Earlier today, the official Game of Thrones Twitter page gave us all an unexpected gift. With a little under 4 weeks away from the premiere of season 7, a new trailer promoting it has arrived. The tweet read “It may be the first day of #Summer, but #WinterIsHere on 7.16 on @HBO. Watch the new Game of Thrones Season 7 trailer.”
*Breakdown of Trailer Below. Contains SPOILERS from Previous Seasons of Game of Thrones*
Before I begin, since this is the second trailer, I will omit details and shots that we already saw in the last trailer for Game of Thrones season 7. That being said, let’s dive into this.
The new Game of Thrones trailer opens up with a shot of Sansa with the Light of the Seven theme playing over the trailer. For those who don’t listen to the soundtrack, that song played in the season finale last year when Cersei blew up the Sept of Baelor with Wild Fire. The shot is narrated by Littlefinger. “Don’t fight in the North or the South. Fight every battle everywhere. Always. In your mind.”
The shot changes to gate at the Wall opening up and a another shot of a distressed looking Jon Snow covered in his namesake and wearing Wildling gear. The shot of Jon, however, looks to be taking place way farther north beyond the Wall considering the mountains in the background and later shots.
There is a new shot of Lannister soldiers marching through a crowd of people in King’s Landing while be cheered on by onlookers. Then a quick image of Cersei turning in what looks like intense anger to face someone or something that isn’t shown. There is a shot of boats landing at what appears to be the shores of Dragonstone. Then Arya is shown riding a horse with a shocked expression on her face. Jaime is then shot from behind walking with purpose on some castle’s ramparts.
We then get a typical Game of Thrones shot of a conniving Littlefinger creeping behind some walls in the dark. After a shot we’ve already seen, Daenerys is shown walking the shores of Dragonstone by herself, most likely contemplating something. She is then shown tearing down a Stannis Baratheon flag in Dragonstone in horror with Tyrion, who no doubt told her of his misdeeds. We then get a shot of all three dragons flying over Dragonstone. We get new angles of both Tyrion standing on the cliff side of Dragonstone and Theon looking frightened on what we now know to be a burning ship.
We get a shot of Grey Worm in his armor turning to face the camera to nod his head while standing outside what appears to be the same cave Melisandre gave birth to the demon baby in season 2. There’s then a shot of Brienne and Podrick walking through a snowy Winterfell. The Mountain is then shown in a battle scene surrounded by snow which appears to take place beyond the wall considering later shots.
Unsullied soldiers are shown being killed on the battlefield by arrows, confirming the Queen vs Queen battle that had been hypothesized by fans this season. What appears to be Dothraki soldiers are shown ramming a Lannister shield formation. A person with an unclear identity is seen jumping from the steering wheel of a burning ship into the inferno below to continue fighting. The ship is no doubt a Greyjoy one but it is unclear who is fighting who.
There is a shot of Jaime commanding Lannister archers in the same battle, suggesting either he stays by Cersei’s side longer than expected or this battle is very early on. A shot of a bunch of crows flying in the snow is shown with one being warged into by Bran no doubt. There is then a shot of the Night King reacting immediately to the crow, further evidencing Bran. There is then the current featured image of this article with Beric Dondarrion’s sword lighting up in fire while he is surrounded by snow. This adds further evidence to the Hound being beyond the Wall since he’s currently traveling with the Brotherhood and fire is a good way to kill Wights.
The entirety of the these last few shots is narrated by Jon Snow saying “For centuries our families fought together against their common enemy, despite their differences, together. We need to do the same if we’re going to survive because the enemy is real. It’s always been real.”
The Greyjoy navy is shown approaching Blackwater Bay and there are various action shots of Unsullied soldiers forcing their way into a place. There is a shot of Dany standing on the ramparts of Dragonstone looking distressed followed by Jaime riding through the battle looking furious. Tormund is quickly shown fighting beyond the Wall and a dragon is shown charging the Lannisters with the Dothraki. Yara and Theon are shown terrified of their ship on fire while there are further action shots from the rest of the two major battles. One highlight shot is Jon standing on a hill/cliff looking mortified of Wights World War Z-ing their way to him.
Missandei is shown kissing a defeated looking Grey Worm with various stressed looking shots of Tyrion, Jon Snow, and Davos shown. Jon is shown fighting another White Walker and Dothraki soldiers ride through what appears to be dragon fire. Theon drops to his knees on Dragonstone but is later shown ferociously fighting on his burning ship. There is then a close up of one of the dragons looking like he’s about to eat somebody.
The screen goes to black and when we expect to see the Game of Thrones logo, it then fades back in with a final series of shots and narration. Sansa recites what seems to be a poem saying “When the snows fall and the white winds blow, the lone wolf dies but the pack survives.” The trailer ends with a shot of Jon Snow’s back, suggesting he will die once more. The Game of Thrones logo is then shown with information regarding the release date and its social media.
Orlando Bloom and David Harbour Share the Gran Turismo movie’s first trailer
Well, this movie has certainly come together quickly, just like the automobiles the franchise is centered around. In truth, Gran Turismo adaptation directed by Neil Blomkamp has already wrapped up filming and is in post-production ahead of its global theatrical release on August 11, 2023. Do you want to see a brief teaser? To view the trailer, click above.
Orlando Bloom and David Harbour provide some comments in this 60-second clip, which also includes a few brief film snippets. In essence, this is based on the real-life experiences of Jann Mardenborough, who won the 2011 GT Academy competition and later found success as a racing car driver.
In the few photos that were displayed, the cinematography seemed amazing, therefore it is obvious that this would look stunning on a large screen. During Sony’s CES press conference, Blomkamp briefly discussed how he is employing the company’s cutting-edge cameras to not only get stunning close-ups from within the car’s cockpit but also to imitate some of the game’s angles, as shown in the trailer.
“An imposing, spectacular, supersized movie,” according to the review of Avatar: The Way of Water
James Cameron was king of the bigger, better, and more contentious sequel blockbuster before he was crowned King of the World. Avatar: The Way of Water comes near enough to retain that reputation, even if his eagerly anticipated return to Pandora can’t rival Aliens or T2 for targeted tanker-weight efficiency. And it certainly knocks the flying fish off of Piranha II.
Will it become a $2 billion club member as Cameron suggests it must? We’ll see, but it’s undeniably flawed yet full of flavor (to paraphrase Guillermo del Toro(opens in new tab)). “MOVIE-MOVIE” is a sometimes strange, always magnificent sensory hit with a thematic thrust that is pleasingly genuine with an undercurrent of soft feeling. Untangling some of the story lines might require numerous viewings and three more movies. But Cameron is the best person to make the case for going to the movies again and again.
Cameron doesn’t spend much time setting the scene because the majority of people have already been to Pandora. The first scene quickly parachutes into Pandora’s rainforest, where Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana), who have turned completely Na’vi, are now raising their growing family. They have three biological children: Tuktirey, Neteyam (Jamie Flatters), and Lo’ak (Trinity Bliss). Then there are the adoptees: Spider (Jack Champion), a feral human orphan orphaned by war, and Kiri (Sigourney Weaver), a type of offspring of Grace’s avatar (from the original Avatar).
Jake feels that defending his family gives him meaning. The Sully family seeks safety among Pandora’s sea clans when the evil Colonel Quaritch (Stephen Lang) reappears in (completely explained) “Recombinant” avatar form seeking “payback” for his demise. Jake hovers firmly over his tearaway brood in this instance. But how long can they evade Quaritch’s new blue marines? And isn’t knowing how to manage risk an important learning curve?
While Cameron’s bare-bones setup showcases his pulp punch as a writer, it also demonstrates his astounding skill as a world-builder. This time, Cameron doesn’t give much opportunity to pause and take in Pandora’s plant life. The lush jungle suddenly seems inhabited and alive. However, the RDA (Resources Development Administration) has grander plans for Pandora, even though life on Earth is hardly sustainable at this point. Their base of operations is a small metropolis with cutting-edge technology like robotic spider “swarm assemblers” that can create structures in a matter of days. Cameron makes sure you can sense the destruction left behind when humanity arrive on Pandora.
The Way of Water definitely has the WOW factor in terms of CG. Thirteen years later, Avatar’s spectacle-cinema upgrade has been surpassed. Hair and skin gleam; flames and dust particles transfix. The great revelation this time is the reef, which is home to the Metkayina clan, just as Avatar took time to introduce viewers to Pandora’s funky wonderland. The aquatic realm is vivid, sensual, and tranquil. The sense of weightlessness immersed in the waves reveals a new, sensitive grace in Cameron’s direction as the 3D visuals shimmer in time with Simon Franglen’s ringing score. He instills respect for the ocean in addition to entranced love because the waves are both seductive and hazardous. And the sensation of anguish is overwhelming when their residents are mistreated.
Cameron expertly balances thematic, narrative, emotional, and character strands while dazzles your eyes. Jake’s instinctive need to save his children creates danger as a thematic pattern; from the opening monologue on, Cameron treats the theme like a dorsal fin to cling to through stormy story waters. This is somewhat reminiscent of Finding Nemo.
Casting-wise, Saldana and Kate Winslet (as Ronal, the co-leader of the Metkayina tribe) are a little too much in the background, but Worthington shines as the former Na’vi trainee turned training-on-the-job father. Weaver bridges the age gap between actor and character by touchingly projecting Kiri’s feelings of exclusion and sulky eye-rolls through the mo-cap. Dalton, one of the fantastic young actors, gives bonding scenes with the whale-like Tulkun heart when they otherwise may have seemed a bit Free Willy. Additionally, Champion dispatches the Newt-like Spider, whose subplot expands on Cameron’s family-related ideas.
Although it’s unfortunate that his toxic spiel (“science pukes,” etc.) sounds familiar, the returning Lang adds explosive wrath. Cameron doesn’t spend any time brushing up on Avatar, but he occasionally uses well-known beats. The Sully clan’s water-training reworks Jake’s previous Na’vi training, while marine animals like the “ilus” are reimaginings of the “ikrans” from Avatar. When a character moans, “Can’t believe I’m tied up again,” you wonder if a little editing could have been advised. Cameron even repeats himself a little bit within the movie.
Another minor issue with the plot’s stop-start nature is how some characters’ difficulties seem to go away for long lengths of time. Cameron, though, harnesses prior career highs into a blast of full-bore, high-stakes extravaganza at the film’s climactic point to remind you who’s in charge. The Abyss’ strange wonder, Aliens’ kid danger, Titanic’s aquatic horror show, and T2’s technology are all there and have been enhanced for tension, action, and emotion. Some loose tale threads leave more questions than answers when the fire is out. However, there are three scheduled follow-ups. Even after three hours and more, Cameron’s return leaves you wanting more.
Here is the second advertisement for The Last of Us on HBO
A brand-new trailer for HBO’s live-action take on The Last of Us from PlayStation has just been released.
The program, which will debut on HBO Max on January 15, 2023, and on Sky in the UK the following day, will star Pedro Pascal and Bella Ramsey as its main characters.
The Last of Us is the first TV show produced by PlayStation Productions, a division of Sony Interactive Entertainment created to create film and television adaptations of its own game franchises.
The first game’s events will be covered, and there may even be The Last of Us Part 2-related material, according to Craig Mazin, the creator of Chernobyl, and Neil Druckmann, vice president of Naughty Dog.
The show’s main protagonists, Joel and Ellie, will be portrayed by Pedro Pascal and Bella Ramsey. Sarah, Joel’s daughter, is portrayed by Thandie Newton’s daughter Nico Parker (Dumbo), while Tommy, Joel’s brother, is portrayed by Gabriel Luna (Agents of Shield).
The Last of Us’ debut trailer was released by HBO in September.
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