Let’s be real here and admit that Tony Stark/Iron Man is the most entertaining member of the Avengers, okay? He’s got the quips, he brings a lot of the action, and he’s never afraid to get his hands dirty. This is incredibly apparent in Iron Man 3 when we see that Stark has created an army of automated Mark suits that swoop in in the final action sequence to assist Stark as he fights The Mandarin.
The folk over at MM Tool Parts have created a very cool GIF that morphs every Mark suit up to this point in the Marvel Cinematic Universe. It’s pretty incredible to see the variety of suits that have been designed and created.
While I haven’t seen Green Inferno or Knock Knock yet, I was wicked underwhelmed with Aftermath, Eli Roth’s first collaboration with Chilean filmmakers Guillermo Amoedo and Nicolas Lopez. Compared to Roth’s earlier work, Aftershock (in which he served as producer, co-writer, and actor) was very below par. With their latest collab, The Stranger, Amoedo (who co-wrote Green Inferno) makes his directorial debut and the result is a visually striking mess.
I typically enjoy character-driven slow burns, but Amoedo’s film doesn’t offer any compelling relationships or conflicts for the viewer to latch on to. The titular stranger is completely uninteresting throughout as he stiffly interacts with the other players in the rickety narrative. Amoedo never builds up our identification with the characters – making all of their melodrama ineffective and unintentionally silly at times.
Cristobal Tapia Montt stars as the titular stranger, Martin, who shows up one day at the house of nurse Monica (Alessandra Guerzoni) and her petulant graffiti artist son Peter (Nicolas Duran). The perpetually sullen Martin is searching for his lost love who once resided at Monica’s house. Shortly after, Martin is beaten and left for dead by the malicious son of a corrupt cop. Peter saves Martin from bleeding out in a ditch and from there The Stranger unfurls in a loosely coiled horror drama that’s sort of like a vampire movie and a lot like a forgettable film.
It begins to slag even before it can begin to inject any kind of interesting supernatural aspects. It fails to grab us before it’s too late and the drab story is made even more weak by it’s loose pace, which rises and falls without managing to build up any suspense. There is some darkly rich cinematography from Chechu Graf and the film certainly is technically competent. Nicolas Duran delivers some decent acting that allows The Stranger to keep its feet on the ground while the other players are busy delivering lines as if they don’t realize what point in the movie they’re at.
It’s no surprise that the film made very little waves when it played last year’s Fantastic Fest. It’s utterly forgettable and really makes one wonder what they’re putting in the coffee over at IFC Midnight, who will be releasing the film on June 12.
Collider has gotten a real close look at the new batmobile that will be featured in DC’s upcoming superhero film Batman V Superman: Dawn Of Justice. We’ve got a few images below that you can look at and then you can click on the above link to see the rest!
Here are the vehicle’s specs:
Single-handedly designed and fabricated in near complete seclusion by The Batman, this infamous pursuit and capture vehicle has earned its reputation as the apex predator on the mean streets of Gotham City. Over powered with an unmatched hybrid of prototype military and civilian performance technologies, this top machine has been estimated to reach speeds of up to 205 MPH. The Batmobile’s imposing defense capabilities, supported by stolen Wayne Industries technologies, have been integrated with the latest in covert military grade armaments, stealth and active protection systems.
– Twin .50 caliber retractable machine gun turret
– Fully armored
– Active Protection Systems/Anti-ballistics
– 20 ft. long/12 ft. wide
– 7000 lbs.
The film comes to theaters theaters on March 25, 2016.
After a long period of speculation, the official plot for the upcoming superhero film Batman V Superman: Dawn Of Justice has been released.
Here you go:
Fearing the actions of a god-like super hero left unchecked, Gotham City’s own formidable, forceful vigilante takes on Metropolis’s most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it’s ever known before.
This synopsis says nothing of Lex Luthor or Wonder Woman, both of whom are confirmed to appear in the film. However, it does confirm many fan theories that have been circulating the web ever since the teaser trailer hit nearly two months ago.
Goblin Rebirth has released another new track from their upcoming self-titled debut album, which will be coming out June 30th via Relapse Records (pre-order here).
The track is a slow burner, brooding and sinister in style. It features a thick bass line and eerie synths that sound like ghosts wailing through the halls of a haunted building. Give it a listen below and then head over to Noisey to read an interview with Fabio Pignatelli.
The album’s description reads:
Relapse is beyond honored to present the debut album by Italy’s Goblin Rebirth, the new band featuring the rhythm section from the original Goblin, Fabio Pignatelli and Agostino Marangolo! Goblin Rebirth mix the classic horror soundtrack sounds of their former band with a chillingly exciting drive that will thrill prog-heads and score-fiends alike. Goblin Rebirth is an instantly classic album that tells the tale of an imaginary film about the birth of an evil dwarf-like monster that sits confidently next to the classic Goblin scores like ‘Suspiria’, ‘Profondo Rosso’ and ‘Tenebre’.
A few weeks ago, we introduced you to And The World Was Paper and his incredible recreation of the “Twin Peaks” intro that used only paper. Now he’s back and this time, he’s making sure things are a little more groovy.
Once again, using just paper, the teaser for the upcoming STARZ series “Ash Vs. Evil Dead” was recreated, down to the blood dripping from the chainsaw! The level of detail is really great and it’s obvious that a lot of hard work and passion went into this video.
When developer Ready at Dawn freed their PS4 exclusive The Order: 1886 on the hungry masses back in February, it was met with middling reviews that really homed in on its stunning visuals and how they did very little to hide what many saw as an alarming lack of content. The latter didn’t seem to completely kill its appeal to gamers, who may be physically incapable of staying away from a game that lets you hunt werewolves using steampunk weapons in Victorian London.
The real question is if The Order performed well enough for Sony to want to turn it into a franchise, and seeing as this is the fate we know its developer wanted for it before its release — because they told us — it makes sense that they would want to remind us of that when its fate hangs in the air.
It’s common for a developer to change following the release of a game, when the focus shifts to the next big thing. This rarely involves a boss swap, which Ready At Dawn did when they welcomed former Blizzard head honcho Paul Sams as their new CEO on Monday. A change like that might make some people wary of that potential sequel, had Sams not just told GamesIndustry.biz that the interest is definitely still there.
“The first game was more than anything a launch platform to build upon, explains Sams. “And as I mentioned in the past, The Order was never written as a one-off story. There is a lot more to tell as you can see from the way the game ends.”
Okay, that’s all good. Go on.
“We would love to be part of building The Order as a franchise. It is an IP that we created, that we deeply love and that we believe in. We cannot say more than that regarding The Order at this time.”
There we go. Sony owns the IP even if Ready at Dawn created it, so what happens to it now is entirely out of the developer’s hands. Even still, it’s good to hear they’re still very interested in pursuing a sequel. Setting aside the meager length of its campaign, which I see as a mostly arbitrary thing these days, everything else I’ve heard about it has bordered on glowing.