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Tag Archive: Sylvia Hoeks


Emmy nominee and Golden Globe winner in 2017 and a Golden Globe nominee again this year for best actress in a television series, all for The Crown, Claire Foy is quickly becoming an actor to keep an eye out for.  Her career continues on an upward trajectory this Fall when she stars in two big screen movie releases.  Both of these films saw their first trailers arrive this weekend.  One is a historical biopic and the other a crime story, both adaptations of bestselling books.

Coming first is director Damien Chazelle’s First Man from Universal Pictures, a film about astronaut Neil Armstrong starring Ryan Gosling (Blade Runner 2049, The Nice Guys), with Foy co-starring as Armstrong’s wife Janet, based on a book by James R. Hansen.  The film also stars Corey Stoll (Ant-Man) as Buzz Aldrin, Lukas Haas (Witness, The Revenant) as Mike Collins, Jason Clarke (Terminator Genisys, Winchester) as Ed White, Ethan Embry (That Thing You Do!, Batman Beyond) as Pete Conrad, Kyle Chandler (Super 8, Argo) as Deke Slayton, and Ciaran Hinds (The Sum of All Fears, Munich, Harry Potter and the Deathly Hallows, Part 2) in an undisclosed role.

Next will be director Fede Alvarez’s The Girl in the Spider’s Web from Sony Pictures.  This is a sequel to the film adaptations of Stieg Larsson’s novel The Girl With the Dragon Tattoo.  Foy takes on the role of Millennium series star Lisbeth Salander, formerly played in the Swedish film by Noomi Rapace and later the American production by Rooney Mara.  This is the first story in the dark and violent series not written by Larsson–David Lagercrantz was tapped to pen the novel this film is based upon.  The film co-stars Sylvia Hoeks (Blade Runner 2049).

Here is Claire Foy in new trailers for First Man and The Girl in the Spider’s Web:

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It’s been one long year of great entertainment.  Before we wrap our coverage of 2017, it’s time for the fifth annual round of new honorees for the borg Hall of Fame.  We have plenty of honorees from 2017 films, plus many from past years, and a peek at some from the future.  You can always check out the updated borg Hall of Fame on our home page under “Know your borg.”

In anticipation of the 2017 film Logan, last year we added Old Man Logan, Laura/X-23, and cyborg-armed mercenary Donald Pierce.  We also added Scarlet Johansson’s character The Major, previewing 2017’s live-action film The Ghost in the Shell.

We didn’t get the big ballroom at our venue reserved early enough for the induction ceremony this year, so it limited us to tapping only 24 named characters into the revered Hall of Fame this year.


As with last year, we’re granting a few early entrances this year, first to Simone Missick’s badass cop Misty Knight, who is getting a borg arm for season two of Luke Cage in 2018.


And here is an early look at Josh Brolin’s Cable, from 2018’s Deadpool sequel.  The borg comic book character Cable was a first round honoree to the Hall, so this is just another update to the character.


Onto this year… Kingsman’s almost-a-Kingsman Charlie was thought to have been killed off in the first film.  But he was back in the 2017 film Kingsman: The Golden Circle, sporting cyborg components.


A host of new borgs–Replicants in Philip K. Dick’s novel Do Androids Dream of Electric Sheep?–returned to the big screen in Blade Runner 2049, including some new names and faces, like Ryan Gosling’s K

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When we created last year’s preview of 2017 movies we were pretty sure we were going to have some great movies this year, but we were surprised by what ended up being the best.  All year we tried to keep up with what Hollywood had to offer and honed in on the genre content we thought was worth examining. We went back and looked at it all and pulled together our picks for our borg.com annual Best Movies of 2017.

As always, we’re after the best genre content of 2017–with our top categories from the Best in Movies.  There are thousands of other places that cover plain vanilla dramas and the rest, but here we’re looking for movies we want to watch.  What do all of this year’s selections have in common?  In addition to those elements that define each genre, each has a good story.  Special effects without a good story is not good entertainment, and we saw plenty of films this year that missed that crucial element.

Come back later this week for our TV and print media picks, and our annual borg.com Hall of Fame inductees.  Wait no further, here are our picks for 2017:

Best Sci-Fi Fix, Best Sci-fi Movie, Best Costume DesignValerian and the City of a Thousand Planets.  The Valerian and Laureline comic books turned 50 and brought a big-screen adaptation to theaters.  Director Luc Besson handled the material as a labor of love, and that could be marveled at in every scene, and each nook and cranny of the gigantic visual spectacle he created.  More new wonders, more futuristic ideas that had never been seen on film before, bold otherworldly costumes, and incredible special effects made this film a masterpiece science fiction fans will stumble upon in the future and wonder how it was so overlooked by audiences this summer.  Epic space battles, aliens, and loads of sci-fi technology, while all the other science fiction of the year kept to their familiar territories.  A gripping story about a team just doing their job, but that job is saving an entire race of a doomed planet.  Besson was going for something like Avatar, but he far surpassed it.  Valerian and the City of a Thousand Planets was everything a sci-fi fan could want.

Best Fantasy Fix, Best Fantasy Movie, Best Comedy MovieThor: Ragnarok.  As much as Thor: Ragnarok was a natural progression for Chris Hemsworth’s Thor and Mark Ruffalo’s Hulk, it was amazing how much the film busted genres, becoming more of a Flash Gordon space fantasy like the Guardians of the Galaxy movies than the rest of the Avengers series.   Just like watching classic Flash Gordon and Conan movies, we saw superheroes on a legendary hero’s journey rise and encounter obstacles and make sacrifices, across a landscape of fabulous worlds and colorful characters, and scenes that looked like they were ripped out of your favorite Jack Kirby comic pages.  Another film about family, it incorporated that always fun plot device of having good guy and bad guy join forces, as Tom Hiddleston’s Loki redeemed himself with his brother and their people, if only temporarily.  We met one of the fiercest warriors in Tessa Thompson’s Valkyrie and they all faced off against a trio of well-developed villains.  A great superhero story, too, this was the ultimate fantasy fix.

Best Superhero Fix, Best Superhero Movie, Best Easter EggsThe LEGO Batman Movie.  Even as a spoof of superhero movies and the DC Universe, The LEGO Batman Movie created a genuine story full of heart that any fan of comic books could love.  Will Arnett became our second favorite Batman actor this year behind Michael Keaton, and his Batman reminded us why we can’t wait for the DC Universe to get fun and exciting again.  Hilarious, laugh-out-loud funny with a smart script, full of derring-do and super-powered heroics, and better than this year’s and the last decade of live-action DC at the movies, the animated The LEGO Batman Movie proved more good DC movies are out there just waiting to be made.  Honorable mention: Spider-man: Homecoming.

Best Retro Fix Classic Genre Films Return to Theaters.  With all the new releases in 2017 we were lucky enough to witness the 90th anniversary of Fritz Lang’s Metropolis, while Disney’s The Jungle Book, The Dirty Dozen, and the original Casino Royale turned 50.  Along with Star Wars, Close Encounters of the Third Kind turned 40.  E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan, Blade Runner, Tron, and The Dark Crystal turned 35.  Predator, The Princess Bride, and Robocop turned 30.  Many of these made it back into theaters this year, giving us the best Retro Fix we could hope for all year long.  But E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan (we even interviewed the best Star Trek director of them all here this year), Close Encounters of the Third Kind, The Princess Bride, and Nausicaa of the Valley of the Wind, on the big screen over only a few weeks?  We can only hope for more in 2018!

Check out the rest of the year’s Best Film and the rest of our picks for the year’s best movies, after the cut…

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It’s time for borg.com‘s annual look at the year’s Best Kick-Ass Genre Heroines in film and television.  Again the studios gave us more to cheer about than ever.  We’re highlighting the very best from a slate of fantastic heroines, with characteristics to learn from and cheer on.  Determined, decisive, loyal, brave, smart, fierce, strong (and, okay, sometimes evil), you’ll find no one here timid or weepy, but all rely on their individual skills to beat the odds and overcome any obstacle that comes their way.  Some may be frazzled, put-upon, war-weary, or human, but all have fought, some against difficult circumstances, others against personal demons, and some against gun and laser fire.  And they all showed what a tough, kick-ass character is about.

In 2017 these characters broke new ground, and unlike last year’s great list, this year’s selections would not have worked had the characters been swapped for males.  We had a pregnant gunfighter, a mutant mental patient, a double agent, a space pilot, an alien security officer, a pregnant former psychopathic killing machine, a cyborg assassin, a mythic warrior, a maverick mercenary, a warrior, a commander of armies, an alien slave turned teacher, an angry young mutant, and a teenage high school reporter.

These are the Best Kick-Ass Genre Heroines of 2017:

Wynonna Earp (Wynonna Earp).  Melanie Scrofano not only played Wynonna Earp as pregnant in this year’s second season, she actually was.  And that didn’t slow her down, defeating all the evil Revenants in the town of Purgatory, and incorporating the discomfort of pregnancy made for great comic release all season long.  Who had the tougher task, Earp or Scrofano?  Either way, the series showed it’s a keeper and Earp the sharp-tongued, swaggering, tough-as-nails gunfighter we continue to love.

Valkyrie (Thor: Ragnarok).  As cool and powerful as Cate Blanchett’s Hela was in this year’s pinnacle of the Marvel Cinematic Universe, the real scene stealer in Thor: Ragnarok was Tessa Thompson’s surprising new tough heroine, Valkyrie.  Cocky?  Yep.  And she backed up that confidence with mad fighting skills and brains–enough of a combination to help Thor & Co. save the people of Asgard and get some revenge for the Valkyries who lost the original battle against Hela.  As much as any other character, we’re looking forward to more of Valkyrie in next year’s ultimate team-up Avengers: Infinity War.

Luv (Blade Runner 2049).  If Blade Runner 2049 is remembered for anything, it should be Sylvia Hoeks’ badass Replicant oddly (ironically?) named Luv.  First unassuming, polished, and pristine in her mannerisms, she later reveals she can be the next best thing since Sarah Connor and the Terminators.  Luv is a fierce, brutal borg whose villainy became the high point of the film.

Laureline (Valerian and the City of a Thousand Planets).  Cocky yet sympathetic, loyal and determined, the space pilot 50 years in the making made it to the screen this year and Cara Delevingne delivered a surprise performance as the co-lead and equal half of Luc Besson’s science fiction space duo.  Her confidence was second to none, she stood up for what she believed and took what she wanted, and still had time to care for a lost rare species while making sure she protected her partner’s back.  We’d like to think she dropped the creepy egotistical Valerian in her next adventure, but she did exactly what she wanted to, and seemed to have one of those modern romances that worked for her.  Quirky, snarky, funny, and tough, she took out a room full of men with weapons and made it look like she wasn’t even trying.  Laureline has it all.

Helena (Orphan Black).  Of all the characters played by Tatiana Maslany in the series’ five seasons, who knew the sestra that would write the book on them all would be Helena, the once ruthless, psychopathic killing machine who once befriended a scorpion in prison?  This year Maslany wrapped up what must be the best role for a performer in the history of television.  No one has ever played so many parts in a series, and played them beautifully.  Each character had her moment, but Helena would make our list if she was in any series.

Antiope (Wonder Woman).  The opening minutes to this year’s DC film Wonder Woman finally adapted to film what comic book readers have seen all along–that the Amazons were a creation that should have been on the screen long before 2017.  The envy of them all was the brave and strong Antiope, played by Robin Wright.  It was the character that launched a thousand memes, and what greater way to illustrate the mentoring of Wonder Woman than via Wright’s ultimate warrior.

Commander Lin Mae (The Great Wall).  Jing Tian’s Lin, commander of the Crane Corps who takes charge of the Nameless Order and staves off the Tao Tieh, may be the year’s most dynamic and talented superhero–not technically a superhero, she looked superhuman in all her battle scenes.  She was decisive and cut through the nonsensical parts of the story.  Her aerobatic skill in defending the Great Wall, leading the largest military force ever, and saving her people in the process makes Commander Lin an easy entry on this year’s kick-ass list.

Betty Cooper (Riverdale).  It took 77 years but fans of Archie Comics finally got what they always wanted: a television series true to the characters generations have grown up with.  CW’s Riverdale gave viewers 1.5 seasons to soak up Archie and his pals with a tremendously well-written story team led by Roberto Aguirre-Sacasa, but best of all was the casting of Lili Reinhart as Betty and Camila Mendes as Veronica.  Both were badass frenemies, but Betty’s story really allowed her to save the day time after time while taking the high road, even becoming a member of the Southside gang to help Jughead, and as intrepid school reporter, sleuthing out and taking down the town serial killer known as The Black Hood.

Trubel (Grimm).  When the Wesen become too much for Grimm’s Nick Burkhardt, the series’ other Grimm warrior Theresa “Trubel” Rubel came to the rescue.  Reserved and measured in her actions, she also never hesitated to take someone’s head off to protect her newly found family.  In the series finale this year she even took on Nick directly when she disagreed with his plan, only to help take down the Zerstörer after an ultimate confrontation team-up with the ghosts of Kelly and Marie, and Nick.  What we’d give for a Grimm spin-off with Jacqueline Toboni bringing her character into new adventures!

Syd Barrett (Legion).  Many viewers saw the twisted look at the X-Men in the new FX series Legion as the best of the superhero fare on television this year.  The highlight of the show was Rachel Keller’s Syd Barrett, who became girlfriend to series lead hero David Haller.  Revealing a brutal dark side to being a superhero mutant, Syd’s powers won’t allow her to physically make contact with anyone, yet she makes it work anyway.  She’s willing to use her powers to switch bodies with anyone she touches to save those she cares about, even at great pain and loss.  Syd fights through her own doubts, uncertainty of reality, and those that have lied to her to break through and take what she wants.  She’s a fighter and triumphant, with only more battles ahead as season two is just around the corner.

Andrea/Andra’ath Quill (Class).  We only had eight episodes to get to know Miss Quill on the BBC’s Doctor Who spin-off series Class, but what we saw in Katherine Kelly’s alien slave turned teacher was the foundation for an incredible series that could have been.  Quill made the ultimate break from oppressor Charlie, the last surviving prince of an alien war.  That didn’t stop her from finding a way out, while taking care of the prince and the small class of would-be student heroes.  Quill could have taken the show in infinite directions had viewers supported the series more.  Regardless, Katherine Kelly’s Quill will always be remembered as a kick-ass heroine in a class by herself.

Lt. Alara Kitan (The Orville).  Who knew the next great science fiction series since Battlestar Galactica would be half comedy and produced by Seth MacFarlane?  Among the strife and misadventure, one crewmember had the greatest character arc in the series’ first season, and she was also the physically strongest person on the ship: Chief of Security Lt. Alara Kitan.  Halston Sage didn’t skip a beat in portraying a futuristic officer on a starship.  She didn’t begin the show as a leader, but learned the ropes and took us all along for the ride as she became that leader, revealing a sensitive and uncertain, very “human” side, who could still buddy around with the ship commander and save the day more than once.

Lorraine Broughton (Atomic Blonde).  Next year will see a shift where the British treasure Doctor Who sees its first woman Doctor.  Who knows if something like that will ever come of the other Brit icon, James Bond, but the closest anyone has ever come to that was Charlize Theron’s hardened and savvy spy Lorraine Broughton in the film adaptation of the graphic novel The Coldest City.  Has any woman action star ever given this many punches in a movie ever?  She took a pounding as well, but ultimately came out on top with some shrewd tactics.  Lorraine Broughton–nobody does it better!

X-23/Laura (Logan/Logan Noir).  The biggest surprise of the year was the great piece of filmmaking that was Logan, and more specifically the black and white version that arrived in theaters in limited release, Logan Noir, the swan song for both of the X-Men we got to know over the years as Hugh Jackman’s Logan aka Wolverine and Patrick Stewart’s Charles Xavier aka Professor X.  Incredible direction and cinematography created a film on par with any black and white classic.  But the young actress that the film could not have been successful without was the young Wolverine in training, Laura aka X-23.  What a fantastic actress was Dafne Keen as Laura that you almost forget it’s a little girl ripping all these bad guys’ heads off and digging her sharp claws into their skulls.  And in the next scene she’s nonchalantly eating a bowl of cereal, or acting angry because of something Logan said.  X-23/Laura was simply the best of the best of the list of kick-ass women characters revealed to movie fans this year.  Please, oh, please, Fox or Disney, let’s see Keen reprise the character again soon, huh?

And that’s it.  Keep coming back the rest of this month as we reveal the rest of our Best in Film, Best in TV and Best in Print, and our borg.com Hall of Fame inductees for 2017.

C.J. Bunce
Editor
borg.com

Review by C.J. Bunce

Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story.  Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film.  The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch.  The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.

From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences.  The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation).  More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world.  What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck.  But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story.  To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.

Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original.  Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right.  One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene.  But the biggest misfire is Villeneuve’s use of sound and score.  Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis.  Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares.  The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original.  I.e. take at least one earplug along, especially in an IMAX or other digital theater.

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