With season six only just released last year, fans eagerly await its sequel series, Vikings: Valhalla. Netflix released two earlier trailers (we previewed them here and here). Now we have the final trailer as we inch closer to the first season debut. This trailer provides more insight on how the series plans to showcase lead characters Leif Erikson (Sam Corlett), his sister Freydis Eriksdotter (Frida Gustavsson), and prince Harald Sigurdsson (Leo Suter). Will Vikings: Valhalla, with a new showrunner and new characters and story, be as completely believable as the first series and true enough to the ancient sagas of fierce warriors, gods of every stature, and clan intrigue? We’ll find out later this month. But first, check out this new, and final trailer for Vikings: Valhalla:
Back in 2013 we asked after the first few episodes of Vikings, “Why this is only a nine-episode mini-series?” The History Channel’s first historical fiction mini-series since the acclaimed Hatfields & McCoys fortunately didn’t stop at the first season, and the rest, as they say, is now history. Vikings took stunning locations, a powerful score, and a fantastic story steeped in Nordic mythology and created an epic production on par with Braveheart, Rob Roy, 300, and Attila, the only time the Vikings have ever been given a worthy live-action TV or movie treatment (and it rated our pick for second best series of the decade here at borg). With season six finished last year and airing in its final markets this year, legions of fans eagerly await what will now be Netflix’s sequel series, Vikings: Valhalla. Netflix has released a new trailer for the series, following the first from last September (we previewed it here). Check it out below.
Back in 2013 we asked after the first few episodes of Vikings, “Why this is only a nine-episode mini-series?” The History Channel’s first historical fiction mini-series since the acclaimed Hatfields & McCoys fortunately didn’t stop at the first season, and the rest, as they say, is now history. Vikings took stunning locations, a powerful score, and a fantastic story steeped in Nordic mythology and created an epic production on par with Braveheart, Rob Roy, 300, and Attila, the only time the Vikings have ever been given a worthy live-action TV or movie treatment (and it rated our pick for second best series of the decade here at borg). With season six finished last year and airing in its final markets this year, legions of fans eagerly await what will now be Netflix’s sequel series, Vikings: Valhalla. As part of Netflix’s new TUDUM fan event this weekend, we now have the first trailer. Check it out below.
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’sRyu 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 Kingdomthe 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:
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’sRyu 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.
Filmed on location in Scotland, a 14th century biopic is coming to Netflix in November. Chris Pine is turning from Jack Ryan and Captain Kirk to Robert the Bruce, the legendary King of Scots, a national hero of Scotland and one of the most famous characters of Scotland’s history, revered to this day for regaining Scotland’s independence from England in 1314. Netflix released its first trailer for the film, Outlaw King, which will premiere at the Toronto Film Festival next month, and see a limited theatrical release before airing on the streaming service.
If you think it looks like Braveheart, that makes sense. The films cover common territory and events–Angus Macfadyen played Robert the Bruce in Braveheart opposite Mel Gibson’s William Wallace. Wallace will not be a key player in Outlaw King. This film covers the low points in Robert’s battles during 1298 to 1306 and his initial victory against England. Spoiler? Nope, you can’t spoil an event in the history books that happened 700 years ago.
Director David Mackenzie (Hell or High Water) returns to direct Pine in this story based on actual events, which also stars Aaron Taylor-Johnson (Avengers: Age of Ultron, Kick-Ass),Florence Pugh (The Commuter), Stephen Dillane(Darkest Hour, Game of Thrones),Tony Curran(Doctor Who, Thor: The Dark World),Alastair Mackenzie (Monarch of the Glen),James Cosmo (Shetland, The Chronicles of Narnia, Braveheart),Callan Mulvey(Batman v Superman: Dawn of Justice, Captain America: The Winter Soldier),Sam Spruell(Valerian and the City of a Thousand Planets, Snow White and the Huntsman), and a large Scottish supporting cast and production team.
Get your kilt. Here’s the first trailer for Chris Pine in Outlaw King:
The great composer James Horner died last year in a plane crash, leaving behind a legacy of some of the biggest and most memorable soundtracks that defined nearly 40 years of film history. One of the most memorable for sci-fi fans is his score to Star Trek II: The Wrath of Khan. To celebrate Star Trek’s 50th anniversary, Mondo–the guys known for their redux poster interpretations–are releasing an extended LP edition of Wrath of Khan with music never before available on vinyl. And the release includes Mondo’s killer level of artwork interpreting Khan and Kirk on Ceti Alpha V and the Genesis Planet.
But Mondo didn’t stop there. The vinyl albums reflect the look and colors of the Mutara Nebula, where the Enterprise and the Reliant faced off.
Horner’s work on Wrath of Khan is impressive and established Horner as a major film composer. His score adapts themes from Prokofiev’s Alexander Nevsky and Romeo and Juliet, and Horner would work cues from classical masters in many of his film scores over the course of his career. Order your copy of Horner’s Star Trek II: The Wrath of Khan 2-LP set today here at the Mondo shop.
Never heard of James Horner? You certainly have heard his work. His last score will be featured in the remake of The Magnificent Seven due in theaters September 23, 2016, but the variety of films he wrote for is unprecedented. He wrote themes that made many an actor look good–many in multiple films, including Arnold Schwarzenegger, Sigourney Weaver, Mel Gibson, Harrison Ford, Matthew Broderick, Russell Crowe, Jennifer Connelly, Ed Harris, Denzel Washington, Julia Roberts, and Brad Pitt, and collaborated on movies with the likes of big filmmakers, including Ron Howard, Steven Spielberg, James Cameron, Ridley Scott, Phil Alden Robinson, Wolfgang Petersen, Jean-Jacques Annaud, Michael Apted, Joe Johnston, and Edward Zwick.
Despite its gratuitous gore and overall squalid setting and circumstances, the new television series Bastard Executioner pulled off a good opener last week. Bastard Executioner, in its two-hour pilot, pulls together every historical action drama archetype and bits of myths and legends to create a compelling drama in the midst of a struggle between the English and Welsh in not-so jolly old medieval England.
Fans of History Channel’s Vikings and Showtime’s Outlander as well as costume dramas like Braveheart, Rob Roy, and First Knight will all find something here of interest. Not yet as exciting as Vikings but likely to be better than Outlander, it may just be another twist on Robin Hood, but episode one gave us hope this new series will keep our interest for a while.
It would seem an entire season’s worth of activity transpired in the first two-hour episode with an entire story arc begun and ended already. A village is decimated and the avengers have sought–and gained–revenge on those that caused it. The man we first believe to be the “bastard executioner” of the title in fact isn’t, sending the viewer’s notions of what this series will be about into a tailspin. Instead, a mysterious Man With No Name type hero is thrust into the service of those that destroyed his wife, unborn child, and their village. The producers’ grasp of time and place, quick plotting, and surprising twists mean we will be back for more next week.
The brutality is every bit real even if it is a bit in-your-face. Yet as bloody and violent as you could imagine, graphic and at times gory, some sense of purpose comes through for the stories’ heroes. Loyalty, bravery, injustice, the faithful and the faithless, noble heroes and loathsome villains all can be found here. Look for Katey Sagal (Lost, Married With Children) as the elder, mystical, witch-healer Annora, in what could prove to be an Emmy-worthy role.
In Jordan Mechner’s new hardcover novel-formatted graphic novel Templar from First Second Publishing, he follows a small band of “everyman” Knights Templar as they attempt to escape the actual erasure of the brotherhood by the current papal regime and minions of the King of France in Paris in the year 1307. Cinematically rendered–as that term can be used to describe Disney movies such as Aladdin or DreamWorks’ Prince of Egypt, husband and wife artists Alex Puvilland and Leuyen Pham pack in 468 pages of simple yet effective panels that put a historical note on these almost mythic equivalents to the Japanese samurai and the precursors to the space fantasy Jedi Knights.
Mechner pulls themes from a myriad of favorite films to tell the story of Martin and his lost love Isabelle as they briefly reunite during a manhunt for Martin and a ramshackle gathering of fellow Knights who pursue a legendary treasure trove (that ultimately includes the Lost Ark of the Covenant) they believe to be stored in the basement of the villainous Nogaret, which they hope to use to finance a defense against the papacy and the king. But they are up against a changing age similar to that of The Last Samurai, where the elite guard has served its purpose and now must go. Martin’s role is like that of William Wallace in Braveheart or Robin in Robin Hood: Prince of Thieves. The Knights Templar are like the Spartans of Frank Miller’s 300, but without their last stand at Thermopylae. We get to know the smaller subset more closely, loosely based on an actual group of men who were thought to have escaped being burnt at the stake, these men wander about as a jovial sort despite their lot like the cast of A Knight’s Tale or Robin Hood’s Merry Men. Isabelle is a well-cast Marion, too, with elements of Blakeney’s wife in The Scarlet Pimpernel.
Along the way we meet a kind old Templar Grand Master who, based on a historic figure, is imprisoned and tricked by the King’s men. His role is that of Thomas Aquinas in A Man for All Seasons–caught in the Catch 22 of the medieval world where you either confess and die a heretic or refuse to confess and die a heretic.
After the first few episodes of Vikings you will find yourself asking why this is only a nine-episode mini-series. The History Channel’s first historical fiction mini-series since the acclaimed Hatfields & McCoys, the new series Vikings takes stunning locations, a powerful score, and a good story steeped in Nordic mythology and creates an epic production on par with Braveheart, Rob Roy, 300, and Attila. And it’s even better than Game of Thrones.
Everyone has their own view of what Vikings should look like. We know from documentaries and books that these warriors in the late eighth century were plunderers and pillagers. They lived in a style as you’d find people roaming your local Renaissance Faire, clothing of wools and furs and hide. Weapons of steel, shields of oak and longboats whose appearance would strike fear in hearts of the enemy. Whether the History Channel has every historical detail down is beside the point. Vikings is completely believable and true enough to the ancient sagas of fierce warriors, gods of every stature, and clan intrigue.
from First Second Publishing, he follows a small band of “everyman” Knights Templar as they attempt to escape the actual erasure of the brotherhood by the current papal regime and minions of the King of France in Paris in the year 1307. Cinematically rendered–as that term can be used to describe Disney movies such as Aladdin or DreamWorks’ Prince of Egypt, husband and wife artists Alex Puvilland and Leuyen Pham pack in 468 pages of simple yet effective panels that put a historical note on these almost mythic equivalents to the Japanese samurai and the precursors to the space fantasy Jedi Knights.
