One of the best movies of 2025, SINNERS, begins streaming exclusively on HBO Max on July 4.
Max has announced that Warner Bros. Pictures’ movies will stream in Black American Sign Language (BASL) alongside the original version of the film in the U.S. on Friday. This groundbreaking release marks the first time a streaming platform will exclusively debut a film interpreted in BASL.
The release of SINNERS with BASL is a major step forward in accessibility, representation, and visibility in streaming. BASL is a distinct dialect of American Sign Language (ASL) with its own dynamic history and unique grammar, signing space, rhythm, facial expressions, and cultural nuances. For the first time, the Black Deaf community will have streaming access to a more immersive experience in their language. Max subscribers, who sign in ASL but are unfamiliar with this dialect, will also be able to follow along with this interpretation.
SINNERS with BASL is interpreted by Nakia Smith, an influential voice in the Black Deaf community, who delivers a powerful interpretation with cultural depth and linguistic richness that aligns with the film’s themes and historical timeline. Rosa Lee Timm, Director of Artistic Sign Language, is a renowned performance artist and uses her expertise in sign language performance and visual storytelling to ensure cultural authenticity. Timm has also directed ASL versions of Warner Bros. Pictures’ “Beetlejuice Beetlejuice” and “A Minecraft Movie,” exclusively available to stream on Max.
Max continues to set new standards in inclusive storytelling. By amplifying Black Deaf voices and honoring the culture, identity, and history at the heart of this powerful film, Max’s ongoing commitment to accessibility builds off a growing ASL program that includes accessible versions of HBO Original programming such as “The Last of Us” and Warner Bros. Pictures’ films like “Barbie” and “Godzilla x Kong: The New Empire.”
“Accessibility within streaming is not a one-size-fits-all approach. Our goal at Max is to make these great stories accessible to all audiences in a way that is authentic to the content and the communities we serve,” said Naomi Waibel, SVP of Global Product Management at Warner Bros. Discovery. “SINNERS with Black American Sign Language is an example of how culturally nuanced access can enrich the viewing experience for our audiences.”
“With ASL” titles, including SINNERS, will be displayed on the Max app and indicated with key art featuring the sign language symbol.
Trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.
Written and directed by Academy Award®-nominated filmmaker Ryan Coogler, SINNERS stars Michael B. Jordan in a dual role, joined by Oscar® nominee Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo. The film is produced by Zinzi Coogler, Sev Ohanian, and Ryan Coogler. The executive producers are Ludwig Göransson, Will Greenfield, and Rebecca Cho.
Warner Bros. Pictures presents A Proximity Media Production: Sinners. The film is distributed worldwide by Warner Bros. Pictures.
From Ryan Coogler—director of “Black Panther” and “Creed”—and starring Michael B. Jordan comes a new vision of fear: SINNERS. In theaters on April 18, here’s a first look at the brand new trailer.
Trying to leave their troubled lives behind, twin brothers (Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.
“You keep dancing with the devil, one day he’s gonna follow you home.”
As reported by The Hollywood Reporter, “At a virtual press conference for the movie’s trailer launch, Coogler, whose previous two outtings were the two Black Panther films for Marvel Studios, teased that although vampires were definitely in the film, the movie has a lot more going on.”
The film opens in theaters on April 18.
Coogler said he, “shot the movie on 65mm film, even getting advice from Christopher Nolan and wife and producing partner Emma Thomas, who have experience with large format photography. He said the movie combined Super Panavision with Imax photography in an effort to be immersive.”
Written and directed by Academy Award-nominated filmmaker Coogler, “Sinners” stars Jordan (the “Black Panther” and “Creed” franchises) in a dual role, joined by Oscar nominee Hailee Steinfeld (“Bumblebee,” “True Grit”), Jack O’Connell (“Ferrari”), Wunmi Mosaku (“Passenger”), Jayme Lawson (“The Woman King”), Omar Benson Miller (“True Lies”) and Delroy Lindo (“Da 5 Bloods”).
Watch the star and director break down the trailer.
The film is produced by Coogler and frequent collaborators Sev Ohanian and Zinzi Coogler. The executive producers are Ludwig Göransson, Will Greenfield and Rebecca Cho.
“Göransson earned a credit executive producer because the musical element in the movie is ever-present and, in an unusual move, Göransson was a daily presence on set. The composer was also part of a movie’s blues trail scouting expedition through Mississippi, even bringing his father along.”
Coogler’s behind-the-camera artisans include his “Black Panther” franchise collaborators: director of photography Autumn Durald Arkapaw, Oscar-winning production designer Hannah Beachler, editor Michael P. Shawver, Oscar-winning composer Ludwig Göransson, and Oscar-winning costume designer Ruth E. Carter.
Maybe the multiplex should seriously consider adding seat belts to their plush reclining chairs (maybe dump the seat warmers). An odd notion you might say, but with this weekend’s huge film release, well you may just agree. So, it’s a sequel and yes, we’ve gotten a few of those already in this summer movie season. And it’s a superhero flick, along with three other flicks this year. And it’s also animated, just like that ground-breaking, game-changing Oscar winner from five years ago. Back then some thought, that this was a “cash grab”, that Sony was trying to squeeze the last penny from their live-action franchise. Wow, were those folks proven wrong. Hey, heads up the much-rumored “super-hero fatigue”, because here’s the “cure”. It’s finally time to swing into SPIDER-MAN: ACROSS THE SPIDER-VERSE, which might leave you with a big “Stan Lee-sized” grin on your face!
They’re not “playing it safe’ this time, as this new entry actually begins far from the main setting of the last one. Over at Earth-65 we get some “backstory’ on their arachnid hero, er heroine, Gwen Stacy AKA Spider-Woman (voice by Hailee Steinfeld) whose worries aren’t drowned out by her pounding drum solo (right before she quits her band). Her dad, Police Captain George Stacy (Shea Wigham) is determined to arrest that masked vigilante. After a tragic accident, he nearly gets his wish until a strange portal opens out revealing two other “spider-beings”, chopper riding (with a “bun in the oven”), Jessica Drew (Issa Rae), and the brooding and buff Spider-Man of 2099, Miguel O’Hara (Oscar Isaac). They’re part of a team that protects the “Multiverse” and they quickly recruit Gwen. And then we’re suddenly back on Earth-1610, the home of Brooklyn’s defender Miles Morales AKA Spider-Man (Shamiek Moore). And this high school sophomore is late, as usual, for a meeting of his parents, Rio (Luna Lauren Velez) and soon-to-be-police-captain Jefferson (Brian Tyree Henry), with the school’s guidance counselor to map out a college plan. But Miles has to stop an ATM robbery at a bodega, Oh, but this isn’t an ordinary hood. He’s a former scientist who was transformed by the dimensional collider five years ago. He’s now a faceless white creature adorned with black dots that open up holes in distant points in nearby space. That’s why he calls himself the Spot (Jason Schwartzman). When he disappears into one of those holes, Miles thinks he’s defeated him. That is until he gets a most welcome unexpected visit from Gwen. It’s soon revealed that this is not a social call, because the Spot can now pop in on other realities and threatens the Multiverse. Thus begins a journey for the old friends as they travel to different worlds, meet other heroes, and face a pre-ordained destiny that could destroy all the countless realms of existence.
The stellar vocal cast returns with renewed vigor and confidence emboldened by a new incredible supporting ensemble. Moore once again carries the emotional heft of Miles, balancing his smooth swagger with a true vulnerability as he looks toward a very uncertain future. He’s half of the story’s soul, along with Steinfrld’s heartbreaking reprise of Gwen, as she believes her beloved papa is her fanatical foe. There’s a real affection for Miles as she’s torn between bonding with him and preventing him from repeating her mistakes. Velez and Henry are again warm and wonderful as the concerned but caring parents of Miles. As the other Spider-Woman, Rae is cool but stern as she mentors Gwen and tries to keep her on the right “path”. She’s the “good cop” who tries to balance the unyielding force that is O’Hara who Isaac gives a scary growl that hides his own tragic past. Of the other “spider-folk”, Daniel Kaluuya is very engaging as Hobi, a guitar-toting Spider-Punk from a totalitarian world who chafes at the rules of O’Hara, just another oppressive “man”. On the flip side, there’s Karan Soni as Spider-Man India who embraces the joys of service and web-swinging. There are many other great talents behind the microphone, but who wants to spoil some super-surprises?
Not me, that’s for sure (they’d take away my official Merry Marvel Marching Society fan club button from 1967). What I can write about is the incredible work of hundreds of gifted artists, spearheaded by the directing trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. How could they oversee and co-ordinate such an astounding variety of art styles (perhaps they pulled in extra clones from other dimensions)? Early sequences with Gwen have the look of delicate watercolors highlighted by an ever-changing pastel palette. The offsets the closer to our world surrounding Miles and his family, with locations that could be on any busy street corner. Then there’s the shading and tones of the individual character designs with the bright vibrant hues of Spider-Man India and the grungy, clip-and-paste graphic take on Hobi (he seems to have jumped off an early 1980s record jacket). This is multiplied a hundredfold as the “spider-world” expands with one character looking as though he leaped right from a comic book panel complete with pen and ink cross-hatching and melodramatic dialogue (comic fans will enjoy this “take” on a controversial storyline). Some reviewers have said that you can’t take in every visual flourish on two screenings. I like to think this would be the ultimate home video (with streaming services cutting back on content, discs are a solid future investment) as you can pause to savor every frame worthy of hanging in a gallery (and making for a gorgeous coffee-table “art of” hardcover). Of course, this would all be intoxicating eye candy without the clever and heartfelt script by Davis Callaham, Christopher Miller, and from the original, Phil Lord. They’ve elevated the “universal stakes” while still focusing in on the complexities of the Morales household (mainly the keeping of secrets). This is no mere rehash but instead an epic exploration of the superhero mythos, one that energizes the whole genre and the medium of animation art. Find the biggest theatre screen around in order to immerse yourself in the wit and wonders of SPIDER-MAN: ACROSS THE SPIDER-VERSE. I can almost hear “the man” cheering, “Excelsior!!”.
4 Out of 4
SPIDER-MAN: ACROSS THE SPIDER-VERSE is now playing in theatres everywhere
Spider-Man 2099 (Oscar Isaac) and Miles Morales (Shameik Moore) in Columbia Pictures and Sony Pictures Animation’s SPIDER-MAN: ACROSS THE SPIDER-VERSE (PART ONE).
SPIDER-MAN™: ACROSS THE SPIDER-VERSE (PART ONE) is coming exclusively to movie theaters on October 7, 2022.
Miles Morales returns for the next chapter of the Oscar®-winning Spider-Verse saga, an epic adventure that will transport Brooklyn’s full-time, friendly neighborhood Spider-Man across the Multiverse to join forces with Gwen Stacy and a new team of Spider-People to face off with a villain more powerful than anything they have ever encountered.
Based on the MARVEL Comic Books, the voicecast stars Oscar Isaac, Shameik Moore and Hailee Steinfeld.
Spider-Man: Into the Spider-Verse (2018) won the Academy Award for Best Animated Feature Film. The Oscar went to Rodney Rothman, Peter Ramsey, Bob Persichetti, Phil Lord and Christopher Miller. The film grossed $375 million at the box office (via Box Office Mojo) and sits at 97% on Rotten Tomatoes.
Miles Morales (Shameik Moore) in Columbia Pictures and Sony Pictures Animation’s SPIDER-MAN: ACROSS THE SPIDER-VERSE (PART ONE).
Directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson with the screenplay by Phil Lord & Christopher Miller and David Callaham, SPIDER-MAN: ACROSS THE SPIDER-VERSE (PART ONE) is produced by Avi Arad, Amy Pascal, Phil Lord, Christopher Miller, Christina Steinberg
Disney+ and Marvel Studios invite you on an unexpected holiday getaway, unwrapping the official trailer and first poster for “Hawkeye,” a new series set in post-blip New York City.
Former Avenger Clint Barton has a seemingly simple mission: get back to his family for Christmas. Possible? Maybe with the help of Kate Bishop, a 22-year-old archer with dreams of becoming a Super Hero. The two are forced to work together when a presence from Barton’s past threatens to derail far more than the festive spirit.
Starring Jeremy Renner as Clint Barton/Hawkeye and Hailee Steinfeld as Kate Bishop, “Hawkeye” also features Vera Farmiga, Fra Fee, Tony Dalton, Zahn McClarnon, Brian d’Arcy James and newcomer Alaqua Cox as Maya Lopez.
Helmed by Rhys Thomas and directing duo Bert and Bertie, “Hawkeye” debuts exclusively on Disney+ on November 24, 2021.
The Academy Award Nominee for Best Animated Feature Film, SPIDER-MAN: INTO THE SPIDER-VERSE, swings onto Digital February 26 and on 4K Ultra HD Combo Pack, Blu-ray Combo Pack, and DVD on March 19 from Sony Pictures Home Entertainment and Sony Pictures Animation. From Phil Lord and Christopher Miller, the uniquely creative minds behind The Lego Movie and 21 Jump Street, the film offers a fresh vision of the Spider-Man universe with a groundbreaking visual style that’s the first of its kind.
SPIDER-MAN: INTO THE SPIDER-VERSE, a film that has grossed over $350 million in theaters worldwide to date, introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the iconic mask. “One of the most rewarding experiences in recent months has been to hear that children are telling their parents that they see themselves in Miles, or that they want to grow up to be like Spider-Gwen, anyone can be a hero. Thats why we made this film, and we hope that feeling of empowerment is something that both audiences young and old can take away,” say Directors Bob Persichetti, Peter Ramsey, and Rodney Rothman.
The out-of-this-world voice cast includes Shameik Moore as Miles Morales alongside Jake Johnson (“New Girl”) as Peter B. Parker, Hailee Steinfeld (Bumblebee) as Gwen Stacy/Spider-Gwen, Mahershala Ali (Green Book) as Miles’ Uncle Aaron, Brian Tyree Henry (“Atlanta”) as Jefferson Davis, Lily Tomlin (“Grace and Frankie”) as Aunt May, Luna Lauren Velez (“How To Get Away with Murder”) as Rio Morales, Zoë Kravitz (“Big Little Lies”) as Mary Jane, John Mulaney (“Big Mouth”) as Spider-Ham, with Nicholas Cage (The Croods) as Spider-Man Noir, Kathryn Hahn (Hotel Transylvania 3: Summer Vacation) as Doc Ock and Liev Schreiber (“Ray Donovan”) as the villain Kingpin.
SPIDER-MAN: INTO THE SPIDER-VERSE arrives filled with engaging bonus materials that are fun for the whole family and give fans even more of the unique comic book style action that they loved in theaters with over 90 minutes of bonus content. In his very own original short, Spider-Ham: Caught In a Ham, fan favorite Spider-Ham defeats his greatest foe, delivers sidesplitting puns, and get sucked into another dimension! It actually can get weirder! Don’t miss the thrilling Alternate Universe Mode where fans can view the film in an entirely new way to discover alternate scenes, plotlines, characters, and more with the filmmakers as their guide. Also included is The Spider-Verse Super-Fan Easter Egg Challenge, where fans are challenged to find every single Easter Egg hidden within the Spider-Verse (and there are a lot of them!). Explore the character design in the visually stunning film including specific looks at the now-iconic Spider-Ham character as well as the classic villains who inhabit the Spider-Verse. Additional special features include a celebration of the diversity in the film and the idea that anyone can wear the mask in a feature called We Are Spider-Man, a featurette called Spider-Verse: A New Dimension, where fans can hear from the artists and filmmakers who pushed the boundaries of the comic book artform to create a visual experience unlike anything done in animation before, a showcase of all the amazing fan favorite characters featured in the Spider-Verse and the actors who bring them to life, and a touching tribute to comic legends Stan Lee and Steve Ditko, who originally created the Spider-Man character. Other bonus materials include two lyric videos featuring “Sunflower” by Post Malone and Swae Lee and “Familia” by Nicki Minaj and Anuel AA (feat. Bantu).
SPIDER-MAN: INTO THE SPIDER-VERSE is directed by Bob Persichetti (The Little Prince), Peter Ramsey (Rise of the Guardians) and Rodney Rothman (22 Jump Street), and screenplay by Phil Lord and Rodney Rothman from a story by Lord. The film is produced by Avi Arad, Amy Pascal, Phil Lord, Chistopher Miller, and Chrstina Steinberg. The executive producers are the late Stan Lee, Brian Michael Bendis, and Will Allegra.
Bonus Materials Include:
We Are Spider-Man: Exploring and celebrating one of the key themes of the film, We Are Spider-Man takes a deep dive into the diversity of the characters and aspirational core that any person from any gender or cultural background can wear the mask.
Spider-Verse: A New Dimension: With a stunning visual style and state of the art animation designed to take the viewer into the pages of a comic, Spider-Man: Into The Spider-Verse is not only a love letter to comic books but a groundbreaking take on the super hero genre. Hear from the artists and filmmakers who pushed the boundaries of the artform as they discuss their journey.
The Ultimate Comics Cast: Enjoy this showcase of all of the fan favorite characters featured in the Spider-Verse and the spectacular cast who were chosen to bring them to life.
A Tribute to Stan Lee & Steve Ditko: Celebrate the amazing legacy and powerful spirit of the creators of Spider-Man.
The Spider-Verse Super-Fan Easter Egg Challenge: The Spider-Verse is loaded with Easter Eggs, from cameos to comics references. Fans are challenged to find them all!
Designing Cinematic Comics Characters: A breakdown of all aspects of the character design including costume, movement in animation, and distinct powers for each character.
Heroes & Hams: Meet the amazing Spider-people of the Spider-Verse.
Scorpions and Scoundrels: Explore the classic villains whowreak havoc on the Spider-Verse.
Alternate Universe Mode: In this all-new viewing experience, discover alternate scenes, plotlines, characters, and more with the filmmakers as your guide.
2 Lyric Videos
“Sunflower” by Post Malone and Swae Lee
“Familia” by Nicki Minaj & Anuel AA (feat. Bantu)
All-New Original Short “Spider-Ham: Caught In a Ham” It’s another normal day for Peter Porker, a.k.a. the Spectacular Spider-Ham, fighting bad guys and loving hot dogs, until a mysterious portal starts messing with the very fabric of his cartoon reality.
4K Ultra HD Disc Includes:
Feature film presented with High Dynamic Range and Dolby Atmos sound
Also includes the film and special features on the included high-def Blu-ray
SPIDER-MAN: INTO THE SPIDER-VERSE has a run time of approximately 117 minutes and is rated PG for frenetic sequences of animated action violence, thematic elements, and mild language.
Okay, now just a couple of days ago, one of the year’s most anticipated sequels (54 years in the making) was released. So, while Ms. P is soaring through the skies, how about a change of pace? Who’s up for a “prequel”? You know, a story before the story you’ve already seen. This past Summer not very many (for this lucrative franchise) turned out for the much-hyped character rather than story prequel SOLO: A STAR WARS STORY. Sure, it’s settled into this year’s top ten box officer grosser at number eight, but the franchise entries of the last few years have climbed into the top three (often in the top spot). That’s not of concern to the folks over at Paramount Studios. For the last eleven years, they’ve sent out five live-action feature films (of varying quality and profitability) all spawned from a very beloved line of toys (yes, not a TV series or comic book, but toys). Oh, and they’ve all been helmed by the same director. Now a new talent takes the reigns for the first “spin-off’ prequel” in the TRANSFORMERS franchise, focused on a “fan favorite’ supporting player in the series, the yellow-hued “Autobot” nicknamed BUMBLEBEE.
Being a prequel, this has to be set in the past, right? Just how far back do we set the “Waybac” machine? 1987, thirty-one years ago (and twenty years before the first big flick) is the year when the “good guy” Autobots are scattered across the galaxy after they are attacked by the ruthless Decepticons trying to dominate their homeworld of Cybertron. Optimus Prime sends the smaller Autobot, Bumblebee, to Earth as a scout (hopefully the Autobots will later re-group on a “safe” world). The plucky robot crashes to our planet, narrowly avoiding a special forces team, headed by Burns (John Cena), who are engaged in combat exercises in the wooded locale. The troops aren’t so lucky when a Decepticon arrives in pursuit. Burns and his troops are injured, as is Bumblebee (the “bad bot” disables his “voice box” and memory systems). Luckily BB gets the upper hand, destroying his foe, and escaping after mimicking a nearby Volkswagen “bug”. Not far away, in a small ocean-side town, we meet soon to be eighteen-year-old Charlie Watson (Hailee Steinfeld). She’s had a rough couple of years after losing her adored father. Her kid brother’s a karate-loving pain, Mom (Pamela Adlon) is too “hovering” and her new hubby is kind of a doofus. While working her Summer job at a nearby amusement park (“hot dog on a stick”, yummy), a smitten co-worker Memo (Jorge Lendeborg) tries to connect as the rich popular kids put down the both of them. Ah, but more than popularity, Charlie, a “gear-head” whiz, wants a car. And when she sees the beaten-up yellow VW (there’s a hive inside) at Uncle Hank’s (Len Cariou) salvage yard, it’s love at first sight. Turns out the grumbly Hank has a heart of gold and gives the car to her as a birthday present. Alone in the garage with her prize, Charlie begins tinkering under the chassis. Then two pupil-like eye beams flash on. Bumblebee reveals his true form to her, transforming from auto to hulking ten-foot-tall android. Though he has a new friend, BB is not out of danger. Two more Decepticons, the assassins Shatter (voice of Angela Bassett) and Dropkick (vo: Justin Theroux), arrive on Earth and make contact with Burns and the officers and scientists at his remote desert military outpost. The two “bad bots” offer their advance tech in exchange for communications access. While they say they wish to help mankind, the two are actually using the satellites to track the Autobot scout. Can Charlie keep the secret of Bumblebee hidden from her family and friends, while avoiding the battle-scarred Burns, his heavily-armed squadron and the two Decepticons out for his blood…er..oil?
Since the story mainly focuses on one Autobot, the cast is not as large as the previous Transformers flicks (fewer ‘bots, fewer humans, I guess that’s logical). Steinfeld plays the human heroine of the tale with great energy and humor. Her Charlie is more complex than the misfit tough gals in any uninspired high school “coming of age” dramedy. Steinfeld shows us her longing and urgency coupled with a sadness for the father figure she’s lost (I’m guessing that she was his second set of hands in the garage). Plus we see that this new friendship has reignited her sense of adventure and her desire to stand up for herself. Charlie’s main adversary (aside from the “mean girls” and the Decepticons) is Cena as the gregarious macho dude who is changed physically and mentally by his “close encounter”. With the jagged scar stretching from forehead to jaw Burns becomes a turbo-charged captain Ahab, obsessed with revenge against these Alien devices. Even as his superiors agree to join forces with the deceitful duo, he voices his extreme reservations (“They call themselves Decepticons! Hello?!”). There’s great comic relief provided by Lendeborg’s Memo who alternates between adoration and terror in his pursuit of Charlie. And Adlon’s is great as the tough and tender matriarch, though it’s not as complex as her usual gig on TV’s “Better Things”.
Replacing Michael Bay in the director’s chair (he made the first five franchise flicks) is live-action feature film newcomer Travis Knight (He directed the wonderful stop-motion animated feature KUBO AND THE TWO STRINGS in 2016). Knight brings an epic feel to the opening battle sequence on Cybertron, though the rapid angle tilts can seem disorienting amongst the sparks and cannon flares (and the swooshing and clanging audio track). Thankfully he calms things down back on this planet as the story shifts its focus on Charlie and family. The script often overdoses on 80’s nostalgia with boxes full of cassettes, VHS tapes, Mt. T cereal at the breakfast table and “Alf” and the game “Pong” on the big 19 inch TV. When Charlie gets to know BB, it almost shifts into ET meets THE IRON GIANT mode, then busts off a few teen angst bits right from the John Hughes playbook. Luckily Knight can cut to the sinister campy villainy of the “bad bots” who bring a nice twist to the “friendly aliens” of that era. There’s too much time devoted to teen class conflict, but the story soon gets back on track as it gears up for a midnight rumble on the docks. One welcome change from the other films is the slicker, more simplified design of the Autobots and their enemies. Perhaps since it’s set at the time of their original TV cartoon series, they resemble the look from those and the old Marvel Comics, without the multitude of distracting gizmos and gears over every inch of the CGI cast. Speaking of, kudos for the animators for making the main character so expressive, from his tiny “headlight’ eyes to the radio that “dials” up his dialogue. It’s a nice change from the barrage of noise and the constant sensory assault of the other movies (particularly the last headache-inducing one). Basically this is a high-tech, sci-fi, pop culture cluttered take on the girl and her horse films of long ago (NATIONAL VELVET). If this is the new direction for the series, then this “origin” of BUMBLEBEE is a welcome first step.
With just 16 days left in 2018, many filmgoers (let’s not call them “haters”, but rather “grumblers”) might think they’ve seen the last of the Marvel movie heroes for this year, especially since Warner Brothers and the “Distinguished Competition” (a phrase coined by the much-missed Stan Lee, which replaced the deriding “Brand Echh”) are clearing the multiplex waters for AQUAMAN. Mind you, this has been a stellar year for Marvel Studios which had three films in the box office top ten, with BLACK PANTHER and the latest Avengers at the top two spots, but now it looks that there’ll be one more hit by the drop of the Times Square glitter-ball. But technically it’s not from that studio. Sony has had a lock on the Marvel mascot, Spider-Man, for all of the new century, but after the disastrous reboot flicks in 2012 and 2014, they wisely joined forces with Marvel Studios for last year’s smash SPIDER-MAN: HOMECOMING (which allowed him to mix it up alongside their franchise stars, with Iron Man as a mentor). Now Sony said they’d continue making their own spin-offs with secondary characters and villains. They had a good-sized success with a solo VENOM flick a couple of months ago (#10 in this year’s B.O. stats). Now comes another one, swinging out from Sony…Animation! Yes, the folks behind last year’s Razzie fave, THE EMOJI MOVIE. Will the webbed wonder escape that fate? The answer lies with SPIDER-MAN: INTO THE SPIDER-VERSE.
The story doesn’t start with a guy named Pete, which most would assume. No, this story is set in a world a lot like ours (the police cruisers are marked “P.D.N.Y.”, so that’s a hint), where we encounter a very smart (street and book) pre-teen guy named Miles Morales (voiced by Shameik Moore). He’s a bit anxious on this day because his policeman pop Jefferson (Brian Tyree Henry) and nurse mom Rio (Luna Lauren Velez) are sending him off to a prestigious private school (all on a scholarship) where he’ll stay in a dorm room during the week. And maybe the recent tremors are making Miles jumpy. Either way, he has a tough time on his first day. So tough in fact, that he sneaks out of his dorm that evening to visit his favorite uncle Aaron (Mahershala Ali). He decides to take his nephew to a secluded spot just off the subway line, where they can indulge their passion for “street art”. But they’re joined by a most unwelcome guest: a genetically engineered spider. Which, you guessed it, bites young Miles. When he wakes up the next morning he notices that he’s undergone some “changes”, and not the “voice deepening” kind. That night Miles revisits the “secret spot” to locate that spider. Unfortunately, a wall collapses and he finds himself a very scared witness to a pitched battle between the city’s “friendly neighborhood” Spider-Man and some super-powered goons employed by the Kingpin AKA Wilson Fisk (Liev Schreiber). Before the fighting ends tragically, Spider gives Miles a tiny flash drive (later called a “goober”) to shut down Fisk’s big machine (which is causing the tremors and brief blackouts). Luckily Miles escapes before one of those goons, the high tech killer known as The Prowler, captures him. The next day, Miles is stunned to encounter his hero once more. But he’s different, older, a bit flabby, and going by Peter B. Parker (Jake Johnson). He explains to Miles that Fisk has built a giant super magnet that opens a portal that brings back objects (including people) from alternate Earths. And unfortunately, Pete’s losing his molecular stability and will cease to exist unless he can get back to the device. The old pro super-hero teams up with the novice as they eventually encounter more “travelers’, other beings with similar powers. There’s Gwen Stacey AKA Spider-Woman (Hailee Steinfeld), hard-boiled 30’s P.I., Spider-Noir (Nicolas Cage), teenager Peni Parker (Kimiko Glenn), who works with a massive spider-controlled robot, and anthropomorphic hero, Peter Porker, the Spider-Ham (John Mulaney). Can Miles refine his abilities, send his new friends home, and stop the Kingpin’s destructive weapon before it erases the heroes of the spider-verse?
A most impressive roster of actors make these animated characters…well, even more animated. Moore makes Morales a most endearing young hero, full of enthusiasm while constantly fretting over his “cool factor’ amongst his new classmates. Of course, all his concerns feel multiplied after receiving a dose of super-spider powers. Moore conveys his fears and heartbreak while balancing it with Miles’s compassion. He cares about everyone: his family, his old and new friends, and especially the scruffy wiseguy who becomes his reluctant mentor. As the Spidey we’ve followed through several decades (and eight live-action features) Johnson is the ultimate everyman hero, greyed, paunchy, but always ready with a plan in a pinch. But Johnson also gives us a guy that’s been kicked around by life, who wonders if all this dimension skipping is worth it. Fortunately, he still has that snarky sense of humor, and Johnson delivers the taunts with skill and precision. As for the “spider squad”, Steinfeld is confident but a bit closed off, cautious about getting to close anyone, especially Miles. Cage voices a great homage to film noir tough guys, tossing out hilarious forgotten 30’s slang, while Mulaney makes the Spider-Ham a lovable loopy cartoon cut-up. Prior to the bug bite, Miles has two strong male role models. Henry is great as his gruff, loving but stern policeman papa, while Ali is ultra smooth and slick as the super cool uncle. As for those bad guys, Schrieber makes Fisk a most formidable foe. But it’s a different take than we saw from Michael Clark Duncan in the 2003 DAREDEVIL film or Vincent D’Onofrio in the current Netflix DD series. He’s not the oversized, but cultured mastermind. Despite his suit and tie, this Kingpin is a powerhouse palooka, still fresh from the mean streets, who Schrieber makes even more fearsome with his guttural growls (“Kill dat’ guy!!”). Kudos also to comic actresses Kathryn Hahn for a fresh take on a well-established Spidey villain, and Lily Tomlin who offers a tough, smart take on Aunt May.
It’s no wonder that it took three tremendously talented artists to direct this work that could definitely be referred to as a game changer, much like the first TOY STORY, in future annals of animation history. Bob Persichetti, Peter Ramsey, and Rodney Rothman unite to breathe fresh new life into the super-hero genre, so much a part of the new century, while showing us that animation need not be a “cinema sitter”, that it can work for action stories as well as it has for funny animal fables. And all while affectionately acknowledging their source material, making the finished film seem like a graphic novel (okay, “comic book”) come to vibrant, noisy life. We hear Miles’s thoughts via voice-overs, while also seeing the boxed captions pop up all about him. Sound effects appear (not as garish as the classic 60’s Batman TV show though), as the force of impact ( a punch or a kick) splinter and shatter the screen in electric hues. The colors overlap and mesh much like the old four-color printing of the books. The tones almost glow and pop, reflecting hip-hop inspired ‘street art’. Then there are the eclectic character designs, mixing the molded-shading of CGI figures coupled with dark, delineating outlines, sharpening the edges much as a comic inker would enhance and accentuate a jawline or the curve of a nose. Particularly impressive is the look of the Kingpin who appears to be two tons of dark granite on two legs, his angry bald head is almost floating in a sea of black. Of course, that heft doesn’t get in the way of his deadly speed with those massive meaty fists crushing anything in their path. Yes, the flick is dazzling, but it’s also really clever and funny thanks to the script from Phil Lord meshing the creations of many wonderful comics artists. The dialogue deftly deflates countless action movie cliches without careening into derisive “camp” cavorting. Somehow it’s equal parts sweet and silly while making us care about this swooping, web-slinging “spandex squad”. Things sometimes get a bit “grim and gritty”, but Lord doesn’t neglect the fun aspect of bouncing and twirling high above the streets. Actually fun is the main word to describe the wondrous entertainment machine that is SPIDER-MAN: INTO THE SPIDER-VERSE. It’s the best holiday gift you could give the kid inside you.
On the run in the year 1987, Bumblebee finds refuge in a junkyard in a small Californian beach town. Charlie (Hailee Steinfeld), on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken. When Charlie revives him, she quickly learns this is no ordinary, yellow VW bug.
The film also stars John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon, Stephen Schneider and is directed by Travis Knight.
BUMBLEBEE opens in cinema on December 21.
Enter for your chance to win two free passes to the St. Louis advance screening of BUMBLEBEE. The theatrical sneak preview will be on December 18 at 6:30 pm.
Answer the following:
Who replaced Optimus Prime as leader of the Autobots?
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NO PURCHASE REQUIRED. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.
Earlier this month, Paramount Pictures released the first trailer for one of the most anticipated films of 2018, BUMBLEBEE. In case you missed it, watch the terrific first trailer.
Academy Award-nominated filmmaker Travis Knight brings his expertise in the world of stop-motion animation to Transformers with BUMBLEBEE. By combining meticulous craft skills with cutting edge technology, Travis showcases his ability to develop characters and inspire emotions through a unique storytelling vision that brings fan favorite Bumblebee to life.
Listen as the filmmaker and actors Hailee Steinfeld, John Cena discuss the origin story of the loveable Autobot.
On the run in the year 1987, Bumblebee finds refuge in a junkyard in a small Californian beach town. Charlie (Hailee Steinfeld), on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken. When Charlie revives him, she quickly learns this is no ordinary, yellow VW bug.
The film opens in theatres December 21st, 2018.
BUMBLEBEE is produced by Lorenzo di Bonaventura, Tom DeSanto & Don Murphy, Michael Bay. Steven Spielberg is one of the Executive Producers.
