them are organized and linked automatically. The climactic trial at the end of the story may superficially resemble Ace Attorney, but the only agency players have in this case is who to accuse of each action; the evidence just pours out automatically from there. The dialogue is largely divorced from the game’s sillier side and is pretty snappy even when it gets philosophical, so it’s reasonably engaging – just not enough to distract from the empty core gameplay loop. Meanwhile, the simple and surreal hacking minigame barely warrants a mention.

For some, the gaudy and selectively-primitive aesthetic of Paradise Killer will be a huge selling point. For others, including myself, they’ll be met with raised eyebrows and a shrug. Despite that indifference, the narrative at the heart of the game was wholly engrossing from its foundation to its conclusion. The gameplay can only hope to limp along in support of that narrative, which is disappointing but never makes for a frustrating or outright boring experience. If nothing else, the game may be worth looking into just for the complicated reactions it can elicit among different players and within individual ones.

This review is based on the PC version of the game. A copy was provided to us by Fellow Traveller.



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Magic: The Gathering Reveals Two New Cards For The Walking Dead Crossover

Magic: The Gathering Reveals Two New Cards For The Walking Dead Crossover

Following on from the appearance of Godzilla in Magic: The Gathering‘s Ikoria: Lair of Behemoths expansion earlier this year, Wizards of the Coast has recently unveiled the next crossover product that fans of the collectible card game will soon be able to get their hands on. To commemorate The Walking Dead‘s upcoming finale, US TV network AMC has teamed up with Magic‘s creator to produce several limited edition cards featuring characters from the show.

While we’ve yet to learn how many of these will be available in the exclusive collection, Wizards’ announcement was accompanied by two reveals, Negan, the Cold Blooded and Michonne, Ruthless Survivor. Those are joined today with another pair, this time in the form of Glenn, the Voice of Calm and, somewhat less excitingly, a generic zombie Token Creature adorned with illustrations inspired by a particularly memorable scene from the show’s second season.

Check them out for yourself via the gallery below:

Besides the incredible art, what stands out most about Glenn is the use of Magic‘s Skulk keyword. While the mechanic – which prevents opposing creatures with higher power from blocking attacks – certainly isn’t new (it was originally introduced with 2016’s Shadows over Innistrad), Wizards has been reserved with its use in subsequent sets, believing it to be somewhat difficult to balance.

Under ordinary circumstances, of course, the abilities printed on a promotional card would matter little, but in The Walking Dead‘s case, every card included will be legal to use in several formats, including Vintage, Legacy and Commander. The move has proven to be somewhat contentious with players, however, and we wouldn’t at all be surprised to see a U-turn on the matter.

Pre-orders for Magic: The Gathering‘s Secret Lair X The Walking Dead go live this Sunday, October 4th, for $49.99/£49.99/€54.99 and will remain open for one week.



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