#old hollywood as marvel superheroes

[marvelsupergirls]

Farrah Fawcett as Captain Marvel

[marveltimewarp]

Faye Dunaway and Lauren Bacall as Emma Frost

[thelesbianpoirot]

Female superhero movies will keep flopping because they keep hiring actresses with barely any stage presence, roguish charisma, or edge. Stop hiring actresses that look like flimsy 24 year olds, who don't look like they could fight their way out of a wet paper bag and don't have a commanding voice. Scarlet Johansson, Bri Larson, and Dokata Johnson couldn't lead anyone into battle. Gal Gadot can barely act, and she looks like she'll be blown over by a strong wind and the Wonder Woman they wrote never had a distinct personality. There is space for the young female peter parker types finding themselves yes, but it is like every superhero writer has forgotten how to write and cast a female power fantasy. I have major marvel/dc fatigue, but I hate that it happened before a powerful woman got front and center. I just feel like the next generation of girls will have so little to look forward to when it comes to the portrayal of female powerhouses. There were just unique actresses that obviously met the strict Hollywood beauty requirements to be on tv, but still manage to act in a way that made you feel like they were 7 feet tall and 200 pounds of muscle. Their movement/decisions had weight to it. When they spoke you listened. And you would think twice about challenging them to a fight. They either don't make them like that anymore, or at least don't give them staring roles. We get so few every couple of years, and I think there will be even less in the future.

The answer to this major problem is to cast older women to play strong leading characters, none of these actresses are dead, and most are within the age range of their male counterparts. I am tired of being forced to envision the female equivalent of Michael Cera as a fearsome and powerful leader. She is not, she couldn't be the assistant manager at a fast food restaurant. She is not a superhero. These women however...HAVE IT!

[mariacallous]

One of the many knock-on effects of Marvel making post-credit scenes a feature of the studio’s cinematic universe is that fans get a glimpse of just how many “below-the-line” workers it takes to make all that superhero movie magic. Production designers, hair and makeup folks, camera operators, the lists run on and on. Amongst them, usually toward the end, as theatergoers are eagerly anticipating that tease for the next MCU movie, are lists of the visual effects studios—places with names like Framestore, The Third Floor, Cinesite—that created all of those space scenes and Wakanda visuals. But unlike most of the other names in those credits, the ones attached to VFX artists have never been in a professional union.

On Monday, some folks at Marvel made a move to change that, with a supermajority of Marvel Studios’ VFX crew signing cards saying they want to be represented by the International Alliance of Theatrical Stage Employees (IATSE).

To be clear, the Marvel team is a small faction of a huge industry and doesn’t represent all those outside VFX houses that also work on MCU films. But their move marks a huge shift in Hollywood at a time when people in other industry unions—the Writers Guild of America (WGA) and the Screen Actors Guild—American Federation of Television and Radio Artists (SAG-AFTRA)—are on strike to get better deals with the major studios. VFX workers have been talking about unionizing for more than a decade, says Bilali Mack, a VFX supervisor who has worked on everything from The Whale to The Flash. The fact that one group, albeit a small one, has taken steps to unionize is “huge,” he says.

This moment has roots in 2013, when Life of Pi won the Oscar for Best Visual Effects just as the company that worked on those effects, Rhythm & Hues, was facing bankruptcy. When the movie’s VFX supervisor, Bill Westenhofer, took the stage to accept his award he said the traditional thank yous and then added “Sadly, Rhythm & Hues is suffering severe financial difficulties right now. I urge you all to remember …”—at which point his mic was cut off and the theme from Jaws began to play.

Rhythm & Hues wasn’t the only VFX studio facing troubles. Some 21 similar companies shuttered between 2003 and 2013, due in part to production delays and the fact that many jobs were going to companies based outside the US, where tax subsidies and incentives give VFX houses a better shot at survival. Attempts to organize have been bubbling up ever since, and this week they bubbled over. “We are witnessing an unprecedented wave of solidarity that’s breaking down old barriers in the industry,” IATSE president Matthew Loeb said in a statement. “That doesn’t happen in a vacuum.”

Loeb was, of course, talking about the fact that the unionization effort at Marvel is happening amidst the SAG and WGA strikes, which may be emboldening folks in other Hollywood sectors. When the Marvel news came, I called Dave Rand. He’d worked on Life of Pi at Rhythm & Hues and had helped organize a protest outside the Oscars on the night the movie won. He agreed that the current strikes played a role but added that the VFX workers who are laid off or on hiatus amidst the strikes may be hesitant to organize because they’re worried about landing their next job. Still, he added, “it’s a step in the right direction, and it can set an example.”

Considering artificial intelligence has been a major point of contention in the Hollywood strikes so far, I asked Rand and Mack if it might be on VFX artists’ minds as well. Both agreed that it was, adding that AI can be a tool for VFX artists, but it will still always require a human to guide it. Is it possible, I asked Mack, that studios would try to create shots with AI and then have human VFX artists clean them up?

“A hundred percent,” Mack replied. “That’s a legitimate worry. Because there’s a saying in visual effects, and I think in a lot of other industries, which is that the first 90 percent takes 10 percent of your time, the last 10 percent takes 90 percent. They’re gonna spit it out, it’s gonna be a piece of crap. Then they’re just gonna be like, ‘We just want it to look perfect and feature film quality,’” and then a VFX company will get called in to spend 90 percent of their time to get paid for 10 percent of the work.

Whether that scenario plays out remains to be seen. The National Labor Relations Board still needs to do due diligence on the Marvel VFX team’s request. Only after that’s complete will all members of the eligible Marvel team be able to vote on whether they want to join the union. And only then, presumably, will it be known whether the other visual effects studios in the MCU credit sequences follow in their footsteps.

[yelena-bellova]

Look, I have no problem with people, whether be people in Hollywood or normal people, who say Marvel movies just aren't their thing. But I do have a problem with people who try to diminish them as nothing more than "silly superhero stuff/theme parks." It's exhausting.

Agreed. If it's not your thing, fine. But some of us are having a grand old time and don't care to listen to your negativity.

[mxelliott]

maybe i’m just in a weird mood but i can’t stop thinking about how disabled people are a lot like superheroes. not in the way you’re probably thinking of, though. let me explain.

i fucking love spider-man, and iron man, and i’m an absolute nerd when it comes to shit like odd biology or psychology with characters like them. i’ve seen my fair share of movies and read enough books, wikis, and fics to feel close to the characters, and i can say for certain if we’re looking at a lot of them scientifically, it’s not far off to say that most superheroes can be categorized by either having an impairing mental illness or disability that heavily effects their day to day lives.

i’ll be using several Marvel characters as examples, since i’m most comfortable/knowledgeable about them.

we can start with the most obvious people, such as Colonel Rhodes, Clint Barton, Sargent Barnes, and Stephen Strange, who are paralyzed, hard of hearing, an amputee, and have nerve damage/severe hand tremors respectively. our next biggest candidates are Peter Parker, Tony Stark, Steven Rogers, Natalia Romanoff, and Bruce Banner/Hulk. in the odd category we have Thor, Wanda & Pietro Maximoff, Loki, and Vision.

Rhodes, Barton, Barnes, and Strange don’t need much of an explanation. they each either were caught in an accident, on the job, captured/experimented on, or a mixture of one or more. they got help of varying degrees for themselves to heal and recover to continue living.

Rhodes won’t ever not be paralyzed from the waist down. Barton will never get his hearing back. Barnes can’t regrow his arm. Strange may be able to use magic to help his tremors, but he chose not to. he will never be able to take back the events leading to his accident.

Stark, Bruce, and Rogers need a bit more of an explanation, but not by much of a wide margin. Stark has heart issues thanks to the shrapnel and the Arc Reactors. Bruce will never be able to go back to before the accident that turned him into the Hulk. He can be one or the other, but his brain and body are no longer his own. Rogers went from being in a constant state of sickness and disability to being “cured” and ultimately turned into something inhuman and weird beyond humanity’s own natural abilities.

piggybacking off that, Natalia was trained in brutal conditions to do inhuman stunts. she’s permanently traumatized and most likely won’t ever recover to being “normal” or “average” in the eyes of society.

disregarding the blatant oddness of Thor, Loki, Vision (a literal humanoid AI), and the slightly unexplainable whatever that went down with the Maximoffs (and because they are also semi-self explanatory in their own way, being enhanced) we’re going to move on to Peter Parker.

Peter is a bit of a wild card in this to me, both because he has three movie incarnations across three franchises respectively, but also because unlike the other superheroes, he’s not an old adult just yet. he’s what i see as the real kicker here.

trauma out the ass after losing his parents, his uncle, his aunt (NWH), and being erased from the universe (NWH), he is severely at risk for or has had some version of depression, anxiety, and suicide. top that all off with getting hollywood-hand wavey spider radiation poisoning and changing on a base level (his dna), he’s about as fucked as Rogers, Barnes, and Stark, or more so.

this is already long as shit and you’re probably wondering “i know all this, its not news. what does this have to do with your average disabled person?”. let me tell you.

none of these characters will ever/have ever been your version of socially acceptable or normal in almost any modern age. i’m willing to bet that even with my limited knowledge on psychological and physical disabilities, if any of you fucknut bitchfishs saw these characters outside the movies in real life as normal, every day civilians, you’d probably either act disgusted over their existence or disregard them entirely as if they never existed in the first place.

it probably took months of stress and depression and hard work with no real end in sight for any of these characters to get better at what the world thinks would be an acceptable level. they may have saved the world or they may have only been a small part of something, but that’s the goddamn point here. it doesn’t matter how it happened or if they were born with it, it just is, and apparently that’s much too hard for people to grasp these days.

Rhodey owns a wheelchair. Barnes goes without his arm some days. Rogers (as far as anyone knows) is basically a human-turned alien; abnormal. Strange can’t properly write his signature like he used to. Barton takes off his hearing aids when he pleases and uses ASL. Peter is a teenager with crippling PTSD and some unfulfilled physical needs, living on the lower end of financial security while still developing and trying to maintain his metabolism.

it’s already past midnight while i’m writing this and all i can think of is the fact we parade around disabled and ill people on the big screens as heroes and role models, yet i’ve never seen our world grow to accommodate people like them. instead we cut off or significantly reduce the positive impacts of the barely even mediocre safety nets the government has in place to assist them.

i’m not saying people with disabilities are superheroes, but i am saying superheroes are people with disabilities and often severe illnesses of many varieties.

you don’t value them as people, only idols. you’re the problem clownpiss. fuck yourself.

[frumfrumfroo]

I'm still reeling from the fact that they decided to include the kiss during a reshoot. What didn't they include during a reshoot? That theory that Rey's parentage was changed during reshoots sounds pretty believable to me now, if they're willing to alter Ben Solo's final moments.

Actual trainwreck is a trainwreck.

Now I want to complain about something: I like watching Red Letter Media. I like when they talk about niche films, they're in their element there. But I was watching their old Infinity War review, and I cannot believe that they think the 'subversions' of that film worked better than The Last Jedi. Like, the Marvel films are soulless, if they didn't have Marvel branding, nobody would be talking about them. It's the greatest stunt ever pulled in Hollywood. Sure, they've gone off Marvel now, so this doesn't reflect their current stance as much, but lollllllllll

Endgame is incoherent, if a few steps ahead of TROS on the basis that it's a technically complete film.

Anyway. Star Wars is not fitting for the superhero genre, but they're sure trying.

I've blocked it out now, but for months after it came out we kept learning new depths of what a shitshow it was. All of the most insane leaks were accurate. At this point I would believe almost anything about their level of incompetence pinching out this turd. It's absolutely fucking embarrassing.

Yeah, I like RLM but sometimes they really don't Get It. The Plinkett reviews of the prequels raised some great points and were generally fairly quality criticism, but they also missed a lot and sometimes focussed on things that aren't valid arguments. Their review of TFA I found much less well constructed and more shallow. I don't remember which video it's in, but their discussion of the climax of RotJ shows some serious holes in their understanding of the themes of SW and Luke's character arc. And that's exactly where not getting what TLJ was doing will come in.

Nothing about the narrative shape or character arcs of TLJ should have been surprising to anyone who understands the structure of SW or the literary tropes it was consciously modelled on. The only thing about the main plot which is/was genuinely 'subversive' in concept or shocking was Snope's death.

I've seen them have some dumb takes, mostly in their blockbuster reviews, but it seems to usually come from not bothering to understand a context they're not familiar with or not always recognising when a film is trying to do something different than what they expected. Like the MCU films were mediocre at best from the beginning so it makes sense to judge them as forgettable formulaic entertainment, but there are more interesting conversations to have and it doesn't mean all blockbusters should be judged the same way.

Yep. I spent a lot of time talking about this both before and after tros. So fucking depressing.

[not-souleaterpost]

Ever wished that a trailer DOES lie?

Didn't come up with some clever pun or whatever to express what I want so I'll put it bluntly: Does anyone agree that new Napoleon movie looks kinda lame from the trailers?

Like the first one was like the two types of cliche trailers one after the other - with all the "boom" sounds and mach cuts, while then doing the whole "eq-so-it-sounds-distant childlike song" thing. But what I found worse is turning Napoleon into Thanos (havent seen a Marvel movie after Iron Man 3, so I might be wrong) - but all the stoic cool guy one liners and weird self-agrandising cliche uterances - only to end with putting on the Crown on himself as if it was that stupid plastic gem-gauntlet... Should just have snapped and said "France Won" and go all the way while showing the Austo-Hungary disolve.

The second trailer seems to be more of the same, with even having the Black Sabbat song to make it artsy but not to artsy. Idk maybe I'm being to harsh and hypocritical, but aften then having the love interst say "look down at my crotch - I control you with it" - I just cant take it seriously - gives me flashbacks to being a kid and seeing my dad watch game of thrones and realises that half the charachters are screwing their sister and brothers cause thats the only way to make something "Mature"...

But why am I writting a whinning post? Don't I try to make some contrived point in these? Yeah, at first I didint even want to post this, so I dont be one of these cynical movie guys, feel bad for these who now seemingly in nearly their fifties just whine about how bad hollywood is and how superheros suck while only reviewing them while their is a great new Scorsesse movie which they ignore- And instead of continuing this passive agressive attack on RLM, I better segway into my whole point: "The Killers of the Flower Moon" - A movie I recently saw and enjoyed quite a lot - surprisingly because I thought from the trailers "Yeah, Scorsee got old and is phoning it in" - cause from the trailers it just seemed like a generic by the numbers exploitation film, where victims kill their oppressors with the whole "happy ending" being both overly sweet and bitter - because how unrealistic yet saddistic it would be, even as a fantasy only leaving the reality of resentment and bloody revenge.

But thankfully, it was nothing like that - so the trailer lied, and I was happy - or more happy that even when it lied I thought "well going to the cinema with friends is more important, and why not see a scorsse movie on the big screen, if he dies, or I, soon, I'll regret it, even if it was a piece of shit..."

So maybe that's the point I'm making - maybe a very weird and pointless one - but yeah, maybe Napoleon won't be as bad as I think? Even if it is a far-cry from the Napoleon Kubric would have made, Ridley Scott is still a director with a certain esteem, and who the hell didn't like Gladiator? Even still have an old VHS with a cutot of a tv-magazine of it that my father used to tape over to just pirate the movie old schoo way lol. Still, I'm not saying to mindlessly buy and watch everything - but to just think - maybe even a disapointing movie is worth the human connection one will make (cause who goes to the movies alone?) - so if somebody says "hey lets watch it, its like if the Joker was French" - why not, maybe even it will turn out to be:

[sunhlland]

This blog write all right. Idk how all his project outside mcu all get one way or another does bad or it's streaming numbers or box office. Idk hod it'd happened like probability so small,like we don't know it'd his team or it's him not knowing what hd doing. Did someone reading scripts alongside him to give advice? If u think about its somehow coming it's always something bad storytellers,pace,bad challengers development or something else?now he have bad reputation in Hollywood or big ppl not take him seriously. Plus mcu actors nowadays it's like swimming against stream,u like need proof to everyone and add some,all should be ideal and only then they will let go of his neck. I'm kinda sad for Tom. But on another dude he said himself that he don't wanna be actor 😔 like if it's not u passion why u forcing it dude idk working through pressing on urself. Idk idk like I stop expect anything, I wouldn't surprise if he retire after spiderman. Tom a man of unrealized potential

Ok.

First, when did Tom say he doesn't want to be an actor? Do you think that if it were like that he would continue trying and working on it? I think he has just been unlucky, remember most of his movies were released in the Covid19 season. Chaos Walking, for example (poorly executed, definitely, but would have done well at the box office if not for...zero promotion and covid).

Tom was very young when he started taking on a lot of unscripted projects. and I read somewhere that he wasn't sure about playing Cherry but the Russos convinced him (they bribed him lol, I'd say ) and since he feels he owes them part of his career, he said yes... The Russos have a name there out and (Advenger is a success to this day although it hurts those who hate the MCU) but it turns out that the direction of these men was bad in cherry. Now his performance, his acting skills (if you read the reviews) has always been praised... even today. (there is an agenda against him for being part of Marvel duh)

The common people love him, praise him... and even on Twitter they always defend him with..."the broh needs a better agent" "he always chooses bad projects" etc... they know he's a good actor. Those who say it's a flop...who are they? some Z fans who hate him bcuz he dates her and are jealous. Fans of other actors who for some reason feel threatened by Tom.... (and why do you think that is?😌) some idiots who think they're cinephiles and believe that hating everything that has to do with marvel makes them intellectual...🤪 ? LMAO.

You say marvel flop too? huh that will never be the case with Spider-Man, don't worry...Tom is not just any Marvel actor...he plays the most beloved character of all superheroes and the most famous. And people love it... 🤭

To this day his most watched movie outside of the MCU is TDATT, and most people always praise Tom's performance. And it's the most viewed bcuz it's from Netflix. If TCR .....

None of my friends have Apple TV and even I had to pay for 2 months of that horrible app just for him.. when I recommend the series... no one has Apple TV... I hate apple tv...Anyway.

I give you some advice, if you have such a poor perception of him, I think there are more actors out there for you to follow.

Tom is 27 years old...not 40. There are actors who were recognized just last year with 5 years older than Tom...and I am not going to mention names...🤐🤓

xo🤗

[brokehorrorfan]

Blu-ray Review: Unlawful Entry

Box office draw is anything but predictable, but Hollywood sure likes to hedge its bets. From Scream's teen slasher revival to Paranormal Activity's found footage trend to Marvel's superhero craze, a novel concept that over-performs is almost guaranteed to yield similar projects until audiences tire of the fad. Fatal Attraction launched a cycle of racy thrillers in the early '90s that included the likes of Basic Instinct, Single White Female, The Hand that Rocks the Cradle, Sleeping with the Enemy, and Cape Fear.

While not as well remembered as the aforementioned efforts, Unlawful Entry remains an effective entry in the subgenre from journeyman director Jonathan Kaplan (The Accused, ER). Lewis Colick's (October Sky, Charlie St. Cloud) script may traverse familiar tropes, but Kurt Russell (The Thing), Ray Liotta (Goodfellas), and Madeleine Stowe (12 Monkeys) gracefully elevate the material with their performances.

Bookended by tense home invasion sequences, the 1992 film opens with a burglar breaking into the upscale home of recent Los Angeles transplants Michael (Russell) and Karen Carr (Stowe). Although ultimately unharmed, they're left shaken up by the ordeal after Michael is forced to watch helplessly as the assailant holds Karen at knifepoint. Responding officer Pete Davis (Liotta) goes out of his way to help them feel safer.

Pete presents himself as the sincere lawman at first, but it quickly becomes clear to both the viewer and Michael that he's unhinged. He grows increasingly obsessed with Karen, invading not only the couple's home but also their lives as he does everything in his considerable power to take Michael out of the picture. The third act is exactly the suspenseful thrill-ride you'd want from a movie of this ilk.

While a lesser film would pit Russell and Liotta against one another in a testosterone-fueled stand-off, Unlawful Entry takes a more interesting approach. Although their conflict is not without machismo, their personalities repel one another on a granular level. Beyond coveting his wife, Pete has no respect for Michael. In Pete's mind, he is the alpha male getting his hands dirty and protecting the streets, so he deserves Michael's prosperous life.

Liotta is effectively disarming at first before unraveling into a deranged stalker. Russell is as charming as ever, but he's not afraid to show vulnerability. Stowe brings a cleverness to the damsel in distress. The cast also includes Roger E. Mosley (Magnum P.I.) as Pete's level-headed partner, Ken Lerner (The Goldbergs) as Michael's lawyer, Dick Miller (Gremlins) as an impound clerk, and a young Djimon Hounsou (Guardians of the Galaxy) as a prisoner.

Unlawful Entry is now invading homes on Blu-ray via Scream Factory exclusively on ShoutFactory.com. While the company's limited releases are typically reserved for titles with a more narrow appeal, Unlawful Entry's allotment of 1,620 units sold out in a matter of days, prompting them to increase the run to 2,600 (which brings into question the point of limiting it in the first place, but I digress).

The film is presented in high definition from an existing transfer with 5.1 Surround DTS-HD Master Audio and 2.0 Stereo DTS-HD Master Audio options. The quality is aggressively fine; it certainly won't win any competitions against a modern 4K master, but it's a welcome improvement over the old DVD.

Despite its limited status, new special features were produced: a 28-minute interview Kaplan, who sets the stage by highlighting his genre-hopping career before focusing on Unlawful Entry; an interview with cinematographer Jamie Anderson (Jay and Silent Bob Strike Back, Small Soldiers); and an featurette in which music historian Daniel Schweiger breaks down the score by James Horner (Aliens, Avatar).

Archival special features include: a DVD commentary by Kaplan, who notes how he learned how to reflect the subjectivity of human experience in film by watching Alfred Hitchcock and details how the Rodney King riots impacted the movie; a vintage EPK-style featurette with snippets from Kaplan, Russell, Liotta, Stowe, and more; the theatrical trailer; and two TV spots.

In a time when police misconduct is caught on camera on a near-daily basis, Unlawful Entry is all the more relevant over 30 years removed from its original release. Coupled with a severely underrated performance from the late Liotta, the '90s thriller gem begging for rediscovery.

Unlawful Entry is available now on Blu-ray via Scream Factory.

[mua-mattzip]

Hollywood superhero Charlie Cox makes dreams come true for six-year-old Rex

>ORIGINAL LINK(x)<

Date: 15 November 2022 Author: Guide Dogs' Communications Team

Six-year-old Rex Davies, who lives with a vision impairment, was given an incredible surprise on Thursday 10 November, as he was presented with the Inspirational Young Person of the Year award by his favourite superhero Charlie Cox at Guide Dogs' Annual People Awards.

The Daredevil actor, who has also appeared as the character in the Spiderman and She-Hulk franchises, had initially been asked to record a congratulatory video message for young Rex. However, when Charlie heard about Rex’s inspirational fundraising for Guide Dogs, he kindly offered to not only record a video message, but to present the award and host the event. Charlie recorded a message anyway, congratulating Rex on his nomination and saying he hoped he’d meet him one day. Little did Rex realise he was going to meet his hero the very next day!

In his role as Daredevil, Charlie Cox pays the role of blind lawyer Matt Murdock, who fights crime by night in the popular series now on Disney Plus. The series challenged perceptions of sight loss and Cox deservedly received a Helen Keller Achievement Award for his portrayal of the Marvel comic-book character.

Rex, from Darlington, has an eye condition called optic atrophy, as well as nystagmus, and attended the ceremony in Reading with his mum and dad, Lorna and John and Lorna’s guide dog Yarren. Both Lorna and Rex have the same vision impairment and seeing how much having a guide dog has helped his mum, Rex was inspired to fundraise for the charity.

In doing so, and at just five-years-old, Rex challenged himself to do a 3km muddy obstacle course and raised more than £1000 to help others living with a vision impairment throughout the UK.

“Rex had taken a big interest in Charlie Cox, as he absolutely loves Daredevil. When Rex begins to start using a white cane, he wants one that looks the same as the one Charlie’s character Matt Murdock uses. It is so nice for Rex to have a cool superhero like that to look up to and to meet him was such a surprise. By coming along, Charlie has definitely created a memory that will last a lifetime for Rex.”

- Lorna, Rex's mum

Rex received multiple nominations for his fundraising efforts, having inspired so many people by not just raising funds, but also awareness of Guide Dogs UK and the services provided for people with sight loss across the country. His story also inspired Charlie Cox, who was thrilled to be able to present him with the award.

I was honoured to present Rex with his Inspirational Young Person of the Year award at Guide Dogs’ award ceremony on Thursday. I heard Rex’s story, all that he has achieved at such a young age, and it was a real privilege to be invited to play a part in making the day special for him and his family. The passion, enthusiasm and commitment Rex has shown to helping others makes him as much of a superhero as Daredevil. Congratulations to Rex and all who have supported him in raising funds and awareness for such a worthwhile cause.

- Charlie Cox

[marvelsupergirls]

[marveltimewarp]

Carol Lynley as Captain Marvel

[wandawillkill312]

To anyone who is a fan of Marvel Comics...

...am I the only one, who have noticed that in recent comics- and since the comic book version of "Civil War I"-, most of the Heroes- and even the civilians themselves-, have gotten extremely arrogant, cold, cruel, heartless and just downright mean-spirited?

Especially when it comes to stuff like "Anti-Hero Laws", that restrict the superheroes in so much red tape that it prevents them from actually doing their godd*** jobs!

Like...you're all willing to turn on the very heroes who protect you, because of something as trivial as property damage?!!!

You...You do know that Supervillains start that 💩, right?

Be it stuff, like a death ray, a monster army, an alien invasion or a MOTHERF***ING GIANT ROBOT!!!

Supervillains cause way more damage than Superheroes, but you don't see civilians- ESPECIALLY NEW YORKERS-, being angry at the villains!

Yes, this rant is also aimed a little at New York, as well- specifically New York City!

They say that art imitates life, so I want to know from every type of New Yorker on here- young and old-, if real life Superheroes, Anti-Heroes and Supervillains existed, would you all collectively turn on the Superheroes, because of stuff like property damage- even if most of the time, the Superheroes barely cause it?

And before any of you get up in arms about being called out, need I remind you that Hollywood and other forms of media have painted you all in a really awful light, as being rude, rough, callous, self-entitled, scheming, shifty, greedy, apathetic, unintelligent, unrefined, unsophisticated and of course, short-tempered, with the mentality of solving every problem with your fists- this goes especially for the Italian-American community- specifically those who live in Brooklyn.

Hollywood really screwed you all over- especially with the whole "Mafia", stuff...

Part 2, if I get enough replies.

[shaurya-isnt-funny]

Why aren't movies fun anymore?

Watching the new Road House on Prime left me confused, a film that whose original work was amazingly charming, cheesy, and altogether left me feeling happy and with a dopey smile on my face.

Road House, or any film like Road House, should give us amazing action, slick cinematography and dialogue, and the UFC angle, (when it was announced) intrigued me even further, however in the movie, it fell flat, making the UFC fight feel traumatic and scary instead of a badass backstory, and the movie didn't feel like a Road House remake, it felt more like a Western Spaghetti movie remake, but worse.

The disappointment of Road House has now led me to believe that so many modern Hollywood films are just falling flat, (I'm not even gonna mention Marvel) and apart from a few, the old formulas of superhero films, Oscar-bait films and many other boring films now just feel extremely repetitive.

I know certain movies tend to aim to be more realistic, as UFC would be, but do we watch movies for realism and realistic trauma portrayal or for escapism and wonder.

What do you think?

[moviesactors]

Unveiling the Versatility of Scarlett Johansson: A Portrait of Hollywood's Leading Lady

Scarlett Johansson, an actress of unparalleled versatility and magnetic presence, has etched her name in the annals of Hollywood history with a career marked by memorable performances across genres. From her breakout roles as a young ingenue to her portrayal of complex and empowered women, Johansson has captivated audiences worldwide with her talent, charisma, and innate ability to inhabit diverse characters.

Early Beginnings and Rise to Fame:

Born on November 22, 1984, in New York City, Scarlett Johansson discovered her passion for acting at a young age. Making her film debut at just nine years old in "North" (1994), Johansson quickly garnered attention for her natural talent and screen presence. However, it was her role in "The Horse Whisperer" (1998) opposite Robert Redford that served as her breakthrough, earning her critical acclaim and establishing her as a rising star in Hollywood.

Breakout Roles and Critical Acclaim:

Throughout the early 2000s, Johansson continued to showcase her range as an actress, delivering standout performances in films such as "Ghost World" (2001), "Lost in Translation" (2003), and "Girl with a Pearl Earring" (2003). It was her collaboration with director Sofia Coppola in "Lost in Translation" that earned Johansson widespread recognition and her first Golden Globe nomination, solidifying her status as one of Hollywood's most promising talents.

Blockbuster Success and Iconic Characters:

As Johansson's career flourished, she seamlessly transitioned between indie darlings and blockbuster hits, proving her ability to command the screen in any genre. Her portrayal of Black Widow in the Marvel Cinematic Universe (MCU) catapulted her to global superstardom, with Johansson's fierce yet vulnerable performance resonating with audiences across the globe. Her presence in films like "The Avengers" series, "Captain America: The Winter Soldier," and "Avengers: Endgame" cemented her status as one of the most beloved and iconic characters in the superhero genre.

Beyond the Big Screen:

Outside of her film career, Scarlett Johansson has also made significant contributions to the world of theater, earning critical acclaim for her performances in Broadway productions such as "A View from the Bridge" and "Cat on a Hot Tin Roof." Additionally, she has lent her voice to various animated films, including her acclaimed role as Samantha in Spike Jonze's "Her" (2013), showcasing her versatility as a performer beyond traditional acting roles.

Philanthropy and Advocacy:

Beyond her achievements in entertainment, Scarlett Johansson is also known for her philanthropic endeavors and advocacy work. She has been actively involved in various charitable organizations, including Oxfam, USA Harvest, and Stand Up to Cancer, using her platform to raise awareness and support causes close to her heart.

Looking Ahead:

As Scarlett Johansson continues to evolve as an actress and cultural icon, her indelible mark on the entertainment industry only grows stronger. With an impressive body of work spanning over two decades, Johansson's talent, dedication, and commitment to her craft serve as an inspiration to aspiring actors and audiences alike. Whether she's portraying a fierce superhero, a complex character, or a vulnerable soul, one thing remains certain: Scarlett Johansson is a force to be reckoned with, and her cinematic legacy will endure for generations to come.