Posted on Wednesday, December 26th, 2018 by Trey Mangum
Out of all of Marvel’s properties, Runaways had arguably the hardest page-to-screen adaptation. There’s a lot of wacky shit going on in the comics, and all of that wouldn’t transition to screen well – especially in a live-action version. But for Season 2 of the Marvel drama, the series retools and grounds many of these elements, and the result is some of the company’s best television work. Read More »
With the universally-acclaimed first season of Marvel’s Cloak and Dagger premiering earlier this year on Freeform setting a standard for the Marvel YA drama, Runaways had a huge task on its hands for its sophomore season.
The first season of Runaways was a pretty bumpy ride. It started off with lots of promise, but soon lagged like most Marvel television adaptations, with too much exposition and too many episodes. But that’s changed for season 2: Runaways is a much leaner series and somehow pulls off one of the biggest season-to-season improvements in recent television history.
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The movie star-to-television star transition doesn’t always work. Regardless, when one of the most prominent film stars of the past few decades decides to dip their foot into television for the first time, it’s a big freaking deal. Mega star Julia Roberts steps into her first regular television role, opposite rising star Stephan James, and seamlessly makes the move to the small screen in the Amazon thriller, Homecoming. It’s a sleek, mesmerizing conspiracy thriller from Mr. Robot maestro Sam Esmail that is a throwback to classic thrillers and one of the most intriguing new series of the year.
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At the turn of the decade, the young adult novel mostly meant a star-crossed romance and many times included a supernatural being, vampire or werewolf.
Angie Thomas changed the game when her 2017 novel The Hate U Give drew inspiration from the recent, police-involved shooting of unarmed black people and the Black Lives Matter movement. Helmed by George Tillman, Jr., the raw, tense and heartbreaking film adaptation stays mostly faithful to the source material, delivering an Oscar-worthy flick that is one of the year’s best.
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When watching Blindspotting, it’s hard to tell that it is the first major film from co-writers/co-stars Daveed Diggs and Rafael Casal and the feature directorial debut for director Carlos Lopez Estrada – because it’s just that good. It has rightly received tons of critical acclaim for its portrayal of Oakland, police relations, race relations and even gentrification.
And all of that deserves a closer look. This post contains major spoilers for Blindspotting.
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Regardless of how you feel about the film overall, the critically-acclaimed BlacKkKlansman is one of the most of-the-moment films released in the past few years. Topical to both the past and present, combining comedy, drama, and yes, downright horror, it is hard to deny that it is one of Spike Lee’s greatest films in recent years. Some may even rank it among his all-time best films.
The film is a crime procedural drama, tinged with blaxploitation vibes, that tells a ‘70s-set story that is of supreme relevance today. BlacKkKlansman chronicles Ron Stallworth (John David Washington), a black detective who infiltrates the Ku Klux Klan with the assistance of a white Jewish detective, Flip Zimmerman (Adam Driver).
During its Cannes Film Festival world premiere (where it won the Grand Prix award), the film received a lengthy standing ovation, specifically due to the chilling final moments of the film, which incorporates footage from the 2017 Charlottesville counter-protest to a white supremacist rally, where Heather Heyer was killed.
From easter eggs, real-life allusions, and a time-twisting blow-up, this final moment was strategically set-up throughout the film to achieve maximum power. Spoilers for BlacKkKlansman follow.
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When Sony announced it was making a modern, Atlanta-set version of Super Fly (re-styling it as Superfly), it didn’t come as a surprise. We’re in the midst of a blaxploitation craze. Tons of film and television projects are in development based upon 1970s black action movies – films that were often criticized for their stereotypical portrayals of black people, but applauded for bringing stories centered on black people into the spotlight.
A new Shaft film starring Jessie T. Usher will be released in 2019. Underground co-creator Misha Green is developing a new Cleopatra Jones film at Warner Bros. Power creator Courtney Kemp was recently developing a reboot of Get Christie Love! starring Kylie Bunbury, and Hulu is reportedly working on a reboot of Foxy Brown starring Meagan Good.
Since the project was first announced, I was never completely against a Super Fly remake. If updated to modern times and made like a Power-esque crime drama, I always thought there could be a market for it. But just because I thought it could work doesn’t mean we actually needed a remake. Read More »