I think I've seen the first two. They're basically The Matrix in the World of Darkness RPG setting (e.g. Vampire: The Masquerade - Bloodlines on PC). They're okay, mainly recommendable for Kate Beckinsale playing the Trinity character and for the scenery-chewing villains, Michael Sheen in the first movie and Tony Curran in the second. I thought Scott Speedman was terribly miscast, though. I didn't buy him and Beckinsale together for a second. The setting and the costuming and so on are fun, if you're into sexy-action-vampire fiction (e.g. Sunglasses After Dark; Anita Blake: Vampire Hunter, etc.), and I think there were some good action scenes. Seeing Bill Nighy and Derek Jacobi in such ridiculousness was kind of fun, too.Maybe I need to give Underworld another go. I don't think I've ever managed to sit through an entire movie.
That's already been done, a few years back, in pretty much the same vein as He-Man, Voltron, She-Ra, etc., with that similar animation style.remake of Thundercats
‘Thundercats’ Movie Revived With ‘Godzilla vs. Kong’ Director Adam Wingard
Thundercats are on the move, again.
“Godzilla vs. Kong” director Adam Wingard is attached to helm a computer-animated adaptation of the beloved 1980s Rankin Bass animated series “Thundercats” for Warner Bros., from a script Wingard will write with frequent collaborator Simon Barrett (“You’re Next,” “The Guest”). Dan Lin of Rideback and Roy Lee of Vertigo, who produced Wingard’s film “Death Note,” were already attached to produce the film with a script by David Coggeshall when Wingard signed on, but Wingard and Barrett are starting fresh.
The original series, which aired from 1985 to 1989, was revived for a single season Cartoon Network in 2011, and then again in 2020 under the title “Thundercats Roar.” But as a feature film, “Thundercats” has been a tricky project to crack for the studio, which has hired a small parade of screenwriters and producers since at least 2007 to bring a movie to life. The underlying story is at once relatively simple — a team of humanoid cat-people (or cat-like humans) like Lion-O, Panthro, and Cheetara fight the evil wizard Mumm-Ra on the planet of Third Earth — and surprisingly complicated, with a mix of technological space sci-fi and swords-and-sorcery fantasy. There’s the mystical blade that holds the Eye of Thundera and the Ancient Spirits of Evil, and then antagonistic aliens like the Mutants of Plun-Darr and the Lunataks.
In an interview with Deadline, which first reported the news, Wingard made clear he is not interested in making a “Cats”-style live-action version of “Thundercats,” and wants instead to take a CGI-approach to the visuals that would embrace the “’80s aesthetic” of the original series.
“I don’t want to reinvent the way they look; I want them to look like Thundercats,” Wingard said. “I want to do a movie you’ve never seen before: A hybrid CGI film that has a hyper-real look and somehow bridges the gap between cartoon and CGI. That’s the starting point.”
I watched the first episode. Not really my cup of tea, but I do stand behind my spirit-brother Kevin Smith in slapping the whiny babies who think the new show 'ruins' anything. (At first, I wrote "man-babies" and I thought, "hey, how do you know they're all men?" but who am I kidding? of course they're all men. )So, I just watched the first episode of the new Masters of the Universe series. The first episode is very reminiscent of the original series (or at least the ones I can remember from that long ago). There's even a rather cringy intro sequence which directly parallels the original opening credits. Lots of the original characters, most of whose names completely escape me now, also show up at various points, looking very similar to how I remember them. Skeletor is played with menacing glee by Mark Hamill and Evil Lynn by Lena Headey, because everyone knows that at least one of the villains has to be British! Allan Oppenheimer, the voice of the original Skeletor (and Ming the Merciless from Defenders of the Earth), makes a brief cameo too. The climax is quite something, though.
Spoiler Massive spoilers for Episode 1 :Skeletor breaks into Castle Greyskull and almost destroys the universe, finally getting what he's always wanted to, but He-Man redirects the full power of Grayskull into the Sword of Power, whereupon it splits into two, He-Man changes back, and both he and Skeletor disappear entirely. Teela is so infuriated by realising who He-Man has been all this time that she abandons the royal court in disgust, setting up what I presume to be a Teela-centric arc.
So yeah, if you'd pinned your hopes on getting a whole series of He-Man doing his thing, that's obviously not going to happen, but I don't believe for a second that Skeletor and He-Man are gone for long, and given that the Sword of Power is now in two halves, that just screams one each for Teela and Adam (when he returns). The first half of the new series might not make any little boys desperately want to be He-Man, but the writers are clearly setting up a narrative arc and the story will no doubt be all the better for it.
I'd already moved on from He-Man by the time I was eight or nine, so I'm not the person to tell you that the new series has retroactively ruined my childhood. Then again, I probably wouldn't say that even if a bad remake of Thundercats or Defenders of the Earth came about in the future, so hey.
Okay, let's go with that.Well, wasn't He-Man a boys cartoon to begin with? It seems kind of logical that the majority of people that have issues with the new show would be male, no?
Scarlett Johansson Sues Disney Over ‘Black Widow’ Streaming Release
Star alleges simultaneous release of the latest Marvel movie in theaters and on Disney+ service was a breach of contract
Black Widow has a new enemy: the Walt Disney Co.
Scarlett Johansson, star of the latest Marvel movie “Black Widow,” filed a lawsuit Thursday in Los Angeles Superior Court against Disney, alleging her contract was breached when the media giant released the film on its Disney+ streaming service at the same time as its theatrical debut.
Ms. Johansson said in the suit that her agreement with Disney’s Marvel Entertainment guaranteed an exclusive theatrical release, and her salary was based in large part on the box-office performance of the film.
“Disney intentionally induced Marvel’s breach of the agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel,” the suit said.
A Disney spokesman said Ms. Johansson’s suit had no merit and is “especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the Covid-19 pandemic.” The company said it “fully complied with Ms. Johansson’s contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20 million she has received to date.”
The suit could be a bellwether for the entertainment industry. Major media companies are giving priority to their streaming services in pursuit of growth, and are increasingly putting their high-value content on those platforms. Those changes have significant financial implications for actors and producers, who want to ensure that growth in streaming doesn’t come at their expense.
“This will surely not be the last case where Hollywood talent stands up to Disney and makes it clear that, whatever the company may pretend, it has a legal obligation to honor its contracts,” said John Berlinski, an attorney at Kasowitz Benson Torres LLP who represents Ms. Johansson.
The suit also notes that annual bonuses for Disney Chairman Robert Iger and Chief Executive Bob Chapek are tied to the performance of Disney+ and cites that as further motivation for putting “Black Widow” on the service. Disney disclosed in its 2021 proxy that Messrs Iger and Chapek both received bonuses for the success of Disney+. “In short, the message to—and from— Disney’s top management was clear: increase Disney+ subscribers, never mind your contractual promises, and you will be rewarded,” the suit said.
Disney began releasing movies simultaneously on Disney+ and in theaters partly because of the Covid-19 pandemic, when theaters were closed or at limited capacity, and partly to boost its nascent service. AT&T Inc.’s WarnerMedia, which operates the HBO Max streaming service, is following a similar strategy for its entire 2021 slate of Warner Bros. movies. Comcast Corp.’s NBCUniversal has since followed suit, with the release of “The Boss Baby: Family Business” both in theaters and on its Peacock streaming service.
WarnerMedia chose to renegotiate many of its talent contracts that, like Ms. Johansson’s deal with Marvel, were tied to box-office performance. Warner Bros. paid more than $200 million to talent as part of the amended agreements.
....
The change in movie distributions is having an odd effect on the actors.
I don't pay much attention to the contracts side of the entertainment business, but it seems like nobody has quite gotten their arms around the rapidly-changing technology. I'd be surprised if actors' contracts have fully accounted for streaming, even before the pandemic.If someone promises to make my pay dependent on box office returns and then deliberately undercuts those box office returns, I'd be steaming too.