Back in January we previewed the spring theatrical release Godzilla vs. Konghere at borg, asking: Could an aircraft carrier really support that kind of weight? A book coming next month might not answer that question but it will look behind the scenes of the movie. With a foreword by director Adam Wingard, Daniel Wallace’s Godzilla vs. Kong: One Will Fall–The Art of the Ultimate Battle Royale boasts being filled with concept art paintings that influenced the final look of the film. It also includes interviews with key production crew. It’s available for pre-order now here in the U.S. and in the UK at Amazon here.
With what seems like an ever-widening move away from superhero movies for kids in the live-action arm of DC Entertainment–from a too-long recut of Justice League to another Suicide Squad movie aimed at adult audiences–fans of comic book movies for all ages should be glad to hear three big pieces of news this month from Warner Brothers about forthcoming film projects. It’s hard to beat word that Helen Mirren has been cast as a new villainess in Shazam: Fury of the Gods, the sequel to Zachary Levi’s Shazam!, a good-hearted favorite of the DC live-action movies. Along with her untouchable slate of acting honors, Mirren’s performances in the RED and Fast & Furious franchises make her perfect casting.
Now Pierce Brosnan is returning to theaters in a major role since we last saw him in the great action-drama The Foreigner (reviewed here). He’s playing Dr. Fate opposite Dwayne Johnson, who has the title role, in Black Adam, coming in July 2022. That DC project keeps sounding better and better, and Johnson has been talking about it publicly since at least 2008. It will feature Sarah Shahi(Fairly Legal, Life, Psych) as Isis and Aldis Hodge(Leverage, Black Mirror, Star Trek: Short Treks) as Carter Hall aka Hawkman.
Could an aircraft carrier support that kind of weight?
Warner Brothers released its new trailer (below) for the next Godzilla movie this weekend–Godzilla vs. Kong–the follow-up to the 2019 sequel Godzilla: King of the Monsters (reviewed here at borg). It’s one of the hundreds of movies delayed by the COVID-19 pandemic, this one originally scheduled for a Thanksgiving week 2019 release. The next effort of U.S. studios to one-up the Japanese kaiju genre doesn’t try to hide what it is: what the director calls a “massive monster brawl,” a straightforward mash-up of MUTOs (massive unidentified terrestrial organisms). It merges the 2017 King Kong reboot Kong: Skull Island, and the Godzilla reboot story centered around the secret agency Monarch, which began with the 2014 Gareth Edwards-directed Godzilla. For this fourth film in Legendary Pictures “MonsterVerse,” young director Adam Wingard brings back Godzilla storyline characters played by Millie Bobby Brown and Kyle Chandler and adds familiar action stars new to the franchise Eiza González (Bloodshot) and Brian Tyree Henry (Spider-Man: Into the Spider-verse). It doesn’t look like any characters are being brought over from the Kong franchise.
It looks pretty close. About like Who Framed Roger Rabbit as far the artwork is concerned. And the voices are close, too. If it’s anything like another reboot of a classic animated property, Blue Sky’s The Peanuts Movie–which deftly re-created the looks and voices of Charlie Brown and his friends–this may be something worth checking out. It’s the latest Warner Brothers property making its way to the new HBO Max streaming service coming in May. Yep, Looney Tunesare back. The artwork, the bright colors, the classical music, those familiar animal friends (and Marvin and Elmer). Yes, the trailer for the new cartoons looks pretty darned close.
DC Entertainment and Warner Brothers began to take a shift in their superhero movie franchise with last year’s more adventurous Aquaman. With Shazam! the studios proved that a movie based on DC Comics characters could be every bit as good as the source material, and more satisfying than their past big budget efforts. True to the spirit of the characters and the story going back to the original Captain Marvel that was so successful in the 1940s, director David F. Sandberg found the sweet spot with Shazam! Just as seen on the big screen, now on home video Shazam!balances good fun with the requirements of demanding modern audiences. With the heart of the 1978 Superman and the Tom Hanks hit movie Big, the movie is the best of what DC has to offer in live action entertainment (check out my review of the film earlier at borghere). Worthy of the film itself, the new home release offers a trove of special features.
The film’s first strength is screenwriter Henry Gayden′s lighthearted story. It’s all about heart and family bonds, but it also has its action, and even for its comparatively modest $100 million budget, the movie relied extensively on practical effects for its key action sequences. All of the scenes with Shazam, his extended family, and the villain Dr. Sivana featured a mix of actors and stunt professionals, with far less reliance on the CGI in so many recent DC and Marvel films. So many of these scenes are showcased in the features that it’s apparent the 1,000 effects filmed for the third act in the final 12 weeks of shooting required something like the strength of Shazam to accomplish. As director Sandberg remarks in the bonus features, the production had very little slippage in their timetable. And the success can be seen in the final edit.
Some of the best content on the home release examines how the lead actors filmed their aerial scenes. Comic fans and fans of stars Zachary Levi and Mark Strong will appreciate their knowledge of the history of the characters they played. Levi initially submitted screen tests to play a grown-up version of Billy Batson’s foster brother Freddie, and it was apparent immediately to Sandberg he needed to take the lead role. Strong, who already played a great Sinestro in the less well-received Green Lantern movie, continued to add to the wealth of powerful live-action supervillains, bringing gravitas to the production, reflected in the final cut of the film. His acting prowess while being transported as if soaring across the sky with cables in front of a green screen (instead of rendering him entirely in CGI) reflects a versatile, impressive thespian who can do his craft in whatever environment is thrown at him. But fans of the film will find more than 37 minutes of deleted scenes really make the home version a must-watch.
When you have made as many movies as have been in the Godzilla franchise (31, more than James Bond movies), you run the risk of making a sequel or reboot that ends up like Independence Day: Resurgence, or Jurassic World: Fallen Kingdom, or Man of Steel, or Alien: Covenant. For some moviegoers, a quick fix with lots of CGI in one of their favorite universes is good enough. Godzilla: King of the Monstershas many things in common with these movies, without quite being as good as any of them, or Godzillas of the past. Inasmuch as moviegoers will see the great effort taken to be faithful to its predecessors, by bringing more than just Godzilla to the picture, by bringing in a significant number of character actors that will be familiar to audiences, and by trying to create more spectacular visuals than came before, the latest Godzilla movie, opening today, doesn’t match either the monster mayhem or the humor of its 20th century predecessors.
Stuffed with every over-used creature and action trope, some used repeatedly, Godzilla: King of the Monsterssuffers from taking itself too seriously. Its single attempt at levity is Get Out’sBradley Whitford as a wise-cracking scientist who seems to be channeling Brent Spiner in the Independence Day movies. But beyond that, this is a family drama, more talk and human family in-fighting than Godzilla screen-time, between Stranger Things star Millie Bobby Brown as Madison and her separated parents played by Kyle Chandler (Super 8) and Vera Farmiga (The Commuter) (in that way it suffers the flaws of the 2014 Godzilla). For some credibility we get Oscar-nominated actor Ken Watanabe (Isle of Dogs, The Last Samurai, Batman Begins) to remind us of the creature’s 65 years as a Japanese kaijū icon. Other than that, the production skipped Japanese actors for this installment. The best character and performance comes from Charles Dance(Pride and Prejudice and Zombies, Bleak House, Gosford Park), who plays a terrorist. His character is the lone voice who speaks sense in a film that only makes sense if you also believe ocean drillers are the best choice to pilot a space shuttle to save the world from an oncoming asteroid. Armageddon, War of the Worlds, Cloverfield, The Day After Tomorrow, Pacific Rim and every other disaster movie is rolled up into a single package here. Direction and decisions are all over the place. Even in a crazy, kooky, over-the-top monster movie, audiences deserve a plot with a foundation with a smidge of reality, especially if the talking heads scenes get equal time with the clashing creatures. So if you decide to see Godzilla: King of the Monsters in the theater, you’ll need to throw all logic and reason aside and try to enjoy the ride.
Although this wasn’t clear in the trailers, Godzilla: King of the Monsters is more than another franchise installment, it’s a direct sequel to Gareth Edwards’ 2014 Godzilla movie. Five years later the world is learning how to live as 17 titans (monsters like Godzilla) surface across the globe. Watanabe joins other returning cast members, including Oscar-nominated actress Sally Hawkins (The Shape of Water, Blue Jasmine, Layer Cake), Oscar-nominated actor David Strathairn(Sneakers, The Firm, Eight Men Out, Memphis Belle), as they attempt to cause the titans to join forces in support of Godzilla instead of his three-headed dragon competition Ghidorah. The best of the encounters finds the flying Rodan taking on a convoy of jet fighters, in a sweeping, well-choreographed scene that you’d expect from a Godzilla movie, although this scene and the rest of the monster scenes are mostly fuzzy and don’t make the most of high-definition camera capabilities or CGI.
Of the dozens of movies coming to your local theater between now and August, we spotted ten to highlight today. Although Disney continues to recycle past hits into new variants, like Dumbo, Aladdin, Toy Story, and Lion King, Warner Brothers, Universal Pictures, and the rest of the pack are still holding their own with their latest efforts, all vying for the biggest box office win. So along with Columbia Pictures’Spider-Man: Far From Home (partnering with Disney’s Marvel Studios) and the latest Disney purchase, 20th Century Fox’s Dark Phoenix, there’s Legendary Pictures’ Godzilla: King of the Monsters coming next week, Universal’s The Secret Life of Pets 2, Columbia and Amblin’s Men in Black: International, New Line and Warner Brothers’ Shaftsequel, Universal’s Fast & Furious Presents: Hobbs & Shaw, Luc Besson’s Anna, and Columbia delivering Quentin Tarantino’s next feature, Once Upon a Time in Hollywood, all in the coming summer season (realizing the studios don’t follow the actual calendar seasons).
You may have seen a few of these movie trailers before, but most we’ve been stacking up for today. We’re even throwing in the trailer for the Downton Abbeymovie, which eeks into the summer calendar, arriving September 20.
So start planning to fit these in. This week sees Stranger Things’ Millie Bobby Brown team up with Godzilla in the first big movie on our list, Godzilla: King of the Monsters. The final X-Men movie of the 20-year run arrives the following week with Dark Phoenix. We’re sure Men in Black: Internationalwill be a big hit. And the third Marvel movie of the year arrives withSpider-Man: Far from Home for the Fourth of July weekend. Some good prospects lie ahead!
In case you missed them, here are the movie trailers for the summer’s biggest releases:
Warner Brothers continues to struggle with how next to turn the DC universe of films into a cash cow like the Marvel Cinematic Universe. First a report that Ben Affleck′s replacement will be Robert Pattinson, an actor known for both the lucrative Harry Potter franchise and Twilight franchise, was then followed by a report that Nicholas Hoult was being considered. Hoult, co-star of the X-Men movies as Beast, among other roles, makes more sense, as first–he has the charisma and look to be both Batman and alter ego Bruce Wayne, and second,–because he’d follow that common casting preference that already has seen two dozen actors playing superheroes flip from DC characters to Warner characters or vice versa. These reports were followed by word that two other actors were on the Batman shortlist: Aaron Taylor-Johnson (who already portrayed both Quicksilver in the MCU and Kick-Ass in his own series) and Armie Hammer. Why wouldn’t they just stop with Armie Hammer? If the studio has already ruled out Denzel Washington (just watch him in the Equalizer franchise, he’d be perfect!), then the closest to how Batman and Bruce have been drawn in the comics for 80 years is Armie Hammer. He has that John Hamm suave manner and he’s already shown he can play a great hero opposite Superman Henry Cavill in The Man from U.N.C.L.E. With the next new comics adaptation it does seem like Warner Brothers may be doing something right. It’s on television instead of at the movies, where the Arrowverse group of series has seen greater success than the studio’s movie efforts. It’s the new Batwoman series, and the CW released the first trailer for the series late this week (check it out below).
For whatever reason, Warner Brothers, the CW, etc. are hesitant to put their prime DC character–Batman–on the small screen. Just like they were hesitant showing Superman on Smallville back in “the WB” days, or giving Batman his due within the Gotham series continuity. But this new Batwoman series looks like it could be the closest viewers are going to get to a TV bat-hero. Series star Ruby Rose proved she has the charisma and physicality for a major superheroine/action role in The Meg, Resident Evil, Vin Diesel’s XXX series, and the John Wick series. Her character of Kate Kane aka Batwoman in last August’s CW Arrowverse crossover “Elseworlds,” the highlight of the event (along with John Wesley Shipp donning his 1990 Flash costume), was received well by viewers. The new trailer seems as “Batman” in look and feel as anything Warner has produced for TV–or film.
Even better, the great Rachel Skarsten (former Black Canary of Birds of Prey and star of Lost Girl and Reign) plays a villain named Alice–Batwoman’s twin sister who took on the persona of an evil Wonderlander in the comics–who looks like she can run circles around Harley Quinn.
Batwoman has been one of DC Comics′ most fascinating characters since she was re-designed by Alex Ross for DC’s 52 series in 2006, but she really came into her own in 2009 in the Justice League: Cry for Justice mini-series written and drawn by Eisner Award nominees James Robinson and Mauro Cascioli, and she was fleshed out further in 2010-2013 in the award-winning Batwoman solo series written and drawn by J.H. Williams III and W. Haden Blackman.
Take a look at the first trailer for CW’s Batwoman:
These days most movies translate just fine from the big screen to a home high definition television. Late December’s release from Warner Brothers, DC’s Aquaman, is a surprisingly good transfer, showcasing the film’s epic fantasy seascapes and truly unique otherworld sea creatures without the sound contrast and lighting issues that plague recent action film releases. Aquaman is available now on 4D, Blu-ray, DVD, and in digital formats, and it’s available both on Vudu and Amazon Prime. A single word to describe this rare, solid entry in the DC franchise? Epic. Throughout the film viewers will see concepts from the history of fantasy films absorbed into its plot, from the likes of Raiders of the Lost Ark to Jules Verne’s 20,000 Leagues Under the Sea and Journey to the Center of the Earth, to Ray Harryhausen fantasy classics, King Solomon’s Mines and Tomb Raider, and even Harry Potter and Tolkien’s Middle-earth stories.
It all begins with the cast, and in particular the chemistry between the always cool and confident actor who looks born to play superheroes, Jason Momoa as Arthur Curry, and Amber Heard as a beautiful grown-up Ariel turned badass named Mera, who may be the best realized heroine from the comics in the DC universe. Aquaman director James Wan(Furious 7) does something rare for the superhero genre and forms his film around a romance between the two as they embark on a quest across the planet for the legendary trident of King Atlan, first king of the earliest water-breathers living under the sea. Wan makes that happen more successfully than other DC romances of the past, including even Clark Kent and Lois Lane. What is not lost on the small screen is the CGI-heavy undersea universe, but this time a film is CGI-heavy in a good, exciting way (Aquaman knocks the much lauded CGI film Avatar out of the water in every way). Atlanteans riding sea horses, sharks, whales, and turtles. Aquaman and Mera hiding out inside a whale, Pinocchio-style. The film hits its visual zenith with a giant Kraken-like beast with an appearance as awesome as seeing Godzilla for the first time. The visuals have all the imagination and colorful execution that makes for a rewatchable film, and the score has a pounding synth feel, with a mixed vibe of Daft Punk from Tron: Legacy and Queen from Flash Gordon.
The home release is accompanied by 15 behind-the-scenes features. The best has Dolph Lundgren explaining the connections between key characters and concepts in the comic books with the portrayal in the film, in Going Deep Into the World of Aquaman. You get a feel for how energetic and how fun Jason Momoa is in real life in Becoming Aquaman and A Match Made in Atlantis. Details of how the director expanded on the comics and where he mixed Kaiju and historical sea stories can be found in James Wan: World Builder. Heroines of Atlantis will leave viewers convinced future films in the series need more women characters, with only two to speak of in this film. Other features include Aqua Tech,Atlantis Warfare, Black Manta,Villainous Training, Kingdoms of the Seven Seas,Creating Undersea Creatures, three Scene Study Breakdowns (the Sicily battle, the early submarine attack, and the underwater trench climax), and a sneak preview of Shazam.
Make no mistake, Billy Batson aka Fawcett Comics’ Captain Marvel (aka Shazam since 2012) has always been the most difficult to fold into the DC pantheon of superheroes. With Batman, Superman, and Wonder Woman–the trinity at the top of DC Comics for so long–audiences always know much of what those characters are going to bring to a story even before they walk into the theater. To be fair, Billy wasn’t a DC original, shuffled much later into the DC universe because of some decades-long legal tedium. Billy Batson is a kid who suddenly becomes a superhero, so the trailers have been compared to Penny Marshall’s Big, another story about a kid suddenly dealing with being grown-up. And that is, indeed, part of Shazam! The movie is also part origin story, because although Shazam! adheres to Billy’s origin story going back to the 1940s (just as Captain America: The First Avenger adhered to its source material), much of the audience that saw the character in his heyday–when he was even more popular and well-known than Superman–aren’t around to make up the target moviegoing audience. But Big and an origin story is just the beginning.
You know it when you watch a movie unfold and realize something great is happening. DC Entertainment–the movie guys–finally paid attention to DC Comics–the actual writers and artists who built the character from the ground up–and at last delivered what this comic book reader has always wanted. Shazam!, the story, Zachary Levi‘s superhero, and a new young actor named Jack Dylan Grazer as Billy’s friend Freddy–are fantastic. The magic, wonder, and heart of DC Comics is finally back in the theaters. It’s a gamechanger for the DC universe, because it finally steps away from Zack Snyder’s dark and brooding Justice League and returns it to the roots of DC Comics and DC At the Movies that we first got a taste of with Christopher Reeve’s first Superman and Michael Keaton’s first Batman. So if the executives at DC are paying attention, and audiences agree once the film hits general release April 5, this could be an opportunity for a switch-up–an excuse to build a new Marvel-level superhero film universe around the new, amazingly fun and appealing superhero characters in this film.
At its core, the story by new screenwriter Henry Gayden updating a script by Darren Lemke(Shrek Forever After, Jack the Giant Slayer, Goosebumps) is about a foster family and the importance of family, so don’t think this is another frivolous superhero movie to be easily dismissed. As with Spider-Man: Homecoming and Spider-Man: Into the Spider-Verse, it’s loaded with emotional beats, and it’s all heart. What do kids care about, and what are they afraid of? The film takes some time to look seriously at these things. It’s not only laugh-out-loud funny in spots, expect some snorts, too. But look for some emotional pangs along the way, on par with an oft-forgotten superhero movie that may have more heart than any other, the 1980 John Ritter sleeper (and one of my favorites) Hero At Large. Which makes Shazam! also a movie for fans who count Spider-Man: Homecoming and The Incredibles among their most favorite superhero movies.
