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Watch Free IMDB and TMDB #Rian #Johnson #Josh #OConnor #Discuss #Faith #Religion #Knives, Writer-director Rian Johnson and star Josh O'Connor discuss how their real-life experiences informed their work and the deeper themes for Wake Up Dead Man: A Knives Out Mystery. Whereas Johnson's first two Benoit Blanc whodunnits, Knives Out and Glass Onion, examined the world of the rich and greedy, Wake Up Dead Man analyzes another kind of power: faith, guilt, and those who wield them. Set in a tiny, tight-knit village parish, Wake Up Dead Man sees Daniel Craig's detective Benoit Blanc and Josh O'Connor's well-meaning young reverend Jud Duplenticy team up to prove Jud's innocence and reveal who killed Monsignor Jefferson Wicks (Josh Brolin) in what seems to be the ultimate "impossible crime." The murder isn't the only question being asked in Wake Up Dead Man, however. What does it mean to have faith, and how do those who believe reconcile their differences with those who do not? How does that philosophical divide change the characters' dynamic? In an interview with ScreenRant's Todd Gilchrist for Wake Up Dead Man: A Knives Out Mystery, Johnson and O'Connor shared their personal experiences with religion and how its influence shaped the relationship between Jud and staunch non-believer Blanc. Examining the divide between Jud and Blanc was a major factor in what prompted Johnson to write this particular Knives Out story. "For me, this is what a big part of the point of writing this was," Johnson explained. "I was very Christian when I was younger; I'm not a believer anymore. And so, I have both of those people inside me. And it really isn't that one is dominant; it's that they're in constant conversation." The director continued, "To be able to write a scene where I let myself talk to myself about these things? That's the best-case scenario for a writer." As the case becomes increasingly biblical, both Jud and Blanc are tested in their beliefs, bringing them closer to understanding one another while also deepening their own views on religion. In every Knives Out film, Blanc forms a bond with one of the chief suspects. Blanc's trust in Marta's (Ana de Armas) skills as a nurse in Knives Out and his partnership with "Andi" (Janelle Monáe) in Glass Onion are all part of what makes Craig's character so fascinating as a detective. He doesn't keep his distance. Blanc's relationship with Jud is more complex, though, as they embody the movie's central theme. Josh O'Connor furtively speaking to Daniel Craig in Wake Up Dead ManCredit: Courtesy of Netflix O'Connor recalled his first meeting with Johnson for Wake Up Dead Man, and how they discussed the film's ever-present theological questions. "Rian and I's first-ever conversation was about that very thing," O'Connor said. "I grew up Irish Catholic, going to church every Sunday, and my feeling is that I really do have faith. I just don't know where to put it, or what it's for." O'Connor agreed with Johnson that the scenes his character shares with Blanc are "a lot like those conversations that are playing out in your head," and shared how he believes that every character he plays "in some ways informs own life." "You do learn things from a character, and the great privilege of being an actor is that you're collecting these souls and learning things from them. Jud taught me a lot," O'Connor said. Co-starring alongside Craig and O'Connor is the rest of Monsignor Wicks' flock, each with their own

reasons for seeking religion: Glenn Close as ultimate devotee Martha Delacroix, Jeremy Renner as the abandoned Dr. Nat Sharp, Kerry Washington as understandably bitter lawyer Vera Draven, Andrew Scott as has-been sci-fi author Lee Ross, Cailee Spaeny as chronically injured concert cellist Simone Vivane, and Daryl McCormack as political wannabe Cy Draven. Though they get some help from Mila Kunis' Chief Geraldine Scott, neither Jud nor Blanc receives a particularly warm welcome from Monsignor Wicks' zealous followers; at least they have that in common in Wake Up Dead Man: A Knives Out Mystery. Wake Up Dead Man: A Knives Out Mystery is available to stream now, only on Netflix.

Release Date November 26, 2025 Runtime 140 minutes

Watch Free IMDB and TMDB #Milly #Alcock #Takes #Flight #Supergirl #Trailer, The first official Supergirl trailer is here! Milly Alcock stars as Kara Zor-El in the Craig Gillespie-directed film, set to release on June 26, 2026. This is the second on-screen debut for Kara Zor-El in James Gunn's DC Universe; the first was a small cameo in Superman. At the Supergirl Trailer Watch Party in New York, James Gunn was joined on stage with Gillespie (Cruella, I, Tonya) and Alcock to share their thoughts on the Woman of Tomorrow storyline, the collaboration between all departments of cast and crew, and why the film was made to be a stand-alone. This is just another high point in Gunn’s DC Studios reign, saying, “I remember when we showed people the Superman trailer for the first time, it was just one of the real highlights of that whole journey. And this is the next highlight in that journey.” Supergirl Is Paving Her Own Path If you’re expecting Supergirl to follow in the footsteps of Superman’s tone, think again. At the watch party, Gillespie recalls an initial conversation with Gunn saying, “When we came in, and James was in the middle of shooting Superman when I met on this, I said, ‘How much do you want us to tie in to what you're doing?’ And he said, ‘I want to treat this like the comic book world, where each one is its own graphic novel, with its own artists and its own story writers. And this is your vision of it. Take that and do what you want with it.” With the green-light for a blank canvas, Gillespie was enthusiastic about creating something different. He said: “This is really an anti-hero story. What I loved about the script that Ana were supporting is, she's got a lot of baggage and a lot of demons coming into this, which is very different in where Superman is in his life. And having Milly be able to come in and play that, and all the complexity of that, and do it in a very human way, we can actually have empathy for her and the dance of the humor, and somebody that has that toughness was such a gift to get. And I'm excited for everyone to see that because it's really surprising the headspace that she's in.” How 'Supergirl' Was Influenced By 'House of the Dragon' Milly Alcock as Rhaenyra in House of the Dragon Season 2 Episode 4Image via HBO Even before James Gunn and Peter Safran took over DC Studios, the duo were fantasizing about how they would create their own world, what projects would be included, and how it would take place. After reading Supergirl: Woman of Tomorrow, Gunn said, “The first thing that excited me was reading this book and saying, ‘I think that's something we could adapt as a film and really have a different take on Supergirl’. So many times, female superheroes are so perfect, and she's not that at all. She's very imperfect, like male superheroes have been allowed to be for a while. And I was excited about doing it.” With the Woman of Tomorrow storyline in place, Kara Zor-El needed casting. Gunn remembers a call with Safran, saying, “I said, ‘You know who would be great?’ This is totally true, I remember. On the phone, ‘You know who would be great as Supergirl? That little girl, that little, tiny kid, that little miniature human being from House of the Dragon, I think she's really got something special about her.” Alcock played the younger version

of Rhaenyra Targaryen in HBO’s Game of Thrones prequel — a main role in the beginning of Season 1, and a few flashbacks in Season 2. On stage with Gunn and Gillespie, Alcock wanted to make sure everyone knew just how many people were involved in this project. She said, “It's really surreal seeing everyone’s work come together. I feel like I'm really excited for everybody to see all of our crew's hard work, and curating the worlds, physically, all the aliens, all the VFX, literally thousands of people who made this project come to life. So I'm really excited for their work to be reflected.” Supergirl soars into theaters everywhere on June 26, 2026.

Watch Free IMDB and TMDB #Hamnet #Wins #Toronto #Film #Festivals #Peoples #Choice #Award, “Hamnet,” director Chloé Zhao’s adaptation of Maggie O’Farrell’s bestselling novel about William Shakespeare and his wife, Agnes, has won the People’s Choice Award at the 2025 Toronto International Film Festival, TIFF organizers announced at an awards ceremony on Sunday. Unlike most major film festivals, Toronto puts its top award in the hands of the public rather than a jury of film professionals. Viewers at the festival’s public screenings are invited to vote for their favorite films on the TIFF website, with the film getting the highest percentage of votes from its viewers winning. Guillermo del Toro’s “Frankenstein” finished second in People’s Choice voting, while Rian Johnson’s “Wake Up Dead Man: A Knives Out Mystery” finished third. The win makes Zhao the first director to have two films win the People’s Choice Award, which was first given out in 1978. She also won in 2020 for “Nomadland.” While Zhao was not present to accept the award, she sent an acceptance speech on video, which screened upside down on the livestream of the ceremony. “Apologies for the error, but that is what this film does to your heart,” said TIFF CEO Cameron Bailey at the end of the video. In recent years, the TIFF People’s Choice Award has been a reliable indicator of Oscar success, with 15 of the last 17 winners going on to receive a Best Picture nomination, and five of them winning (“Slumdog Millionaire,” “The King’s Speech,” “12 Years a Slave,” “Green Book” and “Nomadland”). Last year’s winner, “The Life of Chuck,” did not receive a theatrical release until 2025 and is a longshot to extend the streak to 13 years in a row. If you include TIFF second-place and third-place winners, 25 of the last 39 films to receive People’s Choice recognition also earned Best Picture nominations. In seven of the last 13 years, the Oscar winner had previously won, placed or showed in Toronto. The first-ever International People’s Choice Award went to Park Chan-wook’s “No Other Choice,” with Joachim Trier’s “Sentimental Value” finishing second and Neeraj Ghaywan’s “Homebound” finishing third. People’s Choice Awards were also given out in the Midnight Madness and TIFF Docs sections. “Nirvanna The Band the Show the Movie” won the Midnight Madness award, while “The Road Between Us” took the documentary prize. The latter film, about an Israeli general who rescued his family from Hamas during the Oct. 7 attacks, was the festival’s most controversial film, with TIFF booking it, then withdrawing it from the lineup, then adding it back and admitting that the decision to withdraw it had been a mistake. While the marquee awards were voted on by the public, the festival did put several other awards in the hands of juries. The Platform jury, which gave its top award to “To the Jury!,” consisted of Carlos Marqués-Marcet, Marianne Jean-Baptiste and Chloé Robichaud. The Short Cuts jury was made up of Ashley Iris Gill, Marcel Jean and Connor Jessup, who gave awards to “The Girl Who Cried Pearls,” “To the Woods” and “Talk Me.” The Short Cuts awards came with $10,000 CAD cash prizes, while the Vimeo Staff Pick Award, a new addition, went to “I Fear Blue Skies” and carried a $5,000 prize. The Canadian Discovery and Best Canadian Feature Film Awards were given to and “Blue Heron” and “Wrong Husband,” respectively, by filmmakers Jennifer Baichwal, Sophie Jarvis and R.T. Thorne. The FIPRESCI Prize for the festival’s best first feature, from the International Federation of Film Critics, was given to “Forastera” by critics Katharina Dockhorn, Francisco Ferreira, Jean-Philippe Guerand, Andy Hazel and Justine Smith. The NETPAC Award for films from the Asian and Pacific regions went to “In Search of the Sky” and was voted by filmmaker Helen Lee, journalist Keoprasith Souvannavong and author/professor Dina Iordanova.

Watch Free IMDB and TMDB #James #Gunns #MCU #Blockbusters #Influenced #DCUs #Supergirl, The first trailer for the DCU's next blockbuster event, Supergirl, is finally here. The film soars into theaters in June, with Milly Alcock becoming the third actor to play the Girl of Steel on the big screen. The first trailer for the film, based on Tom King's Supergirl: Woman of Tomorrow storyline from DC Comics, promises a galaxy-hopping, sci-fi adventure unlike any other Supergirl story ever put to screen--and it should be exceptionally exciting for fans of the DCU. Supergirl is the first entry in the DCU not written and directed by James Gunn, with I, Tonya and Cruella director Craig Gillespie taking over. Still, the Superman director's fingerprints are all over the film. Even more so than Superman, it seems that Gunn's history with the Marvel Cinematic Universe serves as a major inspiration for the upcoming Supergirl movie. The first trailer reveals plenty of influences from Gunn's Guardians of the Galaxy trilogy. Supergirl Is a Galaxy-Hopping Sci-Fi Adventure Like Guardians of the Galaxy Rocket piloting a ship in Guardians of the Galaxy Vol 3Image via Marvel / Walt Disney Studios Motion Pictures / Courtesy Everett Collection Shining throughout the Supergirl trailer is an epic sci-fi aesthetic that inevitably evokes memories of James Gunn's Guardians of the Galaxy trilogy. The original 2014 film introduces a vast sci-fi universe that, while populated with all manner of fantastical aliens and creatures, is also grimy and dangerous. This much is plainly visible in Supergirl, which includes instances of Kara and her new companions fighting to survive in the dangerous underbelly of a galaxy filled with creatures trying to kill them. The aesthetic is remarkably similar to Guardians of the Galaxy, particularly in the moments where Kara is confronted by a gang of intergalactic pirates who are eerily reminiscent of Marvel's Ravagers. The planet upon which Supergirl first encounters Ruthye Marye Knoll (Eve Ridley) also seems to resemble Knowhere, the Guardians of the Galaxy's home base by the end of their trilogy. The trailer also features several new shots of locations and characters that differ vastly from anything that superhero fans have seen in live-action before, most notably including a quick glimpse of Jason Momoa's intergalactic bounty hunter, Lobo. Not everything about Supergirl's cosmic journey deals with the grimy underbelly of the galaxy, however. The trailer also includes a first look at the DCU's Krypton, the aesthetic and look of which are diametrically opposite to the rest of the planets featured therein. The upper-glass, regal feel to the Kryptonians evokes memories of Guardians of the Galaxy Vol. 2's Sovereign. This comparison could also play into the DCU version of the Kryptonians, who, like the Sovereign, believe themselves to be a superior species worthy of taking over lesser planets like Earth. Guardians of the Galaxy isn't the only clear inspiration on Supergirl. The trailer also includes imagery strikingly reminiscent of Star Wars, from the designs of its spaceships to the vast, homogenous terrains of alien worlds. Thus, while some critics might claim that the film is copying the world James Gunn already created for Marvel, it's clear that Supergirl is drawing from multiple different sci-fi franchises that have had a significant impact on popular culture--not just Guardians of the Galaxy.

Supergirl's Storyline Is Based on Star-Lord's Guardians of the Galaxy Arc Chris Pratt stars as Star-Lord in Guardians of the Galaxy Vol. 2Image via Marvel Studios/Everett Collection Sci-fi backdrops and otherworldly aliens aren't the only inspiration that Supergirl rips from Guardians of the Galaxy. Judging by the first trailer, Milly Alcock's Supergirl will also borrow from another of James Gunn's iconic protagonists: Star-Lord. Over the three Guardians of the Galaxy movies (and a holiday special), Chris Pratt brought Star-Lord's story to life with notes of tragedy and humor. It seems that Alcock's approach to Kara Zor-El won't be too different. The similarities between Peter Quill and Kara Zor-El are clear from the newest Supergirl poster alone. In the image, Kara is seen wearing a familiar-looking pair of headphones attached to an old-fashioned Walkman. This is, of course, the same iconic Walkman that Star-Lord listens to during his first scene in the original Guardians of the Galaxy. This also suggests that Kara will share a similar affinity for classic rock, though her playlist may stick closer to songs like Blondie's "Call Me" than Redbone's "Come and Get Your Love." The Supergirl trailer also reveals that Milly Alcock's superhero shares a similarly tragic backstory that leaves her feeling like she doesn't belong. Her origin story is, in a strange way, exactly opposite to Peter Quill's. While Quill was abducted from Earth at a young age and raised as the only human in a wide galaxy of aliens, Kara lost her homeworld and later came to Earth as one of the last of her kind. Both characters feel like they don't belong anywhere, but find home in the arms of unexpected companions. Interestingly, it also seems as though Peter Quill and Kara Zor-El share similar vices. At the beginning of the Guardians of the Galaxy trilogy, Star-Lord deals with his internalized trauma by pursuing the more carnal pleasures of life, whether it be drinking, stealing, or finding a new partner at every port of call. Supergirl is little different, straying from her cousin's more heroic sensibilities to party and drink her woes away. However, judging from the first look at her upcoming adventures, it seems as though Kara, like Star-Lord, will eventually rediscover the heroic side within herself. Supergirl Is the Most Important Upcoming DCU Movie Supergirl posterImage via Warner Bros Supergirl is the most important film on the DCU's release slate in the coming years. This is yet another similarity that it shares with James Gunn's original Guardians of the Galaxy movie. Unlike Supergirl, the first Guardians of the Galaxy didn't seem all that important at first. The film was one of Marvel Studios' biggest risks at the time, focusing on little-known characters and set in a galaxy far from the events of the rest of the franchise. Against all odds, Guardians of the Galaxy became one of the most impactful MCU movies of all time. Not

only did it introduce several major characters for the larger storyline of the Infinity Saga, but it also introduced the lore behind Thanos and the Infinity Stones, which played an important role in films like Avengers: Infinity War and Avengers: Endgame. Even more importantly, Guardians of the Galaxy proved that the MCU could both take place across vast galaxies and adopt a greater variety of genres. In that way, James Gunn's Marvel films are responsible for later MCU projects like Thor: Ragnarok and The Fantastic Four: First Steps. Supergirl aims to do likewise for the DCU, though its importance is much more visible from the start. The 2026 film will be the first to explore the larger galaxy of the DCU, taking place across multiple alien worlds and featuring countless extraterrestrial species. If successful, Supergirl will open the door for more cosmic stories, beginning with the HBO Max series Lanterns. Thankfully, James Gunn has proven that he knows exactly how to build a compelling sci-fi universe. If Guardians of the Galaxy was successful, then Supergirl should be too. Moreover, as the first DCU project not written and directed by James Gunn, Supergirl must prove that the franchise is capable of sustaining more than just one creative voice. Gunn's three projects so far have all been wildly successful, but now the time has come for another filmmaker to add their distinct voice to the DCU. Massive cinematic universes like this one by necessity require multiple strong creative voices in order to sustain their massive weight. If the DCU wants to be more than just James Gunn's stories, Supergirl is the place to prove itself. Supergirl shares numerous similarities with James Gunn's Guardians of the Galaxy franchise--but there are certainly worse superhero films to be compared to. The first trailer for the upcoming film promises a dazzling sci-fi adventure the likes of which has never been seen in a DC film before. If the movie manages to deliver on the trailer's epic promises, Supergirl could be a massive win for the DCU in 2026. Supergirl hits theaters on June 26, 2026.

Release Date June 26, 2026 Director Craig Gillespie Writers

Ana Nogueira, Otto Binder, Tom King, Al Plastino Milly Alcock Kara Zor-El / Supergirl Matthias Schoenaerts Krem of the Yellow Hills Eve Ridley Ruthye Mary Knolle

Watch Free IMDB and TMDB #Absolute #Joker #Variant #Covers #Commanding #Top #Dollar #eBay, The following contains major spoilers for Absolute Batman #15, on sale now from DC Comics. Absolute Batman #15 is quickly becoming one of the hottest books of the year thanks to rising prices online. One of the best modern Batman stories, Absolute Batman is rightfully in high demand. Per Bleeding Cool, the recently released Absolute Batman #15 (by Scott Snyder, Jock, Frank Martin, and Clayton Cowles) is making major waves on the secondary market just days after arriving in stores. Currently, the issue's main cover by Nick Dragotta is fetching around $15 on sites like eBay, despite carrying a retail price of only $4.99. Variant covers for the issue, which marks the debut of the Absolute Joker's monstrous true form, have already climbed upwards of $100 for select copies. Among the most notable of these high-price variants is the 1:50 retail incentive cover by Jock, which is currently selling for well over $50, while retailer exclusive variants such as those by artists Dave Wilkins, Tyler Kirkham, and Clay Mann command similar and occasionally higher prices of their own. While the price jump itself was somewhat expected considering the spectacularly frightening nature of the issue and all the hype leading up to its release, the sheer rate at which the price has climbed is plenty notable. That, coupled with the fact that there are currently around 300,000 copies of Absolute Batman #15 in circulation, makes the jump in the title's secondary market price even more extraordinary. Absolute Batman #15 Is A Big Deal Image via DC Comics The official solicit synopsis for Absolute Batman #15 from DC Comics reads, "SCOTT SNYDER REUNITES WITH LEGENDARY ARTIST JOCK! Alfred reveals to Bruce the story of the man he’s been chasing for years. Enter: Joker! Scott Snyder and Jock reunite for an epic tale in the Absolute Universe!" Although the Absolute Unvierse's version of the Joker has been seen slinking in the shadows since the release of Absolute Batman #1 last year, fans have only recently gotten the chance to take in his terrifying true form. Previously, the Joker was only ever seen as an enigmatic, seemingly humorless billionaire clad in a white suit. With the release of Absolute Batman #15, however, readers have seen just what this Joker is truly capable of, not to mention what he is really made of in the first place. From what readers have gleaned so far, the Absolute Joker is a more than century old figure who has posed as his own familial successor over the ages. In that time, the Joker has amassed untold wealth and even more unfathomable power, so much so that he is able to hide his enemies away on remote, privately owned islands until he decides it is time to go hunt for his next meal. Leading up to this startling reintroduction of the Absolute Joker, Absolute Batman writer Scott Snyder clued fans in to one especially unsettling aspect of the character. "For future — the red lines over his eyes are actually still his mouth," Snyder wrote on social media, referring to what seems like the Joker's makeup as seen in Glenn Fabry's retailer exclusive variant for Absolute Batman #15. "There are teeth in there," Snyder added. Absolute Batman #15 is on sale now from DC Comics.

Watch Free IMDB and TMDB #Marvel #Fans #XMen #Team #Theyre #Perfect, The following contains major spoilers for Ultimate Wolverine #9, on sale August 6 from Marvel Comics. Marvel's Ultimate Wolverine has just found a new home as a member of the latest star-studded X-Team. A preview for Ultimate Wolverine #9 (by Chris Condon, Alessandro Cappuccio, Bryan Valenza, and VC's Cory Petit) from Marvel Comics opens to the sight of the titular hero and several of his most iconic allies tearing their way across the water in a speed boat right towards their next target. As Abigal Thanriaguiaxus, better known as Abigal Brand, reminds them all, they are headed straight for enemy territory. Of course, that is precisely what this Strike Team X was formed to do, and if they can see their mission through, they won't be the only mutants headed home once the dust has settled. Strike Team X Debuts in Ultimate Wolverine #9 Written by CHRIS CONDON Art by ALESSANDRO CAPPUCCIO Colors by BRYAN VALENZA Letters by VC's CORY PETIT Design by JAY BOWEN Main cover art by ALESSANDRO CAPPUCCIO & FRANK MARTIN Variant covers by RYAN BROWN and ANDREA SORRENTINO First seen in Chris Condon and Alessandro Cappuccio's backup story to 2024's Ultimate Universe: One Year In #1, "Ultimate Wolverine Prologue," the James Howlett of the current Ultimate Universe isn't all that different from the version of the character who fans know best, at least not on the surface. At some point in his past, this Logan made his way to the Eurasian Republic, where he was involved with the Opposition, a freedom-fighting group dedicated to dethroning tyrants such as Magik, Colossus, and Omega Red. Unfortunately, Logan was captured, tortured, experimented on, and brainwashed, all of which led to him becoming the Ultimate Winter Soldier. Under the control of Directorate X, Wolverine became the most capable assassin that the Eurasian Republic had at its disposal. Logan was even sent on a mission to root out and cut down his former comrades, including Kurt Wagner and Raven Darkhölme. Luckily, with some help from the likes of Kitty Pryde, Logan was stopped before he could do any irreparable harm, and with the help of the One, formerly known as David Haller, the Ultimate Wolverine was finally able to regain some semblance of his former self. While Ultimate Wolverine is busy freeing mutants from the clutches of their malevolent oppressors, the Ultimate Universe as a whole is headed for something much, much bigger in the form of its impending Ultimate Endgame. Teased by critically acclaimed writer Deniz Camp, Ultimate Endgame is slated to be the most epic crossover event that the newest iteration of the Ultimate Universe has seen to date. Camp wrote of the upcoming event, "I can't say exactly what it is yet, but I do want to say it's the biggest, boldest thing I've ever been a part of, and it's still unbelievable to me Marvel is letting us do this. It's new and risky and daring. Get excited!" Ultimate Wolverine #9 goes on sale August 6 from Marvel Comics. Source: Marvel Comics

Watch Free IMDB and TMDB #Times #Iceman #Powerful #XMen #Member #Ranked, Every X-Men member has been the butt of some mocking humor on occasion, and Iceman is certainly no exception. However, those who have ever indulged in poking fun at the mutant with the power to create ice out of water vapor clearly do not understand the full extent of his abilities. The X-Men member otherwise known as Robert "Bobby" Drake is capable of so much more than cooling a beverage and, in fact, is so powerful that he has been designated as an Omega Level Mutant. Taking a look at some of the best Iceman comic books, essential moments from the X-Men movies and other media provide more than enough proof as to why. Iceman Defeats Pyro Iceman fighting Pyro in X-Men: The Last StandImage via Twentieth Century Fox/Marvel Director Brett Ratner's 2006 threequel, X-Men: The Last Stand is widely considered to be one of the worst X-Men movies yet. However, the film is not without its fun and exciting moments, such as when Iceman (future The Boys Lamplighter actor Shawn Ashmore) engages in a battle with John "Pyro" Allerdyce (Aaron Stanford). Bobby holds his own quite well opposite his former friend, whose power to manipulate fire makes him his natural opposite, almost making this quarrel, as a result of Pyro's alliance with Magneto (Ian McKellan), seem inevitable. The fight culminates in Iceman demonstrating a previously unseen ability of his (at least in the movies), in which he turns his entire body into ice before taking John out with a headbutt. Iceman Uses His Thermal Vision Iceman's ability to manipulate the temperature of the water vapor surrounding the air at all times, and even his own temperature, allows him to do an astonishing variety of tasks. For instance, if any of the X-Men members ever needed a thermal tracking device or the one they had was broken, all they would need to do is call Iceman, because he is a living thermal tracking device. When Bobby lowers his body temperature enough, it gives him a certain level of heat sensitivity that allows him to actually see the heat signatures of other people, similar to how the Yautja from the Predator movies track their prey. In other words, Iceman is also useful for detecting unseen enemies, which only a handful of other mutants on Charles Xavier's team can do, such as telepaths or Wolverine with his enhanced sense of smell. Iceman Stops A Sentinel In 2014's X-Men: Days of Future Past, Iceman's attempt to defeat a Sentinel does not exactly work out in his favor, unfortunately. However, the character has successfully taken down one of these mutant-hunting machines before in the comics. In fact, there is a moment from Marvel's Ultimate Universe when an alternate version of Robert Drake actually discovers his powers while facing a Sentinel. No one is more shocked than the young man who would be called Iceman when he manages to freeze the hulking robot in its place, ending its hunt. Iceman Saves Wolverine From Stryker The Fox-era X-Men movies always had trouble maintaining a continuity that makes sense, which actually dates back all the way to the otherwise widely praised X2: X-Men United from 2003. Despite several clear run-ins with each other during the events of the first film, Logan, a.k.a. Wolverine (Hugh Jackman), is seen formally meeting Iceman toward the beginning of the second installment.

From that point on, Bobby appears determined to earn the approval of the man whom his girlfriend, Rogue (Anna Paquin), regards as a father figure, by offering his assistance with small things like instantly chilling a bottle of soda for him, to much bigger things. His most generous deed is creating a thick wall of ice to separate Logan from the evil Dr. William Stryker (Brian Cox) after he and his goons invade Charles Xavier's mansion. Iceman Freezes Enemies From Within It is not usually an X-Men member's modus operandi to commit murder, but if Iceman ever needed to, it would require very little effort or time. He possesses the ability to manipulate the temperature of the individual molecules inside a living organism, which means that he can instantly take the life of anybody he wants by literally freezing them to death. The central iteration of Iceman from Earth-616 rarely uses this ability, but his alternate self from the Age of Apocalypse storyline does not have as much restraint and wipes out an entire army led by the eponymous mutant in this way. He even used this power against his own father after a bitter argument by freezing his heart, which, thankfully, does not kill him, but does cause him to suffer a traumatic heart attack. Iceman Creates An Impromptu Landing Strip Iceman's landing strip from Wolverine and the X-MenImage via Marvel Studios One of the most entertaining iterations of Iceman outside of the comic books can be found in the short-lived animated TV show, Wolverine and the X-Men. Originally airing from 2008 to 2009, the series sees Logan become the leader of the recently reunited mutants, with Bobby Drake being one of them. In addition to providing clever quips and inspiring positive morale, this version of Iceman saves his fellow X-Men members' asses on multiple occasions. Perhaps his greatest display of heroism occurs when the team's jet falls at risk of crashing into the ocean, leading him to create a large iceberg capable of ensuring a smooth landing. Iceman Rematerializes Himself From Vapor Form While an instant healing factor certainly makes Wolverine one of the most powerful X-Men members, he is not the only one capable of repairing himself. Of course, there is Deadpool and Logan's brother, Sabretooth, but one lesser-known mutant who technically possesses regenerative abilities is Iceman. In fact, he was able to practically bring himself back from the dead at one point. After a fight with Aurora and Northstar, Bobby is left vaporized. Yet, by pulling from the steam floating in the air and surrounding puddles of water on the ground, he is able to bring himself back to his ice form and then later revert to his human state. This was the first time Iceman managed to successfully heal himself from what seemed like a certain death. Iceman Freezes Hell The phrase "Hell freezes over" is typically used in reference to things that could more than likely never happen. However, that is a figure of speech that can no longer apply in the Marvel Comics Universe, thanks to none other than Iceman. In Amazing X-Men Vol. 2 #2, the team embarks on a mission to rescue the deceased Nightcrawler from the afterlife (and not the good one), during which they must face infernal obstacles like demonic entities. When Bobby finds himself in a fiery landscape, he quips that he assumed

Hell would be hotter before unleashing a massive cold front that makes the aforementioned joke a reality. Iceman Nearly Creates Another Ice Age The Ice Age was a time when the global climate reached freezing temperatures, causing most land masses to be covered in ice. Realistically, the Earth is more likely to enter a worldwide heat wave than a repeat of that ancient period. However, if anyone could successfully reverse global warming, it is easily Iceman. In Astonishing X-Men Vol. 3 #65, Bobby is inspired to embrace his villainous side when he becomes imbued with a Celestial Death Seed, leading him to cause New York City to suffer a wicked wintry storm. He was more than capable of putting the Earth in its entirety through this sort of treachery, which would have essentially resulted in a deadly remeergence of the Ice Age. Luckily, his fellow X-Men members managed to stop him before he could go through with it. Iceman Becomes A God Iceman entering god status in Marvel ComicsImage via Marvel Comics Being an Omega Level Mutant means that the person given this designation is, essentially, a being of god-like power. Yet, not very many members of the X-Men can actually say that they have godly ancestry and possess the means to become a celestial being. One mutant who does match this description, however, is Iceman. In writer Gerry Duggan and illustrator Kev Walker's Savage Avengers #19, during the "King in Black" storyline, Conan the Barbarian (yes, the same one played by Arnold Schwarzenegger and Jason Momoa in the movies) reveals to Bobby that he is a descendant of the Frost Giants. This means that, in addition to his mutant physiology, he is, indeed, a godly being. He embraces this part of himself, which unlocks the full potential of his powers and allows him to single-handedly fight an army of symbiote beasts unleashed by Knull. Image via Marvel Comics

Watch Free IMDB and TMDB #Years #U.S #Teamed #Japan #Create #HighestGrossing #Robot #Franchise #Time, When it comes to mecha and giant robot franchises, most minds might immediately think of the Gundam brand. This is especially the case when it comes to specifically Japanese robots, with that particular property being immensely popular in its home country. Of course, there's still something to be said about Transformers, which is much more than meets the eye in terms of its national origins. Many do not realize that Transformers was a Japanese and American collaboration, making the franchise "half anime" since its inception. Of course, Hasbro and Takara both utilized competing source material in order to make the brand a continued success ever since 1984. A big part of that would be the movies, not to mention the various action figures and other forms of merchandise associated with the robots in disguise. As a result, Transformers represents the ultimate "East meets West" success story. Marvel Comics & Japanese Anime Both Birthed Transformers The Transformers franchise is handled by Hasbro in the West and Takara Tomy in Japan, with the latter using several of its previous toys to create the first versions of the robots in disguise. The majority of the first Transformers toys were merely repainted and repackaged toys from Takara's Diaclone franchise, with that toyline also featuring transforming robots. In its case, however, these robots were merely piloted mecha controlled by humans instead of sentient characters in their own right. In order to create a new mythology and map out how best to sell its new brand, Takara and Western company Hasbro sought the talent of a major pop culture icon: Marvel Comics. Then editor-in-chief Jim Shooter was approached about developing the brand, with him and legendary writers such as Denny O'Neil (known mostly for his work on DC Comics characters Batman and Green Arrow) eventually mapping out a general version of the mythology that would appear in both the classic Transformers cartoon and the actual comic books for the brand made by Marvel. Hasbro wasn't the only company in the transforming robot game when Transformers was being developed, and despite being now seen as a lackluster imitation, Tonka's Gobots line actually beat Transformers to the toy aisles. That series repackaged toys from the Japanese toyline Machine Robo, but Hasbro was intent on otherwise owning every other viable transforming robot toy to bolster its own series. This included the Takatoku Toys figure for the VF-1 Valkyrie, a transforming jet mecha from the Japanese anime Macross. This toy was used for the Autobot Jetfire, but due to licensing issues, his design and name were changed in the Generation 1 cartoon. Likewise, when Macross was localized as Robotech in the West, there was next to no merchandise for the Valkyrie due to Hasbro having the rights to the toy. Other toys were derived from anime such as Special Armored Battalion Dorvack, and it wasn't until The Transformers: The Movie that completely original designs for the characters and their toys became the norm for the brand. Some of the First Transformers Cartoons Were Anime Star Saber in robot mode from Transformers: Victory.Image via Takara

The original Transformers cartoon was as much a collab between East and West as the toyline, with this series also released in Japan. There, its third season was retitled Transformers 2010, but it's what happened after this season ended that really created a rift between how the franchise was handled in certain countries. Instead of having the truncated fourth season of The Transformers dubbed into Japanese, Takara instead chose to officially start a separate Japanese Generation 1 continuity. This treated the events of The Transformers Seasons 1 to 3 and the animated movie as canon, but instead of the fourth season, an entirely new anime was produced. Titled Transformers: The Headmasters, this radically altered the way in which certain characters and concepts were handled. For instance, in the Western cartoon and comic books, Headmasters and Targetmasters were alien "Nebulans" who bonded with larger Transformers robots. In Japan, however, the smaller Headmasters were the actual robots that became the heads for the lifeless, transforming "Transtector" bodies, with the Targetmaster gun Transformers being small robots similar to the Mini-Cons that would debut years later in the anime Transformers: Armada. Including The Headmasters, there were three full G1 Transformers anime, with the other two Transformers: Super-God Masterforce and Transformers: Victory. These continually "transformed" the franchise in a particularly Japanese way, making the brand feel more like a Super Robot mecha anime. This was notably seen in the designs of fan-favorite Japanese Autobots such as Star Saber, who was designed by Kunio Okawara (who also worked on the Mobile Suit Gundam franchise as a designer). As in the West, however, there would be an eventual downturn in popularity, with the planned anime Transformers: Zone being only a mere one-episode OVA. Nevertheless, there would later be several other anime in the franchise. For instance, the success of the once controversial Beast Wars: Transformers resulted in two Japanese-exclusive Beast Wars anime, with the anime Transformers: Car Robots later being dubbed into English as Transformers: Robots in Disguise. Likewise, the early 2000s were ruled by anime for the brand, with the Unicron Trilogy of Transformers: Armada, Transformers: Energon and Transformers: Cybertron all being anime. This has helped to cement the Japanese identity of the property, but the biggest reason for the success of the brand is arguably universal. Hasbro & Takara's Transformers Toys Give Gundam a Run for Its Money Beyond cartoons, comic books, movies and video games, the biggest manifestation of the Transformers franchise would be the toys. As mentioned, these were originally repaints of Takara's Diaclone and Microchange action figures, along with toys from unrelated brands. Using the culture of the 1980s to push merchandise like never before, Hasbro used these converting plastic toys to ensure that even when the show was over and the comic book was read, kids could continue the adventure. In fact, the toyline went on far after the original cartoon, and since then, the brand has been in the toy aisle consistently. There were small noticeable gaps, including the breaks between G1 and Transformers: Generation 2 and Generation 2 and Beast Wars. For the most part, however, there's been a new Transformers toyline launched every few years or so, with each generation having multiple takes on the characters to call their own. The current "main" Transformers toyline is Transformers: Age of the Primes, with this series pulling characters from across different Transformers continuities. These include some of the brand's anime, with a new toy version of Sideways from Transformers: Armada recently revealed. Both modern and classic toys for the franchise sometimes command massive dollars, with retro figures in pristine condition usually going for a fortune when sold.

Thus, it's no surprise that Transformers has made several billions of dollars in revenue over the past 41 years. This makes it easily one of the most successful and profitable "mecha" franchises of all time, with its revenue being neck and neck with the iconic anime Neon Genesis Evangelion. That largely more adult-oriented anime has seen most of its success due to Japanese pachinko machines and gambling, and while it's definitely recognizable in its own right, it lacks the global influence of Transformers. The Cast of G GundamImage via Sunrise There's only one true rival to Transformers' success, and that would be the Mobile Suit Gundam franchise. This property has been around since 1979, and it's largely seen as the Japanese equivalent to both Star Wars and Star Trek. Beyond the many anime that have been produced, its biggest claim to fame would easily be the many Gundam plastic model kits, and in some circles, these toys and their designs are erroneously compared to Transformers. It doesn't help that there are quite a few mobile suits that transform into different modes, though, as piloted mecha, Gundam are closer to Takara's original Diaclone concept. In the late 2010s, Takara also brought Diaclone back in Japan, allowing it to coexist alongside Transformers. This rebooted series included a new take on "Battle Convoy," the transforming truck robot that was used to create Generation 1 Optimus Prime. When counted with other properties such as the aforementioned Macross and its Western interpretation as Robotech, this means that Diaclone is just one of the many franchises that are eternally connected to Transformers in one way or another. Movies and comic books in the West still define Transformers, and the monetary success of the Transformers movie series in the past two decades has added billions to the franchise's revenue. These have all made far more money than the many Gundam anime movies while putting the brand on the map at the global box office. Even if the movies are currently on a hiatus, their success in previous years can't be taken away, and the same goes for the overall strides the Hasbro/Takara collaboration has made as a whole. In terms of American comic books, Transformers is just as game-changing, with the original Marvel Comics run going from an intended four-issue miniseries into a series with 80 issues in the US and over 300 in the UK. The Kickstarter campaign for the compendium collection of these comics broke records in 2024 for how quickly it was funded, with two of these collections released so far. Now, the Energon Universe comic books are some of the most successful in the industry, with this popularity also helping to elevate fellow Hasbro brand G.I. Joe. It's almost hard to believe that a commercialized mish-mash of different toy lines from 1984 ended up taking off in such a timeless fashion, but it's clear that the Transformers will be rolling out for several years to come. Watch Free IMDB and TMDB #Years #U.S #Teamed #Japan #Create #HighestGrossing #Robot #Franchise #Time, https://moviess.gt.tc/2025/12/13/41-years-ago-the-u-s-teamed-up-with-japan-to-create-the-highest-grossing-robot-franchise-of-all-time/ #filmfans

Watch Free IMDB and TMDB #SciFi #Anime #Disturbing #Scenes, There’s a natural connection between science fiction and anime that’s helped this genre of storytelling reach new heights. Some of anime’s most iconic titles, such as Dragon Ball Z, Cowboy Bebop, and the Mobile Suit Gundam franchise are passionate sci-fi series. Part of what makes science fiction such an evergreen genre is the wide range of stories that are possible. Sci-fi contains such multitudes, which means that it can tell hopeful stories about outer space, coming-of-age mecha parables, or soothing stories about unsure androids. Science fiction is also a genre that has the power to depict the worst of humanity and worlds that are beyond repair. While these extreme sci-fi anime aren’t easy to watch, there are still some powerful series that aren’t afraid to go to dark and disturbing places. Now And Then, Here And There Offers A Dark Look Into A Broken World Now and Then, Here and There is a 13-episode masterpiece from 1999 that's fallen through the cracks and doesn't get the respect that it deserves. This groundbreaking relic of the past blends together sci-fi storytelling with isekai tropes in order to tell a very different type of story. Shu, a young boy, gets whisked away from present-era Japan to an alternate futuristic version of the Earth that's under oppressive military rule. Shu is driven to rescue a mysterious girl, Lala-Ru, while they do their best to survive in a ruinous look into the future. Now and Then, Here and There isn't as overtly dark as some other sci-fi series. That being said, there's a free-floating apathy that paints society in a poor light. There are other sci-fi anime that refuse to offer a glimmer of hope. That's not the case with Now and Then, Here and There, which is more of a cautionary tale about the planet's fragility. Parasyte: The Maxim's Alien Invasion Almost Destroys Humanity A parasite warps its host's head with multiple blade weapons in Parasyte: The Maxim.Image via Madhouse Many science fiction anime deal with extra-terrestrials in space or some sinister alien invasion. In Parasyte: The Maxim, the aliens' debilitating infiltration of the human race is already underway. Shinichi, a teenager, experiences this possession process only for it to go wrong. Migi, an alien parasite, is stuck in Shinichi's hand instead of taking over his entire body. Shinichi learns to work together with Migi in order to prevent greater alien fallout and the population's destruction. Parasyte features especially grotesque designs for not just the aliens, but the way in which they eviscerate their victims. Parasyte: The Maxim is a sci-fi anime that's immersed in darkness right from the start. Fortunately, the anime goes out on a positive note that reflects how much of a difference a single life can make. Shinichi's growth and the genuine friendship that he forms with Migi becomes a life raft for Earth's survival. There's a huge body count by the end of Parasyte: The Maxim, but it's an anime that insists that people are stronger when they work together and don't focus on each other's differences. Psycho-Pass Plays Head Games With Sci-Fi Fans

Akane wields her Sibyl System gun in Psycho-Pass.Image via Production I.G Psycho-Pass has produced multiple seasons, feature films, and spin-offs that present a cyberpunk dystopia in which "latent criminals" are apprehended before they even do anything. The Sibyl System at the center of Psycho-Pass determines a citizen's "criminal potential," which turns into enlightening commentary. Akane Tsunemori and her Enforcer peers struggle with the morality of their work and if they're really making the world a better place. Psycho-Pass' oppression is occasionally more subtle than it is in post-apocalyptic sci-fi anime. That being said, this turns Psycho-Pass into an even sadder watch. It exists in a heightened, futuristic version of society, but Psycho-Pass' commentary on justice, free will, and control is eerily prescient. The anime's themes grow more relevant with each passing year, and it's hard for audiences not to let the weight of Psycho-Pass get to them. Gantz Transforms Purgatory Into A Disturbing Death Game Against Aliens Kei Kurono fires his Gantz Gun at an alien in Gantz.Image via Gonzo Squid Game helped popularize the "death game" subgenre like never before, but anime and manga had already been experimenting in this space for decades. Hiroya Oku is a master at nihilistic sci-fi stories that hold a dark mirror up to society. Gantz is arguably Oku's most-celebrated work, and it tackles death game theatrics with real brutality. Kei Kurono and Masaru Kato, two high school students, are hit by a subway train only to learn that they've been spared death by being transported to a post-apocalyptic version of Earth. It's here that Kei and Masaru are joined by other displaced individuals who are stuck following the whims of a cryptic orb — Gantz — as they hunt down aliens to accrue points. Gantz coldly puts a value on human life and turns this chance at redemption into a masochistic experiment. Elfen Lied Ends On A Bleak Note That Demonstrates Zero Faith In Mankind Elfen Lied, at its core, is a story about acceptance and understanding. Kouta and Yuka's ordinary lives are forever changed when they encounter Lucy, a powerful mutant with deadly telekinetic powers, who has lost her memory after escaping a government facility. Lucy gets hunted down so that her powers can be controlled and exploited, all while Kouta and Yuka get caught up in something much bigger. Lucy experiences humanity's extremes in the form of her friends' kindness and her captors' cruelty. There are many anime like Elfen Lied that wrestle with the same themes, only to conclude with a fairly optimistic message that's hopeful about the future, even if there's still work to be done. Elfen Lied avoids such convenient catharsis in favor of condemning humanity. The Diclonii may be the deadly mutants, but they're the lesser of two evils in comparison to humans by Elfen Lied's end. M.D. Geist Puts Gets Inside The Head Of a Sociopathic Killing Machine

Geist is restrained and ready to fight in M.D. Geist OVA.Image via Production Wave The '80s and '90s were notorious for ultra-violent anime OVAs that blur the lines between science fiction and horror, typically in some post-apocalyptic wasteland where humanity is on its last legs. M.D. Geist was adapted into two OVAs that were released a decade apart, Most Dangerous Soldier and Death Force. M.D. Geist is the sort of title that lives and breathes excess. It's less interested in a clever, complex story and instead leans into hyperbolized brutality. The titular Geist, who has been designated the Most Dangerous Soldier, is a warrior who has been genetically engineered to outmatch any other soldier. Geist's zeal for violence became so extreme that he was imprisoned in suspended animation in a pod that orbits the planet. When this prison pod crashes, Geist returns to war and is more determined than ever to make up for lost time. What follows is a blood-soaked saga that brings Berserk to mind. However, Berserk's Guts has empathy and humanity, whereas Geist is conditioned to purely exist on bloodlust and rage. Geist's only purpose is to destroy, which unsurprisingly facilitates a dark, depressing anime. ​​Genocyber Exploits Psychic Sisters To Create A Brutal Biological Weapon The Genocyber Mecha from the OVA.Image via Artmic/Artland Genocyber is a five-part OVA from 1994 that combines body horror, cyberpunk, and mecha aspects into a deeply unsettling experience. There is an abundance of sci-fi anime and manga where innocent individuals are turned into weapons by corrupt organizations. Gencocyber takes a page from this book, yet creates an even darker narrative through its focus on two helpless twin sisters, Elaine and Diana. When the powers and consciousness of these psychic sisters are combined, a deadly biological weapon known as the Genocyber is formed. The Genocyber is presented like a living devil that has the power to destroy the planet. Once Diana and Elaine are separated, a race begins to unite the sisters so that the Genocyber's power can continue to be exploited. There's a cruel and callous perspective to Genocyber's casualties. Death and destruction reign supreme while heartless scientists believe that this pain is merely a means to an end. This OVA doesn't hold back, and Genocyber isn't afraid to end its story on a bleak note that emphasizes the futile nature of war. Serial Experiments Lain Is A Grueling Account Of Digital Martyrdom Lain Iwakura sits covered in wires in Serial Experiments Lain.Image via Triangle Staff

Serial Experiments Lain debuted back in 1998 when the Internet was still in its infancy, yet its deconstruction of digital spaces, identity, and avatars is decades ahead of its time. Lain, a middle schooler, is suddenly inundated by emails and digital communications from a classmate who recently took her life. This ghost from the past claims to have found a new form of existence on the Internet-like Wired, which calls out to Lain. Lain's sense of self begins to collapse as reality blurs together with cyberspace. Serial Experiments Lain's ending is somewhat controversial, but it plays such a big factor in why this anime has become an evergreen sci-fi classic. Lain essentially ascends to a higher existence in the Wired, at which point she resets reality to erase herself from her friend's memories. Lain's absence ensures that her friends are happy and don't have to take on her burden. It's a bittersweet conclusion that Lain needs to sacrifice herself for a greater good. Her consciousness exists to watch over everyone and maintain some sort of equilibrium. It's unfortunate that happiness can only be secured by Lain's erasure. Blue Gender Pushes Society Into a Dark Extinction Marlene's mecha armor gets destroyed in Blue Gender.Image via Studio AIC Blue Gender is another brutal sci-fi seinen series from the end of the '90s that feels like a violent burst of something revolutionary. Blue Gender begins with some common sci-fi tropes that involve mankind retreating from Earth after the planet is overrun with insect-like aliens named the Blue. Yuji Kaido is a displaced human who wakes up into this living nightmare after two decades in cryogenic stasis. Yuji is suddenly thrust into a privileged role during mankind's last stand. Blue Gender begins with a dark, dystopian vision of the world. Yuji enters this experience overwhelmed, only to become increasingly beat down as he watches his peers and loved ones become casualties to cruel creatures. Neon Genesis Evangelion Is an Existential Assault on the Senses Hideaki Anno’s Neon Genesis Evangelion is not just a foundational sci-fi anime, but there’s a strong case to be made for why it’s one of the greatest anime series of all-time. Evangelion begins as a fairly innocuous mecha series in which giant robots battle against apocalyptic creatures. Shinji Ikari reluctantly accepts the privilege of piloting the EVA mecha in battle, but his doubts, fears, and teen angst leave him in perpetual peril. Neon Genesis Evangelion gradually heads into darker territory that’s downright suffocating and inescapable by the anime’s end. The final episodes and the concluding End of Evangelion feature film break down the end of the world and a mental breakdown with stunning, meticulous clarity. Decades later, Anno’s Rebuild of Evangelion films would leave the franchise on a more optimistic note. However, the original anime’s conclusion is as bleak and intense as it gets. Watch Free IMDB and TMDB #SciFi #Anime #Disturbing #Scenes, https://moviess.gt.tc/2025/12/13/the-10-best-sci-fi-anime-with-disturbing-scenes/ #filmfans #movielover #movietime #cinemalife #filmnight #streamingnow #movietrailer #moviemagic #reelmovies #bingewatching #movierecommendation #topmovies #blockbustermovie #thrillermovies

Watch Free IMDB and TMDB #Mind #Director #Making #Disability #Drama, “Out of My Mind” director Amber Sealey earned the admiration of Jennifer Aniston – not to mention multiple standing ovations – out of her drama’s 2024 Sundance premiere, in part thanks to her dedication in telling an authentic, human story that happens to center on a girl living with cerebral palsy.  On a Jan. 22 inclusivity panel at the festival, titled “Championing Change: The Power of Inclusive Filmmaking,” presented by TheWrap, UCLA School of Theater, Film and Television and NFP, Sealey said that she hopes audiences learn from her drama’s hero, Melody (Phoebe-Rae Taylor), that “everybody communicates in a different way.” The filmmaker, who’s previously known for 2021’s “No Man of God” and here worked with screenwriter Daniel Stiepleman to adapt Sharon M. Draper’s 2010 novel of the same name, admitted that there “was a big learning curve for me” to get it right.  “I remember early on in my research phase, the Think Tank for Inclusion and Equity, they did do a lot of asking people with disabilities, like, what do you want to see more?” she recalled, “What largely came out of that was people with disabilities wanted to see movies that centered on them as human beings and not just on their disability.”  Carla Renata, Amber Sealey, Carla Gutierrez, Henry Muñoz, Iyabo Boyd (Photo: TheWrap) Sealey added that those consultants also emphasized a desire to see stories that “focused on them not only as human beings, but also wasn’t always about pitying them, and also wasn’t always about them only being only worthy or only valuable because they were superhuman.” In the case of Melody, she’s a sixth grader who “is very smart,” but Sealey was conscious of adapting the novel in a way that framed her as being “special” for more than just “because she’s a genius.” “She’s a human being. She’s just like anybody else – she has thoughts, feelings, fears. And so that was what my approach with the film was like. This is like any other tween girl, she just happens to be nonverbal. She happens to use a wheelchair,” Sealey said. “Her having cerebral palsy is a part of how she moves through the world. Her being nonverbal is a part of the way she moves through the world, but it’s not everything about her.” In telling Melody’s story – which costars Rosemarie DeWitt, Luke Kirby, Judith Light and Michael Chernus – Sealey said that inclusivity was practiced in front of and behind the camera.  “The inclusivity part was really about not only including people with disabilities in the cast, in the crew, in the creative process, consultants, writers, all of that,” she said. “But, also, just about how we look at people with disabilities, trying not to treat them as objects, trying not to treat them just as their disability, but treating them as a human being.” “It’s about her finding her voice, but it’s also more importantly about the rest of us learning how to listen and understanding that everybody communicates in a different way,” she said. “Some of us use our voice, some of use our hands, some of us use a computer – we all communicate differently.” Sealey was joined on the Monday morning panel by “Frida” documentarian Carla Gutierrez, Funny Or Die founder Henry Muñoz and Brown Girls Doc Mafia founder Iyabo Boyd, all of whom spoke to the importance of inclusivity in their own work, their reservations about the state of DEI initiatives in Hollywood today and more.  Watch the full panel — as moderated by The Curvy Critic, Carla Renata — in the video above. Check out all our Sundance coverage here Watch Free IMDB and TMDB #Mind #Director #Making #Disability #Drama, https://moviess.gt.tc/2025/12/13/out-of-my-mind-director-on-the-making-of-her-disability-drama/ #filmfans #movielover #movietime #cinemalife #filmnight #streamingnow #movietrailer #moviemagic #reelmovies #bingewatching

Watch Free IMDB and TMDB #Rogue #Darth #Vader #Hallway #Scene #Completely #Wrong, Disney Before Princess Leia (Carrie Fisher) declared that Obi-Wan Kenobi (Alec Guinness) was her only hope, the possibly Force-sensitive Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) were trying to destroy the Death Star in "Rogue One: A Star Wars Story." The 2016 prequel is set right before the events of "Star Wars: Episode IV – A New Hope", and it smartly includes a handful of staple characters, like C-3PO (Anthony Daniels). It's only fitting that Darth Vader (James Earl Jones) would have some skin in the game that Erso and her fellow rebels are running — but his menacing hallway scene at the end of the film was almost scrapped due to issues with his lightsaber. Cinematographer Greig Fraser told CinemaBlend's ReelBlend podcast that they struggled with the lighting, noting that they had to take an unrealistic approach to make it work. "Remember, when he lights a lightsaber in front of him, that should front light him. Because that's what lightsabers do. But if you watch carefully, he's silhouetted ... It's total false lighting." He added that a more realistic approach actually deflated Vader's screen presence, meaning that the wrong approach was the only way to go.  While it made this sequence a reality, Fraser admitted that it still bugs him. "It's like, 'The lightsaber comes on and then... there's a light behind him?' I don't want to destroy it for the people at home, but the lighting is as wrong as can be," he said. It only took about 15 minutes to get lighting rigs into their correct positions, which was great since Vader's big moment was a last-minute addition. Why Rogue One's final ending is better than its original one Disney Co-writer Chris Weitz told CinemaBlend that before he joined the project, the ending of "Rogue One: A Star Wars Story" included a wedding and not as many deaths. "I think it was on the presumption that Disney wouldn't allow characters to die with such abandon." In a conversation with The Cult Popture Podcast (via CinemaBlend), Weitz said he swapped out the wedding for a brutal finale because it fit the film's theme of sacrifice and this film is also the natural end of these characters' storylines, including Cassian Andor, whose life before "Rogue One" is chronicled in the "Andor" TV prequel. Editor Kevin Hickman told CinemaBlend that Darth Vader's epic hallway scene wasn't filmed until about three or four months before the movie's release. "I still get chills when I watch it," he said.  Not only is it a fitting ending to a movie about sacrifice, but it's a conclusion worthy of a war epic, which is exactly what this film is for the "Star Wars" franchise. Much of its runtime is spent giving viewers an in-depth look at the physical conflict between the Empire and the Rebel Alliance. It only makes sense that we see Darth Vader in his full glory, violently whipping around his lightsaber in stark contrast to his more stagnant appearances in the early "Star Wars" movies. It's a chance to show people just how much power he actually wields, and what he's willing to do when he takes matters into his own hands.

Watch Free IMDB and TMDB #Jason #Statham #Played #Victim #Hilarious #2000s #Murder #Mystery #Movie, Sony Pictures Releasing After kicking off his career with back-to-back Guy Ritchie movies, Jason Statham became a full-fledged A-list star during the mid-2000s. It was during this era that some of Statham's best movies were released, including the launch of his first solo franchise, "The Transporter." In fact, Statham was already such a recognizable face during this period that he was being called in for scene-stealing cameos, a definite sign that an actor has "made it," as it were. And one of those cameos occurred in the opening minutes of the 2006 comedy mystery reboot, "The Pink Panther." Steve Martin takes over the role of classic bumbling sleuth Inspector Jacques Clouseau, who as usual is on the hunt for the missing diamond. This time, said diamond goes missing after the football player who was wearing it in his ring is murdered on the field, with the ring disappearing in the ensuing chaos. That football player? Jason Statham in an uncredited appearance. While critics weren't impressed, it definitely wasn't a franchise reboot that bombed at the box office. In fact, it is the highest grossing "Pink Panther" movie to date, so audiences seemed to enjoy it — and were certainly delighted by Statham's surprise appearance. Statham also made a crucial cameo in Collateral DreamWorks Pictures One of the most paused Jason Statham movie moments is a blink and you'll miss it cameo in the Tom Cruise/Jamie Foxx action thriller "Collateral," which actually predated his "The Pink Panther" cameo by two years. The moment occurs early in the film, and like "The Pink Panther," it sees Statham play an important part in getting the plot rolling. Credited only as "Airport Man," Statham is the one who hands off the briefcase to hitman Vincent (Tom Cruise), who then has cab driver Max (Jamie Foxx) help him deliver it to its final destination. Many people noted the fact that Statham is wearing a suit in "Collateral" much like he does in "The Transporter." Even in the days before everyone was desperate to turn everything into a shared universe, people speculated that it was indeed meant to be Frank Martin, Statham's character from "The Transporter," doing the hand off. It makes sense, as delivering a suitcase to a hitman in an airport is exactly the type of job that Frank would do.  "Transporter" director Louis Leterrier, "Collateral" writer Stuart Beattie, and Statham himself are all in agreement that it is indeed Frank Martin in "Collateral." But Beattie admits that the people who actually hold the rights to the respective movies and characters probably aren't as willing to officially acknowledge the crossover. The fact that Statham had to be credited as "Airport Man" seems to confirm that.  Watch Free IMDB and TMDB #Jason #Statham #Played #Victim #Hilarious #2000s #Murder #Mystery #Movie, https://moviess.gt.tc/2025/12/13/jason-statham-played-the-victim-in-a-hilarious-2000s-murder-mystery-movie/ #filmfans #movielover #movietime

Watch Free IMDB and TMDB #Jodie #Fosters #Underrated #90s #Western #Big #Fan #Roger #Ebert, Warner Bros. Pictures With a career spanning over 60 years, two-time Oscar winner Jodie Foster is unquestionably one of Hollywood's greatest living actresses. Whether you know her as the teenage star of the original 1976 body-switch comedy "Freaky Friday" or as the determined FBI agent Clarice Starling in the grisly 1991 thriller "The Silence of the Lambs," every Jodie Foster movie — from the worst to the best – proves that she is a captivating and unique performer. Foster has left a slew of critically-acclaimed performances in her wake, and her role in Richard Donner's 1994 Western "Maverick" earned special notice from Pulitzer Prize-winning critic Roger Ebert. The late Ebert gave "Maverick" three stars, writing that it was "the first lighthearted, laugh-oriented family Western in a long time ... It acts like it's the most natural thing in the world to be a Western." Written by "Butch Cassidy and the Sundance Kid" scribe William Goldman, "Maverick" stars Mel Gibson as Bret Maverick, a charming rogue in the American West with designs on becoming the world's greatest poker player. On his way to a high stakes poker tournament on a steamship, Maverick crosses paths with fellow gambler Mrs. Annabelle Bransford (Foster) and the mustachioed lawman Zane Cooper (James Garner), but no one — least of all Maverick — is who they appear to be. "I imagine there were few professional poker players in the old west," wrote Ebert, "and fewer still who looked like Foster, but 'Maverick' is clearly not striving for grim realism." Maverick was based on a 1950s television series ABC "Maverick" was based on an ABC series that ran for five seasons from 1957-1962. Despite enjoying the film, Ebert wondered, "Do people remember 'Maverick' on TV well enough to care about the movie? I'm not sure." If the "Maverick" television show seemed a distant memory in 1994, it's arguably even more obscure decades later; however, 1994's "Maverick" is part of an impressive pop culture legacy. On television, James Garner originated the role of Bret Maverick, the conman who is as fast with a sidearm as he is with a deck of cards. During its first season, ABC changed the  format so that it would feature alternating co-leads, with one episode starring Bret Maverick, and the next starring his brother, Bart Maverick (Jack Kelley). When Garner left the show after Season 3 (for a long and accomplished film career), he was replaced by cousin Beau (a pre-James Bond Roger Moore). Why mention so many Mavericks? For anyone watching the 1994 "Maverick" who's unfamiliar with the wider Maverick mythos, it explains the presence of Garner, who has lost none of his charm, as well as the running gag of Annabelle calling Maverick every name that starts with "B" but Bret. Then there is the matter of the ending. "The movie doesn't require you to have ever seen a TV 'Maverick' to enjoy this story," concludes Ebert's review. "But there's a twist at the end you'll like more if you were a fan of the series." Jodie Foster has only starred in two Westerns – and they both feature James Garner

Watch Free IMDB and TMDB #Netflix #Streaming #Harrison #Fords #Underrated #Horror #Thriller #Michelle #Pfeiffer, DreamWorks Pictures "What Lies Beneath" (2000), now streaming on Netflix, isn't your typical Robert Zemeckis fare. The writer-director, generally known for such crowd-pleasers as the "Back to the Future" trilogy or "Forrest Gump" — and the occasional hard-hitting and somewhat sensational dramas like "Flight" (which is not based on a true story) or "The Walk" — moves in a territory here that's quite uncharacteristic of him as a filmmaker. On a first watch, "What Lies Beneath" feels like an early aughts chiller made by Sam Raimi at the end of his horror-dominated era rather than something deliberately chosen by Zemeckis. Although he did direct episodes in "Tales From the Crypt" and Meryl Streep's horror comedy, "Death Becomes Her," before, "What Lies Beneath" was truly his first attempt at a proper, unflinching horror-thriller. With its $100 million budget, Zemeckis approached it as a potential middlebrow blockbuster, and to his credit, the movie eventually became one after release. Critics didn't go easy on it — Roger Ebert gave it two stars out of four and called it "a morass of absurdity", but viewers were drawn to it by the high-concept premise of a neglected housewife uncovering a secret murder, and the appeal of the powerful lead duo, Michelle Pfeiffer and Harrison Ford. The film may not have offered a strikingly original story in the genre, but it delivered one with teeth, sensation, and a big scoop of suspense with supernatural elements. Those proved enough to capture the zeitgeist and not let it go until the film nearly tripled its budget. No doubt, "What Lies Beneath" is pulpy and riddled with moments requiring a large dose of suspension of disbelief, but its nostalgic charm and excellent lead performances make it worthy to revisit now as an underrated piece of cinema history. Uncovering juicy secrets from a dreamy lakeside home in Vermont DreamWorks Pictures The plot begins with Claire (Michelle Pfeiffer) and Norman Spencer (Harrison Ford), a middle-aged couple living in a marvelous and idyllic lakeside house in Vermont, whose marriage is showing signs of some wear. As they send their daughter to college, there's a palpable worry in the air about Claire, as she'll have to spend a lot of time alone, only a year after a car accident. As a scientist, Norman is barely home, which makes his wife feel lonely and neglected. But the new couple who just moved next door provides a much-needed distraction with their turbulent and alarming quarrels. Startled by overhearing the woman's cry one afternoon, Claire begins to snoop around their house and soon discovers that the woman seems to have disappeared. After some weird happenings around the house (doors and faucets opening mysteriously) and talking to the morose husband, Claire slowly grows certain that he killed the woman and dumped the body in the lake. In fact, she's convinced her ghost is haunting her to reveal the truth. When she tells Norman about this, he's afraid his wife is going insane and gets her help. We soon find out that Claire isn't imagining things about the