Since Tom Clancy’s death in 2013 we’ve seen his Jack “Ryanverse” come to the screen twice, first on the big screen in Jack Ryan: Shadow Recruit (2014) with Chris Pine as Ryan, and later on the small screen in Tom Clancy’s Jack Ryan (2018) on Amazon Prime with The Office’s John Krasinski stepping into the role of Ryan previously handled by Alec Baldwin in The Hunt for Red October (1990), Harrison Ford in Patriot Games (1992) and Clear and Present Danger (1994), and Ben Affleck in The Sum of All Fears (2002). In Clear and Present Danger, the second major Ryanverse character arrived in Willem Dafoe’s John Clark, later reprised by Liev Schreiber in The Sum of All Fears. As was first done with Ryan in The Sum of All Fears, and later with Pine and Krasinski, the franchise is taking another step back in into the Clancy timeline for the next movie–a prequel, a direct-to-Amazon Prime feature adapting Clancy’s 1993 novel Without Remorse. That book and its new movie adaptation Without Remorse focuses on the origin of the John Clark character (initially introduced as John Kelly, as explained in the novel/movie), this time played by Creed and Black Panther’sMichael B. Jordan. Check out the trailer for the movie below.
No doubt the movies of writer-director Wes Anderson are an acquired taste. Fortunately he exhibits some variety, as we’ve explored before here at borg. Whether it’s Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, Moonrise Kingdom, The Grand Budapest Hotel, or Isle of Dogs, at least one of these films will likely appeal to you. For his next big screen venture, Anderson is taking an anthology angle. The lengthy-titled The French Dispatch of the Liberty, Kansas Evening Sun, or just The French Dispatch, for short, doesn’t need to mention Anderson’s name at all. It’s instantly recognizable from his framed cinematography, disturbing bland color hues, and fourth-wall breaking stares from its cast. Yes, there really is a Liberty, Kansas (found in southeast Kansas, population 123). Purportedly inspired by The New Yorker magazine, the film is actually based in a fictional city in France, and follows media types in the latest look at that self-reflective, stark fantasyland found in many Anderson movies.
The anthology element consists of incorporated story threads centered on characters and “stories” played out by Anderson troupe members Tilda Swinton and Frances McDormand, and–new to Anderson-land–Jeffrey Wright. Other Anderson familiars include Owen Wilson, Bill Murray, Edward Norton, Bob Balaban, and Jason Schwartzman. Like Woody Allen movies years ago, everyone seems to be flocking to be in the next Anderson picture, so this time that means the likes of Henry Winkler, Willem Dafoe, Anjelica Huston, Benicio Del Toro, Adrien Brody, Léa Seydoux, Christoph Waltz, Liev Schreiber, and many more. Music is by Alexandre Desplat.
Check out this trailer for the expectedly unusual The French Dispatch of the Liberty, Kansas Evening Sun:
The Christmas movie releases began big this weekend with the first out of the gate: Spider-Man: Into the Spider-Verse, an animated superhero movie in a year that has seen the animated Incredibles 2 and live action versions of Black Panther, Avengers: Infinity War, Ant-Man and The Wasp, Deadpool 2, and Venom. Spider-Man: Into the Spider-Verse holds its own against them all. A rich story and layered characters in an easy to digest, familiar, multi-verse story make this rise above other recent animated superhero shows. In-world references to comic books–sporting the main characters on the covers, multi-view panel sequences, and even first-person narrative captions appear pulled from the pages of any real-world Spider-Man book.
The cast list has been publicized for months, and as the trailers promised, the voice actors take the film from good to great. Familiar–maybe over-used–Spidey villain Kingpin, played by Liev Schreiber, is trying to take control of all the multi-verses with a new weapon that initially pulls in Spider-heroes from five other universes. Shameik Moore plays star Miles Morales, a new Spider-Man trying to find his way at the beginning stage of his journey in his universe along with Chris Pine (Star Trek, Jack Ryan, Wonder Woman) as your more familiar neighborhood Spider-Man. After an explosion Miles catches up with another Spider-Man, Peter B. Parker, a view of Parker in another dimension 20 years older, played perfectly (and hilariously) by Jake Johnson(Jurassic World, The Mummy, New Girl). They are soon joined by cool and confident Spider-Woman aka Gwen “Spider-Gwen” Stacy, voiced by Hailee Steinfeld (BumbleBee, True Grit, Ender’s Game). Early scenes present lots of great action, including a memorable scene where Miles drags Peter to safety aboard a speeding commuter train, but this story is more about sentiment and humor. And it gets better.
Three other Spider-heroes arrive. Rounding out the cast previewed in the trailers is Spider-Man Noir, allowing the great Nicolas Cage another superhero role after his performance as Big Daddy in Kick-Ass (after almost starring in a Tim Burton Superman movie years ago). A lifelong comic book connoisseur, Cage was born to portray superheroes, and here his Spider-Man is pure perfection. The oldest of spin-off Spideys emerges with the entrance of Peter Porker aka Spider-Ham (John Mulany), first seen in print back in 1983. And a newer webslinger, the anime heroine Peni Parker from Earth-14512 (Kimiko Glenn), complete with her high-tech “SP//dr Suit,” gets her own great scenes. The film features plenty of surprise characters, too.
Along with a special sneak peek that can be found in theaters at the end of the credits for Marvel’s Venom, a new trailer for the animated Miles Morales Spidey pic Spider-Man: Into the Spider-verse has landed this week, revealing some of the key characters fans of the modern comics stories have been waiting for. It has Shameik Moore as Miles, BumbleBee’sHailee Steinfeld as Spider-Gwen, Nicolas Cage as Spider-Man Noir, New Girl’sJake Johnson as Peter Parker, Lily Tomlin as Aunt May, and Liev Schreiber as The Kingpin. And a few other cool surprises.
DC Entertainment’s latest effort, Aquaman, got its own extended trailer this weekend, too, showing more of the story arc with Jason Momoa‘s Arthur Curry and Amber Heard‘s Mera. The CGI sharks are the highlight of this trailer, plus Yahya Abdul-Mateen II‘s Black Manta in action, and the first look at Aquaman in a new costume that more closely matches his classic look.
On the small screen Marvel’s Daredevil is back with its third season this month. Charlie Cox is back as Matt Murdock, with Deborah Ann Woll as Karen Page, Elden Henson as Foggy, and Vincent D’Onofrio returns as the season’s key villain Wilson Fisk.
And in case you missed it, the new Hellboy movie has a new official poster, featuring Stranger Things’David Harbour in the updated prosthetics. And a new wide-angle poster released at New York Comic Con shows a first look at co-stars Milla Jovovich, Daniel Dae Kim, Sasha Lane, and Ian McShane.
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.
Our annual “All the Movies You’ll Want to See…” series has been one of the most viewed of all of our entries at borg.com each year. So this year we again scoured Hollywood and its publicity machine for as many genre films coming out in 2016 as have been disclosed. Usually we select the 24 that look like the biggest hits, but we’re going all out for 2016. The result is a whopping 48 movies, many you’ll probably want to see in the theater or catch on video. We bet you’ll find a bunch below you’ve never heard of. Bookmark this now for your 2016 calendar!
Most coming out in the second half of 2016 don’t even have posters released yet, but many do. We’ve included descriptions and key cast so you can start planning accordingly.
What do we think will be the biggest hits of the year? How about Star Wars: Rogue One? Or Star Trek Beyond? You’ve heard endlessly about Batman v Superman: Dawn of Justice, but 2016 will also see Doctor Strange, Captain America: Civil War, and X-Men: Apocalypse. There’s even a handful of Westerns, with The Hateful 8, Jane Got a Gun, and another remake of The Magnificent Seven heading our way.
The Hateful Eight – January 1
Tarentino’s Western! Ennio Morricone score! Kurt Russell, Samuel L. Jackson, Jennifer Jason Leigh, and Channing Tatum!
The 5th Wave – January 8
Chloe Grace Moretz and Liev Schreiber in an alien invasion.
400 Days – January 12
The CW’s Brandon Routh, Caity Lotz, and Tom Cavanaugh in a movie about astronauts that seems to be a play on Ender’s Game.
It’s flat-out one of our favorite sci-fi sub-genres. The alien invasion flick.
The Day the Earth Stood Still (1951), The Thing from Another World (1951), Invasion of the Body Snatchers (1978), Close Encounters of the Third Kind (1977), E.T, the Extra-Terrestrial (1982), Predator (1987), Alien Nation (1988), They Live (1988), Independence Day (1996), Star Trek: First Contact (1996), Men in Black (1997), Starship Troopers (1997), Signs (2002), War of the Worlds (2005), Cloverfield (2008), District 9 (2009), Cowboys & Aliens (2011), Edge of Tomorrow (2014). These are some of the most exciting and fun sci-fi movies to watch and re-watch.
Kick-Ass and The Equalizer’s Chloë Grace Moretz stars in a new Sony/Columbia Pictures release, The 5th Wave, which looks like it’s mixing the alien invasion film with the disaster movie, the epidemic movie, and the body snatcher movie. The only thing missing is zombies. But body snatchers are close enough.
The 5th Wave co-stars Office Space star Ron Livingston, X-Men Origins and The Sum of All Fears’ Liev Shreiber, and Prime Suspect and Assault on Precinct 13’s Maria Bello. Is Moretz a normal Earthling or one of us taken over by the aliens?
PBS is airing a new documentary series tonight and re-broadcast October 22 focusing on the impact of comic book superheroes on America and American culture, in Superheroes: A Never-Ending Battle. It’s a good history lesson in the creation of the modern comic book and the development since the 1930s of the comic book art form. Packed with interviews with key creators and industry professionals, and comic book page and TV and movie clips, it tells a history of America as much as the comic book medium.
Not surprisingly the documentary, funded by both the National Endowment for the Arts and the National Endowment for the Humanities, focuses on U.S. comics and comic stories tied to patriotism across the past 100 years. Written and directed by Michael Kantor, it covers how changing times is mirrored in comics, but also dictates the stories of comics, from the Great Depression, to World War II, McCarthyism in the 1950s and the Cold War in the 1960s to 1980s, the psychedelic 1960s, drugs in the 1970s, to Watergate and terrorism.
The exploration of Mars has been the subject of many science fiction productions, especially science fiction thrillers. One of the best of these was David Tennant’s Doctor Who episode “Waters of Mars” where the good Doctor demonstrates the pitfalls of changing history when he rescues astronauts on a doomed mission to Mars. The original Total Recall with Arnold Schwarzenegger only used the Mars exploration as a MacGuffin of sorts, but the overall movie resulted in a film classic and the use of Mars as backdrop gave us a new view of the planet as envisioned by 20th century Earthlings. Other movies have used Mars as a backdrop—Gary Sinise’s Mission to Mars and Red Planet with Val Kilmer and Carrie Anne Moss both at least offered a good-looking landscape. The more recent John Carter of Mars blended fantasy and sci-fi. As with most John Carpenter movies, his Ghosts of Mars had a whole bunch of awesome, with a zombie/horror plot and great genre actors Jason Statham and Pam Grier.
The American/Irish made science fiction film Last Days on Mars, which premiered this year at Cannes, gets its UK release this weekend, with the U.S. release date yet unknown. Directed by Ruairi Robinson and written by Clive Dawson, the trailer doesn’t give away a lot. It could be another forgettable B-movie Mars flick, or it could be something better.
