Superman II (1980) - News Poster



DC TV: why the Crisis On Earth-x crossover was the best yet

Rob Leane Dec 7, 2017

Arrow, The Flash, Supergirl and Legends of Tomorrow just came together for an ace crossover event. Spoilers ahead...

This article contains spoilers for all four parts of Crisis On Earth-x.

See related Jessica Jones’ Kilgrave: Marvel’s creepiest villain yet Iron Fist season 2: Alice Eve joins the cast Luke Cage season 2 wraps Jessica Jones is the most popular Marvel show on Netflix

Now that is how you do a crossover. While DC’s cinematic branch licks its wounds over Justice League’s resounding ‘meh’ of a critical reaction, The CW’s TV team has offered up something truly special: a four-part crossover event that delivers on numerous levels, bringing together a huge collection of superheroes to take down a massive threat from another Earth.

Bringing together the casts of Arrow, The Flash, Supergirl and Legends Of Tomorrow, this event – Crisis On Earth-x - is The CW’s best crossover yet.
See full article at Den of Geek »

Supergirl Season 3 Episode 9 Review – ‘Reign’

Martin Carr reviews the ninth episode of Supergirl season 3…

Prostrate under searchlights, beaten, battered, bleeding and bruised, this week Supergirl delivers a leftfield sucker punch to the gut which creeps up on you. Rarely does a television show let alone a comic book one reach the authentic emotional heights of Greek tragedy. Weighed down with formulaic convention, hamstrung by plotline necessity and lacking suitable amounts of dramatic meat to finish the job, few reach the mark.

Thankfully Supergirl throws you with the Christmas theme, distracts with relationship progressions and family gatherings, while in the background something dark is gathering strength. Odette Annable still plays things straight and close to the chest, while Benoist brings emotional resonance to her conflicted feelings as Kara. There are moments of Pov camerawork, burning Kryptonian sigils and forewarnings from incarcerated prophets about the Devil being among us. This feels like comic book hokum and scaremongering
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The Simple Reason You’ll Never See Zack Snyder’s Cut Of Justice League

Amid the feeding frenzy that has predictably erupted across the internet following the release of Justice League, many voices have been fighting to be heard. Diehard fans of the DC Extended Universe as it stands have been pushing a petition designed to demonstrate to Warner Bros. that there’s an appetite for a home video release of the Zack Snyder cut of the film – the theatrical version of which was infamously re-worked by Joss Whedon. In response to that groundswell, others have pushed back – arguing that the film should just be seen for what it is – whether that’s something that audiences find successful, or not.

Now, El Fanboy – which is operated by former Lead Editor of Latino-Review, Mario-Francisco Robles – has released a blog post entitled The Truth About The Zack Snyder Cut Of Justice League. While the headline may be ultimately misleading (since neither Snyder himself nor any of
See full article at We Got This Covered »

DC’s Legends of Tomorrow Season 3 Episode 8 Review – ‘Crisis on Earth-x – Part 4’

Jessie Robertson reviews the eighth episode of DC’s Legends of Tomorrow season 3…

Our finale, part 4, has as many highs and lows as The Beast, a local roller coaster. The death of Martin Stein hangs heavy over this episode. Let’s just all stand up and clap for Victor Garber (aka The Professor) as his final scene is one of weight, emotion and superb acting. It was known for a while that he was leaving the show but I always half expected him to find a way to allow Jax to keep the Firestorm powers and just separate him from them (nice try on making him “Spider-Man”, Professor.) But, alas, that was not to be. It’s an emotional scene, and unfortunately, Franz Drameh (Jax) isn’t equipped to handle. He’s definitely emoting, but his performance totally fails for me. The subsequent scenes of the heroes reacting are all un-emotional and dull.
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Justice League post-credits sequences explained

Mike Cecchini Nov 18, 2017

How important to the Dceu are those Justice League post credits scenes? Spoilers await...

This article contains major Justice League spoilers.

The Dceu has deliberately avoided post-credits scenes since the dark days of Green Lantern. It's been a smart move to keep away from one of the hallmarks of the Marvel Cinematic Universe, but with Justice League, they just couldn't resist. They make up for lost time, too, as Justice League has not one, but two post-credits scenes. One is just for fun, but the other has larger implications for the Dceu down the line. Let's take a look....

The first sequence

This is just good fun, and few things say 'DC Universe' quite like a friendly race between Superman and Flash.

Superman and Flash have raced numerous times in the comics. While the movie doesn’t show us who wins, I’m going to give you
See full article at Den of Geek »

In defence of Superman Returns

Mark Allison Nov 3, 2017

Superman Returns feels like it's becoming the forgotten Superman film - but it does get a lot of things right...

The landscape of superhero films in 2006 was largely unrecognisable from that of today. The phrase ‘cinematic universe’ had yet to enter the common vernacular, and it had been 19 years since the most iconic hero of all, Superman, was last found in cinemas, in the hilariously dreadful Superman IV: The Quest For Peace. Only two years had passed since the tragic death of Christopher Reeve, the actor who had embodied the titular Krytonian on-screen, leaving behind some well-worn boots to fill.

Appetites, however, were beginning to change. Sam Rami’s Spider-Man series had caused a sensation during the early 2000s, and Christopher Nolan’s Batman Begins had brought newfound credibility to the DC brand. It seemed obvious that Superman himself was due for a similar reinvention for the 21st century,
See full article at Den of Geek »

Heroes: Marvel vs DC Part 6: 2005-2009

Welcome to this episode of Collider Heroes, hosted by Jon Schnepp, with Amy Dallen and Robert Meyer Burnett. The panel picks up with the next installment of their Marvel vs DC thru the decades in Film, TV and Animation. Today they explore the 2000's, specifically between 2005-2009. DC: Films Live Action 2005 - Constantine 2005 - Batman Begins 2006 - V for Vendetta 2006 - Superman Returns 2006 - Superman II the Donner Cut 2008 - The Dark Knight 2009 - Watchmen DC: Animated Movies 2005 - The Batman vs Dracula 2006 - Teen Titans: Trouble in Tokyo 2006 - Superman: Brainiac Attacks 2007 - Superman: Doomsday 2008 - Justice …
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Comic Books Actually Exist! And Other Things I’ve Found Out

Author Note: This original editorial was written in 2011, and several of the references are clearly dated, and more than that, in the past six years, my perspective has altered, changed, been tweaked,…, been re-examined (Shrugs) something to that effect- needless to say that this is the article written by a then-still young(er), still unknowing film school undergrad who had a more wide-eyed and bushy-tailed view of the subculture than I do now. My perspective as an outsider was more curious and intriguing at the time, and I think it’s important to have those kinds of initial thoughts documented, as much if not moreso than one’s current more-refined thoughts. While I will update portions of this article at the bottom of the page, I ask that you keep in mind, the perspective in which it was written, and forgive what are obvious dated references to the time period.
See full article at Age of the Nerd »

Superman: The Movie – 2 Film Collection

I guess there are plenty of adults now too young to remember when Christopher Reeve made his debut as The Man of Steel. It was a massive hit across the full spectrum of moviegoers. Warners is taking good care of everyone’s favorite undocumented visitor from Planet Krypton, and has assembled two separate cuts of his big-screen premiere.

Superman: The Movie


2-Film Collection

Warner Bros.

1978 / Color / 2:40 widescreen / 188 min. Extended Cut + 151 min. Special Edition orig. 143 min. / Street Date October 10, 2017 / available through the WBshop / 21.99

Starring: Marlon Brando, Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard, Margot Kidder, Jack O’Halloran, Valerie Perrine, Maria Schell, Terence Stamp, Phyllis Thaxter, Susannah York, Jeff East, Marc McClure, Sarah Douglas, Harry Andrews, Diane Sherry, Randy Jurgensen, Larry Hagman, John Ratzenberger, Kirk Alyn, Noel Neill.

Cinematography: Geoffrey Unsworth

Film Editors: Stuart Baird, Michael Ellis

Production Design: John Barry

Assistant Director: Vincent Winter
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Justice League: Ben Affleck Comments On Henry Cavill’s Porn Star Mustache

While we could debate all day about what changes may or may not have been made by Joss Whedon to the final cut of Justice League, that fact of the matter is that extensive reshoots did occur. Still, we may never know the entirety of what went down, or will at least have to wait a number of years before an ample amount of trivia is made public. After all, let’s not forget about a little film called Superman II.

One thing in particular that caused a few chuckles over the summer was that of Henry Cavill’s mustache. What was at first branded by absolutist fanboys as something we the evil media cooked up, actually turned out to be the product of the actor having to concurrently film the next Mission Impossible movie and reshoots on Justice League. Apparently, Paramount wouldn’t let him shave off the old push broom,
See full article at We Got This Covered »

Heroes: DC vs. Marvel Part 3: The 1980s

On today’s Heroes episode (September 26, 2017), Jon Schnepp is joined by Robert Meyer Burnett and Amy Dallen for Part 3 of their exploration of Marvel vs DC in TV and Film thru the decades, Today, they explore the 1980s: DC: Movies 1980 - Superman II 1982 - Swamp Thing 1983 - Superman III 1984 - Supergirl 1987 - Superman IV: The Quest for Peace 1989 - The Return of Swamp Thing 1989 – Tim Burton’s Batman DC: Television 1988-1992 - Superboy - Syndication 4 seasons DC Animated 1980-1983 - Super Friends Hanna Barbera ABC 1981-1982- The Kid Super Power Hour with Shazam! - Filmation NBC …
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Kingsman Director Confirms Man of Steel 2 Talks

  • MovieWeb
Kingsman Director Confirms Man of Steel 2 Talks
The DC Extended Universe seems to be in much better shape following the massive success of Wonder Woman. So, does that mean we're finally going to see Man of Steel 2 happen? We know that Warner Bros. has been working on a standalone Superman movie for a while, but official information has been pretty scarce. We had heard rumors that Kingsman and X-Men: First Class director Matthew Vaughn was in the running for the gig. Now, the director himself has confirmed that he very well may be the man to tackle Man of Steel 2.

Matthew Vaughn is currently promoting Kingsman: The Golden Circle, which is set to arrive in theaters next week. Speaking with Hey U Guys, the director was asked about what he is planning to do now that Kingsman 2 is done and he revealed that he has met with Warner Bros. about possibly helming the Man of Steel sequel.
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Gal Gadot Says Joss Whedon Is Just “Fine-Tuning” Justice League

By now, you’re probably well aware of the situation involving reshoots on Justice League and may have your own heated opinion concerning the matter. Regardless, the process is seemingly still underway and remains a hot topic for discussion.

To date, we’ve heard a variety of things pertaining to this subject, from Joss Whedon changing the ending Zack Snyder originally conceived to the tone of the film being lightened, the latter of which was backed up by actor Joe Morton. But, as it turns out, Wonder Woman herself sees it in a different way, as actress Gal Gadot had this to offer when recently speaking with Rolling Stone:

“Look, Joss, to my understanding, was Zack’s choice to finish the movie. And the tone can’t be completely different because the movie was already shot. Joss is just fine-tuning.”

While how the final cut compares with whatever Snyder shot
See full article at We Got This Covered »

Should Superhero Movies Be Light or Dark?

Should Superhero Movies Be Light or Dark?
The answer, I hope we can agree, is obvious: Superhero movies should be light. And dark. And everything in between. There’s no rule or formula, no one-cape-and-spandex-suit-fits-all way to do it. Yet when I go into a new comic-book superhero movie, even though I know that it’s a franchise product designed to sell tickets (and toys) around the globe, and that it’s now just a small piece in a larger “universe,” I have a prejudice, or at least a stubborn desire, and it is this: I want it to be great. Not just okay, not just “a respectable sequel” or a diverting time-passer, but something that sweeps you up and leaves an indelible imprint, the way that the greatest comic-book movies have done.

A lot of people seem to feel that “Spider-Man: Homecoming” delivers on that promise. I’d say it’s a perfectly decent reboot/Marvel fable (though not as exciting as the
See full article at Variety - Film News »

Looking Back: Raimi's 'Spider-Man 3' is Still Bad & Goofy 10 Years Later

Sam Raimi's Spider-Man 3, released in May of 2007, is one weird movie. It suffers from the curse of the "threequel", a film with potential that is overwhelmingly disappointing. In my previous editorial in this ongoing Spider-Man retrospective series, I talked about how Spider-Man 2 swings among some of the best sequels in cinema history. If Spider-Man 2 is the Superman II of the Spider-Man series, then Spider-Man 3 is the Superman III of the franchise - but with considerably weirder dance sequences. In the newest edition of our "Looking Back" series, let's take a look at why Spider-Man 3 begins the series of diminishing returns for Spider-Man movies as one of the most disappointing threequels in modern superhero film history. It's very hard for filmmakers to make a good third movie in a trilogy or film series. When you think of most modern film trilogies, it is undoubtedly common
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The Week in Star Wars – Everything you need to know about Lord and Miller, Ron Howard and Han Solo

It’s a special edition of The Week in Star Wars following the shock news from the Han Solo spin-off movie, along with some bits from The Last Jedi, Episode IX and more…

Before we kick things off, The Week in Star Wars celebrated it’s second birthday this week.

Thanks to everyone who has read any edition over the last two years

So, let’s talk about Han Solo. Although the event took place as early as Monday, it was revealed on Tuesday that Phil Lord and Chris Miller had been fired from the Han Solo spin-off movie. The films had been in production since February, and all reports suggest that there are still four or so weeks left of shooting, with five weeks of planned re-shoots. “Phil Lord and Christopher Miller are talented filmmakers who have assembled an incredible cast and crew, but it’s become clear that
See full article at Flickeringmyth »

Lord & Miller vs. Kasdan & Kennedy: A Fight for the future of our franchise films

Anghus Houvouras on the Han Solo director situation and a fight for the future of franchise films…

I’m still in a state of utter disbelief over the disintegration that has happened between directors Chris Miller and Phil Lord and the creative conglomerate that handles the cinematic Star Wars universe. It’s an absolute gobstopper of a conversation starter with endless potential for columnists to get comfortable in their armchairs as they postulate about the rift on every single level, from studio head on down the ladder.

To me, the actual drama is less interesting than the overreaching theme of this spat. Lord and Miller represent the future of franchise filmmaking. Young, extremely talented individuals who are capable of telling great stories. Lucasfilm, most notably Kathleen Kennedy and Lawrence Kasdan, represent the old guard. Experienced minds who understand both the creative and business side of the film industry.

We’ve watched for years as studios have gobbled up young, emerging talent and slapped them onto franchise films. The trend isn’t exactly new. Warner Bros. grabbed a young Tim Burton to helm 1989’s Batman. It worked out great until Warner Bros. decided Burton’s dark and quirky visions didn’t sell enough toys and they parted ways over creative differences.

What Lord and Miller have experienced isn’t exactly new either. ‘Creative differences’ is something that happens all the time. Directors are attached and jettisoned from feature film projects with the frequency of rest stop hand jobs. The average blockbuster goes through dozens of writers and directors before settling on a creative team to take the project into production.

It’s less common to see a director leave the project in the middle of production, but there is historical precedent. Superman II, The Outlaw Josey Wales, Exorcist: The Beginning and even classics like Gone With the Wind. Movies that famously cited irreconcilable differences between director and production and had to bring in someone else to try to stick the landing.

The less common part is seeing a creative team exit a project in the modern age of franchise friendly talent. Walking away from Star Wars is a bold move. One that I am in awe of. I have sat here slack-jawed for nearly 15 hours after hearing the news. There are so many interesting facets to this story, but for me it ultimately boils down to this:

We’re looking at a battle for the future of franchise filmmaking.

Lord & Miller vs. Kennedy & Kasdan.

To be fair there really isn’t a side that needs taking. This isn’t a knock-down, drag-out fight but a salient example of the current state of franchise filmmaking. Are you interested in a newer creative vision for your favorite franchise or do you want more of the same? This is exactly what this story represents.

Kennedy, Kasdan and company are protecting a brand. Working to ensure that the elements that made the franchise successful are rigidly adhered to. However they’ve created something of a hostile workplace. Hostile is the wrong word. ‘Less than hospitable’ seems more apt. J.J. Abrams famously turned down The Force Awakens only to eventually take on the role when it seemed no one else would. Rian Johnson came on for one film. Josh Trank was fired. Gareth Edwards was basically replaced and left out of all the final decisions on Rogue One. Now Lord & Miller have been fired. I wouldn’t exactly call that a sterling employment record. If I was Colin Trevorrow, I’d be more than a little bit nervous.

Why aren’t talented young filmmakers sticking around? Why does Disney bother bringing in singular voices if they have no interest in their vision? Are they clutching their franchise so tightly that they’re choking it to death? It would be nice if Disney could loosen their grip. Bring in unique filmmakers and let them create something that stays true to the Star Wars universe but allows a Galaxy Far, Far Away to broaden and become creatively diverse.

Right now Disney has become the evil Empire desperately trying to control their franchise universe. Lord and Miller may very well become the face of the resistance.

Anghus Houvouras
See full article at Flickeringmyth »

Lord and Miller: 12 other directors who left/got fired from movies during production

Luke Owen looks at directors who left/got fired from movies during production…

With the shocking news that Phil Lord and Chris Miller have vacated the director’s chairs for the yet-to-be-titled Han Solo movie over “creative differences” (some sources say they were forced out), I thought it was time to look at some other directors who faced similar issues.

It’s no secret that making a tentpole movie for a studio is tricky. Duncan Jones has been very vocal as of late about the issues he had with last year’s Warcraft, and it was rumoured a few years ago that Gareth Edwards faced an uphill battle with Warner Bros. and Legendary on 2014’s Godzilla reboot. The 1993 Super Mario Bros. movie had its script re-written the weekend before production started with no input from the directors, who were then locked out of the editing room during post-production (they were eventually let back in).

Most of the time directors leave before production actually starts, and someone new is brought in. Edgar Wright left Ant-Man, Patty Jenkins left Thor: The Dark World, Rick Famuyiwa and Seth Grahame-Smith both left The Flash, Ben Affleck stepped down from The Batman, Stephen Herrick left Lara Croft: Tomb Raider; the list goes on. But very rarely does a director leave (or get fired) while the movie is in production. Usually if a studio loses faith in the director at that point, they would bring in someone else to “oversee” the movie and get it over the finish line. The aforementioned Godzilla saw this very occurrence, as did Mission: Impossible II when the legendary Stuart Baird was brought in to “fix” the movie Jon Woo originally helmed. Baird in fact has a long history with this, being a fixer on titles such as Superman: The Motion Picture, The Omen and Lethal Weapon.

There are still four or so weeks left on the Han Solo movie (plus the already planned reshoots), so let’s look back at a few other directors who left/got fired from their films.

The Wizard of Oz, 1939

It seems crazy to think that one of the most beloved movies of all-time had such a tumultuous production, but The Wizard of Oz in fact saw six different directors helm the movie. Norman Taurog originally shot test footage, but was quickly replaced with Richard Thorpe who shot for around two weeks when Taurog was moved to The Adventures of Tom Sawyer. Producer Mervyn LeRoy felt that Thorpe was rushing the production, and his short time on the film was probably not helped when original Tin Man Buddy Epsen was hospitalised after the metal make-up coated his lungs and left him on an Iron Lung.

None of Thorpe’s footage made it into the final cut (although he did shoot Dorothy’s first meeting Scarecrow and several scenes at The Wicked Witch’s castle), and George Cucker came in after Thorpe was fired. However, Cucker didn’t actually shoot any footage, and was there to simply oversee the plans to re-shoot all of Thorpe’s work until Victor Fleming came in. Although he was eventually the only credited director, Fleming left before production ended to film Gone with the Wind, and the shooting was finished by King Vidor and LeRoy.

Gone with the Wind, 1939

Speaking of Gone with the Wind, George Cucker had been developing the movie with producer David O. Selznick for around two years, but was removed from the project three weeks into production. According to reports, the decision to remove Cucker was Clark Gable’s and it angered fellow co-stars Vivien Leigh and Olivia de Havilland who went to Selznick’s office to demand he be re-hired. In Cucker’s place was Victor Fleming, who shot the majority of the movie over ninety-three days (although Cucker was secretly coaching Leigh and Havilland behind the scenes). Fleming wasn’t the final name on the movie however, as he had to take a short break due to exhaustion and Sam Wood shot for around twenty-three days.

Spartacus, 1960

Although considered a Stanley Kubrick movie, he wasn’t the first name attached to Spartacus. After David Lean turned down the movie, it was offered to Anthony Mann who was then fired by star Kirk Douglas after just one week of production. According to Douglas in his autobiography, Mann was “scared” of the size and scope of Spartacus and wasn’t capable of finishing the film.

Superman II, 1980

Shooting for Superman II was done alongside Superman: The Motion Picture in 1977 with Richard Donner doing both films. However the film was under a lot of pressure, with overrunning schedules and budget, which producers Alexander and Ilya Salkind and Pierre Spengler attributed to Donner. After everything was shot for Superman: The Motion Picture, Superman II was placed on hiatus. Once Superman: The Motion Picture was an instant hit, the producers brought in Richard Lester to replace Donner on Superman II and shoot around the footage already filmed. Why Lester replaced Donner is still up for debate. Spengler has claimed that Donner was asked to come back but refused, while Donner claims he only found out Superman II was getting underway when he received a fax from the Salkinds telling him his services weren’t required.

The cast and crew did not take the replacement lightly, with creative consultants Tom Mankiewicz and editor Stuart Baird refusing to return for the sequel, along with Gene Hackman who was replaced with a body double. Although Marlon Brando had already shot everything for both movies, he successfully sued the Salkinds who then cut him out of the sequel. Years later, Warner Bros. released the Richard Donner cut of Superman II on home video as Superman II: The Donner Cut.

Piranha II: The Spawning, 1981

Piranha II was originally set to be directed by Roger Corman graduate Miller Drake, who envisioned a version of the movie which saw the return of Kevin McCarthy (who died in the original film). Drake was then replaced with James Cameron who was working on the film’s special effects department, and he then re-wrote the script under the pseudonym H.A. Milton. However around two weeks into production, Cameron was fired by producer Ovidio G. Assonitis who felt he wasn’t doing a good enough job. Assonitis wouldn’t let Cameron review any of the footage he’d shot during his time on the movie, and was even making all of the day-to-day decisions.

A regularly reported story was that Cameron broke into the editing room while the producers were in Cannes to cut his version of the movie, which was then re-cut by Assonitis. “Then the producer wouldn’t take my name off the picture because [contractually] they couldn’t deliver it with an Italian name,” Cameron said in a 1991 La Times interview. “So they left me on, no matter what I did. I had no legal power to influence him from Pomona, California, where I was sleeping on a friend’s couch. I didn’t even know an attorney. In actual fact, I did some directing on the film, but I don’t feel it was my first movie.”

WarGames, 1983

WarGames began life as a very different movie titled The Genius in 1979 about a much older gentlemen, but this changed when writers Walter F. Parkes and Lawrence Lasker discovered a large youth-movement in the computer world, who would later be known as hackers. The character of David Lightman (played by Matthew Broderick) was even modeled after hacking enthusiast David Scott Lewis.

When the film went into production it was being helmed by Martin Brest who was then removed from the movie 12-days into shooting after a disagreement with the producers. In his place was John Badham, whose first act was to lighten the tone of the movie. “[Brest had] taken a somewhat dark approach to the story, and saw Matthew’s character as someone who was rebelling against his parents, and who was just kind of stewing inside,” he told The Hollywood Interview in 2009. “There was that tone to it. I said ‘If I was 16 and could get on a computer and change my grades or my girlfriend’s grades, I would be peeing in my pants with excitement!’ And the way it was shot, it was like they were doing some Nazi undercover thing. So it was my job to make it seem like they were having fun, and that it was exciting, but it wasn’t this dark rebellion.”
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Exclusive interview with Chris McKay on The Lego Batman Movie and Lego Universe

Tai Freligh interviews director Chris McKay

The Lego Batman Movie Producer Dan Lin and Director Chris McKay (courtesy Tai Freligh)

Chris McKay has an extensive background in television work, including editing, directing, producing, animation and visual effects. He is best known for his editing work early on for Robot Chicken and Moral Orel before later adding directing to his resume. He was animation co-director on The Lego Movie with Phil Lord and Christopher Miller before making his feature film directorial debut with The Lego Batman Movie.

The news came out in late February that McKay would direct a live-action Nightwing movie, the first of its kind for the character who has had a long history in comic books and animated television shows. While McKay couldn’t talk about Nightwing just yet, he did say that he might have some news soon, so stay tuned to Flickering Myth as we get
See full article at Flickeringmyth »
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