For the last three years, Marvel has made a point to drop a trailer for their summer season openers including Guardians of the Galaxy, Vol. 2, Captain America: Civil War and Avengers: Age of Ultron. So it makes perfect sense that we’re seeing a brand new trailer for their May 4 release Avengers: Infinity War from Anthony and Joe Russo.
In 30 seconds Marvel Studios sent chills down fanboys and fangirls’ spine as they packed in what looks like nearly all of the superheroes/villains that are set to be featured in the ultimate MCU team-up. We get to see Spider-Man (Tom Holland) in action; the Scarlett Witch (Elizabeth Olsen) and Vision (Paul Bettany) having a moment as well as the Guardians of the Galaxy (Groot…awwww!) and glimpses of Loki (Thomas Hiddleston) and Thor (Chris Hemsworth).
We also see the Bucky (Sebastian Stan) is back in full form and Captain America (Chris Evans) has a brand new shield — courtesy Black Panther (Chadwick Boseman), of course. We also see Iron Man (Robert Downey, Jr.) team up with Doctor Strange (Benedict Cumberbatch), Black Widow (Scarlett Johansson) with white hair and that huge battle in Wakanda (which was teased in the previous trailer) with Hulk (Mark Ruffalo), War Machine (Don Cheadle), Falcon (Anthony Mackie) and more superhero friends. And, of course, all is topped up off with a villainous look at Thanos (Josh Brolin), who promises to be the Avengers’ most formidable foe to date.
As always, Marvel is keeping their cards close to the vest, not revealing too much of the film’s plot. What we do know is that Thanos has the gauntlet which holds on the Infinity Stones — and that is bad news. Guess we will just have to wait for May 4 to see what fate has in store for our favorite Marvel superheroes.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.