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- DC Comics’ New Superman Fails to Live Up to the Original
- ‘Dune’ Still Tops the Box Office in Spite of Poor 2nd Weekend Numbers
- John Carpenter Films Ranked: #1 – ‘The Thing’ (1982)
- ‘Halloween Kills’ Claims Peacock’s Biggest Streaming Premiere Ever
- Watch: Netflix’s ‘Witcher’ Season 2 Drops New Story Trailer
- Chinese Audiences Neither Shaken Nor Stirred by ‘No Time to Die’
| DC Comics’ New Superman Fails to Live Up to the Original Posted: 01 Nov 2021 06:15 AM PDT
A writer for KPC News sums up what’s wrong with the rendition of the recently created son of Clark Kent, named after Jonathan Kent, his Earth-based foster father:
As you may have already heard, there is a new Superman in town. Jon Kent, son of Clark Kent and Lois Lane, has taken over for his father. He is bisexual and has a boyfriend. Instead of crooks and Commies, terrorists and Nazis, he now pledges to take on evils like global warming and the deportation of undocumented immigrants. Instead of fighting for "truth, justice and the American way," he now fights for "truth, justice and a better tomorrow." I'm trying to imagine a nerdy, introverted kid of today pretending to whip off his glasses and revealing his secret identity as this iteration of the Man of Steel, and I just can't wrap my head around it. Can there possibly be millions, thousands, or even hundreds of kids who long to enjoy a same-sex kiss before flying off to battle global warming in order to somehow magically bring about "a better tomorrow"? Didn't the original Superman have enough angst to deal with as a one-of-a-kind freak from another planet? Can we really identify with the sexual ambiguity, climate anxiety and nationalistic alienation on top of the sense of isolation he already felt? Of course, whoever the DC staff who engineered this propaganda, they’re taking an awfully laughable route to act as though this literally reflects what only so many people, no matter their age, truly believe. And to think, that this iteration of a Super-family member would be so blatantly put to use addressing a far-left issue that’s ages removed from responsibility, by confusing fictional Kal-El’s status as an otherworldly refugee who arrived on earth as an infant with that of real life adults making their way across the USA border illegally, among whom could be dangerous terrorists.
Any comparisons they’re trying to make between sci-fi premises and real life issues are extremely offensive. Speaking of which, if writer Tom Taylor believes illegal migrants should be allowed entry unquestioned, maybe even to his native Australia, does he also think General Zod and other Kryptonian criminals originally banished to the Phantom Zone during the Silver Age should be recognized as acceptable company? That’s the basic logic he’s validating. Come to think of it, considering the ambient zeitgeist, will this new Superman even have a secret identity? After telling the world everything about himself and repeating it on Twitter and Facebook for those who might have missed it, what can he possible have left to hide? And as whom will he pose? A meat-eating non-recycling, cis-gen, Republican Christian from Indiana who has never read the New York Times? Oh, I forgot, near-sighted, too. I think I might be accused of Overly Brooding Rightwing Seriousness to wonder if this new Superman will go to Afghanistan and lecture the Taliban on the use of pronouns before they cut off his head with a Kryptonite sword. And I would certainly be labeled a planetary jingoist, perhaps an Earth chauvinist, to suggest he go back where he came from, even if I point out that his father never bothered to get a Green Card. Let’s remember, of course, that a decade ago, there was a story where Superman forfeits USA citizenship he wouldn’t actually have, or doesn’t need to be disputed, while he’s in costume. Topics like what the columnist is alluding to have largely been banned by the higher left-wing echelons at DC/Marvel for a long time, and it’s led in turn to a situation where only far-left visions are allowed. All that aside, if most LGBT characters of the past 15 years or so have long faded from garnering attention and audience, how long do they expect even this character to last under the current characterization, apart from potential and deliberate hammering over the audience by the publishers in charge?
Within a decade, chances are the press will cease to care, and they sure haven’t given a damn about Northstar from Alpha Flight for a long time. Turning a Super-family member bisexual, as they claim it is, amounts to no more than tokenism for the sake of an agenda they could’ve avoided if they wanted to, despite all claims to the contrary. Author Sean Howe summed it up nearly a decade ago, when he said this is a very dumb reason to want to buy a comic. Because it wouldn’t be for the entertainment value, but rather, for the political agenda these stories are built upon. An argument that, within nearly a decade, has been thoroughly dismissed by industry ideologues.
Originally published here The post DC Comics’ New Superman Fails to Live Up to the Original appeared first on Bleeding Fool.  |
| ‘Dune’ Still Tops the Box Office in Spite of Poor 2nd Weekend Numbers Posted: 01 Nov 2021 04:50 AM PDT
Legendary/Warner Bros expected Dune to continue leading over the weekend's box office, predicting that the film would likely have a -62% decline, bringing in only $15.5M after having only made $5M on Friday from 4,125 theaters for a 10-day domestic total of $69.4 million for Legendary and Warner Bros. Deadline reports that the decline was somewhat expected as historically a Halloween weekend with the holiday falling on Saturday or Sunday has kept audiences away.
Overseas, Dune took in $21.4 million from 75 markets, including a so-so $33 million in China, for a foreign tally of $227.7 million and $292.1 million worldwide.
Halloween Kills clearly benefited from its namesake holiday. The Universal, Miramax and Blumhouse installment held at No. 2 domestically in its third weekend with $8.5 million from 3,616 locations for an impressive domestic tally of $85.6 million and $115.1 million worldwide.
Add that in with the already lower expectations because of the pandemic and the fact that Dune was released simultaneously on HBO Max and Torrent Freak has reported that Dune was the most pirated movie for the previous week. The main reason why the film is remaining number one is there isn't any big name competition for it with the Edgar Wright fantasy thriller Last Night in Soho expected to make $4.3M and Searchlight's Antlers estimated at $4.1M.
Both are in somewhat limited release, 3,000 and 2,800 theaters respectively, leaving the sci-fi epic to continue on top. The post ‘Dune’ Still Tops the Box Office in Spite of Poor 2nd Weekend Numbers appeared first on Bleeding Fool.  |
| John Carpenter Films Ranked: #1 – ‘The Thing’ (1982) Posted: 31 Oct 2021 03:55 PM PDT
#1 in my ranking of John Carpenter's films.
Wow, John Carpenter really loves Howard Hawks, doesn't he? Well, he was hired onto this project after it had been through several drafts, managing a new draft written by Bill Lancaster, and didn't originate the idea, at least. Still, what Carpenter helped script and ended up directing is an ideal remake. Returning to the ultimate source, the short story "Who Goes There?" by John Campbell, Carpenter recast the whole concept with a twist while firmly planting the new film in a new time, never feeling like he's just repeating what Hawks and Nyby had done before in The Thing From Another World.
One of the key differences between Carpenter's remake and Nyby's original is in terms of its construction. The original starts away from the remote, icy camp and moves into that team finding the alien trapped in ice. The remake starts with the creature having already been dug up, torn apart a Norwegian camp, and arriving at the American camp with our heroes in the form of a dog. This is important for one big reason, the monster is incredibly different. In the original, there was just a monster (that apparently looked like a carrot in color) that needed defeating. In this remake, pulling more from the original source material, the monster is vastly different, able to morph from one shape into another as it absorbs the essence of other creatures. There's a lot of questions that arise about how it does it and how perfectly it can hide in its form, and the movie, having the refuse of a previous encounter to sift through, provides those answers on the front end of the film.
The dog runs into camp, the final Norwegian dies by a gunshot to the head, and Mac (Kurt Russell), the helicopter pilot, flies to the Norwegian camp to investigate with a couple of others. There, they find the half-burnt remains of something. There are distinct signs of human appendages and two heads melting into or away from each other. This is obviously not human, and we get a scene where Blair (Wilford Brimley), their biologist, dissects it, finding perfectly normal human organs inside. This is telling us that whatever this thing is, it's not human and it will look human down to its organs. There will be no telling it apart from anyone else. It's great that this information is introduced early because once the questions about who might or might not be the creature, we're not bogged down with questions of how. We already know that.
The dog wanders the enclosed hallways of the camp for a day, and there's something to be said about the dog's performance. I guess I wouldn't have thought of this if I hadn't had my most recent watch of this film with my visiting mother (the movie was her idea) who noted it as we were watching, but there's an eerie quality to the dog. It's too calm, collected, and still to be real. How it steadily wanders the halls, eventually choosing a room to go into, or how it stands perfectly still at a window looking outward is off-putting. Anyway, after a day roaming the camp, Mac tells the dog handler Clark to put the dog with the rest, and things go pear shaped quickly. Alone with the sled dogs, the creature changes shape into an amorphous set of tentacles, jaws, and flesh, spraying dogs with liquids, grabbing them and absorbing them while chaos erupts.
This points to another of the film's great attributes: the creature effects. Done by Rob Bottin (with some work by Stan Winston), the creature work is amazing. The wide variety of manifestations of the creature represent months of work, and there's a fleshy, other-worldly quality to all of it that unites them as one. Everything changes from one situation to the next, but they all feel like they're part of the same thing at the same time. My favorite is the variety of effects that make the head independently crawl away from the burning corpse. So well done and creepy.
To get to that moment is a series of steadily increasing doubts that each man has about everyone else around them. It becomes obvious that no one can truly trust each other, especially after the doctor proposes a blood test that would identify the creature and the store of blood gets sabotaged. No one knows who does it, but suspicions are directed in some specific directions at the same time. An admirable element of all this is that we, the audience, are completely in the dark about who is or is not the creature, as much as anyone else in the movie, and it never feels like a lie. It never feels like Carpenter is artificially keeping information from us, even though we see the moment that leads the dog to infect the first person in the camp but we can't see who it is. It never feels like a lie to us. Instead it feels like we're reaching the edges of perception based on point of view that's pretty solidly set in the film. Most of it is told directly from Mac's point of view, though we do move in and out of it here and there, and it never feels like a cheat.
That lack of clarity about who is who is the ultimate source of tension in the film. We're never sure if anyone can be trusted, and there are moments where we even begin to wonder about Mac, even though we've walked most steps along with him. The centerpiece of creating clarity amidst the confusion is the blood test scene where Mac takes blood samples of everyone and uses a hot needle to see if the blood will react violently in response. It's an amazingly tense sequence because we honestly have no idea what's going to happen. One of them, at least one of them we figure, has to be a creature, and we don't know who. We also don't know how its blood will react or how it will react if exposed. It's also remarkably cleanly filmed, providing a very clear sense of geography around the room that helps to hide some of the special effects when they pop up.
There's a remarkable professionalism to the filmmaking in general here. That's a way of saying that this movie simply looks great. There was something about the generation of filmmakers that came about in the 70s that gave them this great combination of old school aesthetics with new school sensibilities. Like how Coppola's The Godfather is rather perfectly framed from beginning to end but focused on a more grounded, dirtier, and more detailed violence than gangster movies of the past, Carpenter's The Thing has the roving Steadicam shots of a new filmmaker while framing several men in small spaces without every losing sight of the focus of the scene, helping to keep the variety of men separate in our minds. This extends into the special effects sequences where the detailed puppets are filmed in the perfect light to keep them looking real and terrifying at the same time.
And what do I think of the ending? Both are human and are going to die a very cold death. They won, and they will die heroes in the cold.
Rating: 4/4
Originally published here.
Editor: If you enjoyed, or maybe disagreed with David’s rankings, feel free to check out Red Letter Media’s rankings of John Carpenter’s theatrical released films below.
 The post John Carpenter Films Ranked: #1 – 'The Thing' (1982) appeared first on Bleeding Fool.  |
| ‘Halloween Kills’ Claims Peacock’s Biggest Streaming Premiere Ever Posted: 31 Oct 2021 01:55 PM PDT
Halloween Kills had the best non-live event premiere in Peacock’s history, according to NBCUniversal CEO Jeff Snell.
The latest installment in the long-running slasher franchise was released in theaters and on streaming on October 15. After countless sequels and even a reboot attempt from Rob Zombie, the series decided to return to square one with 2018’s Halloween with David Gordon Green at the helm, which acted as a direct sequel to the original 1978 film from John Carpenter.
This year’s Halloween Kills picks up right where the previous one from 2018 left off, as Michael Myers inexplicably evades death and sets out on another killing spree across the fictional town of Haddonfield, Illinois. Franchise star Jamie Lee Curtis returns as Laurie Strode in the latest installment, along with her daughter, Karen (Judy Greer), and granddaughter, Allyson (Andi Matichak). Will Paton also reprises his role as Deputy Hawkins from the last film, along with Tommy Doyle (Anthony Michael Hall) and Lindsey Wallace (Kyle Richards), two kids whom Laurie babysat in the 1978 film.
While Peacock certainly has a long way to go before catching up to Netflix and Disney+, this is certainly a step in the right direction for the nascent streaming service. Previous reports revealed that 1.2 million households in the United States watched Halloween Kills on Peacock during its opening weekend.
via ScreenRant
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| Watch: Netflix’s ‘Witcher’ Season 2 Drops New Story Trailer Posted: 31 Oct 2021 11:55 AM PDT
Netflix just dropped an all-new trailer for the second season of its hit series The Witcher.
Netflix will be releasing all of the new episodes from Season 2 of The Witcher near the end of the year on December 17.
The post Watch: Netflix’s ‘Witcher’ Season 2 Drops New Story Trailer appeared first on Bleeding Fool.  |
| Chinese Audiences Neither Shaken Nor Stirred by ‘No Time to Die’ Posted: 31 Oct 2021 09:25 AM PDT
James Bond franchise movie "No Time to Die" claimed the honor of deposing record-breaking anti-American film "The Battle At Lake Changjin" from the top of the Chinese box office. But 007's unspectacular first day trajectory will leave studio and audiences neither shaken nor stirred.
Throughout Friday, "No Time to Die" tracked comfortably at the top of the Chinese chart, with market share as high as 55% in the morning sessions. By 7 p.m. local time that had fallen to 49% and the film grossed RMB36.7 million ($5.73 million), including online fees, according to ticketing agency and industry tracker Maoyan
Including midnight previews, Bond's day one aggregate topped RMB39.0 million ($6.09 million).
The last Bond film, "Spectre," opened with a $44 million first weekend in China, before going on to achieve an $84 million lifetime score in the Middle Kingdom.
via Variety The post Chinese Audiences Neither Shaken Nor Stirred by ‘No Time to Die’ appeared first on Bleeding Fool.  |
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