Tag Archive: Akira Kurosawa


Joseon has become a living hell.
No one will get out alive.
“We must stop it at all costs.”

Director Kim Seong-hun hid the secret to the cause of the zombie plague in the Netflix series Kingdom in plain sight, taking the first season to reveal its secret.  In season two the Crown Prince at last will return to confront his father and the clan of thugs that have kept him under guard, but not before the dead evolve into something worse.  The first South Korean series released by Netflix, Kingdom will see its second season arrive on the streaming provider next month, and Netflix has released its trailer (watch it below).  Sprouting from a well-documented, mysterious plague that killed tens of thousands of people in Hanyang (present-day Seoul) during the 19th century Joseon dynasty, the series transports the viewer to a fully realized Korea of the past, complete with opulent sets, costumes, and production values said to have cost nearly $2 million per episode.  The result matches a stunning script (based on a web series by Kim Eun-hee, who counts herself a zombie aficionado and proves it with this series), top acting from a slate of South Korea’s most award-winning actors, and cinematography showing locations most Westerners have never seen, with an exciting Braveheart of the Far East meets The Walking Dead genre action feast.

In the first season the king came down with smallpox, and on his death bed his latest wife, a young pregnant queen (played by Kim Hye-jun) schemed with her father and the king’s supposed confidante, Lord Cho (Masquerade’s Ryu Seung-ryong), to seize control of the throne, conspiring with Cho’s embedded clan of thugs to shun the true heir, the Crown Prince, played by Ju Ji-hoon (The Spy Gone North) as an earnest, Henry V-inspired leader.  The Crown Prince’s tough (and humorous) lieutenant  is back, assisting him on his journey, played by Sang-ho Kim (Octopus), with the doctor who joined them, played by Doona Bae (Jupiter Ascending), and the mysterious rifle-trained warrior, played by Kim Sung-kyu.  His past was the biggest secret that was left up in the air at the end of season one.

Deception.  Murder.  Conspiracy. 

We named Kingdom the best horror series and best import in our end of year wrap-up here at borg last year (read our full review here).  A prince who above all else looks to protect his people and lead them.  Swords and bow and arrow, and early rifles, as the only means of defense.  Gorgeous, truly cinematic imagery.  Western viewers got an incredible look at a beautiful island, forests, waterfalls, bubbling brooks, palatial estates, lakes and mountain views probably never captured for a wide modern audience, thanks to some stunning cinematography.  Fog, night, and fire eerily presented among cinematic storyboarded action sequences.  The music a blending of traditional, medieval, Eastern themes, and sweeping programmatic action movie cues.  The production sets and artistry are probably matched only by History’s Vikings of the current historical and fantasy TV series available.  And the expected horror of the zombie genre–sword beheadings were never filmed so believably.

Here is the trailer for season two of the big budget, cinematic television series, Kingdom:

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Review by C.J. Bunce

Despite living in an international economy with the ability to communicate via portable devices with literally anyone on the planet, it’s a shame that the exchange of culture between the Western world and China is still stuck in the 20th century.  We only just saw an English translation of one of the best, most widely read, epic fantasy novels from China this year with the release of A Hero Born (reviewed here at borg), only the first book in author Jin Yong’s 1950s wuxia novel series.  The books have been adapted and interpreted over the past 70 years into dozens of films, TV series, and spin-offs.  But until recently they have only been available in China, or for those outside of China who have taken efforts to seek them out.  A Hero Born is only the first of twelve novels in the saga The Legend of the Condor Heroes Even without global circulation the series has influenced countless other stories, including so many elements of George Lucas’s Star Wars saga audiences will lose track of all the common elements.  If you think Lucas based his story only on the works of Akira Kurosawa’s films from Japan, think again–there’s as much Condor Heroes in Star Wars’s galaxy as Hidden Fortress. 

The most recent adaptation of the The Legend of the Condor Heroes story can be found in a 2017 series, starring well-known actors in China.  It’s only available if you’re willing to pick up an international DVD player, or you track it down on YouTube (both available in subtitled English editions).  But if you watch it–a whopping 52 incredible hour-long format episodes, you’re in store for one of the finest, most exciting genre series you’ve ever seen.  The quality of the production, the incredible martial arts work and visual effects, and top quality acting is prompting us to add this series to our own “Best of 2019” review coming later this month.  Sure, it’s two years since it came out in China, but there is no U.S. distribution channel.  Ideally Netflix would pick it up as they did for this year’s Korean series, Kingdom.  Two pregnant women escape an early 13th century conflict as their husbands, sworn brothers in spirit, are killed.  Their sons grow up separately, unaware of each other.  Guo Jing is honest, loyal and righteous, but slow to learn socially, and more importantly in the ways of the martial arts.  The other, Yang Kang, is clever and suave, but scheming and treacherous. They eventually meet each other and their respective lovers, Huang Rong and Mu Nianci.

Directed by Jiang Jiajun (also known as Jeffrey Chiang), the series follows Guo Jing, raised as Song and living on a rural farm with his mother.  He soon saves a man, a warrior in conflict with a general who will rise to become history’s Genghis Khan, and in doing so he is trained in bow and arrow in Khan’s legion.  Soon he is also taken on by seven martial arts masters in the techniques of kung fu, but they train him for a reason he is not aware of.  They made a wager at the boy’s birth with another martial arts master, a man who agreed to train the other boy, Yang Kang.  On the boys’ 18th birthday they are to meet at a restaurant where they will compete–the winner will determine who wins:  Jing’s seven masters or Kang’s master.  Unfortunately, Jing is awkward at basic moves including skywalking, while the other boy takes to kung fu very well.  But circumstances favor Jing, and others come along to fill in the blanks so that he can make a good showing when he turns 18, form a bond with friend and lover Rong, and go on to meet the Five Greats and compete in a mountain contest at the highest level.

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This past February we reported writer/artist Stan Sakai would be bringing his world of the swordsrabbit Miyamoto Usagi to IDW Publishing with stories old and new.  That begins tomorrow with the first issue of the new three-part, full-color series–yep, the black and white comic will be in full color for the first time, written, drawn, and lettered by comics legend Sakai with colors by Tom Luth (Groo the Wanderer).  Readers will catch up with Usagi caught-up in his own new drama set during the Edo period of 17th century Japan.  The first story, titled “Bunraku,” a word for Japanese puppetry, captures many elements that make the world of Usagi Yojimbo unique: adventure filled with culture, folklore, and history.  IDW also plans to bring all 35 years of Sakai’s Usagi Yojimbo stories into new collected editions.  So Issue #1 of Usagi Yojimbo: Bunraku is only the beginning.

First published in 1984, Usagi Yojimbo garnered five Eisner Awards for Sakai, the 2014 Inkwell Award, 2007 Harvey Award, 2002 National Cartoonists Society Comic Book Division Awards, and the Cultural Ambassador Award from the Japanese American Museum.  Haven’t checked out Usagi Yojimbo yet?  The humor is similar to Mike Norton’s Battlepug, or Mike Wieringo’s Tellos, full of action, classic Conan, Tarzan, John Carter-level adventure, with the epic feel of Akira Kurosawa and Hayao Miyazaki.  Note: Another book is now available for pre-order from Sakai’s earlier publisher.  Last week Dark Horse Comics announced Usagi Yojimbo: 35 Years of Covers, a complete hardcover collection of Sakai’s greatest covers (you can pre-order it now here at Amazon).

Usagi Yojimbo #1 will be released in a main cover by Sakai, plus variants by Daniel Warren Johnson–1:10 retailer incentive, Kevin Eastman–1:50 retailer incentive, comics legend Walt Simonson–1:25 retailer incentive, and a two-part Sakai cover that connects with Ragnarok: The Breaking of Helheim, Issue #1, plus store exclusives from Buzz (500, Legends), Maria Caligari (500, AOD Collectables), J. Scott Campbell (color or B&W, Comics & Ponies), Mike Choi (logo–600, virgin–200, Collector’s Paradise, Knowhere), Chris Johnson (1,000, Brave New World), Alex Kotkin (Excelsior), Linh Nguyen (Incredible Con), Ian Nichols (w/Tick, 500, New England), Tessa Rose (1,000, Jak’s), blank cover from Sakai for use with watercolors, another Sakai cover (500, Other Realms), Julie Sakai (500, Dogū), Mike Vasquez (500, Frankie’s Comics), and the great Charles Vess (color–750, B&W–500, HeroesCon).

Here’s a preview of Usagi Yojimbo–Bunraku, Issue #1, plus previews of the covers for Issues #2 and #3, and all 24 variants for Issue #1, courtesy of IDW Publishing:

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Review by C.J. Bunce

In his new novel Firefly: The Magnificent Nine, author James Lovegrove embarks on his next journey with the crew of Serenity following his highly successful launch point for the first ever novel series for the franchise, last year’s Firefly: Big Damn Hero (reviewed here at borg).  It’s been thirteen years since we last saw a Firefly story like these two novels, which each contain the contents of about an entire movie.  Along the way creator Joss Whedon has authorized some shorter tales via the comic books (discussed here).  Firefly: Big Damn Hero was the Firefly event of last year, and this year we’ll have two novels competing for that honor, with Tim Lebbon′s contribution to the series of novels coming this fall in Firefly: Generations So how did Lovegrove’s Firefly: The Magnificent Nine compare to his Firefly: Big Damn Hero?

As with Firefly: Big Damn Hero, Lovegrove writes the voices of the entire crew perfectly.  This is another space Western, the core of the original series, and both books feel like natural progressions following the original 14 episodes (Firefly: The Magnificent Nine fits between the last episode and the 2005 film Serenity, allowing the inclusion of two fan-favorite characters–and they’re all fan-favorite characters–Hoban “Wash” Washburne and Shepherd Book).  In a significant way the challenge of writing new Firefly stories is that writers only have 15 “canon” stories to build from, along with any notes from Whedon’s story development.  The potential pitfall is mining the original episodes too much for throwback references.  At 336 pages that’s not anything to worry about for Lovegrove.  Yes, fans will appreciate the Easter Eggs throughout the tale: Jayne Cobb’s famous hat (“a giant piece of candy corn gone wrong”) does not get ignored here, and neither does his weapon of choice, Vera.  But the framework of the story allows for plenty of opportunities for Lovegrove to do more with the characters.  It’s hard to beat his ability to get inside the head of River in Firefly: Big Damn Hero–a difficult character who didn’t get enough time to get fleshed out in the series.  But this time River takes a backseat and Jayne gets the spotlight.  As a completely original story Firefly: Big Damn Hero wins, but not by a lot.

As the title should indicate, Firefly: The Magnificent Nine is an homage to the classic, epic Western The Magnificent Seven, its source Akira Kurosawa’s Seven Samurai, and countless adaptations since.  It’s notable and important that this isn’t another actual adaptation or full retelling of the story, as Lovegrove takes his own tangent from the story after setting up the novel’s first act.  But he peppers the story with familiar references, like using actors’ names and Kurosawa himself for new characters in his story.  He also has plenty of Louis L’Amour tropes and references.  One thing this novel makes clear is there are at least as many opportunities for new novels in the series as there are Kurosawa movies and L’Amour novels to pull good ideas from.  So this isn’t merely another take on The Magnificent Seven so much as establishing that the nine heroes of the Serenity are worthy of that title.

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Review by C.J. Bunce

After more than a decade watching our all-time favorite series take place in Korea (M*A*S*H), it’s refreshing to at last to see in wide U.S. release a quality series set in Korea.  That series is the first South Korean series released by Netflix, a fantastic medieval historic mash-up with zombies called Kingdom, which began streaming this past weekend.  Sprouting from a well-documented, mysterious plague that killed tens of thousands of people in Hanyang (present-day Seoul) during the 16th century Joseon dynasty, this story nestles the viewer in a fully realized Korea of the past, complete with opulent sets, costumes, and production values said to have cost nearly $2 million per episode.  The result matches a stunning script (based on a web series by Kim Eun-hee, who counts herself a zombie aficionado and proves it with this series), top acting from a slate of South Korea’s most award-winning actors, and cinematography showing locations most Westerners have never seen, with an exciting Braveheart of the Far East meets The Walking Dead genre action feast.

The region’s king comes down with smallpox, and on his sick bed his latest wife, a young pregnant queen (played by Kim Hye-jun) schemes with her father and the king’s supposed confidante, Lord Cho (Masquerade’s Ryu Seung-ryong), to seize control of the throne, conspiring with Cho’s embedded clan of thugs to shun the true heir, the Crown Prince, played by Ju Ji-hoon (The Spy Gone North) as an earnest, Henry V-inspired leader.  But is the king really dead, and what other secrets does the queen keep?  Father and daughter bar access to everyone outside their circle, and so the Crown Prince escapes with his trusted and fierce lieutenant Muyeong, played with equal parts grit and humor by Sang-ho Kim (Octopus), conjuring the versatility of Japan’s Toshiro Mifune.  They set out to discover the source of the spreading plague, meeting up with a doctor played by Sense8 and Jupiter Ascending‘s Doona Bae, and (in a twist worthy of a Tom Clancy novel) the realization fosters the Crown Prince’s viability as a real leader against an unthinkable threat.  Rounding out the main cast is a mysterious warrior named Yeong-sin, an angry, defensive villager who buries a group of the dead against local traditions, played by Kim Sung-kyu.  His character is cloaked in his own secret past.

Deception.  Murder.  Conspiracy.  A prince who above all else looks to protect his father the king and be a good leader.  A heroic race to a stronghold via horse cart.  A mother infected who turns on her own child.  Swords and bow and arrow, and early rifles, as the only means of defense.  Gorgeous, truly cinematic imagery.  Western viewers get an incredible look at a beautiful island, forests, waterfalls, bubbling brooks, palatial estates, lakes and mountain views probably never captured for a wide modern audience, thanks to some stunning cinematography.  Fog, night, and fire eerily presented among cinematic storyboarded action sequences.  The music is a blending of traditional, medieval, Eastern themes, and sweeping programmatic action movie cues.  Costume designs in exquisite fabrics and designs at first may seem odd to modern viewers, but their similarity to the garb of Akira Kurosawa films (that Western audiences have had greater access to over the decades) should ease in most viewers.  The production sets and artistry are probably matched only by History’s Vikings of the current historical and fantasy TV series available.  And the expected horror of the zombie genre–sword beheadings were never filmed so believably.

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An unusual new mash-up of historical drama and supernatural horror is coming your way this month.  Set in medieval Korea, Netflix’s Kingdom will be the second Korean series for the streaming service.  Netflix released two excellent trailers so far for the series’ first season, with the second trailer just arriving this week.  Actor Ju Ji-hoon (Mask, Confession) plays the Crown Prince, a man set on a mission to discover the cause of a deadly plague spreading across the country.  And an evocative classic Eastern costume drama becomes the next zombie series.  It looks similar to the world of Pride and Prejudice and Zombies, taken from a different part of the world.

The elaborate production quality of the trailers was created at a price tag of nearly $2 million per episode, resulting in some compelling preview footage with an Akira Kurosawa-inspired, creepy and cool “Seven Samurai vs zombies” vibe.  Eight episodes have been filmed for season one, and season two begins filming this month in South Korea.  The series blends the vision of film director Seong-hun Kim (Tunnel) and television writer Eun-hee Kim (Signal).  The series is based on Eun-Lee’s Land of the Gods, a 2014 webtoons/webcomic from Seoul’s YLAB Comics, which was drawn by Kyung-il Yang.

The series also stars Doona Bae (Jupiter Ascending, Cloud Atlas, Sense8), and Seung-Ryong Ryu (Psychokinesis, Masquerade).

Check out the teaser preview and two trailers for the Netflix original series, Kingdom:

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Review by C.J. Bunce

Fans of the original Star Wars trilogy and the new film Solo: A Star Wars Story should take note of the fourth installment of Abrams Books’ Star Wars artbook series.  The Art of Solo: A Star Wars Story by Phil Szostak not only looks behind the scenes of the production of the second of the modern anthology movies and fourth of the modern sequels, it reveals the finest and the most evocative Star Wars-styled concept art created since The Empire Strikes Back.  Taking a different path from the episodic sequels, the creators that imagined the look for Solo took their inspiration directly from the work of Ralph McQuarrie (original trilogy production illustrator and concept artist), Joe Johnston (original trilogy ILM art director), Harry Lange (original trilogy art director and set decorator), and Colin Cantwell (the first Star Wars spacecraft designer), concept artists behind the original Star Wars movie.  Including artwork both used for the final creation of sets, effects, and costumes, as well as imagery that didn’t make it to the final cut, The Art of Solo provides visuals fans back to the 1970s have only dreamed about.

Solo is also the first movie of the post-Disney period of Star Wars to draw back to the actual input from George Lucas for more than merely sketches and early descriptions of his earliest ideas from 1973.  Lucas was involved from the beginning, planning a Han Solo movie since before the Lucasfilm sale, and so this sequel has inspiration and concept direction from the creator of the franchise himself.  Lucasfilm/ILM lead concept designer James Clyne, production designer Neil Lamont, costume designers Glyn Dillon and David Crossman, Neal Scanlan‘s creature department, and Rob Bredow and Pat Tubach‘s visual effects team were aware of the unique challenge facing this film–creating something faithful to the original trilogy and beloved characters while also taking the look and feel of the space fantasy into new territory.  The result is a film full of different worlds that still feels “Star Wars-y,” as the designers call it.  For this film, that meant a Western homage mirroring the American journey of settlers from the East Coast to the West Coast, and also importing story elements found in Akira Kurosawa’s Westerns, among many other classic films.

Many of the portraits and landscape paintings are poster-worthy.  Earthbound physical locations were tracked down to define new worlds Corellia, Mimban, Vandor, Kessel, and Savareen, along with CGI renderings, all to look like they belong in the Star Wars galaxy.  As Star Wars was created in the 1970s–taking place ten years prior to the original Star Wars–the artists looked for styles and ideas from the 1960s via movies, bands, computers and technology, and other cultural influences for costumes and set decorations.  So before Emilia Clarke was cast as Qi’ra, images of the character needed to establish her locations and costumes included drawings that look very much like Grace Kelly.  Incorporating images of younger versions of both Harrison Ford and Billy Dee Williams were obvious choices for creating their first looks, like the duo at the gambling table where Lando would lose the Falcon to Solo.  But soon Alden Ehrenreich’s image became the face of Han Solo.  All along, Chewbacca was Chewbacca, only the crew aimed to convey a different view of the Wookiee, where having all his hairs styled in place was no longer important–this was the young, wind-blown companion from the past, the one quicker to tear someone’s arms off.

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Review by C.J. Bunce

In that niche area of dystopian dog movies (that’s the adaptation of Harlan Ellison’s A Boy and his Dog and… ?), Wes Anderson’s Isle of Dogs not only soars to the top of the list, it’s a great film in all sorts of categories: it’s new, yet a classic children’s story, it’s a timely political allegory, and it’s a solid movie about dogs.  We knew Anderson had a grasp on animals in his surprisingly good Fantastic Mr. Fox, but audiences will soon learn he also understands dogs and dog behavior.  The trailers don’t really prepare moviegoers for what lies ahead.  Sure, it’s about an island of exiled dogs so of course audiences are in for a bleak ride, complete with at least one dead canine, lots of dogs in peril as well as many mutilated and diseased.  Yet Isle of Dogs is surprisingly grand in scope, thought-provoking, and even heartwarming.  And epic–don’t be surprised if you start thinking about the closest Martin Scorsese or Stanley Kubrick movie while you’re glued to the screen.  Despite some witty dialogue in places from Anderson’s smart script, this is less comedy and more drama than his past efforts.

The dystopian world is better realized, bigger in scope, and yet more personal than typical futurist visions, beyond that dismal hopeless doom of Mad Max, The Postman, Escape From New York, Twelve Monkeys, Snowpiercer, Looper, Logan’s Run, and District 9.  Isle of Dogs is probably closer to WALL-E and Planet of the Apes in feel.  Isle of Dogs is gloomy and dark and bleak, but it offers a ray of hope for the future from a 12-year-old Japanese boy named Atari Kobayashi (Koyu Rankin) and a freckle-faced, high school exchange student named Tracy from Ohio (Greta Gerwig), both out to defy an autocratic government’s ban on dogs.  That’s thanks in major part to the vivid, eye-popping world of future Japan filmed by celebrated Aardman Animations stop-motion cinematographer Tristan Oliver (A Close Shave, The Wrong Trousers, Chicken Run), and the encompassing sounds from this year’s Oscar-winning composer for The Shape of Water, Alexandre Desplat (Harry Potter series, Valerian and the City of a Thousand Planets, The Golden Compass).  As to the stop-motion, audiences can marvel at how far Hollywood has come since the Ray Harryhausen era.  The film follows Anderson’s design choices first seen in his Fantastic Mr. Fox and only continues to add to the unbelievable magical movements carried forward by Aardman’s achievements.  And instead of a typical Romantic, programmatic score, Desplat’s best choices can be found in his use of loud, almost frightening Japanese taiko drums, Fumio Hayasaka’s haunting theme from Seven Samurai, the more celebratory bits from Prokofiev’s Lieutenant Kije, and a simple recurring dog whistle.

Anderson offers up admirable tributes to Japanese culture and film, everywhere from costume design to modern TV reporting stylings, to Hayao Miyazaki themes and Akira Kurosawa landscapes, to traditional imagery like beautiful ukiyo-e on walls and cherry blossoms floating by at the right time.  Isle of Dogs finds a firm footing on the children’s classics shelf of your film library, alongside Roald Dahl’s Mr. Fox but also his Willy Wonka.  It also has much in common in tone with Ian Fleming’s Chitty Chitty Bang Bang, and Jim Henson’s The Dark Crystal.  The political allegory is thick and layered, a mix of the nuanced and the obvious, a mirror reflection of society that you’d have found years ago in a Frank Capra movie.  Science is mocked, scorned, and worse.  Experts are traitorous and immigrants are exiled.  It’s also graphic in parts at a baser level, showing an animated meal from a dumpster with creepy crawlies that may make your stomach turn, plus an open chest surgery, bloody, torn body parts, and dogs with missing eyes and open wounds.

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Review by C.J. Bunce

How can a movie get better on repeated viewings?  What makes that possible?  After three viewings of the home release of Rogue One: A Star Wars Story–the Digital HD edition, the Blu-ray, and the 3D Blu-ray–it’s apparent the film on repeated viewings is indeed as good as the initial theatrical viewing if not better, a rare feat in any genre.  Naysayers who didn’t like the CGI effects of Grand Moff Tarkin and Princess Leia–the primary criticism of the December theatrical release–should find even a home theater big screen television will mask any distractions seen on a 30-foot theater screen.  The Blu-ray and 3D Blu-ray provide the best, clearest picture and sound of any prior Star Wars release.  The 3D transfer is as good as any 3D Blu-ray release to-date, and the special effects, clothing details like stitches and seams are clear and vivid, as is the weathering (or lack thereof, when logical) on props.  As with most 3D movies, outdoor scenes, like the Scarif ground battle, are even more vivid with sharp foregrounds and backgrounds.  Check out the complete review of the film from December here.

The special features disc includes a version of the bonus features viewable together as an entire documentary and also viewable by chapter.  The extra disc available through Target stores only includes two short extra chapters, and although the creature shop feature is excellent the two extras wouldn’t normally be enough to tilt a buyer toward the Target edition–costs being the same–and some may instead opt for packaging, like Steelbook boxes (Best Buy only) or Connexions cards (available only in the Wal-Mart edition).  Fun bits in the features to look for include Bodhi actor Riz Ahmed’s audition tapes for Edwards, a feature documenting many Easter eggs from the show even the best eye likely never identified, and interviews with motion capture actors Guy Henry (Grand Moff Tarkin) and Ingvild Daila (Princess Leia), both who look little like Peter Cushing or Carrie Fisher, proving that simply using lookalikes or prosthetics would not have been a realistic option for re-creating these characters.  The standard bonus features included with the bundles are K-2SO: The Droid, Baze & Chirrut: Guardians of the Whills, Bodhi & Saw: The Pilot & the Revolutionary, The Empire, Visions of Hope: The Look of Rogue One, The Princess & the Governor, Epilogue: The Story Continues, and Rogue Connections (the Easter eggs list).

Rogue One easily merits ranking as the third best film in the series after Star Wars: A New Hope and The Empire Strikes Back–but truly in a league with those two films.  One of the best war movie stories put to film, the best prequel or prequel that is also a sequel (yes, even considering the great Godfather II), the best space battle, the best use of spaceship filming (director Gareth Edwards avoids 2001: A Space Odyssey and Star Trek: The Motion Picture-era overly-long ship takes and instead uses his imagery only as necessary to drive the story forward), while featuring one of the all-time best heist movies.

It really has it all.

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In the latest trailer for Rogue One: A Star Wars Story, released today during ABC’s Good Morning America, we have even more teased scenes that make it impossible not to get excited for this incredible looking film.  Jyn Erso (played by Felicity Jones) is tapped to lead a dangerous mission, and Forest Whitaker never looked better as an old rogue.  And check out the new movie poster.  Count the good guys.  Is this going to be another The Magnificent Seven/Seven Samurai inspired film?  The original Star Wars was inspired by Akira Kurosawa’s Hidden Fortress.

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And Darth Vader, no longer hidden as another villain to the new story of Star Wars’ past.  But something tells us that appearance is going to be similar to Mark Hamill’s brief return as Luke Skywalker in last year’s Star Wars: The Force Awakens.

death-star-horizon

But be warned:  The newest Star Wars entry fills in the remaining plot points, gives a clear look at Mads Mikkelsen’s key role in the story, provides more looks at costumes and landscapes, and introduces a few new characters, including what appears to be Eunice Olumide as a Rebel leader, more AT-STs, Death Star shots, and more Vader.

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Check out the latest trailer for the next big Star Wars flick:

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