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From Judge Dredd to Hawkeye: 5 comic-book characters worthy of their own TV shows

With 'Loki' already winning over fans, here are some more notable comic-book favourites that will – or should – grace the small screen

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'Cruella': Emma Stone, Emma Thompson and Paul Walter Hauser on whether the film is anything like 'Joker'


101 Dalmatians origins story
Cruella in February, the internet went into something of a meltdown. The trailer, it was quickly noted, bore a distinct similarity to the one for Todd Phillips's 2019 smash
Joker.
There were the hints of a tormented past resulting in the villain we know and love (to hate) today; the first person voiceover detailing the protagonist's wickedness; snapshots of the nemeses that tipped our anti-heroes over the edge (Baroness Von Hellman for
Cruella, Thomas Wayne for the
Joker); a soundtrack from the golden era of 1950s crooning (Connie Francis's
Who's Sorry Now for
Cruella vs Charlie Chaplin's
Smile); and an overriding sense that we were going to learn a lot more about the titular characters than we ever would while they were playing second fiddle to the heroes of the movies we have seen them in before.

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'Army of the Dead' review: Zack Snyder's roller coaster zombie fest slowed down by sentimentality


tropes of the genre are here – the gang of loveable
rogues led by an amiable-but-flawed hero, the impenetrable safe that only a socially awkward genius can crack, the stylised early exposition as Mr Big walks the thieves and the audience alike through how things should (but inevitably won’t) turn out, and the hordes of marauding zombies.
OK
, so it’s not an entirely traditional heist yarn, and these aren’t entirely traditional zombies.
In a nutshell, Dave Bautista’s mercenary Scott Ward is charged by a mysterious millionaire with assembling a team to enter walled-off, zombie-infested Las Vegas and liberate a couple of hundred million dollars from the vaults of a casino.

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What to watch at cinemas this summer: why 2021 marks the slow but sure return of the blockbuster


to the pandemic.
Disney played it safe, though, moving the film later
to Friday, July 9. MGM happily filled the gap in the calendar with Guy Ritchie's
Wrath of Man(releasing in UAE cinemas this weekend), which topped the US weekend box office charts comfortably.
The film opened to an $8.1 million domestic haul, according to cinema revenue tracker Box Office Mojo, and tripled that figure with international receipts, including an impressive $10m in Russia.
While that $8.1m domestic opening does not come close to previous May smashes, such as
Avengers: Age of Ultron's $84.5m in 2015, it is likely to have been well received by cinemas and studios alike because, quite simply, it's what would be expected in “normal” times for a non-franchise flick starring Jason Statham.

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Gal Gadot's National Geographic series brings stories of extraordinary women to the small screen

The 'Wonder Woman' actress is using her reach to bring attention to the work being done by and for local communities

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'Soul' editor Kevin Nolting: 'No, 22 is not Riley from 'Inside Out''


While last week
Soul picked up the Academy Award for Best Feature Animation in Los Angeles, this weekend the film's prequel
22 vs Earth has allowed fans to learn a little more about how 22 became such an Earthaphobe.
The short film reunites Kevin Nolting (
Soul's lead editor) with Tina Fey's earth-hating 22. For good measure, the film also takes a light-hearted stab at solving the mystery of the meaning of life in the process.
The short
is Nolting's directorial debut. For him, 2
2 vs Earth was a simple case of being in the right place at the right time. “Traditionally these shorts go to the head of story on the film because the editor is usually still working on the movie when these things are made,” Nolting explains.

Los-angeles , California , United-states , Pete-docter , Tina-fey , Deborah-coleman-pixar , Kevin-nolting , Instagram , Disney , Pixar , Academy-award , Best-feature-animation

The highs and lows of the Oscars 2021: New 'cinematic' format results in one of the most surreal shows yet


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This year's Oscars left it late to bring any genuine surprises to the table. Until, that is, Anthony Hopkins picked up the evening's final award: Best Actor for his role in
The Father.
There's no disputing that the British actor delivered an incredible performance as the titular patriarch in the film, which also picked up Best Adapted Screenplay.
Expectations were so high for the late Chadwick Boseman to pick up a posthumous award for his role in
Ma Rainey's Black Bottom,
that Hopkins had not only declined to attend the ceremony at Los Angeles's Union Station, he didn't even make it to the Covid-necessitated “international hub” at London's British Film Institute.

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Director Evan Spiliotopoulos on why 'Shrine' is a cautionary tale for the fake news era


Evil Dead creator Sam Raimi and esteemed novelist James Herbert, author of genre classics
such as
The Rats. One name that isn’t quite so familiar is Evan Spiliotopoulos.
That’s not to say you haven’t seen any of Spiliotopoulos's work. As a screenwriter, he’s been responsible for blockbusters
such as
The Huntsman: Winter’s War and
Beauty and the Beast. Now, after two decades of putting words on the page for some of Hollywood’s biggest names, he’s finally getting in the director’s chair himself for his own adaptation of Herbert’s novel
Shrine, which Raimi executive-produces.

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