Marvel's Fantastic Four reboot gives first glimpse of original comic villain
Marvel's Fantastic Four reboot reveals Giganto, a massive monster from the original 1961 comic, in a new promo. Starring Pedro Pascal, the film features the team battling the iconic villain, promising a faithful adaptation of the classic comic book encounter.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
5 hours ago
- Hindustan Times
Marvel's Fantastic Four reboot gives first glimpse of original comic villain
Marvel's Fantastic Four reboot reveals Giganto, a massive monster from the original 1961 comic, in a new promo. Starring Pedro Pascal, the film features the team battling the iconic villain, promising a faithful adaptation of the classic comic book encounter.
Hindustan Times
6 hours ago
- Hindustan Times
Rachel Brosnahan calls out actors for criticizing their own superhero films: ‘Do it or don't do it'
Rachel Brosnahan is stepping into the superhero universe this summer. She is all set to play Lois Lane in the upcoming Superman film. While some actors have been known to criticize their superhero roles, Brosnahan has made it clear she would not be one of them. In a candid exchange with Amanda Seyfried for Interview magazine, the actress addressed the trend of actors disowning their involvement with comic book blockbusters after release. 'I don't know why people say yes [to a project] only to then turn around and complain about it,' Rachel Brosnahan said. 'Look, I don't want to s*it on other actors, but there was a minute where it was cool to not like superhero movies and to look back on projects like this and pooh-pooh them. Do it or don't do it, and then stand by it.' Though the actress refrained from naming anyone, her words appeared to touch on the growing number of stars who have recently taken a step back from, or publicly critiqued, their own superhero ventures. The upcoming Superman movie, directed by James Gunn, follows Superman as he tries to balance his alien roots with his life on Earth and his human family. Along with Rachel Brosnahan, the film stars David Corenswet as Clark Kent, also known as Superman. Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion and Isabela Merced are also part of the project. The film will hit cinema screens on July 11. ALSO READ: Superman director James Gunn blames Disney for the decline of Marvel, says: 'It wasn't right. And it killed them..' The Superman franchise is one of the most iconic in superhero history. Created by Jerry Siegel and Joe Shuster, Superman first appeared in Action Comics #1 in 1938. Raised on Earth as Clark Kent, Superman is a powerful alien from the planet Krypton. The franchise has since spanned comic books, TV shows, animated series and blockbuster films. From Christopher Reeve's OG role to Henry Cavill's Man of Steel, Superman has inspired generations. Rachel Brosnahan is playing Lois Lane in the upcoming Superman film. The new Superman movie, directed by James Gunn, will be released on July 11. The movie shows Superman trying to balance his Kryptonian heritage with his human life on Earth. The cast includes David Corenswet as Clark Kent, along with Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion and Isabela Merced.
Mint
9 hours ago
- Mint
'Materialists' review: Love and other banalities
'Are we in the right film?' a girl in the row behind me asked her friend. You could see why she'd be confused. They'd turned up for a New York romance with Pedro Pascal and here was an unkempt man wearing animal hide handing a bouquet to a woman in front of a cave. He puts a ring fashioned out of single flower on her finger. The title drops and then we're in New York, watching Lucy (Dakota Johnson) get ready for another day as an in-demand matchmaker. The opening of Materialists yearns to be the deer in the snow in Ildikó Enyedi's On Body and Soul (2017). But this is an American film, so poetic animal metaphors are out. The question remains: why does Celine Song's film—which insists throughout that marriage is a business deal—begin with an Edenic scene of a man and woman in love? We have to wait till the last five minutes to learn they're a dream Lucy had of the first people who decided to marry. It's funny enough with Johnson's uninflected voiceover, even better that the film's idea of cave people is 'average Middle Eastern farmer'. After they meet at a client's wedding, Lucy is steadily pursued by the groom's brother, financier Harry (Pedro Pascal), even as her actor ex-boyfriend John (Chris Evans) shuffles unhappily in the background. The romance with Harry peaks over dinner at a swanky restaurant. If you played the scene on mute, you'd think Pascal and Johnson were trading Casablanca-level lines, such is the smug look on their faces. There's some banter about the romance of a date depending on its lavishness (both seem to agree it does). He asks her to rate him as a corpse, since she'd said her job makes her think like a mortician ('A good corpse,' she says). She calls him a unicorn (matchmaker term for an unbelievably eligible single man). She goes on about his wealth, how he's meant for someone younger and posher. "I don't want to date you for your material assets,' he replies. 'I want to be with you for your intangible assets." This is so far from good writing, and yet I can understand people defending it. The scene has the aura of witty, romantic things being said—chic two-shot in profile with her leaning forward and him back, soft, sexy lighting, ersatz jazz changing to something soft and ambiguous to signal that the important part of the conversation has arrived. It also makes some logical sense: she's a matchmaker, he's in private equity, of course they'll talk numbers. The problem is, logic isn't romantic. Inventory isn't poetry. This is the moment she's supposedly swept off her feet and they're talking like they've swallowed a balance sheet. The best screwball comedies do their sexiest work with characters who can't switch off their non-romantic selves. Bringing Up Baby (1938) has Cary Grant's nerdy paleontologist moaning about misplacing his bone and Katharine Hepburn helping him find it. His Girl Friday (1940) is a romance conducted entirely in rapid-fire newsroom talk. In Materialists, though, all anyone talks about is love, and everyone's insufferable ('Love is the last country, the last ideology… when you're lost, the answer is simple, just go where love is'). Pascal looks great, but Harry is an empty dream—too beautiful, too rich, too respectful. John is a sad sack, but at least there's some life there; the cliché of a broke actor saying 'I'm a beggar for you' has an emotional directness missing in the other romantic declarations. His pathetic earnestness pushes Lucy towards cruelty; she confirms every low opinion he has about his own prospects. For a short spell, Lucy becomes something like the complex, self-doubting Julie in Joachim Trier's The Worst Person in the World (2021)—though it's one thing to try on someone's shoes, another to walk a mile in them. Song is in such a hurry to redeem Lucy that she interrupts the scene with a mercy mission, by the end of which this thread is entirely lost. It's been clear for some time that Hollywood has lost its feel for writing romance. The genre has been one of the biggest victims of the shrinking space for mid-budget, non-IP films. When I was growing up, big stars would frequently turn up in romcoms; this has become exceedingly rare now. As the films have become less frequent, writers and directors have become less sure-footed. Song's first film, Past Lives (2023), with its loose, loping narrative and sophisticated visual aesthetic, felt like a possible revival. Materialists is a step back, a return to safer narrative structures with the added pressures of working within the machine (there's a design-by-committee blandness to the wedding dance scene, carefully curated across racial and sexual demographics). 'You don't want to marry me,' Lucy tells Harry. 'You just want to do business with me.' 'Isn't marriage a business deal?' he asks. 'Yes, but love has to be on the table,' Lucy insists. Materialists acts like it's cynical, but this isn't an anti-romance. It has the bright, expensive look of a studio romcom, and shares the genre's inherent hopefulness. One suitor is let down easy, the other promises to change . Even the client whose terrible experience with a match sends Lucy into a spiral has to hear a sanctimonious 'I promise you, you're going to marry the love of your life' after it's over. Cave people are having a baby. Lucy gets a flower ring. Love was never off the table.
