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TRAILER PARK: 'IRON MAN 3,' 'EVIL DEAD, and More

In this week's movie trailer round-up, two horror franchises return, Iron Man takes a turn toward the morose, Bruce Willis makes more wisecracks and Nicholas Sparks cashes another check. Roll 'em! EVIL DEAD Release Date: April 12, 2013

As if a normal, theatrical trailer simply wouldn't have been gross enough, the trio of studios behind the "Evil Dead" remake decided to unleash a red-band trailer (previewed at New York Comic-Con) online, so that fans of the horror classic could revel in all of its tongue-puncturing glory. Those with a weak stomach should not take a gander at this trailer -- but then again, those with a weak stomach aren't the ones interested in seeing how Sam Raimi's splatter-fest will be recreated for the Twitter generation. The gory nuances are there, from the chainsawing to the arm-sawing to unrelenting depravity of the graphic imagery (we see you, cheek-less undead girl!). But where's the humor? The original "Evil Dead" was a camp classic because it was campy, and while this straightforward horror rehashing might offer a new spin, it also might be a terrible "Silent Hill" knockoff. Here's to hoping that "Evil Dead" honors the 1981 original's schlock values, which are just as crucial as the vomit-inducing punches of terror. A GOOD DAY TO DIE HARD Release Date: Feb. 14, 2013
Most of the action in the new trailer for the fifth "Die Hard" installment was already revealed in the first preview earlier this month , making this one a bit more expendable. Still, there are a few subtle nuggets of John McClane cantankerousness to nibble upon, including Bruce Willis' uncomfortable expression as he sits between two fidgety ladies on a plane ride to Moscow. Meanwhile, the final exchange -- "Need a hug?" "We're not a hugging family." "Damn straight." -- suggests that the father-son story of "A Good Day To Die Hard" will be handled more appropriately than the introduction of McClane's daughter in "Live Free or Die Hard." This trailer isn't required viewing if you've seen the first one, but hey, every weekday could use an injection of John McClane's crotchety wisdom. CARRIE Release Date: Mar. 15, 2013
One month before the new "Evil Dead" hits theaters and two months after "The Texas Chainsaw Massacre 3D" arrives, yet another horror reboot arrives at the beginning of 2013, when "Carrie" slashes its way into theaters in March. Director Kimberly Peirce has had untapped potential since "Boys Don't Cry," while "Hugo's" Chloe Grace Moretz (who is only 15!) has promise as the telekinetic killer that Sissy Spacek made famous. And yet... this teaser trailer leaves us cold. WIth nothing but tired voice-overs and a "gotcha!" reveal of the blood-soaked heroine at the finale, this preview basically says, "Hey! Remember 'Carrie'? This is that, again!" Even in teaser form, there's not a semblance of a reason as to why this "Carrie" will expand upon the original, or even its awful sequel. Dear MGM/Screen Gems: allow the Stephen King classic to reintroduce itself to a new generation of horror fans. DRAGON Release Date: Nov. 30
This martial arts-based Cannes selection, which will receive a limited theatrical release in the States next month, posits itself as an action-packed "History of Violence." Unlike David Cronenberg's pensive drama about a former criminal whose samaritan act brings his shady past back into the fold, Peter Chan's story appears to be built on brute force, with character studies taking a backseat to loosened filling and "Crouching Tiger"-esque acrobatics. That said, "Dragon's" trailer is well-rounded, with badass declarations ("I'm not going back... You must die") given as much screen time as the philosophical ponderings presented to our hero, played by Donnie Yen. It's hard to say whether "Dragon" could become a "Kung Fu Hustle"-sized crossover hit, but this new look has us Americans highly intrigued. MUST-SEE TRAILER OF THE WEEK IRON MAN 3 Release Date: May 3, 2013
Remember when Sam Raimi's "Spider-Man" series decided to get "dark" in its third (and worst, and ultimately final) installment? Let's hope that the "Iron Man" franchise doesn't share a similar fate, and the first trailer for "Iron Man 3" is startlingly smile-free. With director Jon Favreau releasing the reins to Shane Black, Tony Stark's winks and wisecracks are replaced by universally grave expressions (could Don Cheadle possibly look more concerned?), talk of regret and apology, Ben Kingsley's close-up as the evil Mandarin, and Iron Man masks that are either ripped off or broken into bits. The climax is the dismantling of Stark's hillside mansion, but perhaps the most memorable image is the final one, with Robert Downey Jr. sorrowfully dragging his superhero suit behind him through the fallen snow. We may be witnessing the first moves of the "Iron Man" movies toward a "Dark Knight"-like bleakness, and whether or not that's a strong play, this trailer effectively establishes a mood. Stakes will be raised, answers will not be as clear-cut, and movie theaters will be packed, as they should be.

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Issa Rae And LaKeith Stanfield To Star In Will Packer's 'The Photograph'

The great talents of Issa Rae and LaKeith Stanfield are hitting the big screen soon in Will Packer’s latest film, The Photograph. The two actors have scored roles in the forthcoming movie, Deadline reports.

Stella Meghie will be directing the film, which is based on the parallels of love stories that intersect between the past and present. Both Rae and Stanfield have made their mark on and off the big screen. When Rae isn’t on her brilliant show, Insecure, she’s hustling in Hollywood by getting roles in movies like The Hate U Give and Little. Stanfield is known for his role on FX’s Atlanta, and his awesome contribution to Sorry To Bother To You.

It will be interesting to see Rae and Stanfield on screen together, especially considering both of their strong personalities and viewpoints on the world. During an interview with GQ, Stanfield expressed how he felt about the social-political conundrums of the racist events that have taken place since President Trump's election, like the race riots in Charlottesville, Virginia.

"I’m interested chiefly in bringing justice to those who deserve it," he said. "Secondarily, I’d love to begin a campaign photographing all of the criminals. And villains of the world. And bringing them to justice."

"Sometimes the things that are the worst aspects of humanity are not in fact dark," he explained about his sentiments on the matter. "They are light. This represents a situation in the time that we are experiencing...a light time. A time full of light."

There is no release date yet for The Photograph.

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Terry Crews Believes 'White Chicks 2' Will "Happen One Day"

Terry Crews is eager to breathe life back into his controversial White Chicks character Latrell Spencer. During an interview with Us Weekly, the famed actor expressed his elation behind a possible sequel to the aforementioned film.

"I would love one! I'm staying in shape for White Chicks 2! I will never get out of shape—you know that, right?" Crews said. "I will be 75 and say, 'Here we go, I'm ready to go!' I will never, ever get out of shape because that movie's going to happen one day."

In 2004, Marlon and Shawn Wayans starred as two rich white women as they went undercover to apprehend a suspect in a kidnapping scheme. The film was also written by their older brother Keenen Ivory Wayans, and starred John Heard, Rochelle Aytes, Faune A. Chambers, and Drew Sidora. During the course of its debut, the reel raked in over $113 million a the box office.

In a 2018 interview with The Chicago Tribune, Marlon Wayans discussed the impact of his film. "White Chicks, to me, is one of the most underrated comedies ever. That's one where I have to say '(Forget) critics,'" he said. "You have to have no sense of humor to not like that movie — two black guys dressed up as white women. Anybody who hates White Chicks, something is wrong with them. They had a bad childhood."

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'Black Monday' Explores Mo's Backstory With Narration Of '60s Soul Music: Episode 8 Recap

For seven episodes, we got glimpses into the past that molded Mo into the savage trader he is. Episode “7042” finally takes us closer to his origin, and apparently, that leads us to Los Angeles in 1968. The Jheri curl is now a blown-out afro, and his ruthless mercantilism on Wall Street is replaced by altruism for underserved communities, as a member of the Black Panther Party. The glimpses into his past — the Church’s Chicken on his birthday, his visit with Jammer — all begin to congeal into one vision of a misguided man.

The domineering Xosha Roquemore plays the role of Candance, the woman who Jammer intimated broke Mo’s heart. Roquemore’s last recurring role was as comedian Dawn Lima on Showtime’s I’m Dying Up Here, a short-lived series about the seedy side of stand-up comedy in the early 1970s. Her as Candace is another stellar casting choice. Roquemore was able to speak honey-coated bullets that can pierce any man’s ego in a way that’s both comforting and impactful as a Black woman comic in the 1970s. It’s just as mesmerizing to watch on Black Monday as a Black Panther member in the 1960s.

This arc, while entertaining, seemed to continue an awkward trend in Black Monday: the Black woman bears the weight of the man’s faults. Candace is portrayed as the person who took Mo from thinking of others and drug-free to a staunch individualist who probably has cocaine residue in his DNA. Similarly, it’s Dawn who is the cause of Mo’s Jammer Group being partly owned by the Lehman Brothers in the episode “243,” and the one who feels the obligation to blow up her marriage and future love life to save a risky Georgina Play that Mo involved her in without her say. But, then again, Regina Hall and Roquemore deliver two of the most emotionally jarring performances of the episode and demonstrate two separate, but equally as profound, ways of Black women releasing themselves from the control of men.

Taking Black Monday to the 1960s accomplishes a number of worthwhile feats otherwise unlikely in the 1980s Wall Street timeline. For one, the first 90 seconds of this episode features a wider variety of Black faces than the last seven episodes had, combined. But, more than anything, the new timeline allows for the soul music of the ‘60s to narrate the story.

Music Narrator

Music has always played a noticeable part in the show, but more so as a reinforcement of the time period. In this episode, the sounds of the time guide the audience and take them deeper into the character than what they see on the screen.

In the episode’s opening, soul singer Harry Krapsho lets us know “I don’t care about money too much” and “I don’t have a dollar to my name, and if you don’t mind I’d like to keep it the same” on his song “Don’t Worry.” Those sentiments play as a Black man, whom we don’t realize is Mo, exits a bus in Los Angeles, California. Before we find out Mo wasn’t money-hungry in his past — and formerly known as Roland — the sweet sounds of Harry Krapsho let us know.

Candace deceptively persuades Mo to abandon his principles by smoking weed and going against the Black Panther Party’s wishes, as Sandy Szigeti’s “Make Believe World” scores the scene. After, the plot twist minutes later, the song is a shrewd act of foreshadowing by the showrunners. But, It’s the late, great Nina Simone’s rendition of the 1967 song “I Shall Be Released,” written by Bob Dylan, that expands the Black Monday world.

 

Near the end of the episode, Candace’s true identity is revealed while she’s looking into the eyes of the men and women who seem to have put her in such a position. When Nina’s voice wails out “I remember every face of every man who put me here,” Candace’s motives become more complex. Black Monday lets the music leave you with the thought that Candace may have been compromised by the FBI, and in order to avoid jail time, she would have to turn in her fellow Black people. The steely resolve in her final words to Mo — “I told you, ‘I got you.’”— further complicates that theory and adds an engrossing richness to Candace’s character.

Black Monday could’ve left Nina Simone’s rendition for the climax of the flashback arc and the episode would still be great. But, Nina returns for one last “I shall be released” after Mo sends Dawn packing following her revelation to Mo about who she really loves. The image of Dawn piercing her lips and steadying her gaze on the countryside instead of being shocked into submission by Mo’s thoughtless decision, while Nina belts out her hope for release, is a moment of Black perseverance we would’ve never thought a show like Black Monday would make a focal point in such an important episode.

The episode also ends with an uncharacteristically sentimental Mo reverting back to his selfish ways at the same time Ms. Simone sings about “release.” And just like that, one four-minute song helps set up the emotional stakes at hand in the final two episodes of Black Monday’s first season.

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