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Ferdinand: director Carlos Saldanha interview

Louisa Mellor Dec 12, 2017

Ferdinand, the new animation from the studio behind the Ice Age films, is out this weekend. We spoke to its director Carlos Saldanha

Published over eighty years ago, Munro Leaf’s The Story Of Ferdinand is a children’s book which has excited controversy and devotion over the decades. It was banned in Franco’s Spain, burned in Nazi Germany, and lauded elsewhere for its beautiful and endlessly interpretably tale of a Spanish bull who refuses to fight in the bullring, preferring the scent of flowers to that of blood.

See related Why Annihilation going straight to Netflix matters Annihilation: Paramount dropping UK cinema release

For an animation studio which has already adapted the work of two Us children’s fiction greats—Dr Seuss in 2009’s Horton Hears A Who and Charles M. Schulz in 2015’s The Peanuts Movie—Leaf’s story was a natural choice for Blue Sky Studios.
See full article at Den of Geek »

Film Review: John Cena in ‘Ferdinand’

Film Review: John Cena in ‘Ferdinand’
Children’s picture-book classic “The Story of Ferdinand” may not be quite the literary phenomenon it was 79 years ago, when Walt Disney adapted Munro Leaf’s pacifist parable into an Oscar-winning animated short, but that doesn’t make the character — a Spanish bull who simply refuses to fight in the ring — any less relevant or endearing today. In fact, while the news cycle may have momentarily shifted away from the serious issue of bullying, what better way to address it with kids than via the story of an actual bull who’s picked on by his peers?

Of course, there’s a world of difference between a seven-minute short and a 108-minute feature, and Fox’s “Ferdinand” — which has been vibrantly brought to life by director Carlos Sandanha (“Rio”) and the team at Blue Sky, the company behind “Ice Age,” “Robots” and the recent Peanuts feature — strains at times, but in what’s been an underwhelming year for
See full article at Variety - Film News »

Artificial Intelligence: The Never-Ending Cycle

George Chrysostomou on artificial intelligence in TV and film…

It has to be said, we are seeing a lot of artificial intelligence and robotics within films and TV at present, and this certainly isn’t a new trend. There is a never-ending list of properties based around robotics and their competition with humanity to be a superior race. Of course, this isn’t always the narrative that we’re shown but it predominantly is. Rarely are we shown robots who don’t want to control or wipe out humanity in some fashion. Animated incarnations are often the exception; no one can imagine Wall-e killing humanity in a quest to clean up the planet and it’s doubtful that Robin Williams’ Fender from Robots was a real threat to humanity considering their whole world was made up of robots.

Some of cinema’s greatest villainy has stemmed from a robotics lab,
See full article at Flickeringmyth »

Watch Best Comic-Con Movie Trailers, From ‘Thor’ to ‘Justice League’ (Videos)

  • The Wrap
Watch Best Comic-Con Movie Trailers, From ‘Thor’ to ‘Justice League’ (Videos)
Here are the best film teases that the studios unveiled at this year’s Comic-Con “Ready Player One” Images of bodies floating through a purple-hued sky and Robots shooting guns tease the Steven Spielberg-directed sci-fi hitting theaters March 30, 2018. “Thor: Ragnarok” To save Asgard, Thor must put aside his past with his villainous brother. The Chris Hemsworth-starring fantasy premieres Nov. 3. “Kingsman: The Secret Service” There’s no lack of violence in the latest spot for 20th Century Fox’s sequel. New cast additions Julianne Moore, Halle Berry, Channing Tatum and Jeff Bridges join returnees Colin Firth and Taron Egerton in the Sept.
See full article at The Wrap »

Transformers 5: The Last Knight – Review

Bumblebee in Transformers: The Last Knight, from Paramount Pictures. Photo credit: Paramount Pictures/Bay Films. © 2017 Paramount Pictures. All Rights Reserved. Hasbro, Transformers, and all related characters are trademarks of Hasbro.

It’s summer, so director/producer Michael Bay brings out another installment of the toy-based franchise. In Transformers: The Last Knight, the good robot/car Transformers called the Autobots are at war with both humans and their perpetual enemies, the bad car/robots the Decepticons – again.

At about two and half hours, Transformers: The Last Knight is a long, dull slog of disorienting, camera-spinning CGI with little actual entertainment.

But wait…”knight?” What do knights have to do with this perpetual robot/human/robot war? It seems that after four movies where the transformers fight in the streets and skies of the good old USA, the creators behind this franchise felt a need for a change for the fifth movie. So let’s throw in a little King Arthur and Knights of the Round Table! There isn’t actually a lot of King Arthur, but there are Sir Lancelot and the magician Merlin, played by Stanley Tucci. In this version of the legend, the Transformers are behind Merlin’s magic.

Mark Wahlberg returns as the Autobots’ ally, would-be inventor Cade Yeager. We also get Anthony Hopkins as an eccentric English lord and Laura Haddock as a pretty Oxford professor. At the start of the story, Autobot leader Optimus Prime has gone off-planet on a quest and Cade (Walhberg), his vocally-challenged transformer buddy Bumblebee and a ragtag group of other transformers are hiding out in an U.S. The government has declared war on all transformers, and Cade and his crew have a bounty on their heads. Josh Duhamel plays a steely-eyed, strong-jawed American military officer hunting Cade and the transformers. The tale also adds a few kid characters, led by a feisty girl named Izabella (Isabela Moner), but these characters quickly fade away in all the explosions and fights.

The trip to the past is brief, and we quickly come back to the present for the usual Transformers action. After battles in America, we get more chases in the streets of London and general mayhem battles in merry ole England and then some globe-spanning destruction.

However, any change is purely superficial. It is still director Michael Bay’s signature action movie style – meaning the action is all about CGI where things fly pass the camera, turning end-over-end, while the camera spins in circles, so you cannot tell what is actually happening in most action scenes. When that is not happening, the characters are usually running or driving, in chases that end in the next battle. The characters strike brave poses, swoop in for the rescue, crack jokes – all the usual stuff.

Like all the movies in this franchise, Transformers: The Last Knight is light on plot and character development, and big on CGI and toss-away lines. The main point is to have non-stop battles in which cameras spin in dizzying fashion, special effects buildings explode and send things and people flying through the air. Robots transform in and out of car-configuration, while the humans and robots trade quips.

More than most summer action entertainment, this franchise aimed at kids has always seemed more about selling toys and CGI effects, and it has not improved over its iterations. There are few, very few reasons, parents would want their kids to see this movie. It has a perfunctory stick-by-your-friends message but also (like several recent entertainment films) has a little anti-science message, where magic trumps those bumbling scientists.

Of course, a few new characters/toys are introduced but even they quickly vanish into the swirling, disorienting battle. The cast are asked to do little more than toss off quips and run from CGI threats. Ok, Hopkins does a little more talking and less running, but still.

At first, it looks like this sequel will finally wrap up the franchise and settle this war for all time, and this critic was willing to give it a little credit for doing that. But no – a clip in the end credits reveals that there is another Transformers sequel to come.

If you liked the previous Transformers movies, Transformers: The Last Knight will fulfill your expectations. If you are not a fan of the franchise or or Michael Bay’s directorial style generally, this film will not change your mind about either.

Rating: 1 out of 5 stars

The post Transformers 5: The Last Knight – Review appeared first on We Are Movie Geeks.
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Transformers: The Last Knight review

Michael Bay’s back with a new Transformers movie! Brace yourselves, as we take on The Last Knight...

Most of us are familiar with Michael Bay’s filmmaking style by now: the frantic editing, the camera that won’t keep still, the golden, perma-sunset lighting. It’s all about as subtle as an air-raid siren. With Transformers: The Last Knight, however, Bay’s brand of maximalist action blockbuster seems to have curdled into self-parody. His fifth film in the transforming alien robot franchise is so loud, obnoxious and confusing that is almost defies description. Nevertheless, dear reader, we must try.

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Imagine it this way: you’ve had a long, tiring day at work, and you decide to go the pub for a relaxing beer - all the better to unwind and forget about the world for a couple of hours. But once inside, the whole establishment erupts into a dervish of violence: there’s glass and beer flying everywhere. Tables are turned over. Chairs are thrown. A man behind the bar screams at an unbearable volume. A dog tied to a barstool barks ceaselessly. The lights on the fruit machine are flashing. Unaccountably, there’s a bin on fire.

This is what watching the first 10 minutes of Transformers: The Last Knight is like.

The plot takes in Arthurian legend, an alternate history where robots fought Nazis in World War II, and Anthony Hopkins yelling in a submarine. An ancient staff, once held by the wizard Merlin - played in a flashback sequence by Stanley Tucci with a rubber nose and a dead fox on his shoulder - becomes the target of an evil robot witch from the planet Cybertron, who employs the erstwhile leader of the Autobots, Optimus Prime, to retrieve it. Once again, Earth’s in danger, and only Cade Yeager (an uncomfortable-looking Mark Wahlberg) can save us. Well, him and his growing band of friends, among them a 14-year-old tomboy, Izabella (Isabela Moner) and her robot sidekick, an upper-crust British academic named Viviane (Laura Haddock), Anthony Hopkins as a knighted historian, and the ever-present heroic Autobot, Bumblebee.

Beyond that, the film’s events are hardly worth summing up. Generic Us soldier William Lennox (Josh Duhamel) is now part of a defence force charged with hunting down robots, but then they make a deal with evil Decepticon, Megatron, to help retrieve that mystical staff everyone else is after. There are baffling shifts of allegiance on the part of the robots. Most of the film is shot with close-ups or with handheld cameras, which in 3D IMAX creates a nausea-inducing kaleidoscope of eyes, fire, white teeth and flailing robot arms.

What’s curious about The Last Knight is that it was billed for a while as something of a soft reboot for the long-running series. Izabella and her rather charmless robot sidekick, Sqweeks were, we assumed, an attempt to address the puerile male gaze of Bay’s previous Transformers films. Instead, Izabella feels like a character thrown in at the recommendation of focus group research: hey, Star Wars: The Force Awakens had a plucky heroine and a robot friend, so why can’t a Transformers movie? And Game Of Thrones - that’s pretty popular. Why don’t we throw in some magic and fantasy into the mix while we’re at it?

It’s difficult to think of another film in recent memory where the director and writers have displayed such naked cynicism. Yes, the VFX and stunt coordination is all spectacular, as we’d expect from a film of this scale. But the storytellers overseeing all those expensive stunts and computer graphics couldn’t give a flying carrot about whether or not the plot makes sense or whether the audience suspends its disbelief.

One robot character is even described as a “C-3Po rip-off” - a gag which may inadvertently give away the level Bay’s working at here. And Izabella, and her pet robot, and the Arthurian mythology, and Viviane, who’s essentially Lara Croft out of Tomb Raider - they’re all garnish around the edges of what is essentially the same stuff Michael Bay’s been peddling in these Transformers films for the past decade. Robots punch, stab and shoot each other while growling dramatic-sounding yet meaningless phrases (“Traitor!”, “I am Optimus Prime!”), tonnes of churning, twisted metal falls from the sky, and yet more world monuments are sacrificed on Bay’s blazing CGI altar.

The human characters, such as they are, simply exist to give a sense of scale to the huge death machines. John Turturro literally phones in his performance while on holiday in Cuba. Anthony Hopkins is on hand to deliver lots of exposition. More than one famous Transformer simply vanishes without explanation or fanfare. Oh, and longtime fans of the original G1 animated movie and TV shows should probably look away in The Last Knight’s groan-inducing second half.

The world is always on the cusp of destruction in Michael Bay’s Transformers films, but The Last Knight appears to represent a worrying new epoch: after a while, the film's familiar images begin to flow into one another until all that’s left is a teal and orange smear which jitters and dances meaninglessly. There are noises and words, but they devolve into a nonsensical roar, like an old television with a broken aerial. Gaze into Optimus Prime’s purple eyes, and you might just glimpse something profoundly terrifying: the summer blockbuster stretched past breaking point. Beyond it lies nothing: no emotion, no meaning - just a computer-generated void. The end, perhaps, of cinema itself.

Transformers: The Last Knight is out in UK cinemas on the 22nd June.

Transformers Transformers: The Last Knight Mark Wahlberg Optimus Prime Michael Bay a carrot the end of cinema Review Ryan Lambie Jun 21, 2017



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Carlos Saldanha On Dreams, Passion, Storytelling, Super Fancy Software

Carlos Saldanha On Dreams, Passion, Storytelling, Super Fancy Software
Annecy, France – The co-director of “Ice Age,” “Robots” – alongside Chris Wedge – and director of the “Ice Age” sequels, a creative impact honoree at Variety’s 10 Animators to Watch this May, was interviewed by Variety chief film critic Peter Debruge at Annecy Mifa Campus on June 13.

The event turned into a master-class on big meaningful issues –creativity, talent – from an articulate animator, given to a packed room of enthusiastic animation students. Below, some highlights:

Starting Out

“I realized that I could pursue something that allowed me to be an artist. That’s when I discovered CG and I went to art school. I remember my parents saying: “Art school? painting… maybe you should try a real school.” But I has seen a short from Pixar and thought: ”Oh, my God, this is real. It’s made with a computer and is kind of an art. I felt very excited with the possibilities.
See full article at Variety - Film News »

Robots battle Humans in new trailer for Transformers The Last Knight

Author: Zehra Phelan

“You’re Outta Your Mind”, Yep, another trailer and some questionable posters for the forthcoming Transformers The Last Knight has emerged two weeks before the CGI-heavy laden film is due to hit the big screen.

Related: Transformers The Last Knight Interviews, Trailers and more.

As come to be expected, the trailer is full of gloriously sharp CGI visuals as these robots in disguise take the battlefield against us puny little humans. Even though the transforming robots may look pretty impressive, it’s Mark Wahlberg with his cuttingly quiet quips that steal the show “Run off with some crazy ninja butler” he retorts to a robot that looks vaguely similar to Star Wars very own C-3Po.

Throw in some classic Anthony Hopkins with his historical intelligence to underline the plot for this episode in the Transformers saga and you have an explosively epic trailer not dissimilar to those that have come before.
See full article at HeyUGuys »

'Lion King', 'Harry Potter' animator's debut feature get sales deal

  • ScreenDaily
'Lion King', 'Harry Potter' animator's debut feature get sales deal
Exclusive: Concourse Film Trade launches sales on Alex Williams-directed animation.

Concourse Film Trade, the global sales and financing arm of Matthew Shreder and James Andrew Felts’ [pictured] Concourse Media, has acquired worldwide sales rights to the feature animation My Haunted House.

Animation veteran Alex Williams directs the feature about Charlie, a normal 14-year-old who lives in a haunted house with his supernatural family made up of Frankenstein, Count Dracula, mummies and zombies.

Williams brings a wealth of experience, having worked as an animator on The Lion King, Robots, The Chronicles Of Narnia: The Voyage Of The Dawn Treader, and Harry Potter And The Half-Blood Prince, among others.

The UK’s Tigon Entertainment is producing My Haunted House in association with Vancouver-based studio Liquid Media Group (Lmg), which has a first-look deal with Concourse finance partner Productivity Media. Bob Thompson is the producer in charge of animation.

“We have been seeking a strong animation title for several market
See full article at ScreenDaily »

Variety’s Creative Impact in Animation Award: Nothing but Blue Sky Ahead for Director Carlos Saldanha

Variety’s Creative Impact in Animation Award: Nothing but Blue Sky Ahead for Director Carlos Saldanha
Brazilian Carlos Saldanha has become one of the most successful tellers of animated stories of all time, with credits including “Ice Age: The Meltdown,” “Ice Age: Dawn of the Dinosaurs,” “Rio” and “Rio 2,” while he co-directed “Ice Age” and “Robots.” He’s Blue Sky Animation Studio’s secret weapon, having unleashed a string of worldwide blockbusters that have grossed more than $3 billion.

Variety’s Creative Impact in Animation honoree’s got Oscar cred with a nom for 2003’s animated short “Gone Nutty,” and an exclusive deal at Fox, where his BottleCap Prods. calls home.

Growing up in Rio de Janeiro afforded Saldanha with a unique perspective of the world, and in particular, how it would come to shape his animation and filmmaking instincts and aesthetic. “I was always a film buff,” Saldanha recalls. “Movies were always very special to me, but I never knew how to accomplish my goals.
See full article at Variety - Film News »

‘The Family Fang’ DVD Review

Stars: Jason Bateman, Nicole Kidman, Kathryn Hahn, Christopher Walken, Marin Ireland, Harris Yulin, Eugenia Kuzmina, Michael Chernus, Josh Pais, Maryann Plunkett | Written by David Lindsay-Abaire | Directed by Jason Bateman

Performance artists. What good are they anyhow? It’s not like they put their lives on the line, or make a strong statement about anything going on in current events. It’s not like they tend to become wildly notorious for their acts, nor do they leave a mark on younger generations. But the question is, what happens to their kids? That’s what The Family Fang sets out to solve…

The second directorial feature from Jason Bateman after 2013′s Bad Words, The Family Fang sees Bateman star as Baxter Fang, the brother of Annie Fang, played by Nicole Kidman. They are affectionately called “Child A” and “Child B” by their parents Caleb and Camille, played by the one and only Christopher Walken and Maryann Plunkett.
See full article at Blogomatic3000 »

Box Office: ‘Hidden Figures’ and ‘La La Land’ Ride Oscar Wave on Soft Holiday Weekend

  • Indiewire
Box Office: ‘Hidden Figures’ and ‘La La Land’ Ride Oscar Wave on Soft Holiday Weekend
As far as the box office is concerned, the Martin Luther King holiday weekend might better be dubbed Memorial Day, as six new wide releases are weak or dying. Despite a wide array of product which should have boosted totals, this weekend looks to be down 19 per cent from last year.

On the other hand, Oscar contenders “Hidden Figures” (20th Century Fox) and “La La Land”(Lionsgate) continued to surf cresting audience enthusiasm to place first and second for the three day weekend.

School vacation Monday results may boost Universal’s “Sing” and possibly Disney’s “Rogue One: A Star Wars Story” to higher positions. Animated musical “Sing” is holding well, with a 33 per cent drop. “Rogue One,” though now the top-grossing 2016 domestic release, is falling far faster than juggernaut “Force Awakens” a year ago.

The Top Ten

1. Hidden Figures (20th Century Fox) Week 4 – Last weekend #1

$20,450,000 (-10%) in 3,286 theaters (+815); PTA
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The Lrm Interview with Monster Trucks Director Chris Wedge

After years directing animated movies for Blue Sky Films--the original Ice Age, Robots and Epic were three of his movies--Chris Wedge decided to follow the route of many animation directors before him and do a live action movie.

Along came Monster Trucks, possibly one of the simplest high concept premises ever turned into a film, and Wedge somehow found a way to use that idea to put a twist on the “boy and his car” movie that was done so well in Michael Bay’s original Transformers movie.

It stars Lucas Till (MacGyver) as Tripp, an outsider in his North Dakota town, who spends his time at the garage working on a beat-up pick-up truck that just needs an engine. When an explosion at a nearby oil drilling site unleashes a creature that lives under the earth, its quest for life-sustaining oil leads it to Tripp’s garage and
See full article at LRM Online »

‘Hidden Figures’ Could Be #1 Again On Mlk Weekend, But New Releases Show Little Promise

  • Indiewire
‘Hidden Figures’ Could Be #1 Again On Mlk Weekend, But New Releases Show Little Promise
The year is off to a strange start, even at the box office. Last weekend saw “Hidden Figures” win in a rare race among three titles for the top spot, but this weekend looks even more complicated. Multiple films will vie for no. 1 — and “Rogue One” isn’t one of them.

Among last weekend’s top grossers, the only one in the hunt is “Hidden Figures.” It will likely will drop to the high teens, and the most likely challenger is the first national expansion of “Patriots Day.” There will also bean even wider break for the major crossover success that is “La La Land,” with “Live By Night” and “Silence” also expanding, if to considerably less effect.

Three new films will open with Paramount’s “Monster Trucks,” Stx’s “Bye Bye Man,” and Open Road’s “Sleepless.” All told, that’s seven films moving into more theaters, a traffic
See full article at Indiewire »

Monster Trucks Review

Monster Trucks is pure, child-first cinema that’s energetically staged to wow younger audiences (and entertain older chaperones). Didn’t see that coming, did ya? We’re talking about a film that Viacom publicly took a $115 million write-down for and buried away with little-to-no hype. As a critic, these scenarios typically spell a 15-car-pile-up kind of disaster – yet Monster Trucks is no such dumpster fire.

As legend tells, former Paramount film president Adam Goodwin fell in love with an idea co-spawned by his four-year-old son. From there, Ice Age/Robots director Chris Wedge was offered his first feature outside animation, with screenplay duties going to Safety Not Guaranteed/Jurassic World writer Derek Connolly (story by Glenn Berger/Jonathan Aibel/Matthew Robinson). No joke. All these people were tasked with making a child’s cinematic dreams come true, and that’s exactly what the film feels like – a wide-eyed, enthusiastic slice of fun-filled kiddie entertainment.
See full article at We Got This Covered »

Monster Trucks movie review: what a car-tastrophe

MaryAnn’s quick take… What if “monster trucks” actually meant — wait for it — that there were monsters in the trucks? From an idea by a four-year-old (really), and it shows. I’m “biast” (pro): nothing

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

What if “monster trucks” actually meant — wait for it — that there were monsters in the trucks? Cute monsters, of course. Nice monsters. (Duh! Nobody likes bad monsters.) The kind of monsters that a boy could be friends with and drive around with and do daring deeds with. Wouldn’t that be cool?

A monster in a truck is the least ridiculous thing amidst a story that is often illogical and morally hugely problematic.

Apparently — this will shock you — Monster Trucks was developed from an idea by former Paramount president Adam Goodman’s four-year-old son. Seriously. They didn’t actually
See full article at FlickFilosopher »

Film Review: ‘Monster Trucks’

Film Review: ‘Monster Trucks’
For movie buffs, “spoilers” typically refer to details that give away key plot details before audiences have had a chance to see a movie for themselves. But in the case of “Monster Trucks,” expectations have been crushed by two pieces of news released by the studio responsible. First, Paramount warned its shareholders to anticipate a massive bomb, having already taken a $115 million write-down against the movie’s projected losses. And second, it got out that the concept was “developed” in conversations between Adam Goodman (who has since lost his job as president) and his then-four-year-old son (who has since aged out of the target demographic — that’s how long this project has taken to reach the screen).

Like it sounds, “Monster Trucks” is a lame kids’ movie reverse-engineered from a worse pun: What if those massive custom 4x4s that kick up dust and crush old cars at heartland truck rallies were really alive?
See full article at Variety - Film News »

Another Fun Trailer for Paramount's Crazy Live-Action 'Monster Trucks'

"Meet Creech." Paramount has debuted a brand new trailer (see the first trailer) for the crazy live-action Monster Trucks movie, directed by Chris Wedge, who worked on Ice Age and Robots before making this leap into live-action. You've probably heard about this one because Paramount is bracing to lose millions of dollars making this, even though it is still two months out from release. I honestly don't think it looks that bad, there's an edge to it that seems like it's going to be fun - perhaps even moreso than the Transformers movies. This stars Lucas Till, Jane Levy, Holt McCallany, Barry Pepper, Tucker Albrizzi, Danny Glover, Amy Ryan, Rob Lowe, Frank Whaley, and Thomas Lennon. Fire it up and meet a monster. Here's the second official trailer (+ poster) for Chris Wedge's Monster Trucks, direct from YouTube: Looking for any way to get away from the life and town he was born into,
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High Maintenance: HBO's Potent New Comedy Delivers More Than Laughs

High Maintenance: HBO's Potent New Comedy Delivers More Than Laughs
With a runtime of 33 minutes, HBO’s High Maintenance premiere is roughly four times longer than any of the episodes in the web series from which it spawned — and we’re happy to report that it’s time well spent.

VideosHBO’s Westworld: New Trailer Promises Sex, Guns… and Plenty of Robots

Unlike the webseries, which focused on one customer per episode, HBO sends the show’s leading man — an unnamed pot dealer played by Ben Sinclair, who also writes and directs the episodes with Katja Blichfeld — on multiple deliveries, as seen in Friday’s “series” premiere.

As always, the
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Film Review: ‘Morgan’

Film Review: ‘Morgan’
Robots, supercomputers, automatons: The history of sci-fi can be boiled down to a laundry list of humanoid machines whose very existence raises the question, “Yes, but do they have feelings?” The title character of “Morgan” is, in many ways, a successor to all those spooky-chilly faux-human techno marvels. Except that Morgan does have feelings. She’s not a replicant built out of diodes and synthetic skin; she was bred — and born — in a lab out of synthetic DNA. She’s a not-so-far-fetched version of a “human” being who emerges out of the era of cloning and the corporate obsession with genetic modification.

Anya Taylor-Joy, the actress who plays her, was 19 when “Morgan” was shot, but she looks much younger, and though she does have eyebrows, they barely register. All you notice, under Morgan’s gray hoodie, is her luminous ghostly pallor, her upper lip cut like an “M,” and the
See full article at Variety - Film News »
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