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renaramblesaboutcomics · 7 years

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Wednesday Roundup 6.9.2017

Here we are with a fairly straightforward week! I know, I’m surprised by my restraint, too! Who could have imagined I’d ever manage a week with less than five comics. My wallet definitely would appreciate if I did so more often.

Regardless, let’s get right into the bones I have to pick. With one of these entries. Because it’s a bone and a half. And I use a lot of UPPERCASE so uhhh Guess which one gets that treatment!!!

Marvel’s Generations: Iron Man & Ironheart, Dark Horse’s Usagi Yojimbo, DC’s Wonder Girl: Adventures of a Teen Titan

Marvel’s Generations: Iron Man & Ironheart (2017) #1 Brian Michael Bendis, Marco Rudy,Szymon Kudranski, Nico Leon

Whooooooooo boy. It’s been a long time since I picked up a new comic at release date and just.... did not have a pleasant experience reading it. Like at all. So this was kind of a disappointing conclusion to what has for the last year been a pretty solid record of maintaining great comic book readership. I don’t know why I’m even a little surprised it’s a Bendis comic.

Here’s the thing, I don’t... aggressively hate BMB as others do. I’m just critical of him on what I feel are pretty logical issues to be critical of someone on and in turn that leads to this dagger’s edge of when his comics are good, they’re really damn good. But when they’re bad? It’s like this collision of all the things in comics possible that work as my personal pet peeves. Which is why, though I genuinely adore Riri Williams as a character, and had been enjoying her book, I moved it to a trade wait status right along with Miles Morales: Spider-Man -- it’s easier to take the good with the bad when it’s not an issue by issue basis.

And... well. Let’s just say that for being THE guy at Marvel who usually gets all the very best talent to lift up even most of his comics I didn’t personally enjoy? There was not that saving grace this time around. Believe you me. I wish there were. But let’s just jump into the details.

Story: TONY STARK AS THE SORCERER SUPREME. TONY. STARK. SORCERER. SUPREME. Who asked for this. Who wanted this. Who thinks this future makes absolutely any sense whatsoever other than calling what everyone has thought since Tony “died” in Civil War II which is that Marvel doesn’t have the actual guts it takes to permanently kill off a franchise character that isn’t the original Jean Grey? Who thought this was a good idea? Bendis. Basically because Bendis likes to pretend he’s doing Morrison-style shake ups of continuity and bringing things together but rarely delivers it in a way that is either consistent or satisfying.

The one reason I’ve been giving a good number of these Generations books a chance isn’t because I’m particularly interested in the event itself. Truth be told I have absolutely no idea why it’s happening or why Laura was sent back through time to meet up with Logan in Japan or just... anything. I didn’t catch a single clue of what was going on. And I didn’t really care because I’ve read comics long enough that I just want the issues themselves that center around the characters I care about to make sense and be enjoyable on their own. That, for me, is the most valuable part of an experience comics can grant me. And when it doesn’t, I would hope that at the very least it would be because they were providing me some insight on the event as a whole because it was substituting characterization and plot for the Event. Which happens.

This comic managed to not only provide neither of those things for me, I would argue that it made me unerstand less about the event and less about Bendis’ own characterizations for Riri and Tony than I had a handle on before. Which is... frankly impressive. Also... what a fucking bland future. Like I appreciate it not being a nightmare dystopia like every other comic book future, ESPECIALLY at Marvel, but..... damn, man. There was exactly no life in the city of mushrooms and LSD of tomorrow. Apparently the only inhabitants of a positive future are.... oh my god I can’t believe I have to type it again, Sorcerer Supreme Tony Stark, and the blandest version of the future Avengers I think I’ve ever seen. Like at that point why even bother.

Oh and adult Franklin Richards is special. Shocking. YES. FRANKLIN IS AN OMEGA LEVEL MUTANT BUT WHY WOULD STARK GO TO HIM TO FIX TIME TRAVEL SHENANIGANS WHEN IT’S VALERIA WHO IS THE SUPER GENIUS AND WAS THE ONE IN THE PAST RUNS OF FF THAT INVOLVED FUTURE FRANKLIN TIME TRAVELING WHO CREATED THE TECHNOLOGY FOR HIM TO DO SO. BENDIS HAVE YOU NOT BEEN KEEPING UP WITH THE FF FOR THE PAST TWO DECADES OR SOMETHING WHAT THE HELL. Moving on...

Art: One thing I can usually always count on with Marvel is that they love to match their best artists with the leading talents they have writing, and there’s no one shaping the entirety of the Marvel Universe right now more than Bendis, so usually the art for his comics is easily some of the best to come out in any given week.

....

That’s not.... really the case here??? Is it terrible, no not at all. And there’s definitely nice sequences. The problem arises from the page layouts which, ngl, utterly awful. There were multiple pages in a row where I had to reread the whole page again just so I could follow the dialogue. It was not easy to follow from one panel to the next, and the psychodellic affects just made me wish for 70s comics. Back when they had rulers.

Characters & Dialogue: Sorcerer. Supreme. Tony. Freaking. Stark. No I’m not over it. Especially since this entire issue was more dedicated to beefing up how awesome and amazing Tony is. Riri’s fine, but her biggest part in this issue is to be Tony’s fan and to learn that she’ll be awesome!!!... in the future. She’s only 15 now! She’ll have to grow up into a more prominent hero in the next 45 real world years. But mostly it was... just really lazy. What’s interested me about Generations is that it’s given an excuse for Legacy characters to team up across timelines with versions of their predecessors that in all honesty would have not made sense in other context. What was great about the Wolverine issue I covered before wasn’t just that we got to see Logan and Laura the way we had back when Logan was alive. We got to see Laura with a version of her father that she had never met before. And to make it even more unique, it was viewing this older, more matured Laura almost entirely through the eyes of the father who didn’t yet know her. It was creative and it added depth for both characters even if it’s not going to be the source of some great shift in the main comics for them, it provides a refreshing look into who they are and even how far they’ve come. This issue? Honestly I can’t even tell you what Bendis’ goal was here. And that cover -- the name of the issue? -- the idea we’d get to see Iron Man and Ironheart team up together and kick ass is apparently just too predictable and lame for an event that is literally advertised as being that exact premise.

I’m so annoyed with this comic. But I’m really more annoyed with myself for expecting something more interesting and paying Marvel’s outrageous and nearly unethical price gouging of their comics. $4.99 for this comic. I’m never getting that $4.99 back. That’s... That’s like five bags of chips from the vending machine at work. That’s a Hot & Ready pizza at Little Ceaser’s. I spent it on this comic. What’s wrong with me. What did I expect???

Dark Horse’s Usagi Yojimbo (1984-present) #161 Stan Sakai, Tom Luth

Why are the best comics always the most difficult to explain in quality? This thing has been going on for thirty years, has never changed writer or artist, has impressed by the hundreds of thousands, and drastically impacted the atmosphere and tone of comics publishing since the 80s right alongside Teenage Mutant Ninja Turtles, all without truly getting due credit. I would tell anyone who asked to just immediately drop what they’re reading and go catch up on Usagi, but it feels like that should go without saying.

Instead I’ll say, this issue is the first of a new arc and since you can jump into Usagi Yojimbo comics at any point in continuity and be assured to have a good time and pick up what you need to know along the way, pick up today’s issue and get started.

Story: We see the collision of a few of Usagi’s favorite supporting casts and as always it leads to a lot of ruckus and a lot of fun. Though not specifically fun for Kitsune this time around as she’s been seemingly framed for murder. Fortunately Usagi comes in to vouch for her and due to Ishida’s immense respect for Usagi earned over the years Kitsune gets off relatively lighter than usual. But there’s still a murderer about.

Now one of my compliments to Usagi Yojimbo and really the genius of Stan Sakai in general is that he’s maintained a high quality solo comic for over thirty years and somehow still makes new stories always keeping hot takes and ideas for characters refreshingly new and refreshingly fun. That remains true of this story, too, since this match up of supporting characters hasn’t exactly been seen yet, but at the same time I’m suspicious of the retread of the idea of Kitsune being framed for a crime other than the one she really did and Usagi having to figure out the mystery. I don’t expect that plot to be repeated beat for beat, especially since Inspector Ishida is here and that almost always develops into a more thickly plotted mystery story. So part of me talking up all that flowery wording on my adoration of these comics is to explain why, despite my usual instincts to be distrusting of a repetitive plot beat in comics, I know to expect more from the upcoming issue continuation and don’t have that fear of disappointment that has been instilled in me for the past two decades.

Also new to the comic is the addition of a one page sub-story at the end of Chibi Usagi which might be the most adorable idea ever and Stan Sakai truly is the hero we don’t deserve.

Art: I once read a comic reviewer’s explanation of Usagi Yojimbo’s art as being “deceptively simple” -- the bold lines, the character designs, the adherence to a completely black and white comic -- what is seemingly such a simple comic in theory dazzles with its true complexity and tight control of action sequences and blocking. Stan Sakai uses Japanese patterns and crosshatching as well as detailed background art to turn almost every sequence into an unmistakable landmark that makes every town and prefecture that Usagi travels to feel unique.

It’s just one of those amazing things you have to see for yourself to truly believe.

Characters & Dialogue: This section is pretty much purposeless on an Usagi Yojimbo comic because Sakai has been writing these characters so long and giving them all such identifiable traits and voices that they’re just always good. If you enjoy these characters then Sakai meets every heightened expectation along the way.

DC’s Wonder Girl: Adventures of a Teen Titan John Byrne, Bob Kanigher, Bruno Premiani, Neal Adams, Ross Andru, Bob Haney

One thing I have liked recently that DC’s been doing is these recollections of their properties that for a long time they haven’t capitalized on the most, and there’s probably no better example of that exact thing than the severely underrated Wonder Girl Legacy, which has finally earned a short and cute collection going over all the (three) Wonder Girls over the years and even includes the introduction of SOLSTICE! One of my favorite underutilized characters.

It’s a super neat collection, especially if you’re unfamiliar with the history of Wonder Girl (which is a bumpy ride to be sure) but it also spans so many generations and so many writers and story arcs that I can’t really summarize it the way I do my usual reviews. I can just say that if you’re curious about the Wonder Girls, it’s a great collection to check out.

Also as a side note, as someone who was deeply disappointed by the lackluster to downright confused and insulting use of Cassie Sandsmark in the New52, DC is apparently doctoring the character to resemble more of what she was in the preboot because the New52 is utterly ignored in this collection, hilariously enough.

Oh, those tides. How they turn.

The unsurprising pick of the week is, obviously, Usagi Yojimbo. It’s one of the best comics ever made, it continues to be one of the best comics ever made, and also the competition was thin if only I’m being lenient. But regardless, this comic was a fantastic start to the new storyline and I’m so excited to see what twists and turns shall be weaved.

Now that’s all for this week, but I’m curious about your opinions! Did you agree with me? Disagree? Think I missed out on some great comic I didn’t pick up? Please let me know!

And finally, another necessary plug:

I am in a bit of a financial crunch for a multitude of reasons, not the least of which being the medical bills I’m paying for my dog, Eve, who experienced a catastrophic dog fight and underwent surgery recently.

As such, I really would appreciate if you enjoy my content or are interested in helping me out, please check out either my Patreon or PayPal. Every bit helps and I couldn’t thank you enough for enjoying and supporting my content.

You could also support me by going to my main blog, @renaroo, where I’ll soon be listing prices and more for art and writing commissions.

RenaRoo Patreon

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#Rena Roundups #Wednesday Spoilers #SPOILERS #Generations: Iron Man & Ironheart (2017)#Usagi Yojimbo (1984 )#Wonder Girl: Adventures of a Teen Titan

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popculturedwithmoviemike · 7 years

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My Favorite Movie Hitmen of All-Time This is a list of the best hitmen in film history. Hitmen have always been an interesting character for Hollywood. They are often enigmatic and highly dangerous, but also usually really awesome. My list takes many factors into consideration. How cool they are and how dangerous they are were two of the main factors.

1 - Léon - Léon: The Professional Can he be any cooler? He's quiet, he's got an awesome knit hat, kickass shades, likes taking care of his plant and he gets to hang out with Natalie Portman all day. Granted, she's like 12 in the film, but Leon never becomes creepy. His relationship with Mathilda is strictly platonic and he is more of a fatherly figure to her. Did I also mention that he has a bunch of badass guns and boy does he know how to use them? 2 - Jason Bourne - The Bourne Franchise No offense to Mr. Bond, James Bond, but Jason Bourne would destroy 007 (any of them) before his martini was finished being shaken (not stirred.) He's just lethal and the amazing thing is that it's literally a knee jerk reaction for him. Breaking bones is like breathing or blinking with this guy. He's also incredibly intelligent which makes him even more deadly. Jason Bourne doesn't even need a gun or a knife to work a dude over. He can use anything within his reach. It doesn't matter if it's a ballpoint pen or a rolled up magazine, if it's in Jason Bourne's hands, you're a dead man. 3 - John Wick - The John Wick Franchise Don't mess with a man's dog or his car. In John Wick's world, he's essentially a myth, a legend for fellow assassins to whisper about. You can see why. Wick is like a machine. Every bullet he fires hits its mark and he's just as deadly with close quarters combat. Like any good hitman, he also looks stylish doing it. As you will see with many of the people on this list, John Wick doesn't say much. He does his talking with his guns. 4 - Anton Chigurh - No Country for Old Men Man who hires Wells: [about Chigurh] "Just how dangerous is he?" Carson Wells: "Compared to what? The bubonic plague?" This quote perfectly sums up the level of danger that Anton Chigurh brings to the table. He truly is like a plague. A deadly virus that does not discriminate on who it kills. That's not to say Chigurh doesn't have rules. He does and that's what makes him such an interesting character. If you play by his rules, you live. Simple as that. The fascinating thing about Chigurh and his seemingly unstoppable evil is that even a force like him is not invincible. In fact, what almost take him out? A little old lady running a stop sign. 5 - The Bride - Kill Bill Vols. 1 & 2 "Hell hath no fury like a woman scorned." Damn, they weren't kidding. You do not want to get on this woman's list because she will hunt you down and remove your eyeball from your optical lobe with her fingers. That's just her being nice. Most times she just chops you up into little itty bitty pieces. The Bride is the first female on my list, and easily the best person with a blade. 6 - Terminator - The Terminator Should The Terminator be higher on the list? Maybe, but he's a cyborg. He should be an unstoppable hitman. Terminator has cool sunglasses, rides a motorcycle and has a knack for delivering killer one-liners. I guess the only thing that knocks him down a few slots is that the first version of him is often thwarted by a teenage girl. The other problem with Terminator is that he lacks stealth and subtlety. 7 - Jules Winnfield - Pulp Fiction He recites bible scripture before he ices your ass. Come on, it doesn't get much cooler than that. Jules doesn't recite the scripture because he's overly religious and wants to be respectful to the soon-to-be-dead thug. No, he admits that the only reason why he does it is that he thought it was a "cold-blooded thing to say before I popped a cap in someone's ass." Jules also sports a pretty groovy jerry curled afro. 8 - Alejandro - Sicario Alejandro is the strong, silent type. Don't be fooled though, he's just as ruthless as anybody on this list. All you have to do is watch the end of Sicario and you'll understand what I'm talking about. The man is cold-blooded. I can't say I blame him given the circumstances. 9 - Sorter - Revolver The first hitman on my list that is a relative unknown. I doubt most people have even heard of the film, let alone the character. Sorter is played by the great character actor Mark Strong from the Guy Ritchie film Revolver. Unfortunately, Revolver is kind of a bad movie. Sorter is hands down the best part of the film. He's so cool that it's worth watching the movie just for him. Sure, he looks like an accountant with his bald head and thick rimmed glasses, but make no mistake, Sorter will punch your ticket faster that you can add 2+2. The guy took out three bad guys who were in another room just by sticking his gun through a hole in a wall and watching on a surveillance monitor. Come on, son. 10 - Smith - Shoot 'Em Up Smith just might be the most talented hitman on this list. He delivers a baby while in the middle of a shootout, he wastes a host of goons while having sex with Monica Bellucci and never skips a beat. You don't even want to know how deadly he can be with a carrot. Eat your vegetables, kids. Actually, you should see how deadly he is with a carrot. Not enough people caught this one when it was in theaters. 11 - Victoria - Red She's like 70 and still looks sexy in an evening gown. Oh, did I mention she likes playing with guns? I don't care that she's old enough to be a grandmother, she's still smokin' hot. Next. 12 - Vincent - Collateral The constant professional. It's just a job to Vincent. No hard feelings. The thing that makes Vincent interesting is the fact that there is a sadness to his character. Vincent is also rocking that gray head of hair to match his sharp gray suit. 13 - Ah Jong - The Killer I love The Killer. It's one of the best action films of all-time and includes some truly memorable scenes. Scenes that have been copied numerous times throughout the years by Hollywood. In fact, Shoot 'Em Up pays homage to The Killer with the scene with the shootout while holding an infant. Unfortunately, Ah Jong's story centers on a hit gone wrong. He accidentally blinded a woman and is trying to raise money to help her. Very admirable, but he loses major points in my book. 14 - Martin Q. Blank - Grosse Pointe Blank Don't be fooled by the boy-next-door looks, this guy is dangerous. The good news for bad guys is that Martin is trying to get out of the business and is having second thoughts about his choice for a career. He takes one more hit which also happens to be at his high school reunion. You thought your reunion was bad. Jason Bourne may not have much of a memory, but he clearly saw Grosse Pointe Blank and watched Martin kill a guy with a ballpoint pen and thought it might be a good skill to have. 15 - Michael Sullivan - Road to Perdition He's just a father who works for the mob to put food on the table. What could go wrong? Well, a lot. Sullivan soon hits the road with his young son by his side. One of the more unique father/son bonding experiences you will ever see. America's favorite average Joe actor has never looked more dangerous than Tom Hanks did in Road to Perdition. 16 - Angel Eyes - The Good, the Bad and the Ugly Has there ever been a more impressive and intimidating steely gaze than Lee Van Cleef as Angel Eyes in The Good, the Bad, and the Ugly? Angel Eyes will stop at nothing to catch Blonde and Tuco. Walking away with the money would have been a nice bonus. 17 - Wesley Gibson - Wanted An average kid becomes legendary hitman who can curve bullets. How can he not be on the list? The only thing that keeps him from being higher is that his movie character can't compare to the graphic novel. 18 - Killer Joe Cooper - Killer Joe Boy, Joe certainly is an interesting character. I will never look at a chicken leg the same way again. I can't put Joe very high on the list because we don't really get to see him in action a whole lot. At least not in terms of killing people. He does look cool in that cowboy hat though. 19 - Mr. Goodkat - Lucky Number Slevin A hitman with a cool name and endlessly quotable lines played by Bruce Willis. It's pretty much a given he'd be on this list. Favorite quote: "Charlie Chaplin once entered a Charlie Chaplin look-alike contest in Monte Carlo and came in third; that's a story." Goodkat is kind of an enigma, but he's very entertaining. He often shows up just to reveal a little bit more information from a pretty twisty plot. 20 - Jackie Cogan - Killing Them Softly Jackie Cogan is a hitman for today's financial climate. Jackie proves that the current recession can have an impact on his profession. He can be very intelligent and puts a lot of work into his craft. He's a tad too talky for my liking though and that's why he finds himself lower on this list. 21 - El Mariachi - El Mariachi/Desperado El Mariachi is one of the more stylish hitmen around. He carries his machine gun in his guitar case and that just oozes coolness. Did I mention that he gets to have sex with Salma Hayek? 22 - Peter Clemenza - The Godfather "Leave the gun, take the canoli." With that line, Clemenza cemented himself as a legend of cinema. It's just a shame we didn't get to see more of this rotund rogue in action. Sure, he's not in the best shape compared to the other hitmen on this list, but he's just as deadly. Just make sure he's not in the backseat when you get into a car. 23 - Joe - Looper Joe's made a living killing people sent back into the past from the future. Not a bad gig considering he never has to see the face of the people he's killing. Until Joe realizes he's been contracted to kill his future self. You'd think that would make most people question their dedication to their job. Not Joe. 24 - Hanna - Hanna Has a tween girl ever kicked more ass than Hanna? Probably not. She's like a young, pretty female Jason Bourne. She's literally been conditioned to be a deadly killing machine since she was born. Until she realizes she wants to just be a normal kid. Can she turn off her deadly side and live a normal life? Let's hope not. 25 - Harlen Maguire - Road to Perdition Part-time hitman, part-time photographer that takes pictures of crime scenes. Whatever it takes to make ends meet I guess. You'd think with the money he's making Harlen can afford to brush his teeth or something. It was kind of refreshing to see the good looking Jude Law play such a slimy, vile character. 26 - Angelo Ledda - The Memory of a Killer Angelo is the oldest hitman on the list, but I respect my elders. Besides, he still gets the job done despite his age and failing memory. You have to respect anybody who can live to be that age in his line of work. No matter how good you are, I have to think the life expectancy isn't too great. 27 - Paul - Haywire In another movie, Paul might have become a legendary hitman. He looks slick and dresses cool and is kind of enigmatic, but he's with us for such a short time. Let's be honest, he also got his ass handed to him by Gina Carano. 28 - Chuck Barris - Confessions of a Dangerous Mind Is he a game show host, is he a CIA hitman or is he just plain crazy? We may never know, but Sam Rockwell plays the real life Chuck Barris with just the right amount of wackiness and sincerity to make the film work. 29 - Ray - In Bruges I love Ray, but the hitman game is just not for him. He seems like a nice guy with a big heart, I'm not quite sure how he got wrapped up in this, but it's not gonna work out. Ray's first hit goes horribly wrong and he finds himself in Bruges as punishment and as a way to lay low. For Ray, hell would be a better place to stay. Anything's better than F'n Bruges... 30 - Vincent Vega - Pulp Fiction I know what you're thinking, how can Vince be at 30 when Jules is all the way up there at 7? HE SHOT MARVIN IN THE FACE!! That's how. I'm sorry, that just can't happen. It's bush league. Then take into account that Vince died while taking a dump and I could make the case he shouldn't even be on the list at all. The only reason I showed mercy are those groovy dance moves.

#john wick #hitmen

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smokeybrand · 4 years

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High-concept Hack

I don't like Michael Bay as a film creator. I think the movies he makes are lowest common denominator and do not understand how or why he's so popular. Don't misunderstand, this isn't coming from a place of hate. I'm not a “hater” as Bay would say. I have seen almost his entire catalog, most of them in theaters where they are meant to be seen. Admittedly, I even enjoyed his first few outings. Bad Boys and The Rock hold a special place in my heart but then you have sh*t like Armageddon and Pearl Harbor. F*cking, why? I don't understand how these movies can make billions or how he can just point to that gross as proof he's “good” at his job. Being a great film maker and a successful one are two different things. It's dope to be both but, more often than not, you're one or the other. Look at Edgar Wright. None of his movies do gangbusters but I can say, without reservation, every movie he's ever made is better than anything Michael Bay has crapped out. Another great director that comes to mind is Wes Anderson. A lot of his films bomb by profit standards but they are all excellent, beautiful, pieces of art. F*cking Luc Besson is the poster child for that sh*t. His entire catalog is full of eccentric, heady, character driven films that make absolutely no money. Leon the Professional is a f*cking classic. Compare that to anything Bay has ever made and my point is clear. So why is Michael Bay such a bad filmmaker. Why does he consistently make so much money with his sh*tty films? Before I get into all of that, credit is given where it's do.

Michael Bay is very good at creating a visually dynamic scene.

Bayhem is fun to watch. I just want to put that out there. Michael Bay is very, very, good at blocking out dynamic set pieces. He makes action far more grandiose than it ever has any right to me. You can watch any of the Transformers films to see that sh*t. Those things are gorgeous. Lifeless, mindless, flaccid, gorgeous.

Michael Bay is very good at the technical aspect of film.

There's a scene in Transformers, toward the end of the movie, where a certain shot was needed that no one really knew how to do. Bay built a camera on a go-cart specifically to get this shot. That's James Cameron levels of ingenuity. He also built a rig for something in Dark of the Moon, I think, for another very specific shot. It takes an acute awareness of how a scene is framed, how to build a scene, in order to know exactly what tools are needed to capture that vision. I commend Bay for sh*t like that. You'll never hear me say his movies lack flair.

His films do make a lot of money.

Bayhem makes a ton of money. Dude is very good a staying on budget and delivering a marketable film, even is it's devoid of anything that makes a movie, a movie. Dude gets that product placement, even is it's mad heavy handed, and his corporate benefactors are always pleased. I can't be mad a t a guy that checks all of the boxes that the front office throws his way.

Okay. That's me being nice. That's me getting the things Michael Bay does well out of the way. Now, here's all the reason why I hate his movies so goddamn much.

Michael Bay is a terrible f*cking storyteller.

At it's core, film is a visual representation of storytelling. There is a world you want to create or a character you want to bring to life. That's why books are great for adaptions. That's why comic films are so popular. That's why people gravitate toward lore heavy games and literature. Final Fantasy VII Remake just dropped and it's doing gangbusters. No one bought that game because of the gameplay. Everyone bought that game because of it's place in the cultural zeitgeist. Everyone knows who Tifa, Cloud, and Sephiroth are. Everyone knows the story of Midgar, The Ancients, and Meteor. Everyone wants to experience Gaia with the current gen tech. It's gorgeous, sue, but that's a bonus. We all want to experience the story in a far more cinematic way. Every story Michael Bay has ever told, takes a backseat to the shiny baubles and ludicrous explosions that he peppers within his films. He can't tell a story for sh*t. He thinks racist and lazy stereotypes are the same thing as characterization. He thinks special effects is the same thing as plot. Dutch angles nd camera pans are replacement for witty dialogue and emotional pathos. F*ck, dude, even when he's making a movie that is already based on actual events, the narrative STILL sucks! How is that possible? Pain and Gain happened. That sh*t is documented. Why is it still bad??

Michael Bay is a sexist prick.

You see the way Megan Fox is shot in all of her Transformers appearances? That sh*t is gross, moreso, when you take into account that she is supposed to be sixteen f*cking years old in the first one. It's wild because, if you pay attention, she's the only one that has a character arc. She's actually the most capable character in that entire film and she's relegated to being sexualized eye-candy for the throngs to teenage boys to salivate over. You know how I know that's a thing? Because, in Dark of the moon, the character of Carly was supposed to be Mikaela before Fox got fired. When you frame everything Carly did in the movie through that lens, it makes sense. Sticking Rosie Huntington-Whitely in there, and shooting her like a porn star, seems like maybe Fox was right to quit over her perceived disrespect. I mean, the first shot of Carly a POV, following her throughout her apartment, right up against her pants-less ass. Why?? and don't get me started on that chick from Age of Extinction. That whole situation is the grossest sh*t ever.

Dude is mad lazy with product integration.

When By first started making films, it was hard to see all the product placement riddled throughout. I was watching The Rock a few days ago and completely zoned out with all of the brands onscreen. Fast forward to Age of Extinction and we have entire shots of Bud Lite all over the ground for minutes at a time. F*cking why? What is the point of that other than to sell beer? The only reason that truck exploded was specifically to have that dope shot of Bud Light all over the ground. Again, Bay is great at framing scenes. That beer commercial in the middle of my Transformers movie was shot dope. Why the f*ck is it so haphazardly pasted in the middle of an action set piece during my giant space robot war movie??

All of his plots are paper thin framing devices for explosions.

One of my favorite mangakas is Tite Kubo. He's the creator and principal artist of BLEACH. He's gone on record saying he just like to draw cool sh*t. When he can't, his creativity is stifled and he phones stuff in. The end of BLEACH is a perfect example of that. I suspect Michael Bay feels the same because he create dope looking sh*t but has no respect for the script around that dope sh*t. He doesn't care is nothing makes sense. He doesn't care is there are glaring plotholes that even his principal actors pint out. As long as it looks dope, he's doing it. That's f*cking stupid. On the set of Armageddon, a movie about drilling a whole in a KT event level meteor still in space, in order to blow it up so it splits in half and flies by earth on either side, Ben Affleck asked Bay why they didn't just train Astronauts to drill instead of drillers to be astronauts because that seems to be both easier and quicker. Michael Bay's reply? Shut the f*ck up. That's on the commentary for Armageddon. Ben Affleck literally recorded that and put it on the special features of the f*cking movie! Guess how Armageddon ends? With a big ass f*cking explosion. Also, the meteor screams. A meteor. Screams. In space.

There is no subtlety in any of his movies.

There's a terribly haunting scene in Jojo Rabbit where jojo returns home and is standing next to his mother's hanged corpse. The shot is frames about waist high on Jojo, his mother's shoes literally at eye level. He turns, sees her shoes, and breaks down. He recovers long enough to tied the one with loose strings and the scene ends. I think it cuts to him returning home but it's been a while since I saw the film so i'm a little hazy on what happened next. That entire scene has no music. It's still. It's a medium shot with no weir dutch angles or anything. It's quiet. It's haunting. It's f*cking heartbreaking. Michael Bay never made a scene as emotional, thematically impactful, or quietly powerful in any of his goddamn movies, ever. It is impossible for Michael Bay to create a scene without some sort of dynamic nonsense or kinetic shenanigan. He doesn't do subtle intent or quiet zeal. He's not interested in letting the quiet speak loud. He needs everything to be in your face and yelling at all times because he's bad at movies.

Michael Bay lacks vision.

Someone said that bay is an auteur director like Hitchcock or Kubrick. In the strictest sense of that definition, sure. I can see that. In reality, in actual execution, f*ck no. Look, auteur directors have a vision. They are saturated in every ounce of production. They have a vision and a plan to execute in order to achieve that vision. Michael Bay has a good eye for action. He can frame the hell out of a scene. Of course he can. dude got his start in music videos and commercials. You have to make sh*t look good in that field. What commercials and music videos don't have is plot, narrative, storytelling, and stakes. Someone give you list of shots and you got and gt them. That's it. Bay is good at that. Bay is not good at creating worlds. Look at Christopher Nolan. His entire catalog is filled with that sh*t. Inception, Dunkirk, Intersetellar, Memento; These are films that entail a clear understanding of what and how a story needs to be told. The draw isn't the explosions, it's the actual characters and journey they go on. Look at the Dark Knight trilogy. Every one of those movies is better than anything Michael Bay has ever made. Each one has a very specific theme and direction. Michael Bay makes the same goddamn movie over and over again. He ignores sh*t from movie to movie, even if it contradicts the rules of his own goddamn universe. Transformers is a great example of that sh*t. In the first movie, Megatron was the first transformer to fall to earth. That happened maybe a century ago. In The Last Knight, these motherf*ckers had been since f*cking King Arthur times. They literally fought along side King Arthur! Stanley Tucci was f*cking Merlin! In Dark of the Moon, Sentinel Prime summoned a piece of Cybertron into the earth's orbit. Where the f*ck did it go in Age of Extinction?? Michael Bay created and entire cinematic franchise and just gave up on telling coherent stories true to the rules he set, immediately after setting them. What?? How the f*ck do you not plan out your franchise? How do you not have an exit strategy? How the f*ck can you not connect your own films, one to another? I have thirteen novels based around certain, recurring, characters and themes. There is a plethora of material I have written out just to keep all of that sh*t straight. I'm not a multi-million dollar director charged with building an entertaining and competent movie franchise. Why the f*ck aren't you doing the same sh*t i'm doing when you're supposed to be the professional???

His movies are boring and lazy.

Look, I can forgive a lot of this sh*t. I hate the Fast franchise for a lot of the same reasons I hate Michael Bay films but I adore 2Fast 2Furious and that is unanimously the worst of the bunch. I can totally turn my brain off and enjoy popcorn nonsense. Independence Day is one of my favorite movies. I rather liked Hobbs and Shaw. The Mask is f*cking hilarious but an extremely simple and flawed film. That sh*t is made by Carrey's performance and the visual effects. Con Air is my sh*t. I adore Euro Trip and Old School and Road Trip. I get it. I'm not so high brow that I can't appreciate a good, superficial, puddle deep, facsimile of a film. Again, I like The Rock. I like Bad Boys. I like the first Transformers. The thing is, those three films are the only films Michael Bay makes. Everything he's ever created, is the derivative of those three films. He's even reused shots from his films in other ones. The Island was terrible but had a dope freeway scene. He threw that sh*t in the middle of Dark of the Moon, added some CG Redshirt Decepticons, called it a day. Armageddon has the same pace as Pearl Harbor. Revenge of the Fallen is the same f*cking movie as The Rock. Every Transformers movie starts and ends with some stupid mcguffin. Pain and Gain is Bad Boys but the leads are actually bad boys. Dude recycles themes, cannibalizes his own films, and never creates outside of his comfort zone. He has no idea how to build a creative narrative. He only knows how to film-by-numbers and that makes a lot of his movies boring as sh*t to watch. They are entertaining, it's hard not to be awed by some of the sh*t he pulls off, but that explosion or cool camera pan is all there is in his movies. That's all there is in his film making because he's bad at the fundamentals of movies. It's f*cking ridiculous.

I don't like Michael Bay's way of making movies.

They're not movies. They're set pieces with bare-bones framing devices. They're commercials with three-hour runtimes. He distracts from his utter lack of substance with crazy stunts, technically astute effects, roaming shots, the most brilliant of star power, and uncomfortably overt sexism. None of his films have a plot deeper than a puddle. Not one of his films have characters who you ever really care about. Maybe Lowrey and Burnett but that's mostly because we've been with them for so long and Will Smith is real hard not to love. He got that Tom Cruise charisma but with everyone and not just Karens. Michael Bay has never written anything in his entire f*cking life. I am thoroughly convinced he has no understanding of even the basest aspects of literary storytelling which means he doesn't know how to tell a story. How can you be a visual story teller, if you do not understand the fundamental structure of story telling?? they say bay is a high-concept film director. That's a cop out. It's a nice way of saying he likes making dope looking sh*t with no f*cking plot. It's a nice way of saying he's a quack storyteller but will construct real good looking bullsh*t to watch.

He's on record saying that he makes movies for thirteen-year-olds. That's fine. You know what else is a film for thirteen-year-olds? All of the goddamn MCU! F*cking Infinity War is made for thirteen-year-olds and it's a cinematic masterpiece! How is that an excuse?? How is making movies for thirteen-year-olds somehow a panacea for Bay's sh*t storytelling and pedestrian plotting? How is that a sale for being a terrible f*cking storyteller? Iron Man is made for teenagers. The Dark Knight. Winter Soldier. Skyfall. Mission Impossible: Fallout. The goddamn Hunger Games. Harry f*cking Potter! You can't say your movies suck because they're for kids, when there are films made for kids that sh*t on your entire filmography. Avengers: Endgame has made more money than any movie in history and it's the most superficial film in all of the MCU. Do you know why it made that much money and is beloved even with it's very blatant cinematic flaws? Because it tells a f*cking story! Endgame is a whole ass film. It's a resolution to an entire narrative arc. The characters are well written and we learned to care for them over the course of that MCU ride. People f*cking hate Sam Witwicky. They hate him! The POV character in you multi-billion dollar franchise, is hated throughout the entire fandom, from the begging to the end. Same is never redeemed. He's never given anything more to do than screaming “Optimus”, running around a battlefield, or getting exploded. This is a kid who finds out his car is a giant, alien, robot and that his great grandpa found space Satan while on an expedition in the antarctic, a hundred years ago or some sh*t. How do you not make that character interesting? How is Sam, after seeing all the sh*t he's seen in his life after meeting the Autobots, the same motherf*cker at he end of Dark of the Moon,as he was in the beginning of Transformers? How do you f*ck that up so bad?

Hell, the Fast franchise does the exact same thing Michael Bay does, only much, much, better. Those things have characters and pathos and emotion and subtlety and resolution. There's a narrative and a theme that runs through the entire nine film franchise. Those movies are high-concept, superficial fluff, but there is a heart to them all. There is an emotional anchor that ties each of those movies together. Vin Diesel does Bayhem better than Michael Bay and that sh*t is ridiculous to me. Michel Bay is an objectively bad film maker. He's great at framing a shot or building a set piece, but there is so much more to films than that and I don't think Bay cares. I think he knows he can get away with nonsense if he fills the screen with explosions and titties. Maybe not though. His last Transformers movie severely under performed, getting shredded by everyone, audience and critics, alike. He bailed on the franchise and we got Travis Knight's Bumblebee; Easily the best Transformers film since the old cartoon movie. If 6Underground is any kind of barometer for Bay's career trajectory, going straight to Netflix might be problematic. That means major studios have lost faith in is ability to put butts in seats. Maybe people are wising up to the fact he's a hack. Maybe people are voting with their wallets and voting down his cookie-cutter schlock. Maybe this will make Bay grow as a director and actually direct a story. Or maybe we'll get The Island II, now with more push-ins on barely legal girl-butt and explosions we can see from the f*cking moon. Because Michael Bay makes movies for thirteen-year-olds.

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shawnsjames · 7 years

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Shawn FINALLY Reviews Netflix’s Luke Cage

For over a year people have been asking me to review Netflix’s Luke Cage. Unfortunately due to my limited resources and long-term unemployment I wasn’t able to review the show when it originally debuted However, thanks to the help of a family member with a Netflix account I was finally able to take a look at the series. And I have to say it’s the best adaptation of a Black superhero to ever grace any form of media.

Unlike other Marvel Studios’ projects, Netflix’s Luke Cage is not an attempt to directly translate a comic book. It’s an adaptation that re-imagines Luke Cage and his supporting cast for the 21st Century. So viewers shouldn’t expect Luke Cage to follow the letter of the original concept or the original 1970s Blaxploitation era premise. However, it does capture the spirit of Marvel’s inner-city hero and his mission as he starts his adventures in the all-new, all-different world of the Marvel Cinematic universe.

What makes Netflix’s Luke Cage unique isn’t that it’s just a re-imagining of Luke Cage, but who is doing the re-imagining. The Luke Cage of this adaptation isn’t being written and designed by White men like his 1970s comic book counterpart. No, this Luke Cage has been written and designed by Black men for Black audiences. And because we are getting the story of a Black man from Black men at a Black production company it completely changes the narrative and the perception of the character.

From the Black male perspective we’re given a thorough more comprehensive story of Carl Lucas than we would have ever gotten in any of the Marvel comic books. On Netflix’s show, Carl Lucas is a richer more multidimensional character. A former police officer from Georgia who has been framed for a crime he didn’t commit, he’s an Inivisible Man looking for a place in the world where he can’t be seen. After getting powers as a result of an experiment gone wrong at Seagate Prison, the quiet soft-spoken man is looking to rebuild his life and move forward. Working two jobs, one at Pop’s Barbershop in the daytime and at Harlem’s Paradise as a dishwasher at night, he’s just looking to get his bills paid. He’s the Invisible Man watching a situation erupt as Corrupt City Councilwoman Mariah Dillard and her gangsta cousin Leon “Cottonmouth” Stokes plan to make money off its people by exploiting the community. When a deal to sell weapons leads to things getting hot on the streets, the humble Cage becomes a reluctant hero who comes out of the shadows to protect the innocents caught up in an effort to protect his community from those who would exploit it.

In this adaptation he’s not a hero for hire. But a Black man looking to do the work Black men do every day to support and protect their families and communities from the predators who plague it. What makes this Luke Cage different from his comic book counterpart is the foundation of his core values. This Luke Cage is a decent, working class man out to maintain his intangibles of manhood such as his dignity, his self-respect and his self worth. He is a man of conscientiousness and character, what makes him a hero is who he is on the inside, not the powers he has. He’s a good man trying to make the best of a bad situation and doing his best to do the right thing in a world where everyone is out to do wrong.

Netflix’s story of Luke Cage isn’t just a story of a superhero but a story of Black men and Black manhood. That’s one of the things I liked most about this series how it made a focus on the role of Black men in the community as leaders and protectors. It’s a story that rarely gets told because there are very few Black men left in the community to tell it and tell it from their perspective.

Moreover, the series makes an effort to present the traditions and culture Black men used to pass down to one another. Not only did the producers focus on places like the barbershop, the basketball courts and other places Black men gathered and congregate, but they presented the history of these places and why they were important to the development of Black manhood and Black masculinity. It’s in these places that Carl Lucas is taught what he needs to be the man and the hero he becomes by the men in the community.

From what I’ve seen so far, there’s a lot I like about Netflix’s Luke Cage. It’s a contemporary reimagining, an adaptation that’s true to the spirit of the character, and a positive portrayal of Black men that presents a balanced picture of the Black. Moreover, it also presents who the real enemies of the modern day Black community are, Black democratic politicians and street hustlers who pretend to be the friends of all those in the community. The producers of this show clearly did their research on Black history and Black culture, weaving those elements seamlessly into this comic book adaptation.

It’s that fusion of Black culture, Black history and Black tradition that make Netflix’s Luke Cage a unique program. I understand why everyone loves this show and why it practically crashed the Netflix servers. This show is almost like the second coming of The Cosby Show back in 1984. After an over two decade long drought, we finally get a program made with black characters by Black people that presents a balanced picture of Black life onscreen. I’m hoping that the success of Luke Cage leads to a resurgence of positive Black media in America. As I see it, the whole landscape needs to change from all the buffoonery we’ve seen over the last decade and a half from minstrels like Tyler Perry, Shondra Rhimes, and Lee Daniels.

I also liked seeing all the beautiful sistas that are in Cage as well. The women of Cage are sexy, strong and intelligent, and we see a SPECTRUM of beauty from women of all skintones, from light skinned women like Reva Connors to dark skinned sistas like Misty Knight and the chocolate sista chasing after Luke in the barbershop. Black is beautiful and it put a smile on my face to see all those sexy sistas presented right at the side of Cage in this adaptation!

That being said, there’s a couple of things I don’t like about Netflix’s Luke Cage. I hate the fact that just as I’m getting to know a character they wind up dead on this show. And I hate all the gory deaths. But I understand that the producers of cage have a reason for all this By making us CARE about the characters they’re showing us the value of Black life by showing us how careless the bad guys are regarding taking other Black lives. It seems like Luke is the only one who really appreciates human life and the value of it, but maybe that’s because he’s seen so many people he care about lose their lives to those who didn’t care about the lives of others.

Production on Netflix’s Luke Cage is top notch, right on par with any of the Marvel Studios films. I know the filmmakers wanted to capture a 1970s vibe with their camera work but cinematically, the visuals in Luke Cage capture the energy and spirit of life in Harlem in the late 1970s and early 1980s. Every time I watched an episode of Luke Cage it made me reminisce about the times my father would take me to Tommie’s Barber Shop on Fredrick Douglass Boulevard for haircuts. Back then in that era before crack cocaine, there was still a semblance of community in the Black community, and while Black people were poor they still had pride in themselves.

Netflix’s Luke Cage isn’t “Too Black,” the big problem is that most people haven’t seen a balanced picture of Black life in media in over twenty years. Back in the 1980s when Black men like Spike Lee, Robert Townsend and Bill Cosby had the money, we got balanced and different pictures like this all the time. But after the OJ Simpson trial all we’ve gotten in Black media from Black producers like Oprah Winfrey, Shondra Rhimes, Lee Daniels and Tyler Perry is a slanted picture of Black life from Black feminists featuring stories of dark skinned Black Brutes abusing Black women, light skinned saviors, Black people as perpetual victims and Black women lusting after White Men. Netflix’s Luke Cage rebalances the picture and changes the narrative. We need more stories like this from Black production companies and we need them ASAP.

I’ve been loving the acting on this show, it’s some of the best I’ve seen in a Marvel Studios production. Mike Cotler dominates the screen as Luke Cage. His soft spoken performance captures the voice of the character in the comic. He gives Cage a richness and multidimensionality that go beyond anything ever presented in the newsprint of a Marvel comic. Simone Missick steals every scene she’s in as Misty Knight. Her portrayal takes the character to another level Mareshela Ali is intense as Leon “Cottonmouth” Stokes, smoldering in every scene he’s in. Frankie Faison is amazing as “Pop” Alfre Woodard is powerful as Mariah Dillard. Thanks to the acting, every episode feels like a big-budget epic movie.

Watching the work of this Black-owned prodco, I wish I had the money to hire them for an adaptation of The Temptation for John Haynes, I know they’d do an amazing job adapting that novel and bringing it to life onscreen. I could easily see this prodco making that movie and directing stars like Keith David in the role of Lucifer, Salli Richardson-Whitfield as E’steem and Michael Ealy as John Haynes. I know everyone’s old now, but that was my dreamcast for that book about 12 years ago when I wrote it.

I highly recommend everyone go out and see Netflix’s Luke Cage. It’s a GREAT series that reinvents the Black superhero for the 21st Century and takes a character that was made to be a stereotype and reinvents him into a balanced, positive portrayal of a Black man and a role model for Black men. If you’re a Black person you’re gonna feel a sense of pride watching this series. Watch this show then watch it again. It’s that GREAT!

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#Luke Cage #Netflix Luke Cage #Shawn james #Power Man #Black superheroes #African-American superheroes #Netflix #review

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kapusoprgirl-blog · 7 years

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GMA Network rewards its viewers with superior and world-class 2017 program launches

GMA Network soars even higher this 2017 as it delivers a new roster of trendsetting and pioneering programs that will surely excite and captivate the hearts of Kapuso viewers.

Produced by the GMA Drama Group, these shows are top billed by only the brightest, hottest and up-and-coming Kapuso actors and actresses in Philippine show business.

First on the list is the original primetime soap Meant To Be. This romantic-comedy series revolves around Billie, portrayed by Barbie Forteza, a struggling millennial who meets four guys with different nationalities: Ken Chan as the Chinese-Pinoy Yuan, Jak Roberto as the Pinoy Macoy, Ivan Dorschner as the Fil-British Ethan, Addy Raj as the Indian Jai. All four boys will fall in love with Billie. Joining them in Meant To Be are Manilyn Reynes, Sheryl Cruz, Tina Paner, Keempee de Leon, Sef Cadayona, Mika dela Cruz, Stephanie Sol, Zymic Jaranilla, and Ms. Gloria Romero. Under the helm of LA Madridejos with Renei Dimla as head writer and Hazel Abonita as Program Manager, Meant To Be premiered last January 9. The primetime series is also a clear winner in nationwide ratings after consistently beating its competition during its pilot week.

For its Valentine offering, the Kapuso Network brings to light the much awaited soap Destined To Be Yours starring the phenomenal love team—Alden Richards and Maine Mendoza. In the story, Alden breathes life to the character of Benjie, a hardworking and charming architect who wants to acquire a piece of land owned by the family of Sinag played by Maine. Sinag is a loving daughter who works in a radio station in their province. She deeply cares for the environment and the community she belongs to. Anticipation is high for the first ever primetime soap of Alden and Maine which will definitely be an exciting treat for viewers of all ages. Completing the powerhouse cast are Lotlot de Leon, Gardo Versoza, Dominic Roco, Sheena Halili, Ina Feleo, Juancho Trivino, RJ Padilla, Koreen Medina and Boots Anson-Roa. This also marks the comeback of Ms Janice de Belen to the Kapuso Network. After her successful directing stint on the big screen, budding female director Irene Villamor gets her first and biggest directorial job on the small screen as she sits at the helm of this heart-warming primetime show. Des Garbes-Severino is the head writer while Camille Hermoso-Hafezan is the program manager.

Soon to soar viewership ratings is the much-awaited Pinoy remake of the hit Koreanovela My Love From The Star. Ultimate Star Jennylyn Mercado reprises the immensely popular character of Steffi, the popular, beautiful and sought-after actress and endorser. And for the character of Matteo, the extremely intelligent yet cold extra-terrestrial being, GMA Network introduces newest Kapuso actor and heartthrob Gil Cuerva who auditioned for the role. Joining them are Gabby Eigenmann, Glydel Mercado, Christian Bautista, Jackie Rice, Renz Fernandez, Spanky Manikan, Melissa Mendez, Nar Cabico. And to give her own interpretation of My Love From The Star is acclaimed TV and movie director Bb. Joyce Bernal. Des Garbes-Severino is the head writer while Cathy Ochoa-Perez is the program manager.

In line with GMA Network’s Lipad 2017 battle cry, Kapuso viewers are in for something grand and spectacular this year with the launch of Mulawin vs. Ravena. This telefantasya is the biggest production of GMA this 2017 as it presents a one-of-a-kind and extraordinary primetime masterpiece. Mulawin vs Ravena is headlined by Drama King Dennis Trillo. Making this primetime offering extra special is Ms Regine Velasquez-Alcasid as she joins her first-ever full length telefantasya. Featuring the hottest young Kapuso love teams Miguel Tanfelix and Bianca Umali; Derrick Monasterio and Bea Binene. Completing the star-studded cast are Chynna Ortaleza, Dion Ignacio, Winwyn Marquez, Kiko Estrada and Roi Vinzon. And to helm this ground-breaking program are two of GMA’s acclaimed directors Dominic Zapata and Don Michael Perez who is also the head writer of the series. Helen Rose Sese is the program manager of Mulawin vs Ravena.

GMA-7 offers a compelling drama to its Afternoon Prime block with one of Regal Films’ blockbuster movies in 1987 Pinulot Ka Lang Sa Lupa. Set to premiere on January 30, the series is headlined by Julie Anne San Jose, Benjamin Alves, Martin del Rosario and LJ Reyes. With equally important roles are Ara Mina and Ms. Jean Garcia. Joining them are Victor Neri, Allan Paule, Geleen Eugenio, Lharby Policarpio. Directed by Gina Alajar, Pinulot Ka Lang Sa Lupa tackles the life struggles of two women intertwined by lost love. Ali Nokom Dedicatoria is the program manager while Marlon Miguel is the head writer.

Showcasing a story of love, triumph and forgiveness is the original Afternoon Prime series Legally Blind. Kapuso actress Janine Gutierrez tackles her most challenging and mature role as a rape victim who gets blind and who will become a lawyer to seek justice from her perpetrator. She will be paired with two of the Network’s talented leading men: Mikael Daez, Rodjun Cruz. Adding star power to the Afternoon Prime soap are Chanda Romero, Lauren Young, Marc Abaya. Legally Blind is under the helm of actor and TV director Ricky Davao with Christine Novicio as head writer and Redgynn Alba as program manager.

Another intriguing drama that will surely make the viewers’ glued to their televisions screens is the remake of the successful TV series Impostora. It is also the first GMA-produced TV drama adapted by a foreign country. This soap tells the story Nimfa, an ugly street vendor who willingly undergoes surgery and complete facial reconstruction to pretend to be Rosette, a wealthy and beautiful but unhappily married wife seeking to escape her husband. This highly controversial drama is top billed by Kapuso versatile leading lady Kris Bernal and playing opposite her are versatile actors Rafael Rosell and Ryan Eigenmann. Impostora is under the direction of Albert Langitan with Denoy Punio as head writer and Anthony Pastorpide as the program manager.

GMA Drama unveils another original show using the elements of interview, dramatization, actual videos and photos with Case Solved. Kapuso Primetime King Dingdong Dantes is tapped to host this newest docu-drama as he presents to the viewers the know-hows of crime prevention. Under the helm of Direk Albert Langitan, Loi Landicho is the head writer while Nini Matilac is the program manager.

GMA Network continues to offer all-out entertainment as it brings in new shows and adds flavour to its trademark programs.

Beginning January 15, Sunday afternoons will never be the same as the Kapuso Network brings one-of-a-kind entertainment to its loyal viewers with an exciting and fun game show People vs. The Stars. Hosted by the delightful power couple Drew Arellano and Iya Villania, the program allows celebrities to play for a chance to win two hundred thousand pesos (P200, 000.00) via a variety of eight (8) mind-boggling questions with respective cash values. If the stars fail to answer any of the questions correctly, the question’s cash value will be given to the televiewers by answering the “People Question of the Week” through text. People vs. The Stars is directed by Rico Gutierrez.

Celebrity Bluff, the multi-awarded comedy game show on Philippine television, returns to Filipino homes for a bigger and amazingly fun new season. This all-original game show will be hosted once again by award-winning game show host, comedienne and actress Eugene Domingo and award-winning actor and TV host Edu Manzano as the Master Bluffer. Celebrity Bluff promises to deliver wholesome fun, laughter and thought-provoking information for the whole family not as a weekly game show but a daily afternoon fare.

Full House Tonight is another pioneering weekly comedy-musical show top billed by Asia’s Songbird Regine Velasquez-Alcasid. The outrageously hilarious program unleashes a powerhouse ensemble of comedians, actors and musical artists all set to give Saturday nights a whole new experience beginning February 18. Full House Tonight showcases the sultry Solenn Heussaff, teen idols Miguel Tanfelix and Bianca Umali, all around performer Joross Gamboa and comedians Philip Lazaro, Nar Cabico, Tammy Brown, Terry Gian, Sarah Pagcaliwagan and Kim Idol.

GMA Network's Heart of Asia will bring Korea's best drama series this 2017.

The Big One, which will air beginning January 23, is about two doctors trying to save Seoul from a natural disaster and Pretty Woman, a love story that stars Hwang Jung-eum, Park Seo-joon, Go Joon-hee, and Choi Siwon.

Meanwhile, extra-terrestrial and supernatural teenagers will also take over the morning block, with adventure series Lightning Point and Wolfblood.

Kapuso viewers are in for a fantastic treat as GMA brings the blockbuster films to be aired on free TV. These include Jurassic World, Furious 7, American Sniper, Mad Max: Fury Road, San Andreas, Minions, Imagine You & Me, and Enteng Kabisote and the Abangers.

Viewers can only expect better and more innovative programs from GMA Network with the other program launches to watch out for this year including I Heart Davao, D’Originals, Daig Kayo Ng Lola Ko, Project Achieved, Lip Sync Battle Philippines Season 3 and Text Serye.

#gmanetwork #kapuso #2017shows

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