Batgirl Movie is Gonna Break All Records in Hollywood Industry

The news that Joss Whedon wants to write Batgirl story for Wrner Bros is just the latest piece in a career renaissance that has included appearances in this year's Lego Batman Movie, a high-profile  role in last year's Batman: The Killing Joke animated feature and two fan-favorite comic book series as part of DC Entertainment's Rebirth line-wide relaunch. Not bad for a hero who, up until 2011, had been sidelined for decades after being crippled by the Joker.

Curiously, the Batgirl that audiences are most familiar with — Barbara Gordon, daughter of Commissioner James Gordon — wasn't the first hero to claim the name. The original Batgirl (or Bat-Girl, as she was referred to) debuted in 1961's Batman No. 139 as a sidekick to Batwoman, a then-love interest to the Dark Knight. As such, Bat-Girl — secretly Betty Kane, socialite and tennis ace — was a potential love interest for Robin the Boy Wonder, although he rarely showed much interest in her beyond her crime-fighting skills.

Barbara Gordon took on the role in 1967's Detective Comics No. 359, in a story called "The Million Dollar Debut of Batgirl!" The cover for the issue made a big deal of her debut; she ran toward the reader in the center of the page while excited cover lines read "Meet thenew Batgirl! Is she heroine or villainess? What is her startling secret identity?" The reason for this push wasn't just an attempt to introduce a comic book character — plans were already afoot to introduce this second Batgirl into the popular Adam West TV show in its third season. She was played by Yvonne Craig.

The new Batgirl was a hit, graduating into her own stories in the back of Detective Comicsas well as appearances across the DC line, including Superman, Justice League of Americaand World's Finest Comics. She'd form temporary teams with both Robin — "the Dynamite Duo!" — and Supergirl and enjoy a loyal fan following throughout her crime-fighting career until it was cut short in the mid-80s by the combination of the Joker and writer Alan Moore.

1988's Batman: The Killing Joke was an attempt to highlight the relationship between Batman and the Joker that saw the Dark Knight's supporting cast used as props to increase the tension and advance the plot, and little more. Commissioner Gordon is kidnapped and drugged to act as the bait in a trap the Joker sets for Batman, but a worse fate was given to Barbara, who was shot and crippled during the attempt. Moore would later distance himself from the story he wrote, telling Wizard magazine in 2006 that he was given the go-ahead by his editor for the plot with the phrase "Yeah, OK, cripple the bitch." But the damage was done: Barbara Gordon's Batgirl days were over.

That wasn't the end of Gordon's crime-fighting career, however, nor that of Batgirl. Across the next two decades, DC would revive the Batgirl identity three times, with different heroes under the cowl each time, while Gordon would adopt the identity "Oracle" and become a hacker-turned-information-broker to the good guys midway through the 1980s Suicide Squad comic book run. (The writers of that run, John Ostrander and Kim Yale, reportedly created the new identity for Gordon after being upset at the sidelining of the character in The Killing Joke. Oracle's unmasking as Gordon was published less than two years after the Alan Moore title.)

As Oracle, Gordon became a mainstay of DC's comic book universe; in addition to regular appearances in the Batman line, she would show up in JLA, Superman, Wonder Woman,Green Arrow and a whole host of other titles, as well as headline her own team book Birds of Prey (itself adapted into a short-lived TV show in 2002). But, as fate — and comic book editors — would have it, Gordon wasn't done as Batgirl just yet.

The 2011 New 52 reboot of DC's entire superhero universe brought Gordon back as Batgirl in her own comic book — only the second time Gordon had ever headlined her own solo comic in her decades-long existence. Already a fan-favorite title under the guiding hand of writer Gail Simone, the popularity of the series exploded in 2014, when a new creative team of Brenden Fletcher, Cameron Stewart and Babs Tarr took over and gave the character a makeover in a storyline that would become known as "Batgirl of Burnside."

With a more practical costume and a new focus on the woman under the mask — Barbara would go back to school to study for her PhD, juggling relationships and crime-fighting with as much skill as any of us could manage — the Batgirl title brought critical acclaim and, more importantly, a new audience and excitement to the series, and to DC's comic book line as a whole. Fletcher, Stewart and Tarr stayed with the title through early 2017, when the series was relaunched as part of the line-wide Rebirth promotion, with a second series, Batgirl and the Birds of Prey, added to accompany it.

The success of the "Burnside" era — and her subsequent appearances in movie projects — have cemented Gordon as an important figure in DC's superhero mythology. She's undergone countless trials and tribulations, but she remains exactly what editors described her as in an early 1970s editorial from Detective Comics: "a capable crime-fighter, a far cry from [a] Batwoman who constantly had to be rescued [by] Batman" — in other words, ideal fodder for a Joss Whedon project.

Indeed, Batgirl may offer Whedon a chance to explore familiar themes — a woman's place in a male-dominated society (and genre); complicated family dynamics, both in terms of birth families and those we build for ourselves; the need to establish one's identity for oneself, as opposed to relying on legacy or others' suggestion — in new ways, while building on the approach to superhero movies he explored in his two Avengers movies. In many ways, it could be the most Joss Whedon project yet: Buffy meets Avengers, if you like.

Or, perhaps, Whedon could turn against expectations and start over. 

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Superman Star Henry Cavill is confirmed for next Mission Impossible

After a few delays, Mission: Impossible 6 is about to start production. It has now been confirmed that star Tom Cruise will be joined by Superman himself--Man of Steel's Henry Cavill.

The news was revealed by director Christopher McQuarrie, who addressed Cavill directly on Instagarm . His message read:

"Had a thought. Curious if you're interested in a role in the 6th installment of Mission: Impossible. No pressure."

 Cavill himself replied, stating that he was indeed interested. 

 "Must enjoy extreme heights, high speeds, motor vehicles of all varieties (especially aircraft), practical stunts, firearms, and sporadic exposition. All good?"

 The conversation ended with McQuarrie statement:

"Welcome aboard. Your social media account will self destruct in 5 seconds."

The plot of Mission: Impossible 6 is currently under lock and key. McQuarrie has shared telling information, though. The sequel won’t open with an action scene, but what’s more revealing is McQuarrie wants to dig into . McQuarrie explained that movie has somehow emotional appeal as well played by Cruise.

 "I've seen five of these movies and I don't know who Ethan Hunt is," he said. "One movie sort of dealt with his personal life; the other movies are about people speculating what's really going on in Ethan's head. I want to know who Ethan is in this movie, I want an emotional journey for this character, and Tom really embraced it".

Cavill also wrote on Instagram: 

"I like a good challenge. Like hanging from a moving plane...or balancing from a cliff by my fingertips...or scaling a skyscraper. I guess I’ll just have to get my practice in and join the fun for the next Mission Impossible. Thanks for the invite".

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LOGAN " Ending made Everybody Cry" Guess Why?

Logan is the last time Hugh Jackman will play Wolverine. That’s been the narrative since the beginning, the chief selling point for a risky, violent, and thoughtful superhero movie that goes out of its way to tear its hero down before giving him one final ride. Come say goodbye to a character we’ve watched for 17 years, Logan asks. That’s enough to get butts in the seats. We’ve come this far, right?

And to the film’s credit, Jackman and director James Mangold have crafted a beautiful, bleak, and merciless farewell to one of the young century’s first cinematic icons. Logan, the Wolverine, James Howlett, whatever he is and whoever he is, doesn’t get the ending he deserves, but rather the ending he needs. 

One More Fight

No cities are leveled in LOGAN. There are no portals in the sky, no cackling super-villains, and no plots to dominate the planet. In fact, the war has been lost: mutant are near extinction and the United States of 2029 is an unwelcome, unpleasant place, a landscape where advancements in technology drag the poor and helpless along the road rather than give them a lift. All anyone, even a once-immortal superhero with an adamantium skeleton, can do is cling on for dear life.

The stakes in Logan are small. Will Laura (Dafne Keen), a young mutant, escape across the Canadian border with her band of fellow test subjects? Will her father, the fallen hero once known as the Wolverine, rise to occasion and fight for them? Logan‘s final fight is a desperate, chaotic affair – an old man who can barely stand launches himself into one more battle, all in the name of children whose future across the border is big question mark and nothing more. Logan fights not to save the world or to defeat a villainous scheme – he fights to give group of kids a fighting chance, an opportunity to maybe find peace in a new land.

Like the other battles in the film, Mangold stages the climax of Logan with brutal ferocity. The fights are nasty and violent, with those claws impaling skulls and limbs littering the forest floor. However, it is not a scene that invites cheers. It doesn’t thrill or excite. Other superhero movies, even the great ones, treat their action like a celebration. In Logan, action is violence and violence darkens the soul. It taints its characters like the adamantium has tainted Wolverine himself, weakening him, stripping him to the bone. The final stretch of this movie is downright funereal.

But the good guys win. The bad guys die. The clone of Logan, the film’s surprise villain, is put down with a special bullet our hero wanted to put in his own brain. And Wolverine himself is impaled on a branch, his healing powers finally worn to nothing. He doesn’t walk away from this one: Logan dies in the middle of nowhere, not as a member of the X-Men but as a father, a man who pushed himself to the breaking point for a tiny deed that no one will remember.

But Laura has his DNA. Logan lives on in his daughter. Sometimes, you save the world. Sometimes, you save a life. You take the victories you can get.

A Legacy Laid to Rest

Hugh Jackman’s contributions to the modern comic book movie cannot be overstated. Here is an actor – good-looking, versatile, Clint Eastwood with the capacity to smile like Tom Cruise – who stepped into a role that could have been ridiculous and made it work. In many ways, Jackman’s Wolverine is the ideal superhero movie performance. He takes the material seriously, but is not without humor. He transforms his body for the part, looking like he stepped out of a comic book illustration. He radiates an unteachable charisma. He’s cool, even when he’s hurting.

But Logan pushes that hurting to the breaking limit. The film opens with him getting battered in a fight he could have won easily a decade earlier, lets him lose his fair of brawls as he road trips across the country, and concludes with his death. Mangold and Logan, fearlessly and boldly, lets us see what becomes of heroes after the war is over. We all age. We all die. Everything ends. Because we’ve seen Logan at his best, at his coolest, this film is a punishing experience. Forget Magneto – time is the  greatest super villain. It makes victims of us all.

In the end, Logan is killed by the worst elements of himself, a genetically engineered Wolverine that lacks his life experience and capacity for goodness. He’s killed by pure rage and pain and anger. Those elements still exist in our Logan, but they’ve been tempered by his time with the X-Men, by a father figure who loves him like a son, and by a new daughter he’ll never truly get to know. It’s no accident that it’s Laura who kills Logan’s evil half, blowing his brains out with an adamantium bullet. Family saved the Wolverine, transformed him from a wandering cage fighter into a bonafide hero. In the end, family puts down the literal embodiment of his worst elements once and for all.

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Eugene Survival In Walking Dead Would He Succeed in Doing So?

Fans of The Walking Dead‘s Eugene Porter (Josh McDermitt) might have found reasons to be nervous about the character’s fate during Robert Kirkman’s spotlight panel at Emerald City Comic Con Saturday.

While answering a fan’s question about the pacing of the latest season — which was characterized by the questioner as having strong first and mid-season finale episodes, with the in-between episodes being stretched out too far — Kirkman said that it was important to have a variety  throughout the entire season, so that the show worked as a whole.

“If we didn’t take the time to take a large portion of an episode to build up Eugene, you wouldn’t be upset when we kill Eugene later this season,” 

Kirkman responded to the shock by saying that he was only joking.

“It means we’re not going to kill him off!”.“If I say that, it means he’s not going to die.”

The Walking Dead creator also answered questions about whether or not the show was toning down elements of the original comic book storyline, which at times has been more violent, and featured longer-lasting repercussions for characters.

“There’s no conscious effort to tone down the violence,” he said in response to a suggestion that the TV show was tamer than the source material. “I don’t know if you’ve ever watched the show, but I’m constantly watching cuts where I’m like, ‘Well, that’s not doing to make it into the show… My God, the beginning of season seven, that made me uncomfortable.”

When asked if the show would move to permanently physically affecting characters the way that the comic does, he suggested that budget and the need for visual or practical effects is more of a factor in a character losing a limb onscreen when compared to a comic book, but teased, 

“I don’t want to spoil things, but there is some stuff coming up.”

Responding to a question about whether or not the existence of the TV show had changed the way he wrote the comic, he astonished everybody present there:

“The fame of it all and the success of it all was something that I worried would be really distracting,” he said. “It was really important to me to keep that purity, because if I lose that, I’d lose what made the comic cool… If you notice, the things being adapted into the show now are things that happened in the comic after the existence in the show. I can’t help but feel that something happened. That was clearly me being all, ‘They’re never gonna get to this stuff in the show, and if they do, they’re not gonna adapt it,’ and I went hog wild. I feel like it did change the comic in some way, but it made it more awesome.”

He added in a good mode :  

        “Issue 200, I’m bringing dragons into the comic.”

Asked whether or not the show is more consciously mirroring the comic book now than when it initially launched, Kirkman acclaimed: 

“Frank Darabont and Glen Mazzara did not follow the comic book as closely as Scott Gimple does, because he was reading the comic before the show started… Frank and Glenn would be, ‘let’s do this awesome thing,’ and I’d say ‘yeah, it’s awesome, let’s do it!’ but Scott will say, ‘Well, if we do that, we need to remember to be heading towards doing this in season 8, and in season 9, and then if we get a season 10, we need to do this [referencing the comic].”

Other topics covered in the hour-long session included the ways in which The Walking Dead‘s success had changed him 

 “I bought them at Target”), the upcoming season of Fear The Walking Dead (“It’s going to be a much more intense season” than any before, he promised), the possibility of a television or movie adaptation of his long-running superhero comic book series Invincible (“I don’t know, man, maybe we’re close”;

 the comic book will end a 14 year run with this year’s 144th issue), and, in response to the final question of the panel, his favorite on-screen Walking Dead death.

While the question was asked about favorite death scene he pointed very intelligently "You Know, Eugene" . And then, without another word, he walked off-stage. A joke or a sign of things to come? 

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Oscar Deserving Geek Movies 2016 Who Would Win?

Oscar has always been the first priority of every movie crew. Being an Oscar Winner is something very important. Here are some glimpse of movies who won Oscar.

The 89th Academy Awards ceremony was memorable for a lot of reasons – and more than just the big mistake that capped off the show. However, one area where the event didn’t offer up too many surprises was in the number of Oscars it awarded to the sort of films sci-fi, fantasy, and superhero movie fans were talking about all year. Sure, Arrival received a respectable number of nominations (eight, including a “Best Picture” nomination) but director Denis Villeneuve ‘s brilliant alien-encounter drama only ended up winning in one category: Sound Editing.

With that in mind, it’s worth pondering which representatives of geek cinema might merit consideration in some of the major Oscar categories if the Academy Awards were, well… a little less dismissive of that genre.

Here are some Outstanding awards been given to specific fields. 

Best Movie

No doubt, Arrival should be in the conversation here, and the film’s Oscar nomination was well deserved. A cerebral, emotional exploration of what it means to be human and how we perceive the world around us, Villeneuve’s film is so much more than the sum of its parts and shows the raw potential of the genre to make us think about the world – and ourselves – differently.

While there’s little to no chance it would ever get such esteemed recognition,Deadpool is also worth considering here due to the waves it made in the industry and the way its success is likely to shape movies for years to come. The “R”-rated, over-the-top film based on the Marvel Comics character shattered conventional wisdom about comic book movies and created an environment in which “The Deadpool Effect” is a topic of serious discussion among industry insiders.

  Best Director

Once again, Arrival director Villeneuve has earned a place here, but it might be worth considering Rogue One director Gareth Edwards, too. The first filmmaker to truly break from the tone of the Star Wars saga that had been established over the previous 40 years, Edwards managed to find just the right balance of old and new to firmly root Rogue One in the Star Wars universe while making a film that felt very different from any of the seven films that came before it. Nostalgia is a powerful force, and it can be a volatile compound in the wrong filmmaker’s hands, but Edwards proved himself up to the task and then some with his gritty Star Wars adventure.

Also worth considering: Sci-fi thriller 10 Cloverfield Lane was a surprise hit and one of the year’s scariest movies, and a lot of the credit for its success is owed to director Dan Trachtenberg, who made a small movie feel far bigger than it was and far more terrifying than most audiences expected it to be.

Best Actor

He’s not the sort of actor who typically receives these kinds of awards, butRyan Reynolds wasn’t playing the typical kind of leading role in Deadpool, either. There’s something to be said for an actor playing a role that it truly seems like he (or she) was born to play, and after watching Deadpool, it’s nearly impossible to consider anyone else playing the role better – which is pretty much the definition of a great performance.

  Best Actress

Arrival actress Amy Adams gave one heck of a performance in that film to earn her Oscar nomination, creating a surprising amount of depth to her character and conveying some pretty powerful, complicated elements, and it feels like a bit of a stretch to come up with anyone who came close to playing her role at the same level. The closest contenders might be Felicity Jones or Mary Elizabeth Winstead, who both stood out in Rogue One and 10 Cloverfield Lane, respectively, but it’s reaching a bit.

  Best Supporting Actor

The fact that John Goodman didn’t get a legitimate nod as one of the year’s best supporting actors feels like a snub, given his performance in 10 Cloverfield Lane. Every bit of the mood that drives the film originates from his character, and everything from the way he breathes to the way he positions himself in a room is intentional – and terribly, terrifyingly effective. Goodman gives the sort of performance that blends a brilliant sense of nuance with the near-constant, simmering threat of what he suggests he can do – generally without speaking a word about it. Scarier than any alien creature or digitally created monster, Goodman’s character is the element that makes or breaks 10 Cloverfield Laneas a movie, and fortunately, the film succeeds in a big way.

  Best Supporting Actress

However you feel about the Ghostbusters reboot, one thing there seems to be some general agreement on is that Kate McKinnon was one of the best parts – if not the best part – of the film. A little bit Egon Spengler, a little bit Peter Venkman, McKinnon’s eccentric, self-assured engineer Jillian Holtzmann at times felt like an amalgam of all the characters from the original 1984 film, and at other times felt like something entirely fresh and new to the Ghostbusters universe. She stole every scene she was in, and made a new generation ofGhostbusters fans eager to add a Jillian Holtzmann action figure to their collection. In one of the year’s most polarizing movies, McKinnon’s performance was a rock-solid win for nerdy heroes and geek cinema.

  Best Screenplay

If you’ve read Ted Chiang’s 1998 novella Story of Your Life, you already know much an achievement it was for screenwriter Eric Heisserer to turn that short story into the movie that came to be known as Arrival. The frequently nonlinear narrative presented all kinds of problems for traditional cinematic storytelling, and the fact that the final product that went to the screen was as viable and effective as it was is a triumph of storytelling that really should have earned Heisserer an Oscar.

On the flip side, a movie like Deadpool makes it easy to forget how important a strong script is because it’s done so well. It’s no secret that comedy isn’t easy, and it’s even less easy to make the sort of frantic, fast-paced humor that fuelsDeadpool feel natural to the point where audiences are likely to think the majority of the dialogue is ad-libbed. That were the reason of their success.

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Reason Behind Ignoring Of Tragic Prof X Flashback in Logan

The ‘X-Men’ film only hints at some of its saddest elements director says:

        “I wanted to make a movie less about information and more about character,”  

Early in the film, it becomes apparent that there was a terrible incident involving Prof. X (Patrick Stewart) back in Westchester, New York — home of the X-Mansion and his school for gifted mutants. As the villain Donald Pierce (Boyd Holbrook) tells Logan (Hugh Jackman), the government classifies Xavier’s brain as a weapon of mass destruction. Later, a news broadcast on the radio says that an incident at an Oklahoma casino was similar to one that happened a year ago in Westchester, which injured 600 people and left members of the X-Men dead.

Screenwriter Michael Green says earlier versions of the script included flashbacks that would have spelled out that incident.

“It actually hits home a lot harder than the versions that really painted out specifically the flashback,” Green tells Heat Vision. “Of course there are versions we wrote that were never filmed with the actual flashback of what happened, but I’ve found the experience of watching it is far more poignant to just know that it was something really regrettable and it was bad and most likely, friends were lost. Or maybe it was people we didn’t know.”

Viewers are left to make their own conclusions, but it seems as though Charles had an incident and ended up accidentally killing some of his own X-Men family.

“Was it Logan? Was it Charles? It was probably Charles but he doesn’t know. He has no memory; he has no recollection,” Stewart says. “He has an instinct, an impulse, that something happened and it was bad.”

Director James Mangold says the decision to cut the flashback a simple one: 

“I wanted to make a movie less about information and more about character.”

Green recognizes that the ending will certainly prompt plenty of fan theories. (Here’s one to throw out: in 2006’s Old Man Logan arc, which partially inspired Logan, it was actually Wolverine who ended up killing his X-Men teammates because of a tragic mistake.)

“Nothing will be better than going online and reading fan theories about what happened at the end because I want to hear that version,” says Green. “I know what I think happened, I even know what did happen, but it doesn’t matter, because what’s canonized here is the emotional effect of things.”

Green says there are no plans to officially reveal the hidden backstory, but he does have one request for the fans. Green secretly told about the story: 

“I would love one day to read a beautifully drawn comic where someone actually writes out something.”

Logan is due in cinemas now. 

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Logan Business over $72 Million US Dollars on Friday Opening

Wolverine threequel Logan is doing impressive business at the Friday box office, where it should earn at least $30 million on its way to a $72 million-plus U.S. debut from 4,071 theaters, according to early matinee returns. IT is the biggest business for a debut film ever.

Logan, from 20th Century Fox and returning Hugh Jackman in the title role, is the first Wolverine title to be rated R and is getting the widest release ever for an R-rated release. It follows the enormous success of the R-rated Deadpool. It earns $9.5 million dollars according to Thursday night review. It is going to be a most earned movie of the year. 

The superhero film, directed by James Mangold, could rake in another $100 million this weekend overseas, where it is opening in numerous markets, including China.

Logan garnered stellar reviews after premiering at the Berlin Film Festival last month. The last film in the spinoff series, The Wolverine, grossed $4 million in previews on its way to a $53.1 million domestic debut, which was a huge business.

This time out, the story follows the adventure that ensues when Logan, who is caring for an ailing Charles Xavier (Patrick Stewart), encounters a mysterious young girl named Laura (Dafne Keen) in need of their help. It is the last film of Jackman of this genre.

Also opening nationwide on Friday is Lionsgate’s The Shack, a faith-based movie based on the best-selling novel of the same name about a father’s transformative spiritual journey.

The film, starring Sam Worthington and Octavia Spencer, earned a strong $850,000 in Thursday previews and is projected to come in ahead of expectations with a $13 million-$15 million debut. The Shack is playing in 2,888 locations and comes on the heels of Spencer’s Oscar nomination for box office hit Hidden Figures.Both are in high demand and getting benefit of this.

The Shack is tipped to place No. 3 after Logan and holdover Get Out, which is pacing to earn an estimated $18 million in its second weekend.

The weekend’s third new nationwide offering is the micro-budgeted YA film adaptation Before I Fall, from Awesomeness Films and Open Road. The film, which premiered at the Sundance Film Festival, is projected to open to $3 million.

That’s on par with projected earnings for Oscar best picture winner Moonlight, which is going back into 1,500 theaters following its victory over La La Land, which was mistakenly declared the winner in the biggest blunder in Academy Award history.These types of blunder are not yet allowed in industry to take on.

Since Moonlight, from A24, is already available on VOD and on DVD, its post-Oscar theatrical prospects are limited. Barry Jenkins’ film has grossed north of $22 million to date, a strong showing for an arthouse film. Despite all mistakes and disputes Logan is seriously going to be a outstanding movie by both story and business.

Hell, no. Stateside, the movie, which is directed by its previous sequel’s helmer James Mangold, is looking to gross at least $65M which would rank as the second best debut in the Wolverine series following its 2009 first chapter X-Men Origins: Wolverine ($85M). Worldwide the Marvel superhero looks to scratch at least $170M,$105M of that coming from all foreign territories save Japan (a new Doraemon movie is opening there — best to stay away from that). It is a huge business and successfully on its way to be hit.

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