Movies & TV Shows
Han Solo Film Gets Composer of The Bourne, Kung Fu Panda, and How to Train Your Dragon Series
Academy Award nominee John Powell has just been announced as the composer for the untitled Han Solo film coming next May. This announcement came from LucasFilm’s weekly Star Wars Show where they broke down their weekly announcements for Star Wars plans and projects.
John Powell is an English composer who used to work at Hans Zimmer’s music studio, Remote Control Productions. Since then, he has gone on to work with Zimmer on many different film scores. He’s well-known for his work on various DreamWorks animated films. You’ve may have seen some of his work in films such as Kung Fu Panda, How to Train Your Dragon, Shrek, Happy Feet, Antz, Chicken Run, Ice Age, Robots, and Rio. His work has often been critically well-received. His work on the How to Train Your Dragon soundtrack even garnered him an Oscar nomination for Best Original Score.
Beyond animation, he has also worked on many live action films. Powell’s work on The Bourne series, United 93, and Green Zone especially has earned him a lot of praise. He’s also done such films as Jumper, Hancock, and X-Men: The Last Stand. His most recent composition came from last summer’s Jason Bourne which adds to his total of over 50 movie scores. From there, his next projects (as of right now) are an animated movie called Ferdinand, Han Solo, and How to Train Your Dragon 3.
John Powell’s work on Han Solo will make him the third composer to work on a live action Star Wars films, after Michael Giacchino (Rogue One) and John Williams (everything else). This announcement is especially a big deal for Powell since Disney and JJ Abrams have been using Michael Giacchino a lot for their more recent films (Doctor Strange, Rogue One, Spider-Man, etc.). John Williams has also been renowned for his work on Star Wars films, but he seems to only be working on the numbered films rather than anthologies from now on.
Han Solo will be the second anthology film in the Star Wars series. John Powell has quite the resume as a composer and will no doubt stand apart from other Star Wars films, something LucasFilm has stated they want to do with their anthologies. As of right now, Han Solo is still set to release on May 25th, 2018.
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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