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See Ant-Man's Unused Stealth Suit in Concept Art By Andy Park


See the incredible stealth Ant-Man suit in "Ant-Man And The Wasp" (2018) Concept Art By Andy Park.

Check out Ant-Man and the Wasp concept art by Andy Park!

Click on the images to enlarge

Ant-Man has an amazing set of tools, but he almost had one more. Concept artist Andy Park shared some designs he had for an invisible suit that never made it into the films. One of the amazing artists in the Marvel movie shared some artwork on his personal Instagram page.

Andy Park is a professional concept artist who's worked on Hollywood films like Black Panther, Ant-Man, and Avengers: Age of Ultron.

"An idea I’ve had since day one on the [first] Ant-Man film & that I revisited again on Ant-Man & the Wasp was the idea that he could go into stealth mode using his Pym particles (or some other particles/chemicals) to turn his suit dark/essentially invisible," Park said on Instagram. "It furthers his stealth abilities. Both Edgar Wright & Peyton Reed liked the idea. But both times there was no real story moment to make this happen. Oh well... Maybe one day. So here’s the simple animation I did to help sell the idea."






See more of Andy Park's portfolio at http://www.andyparkart.com

Click on the links if you want to see more of Andy Park's work or Ant-Man and the Wasp artwork on my blog.

About Ant-Man and the Wasp (2018)


Official synopsis: "From the Marvel Cinematic Universe comes a new chapter featuring heroes with the astonishing ability to shrink: “Ant-Man and The Wasp.” In the aftermath of “Captain America: Civil War,” Scott Lang (Paul Rudd) grapples with the consequences of his choices as both a Super Hero and a father. As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne (Evangeline Lilly) and Dr. Hank Pym (Michael Douglas) with an urgent new mission. Scott must once again put on the suit and learn to fight alongside The Wasp as the team works together to uncover secrets from their past."
Directed by Peyton Reed
Cinematography by Dante Spinotti
Production Design by Shepherd Frankel
"Ant-Man and the Wasp" stars Evangeline Lilly, Paul Rudd, Hannah John-Kamen, Michelle Pfeiffer, Judy Greer, Walton Goggins, Michael Douglas, Michael Peña, Abby Ryder Fortson, Laurence Fishburne, David Dastmalchian, Randall Park
"Ant-Man and the Wasp" was released on July 06, 2018 (United States)

What do you think of the concept art? If you've seen Ant-Man and the Wasp what do you think of the look?

© Copyright 2018 Disney, Marvel Studios. All rights reserved.
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THE HAPPYTIME MURDERS

THE HAPPYTIME MURDERS
(Dir. Brian Henson, 2018) 

the happy time murders

This movie, directed by a son of Jim Henson no less, about felt getting filthy, is getting savaged by critics but it’s not really that bad. It’s a premise that’s not exactly new – i.e. underneath the warm and fuzzy front is the sleazy, foul mouthed, and raunchy side of show biz * – but it has its moments largely due to its cast made up of Melissa McCarthy, puppeteer Bill Barretta, Joel McCale, Maya Rudolph, and Elizabeth Banks. 

The plot revolves around the serial killings of a ‘80s TV show, The Happytime Gang, which Barretta voicing the burnt out private detective Phil Phillips is partnered with McCarthy as Detective Connie Edwards to investigate. 

Now it’s a pretty standard film noir-ish scenario which isn’t very interesting on its own, but it moves along briskly aided by a bunch of crude sight gags and tossed off one-liners. 

There are good some good ideas batted about such as the bigotry that puppets face from humans but it really doesnt do much with that, and I wish the material was more inspired than jokes like the “asshole says ‘what?’” running gag that was old when it was used in WAYNE’S WORLD two decades ago, but for a throwaway comedy in these dog days of summer, I’ve seen a lot worse. 

* Some folks are crying that this movie is a rip-off of Peter Jasckson’sMEET THE FEEBLES, which incidentally is on YouTube in its entirety right now.
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THE WIFE

THE WIFE (Dir. Björn Runge, 2018) 

the wife

Oscar speculation is high for Glenn Close in her role here as the wife of a famous writer who has just won the Noble Prize for Literature. Jonathan Pryce portrays her husband, the pretentious Professor Joe Castleman, who jumps up and down with his spouse, Joan, on their bed when he gets the news via a phone call in the middle of the night.

The couple fly to Stockholm for the awards ceremony, and on the flight are approached by a sly Christian Slater as journalist Nathaniel Bone, who is determined to be Joe’s biographer. Annoyed, Joe shoes him away, and even discourages him from talking to their son, David (Max Irons) as he returns to his seat.

Amid the parties and intense adulation for Joe, one can sense that something is off about their relationship – much in the way of Close’s subtle reactions to the attention her husband is receiving. David, an aspiring writer himself, feels like his work is largely dismissed by his father, and shows his discomfort at tagging along with his parents to this event.

Bit by juicy bit, we learn through flashbacks in which we see the young Joan, played by Annie Starke, as a writing student at Smith College. Her professor Joe (Harry Lloyd) recognizes Joan’s talent, and it’s obvious that she’s the one with the gift as he leaves his marriage for her, and she helps him complete his first novel or basically fixes it as she notes that his characters are wooden and his dialogue unconvincing.

Slater’s Nathaniel suspects this, and over drinks with Joan, tests out his theory. We also learn of Joe’s affairs over their 40-year relationship, and how Joan looked the other way.

Close’s performance is stoic yet layered as Joan maneuvers through her husband’s world of critical praise as the Noble ceremonies go on, and her discomfort is palpable when she listens to Joe’s acceptance speech in which he says “Without this woman, I am nothing” and attempts to paint a picture of her as his most valued muse. This disgusts her and she leaves the building with her bemused husband following, hoping to get her to come back.

It’s a “behind every great man, there’s a woman” scenario, but the man here, portrayed by Pryce in one of his finest roles, is far from great. The premise involving the long suffering lady being the real one responsible with the work that has given her lover great acclaim has been explored before in such films as IRRECONCILABLE DIFFERENCES, BARTON FINK, and, more recently, BIG EYES, but THE WIFE doesn’t tread over the same ground as it has its own 
elegant, thoughtful, and at times an acidic approach, one that makes for absorbing emotional drama. 

Based on Meg Wolitzer’s 2003 book of the same name, Jane Anderson’s sharp screenplay tells a tale of resentment lurking under a highly cultivated facade, and Close plays every note with poise, grace, and an inner, yet detectable, sense of what Joan has gone through in her life, and how she finally needs to confront it.

Close definitely deserves the Best Actress Oscar this time; it’s hard to believe she’s been previously nominated six times and has never won (that’s more noms without a win than any other actor). Her performance as Joan Castleman here is so masterful that it’ll be impossible for the Academy to ignore.


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Mourning Grave Review


Mourning Grave Review


mourning-grave
Disclaimer: Contains spoilers!

Plot Summary: After moving to a new school, a guy who can see spirits must figure out why a vengeful ghost is killing his classmates.

Review: Yet again, this is some seriously wasted potential. The director seemingly couldn't figure out what to make of this movie. Is it a fantasy romance? Comedy horror? Serious horror? Lame high school drama? You tell me. None of these elements were blended properly at all, and that idiotic ending sure as hell wasn't helping either. Still, there are redeeming qualities to "Mourning Grave" that make it mildly enjoyable. In fact, had the filmmakers simply committed to one genre as the focus, this could have been quite good. More precisely, the horror aspect was the strongest part, and there were some great scares in there; the ghost specifically was a cool design.

So, right out the gate, the story kind of fumbles with the main guy, In-soo, seeing ghosts but everything has a lighthearted tone to it. People bully In-soo over his abilities which is kind of hard to take seriously. It's also kind of moronic that the ghosts sort of have to figure out on their own that he can see them rather than being naturally drawn to him; this is a plot point later contradicted in the film. Anyway, In-soo returns to his hometown that he once abandoned due to discovering his abilities and solving a murder during his childhood. There are way too many plot tangents for the story to handle which reeks of sloppy editing or script changes late in the game. Tough to say. We also learn that these medium-esque abilities are a part of In-soo's family as we meet his goofball uncle. At this point, the film has presented a comedic tone that suddenly shifts into a drama once In-soo befriends a ghost girl who, sorta, becomes his love interest. This girl, Sae-hee, is really cute and nice so it's not hard to fall for her especially when the only thing that makes her appear dead is being slightly paler than a regular Korean girl (which is even debatable unto itself). I want to say the film could have easily, and safely, transitioned into a fantasy-romance and it would have made more sense...but that's not the route they go.

Once more, In-soo is bullied by dweebs at school. I love how like 5 kids are terrorizing this whole school like it would be impossible to beat their asses. Hell, 3 of them are girls! In-soo said he was lonely and lived in the USA prior to the film's events. Here's what happens...I come to Korea, become In-soo's bodyguard, we kick the shit of these dweebs, fight evil ghosts, and he hooks me up with a Korean girl! Sigh. Okay, where was I? Oh, right, so these bullies led to the death of a student that has become a vengeful spirit that is picking them off. The identity of the ghost is kept hidden in the most absurd of ways which leads the audience to the painfully obvious conclusion that Sae-hee is the ghost. These shenanigans are explained away by saying there are two sides to Sae-hee's spirit which is just dumb. We come to learn that Sae-hee was relentlessly bullied until she committed suicide. Then her ghost possessed her grieving father who wanted revenge anyhow. In-soo tries to free the ghost of her pain which leads to yet another ridiculous twist--that, when they were kids, Sae-hee and In-soo knew each other and she was his crush or something. Good lord...stop...please. Whatever, In-soo frees her spirit and she goes off to Kayako-land or wherever. Despite this melodrama, the movie still tries to give us a zinger scare! What?! How does that even come close to fitting the tone?

Essentially, this was a movie that could have been great, however, it's buried under needless bullshit. The romance subplot was good yet squandered. The scares and ghost designs are creepy yet those are cancelled out by predictable plot twists and weak drama. The lighthearted tone was working until the film tried its hand at said melodrama. All in all, the attempt to bring everything to the table, while never focusing on anything, creates a mess of a story and a film as a whole. Don't get me wrong, there are things to enjoy here, but the way everything comes together is a monumental failure. This script needed some polish and clarity to either commit to straight horror or cut something out. I still think this is worth a watch, however, you need to dial back your expectations big time.

Notable Moment: When the evil version of Sae-hee is appearing in a flickering flashlight. Awesome effect. The tilted camera is a nice touch and the blood smeared on her mask looks like a sadistic grin (intentional or not).

Final Rating: 5.5/10
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Upgrade (2018) Review

Upgrade (2018) Review


upgrade
Disclaimer: Contains spoilers!

Plot Summary: After his wife is murdered, and he is left quadriplegic, a mechanic is given an implant that makes him superhuman.

Review: Damn, this is going to be one helluva cult movie as time goes on. "Upgrade" is relentless action on top of an amazing sci-fi world that is built up masterfully without needing to explain anything; you simply accept this future as plausible. Considering this was fairly low-budget, I am surprised the filmmakers were this ambitious with their vision and succeeded quite admirably. Although parts of the story feel like a collage of things we've seen before, these plot elements come together in an original way. The acting is good, the music is amazing, and the story is captivating--my only gripes come from the ending and how that affects parts of the story leading up to it.

To briefly cover the plot...we have the main character, Grey, as a hands-on kinda guy in a future where things are increasingly automated. Grey and his wife get into a car accident that is followed up by Grey's wife being murdered and Grey shot in the neck, left a quadriplegic. I especially liked the presentation of Grey's misery under this life...it endears the audience to Grey and you want to see him get justice. Eron, a kind of eccentric genius and seemingly billionaire CEO or whatever, was a costumer of Grey and feels inclined to help Grey become whole again. Applying an advanced microchip implant, with accompanying AI (named STEM), Grey is able to not only gain all mobility but the AI can enhance every physical ability beyond the normal human limit. With a computer in his head and superhuman abilities, Grey tracks down the men that killed his wife and seeks revenge. What makes things more interesting is that these guys are ex-military that have had cybernetic augmentations of their own which includes guns embedded in their arms among other things.

The fights are fun and there is some crazy camerawork at hand along with commendable fight choreography. However, "Upgrade" isn't just a mindless action movie...the sci-fi aspects are given considerable attention and the film takes on an emotional tone as it goes on. The partner relationship between Grey and STEM is interesting as well as seeing how deep this futuristic world goes. It's worth mentioning that the filmmakers definitely included elements that could open up room for a sequel with the villains apparently having a little more going on outside the film's peripheral as well as a hacker hinting at a bigger picture and the tech companies having ulterior motives; these subplots are by no means a distraction though. Anyway, by the end, we, of course learn a few twists regarding Eron's assistance, why Grey and his wife were targeted, and the true purpose of STEM. In fact, I would say the movie transitions into sci-fi/horror in the last 10 minutes. I won't completely spoil the ending since I want people to go out and see this movie.

As for my problems with the film, the most glaring issues concern how the story comes full circle. I do love when writers do that, but it doesn't completely work. I did like the hints to STEM creating a virtual world for Grey subtly with those alleged dreams that Grey says felt too real. Likewise, I did notice Eron wearing the earpiece...I just figured that was supposed to be their world's cellphone. Unfortunately, STEM running the company all along and wanting Grey is too farfetched and impractical for an AI to scheme. Plus, it's implied that Eron and Grey only met a handful of times. It's just too much of a stretch. In fact, making Eron and Grey have such a minor relationship was a misstep. It would have been better if Eron felt like he owed Grey something or admired him in a way. Furthermore, Eron only having a couple goons to protect him was nonsensical since he's supposed to be extremely rich and powerful. I could really spend a lot of time nitpicking the ending and how Eron being a pawn and STEM controlling the company makes little sense, but I don't want it to sound like the ending is bad, because it's pretty damn good and scary at the same time.

All things considered, "Upgrade" is one of the most impressive low-budget movies I've ever watched. The filmmakers accomplished so much and were able to do things with their world-building that huge studio films can't come close to creating. Everything from the simplistic set designs and eerie music enhances the film's tone and establishes a believable possible future. Grey is one of the best every-man characters I've seen in a long while, and I was fully in support of his revenge. I'd love to see this material continue in a sequel where we can get more context to those subplots and hopefully see Grey return. I'd highly recommend this movie with the mere caveat that not everything fully adds up by the end which kind of hurts the overall presentation.

Notable Moment: When Grey and Fisk fight. Great choreography, intensity, and truly impressive all around.

Final Rating: 7.5/10
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Action Point


Action Point Review


action-point

Disclaimer: Contains spoilers!

Plot Summary: Insufferable assholes run a stupid amusement park as shenanigans unfold.

Review: God fucking damn this was one of the worst movies I've ever tortured myself with! Look over this blog...you know the kind of trash I've reviewed over the years...and this ranks right alongside the worst of them now. I can definitively make this statement: this is the worst movie I've watched theatrically. Dear lord what the fuck were they thinking with this?! The only true solace was that me and my crew were the only people in the theater which meant we could openly trash the movie to each other. I wanted to throw my popcorn at the damn screen. You mother fuckers. Mercifully, "Action Point" is bombing to hell and back which is a good sign.

Don't ask me why I'm watching this shit instead of pumping out my reviews for Asian horror month. I'm sorry--I failed in that regard. Instead, you get to read about this shit. Yippee! Actually, I had wanted to see "Adrift" but ended up seeing this atrocity instead. Oh well. Basically, the most punchable characters in existence run an amusement park in the most idiotic of ways. The film pretends like this would be super popular when in reality no one in their right mind would pay to visit this shit. I kind of appreciated the idea they were going for what with how people used to not be pussies in the past, but this idea is quickly squandered with more emphasis placed upon scenes of alleged zany hijinks. More to the point, the entire movie feels like a collection of individual scenes that were just glued together by this weak story of keeping an amusement park open. Every character is annoying and you want to brutally murder them with your bare hands...well, at least I did. Teehee! Apparently the filmmakers thought you'd care about these clowns but you won't. There is one character in particular that has a hatchet that made my blood boil. UGH! Every joke and gag falls flat and is utterly pathetic. I can't even imagine the stoner crowd laughing at this.

I don't know what anyone involved was thinking, but this was an absolute disgrace to film itself. This is the kind of movie so bad it makes you question what you're doing with your life that you've resorted to watching this. This movie made me angry--VERY angry! I might spiral into a homicidal rage easier than most, but I'm quite confident this level of idiocy could turn the average film-goer into a maniac. Yes, it's that bad! Finally, I want to acknowledge that, while I've certainly reviewed significantly worse films over the years, none of that other shit had a real budget or advertising to match this movie. I mean, did anyone expect things like "Howling 7," "Sleepaway Camp IV," or "Severed" to ever actually succeed? C'mon, son. That's the real difference in why "Action Point" is so egregious. This film belongs in hell, and I'm gonna see it gets there.

Notable Moment: When that moron with the hatchet gets his girlfriend. That was the moment I had enough. The line delivery was so horrendously bad that I could no longer contain myself after that. ARGH! This fucking movie.

Final Rating: 2.5/10


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THE WIFE: The Great Woman Behind The Not So Great Man

Opening today at an art house near me:

THE WIFE (Dir. Björn Runge, 2018) 











Oscar speculation is high for Glenn Close in her role here as the wife of a famous writer who has just won the Noble Prize for Literature. Jonathan Pryce portrays her husband, the pretentious Professor Joe Castleman, who jumps up and down with his spouse, Joan, on their bed when he gets the news via a phone call in the middle of the night.

The couple fly to Stockholm for the awards ceremony, and on the flight are approached by a sly Christian Slater as journalist Nathaniel Bone, who is determined to be Joe’s biographer. Annoyed, Joe shoes him away, and even discourages him from talking to their son, David (Max Irons) as he returns to his seat.

Amid the parties and intense adulation for Joe, one can sense that something is off about their relationship – much in the way of Close’s subtle reactions to the attention her husband is receiving. David, an aspiring writer himself, feels like his work is largely dismissed by his father, and shows his discomfort at tagging along with his parents to this event.

Bit by juicy bit, we learn through flashbacks in which we see the young Joan, played by Annie Starke, as a writing student at Smith College. Her professor Joe (Harry Lloyd) recognizes Joan’s talent, and it’s obvious that she’s the one with the gift as he leaves his marriage for her, and she helps him complete his first novel or basically fixes it as she notes that his characters are wooden and his dialogue unconvincing.

Slater’s Nathaniel suspects this, and over drinks with Joan, tests out his theory. We also learn of Joe’s affairs over their 40-year relationship, and how Joan looked the other way.

Close’s performance is stoic yet layered as Joan maneuvers through her husband’s world of critical praise as the Noble ceremonies go on, and her discomfort is palpable when she listens to Joe’s acceptance speech in which he says “Without this woman, I am nothing” and attempts to paint a picture of her as his most valued muse. This disgusts her and she leaves the building with her bemused husband following, hoping to get her to come back.

It’s a “behind every great man, there’s a woman” scenario, but the man here, portrayed by Pryce in one of his finest roles, is far from great. The premise involving the long suffering lady being the real one responsible with the work that has given her lover great acclaim has been explored before in such films as IRRECONCILABLE DIFFERENCES, BARTON FINK, and, more recently, BIG EYES, but THE WIFE doesn’t tread over the same ground as it has its own 
elegant, thoughtful, and at times an acidic approach, one that makes for absorbing emotional drama. 


Based on Meg Wolitzer’s 2003 book of the same name, Jane Anderson’s sharp screenplay tells a tale of resentment lurking under a highly cultivated facade, and Close plays every note with poise, grace, and an inner, yet detectable, sense of what Joan has gone through in her life, and how she finally needs to confront it.

Close definitely deserves the Best Actress Oscar this time; it’s hard to believe she’s been previously nominated six times and has never won (that’s more noms without a win than any other actor). Her performance as Joan Castleman here is so masterful that it’ll be impossible for the Academy to ignore.





More later...

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Of Puppets And Puzzles

These two vastly different movies open today at multiplexes (and some art houses in PUZZLE’s case) near us all:

THE HAPPYTIME MURDERS



(Dir. Brian Henson, 2018) 












This movie, directed by a son of Jim Henson no less, about felt getting filthy, is getting savaged by critics but it’s not really that bad. It’s a premise that’s not exactly new – i.e. underneath the warm and fuzzy front is the sleazy, foul mouthed, and raunchy side of show biz * – but it has its moments largely due to its cast made up of Melissa McCarthy, puppeteer Bill Barretta, Joel McCale, Maya Rudolph, and Elizabeth Banks.

The plot revolves around the serial killings of a ‘80s TV show, The Happytime Gang, which Barretta voicing the burnt out private detective Phil Phillips is partnered with McCarthy as Detective Connie Edwards to investigate.

Now it’s a pretty standard film noir-ish scenario which isn’t very interesting on its own, but it moves along briskly aided by a bunch of crude sight gags and tossed off one-liners. 





There are good some good ideas batted about such as the bigotry that puppets face from humans but it really doesnt do much with that, and I wish the material was more inspired than jokes like the “asshole says ‘what?’” running gag that was old when it was used in WAYNE’S WORLD two decades ago, but for a throwaway comedy in these dog days of summer, I’ve seen a lot worse.

* Some folks are crying that this movie is a rip-off of Peter Jasckson’s MEET THE FEEBLES, which incidentally is on YouTube in its entirety right now. You
’re welcome.

And now for something completely different:

PUZZLE (Dir. Marc Turtletaub, 2018) 








Kelly Macdonald (TRAINSPOTTING, GOSFORD PARK, NO COUNTRY FOR OLD MEN, Boardwalk Empire, among numerous other notable credits) is superb in this story of a lonely woman finding her niche by putting together jigsaw puzzles with an eccentric Indian inventor (Irrfan Khan *).

Macdonald portrays Agnes, an awkward Connecticut housewife, with two college aged sons (Bubba Weiler and Austin Abrams), and a mechanic husband (David Denham, best known as Roy, Pam’s ex-fiancé on The Office US), who is given a 1000-piece puzzle of a world map for her birthday, and finds that she has a skill for putting it together quickly.

Agnes visits a puzzle shop in New York to buy more puzzles and sees a flier that says “Champion desperately seeking puzzle partner.” She takes home the number in one of the film’s most charming moments she texts “Hi. My name is Agnes. I think I might be good at this. Puzzles I mean.” Her nervousness is priceless here as it’s her first text ever as she was just given an iPhone by her son for her birthday.

Agnes soon meets up with Robert (Khan), who lives in a spacious apartment in the city, and they pull their puzzle-making talents together for a shot in a competition. Agnes keeps that she’s going to work on puzzles with Robert secret from her husband, telling him she’s going to help her Aunt who broke her leg a few times a week. As one might guess, a romance develops between Agnes and Robert, whose poetic philosophy regarding puzzles makes Agnes swoon (hey, it won me over too), but it’s handled with such poignant precision that nothing cringe-worthy happens.

PUZZLE is a quiet, lovely film with a gentle, thoughtful screenplay by Oren Moverman (JESUS’ SON, I’M NOT THERE, LOVE AND MERCY). Macdonald, who should really be a household name, puts is a highly affecting performance in service of an ultimately uplifting story in which all the pieces fit together perfectly (the movie is called PUZZLE so, of course, I’m gonna work in a line like that).

So the bottom line on these two new movies is that unless you’re looking for cheap laughs, skip the filthy puppets and seek out PUZZLE. I bet you’ll be glad you did.





* Khan is also an actor who should be a household name - he's done many films for Bollywood, Britain, and Hollywood including roles in SLUMDOG MILLIONAIRE, THE DARJEELING LIMITED, LIFE OF PI, and JURASSIC WORLD. A film that I highly recommend of his is THE LUNCHBOX (read my review).





More later...


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My Last Night At The Rialto












Last night was my final shift working at the Rialto Theatre in Raleigh.

A little back story: I first started working at the Colony Theater, owned by Ambassador Entertainment, in late 2009. I had previously worked at the Varsity Theater in Chapel Hill throughout most of the 2000’s, but quit when I got married and moved to Raleigh earlier that year.

It must also be noted that the Varsity was closing down then, which I wrote about in this blog post: My Last Night At The Varsity Theater & THE HANGOVER (June 4, 2009).

The Varsity later re-opened later that year which I also blogged about: The Historic Varsity Theater In Chapel Hill NC Is Reopening! (October 26, 2009) and Visiting The New Varsity Theater On The Verge Of Its Reopening (November 23, 2009).




So I began working at the Colony Theater in December, 2009, and also started working at their sister theater, the Rialto, shortly after. Sometimes I worked at both theaters on the same day; many Fridays I worked matinees at the Colony, then went to work the evening shift at the Rialto.



Sadly, the Colony closed in late 2015. The empty space and blank marquee still remains.









After that, I continued to work at the Rialto, but am leaving now to pursue other opportunities (more on those in future blog posts). I will miss the Rialto greatly as I’ve worked with great people there, and seen many great movies via their first run roster of indies, foreign films, documentaries, and the revival series Monday at the Movies and Cinema Inc.



This last summer has been a great one for the theater as they’ve shown three superlative docs: RBG (about iconic Supreme Court Justice Ruth Bader Ginsburg), WON’T YOU BE MY NEIGHBOR? (about iconic children’s TV show host Fred Rogers), THREE IDENTICAL STRANGERS (read my review here), and Spike Lee’s excellent BLACKKKLANSMAN (read my review here).





BLACKKKLANSMAN is the movie that was playing on my last night at the 76-year old movie palace, so I highly appreciated that my final shift was in service of a great film (my last movie at the Varsity nearly a decade ago – THE HANGOVER – wasn’t so great a film to leave on).



Heres a pic of the audience waiting to see Lees latest on my last night:







I’ll still visit the Rialto and my friends there, and I’ll still post pictures of its great marquee on this blog. It’s such a grand venue; a real historic part of Raleigh that I hope will be around a long time.



In weeks to come, I’ll update you dear readers (I’m betting there’s more than one of you) with my new adventures and continue spreading Film Babble Blog goodness as I’m still going to be involved heavily with the world of movies.



Farewell Rialto! Thanks so much for all the movie memories!

More later…
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BLACKKKLANSMAN: An Instant Classic That's One Of Spike Lee's Best Films

Opening today at an art house near me:

BLACKKKLANSMAN (Dir. Spike Lee, 2018) 











Believe the hype – Spike Lee’s newest joint is an instant classic and among his best films including DO THE RIGHT THING, MALCOLM X, 25TH HOUR, and INSIDE MAN.

It’s been quite a while since he’s made a truly relevant movie, but this true story adaptation of former police detective Ron Stallworth’s 2014 book about infiltrating the Klu Klux Klan in the ‘70s may be his most relevant movie ever.

Stallworth, sharply portrayed by John David Washington (son of Denzel), was the first black police officer in the Colorado Springs Police Department, and we follow his rise in the ranks to the Intelligence Unit. Stallworth’s first assignment is to go undercover to observe the crowd reaction to a speech by ex-Black Panther member Stokely Carmichael, who had just changed his name to Kwame Ture.

At the event Stallworth has a meet cute with student activist Patrice Dumas (Laura Harrier), and asks Ture (Corey Hawkins) if he really thinks a race war is coming. “Arm yourself, brother, ‘cause the revolution is comin,’” Ture strongly stresses.

Stallworth comes upon an ad for the KKK in the newspaper, and calls the number on a classic black rotary phone that gets some dramatic close-ups to find himself talking to a recruiter saying that he hates blacks, Jews, Mexicans, Irish, Italians, and Chinese, “but my mouth to God’s ears, I really hate those black rats, and anyone else really that doesn’t have pure white Aryan blood running through their veins.”

This hate speech gets him invited to meet with members of the local charter, but, of course, he can’t go himself so he gets a fellow cop, Detective Flip Zimmerman (Adam Driver) to go in his place and use his name (Stallworth used his real name when calling them because he didn’t know at the time that there would be an investigation).

Zimmerman or Stallworth #2 meets with some scary redneck types played by Ryan Eggold, Paul Walter Hauser, and Jasper Pääkkönen, who suspects that their new recruit might be Jewish, and even tries to get him to take a lie detector test.

There are a number of likewise close scrapes where the detectives’ covers almost get blown including one riveting segment in which Washington’s Stallworth is assigned to be security for KKK Grand Wizard David Duke played with polished smarm by Topher Grace.

While the love interest was fabricated – the character Harrier plays is fictitious – what went down is reportedly accurate in this excellent film that’s part tense thriller, part powerful drama, and part history lesson. Being a Spike Lee Joint it has its fair share of well placed humor, but it’s too serious minded to get very silly.

It’s striking but not surprising that much of the rhetoric used by Duke and the other Klansmen is largely identical to the racist utterings of our current commander-in-chief, and his slogans such as “America first,” and “Make America Great Again” are also spouted. There’s even a moment where Stallworth is confounded by the idea that someone with this bigoted ideology could someday be elected President.

Lee arranged for this film to be released on the eve of the one-year anniversary of the tragic Unite the Right rally in Charlottesville, Virginia, in which a counter protester, Heather Heyer, was killed. The movie ends as a tribute to Heyer, and we’re left with the horrifying thought that this shit is still happening with the flames being fanned by the asshole in the highest office in the land.

Lee knows that this story doesn’t need any flashy stylistic touches so he mostly plays it straight via cinematographer Chayse Irvin
s solid camerawork, but he does include some titled angle split screens, and he busts out one of his trademarked moves – the dolly shot - towards the end and it kills. He also employs his trusty longtime collaborator Terence Blanchard to provide the films often stirring score.

BLACKKKLANSMAN is a vital, piercing piece of work that is one of the best films of the year. With hope it will get some awards season action, especially since Lee really deserves to get something more than that Honorary Oscar he got a few years back.




But more importantly this movie deserves big audiences and to be in the national conversation. I know he doesn’t want to call it a comeback, but, dammit, I’m really glad that Lee has returned with the goods.





More later...

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See Bizarre Creatures You Never Saw in "Ant-Man and the Wasp" Concept Art by Tully Summers


Check out Ant-Man and the Wasp concept art by Tully Summers!


"Ant-Man and the Wasp" is still breaking box office records and opened up a whole new world with a unique villain and an adventure in the microscopic "Quantum Realm". The Quantum Realm is a different dimension that can be reached by shrinking between the molecules of matter and is the place the original Wasp, Michelle Pfeiffer’s Janet van Dyne, was trapped for decades.

One of the talented concept artists, Tully Summers, has shared his artwork on his site. Summers is a professional concept artist who's worked on films like Thor (2011), The Dark Knight Rises, and Avengers: Infinity War (2018).

The images show some strange microscopic creatures never seen in the film and alternate looks at Ghost' (Hannah John-Kamen) costume.


Click on the images to enlarge

Ant-Man and the Wasp: Early Microverse Ideas - Nano MedBots



"As cool as all the native microverse critter encounters were, I thought it would be interesting to introduce a man-made threat sent from the outside world," Summers said on his site. "In this case, Nano Medbots originally designed to heal the human body, now re-purposed and sent by nefarious folk to end our heroes."


Ant-Man and the Wasp: Early Microverse Predation Mite

"Before we had a finalized script, we were asked to generate images to inspire and facilitate writing. At the time the movie was imagined as Heroes against nature but in the Microverse. A sort of Quantum Realm Skull Island. I'd still love to see that movie!" - Tully Summers













Ant-Man and the Wasp: Early Ghost Images

"I had the exciting opportunity to work with all my friends over at Marvel Vis Dev on Ant-Man and the Wasp under supervision by the great Andy Park. These are some early Ghost images. I was fascinated [by] the technological/haunting aspect of the character." - Tully Summers




"My design for Ghost. I'm very happy with the excellent job the costume department did in fabricating the suit and thrilled that Ghost was played by the wonderful Hannah John-Kamen! The look was directly inspired by the classic comic images." - Tully Summers








Ant-Man and the Wasp: Ghost power exploration.

"Early on we had not defined Ghost's power set. This was an image where I proposed her ability to phase others by touch, not just herself, allowing her to sink people into the ground or fuse their head into a girder. I thought this could give her an extra creepy factor...'don't let her touch me!!'" - Tully Summers



Ant-Man and the Wasp: Ghost early Rejuvenation chamber

"My early take was like a Dracula techno-coffin, also my nod to Metropolis. Production eventually took this to a more 'home made tech' look that used Fresnel lenses.'" - Tully Summers

Ant-Man and the Wasp: Ghost early phase claws

"Early on, I took the 'ghost' moniker literally and had her floating through walls. Keying of some of the comic images I gave her long phase claws that would 'cut' reality and allow her to phase through things. Eventually deemed too visually similar to Wolverine claws." - Tully Summers






"An alternate version of the phase claws, intended to phase surfaces by touch. The phase pads exist on the final costume, but production opted for the much quicker full body phase, more suited to the high paced fight scenes." - Tully Summers


Ant-Man and the Wasp: Ghost overload idea

"When we decided Ghost's suit was containing her, not granting her powers, I became fascinated with the idea that the more her suit was damaged, the more powerful she became. More chaotic and more dangerous." - Tully Summers



See more of Tully Summers's portfolio at http://www.tullysummers.com

Click on the links if you want to see more of Tully Summers's work or Ant-Man and the Wasp artwork on my blog.

You can also buy the artbook


What do you think of the concept art? If you've seen Ant-Man and the Wasp what do you think of the look?

© Copyright 2018 Marvel Studios. All rights reserved.


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