Black Myth: Wukong turned out to be one of the surprise hits of the year, and the action-adventure game is currently racking up awards. During an acceptance speech for one of those trophies, the cofounder of the studio behind the game said fans can expect a new surprise next month.
Pokémon TCG Pocket has been quite the roller coaster ride. It’s absolutely got its hooks in a lot of us at Kotaku, and we’re playing it every day. But at the same time, it’s unquestionably a predatory gacha game using a children’s IP. What a muddle. But there’s one thing that’s unambiguous: there’s a lot of room for…
Pokémon TCG Pocket has been quite the roller coaster ride. It’s absolutely got its hooks in a lot of us at Kotaku, and we’re playing it every day. But at the same time, it’s unquestionably a predatory gacha game using a children’s IP. What a muddle. But there’s one thing that’s unambiguous: there’s a lot of room for…
You know that fake commercial in Tropic Thunder where Tugg Speedman and the Scorcher franchise keep coming back again… again… and again? That’s pretty much the Terminator franchise by 2019. Where over and over again it respawns and says “I’ll be back… but this time it’ll be different. It’ll be a re-imagining! Accompanied by another trilogy. No, this time we’re back with the old cast! And it’ll be like before!” It’s like Jim Carrey yelling at Matthew Broderick in The Cable Guy “I can fix it! I can make it cool again, Stephen!” But will they? For some! Not for all. This is the story of what happened to Terminator: Dark Fate. The film that may have killed the Terminator movie franchise for good.
When Terminator Genisys performed poorly at the domestic box office, Skydance Productions (which suspiciously sounds like Skynet) was left with a choice. Forge ahead with their planned trilogy or wipe the slate clean. Originally, Skydance was happy enough with what the film did on a worldwide scale to move forward. But first, they wanted to know what went wrong at home. They would take their time and take a deep look into the market research to see how they should adjust. Apparently what that market research told them was to go with their first instinct and light it all on fire. And so they did.
After leaving Deadpool 2 due to creative differences with Ryan Reynolds, director Tim Miller was hired for the job. Miller had been the co-founder of visual effects company Blur Studio, where he created the killer opening sequence for The Girl with the Dragon Tattoo among many other projects. And, of course, the insanely succesful Deadpool. But what the Hell was this film going to be about? What did the market research tell Skydance? It apparently told them to go and try to make Terminator 2 again. Thanks, market research.
So, what do you do if you want Terminator 2? You go and get you James Cameron. Who, thankfully wasn’t too neck deep in blue people at the time and was ready to, in some fashion, return to the franchise he created. So long as they promised to bring back his buddy Arnold Schwarzenegger. Which, if you can believe how stupid this is, some folks working on the project hadn’t intended to do.
Cameron, enticed by the idea of terminating the inferior sequels to his original films and making a direct sequel to Terminator 2, signed on as a producer. He had worked with Miller and his design studio before, and the production desperately needed a seal of approval from the man who made the originals. Although Cameron did give his seal of approval on Genisys. He effectively put a cigarette out on its forehead and moved on, saying, “we’re pretending the other films were a bad dream”. Ouch, Jim.
But what would this super superior sequel be about? We can’t just remake Terminator 2. You have to put lipstick on it first. They hired a team of novelists to come up with their takes on what the future of the franchise could look like. They then took that inspiration and hired “guy who has written every movie you’ve ever seen from the Dark Knight to Kickboxer 2”, David S. Goyer. As well as Justin Rhodes and Billy Ray. The latter of which had quite an interesting writing career to that point; having written both Bruce Willis erotica with Color of Night, and Tommy Lee Jones disaster flick Volcano. That’s range.
While these three gentleman are credited as the only screenplay writers, this script was touched by more hands than an in store X-Box 360 demo display on Black Friday in a 2005 Target Electronics Section. The Sarah Connor Chronicles creator Josh Friedman was among an entire group who helped Cameron come up with an idea for the initial story and Miller wrote many of the action scenes. Others were handed down to him by Cameron as ideas he’d thought of over the years but had never made. Even the actors had their hands in the crafting of the script at times with Schwarzenegger changing some of his lines and Linda Hamilton changing lines she didn’t feel were true to Sarah Connor. Cameron was sometimes sending over shots to be filmed by Miller just a day before they went to camera. The story that came out of all this haberdashery was a doozy.
The overall bones of the film were simple enough. A new Terminator called a Rev-9 with all sorts of cool new tricks would be sent back in time to kill a future adversary. This time, that future leader of humankind was a young girl named Dani Ramos. Not John Connor. Because they kill him off in the opening act *Record scratch* WHAT? Yeah, they scrolled down their list of options and decided to take everything that happened in one of the greatest action films we’ll ever see in our life time and make it pointless. It’s a bold strategy, Cotton. Let’s see if it pays off.
Of the decision, Cameron (a guy who once made a quip about other filmmakers “pissing in the soup” of his franchise) said, “Let’s just pull the carpet out from underneath all of our assumptions of what a Terminator movie is going to be about.” And with those words you would think the rest of the story was going to go places we never expe-no, it doesn’t.
The resistance also sends back their own genetically enhanced soldier to protect newJohn, then they team up with the T-800 and fight off the Rev-9 to save the future. Only the kicker is… this T-800 is the Schwarzenegger model Skynet originally sent to kill CGI John Connor in the first few minutes of the film. Having fulfilled his orders, he’s become a drapery specialist, the caretaker of a family, and spends his days anonymously texting Sarah Connor new Terminator locations. Because he feels bad about shooting her son in the face. Clearly, realizing it was him brings up old memories for Sarah. And the film reminds us of this every several minutes for the remainder of the film. All the way up until the T-800 gives his robot life to save them all with the parting words… “For John.”
The irony that the entire movie ended up as an ode to John Connor when the first few minutes were about booting his character from the franchise are in the words of Linkin Park “all too much to take in” for some. Miller would say of the moment, “You want to slap the audience in the face and say, ‘Wake up. This is going to be different’. I think I accomplished that.” Now there’s something we can agree on.
With the story decided and written production began 2018 in Spain, Hungary, and the United States. Arnold was a go from the beginning and brought his trademark comic levity along with a great haircut. Linda Hamilton reprising the role of Sarah Connor was a bit bumpier. Having mostly retired from acting, she wasn’t sure if she wanted to do the role at all. Cameron reached out with an email listing all the reasons she should and shouldn’t come back. In the end she decided to return to the role despite previously judging other sequels to T2, saying, “There will always be those who will try and milk the cow.”
The film will in many ways work or not work for you depending on how you feel about her performance. Dark Fate is largely centered on her character and her Jamie Lee Curtis in Halloween 2018-esque return to the franchise. You could find it to be an impressive and rugged action performance. Or you might see it as a very rusty actress trying to bring too much of a “badass” edge to a character that becomes a little cringy.
One cool aspect of the requel sequel is Diego Luna’s Rev-9 character. The new T-1000 brings with him from the future some gnarly new gimmicks. The effects don’t quite live up to the jaw dropping moments coming out of the T-1000 back in 1991, but the ideas are cool, nonetheless. And Luna has the desired “determined yet quizzical” face structure and movements for the role. Halt and Catch Fire’s Mackenzie Davis fought hard for and eventually earned the role of Grace; the human/robot hybrid protector. Davis brought both a believable physicality to the role and just the right amount of rebellious attitude you would expect from a human being who people will not stop calling a robot.
Natalia Reyes was cast as essentially the new John Connor of the story and we were off. Reyes was likeable but it was hard to ever see what the movie was trying to explain to us this character would be in the future. Sure, Edward Furlong was a punk teenager in Terminator 2, but there was a rebellious side to him where you could picture him being a future leader of the resistance. Just needed a little bit of trauma and a few protein bars.
Speaking of young John Connor, the production had Edward Furlong on set for a day so that they could portray his likeness onto body double Jude Collie with motion capture technology. This small amount of participation bummed Furlong out quite a bit. The actor had been hoping to have a bigger role in the film but was ultimately brought in so that his avatar could be shot while ordering his mom a Corona at a beach bar. It’s a rough business. Schwarzenegger’s jacked child murdering T-800 was played by the same body double who played Arnold in Terminator Genisys, Brett Azar. Hamilton had her own body double for the scene in actress Maddy Curley, and she did not enjoy it. She continuously gave Curley notes about having the wrong movements or reactions and eventually went home and “cried her eyes out” after watching Curley play her character. She also, in her own words, said she “got a little crazy trying to micromanage” other stunt actresses movements during the rest of the shoot. Hamilton also said that she had a hard time understanding the script because of the large amount of action. And there was a lot of action.
Ultimately the film uses over 2600 digital effects with once again Industrial Light & Magic taking the lead on the project. But they did have to call in multiple other companies to help with the large workload. One action scene in particular featured a plane sequence which was filmed on the largest gimbal ever built at 85 tons. A design that took over five months to build and was sixty feet long, with a blue screen on one side for digital effects to be added.
There were great action set pieces throughout Dark Fate. From a factory throwdown to the chase scene that followed with the Rev-9 showing off some innovative updates to his abilities. Ultimately, though, the CGI was palpable throughout and sometimes the movements of the characters looked unnatural. It definitely didn’t have the attention to detail of a movie like T2, but what does? Cameron used that attention to detail ability in the editing booth for Dark Fate, knocking off a whopping 42 minutes from the films original run time. Cameron and Miller often budded heads in a friendly way throughout the production, and ultimately remain friends. Though Miller has said he likely wouldn’t work with Cameron again in this capacity, citing a need for more control over his own projects.
This leaves us with the question of why Cameron didn’t just direct the darn thing himself? And the answer is he was busy filming Avatar sequels. Always with the Avatar.
Terminator Dark Fate would release unto the world in the fall of 2019 and become an immensely disappointing box office bomb. The film grossed just over $260 million worldwide total. More than enough to buy groceries if there’s a good sale. But not for a movie with a nearly $200 million starting budget and a hefty marketing price tag. Dark Fate had needed to rake in almost double what it made. Just to break even.
Who knows why it bombed exactly. Perhaps the seal of approval from James Cameron meant little after he had just recently promoted Genisys? Were people not buying the lack of Schwarzenegger? It wasn’t the critical response. Dark Fate opened up to a “Fresh” score of 70% on review aggregate Rotten Tomatoes and currently holds an 82% fresh audience score. Maybe it’s just time for the film franchise to take a long break. I said FILM franchise. Terminator Zero rules. Or maybe it’s what Linda Hamilton said herself, from the top rope one last time, “The story’s been told, and it’s been done to death.”
Maybe it’s because the people involved were so certain that their absence was the reason previous films didn’t work out. Yet, Dark Fate seemingly had nothing to say the first two films didn’t already cover. Still yet, for some, Dark Fate does round out a nice trilogy paired with the first two Cameron films and for them… that’s enough. And that is what happened to Terminator Dark Fate.
A couple of the previous episodes of What Happened to This Horror Movie? can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
The post Terminator: Dark Fate (2019) – What Happened to This Movie? appeared first on JoBlo.
Plot: Retired professor Charles feels life has nothing new in store for him. A year after his wife’s passing, he’s become stuck in his routine and grown distant from his daughter Emily. But when he spies a classified ad from private investigator Julie, he’s inspired to roll the dice on a new adventure. Charles’ mission: to go undercover inside the Pacific View Retirement Home in San Francisco and solve the mystery of a stolen family heirloom.
Review: Michael Schur’s track record should speak for itself. After writing memorable episodes of The Office, Schur went on to co-create both Parks & Recreation and Brooklyn Nine-Nine and created the brilliant The Good Place. Ted Danson, who starred in The Good Place, has reunited with Schur for the new series A Man On The Inside, which mines similar comedic elements for a shorter, more focused series that blends humor and mystery into a heartfelt story of what the lives of senior citizens are like. Inspired by a true story, A Man On The Inside is a sweet and funny series with a solid ensemble embarking on a unique whodunit that is enjoyable for all ages.
Ted Danson leads the series as Charles, a retired professor of engineering who putters around his home after the passing of his wife a year earlier. He has a strained relationship with his daughter Emily (Mary Elizabeth Ellis), who suggests that her father find a hobby to fill his days. Charles answers a want ad placed by private investigator Julie Kovalenko (Lilah Richcreek Estrada), who is trying to figure out who stole a necklace in a retirement community. Charles goes undercover as a new resident in the community to investigate, which sets up all sorts of hijinks and scenarios. Over the course of the eight-episode series, Charles eliminates some suspects while uncovering others as he tries to solve the crime without exposing his true identity. This involves the septuagenarian struggling to keep a low profile despite the high school-esque atmosphere of the old folks home.
Each half-hour episode poses a new wrinkle, clue, or red herring as Charles tries to befriend various residents, including women pursuing him romantically like Virginia (Sally Struthers), threatened competition like Elliott (John Getz), and an unassuming new friend like Calbert (Stephen McKinley Henderson). Charles must also try to keep in the good graces of Didi (Stephanie Beatriz), the kind facility manager. As Charles’ investigation runs into potential suspects ranging from residents to staff, he must also try to keep his relationship with Emily strong as she contends with her own family struggles at home with her husband Joel (Eugene Cordero) and their three teenage sons. What starts as a distraction for Charles from his own lonely life as a widower soon turns into happiness and joy at being surrounded by other people looking for the same things in life that he is. That also means there is an opportunity for some fun when he realizes how people his age still get frisky, drink heavily, and do some drugs as well.
Ted Danson has long played a much different kind of leading man, returning to his days on Cheers and in films like Three Men and a Baby. Over the last decade, Danson has expanded his comedic talents in both The Good Place and as a fictionalized version of himself in Curb Your Enthusiasm. Embracing his age and his white hair, Danson is a sympathetic and likable lead. He is something of a nerd having fun playing spy, which makes for some wholesome humor throughout A Man On The Inside. There are supporting performances from Mike Schur’s prior cast, including Stephanie Beatriz, who plays a far different role than she did on Brooklyn Nine-Nine. There is also a brief appearance by D’Arcy Carden and some other fun connections to Schur’s earlier series. So much of this show benefits from the older cast, which you will likely have seen many times before in supporting roles, like Margaret Avery, Susan Ruttan, Lori Tan Chinn, and Clyde Kusatsu.
Mike Schur wrote and directed several episodes of A Man On The Inside based on the documentary The Mole Agent. That film, directed by Maite Alberdi, was nominated for an Academy Award when it was released in 2020 when Schur was given the idea to adapt the film as a series by Morgan Sackett. Sackett directed multiple episodes of A Man On The Inside, which has a lot of fun with the concept. Airing on Netflix, the series does not need to abide by network television restrictions but still manages to keep things pretty clean. The series’ aesthetic is bright and glossy, like The Good Place and Brooklyn Nine-Nine, but also shares some of the slightly darker humor of Only Murders In The Building, another series about seniors playing amateur sleuths. What sets this series apart from the Hulu show is its brighter tone and heart, which is not about death despite being with a cast all in the later years of their lives.
A Man On The Inside will not raise the bar for small-screen comedy, but it has a strong sense of humor and a solid heart. The series made me smile constantly at the sweet characters, even if none of the humor really delivers anything we have not seen before. Ted Danson, Mary Elizabeth Ellis, Stephanie Beatriz, and the entire ensemble brought this story to life, making me grin. Nothing will blow people away about this show, nor does it stand out like Schur’s prior shows, but A Man On The Inside is a feel-good show with feel-good characters that is an enjoyable and quick binge. I look forward to returning to this series for a second season and more.
A Man On The Inside premieres on November 21st on Netflix.
The post A Man On The Inside TV Review: Ted Danson is an eldery detective in this clever comedy appeared first on JoBlo.
In the chronicles of American cinema, Denzel Washington (who we recently interviewed) stands as a singular force. His body of work represents not just artistic excellence but a fundamental reshaping of what stardom means in Hollywood. Each performance bears his unmistakable signature – a blend of intellectual rigor and emotional truth that has become the gold standard for screen acting.
Washington’s command of his acting instrument sets him apart from his contemporaries. His approach to character isn’t about transformation so much as revelation – peeling back layers to expose fundamental truths about human nature. Where other actors might rely on external changes, Washington works from the inside out, building characters whose inner lives radiate through every gesture, every measured pause, every calculated glance.
The foundation of his artistic journey was built on theater training and a methodical approach to craft. Early television work on St. Elsewhere revealed glimpses of his potential, but it was his supporting role in Cry Freedom that announced the arrival of a formidable dramatic talent. The Oscar nomination that followed marked him as an actor to watch, but no one could have predicted the heights he would reach. Except for maybe the man himself.
Glory proved transformative – not just for Washington, who won his first Academy Award for the role, but for Hollywood’s perception of what a supporting performance could accomplish. As Private Trip, he created a character of such complexity and emotional depth that he commanded attention in every scene, demonstrating how a relatively brief screen time could leave an indelible mark on cinema history.
The 1990s established Washington as an actor who could carry nearly any genre (even if he slammed some of his choices from this period). His portrayal of Malcolm X stands as one of the great achievements in biographical filmmaking – a performance that captures not just the historical figure’s public persona but his personal evolution. This role exemplified Washington’s ability to inhabit a character so completely that the line between actor and subject seems to dissolve.
His work during this period showcased a remarkable range. In Devil in a Blue Dress, he brought noir detective Easy Rawlins to vivid life. Crimson Tide showed audiences that he’s a master of creating tension through verbal sparring rather than physical action. He Got Game revealed his gift for exploring complex father-son dynamics. Each role added new dimensions to his artistic palette. He also dipped his toe into action with movies like Ricochet and Virtuosity.
The turn of the millennium saw Washington take his artistry to new heights. His Oscar-winning performance in Training Day redefined what a villain could be in modern cinema. Detective Alonzo Harris emerged as a complex study in corruption, power, and moral decay – frightening not for his physical menace but for the way he embodied institutional rot and personal betrayal.
Washington’s evolution as a filmmaker marks another chapter in his artistic journey. Behind the camera, he brings the same meticulous attention to detail that characterizes his acting. Antwone Fisher announced him as a director of unique sensitivity, particularly in handling personal stories of trauma and healing. The Great Debaters confirmed his skill at orchestrating ensemble performances while tackling significant historical themes.
His performance style showcases a rare mastery of technical and emotional elements. Washington understands the camera intimately – how to modulate his energy for different shot sizes, how to use stillness effectively, and how to maximize the impact of both dialogue and silence. Yet this technical precision never comes at the expense of emotional authenticity.
Throughout his filmography, Washington has displayed admirable discernment in project selection. His filmography reveals a preference for roles that examine moral complexity, social justice, and personal redemption. Even in more commercial ventures (I like to call them popcorn movies), he finds ways to infuse characters with psychological depth and societal relevance.
The consistency of his excellence is worth talking about. While many actors experience significant peaks and valleys, Washington maintains a remarkably high standard across decades. His performances in films like Flight, Fences, and Roman J. Israel, Esq. – each earning Oscar nominations – evidence his continued commitment to finding new aspects of his talent to explore.
Washington’s technique rewards close study. His control of vocal dynamics – the way he can shift from whispered intensity to thunderous proclamation while maintaining character truth – sets him apart. His physical choices are equally precise, whether in the military bearing he brings to uniform roles or the distinct body language he creates for characters like Roman J. Israel
His return to a portrayal of classical theater with The Tragedy of Macbeth reveals an artist still pushing boundaries later in his artistic journey. It was also the first film directed by Joel Coen without his brother Ethan. The role allowed Denzel to bring his distinctive intensity to Shakespeare, creating a Macbeth that felt both historically rooted and startlingly contemporary. This performance earned him his tenth Oscar nomination, extending a record that places him among the most recognized actors in Academy history.
Washington’s profound effect on American culture transcends his screen performances. His name has become a cultural touchstone – a symbol of excellence that inspired a generation of parents to name their children Denzel, following the release of Malcolm X. His success helped reshape Hollywood’s often narrow view of leading men, proving that audiences would embrace sophisticated, challenging performances, regardless of race.
While Washington’s dramatic range seems limitless, comedy represents the one genre where his formidable talents find less sure footing. His natural gravitas and intense screen presence, such tremendous assets in dramatic roles, can work against him when lighter fare demands a looser touch. Early attempts at comedy like Carbon Copy showed an actor still finding his rhythm, while Heart Condition showed how his natural dignity could create an awkward disconnect with broader comic material. He played that movie like he was too cool for it, and to be honest, he probably was. Even in films with comedic elements, like Much Ado About Nothing, Washington tends to play the straight man, letting others carry the humorous moments.
This limitation, if it can be called that, likely stems from the very qualities that make him so compelling in dramatic roles – his precision, intensity, and commanding presence. Unlike peers such as Robert De Niro, who successfully pivoted to comedy with Meet the Parents, Tom Hanks, who moved freely between dramatic and comedic roles throughout his career, or Samuel L. Jackson, who can embrace the absurd while maintaining his edge, Washington’s performances work best when anchored in emotional or dramatic truth. It’s telling that in his decades-long professional path, he has largely avoided pure comedic roles, suggesting a self-awareness about where his strengths truly lie.
His commitment to authenticity extends beyond performance to production. As a producer and director, Washington has consistently supported projects that expand representation in Hollywood while maintaining high artistic standards. His work behind the camera on Fences proved his capability to preserve the power of August Wilson’s writing while opening up the play for cinema.
Washington’s approach to action films deserves special consideration, as well. In movies like Man on Fire and The Equalizer series (which has two more instalments coming), he brings psychological depth to the genre without sacrificing entertainment value. His physical presence combines with emotional complexity to create action heroes who feel grounded in reality despite their extraordinary capabilities.
The larger impact of his achievements and choices cannot be overstated. Washington has consistently chosen roles that engage with significant social issues – racial justice, institutional corruption, and educational inequality – while avoiding didacticism. His characters feel like real people grappling with systemic problems rather than mere symbols or mouthpieces.
Sometimes those approaches are misconstrued. The minor controversy surrounding John Q always felt like a reach, as if people missed the point by miles. Some critics and members of the audience latched onto the idea that the film was promoting violence as a solution to personal struggles, which is absurdly reductive. The heart of the movie wasn’t about justifying extreme actions—it was about a desperate father, pushed to the brink by a broken healthcare system, who saw no other way to save his son. The violence was a byproduct of societal failure, not the central message. It’s like blaming the symptoms without addressing the disease. People got so hung up on the surface drama that they missed the deeper critique of systemic injustice.
Examining Washington’s influence on younger actors reveals another dimension of his legacy. Countless performers cite him as an inspiration, not just for his performances but for his professionalism and dedication to craft. His example has helped establish a standard for how to build a sustainable, respected career in Hollywood. The late great Chadwick Boseman famously said, “There is no Black Panther without Denzel”. Jake Gyllenhaal said the “great vulnerability and great strength” Washington showed in Glory inspired him to act. Even his contemporary and fellow acting legend Tom Hanks has said that he learned more from working with Denzel on Philadelphia than he learned from any other actor, that the experience was “like going to film school”. Jaime Foxx, Will Smith, Michael B. Jordan. The list goes on and on.
Denzel Washington’s work ethic has become legendary in the industry. Stories of his preparation – whether learning to box for The Hurricane, mastering flight simulator protocols for Flight or diving deep into Shakespeare for Macbeth– exemplify his belief that great performances are built on a foundation of thorough research and preparation.
The future continues to hold new challenges for Washington. His role in Gladiator II suggests an artist still willing to step into new territory. Given his track record, audiences can expect him to bring fresh insights to the historical epic genre, just as he has done with every other form he’s tackled.
Looking back across the landscape of American cinema, Denzel Washington’s contribution looms large. He has redefined what it means to be a leading man, expanded the possibilities for Black actors in Hollywood, and consistently embodied the power of intelligent, emotionally honest performance. His life as an actor and director stands as a testament to the idea that commercial success and artistic integrity need not be mutually exclusive.
Washington’s greatness lies not just in individual performances but in the totality of his achievements. He has created a body of work that serves as both entertainment and cultural document, reflecting American society while helping to shape its evolution. Few actors have maintained such high standards while achieving such broad influence, and fewer still have done so with such unwavering commitment and dedication.
As we look to the future of cinema, Washington’s legacy provides a blueprint for aspiring artists: choose projects with purpose, prepare thoroughly, perform with honesty, and never stop growing. Denzel shows at every turn that true artistry isn’t about following trends or seeking acclaim, but about pursuing truth through acuity and commitment. In an industry often driven by ephemeral concerns, Denzel Washington stands as a reminder that lasting impact comes from unwavering dedication to artistic excellence.
The post What Happened to Denzel Washington? appeared first on JoBlo.
Dragon Quest III HD-2D Remake is overflowing with quality-of-life improvements around every corner, successfully bringing the best version of one of the world’s most beloved role-playing adventures to an entirely new generation of players. However, that doesn’t mean that every aspect of the game is drastically…
Dragon Quest III HD-2D Remake is overflowing with quality-of-life improvements around every corner, successfully bringing the best version of one of the world’s most beloved role-playing adventures to an entirely new generation of players. However, that doesn’t mean that every aspect of the game is drastically…
We’ve taken a look at Tony Jaa’s breakout hit Ong Bak in an episode of our Reel Action series that’s available on the JoBlo Originals Channel on YouTube. Since his first few Thai films, in which he was heavily involved in the action creation, Jaa would inevitably branch out into international films. Movies like Furious 7, xXx: The Return of Xander Cage, Skin Trade, Triple Threat and KillZone 2 would utilize him, but the Thai star wouldn’t quite reach the kind of showmanship that he displayed in his earlier movies. The upcoming movie Striking Rescue may just be the return to form.
It was recently reported that the film has been acquired by frequent martial arts film distributor Well Go USA for the North American distribution rights. Well Go USA has just released the official, hard-hitting trailer for Striking Rescue. Per THR, “Directed by Cheng Siyi, the action revenge movie follows An Bai (Jaa), a veteran Muay Thai expert who goes on a take-no-prisoners mission of revenge after his wife and daughter are brutally murdered by mysterious forces. The film co-stars Chinese actors Hong Junjia and Shi Yanneng.”
The movie is an original production from the Chinese streaming service, Youku, which will be releasing the film to its subscribers in China on Friday. Striking Rescue will also be the first Youku original that has secured U.S. distribution, and the company is planning to make this the jumping-off point to expand their content and theatrical productions into the international markets. The hard-hitting action film was being shopped to international buyers at this week’s American Film Market by the sales outfit Blossoms Entertainment, which is based out of Beijing.
Additionally, a deal is also in place for the distribution by Shinesaeng Ad.Venture, which will see a theatrical release of Stiking Rescue in Jaa’s native country of Thailand. The film is scheduled to start screening in Thai movie theaters on December 5, followed by North American theaters on December 6.
Are you excited to see Jaa back in an elbow-striking, knee-flying starring role? Have you enjoyed the other movies in his filmography? Sound off below!
The post Tony Jaa returns to hard-hitting, bone-breaking action in the trailer for Striking Rescue appeared first on JoBlo.
Longtime SDCC Artist Alley organizer Clydene Nee passed away this week and the industry remembered her