You might think that Kang the Conqueror is the most important player tying the Multiverse Saga together, but actually, as things currently stand Jonathan Majors’ big bad has only appeared the twice (with a third coming in Loki season two, sure). Meanwhile, Julia Louis-Dreyfus has already clocked up cameos in The Falcon and the Winter Soldier, Black Widow, and Black Panther: Wakanda Forever, as she proves herself to be the real new Samuel L. Jackson of the MCU.
We’re at the point where we’re half-expecting Contessa Valentina Allegra de Fontaine (call her Val) to show up in every single MCU project set on contemporary Earth. So it’s surprising to hear that Louis-Dreyfus apparently isn’t on course to appear in one of the upcoming Marvel movies that would make the most sense for her to show up. Probably a lot more than Black Panther 2, to be honest. Especially as we’ve always expected it to be closely linked to Thunderbolts, in which Val will have a starring role.
Image via Marvel Studios
The film in question is Captain America: Brave New World, which has allegedly undergone something of a story shift since it was first developed. According to “scooper” CWGST, Val was supposed to appear in Cap 4 but this changed once screenwriter Lee Sung Jin was brought aboard to revitalize the script for director Julius Onah’s production. CWGST is now claiming that there’s no place for Louis-Dreyfus in proceedings, unless she makes a last-minute appearance in a post-credits scene.
Given that Brave New World ties neatly into Thunderbolts thanks to Harrison Ford’s General Ross debuting, with everyone expecting him to transform into Red Hulk somewhere along the line, it’s surprising that Cap 4 won’t set up Jake Schreier’s anti-hero team-up flick more directly. That said, potentially wandering by in an end credits sequence is definitely more Val’s style than taking center stage.
Captain America: Brave New World is scheduled for release on July 26, 2024 while Thunderbolts is officially due on Dec. 20, 2024.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/d0ZnBjO
Poor Jake Lloyd. In the 1990s George Lucas was searching for a young actor for a pivotal role in the first instalment of his Star Wars prequels. After a long audition process, he chose Lloyd as Anakin Skywalker, with his young face promptly plastered over a dizzying amount of merchandise. Then The Phantom Menace was released and, well, Lloyd’s performance was not exactly well-received.
Lloyd later revealed playing Anakin resulted in him being bullied at school and harassed by the press, ultimately causing him to quit acting altogether. Since then he’s suffered from severe mental health problems and in 2016 spent ten months in jail after a high-speed police chase.
Now, finally, his Anakin performance is getting some fan love, with his delivery of “Will I ever see you again?” to his mother Shmi described in truly glowing terms:
Image via Reddit
We wouldn’t go quite this hyperbolic, but it’s probably the single best line read Lloyd gives in the whole movie. But only someone truly cruel would target Lloyd for serious criticism for The Phantom Menace. After all, he was just nine years old at the time, and the fact he’d already delivered better performances in Jingle All the Way and Apollo 13 indicates that the fault lies with Lucas’ direction.
The Disney Star Wars era has seen many prequel trilogy stars receive fan rehabilitation, as proven by the rapturous return of Jar Jar Binks star Ahmed Best in the third season of The Mandalorian. But we suspect the last thing Jake Lloyd needs or wants is a return to Star Wars, so we just wish him well in whatever he’s doing these days.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/OL4bxtS
Rishabh Pant shares his latest fitness update as the 25-year-old was seen cycling in gym while David Warner left a heartwarming comment on Pant's Instagram reel
from Top CricketNext News- News18.com https://ift.tt/JQfnKc7
After pocketing the ODI series against Afghanistan with a clinical win in the third ODI, Pakistan skipper Babar Azam delivered an inspiring speech in the dressing room
from Top CricketNext News- News18.com https://ift.tt/0nWbhMK
Two-time World Cup winner for Australia, Matthew Hayden has shared his picks on what the Indian squad should comprise of with some interesting selections and exclusions.
from Top CricketNext News- News18.com https://ift.tt/fwjv8bD
Ace Indian batter Ravichandran Ashwin stated that batters need to be careful about their position and should watch the bowler before taking off for a run
from Top CricketNext News- News18.com https://ift.tt/DHTwvK7
In the expansive world of cinema, certain directors skillfully chisel out spaces so distinct that their names become synonymous with a filmmaking style. One example is the genius of Christopher Nolan, master of convoluted narratives and eye-popping aesthetics. His latest cinematic creation, Oppenheimer, is a shining testament to his brilliance.
Nolan is in good company with the likes of master of suspense Alfred Hitchcock, maestro of poignant storytelling and technical wizardry Akira Kurosawa, and visionary builder of worlds Ridley Scott.
With their meticulous and distinct approach, these directors never fail to leave viewers enthralled by the stories they tell. Their stylistic range is as broad as it is famous, creating a mosaic of theatrical brilliance that has shaped the industry and will continue to inspire new generations of filmmakers. Here’s our (by no means definitive) list of 12 directors with unforgettable styles.
12. Ridley Scott
Ridley Scott has carved out a special place for himself in the film industry thanks to his distinctive style, marked by lavish visuals and intricate plotting. Scott’s graphic design and marketing background allows him to create films that stand out for their exquisite attention to visual detail, frequently transforming every frame into a work of art. His ability to capture atmospheric tones in Blade Runner’s futuristic landscapes helps create a recognizable and otherworldly world. This talent for evocative production is also on full display in the claustrophobic horror picture Alien, in which the tense atmosphere of the spaceship contributes significantly to the overall effect.
Humanity, morality, and existentialism are common themes in his works. Whether pondering the meaning of life in Blade Runner or delving into the moralities of war in Black Hawk Down, Scott ensures that his visually spectacular pictures equally excite the mind. Furthermore, his portrayal of female protagonists, such as Ellen Ripley in Alien, demonstrates a progressive approach to character development, making him a trailblazer in showcasing strong, complex female characters in cinema.
11. Alfred Hitchcock
Alfred Hitchcock, widely referred to as the “Master of Suspense,” is renowned for his unrivaled skill in creating suspenseful, psychological thrillers that delve deeply into the minds of his audiences. His direction is distinguished by a keen eye for detail, cutting-edge cinematic techniques, and an intuitive ability to create tension. Hitchcock frequently employed the MacGuffin, a plot device that propels the action even if its nature is unclear or incidental.
His skill at employing subjective camera angles in films like Vertigo and Rear Window demonstrates how effectively he can draw the audience into the protagonist’s perspective, increasing their investment in the story and their sense of suspense. Hitchcock was also noted for his darkly playful approach, and his partnerships with composer Bernard Herrmann heightened the atmospheric tension; the shrieking strings in Psycho are evidence of their mutually beneficial connection.
10. Greta Gerwig
Greta Gerwig, now an established force in modern film, has quickly carved out a niche with movies that ring true in their humanity, wit, and a keen understanding of the human experience, especially from a female perspective. The phenomenal success of her latest picture, Barbie, is evidence of this. Gerwig kept her vision intact throughout production despite Hollywood’s tendency to conform to studio suggestions. That Gerwig is the only woman to receive sole credit for directing a billion-dollar blockbuster is a significant accomplishment.
Gerwig’s directing style, which can also be seen in the critically praised Lady Bird and the reinvented Little Women, is based on delicate character development and highly detailed plots that speak to both personal and universal realities. Her heroines, who are generally young women, struggle with the intricacies of relationships, goals, and self-identity, all while navigating the tapestry of changing times. Her camera doesn’t just observe; it dances, capturing the fleeting moments that define life’s changes with lightness and fluidity.
9. The Wachowskis
Lana and Lilly Wachowski have continuously pushed the frontiers of cinematic storytelling by combining new aesthetics with sophisticated, philosophical storylines. From the pioneering Matrix series to the stunning Cloud Atlas and Speed Racer, their directorial approach combines high-octane action with existential musings, addressing issues of reality, identity, and humanity’s connection with technology. One of the Wachowskis’ defining characteristics is their use of cutting-edge visual effects.
The Wachowskis’ stories explore weighty philosophical questions, with inspiration drawn from various sources, including literature, myth, and religion. Their protagonists, who are often misfits or rebels, struggle with questions of identity in the context of expansive, frequently dystopian landscapes. Iconic characters that personify these existential struggles result from collaborations with actors like Keanu Reeves and Hugo Weaving.
8. Spike Lee
Spike Lee is lauded for his bold narratives that offer cutting commentary on racial issues, government, and urban culture. Lee’s directing approach is unique and thought-provoking because it combines raw energy, social critique, and visual flare. His films frequently push audiences’ buttons by tackling weighty social problems, most of which revolve around the Black experience in the United States. Many of Lee’s films, including Do the Right Thing and Malcolm X, use his trademark “double dolly shot,” in which actors appear to float against the backdrop, producing a bewildering yet striking visual experience.
Lee also uses color symbolically, with some shades emphasizing feelings or highlighting underlying ideas. While dealing with weighty social issues, his stories are also interspersed with humor, music, and culture, giving them a pulsating vibrancy that resonates with audiences. He frequently breaks the fourth wall, most notably in She’s Gotta Have It, making viewers active participants in the narrative’s discourse rather than passive observers.
7. Michael Bay
Michael Bay, synonymous with high-octane blockbuster movies, has developed a signature style full of action, spectacle, and grandiosity. Explosive action sequences, typically intensified through rapid editing, dramatic camera movements, and booming soundscapes, are characteristic of his style. From Transformers to Armageddon and Bad Boys, his films always go for a grander scope and dramatic effect. The word “Bayhem” was coined to define it, which combines fast editing, large-scale set pieces, and meticulous choreography of both characters and camera.
Additionally, sun-kissed hues abound, with the golden hour serving as a recurring, almost character-like presence, creating dramatic shadows and giving the characters an ethereal shine. Despite his reputation for putting flash over substance, Bay has always put the emotional experience of cinemagoers ahead of complex storyline developments. His depictions of good and bad guys are equally raw, with the former frequently serving as iconic examples of their respective roles.
6. Sofia Coppola
In contrast to the sometimes frantic events depicted in her films, Sofia Coppola is known for her deep introspection and sophisticated approach to storytelling. From Lost in Translation to The Virgin Suicides, Coppola’s movies all exude a distinct aesthetic characterized by soft palettes, ambient lighting, and carefully curated soundtracks. Her artistic approach, often ethereal and surreal, investigates the tension between isolation and community, particularly in enormous urban or suburban environments. Her stories frequently include female heroines negotiating cultural expectations, personal ambitions, and complicated relationships.
There’s a recurring motif of separation and alienation, whether it’s Charlotte and Bob’s cultural dislocation in Lost in Translation or the cloistered life of the Lisbon sisters in The Virgin Suicides. Her music, which is usually dramatic and evocative, blends effortlessly with the story, heightening the emotional resonance of her works. In Marie Antoinette, for example, the old-fashioned soundtrack contrasts with the historical setting, emphasizing the ageless character of young rebellion and identity search.
5. Akira Kurosawa
Akira Kurosawa, a maestro of Japanese cinema, is revered globally for his pioneering style, blending rich narratives with technical brilliance. From Seven Samurai to Rashomon, Kurosawa’s films explore the complexity of the human condition in all its forms, from the individual to society. In Rashomon, for example, he presents the story from several characters’ points of view to cast doubt on the absolute reality and the impersonality of human experience.
Kurosawa’s features have a rhythmic, theatrical aspect thanks to incorporating elements from traditional Japanese theater, such as Noh and Kabuki, into his character portrayals and dramatic moments. Working with actor Toshiro Mifune provided depth to his works, and the star’s theatrical performances were an excellent fit for Kurosawa’s vision. Kurosawa was also notorious for editing his films on set, a technique that offered him more say over the story’s progression.
4. Tim Burton
Tim Burton, the visionary auteur of contemporary cinema, has etched an indelible mark with his whimsically gothic and eccentric style. When looking at Edward Scissorhands or The Nightmare Before Christmas, Burton’s films reveal a cosmos laced with dark fantasy, morbid humor, and a poignant exploration of outsiders and misfits. Burton’s visual language is full of disparities, from black shadows to bright, white characters, representing the dichotomy of evil and good.
The twisted architecture, skewed angles, and exaggerated sets that litter his films reflect his love of German Expressionism. Recurring actors like Johnny Depp and Helena Bonham Carter play both vulnerable and strange characters as they try to make their way through a world that both marvels at and shun them. Eerie environments give way to moments of silliness and laugh-out-loud quirks in many of Burton’s films, making for a unique blend of horror and humor.
3. Wes Anderson
With his meticulously crafted visuals and distinctive storytelling, Wes Anderson is one of the most recognizable directors in modern cinema. Anderson’s films, ranging from The Royal Tenenbaums to The Grand Budapest Hotel, are an ode to his dedication to precision, symmetry, and a color palette that seems nostalgic and vibrantly modern. Characters and objects are frequently positioned in the center of the frame in Anderson’s films, creating a symmetrical, aesthetically beautiful, and thematically meaningful arrangement.
Themes in Anderson’s stories frequently focus on dysfunctional families, lone dreamers, and misfit adventurers, with a blend of humor and sadness exploring their peculiarities, tragedies, and redemptions. The stories take place in beautifully detailed settings where even the most minor details, such as handwritten notes and custom-made tents, tell a story. Anderson’s color selections are also distinctive; his films use a distinct color palette, frequently pastels, that evokes a sense of timelessness.
2. Quentin Tarantino
Director with an adventurous, visceral, and unmistakable style, Quentin Tarantino’s films, like Pulp Fiction to Django Unchained, are distinguished by their complex plots, witty language, evocative scores, and shameless devotion to genre conventions. In Pulp Fiction, where multiple stories converge yet are shown in a chaotic order, he plays with time frames to make the narrative more exciting and challenging. Another signature of Tarantino’s work is the language; his characters have lengthy, meandering exchanges that, despite their seeming ordinariness, are full of wit, cultural references, and subtextual drama.
Whether they’re discussing Madonna’s music or the nuances of European fast food, these conversations often go on to achieve legendary status. Graphic and stylish, the violence in Tarantino’s world is both shocking and fascinating for its balletic spectacle. His aesthetic preferences, which include bold color palettes and carefully composed shots, are consistent with this theme. Characters created in tandem with stars like Samuel L. Jackson and Uma Thurman will stay with you long after the movie’s over.
1. Martin Scorsese
Martin Scorsese is one of the most influential filmmakers of all time, and his directing style, which blends brutal reality and profound reflection, continues to make an impact. Scorsese’s entire filmography, from Taxi Driver to The Wolf of Wall Street, exudes an electric, intense vibe rooted in the complex social dynamics of urban centers like New York. His stories frequently delve into the psychology of imperfect characters, touching on topics such as obsession, redemption, and the conflict between personal ambition and morality.
The dynamic camera work is a hallmark of Scorsese’s films; his use of lengthy tracking views, most notably in the Copacabana section of Goodfellas, transports the viewer into the beating heart of the action. The aesthetically arresting moments in Scorsese’s films result from his work with cinematographers, particularly Michael Ballhaus and Robert Richardson. Character arcs that are both terrifying and intensely real are another feature of his collaborations with Robert De Niro and, more recently, Leonardo DiCaprio.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/cp1dLQt
Marvel Studios has a shot at owning the box office this November, and it’s all thanks to Warner Bros. With Dune: Part Two postponing its release until next March, The Marvels not only has full reign of IMAX cinemas it may also move forward by a full week and drop on Nov. 3 instead to fully make use of its new free run to the top of the charts. As such, the Marvel fandom is already bowing down before the Brie Larson sequel to declare it the new savior of the MCU.
The only thing is, didn’t we just have a new savior of the MCU a few months ago? One user got the discussion going on the r/MarvelStudios subreddit by asking: “Will The Marvels save the MCU from its current ‘MID’ sentiment?” On the one hand, this seems a fair question, given that 2023 has given us both Ant-Man and the Wasp: Quantumania and Secret Invasion, two of the worst-reviewed entries in the franchise ever.
On the other, though, let’s not forget that Guardians of the Galaxy Vol. 3 came out this past May, only narrowly missing bringing home $1 billion globally and earning widespread praise from the fans. Like one commenter put it, “it took exactly one project for people to forget they loved GOTG 3.”
Another argued that maybe Guardians 3 is the exception that proves the rule as it was very much the baby of (new DC chief) James Gunn, rather than a typical Marvel Studios product.
However, if we stretch our minds back only a little further to last November, we have the equally financially successful Black Panther: Wakanda Forever, a literal multi-Academy Award nominee.
The MCU might be less in need of a savior than you’d think, then, but, hey, if there’s one thing the Marvel universe can never have enough of its heroes. So, fingers crossed The Marvels nails the landing this fall.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/EF9b3uZ
While bowling the first delivery of the final over, Farooqi stopped near the stumps to run Shadab out. Afghanistan celebrated as Shadab remained on the pitch as the decision had been directed towards the third umpire who later confirmed the wicket.
from Top CricketNext News- News18.com https://ift.tt/KcnGHDv
Although it likely wasn’t the intention, Warner Bros. has just cleared the runway for Disney’s Marvel Studios to end its tumultuous 2023 on a high this fall. As you may have heard, much-anticipated sci-fi sequel Dune: Part Two has been forced to delay its release until next March amid the ongoing strikes, with WB preferring to hold off until they can get Timothée Chalamet, Zendaya, and the rest of the cast to help promote the movie. This means that, as things stand, what could’ve been our next Barbenheimer-like battle of the blockbusters has been cancelled, as The Marvels will now go it alone this November.
On the face of it, this is wholly good news for the Brie Larson vehicle. The Marvels looked to be seriously in trouble when it was confirmed that Dune 2 would hoover up all the IMAX screens, causing the MCU movie to lose out on a seriously lucrative and sizeable slice of its revenue. With its rival out of the way, though, and with Marvel seemingly set on moving forward with its planned release date, The Marvels has nothing standing in its way as it attempts to match the success of its predecessor and cross the coveted $1 billion mark on the box office.
And yet this might just come back to bite the film in the long-term. If The Marvels had underwhelmed financially when it was up against Dune, its defenders could always have argued that it wasn’t the movie’s fault and it was just the unfair IMAX competition that impacted on it. Now, however, if the sequel can’t do the same kind of numbers as Captain Marvel did in 2019 then Marvel will be forced to look inwards at why it couldn’t recapture the global gross of its forebear and ask whether that’s anything to do with changing opinions about the MCU.
As I’ve argued before, though, The Marvels is actually coming out at the perfect time to be in with a shot of hitting $1 billion, as those that loved Barbie may well be on the hunt for another feminist adventure film. So, with any luck, Nia DaCosta’s film will embrace the fact Dune Part Two has failed to turn up to the fight and turn a default win into a well-deserved victory. Obviously, Guardians of the Galaxy Vol. 3 was no slouch, but it is a fact that no non-team-up MCU movie has reached $1 billion since Captain Marvel. If The Marvels — unchallenged as it is — can’t break this trend, then what can?
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/jplz8md
PlayStation Productions has access to a vast wealth of popular IP that’d make great movies and TV shows. We’ve already gotten the award-winning The Last of Us, Uncharted was a swashbuckling blockbuster romp, and Twisted Metal is absolutely a TV show.
But eyebrows were rightly raised when Sony unveiled Gran Turismo. The venerable franchise is one of its best-selling series, but is still a dry car racing simulator with no real characters, no plot, and a focus on making sure engine noises and car interiors are captured with scarily perfect attention to detail.
Understandably, director Neill Blomkamp has admitted he had the same confused reaction when speaking to TheWrap.
“I was going to go and do another film. And then Sony said like, ‘Whoa, whoa, before you go, we want to make Gran Turismo into a movie. Do you want to look at this?”
His answer:
“There’s no way that you can make a movie out of Gran Turismo. It doesn’t make any sense.”
After Blomkamp read the script (and presumably also took into account the large amount of money he’d be paid) he agreed that this would indeed be an artistically fulfilling creative pursuit:
“I was struck by this notion of treating a video game film like the way that The Social Network dealt with Facebook in that you’re not inside the lore of the game, you’re external from it. I thought that was a really interesting way to make a video game film. And then also that it was biographical to Jann Mardenborough, so it had this biopic element, which is a different kind of filmmaking than I had done before.”
The fact that Gran Turismo is based on a true story is something Sony clearly wants audiences to be aware of. The movie has already released in several international markets under the title Gran Turismo, though its wide domestic release has seen a slight alteration to Gran Turismo: Based on a True Story.
Reviews are broadly positive, with many underlining that it’s only theoretically a video game movie, and is instead (as Blomkamp intended) more of a biopic of Jann Mardenborough. Either way, domestic audiences can now find out for themselves, as Gran Turismo is in wide release.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/WgCLMBv
As desperate for new content as Marvel fans always are, they’re usually hyper-aware of every project that’s on the docket, even those merely rumored to occur. For instance, the likes of Vision Quest or Nova haven’t even been officially announced yet, but many folks treat them as confirmed entries on the studio’s upcoming slate. There are some that still manage to slip the community by, though, even if they might actually be far more concrete than others.
Case in point, last December, Shang-Chi and the Legend of the Ten Rings‘ Destin Daniel Cretton signed a lucrative long-term deal with Marvel Studios. On top of directing Avengers: The Kang Dynasty and likely Shang-Chi 2, it was also reported (by Deadline) that he will helm a Disney Plus spin-off as well, which was said to be built around Shang-Chi’s sister Xialing, as played by Meng’er Zhang.
Things had gone cold on that front since then, so we pretty much forgot all about it, but according to the latest intel, the Xialing show was still in development at the House of Ideas prior to the strikes taking effect. So, as far as we know, it remains a-go. As per Marvel Updates:
Image via X
Coming out when theaters were still recovering from the pandemic, Shang-Chi only made $432 million at the box office (tremendous for any other studio, not outstanding for Marvel), but it was warmly received by the fandom and has gone down as one of the best-reviewed of the MCU’s origin stories. So it’s no surprise that a sequel and a spin-off supposedly remain in the works.
There’s certainly lots to explore with Xialing in her own vehicle, given that she took over from her father, Wenwu (Tony Leung), as the new leader of the Ten Rings organization in Shang-Chi‘s post-credits scene. She’s now one of the most powerful people in the criminal underworld of Earth-616, then, so the storytelling and crossover potential there is extremely intriguing. Even so, with Cretton’s commitments to Avengers 5, any expansion of the Shang-Chi-verse is likely a ways away.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/3pCroHe
Australia’s Test skipper Pat Cummins believes that the after-effect of the stumping of England wicketkeeper-batter Jonny Bairstow effected by Alex Carey during the Lord’s Test in the 2023 Ashes series made him like the fact that a lot of people got involved with the sport.
from Top CricketNext News- News18.com https://ift.tt/AVYNKMj
Harmony Korine is focused on the future of the film and games industry believing the two can be combined to make something new.
At least that’s what he and his start-up company EDGLRD (pronounced edgelord) are trying to do. In an interview with GQ the Spring Breakers director expressed his increasing tiredness towards making traditional movies. In fact, he’s turned his back on old school filmmaking entirely now, (he said he’d only return to work on a Terrence Malick script). The modern approach from many studios nowadays clearly frustrates the director.
“They just all feel like they’ve been so processed. Even the dialogue, it all sounds like it’s written by the same person. Everyone speaks exactly the same.”
In fairness, he kind of has a point there, mainstream movies have been lacking in originality and personality for a while, Marvel is on a downward slope and other big franchise productions like Indiana Jones 5 have majorly disappointed lately. But what exactly does Korine’s solution to these problems entail?
Well, the director has chosen to look at the whole medium of entertainment to try and find the answer, creating a new aesthetic labeled “gamecore” for example his latest project, AGGRO DR1FT starring Travis Scott looks to be a Frankenstein’s monster of a film; it’s shot in infrared and is a mish-mash of different ideas, aesthetics and entertainment mediums. It’s something completely new.
“How do you take the whole idea of entertainment, of live-action gaming, and create something new? The obsession here is that there’s something else after where we’ve been—that one thing is dying, and something new is being born right now.”
Obviously video games are a huge part of what Korine’s trying to push for here, interactive entertainment that falls somewhere between a movie and a game. Looking to modern video games the director compares the Call of Duty trailers to the work of Steven Spielberg.
“You could look at the Call of Duty trailer now, and it looks better than anything that Spielberg’s ever done.”
If you want to know what he’s talking about, you can watch the latest trailer for Call of Duty: Modern Warfare 3 and decide for yourself if you think he’s talking sense.
Personally I think it still looks like video games are trying to replicate the cinematic nature of movies. That’s not to say that video games haven’t come a long way or that they’re not capable of being cinematic; they undoubtedly are, but Korine’s take seems like a bit of a stretch,
The idea that film is dying and that the future lies in some weird amalgamation between games and movies is a bold stance to take. Harmony Korine is one of the few people pioneering this idea right now and whilst he might be right about the gaming industry taking over, it’s clear that cinema isn’t dead just yet, in fact, we’ve been treated to some of the best movies in years recently what with Barbie, Oppenheimer and Spider-Man: Across the Spider-verse. The movie industry is still going strong.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/Zwh2V45
Saba Karim called Rinku Singh - the find of Ireland tour as he was impressed by the southpaw's transition from domestic cricket to international level.
from Top CricketNext News- News18.com https://ift.tt/bKzg519
While many believe that the squad picked by Agarkar & Co is a good one, former Indian off-spinner Harbhajan Singh feels India have missed a trick by dropping Chahal
from Top CricketNext News- News18.com https://ift.tt/xbTeWLu
Ahsoka is the latest show in the Star Wars franchise to drop on Disney Plus, and it’s already a hit with audiences. While Rosario Dawson is gathering most of the attention for her portrayal of the titular character, fellow cast members are also getting their well-deserved chance to shine. Natasha Liu Bordizzo is one of them.
The actress plays Sabine Wren in the miniseries, Ahsoka’s former apprentice, a role that marks Bordizzo’s very first appearance in the Star Wars universe. Naturally, this means many fans of the franchise aren’t familiar with her work, with Ahsoka being their introduction to the actress. And what happens when you see an artist do a good job in a piece of media that you enjoy? You get curious and start wondering what other projects they have been on. Who knows, maybe some will make it onto your watch list.
What shows and movies has Natasha Liu Bordizzo been in?
Despite the fact that many are only getting to know Bordizzo now, the actress has been on the screen since 2016, with her first credited role being for the portrayal of Snow Vase in the American-Chinese movie Crouching Tiger, Hidden Dragon: Sword of Destiny. Since then, the actress has appeared in seven other feature-length projects, namely, The Greatest Showman, Detective Chinatown 2, Hotel Mumbai, Guns Akimbo, The Naked Wanderer, The Voyeurs, and Day Shift. She has also lent her talents to short films like On That Night… While We Dream in 2017 and Armour in 2018.
If you think Bordizzo is only an actress, though, you should think again. Being on screen seems to be her biggest passion, that’s for sure, but over the years, Bordizzo has tried her hand at voice acting. So far, she has been involved in two animated projects — Wish Dragon, as the voice of Li Na, and Heroes of the Golden Masks, as Li.
As for TV appearances, there isn’t much to say, unfortunately, as Ahsoka is only the third show that Bordizzo has been a part of. However, some may recognize the actress from Netflix’s 2019 teen drama The Society, where Bordizzo played Helena, one of the main characters. The series received favorable reviews from critics and became dear to many viewers, but was axed after only one season. Sadly, Netflix subscribers are way too used to dealing with that, though.
If The Society doesn’t really match your vibe and you’d like to give another Bordizzo show a shot, try the action thriller Most Dangerous Game, in which the actress appears in the role of the hunter Kennedy. There’s quite a fair share of options, so there’s no doubt that something will spark your interest.
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/sWEwrbn
IND VS IRE, 3rd T20 Cricket Match Live Score: Get the latest cricket scorecard and updates between Ireland and India in the third 20-over match at news18.com
from Top CricketNext News- News18.com https://ift.tt/rElGi9X
Rohit Sharma was told be reporters that Indian fans will be waiting for Asia Cup as the skipper left for Bengaluru to attend the preparation camp, watch his reply
from Top CricketNext News- News18.com https://ift.tt/dnQNyFH
Star Wars: The Rise of Skywalker has a lot to answer for, from doing its best to torpedo the entire Skywalker saga to tainting the legacy of the franchise by spawning multiple memes inspired by its cringiest moments. One of its more underrated crimes, however, is how J.J. Abrams’ Episode IX did its utmost to ruin that iconic Star Wars trope that reduces millions to giddy children whenever they see it: the opening crawl.
Infamously, Rise of Skywalker‘s crawl kicks off with the terrible opening line “The dead speak!” which is on a par with “Somehow, Palpatine returned” for TROS‘s worst moments. For many years there, it seemed Lucasfilm might be permanently retiring the opening crawl out of sheer embarrassment as we hadn’t seen the franchise fixture used in any subsequent Star Wars project since 2019. Thankfully, though, Disney Plus’ latest series from the galaxy far, far away has just rescued the crawl by restoring it to its former glory.
Yes, Ahsoka‘s pilot episode begins with the nostalgic use of an opening crawl, the very first time a Star Wars series has utilized the storytelling device which allows the audience to be brought up to speed and still start the narrative in media res. Even The Mandalorian has never contained a crawl, not even in its own first episode. It’s curious that Ahsoka received this honor, then, when it’s more about continuing the legacy of Star Wars on TV rather than the movies, unlike say Obi-Wan Kenobi.
Perhaps it’s just as simple as Lucasfilm knowing that fans missed the opening crawl and desperately needed another one to wash away the lingering bad taste of Rise of Skywalker‘s. Whatever happens next in the saga’s uncertain cinematic future, thankfully we can say the last Star Wars crawl definitely doesn’t begin with “The dead speak!”
from Movie News | Movie Reviews | Movie Trailers https://ift.tt/LqQK4Dh
