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Dark Knight III: The Master Race #1
Pencils by Andy Kubert (Backup pencils by Miller)
Inks by Klaus Janson
Colors by Brad Anderson (Backup colors by Alex Sinclair)
Letters by Clem Robins
Published by DC Comics
After legions of variant cover announcements, some scintillating black and white unlettered previews, and no small amount of Internet tongue wagging, the third chapter of Frank Miller’s legendary Dark Knight saga The Dark Knight III: The Master Race #1 finally debuted. And Miller isn’t alone in bringing yet another tale about an aging Batman, a dying Gotham, and a mistrust of god-like heroes to life as he is joined by co-writer Brian Azzarello (100 Bullets), penciler Andy Kubert (“Whatever Happened to the Caped Crusader”), inker extraordinaire Klaus Janson (Daredevil), and colorist Brad Anderson (Convergence ), who adds a dark or light digital sheen to the proceedings depending on the situation in the story. »
- Logan Dalton
Realism is a term attributed quite often in cinema, beginning with neorealism in post-war Italy, and finding its way to France in the form of the New Wave and India in the Parallel Cinema movement. In American cinema, indies are prominent these days, with a film festival around every corner and top tier actors and actresses seeking smaller, more intimate roles that offer their own sense of immediacy. Read More: The 10 Best Performances In The Films Of Christopher Nolan This skillfully put together video essay by Trevor Ball explores the “cinematic realism” of director Christopher Nolan and cinematographer Wally Pfister. The duo have worked on almost all of Nolan’s films (with the exceptions of his first, “Following” and his latest “Interstellar”) and together they’ve created their own universes –– these ever-changing realities chock full of superheroes, supervillains, the criminally insane, and the dastardly mischievous. Nolan and Pfister incorporate a wide range. »
- Samantha Vacca
Read More: Olivia Wilde and Luke Wilson Drama 'Meadowland' Acquired by Cinedigm Like Barry Sonnenfeld, Wally Pfister and many more before her, Reed Morano is making the jump from esteemed cinematographer (her work includes "Frozen River," "Kill Your Darlings" and more) to feature film director with the upcoming drama, "Meadowland." The film screened at the Tribeca Film Festival and stars Olivia Wilde, Luke Wilson, Giovanni Ribisi and Elisabeth Moss. The official synopsis reads: "In the hazy aftermath of an unimaginable loss, Sarah (Wilde) and Phil (Wilson) come unhinged, recklessly ignoring the repercussions. Phil starts to lose sight of his morals as Sarah puts herself in increasingly dangerous situations, falling deeper into her own fever dream." Between an unnerving side to Wilde and some disorienting editing, the official trailer above foreshadows a heavy atmospheric drama. "Meadowland" opens in theaters October »
- Zack Sharf
2006 American Society of Cinematographers winners: Hyatt Regency Century Plaza Hotel in Los Angeles on February 26, 2006. Outstanding Achievement in Cinematography in Theatrical Releases * Dion Beebe, Asc, Acs for Memoirs of a Geisha Robert Elswit, Asc for Good Night and Good Luck. Andrew Lesnie, Asc, Acs for King Kong Wally Pfister, Asc for Batman Begins Rodrigo Prieto, Asc, AMC for Brokeback Mountain Outstanding Achievement in Cinematography in TV movie/miniseries/pilot Alan Caso, Asc for Into the West/"Wheel to the Stars" (TNT) Thomas A. Del Ruth, Asc for Code Breakers (Espn) * Robbie Greenberg, Asc for Warm Springs (HBO) Jan Kiesser, Asc, Csc for Reefer Madness (Showtime) Bill Roe, Asc for Faith of My Fathers (A&E) Outstanding Achievement in Cinematography in Regular Television Series (one episode) John Aronson for "Freefall"/Without a Trace (CBS) * Nathan Hope for "Who Shot Sherlock?"/CSI: Crime Scene Investigation (CBS) Jeffrey Jur, Asc for "Los Moscos"/Carnivale (HBO) John C. Newby, »
- Andre Soares
How do you go about adapting a supposedly unadapatable text? While faithful translations tend not to artistically successful, a faithful adaptation with fetishistic attention to detail can create something unique. While Robert Rodriguez and Frank Miller had it comparatively easy when adapting Miller’s Sin City to screen as they more or less would just be recreating paintings but with moving parts, Zack Snyder’s Watchmen adaptation painstakingly recreated much of Alan Moore’s tome by hand, capturing much of Moore’s world in camera. Snyder creates a lived-in and breathing universe, a key part to selling the idea to the audience of this time-hopping opus about the natural decline of superheroism. Watchmen is often accused of being too literal, speaking in the language of comics instead of cinema, but it is precisely this literal approach that makes Watchmen a stellar page-to-screen success. By being a “literal” film, it becomes personal, »
The DC universe is ever-expanding these days and the ranks have swelled even further today with news that The CW have found their Hawkman for the Arrow and The Flash spinoff series DC’s Legends of Tomorrow.
Actor Falk Hentschel has signed on to play the DC Comics hero, whose alter-ego Carter Hall is the “latest reincarnation of an Egyptian Prince who is fated to be reborn throughout time along with his soulmate, Kendra Saunders (aka Hawkgirl).”
Hawkman is due to appear in the new seasons of Arrow and The Flash crossover episodes, before he joins DC’s Legends of Tomorrow mid-season when the show debuts. The spinoff will also feature Dr. Martin Stein (Victor Garber), Ray Palmer/The Atom (Brandon Routh), Sara Lance/White Canary (Caity Lotz), Mick Rory/Heat Wave (Dominic Purcell) and Leonard Snart/Captain Cold (Wentworth Miller).
- Scott J. Davis
Schwarzenegger's back, but how does Terminator Genisys match its predecessors? Here's Ryan's verdict...
If you’d acquired the multi-million dollar rights to the Terminator franchise in an auction, what would you do with them? After the sun-drenched, overblown and dusty mayhem of 2009's Terminator Salvation, the sensible answer might be to take the series back to its roots. Return to the chase format of James Cameron’s twin classics Terminator and Terminator 2. Tone down the armies of robot motorcycles and mechanical swimming snakes. Bring back Arnold Schwarzenegger.
Such is the approach taken by director Alan (Thor: The Dark World, Game Of Thrones) Taylor and screenwriters Patrick Lussier and Laeta Kalogridis in Terminator Genisys. Six years after Salvation failed to take off, the franchise is now in the hands of the production company Skydance, which has taken a similarly reverential approach to the Terminator as it did with its Star Trek »
Sound on Sight undertook a massive project, compiling ranked lists of the most influential, unforgettable, and exciting action scenes in all of cinema. There were hundreds of nominees spread across ten different categories and a multi-week voting process from 11 of our writers. The results: 100 essential set pieces, sequences, and scenes from blockbusters to cult classics to arthouse obscurities.
If you’ve seen a film montage in the last 10 years, then you’ve been witness to at least one of the scenes mentioned on this list: the vibrating water glass from Jurassic Park signaling the T-Rex prowling nearby. It’s the perfect type of image to tell the audience: something is coming. These flashes of exhilaration are fan-favorites, and it’s no surprise to see them featured prominently as the centerpieces for some of the greatest films ever. It’s the invasion when the aliens come out of the sky, the »
- Shane Ramirez
Master cinematographer and television director Caleb Deschanel will receive AFI's 25th Annual Franklin J. Schaffner Alumni Medal, which has previously gone to the likes of Darren Aronofsky, Patty Jenkins, David Lynch, Wally Pfister and fellow Dp Janusz Kaminski. This honor recognizes the extraordinary creative talents of an AFI Conservatory alum who embodies the qualities of filmmaker Franklin Schaffner, the Oscar-winning director of 1970's "Patton." An AFI grad from the class of 1969, Deschanel is a five-time Oscar nominee for "The Passion of the Christ," "The Patriot," "Fly Away Home," "The Natural" and "The Right Stuff." AFI cinematography alumni have been nominated 17 times across the past 12 years — winning five times. Deschanel won the American Society of Cinematographers (Asc) Award for "The Patriot" and was honored with the Lifetime Achievement Award by the Asc in 2010. His directing credits »
- Ryan Lattanzio
American Film Institute top brass have chosen Caleb Deschanel to receive the 2015 Franklin J Schaffner Alumni Medal.
The honour recognises the creativity of an AFI Conservatory alumnus “who embodies the qualities of filmmaker Franklin Schaffner: talent, taste, dedication and commitment to quality filmmaking.”
The presentation of the Schaffner Medal will take place as part of the AFI Life Achievement Award Gala Tribute to Steve Martin in Hollywood on June 4.
- email@example.com (Jeremy Kay)
Deschanel is a 1969 alumnus of the AFI Conservatory. He’s been nominated for best cinematographer Oscars for “The Right Stuff,” “The Natural,” “Fly Away Home,” “The Patriot” and “The Passion of the Christ.”
The presentation of the Schaffner Medal will take place as part of the AFI Life Achievement Award Gala Tribute to Steve Martin on June 4. Past recipients of the medal include cinematographers Darren Aronofsky, Patty Jenkins, Janusz Kaminski, David Lynch and Wally Pfister.
Deschanel won the American Society of Cinematographers Award for “The Patriot” and was honored with the lifetime achievement award by the Asc in 2010. He was also in the first class of the AFI Conservatory, »
- Dave McNary
Steven Spielberg and daughter Destry Spielberg on the Oscars' Red Carpet Steven Spielberg and daughter Destry Steven Spielberg and daughter Destry Spielberg arrive at the 83rd Academy Awards, held on Feb. 27 at the Kodak Theatre in Hollywood. Spielberg has taken home two Best Director Oscars: Schindler's List (1993) and Saving Private Ryan (1998). Schindler's List also won Best Picture, but Saving Private Ryan lost to John Madden's Miramax-distributed Shakespeare in Love. There was quite a bit of animosity at the time, as some felt that Miramax, owned by brothers Bob and Harvey Weinstein, overdid its Oscar campaigning – while still managing to sway enough Academy of Motion Picture Arts and Sciences members to vote for its film. Somewhat ironically, at the 2011 Academy Awards ceremony Steven Spielberg presented the Best Picture Award to The King's Speech. Toplining Colin Firth, Helena Bonham Carter, Geoffrey Rush, Guy Pearce, and Claire Bloom, this British production was »
- D. Zhea
Has being the director of a film in a major franchise become a high-stakes gamble? Ryan looks at the pressures faced by modern filmmakers.
The process of making the behemoth that is Avengers: Age Of Ultron has clearly taken its toll on Joss Whedon. In each successive interview with the press, he’s talked with surprising openness about the process of making the superhero sequel and his battles to places an individual stamp on it; this culminated in a recent podcast with Empire, in which he described the “really, really unpleasant” fight to keep certain scenes in the film.
For an established writer and director like Whedon, who’s been working in TV and film since the 90s, taking on a project as huge and loaded with expectation as a Marvel film is evidently punishing, both physically and psychologically. Imagine how difficult it must be, then, to make the jump »
Today we hold the 2015 Summer Box Office Draft as Laremy is still looking for that ever-elusive second draft victory and with the first pick in today's draft he may have a juggernaut that can't be beat. Along with that we take a listen to the new trailer for Black Mass starring Johnny Depp, review Russell Crowe's The Water Diviner, listen to a voice mail, play some game, scatter shot some news and are on our way. We hope you enjoy. If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-bnl-pod. Just call, leave »
- Brad Brevet
Age Of Ultron is about evil AI, and Ex Machina’s about a sentient robot. Ryan explores the link between these and other modern Sf films.
It’s an idea as old as literature itself: a lifeform is created, only for it to behave in a way its maker hadn’t anticipated - and sometimes with fatal consequences.
Writer-director Joss Whedon has drawn attention to the parallels between Mary Shelley’s classic novel Frankenstein and Avengers: Age Of Ultron, the latest opus in the Marvel Cinematic Universe. In Whedon’s reading of Marvel comics lore, Bruce Banner and Tony Stark create Ultron - an artificial intelligence intended as a global defence program, but instead turns against the Avengers and humanity in general.
Brought to life by a peformance-captured James Spader, Ultron’s a charismatic example of a recent wave of AI characters in the movies. We’ve seen sentient, mutant »
Every decade has their cinematic science fiction obsessions which speak to its concerns of the age; in the 1950s films such as Earth vs. The Flying Saucers and Them! capitalised on fears of alien invasion and nuclear proliferation. In the 1960s films like Barbarella and Ikarie Xb-1 captured the hopes and dangers of space exploration while in the 1970s Silent Running and A Boy and His Dog showed a growing concern for the environment and a mistrust of governments resulting in dystopian futures. Then in the 1980s it was the exploration of inner space with the boundaries of the human mind and body being crossed and redrawn with films like Altered States and the cinema of David Cronenberg. The 1990s ushered in an obsession with apocalyptic imagery and alternate realities with Dark City and The Thirteenth Floor amongst many others.
Through these decades of cinematic science fiction, the concept of »
- Liam Dunn
Run Time: 168 minutes
Special Features: Over 3 hours of extras and for details of them, plus the limited edition Digi-book, click here.
For me, the stamp of a great movie is how much your excitement, or self-induced hype, matches positively with the final product and in the case of Interstellar, it captures those desires with absolute assurance.
Love or dislike Nolan’s increasingly extensive films, you’ve got to accept that original work on such an expansive level to a worldwide audience is a Hollywood rarity these days. There’s definitely a growing universe of independent projects being backed by the offshoots of large movie corporations but Nolan and his brother have managed once again, like Inception, to pull off one hell of »
- Dan Bullock
Artificial intelligence seems to be a popular topic in science fiction these days–between giving life to a robot in Neill Blomkamp's Chappie, to extending life in Wally Pfister's Transcendence. The latest A.I. tale is Ex Machina, the feature directing debut of sci-fi screenwriter Alex Garland, whose past work includes 28 Days Later, Sunshine, Never Let Me Go and Dredd. How does he fare bringing to life his own script? Better than expected. Ex Machina is an engaging, amusing sci-fi thriller that literally asks provocative questions, with smart lines of dialogue that touch upon fascinating, honest topics. Garland digs deep with this movie, bringing up questions and concerns about artificial intelligence that not many others have really addressed. There's no question that Garland is a very capable science fiction storyteller, and his expertise in writing is obvious as the script for Ex Machina is sleek and sexy. Essentially, »
- Alex Billington
Best Cinematography is one of the most closely watched technical categories at the Oscars, due largely to the fact that it’s often so difficult to predict. Indeed, since 1986, when the American Society of Cinematographers first started handing out prizes, only 11 of its winners went on to triumph at the Oscars: -Break- 1990: Dean Semler, “Dances with Wolves” 1995: John Toll, “Braveheart” 1996: John Seale, “The English Patient” 1997: Russell Carpenter, “Titanic” 1999: Conrad L. Hall, “American Beauty” 2002: Conrad L. Hall, “Road to Perdition” 2005: Dion Beebe, “Memoirs of a Geisha” 2007: Robert Elswit, “There Will Be Blood” 2008: Anthony Dod Mantle, “Slumdog Millionaire” 2010: Wally Pfister, “Inception” 2013: Emmanuel Lubeszki, “Gravity” Updated: Experts' Oscars predictions in 24 categories This year, th...' »
Stumbling across that list of best-edited films yesterday had me assuming that there might be other nuggets like that out there, and sure enough, there is American Cinematographer's poll of the American Society of Cinematographers membership for the best-shot films ever, which I do recall hearing about at the time. But they did things a little differently. Basically, in 1998, cinematographers were asked for their top picks in two eras: films from 1894-1949 (or the dawn of cinema through the classic era), and then 1950-1997, for a top 50 in each case. Then they followed up 10 years later with another poll focused on the films between 1998 and 2008. Unlike the editors' list, though, ties run absolutely rampant here and allow for way more than 50 films in each era to be cited. I'd love to see what these lists would look like combined, however. I imagine "Citizen Kane," which was on top of the 1894-1949 list, »
- Kristopher Tapley
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