the mandalorian influences

(Welcome to The Movies That Made Star Wars, a series where we explore the films and television properties that inspired George Lucas’s iconic universe. In this edition: Lone Wolf and Cub: Sword of Vengeance.)

Samurai movies have long held a place in the inspiration of Star Wars. It began with The Hidden Fortress, which was one of the earliest influences on George Lucas’s creation of Star Wars, but Lone Wolf and Cub: Sword of Vengeance is perhaps the latest in that line of important Jidaigeki films that brought new life to Star Wars. Even the word, Jidaigeki, which translates to mean “period dramas,” had a hand in shaping Star Wars and is thought to be where the word “Jedi” came from. What better place than Japan to take the name for a spiritual, futuristic samurai warrior with a blade and a code of honor?

The words “Lone Wolf and Cub” are some of the first to come to mind when one takes a look at The Mandalorian. Watching the Mandalorian (a culture rooted as a Samurai stand-ins) protecting a young baby and fighting through wave after wave of enemies evokes the very same feelings.

Lone Wolf and Cub’s influence on The Mandalorian is immediately apparent, and makes it a must-watch for cineastes and Star Wars fans alike. But there’s so much more to it.

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Lone Wolf and Cub Remake

Seven scribe Andrew Kevin Walker has been tapped to pen a new adaptation of the manga Lone Wolf and Cub. Previously adapted into a six-film series in the 1970s, the new take on Lone Wolf and Cub will be produced by Justin Lin, who will likely direct as well. Hop into a baby cart to hades and read the Lone Wolf and Cub remake details below.

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Criterion Collection November 2016

The Criterion Collection is full of a variety of prestigious and respected films. You’ll find classic movies from decades ago, sparsely seen foreign films and some of the most acclaimed contemporary films from recent years. There are new additions to the Criterion Collection every month, and November is bringing some outstanding titles to the line-up.

The five new films coming to the Criterion Collection in November include director approved releases of The Squid and the Whale and Punch-Drunk Love as well as fully restored releases of Lone Wolf and the Cub, Marlon Brando‘s only directorial effort One-Eyed Jacks and Akira Kurosawa‘s Dreams. We’ve got details on what will make these Criterion Collection November 2016 releases so special after the jump. Read More »

Kazuo Koike‘s long-running manga series Lone Wolf and Cub, which follows Ogami Itto, a ronin who travels the Japanese countryside carrying his toddler son Daigoro in a weapon-laden baby carriage, is a perennially-popular piece of comic book storytelling. In the ’70s it generated a famous six-film series starring Tomisaburô Wakayama, with several of the films produced by his brother Shintaro Katsu (Zatoichi) and directed by Kenji Misumi.
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Is there a killer almost-a-movie that you’d consider trading a pinky to see on screen? For me, one such project will forever remain Batman: Year One from director Darren Aronofsky (Pi, Requiem For a Dream, The Wrestler). There was a time when Aronofsky and Christopher Nolan seemed neck and neck for the reinvention of Batman on film, and while Nolan went on to make history, recalling the former director’s references of A French Connection, Dracula and hints at an R-rating still karate-chop my brain.

For me, that discarded and impossibly cool project is slowly being replaced by a new genre outing for the director, one that might actually reach fruition. Earlier this month, we reported that Aronofsky was one of several directors in talks to helm MGM‘s RoboCop revamp. And before that, the studio released a teaser poster for the 2010 tentpole, as seen above. Now, Bloody Disgusting has received a logline for the film and they also confirm that Aronofsky is close to signing…

“Present day Los Angeles, 20 years after the termination of the RoboCop program, the city decides to reinstate the program.”

This would imply that the film will be a sequel of sorts—similar to T4″—rather than a fresh start like Batman Begins. Moreover, one can speculate that Aronofsky is a big fan of Paul Verhoeven‘s original film, which faced an X-rating due to its desensitizing violence (Re: the film’s message) and was later reissued under the glorious X by Criterion. Unlike McG, I would expect Aronofsky to keep the franchise’s violence and nihilistic tone intact, based on his previous and forthcoming films. The PG-13 RoboCop 3 notwithstanding, Detroit is still Detroit, after all. Oh wait, RoboCop will be set in L.A. Stay cool, mang.

I’ve said it before, there is no other director I’d rather see take on this material/canon, and I’m not at odds against a new vision. RoboCop is an iconic genre character, like Jason Voorhees or James Bond, and you can’t expect him to go away; also, the original film’s central themes of authority and law in the future are both timeless and warrant modern interpretations, albeit ones respectful of the source material. I also find it slightly humorous that Bloody Disgusting “tells” Aronofsky to check out The Dark Knight for inspiration; I’m pretty sure this guy has earned his gritty badge, dudes (even though The Fountain was a black hole of mush).

Curiously, Aronofsky is to begin filming The Fighter this October, according to lead star Mark Wahlberg. Brad Pitt is also expected to co-star, but then there’s Inglorious Bastards, so…will that be 2 for 2 drop-outs for the actor after The Fountain? And if RoboCop is set for release in two years, some shifting might be needed.

Other Aronofsky stuff (why not?): If you’re looking for a good book off the beaten path, two thrillers still on Aronofsky’s adapt-map are Flicker (which I’ve heard is excellent + it’s film related), and Song of Kali, which I plan on starting this weekend. The director also has a new paranormal series set up at AMC (Mad Men) entitled Riverview Towers. Last year, he was tapped to direct the “ballet psychological thriller” Black Swan, and is still attached. And one day, one day, let’s hope to see his take on Lone Wolf and Cub, which rivals Batman: Year One for the pinky offer. This guy rivals Fincher for enticingly dark projects, eh?

Discuss: Are you cooler with a RoboCop “sequel” than a reimagining? I can’t recall if there were any commenters against Aronofsky’s involvement, but if so, would you rather Rob Cohen, and if not, who? Anyone think Aronofsky might have given Nolan a run for the money with Batman?