DC Studios‘ last gasp before James Gunn reboots the DCU is coming to the Max streaming service later this month. Swimming onto the platform on February 27, Aquaman and the Lost Kingdom debuted in theaters last year during the Christmas holiday stretch. Unfortunately, the James Wan-directed Aquaman 2 floated on the surface of the box office like a dead fish, with $123 million domestically and $433 million worldwide. In contrast, Aquaman netted $335M in the United States and $1.1B worldwide. The difference in dollars earned between both films is staggering, with multiple culprits to blame for the film’s failure, including wild on-set rumors, Amber Heard’s legal battle with ex-husband Johnny Depp, and DC jumping the gun on its plans to reboot the DCEU.
“Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all,” reads the official synopsis for Aquaman and the Lost Kingdom. “This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family and the world from irreversible destruction.”
Jason Momoa stars as Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family, and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior. Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin.
JoBlo’s Editor-in-Chief, Chris Bumbray, felt like he was drowning while watching Aquaman and the Lost Kingdom, saying in his review, “Aquaman and the Lost Kingdom feels like a dull slog, with action sequences that lack any bite and a complex mythology that’s hard to invest in as it feels tacked on. It seems to be placing a bow on the DCEU with an ending that seems a bit like a farewell to this era of DC movies, but it ends with a whimper rather than a bang. This is a disappointing follow-up to a pretty excellent superhero movie. Hopefully, Wan licks his wounds and returns to making quirky, weird horror movies – a genre he seems much happier in.”
Still, it’s essential to make your own opinion about these things. So, you can do just that when Aquaman 2 comes to Max on February 27. I’ve yet to see Aquaman 2, but I plan to do so when the movie hits Max, for better or worse. DC Studios is poised to enter a new era with James Gunn and Peter Safran taking the reins, and I speak for many fans when I say we’re excited and hoping for the best! Let’s go!
The PlayStation Portal is a cool device that solves a unique problem: playing games in a shared household with one console. But Sony’s $200 handheld can only stream games from a connected PlayStation 5, making it more of a remote-play system than a full-fledged, standalone piece of gaming hardware like the beloved PS…
The PlayStation Portal is a cool device that solves a unique problem: playing games in a shared household with one console. But Sony’s $200 handheld can only stream games from a connected PlayStation 5, making it more of a remote-play system than a full-fledged, standalone piece of gaming hardware like the beloved PS…
It’s been a few years since we’ve heard or seen anything about that Borderlands movie starring Cate Blanchett, Jamie Lee Curtis, and Kevin Hart. So it was great to finally get our first real look at the cast in some new screenshots and oh… oh no.
It’s been a few years since we’ve heard or seen anything about that Borderlands movie starring Cate Blanchett, Jamie Lee Curtis, and Kevin Hart. So it was great to finally get our first real look at the cast in some new screenshots and oh… oh no.
Plot: Based on a remarkable true story, centers on Sharon, a fierce but struggling hairdresser in small-town Kentucky who discovers a renewed sense of purpose when she meets Ed, a widower working hard to make ends meet for his two daughters. With his youngest daughter waiting for a liver transplant, Sharon sets her mind to helping the family and will move mountains to do it. What unfolds is the inspiring tale of faith, everyday miracles, and ordinary angels.
Review: When I first saw the trailer for Ordinary Angels, I wrote it off without a second thought as another faith-based drama designed to tug at the heartstrings and reinforce the unlimited power of God. In recent years, there has been a surge in movies like this; few have risen above the minimal viable bar for them to be considered watchable by mainstream audiences. To my surprise, the film is not an overt case for Christ, like many of director Jon Gunn’s previous projects. By tackling a tale that was news three decades ago, this film retells a story that is likely unfamiliar to most today. Rooted in an inspirational true story that happens to be tangentially connected to religion, Ordinary Angels is a fairly by-the-numbers effort elevated above the quality of Lifetime and Hallmark original productions thanks to solid performances from Hilary Swank and Alan Ritchson.
Set in 1994, Ordinary Angels opens with a flashback to the birth of Michelle Schmitt (Emily Mitchell) to Theresa (Amy Acker) and Ed (Alan Ritchson). Not long after, Michelle dies, leaving Ed to care for his two young daughters, including the eldest, Ashley (Skywalker Hughes). With the help of his mother, Barbara (Nancy Travis), Ed barely makes ends meet as a roofer. At the same time, local hairdresser Sharon Stevens (Hilary Swank) awakens after yet another alcohol-induced bender. Her friend and coworker Rose (Tamala Jones) takes Sharon, begrudgingly, to an Alcoholics Anonymous meeting despite Sharon’s insistence that she does not have a problem. When Sharon notices a newspaper article about Michelle’s death and Michelle’s need for a liver transplant, she trades in one addiction for another and makes it her mission to raise funds for the ill little girl. Ed is reluctant to accept help from the loud and proud Sharon, but the girls like her, while Barbara considers her a gift from above. Ed, a tough and silent type, butts up against the brash Sharon even though her fundraising helps bring in thousands of dollars. Eventually, Ed softens a bit but still does not feel good about taking charity.
What follows for the next hour-and-a-half is a blend of Sandra Bullock’s accent and flashy wardrobe from The Blind Side coupled with the in-your-face tactics of Julia Roberts in Erin Brockovich. Hilary Swank unapologetically plays Sharon as an intrepid and laser-focused advocate for Michelle, never once giving in when a challenge is put in her way. We learn more about Sharon through the film, including how her addiction cost her a relationship with her now-adult son, Derek (Dempsey Bryk). At the same time, we see Ed internalizing all of the pressure to protect his daughter despite her waning health and increasing medical costs. Every time a dent is made in the mountain of bills they face, a new challenge presents itself and makes it seem impossible to overcome. But, just like any movie like this, there is always a way to overcome. The story brings in a relapse for Sharon and the eventual challenge of a monumental blizzard that occurs on the same day that a donor becomes available for Michelle, giving Ed less than twelve hours to get his child hundreds of miles with every road closed and no feasible way to get there.
Make no mistake if you think Ordinary Angels is going to let you down and feature the death of a precious little child. A cursory Google search will reinforce the obvious happy ending on the way. Ordinary Angels banks on the appreciation for the journey, much of which is a showcase for Hilary Swank delivering a charming performance as a woman who will never quit. Seeing how Sharon Stevens can sweet-talk bankers, executives, hospital administrators, and everyone in between is more than enough to put a smile on your face. It seems unbelievable that this story is true, but Swank makes it all seem effortless for Sharon despite her demons behind closed doors and under her facade of positivity. Equally good here is Alan Ritchson as the stoic Ed Schmitt, a man of few words. Unlike his performance as Jack Reacher, Ritchson is much more emotive here as he is a giant teddy bear for his daughters. Ritchson also plays Ed as a strong alpha type who has to go behind closed doors to shed a tear, but it works as Ritchson and Swank begin to warm up to each other as the film goes on.
Written by actress Meg Tilly, Are You There God? It’s Me, Margaret director Kelly Fremon Craig, Ordinary Angels employs every single trope you would expect from a story like this. But Tilly and Craig never mined the tale for unwarranted melodrama or fabricated moments of tension. There is not much to this story outside the fundraising leading to the eventual final act race to the hospital. That third act centerpiece takes on added tension mostly from the fact that this story happened in the mid-1990s without regular access to cell phones or the internet, which makes the coordination that happens all the more impressive. Director Jon Gunn, whose films include the less than-subtle The Case for Christ and Do You Believe?, tells this story with only a few passing references to God and faith. While two scenes are set in a church, almost none of the story focuses on religion. That alone helps this film work as an inspirational tale about human beings being decent to one another without hitting the audience over the head like the recent barrage of Super Bowl commercials shoving it in our faces. Gunn keeps the story aimed at the characters, none of whom are perfect, but all of whom want to do something good.
Ordinary Angels does not reinvent the inspirational genre or offer anything new, but it boasts two competent and enjoyable lead performances from Hilary Swank and Alan Ritchson. As the end credits roll, news footage of the real Michelle Schmitt and the community rallied together to help save her life. Watching it, I was struck by the dramatic license taken in making this film. Not just in the sense that none of the actors remotely look like their counterparts, but their timing, scope, and drama around the event itself are very different in the movie. Even a powerful story like this needs a boost to make it into a movie that people will see, I guess. Ordinary Angels is an ordinary movie, but one that is far better than I was expecting it to be.
The influence of Todd McFarlane can be felt wherever you look in current entertainment. Whether it’s the phenomenal toys that bear a striking resemblance to their real-life counterparts or characters like Venom appearing in his third film venture, it’s hard not to take note. McFarlane created some of the best characters of the 90s in both Venom and Spawn. Heck, his design of Spider-Man is still one of the most memorable out there. And with his proposed Spawn film starring Jamie Foxx and Jeremy Renner languishing in development hell, you better believe we asked him about that!
It was an absolute pleasure to be able to talk with McFarlane about his varied career. While he was pretty reserved in regard to his future projects, he was a wealth of knowledge when it came to toys. We discussed how his company was able to improve toys as a whole, forcing others to raise their standards to meet his. And we did get into a bit of Spawn news, with how much the film is really reliant on the success of Joker: Folie A Deux. So, while I didn’t have much invested in that film prior, I’m really hoping for its success. We need a good Spawn film, dammit!
A little about McFarlane Toys:
Collaborating with influential figures across various industries, such as Tim Burton, Ozzy Osbourne, KISS, and multiple stars from the NFL, NBA, NHL, MLB, and WWE, McFarlane Toys has forged partnerships that showcase its dedication to innovation, design excellence, and its fans. McFarlane Toys has expanded by partnering with industry giants like DC Comics, Disney, James Cameron’s Avatar, Warner Brothers, HBO’s Game of Thrones, Adult Swim’s Rick and Morty, AMC’s The Walking Dead, and Five Nights at Freddy’s.
Founded by Maxwell Gaines in 1944, the Entertaining Comics brand (a.k.a. EC Comics) initially specialized in educational comics and stories aimed at children. But after Gaines died in a boating accident in ’47, his 25-year-old son William took control of the company and changed its direction, exploring the genres of horror, sci-fi, and satire while bringing us classic titles like Tales from the Crypt, The Vault of Horror, The Haunt of Fear, Weird Science, WeirdFantasy, and Mad. Sadly, EC Comics was at its peak when parents started to worry about the negative effects reading comic books could have on their children, leading to things like a Congressional hearing that blamed comic books for juvenile delinquency – a claim that was backed up by the book Seduction of the Innocent, written by psychiatrist Fredric Wertham. So by 1956, EC Comics ceased publishing all of their titles except for Mad. Those classic EC Comics have enjoyed an enduring popularity over the decades, though, and now The Hollywood Reporter has broken the news that Oni Press will be reviving the brand!
According to The Hollywood Reporter, “Oni Press, the publisher perhaps best known for the breakout indie hit Scott Pilgrim, has partnered with William M. Gaines Agent, Inc., the rights holders of the EC line, to launch all-new stories with A-list comics creators beginning this summer.“
Oni’s publisher Hunter Gorinson told them, “EC Comics is one of the most artistically important and culturally significant publishers of all time. In ways both artful and shocking, EC confronted the darkness lurking behind the thin facade of American society — a throughline of radically confrontational storytelling that we intend to both uphold and escalate with the first new EC tales in decades. We’re challenging ourselves to evolve EC’s relentless energy and fearless sensibilities in ways never before attempted. These are intense comics for our intense times.“
Corey Mifsud, executive director of William M. Gaines Agent, added: “This is not an exercise in nostalgia. These are comics meant to get people talking and to keep them up at night.“
The first two titles we’ll be seeing from the new EC Comics are both anthology comics: the horror series Epitaphs from the Abyss (the first issue will reach stores shelves in July) and the sci-fi series Cruel Universe (which will make its debut in August). A Cruel Universe cover can be seen at the bottom of this article.
Oni’s editor-in-chief Sierra Hahn is overseeing the revival of EC Comics. The creative teams behind the new comics include “writers such as Jason Aaron (Thor), Brian Azzarello (100 Bullets), Rodney Barnes (Killadelphia) Christopher Cantwell (Briar), Chris Condon (That Texas Blood), Matt Kindt (BRZRKR) among others. Among the artists are Kano (Immortal Iron Fist), Peter Krause (Irredeemable), Leomacs (Rogues), Malachi Ward (Black Hammer: The End), and Dustin Weaver (Avengers). Buttressing the creative is designer Rian Hughes (TheMultiversity) and cover artists Lee Bermejo (Batman: Damned), Greg Smallwood (The Human Target), J.H. Williams III (Sandman: Overture).”
William Gaines remained the publisher of Mad until he passed away in 1992. Even though EC stopped publishing horror comics in the ’50s, stories told in the comics they did publish have been brought to the screen in films (Tales from the Crypt, The Vault of Horror) and on TV (Tales from the Crypt), and were a source of inspiration for Creepshow.
Are you glad to hear that EC Comics is coming back? Let us know by leaving a comment below.
