“Danger, Will Robinson” and “That does not compute” will forever be associated with the 1960’s sci-fi TV show “Lost in Space,” created and produced by Irwin Allen. With their home away from home aboard the Jupiter 2, the Robinson family left Earth on October 16, 1997 on a five-and-a-half-year journey to a planet orbiting the nearest star. In the show, the family was made up of Professor John Robinson, his biochemist wife, Maureen, their children, Judy, Penny, and Will. Also on board was U.S. Space Corps Major and pilot Donald West, who is trained to fly and land the ship. But Dr. Smith, a spy, sabotages the Jupiter 2, reprograms the Robot, but is inadvertently stuck on board and the ship is thrown of course. Thus the premise of the show.
“Lost in Space” ran for three seasons from 1965 to 1968 on CBS, just about the same time “Star Trek” was on the air over on NBC. The catchy theme music was written by John Williams.
Watch the amazing new trailer for Lost in Space, a Netflix Original dramatic and modern reimagining of the classic 1960’s science fiction series.
Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, light years from their original destination.
Lost in Space stars TOBY STEPHENS (Black Sails, Die Another Day) as John Robinson, and MOLLY PARKER (House of Cards, Deadwood) as Maureen Robinson. As the Robinson kids, TAYLOR RUSSELL (Falling Skies) is the strong-willed and confident Judy, MINA SUNDWALL (Maggie’s Plan, Freeheld) is the quick-witted and definitive middle-child Penny, and MAX JENKINS (Sense8, Betrayal) is the curious and sensitive Will Robinson. Stranded along with the Robinsons are two outsiders who find themselves thrown together by circumstance and a mutual knack for deception, the unsettlingly charismatic Dr. Smith played by PARKER POSEY (Café Society, Mascots, A Mighty Wind) and the inadvertently charming Don West, played by IGNACIO SERRICCHIO (Bones, The Wedding Ringer). The series is produced by Legendary Television and written by Matt Sazama and Burk Sharpless (Dracula Untold, The Last Witch Hunter). Zack Estrin (Prison Break) serves as showrunner.
This Saturday, March 10th at 7pm, The Rats and People Motion Picture Orchestra will provide music for a Germaine Dulac Silent Double Bill: The Cigarette (1919) and The Smiling Madame Beudet (1923). Tickets are $15 for this special event which takes place atWebster University’s Moore Auditorium (470 East Lockwood). Tickets can be purchased in advance HERE
There’s nothing better than silent films accompanied by live music! The Rats and People is a treasure and St. Louis is lucky to have them here. I’ve seen them perform with silent films several times, often at The St. Louis International Film Festival, and usually at Webster University’s Moore Auditorium and it’s always a stunning good time at the movies. You’ll have the chance to see them perform their magic this Saturday, March 10th at the Germaine Dulac Double Bill.
A pioneering filmmaker and feminist, Germaine Dulac toggled between commercial and avant-garde modes, with one of her most famous works, “The Seashell and the Clergyman” (1928), prefiguring surrealism. Dulac’s earliest extant title, “The Cigarette” concerns a liberated young woman and her older husband who believes she is having an affair. With its understated acting and location shooting, Dulac fuses realistic tendencies with impressionistic visual association. Considered one of Dulac’s most feminist films, “The Smiling Madame Beudet” is also a crucial step in her continuing de-emphasis of traditional narrative structures in favor of visual association. The film offers a bleak portrait of marriage and its constraining effects on the woman, while vividly externalizing her dreams of liberation.
In her monograph “Germaine Dulac: A Cinema of Sensations,” scholar Tami Williams notes that the filmmaker “played a founding role in the evolution of the cinema both as art and social practice. History has overlooked her importance as a pioneer of the 1920s French avant-garde, and as an innovator of a modern cinema. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from impressionist to abstract. She made an equivalent number of newsreels and several documentaries, whose discreet, unobtrusive approach to filming daily life had an important impact on the evolution of nonfiction filmmaking in France.”
First up is The Cigarette (1919) :A Parisian museum director believes his wife has lost interest in him and so places a poisoned cigarette in the box on his desk – thus allowing chance to decide the moment of his death.
Next is The Smiling Madame Beudet (1923): One of the first feminist movies, The Smiling Madame Beudet is the story of an intelligent woman trapped in a loveless marriage. Her husband is used to playing a stupid practical joke in which he puts an empty revolver to his head and threatens to shoot himself. One day, while the husband is away, she puts bullets in the revolver. However, she is stricken with remorse and tries to retrieve the bullets the next morning. Her husband gets to the revolver first only this time he points the revolver at her.
JUSTICE LEAGUE will be available on Blu-ray next Tuesday, March 13th
Ok, I get it, the jury is in, the Justice League bombed at the box office and most critics were less than kind. I don’t care, I saw it three times (not as often as Wonder Woman) in theaters. I love it anyway. Even though I had my own problems with this latest DC Universe movie.
My problems, in brief: First, the missing and deleted scenes. Youtube was loaded with many and various previews for Justice League leading up to its release, all of which had scenes and lines of dialog that didn’t make it into the final cut. I sincerely hope the blu ray will present an extended or director’s cut of Justice League. And of course the blu ray release has been delayed.
Second the threat is too generic, Steppenwolf never does seem like much of a villain and the “ParaDemons” are too much like the Alien Army in the first Avengers movie, cannon fodder for the heroes with no personality. And the Macguffin the villain is after is way too much like the power box, again, in the first Avengers movie. Making three magic boxes instead of one, that makes it different? Right……
And to me the most egregious mark against the Justice League, J. K Simmons. Not the actor, he is one of the best actors working now and has an Oscar to prove it. My problem is, why hire J. K Simmons and give him nothing to do? Commissioner Gordon is used to working with The Batman, would he not have something to say to, I don’t know, Wonder Woman or Cyborg other than “How many of you are there? “ How about “Are you people crazy?” or “Why in the hell are you doing this?”
Oh well, to my simple mind these are minor problems. There is much I love in Justice League starting with:
10. Ezra Miller as Barry Allen “The Flash” Miller is a little guy but has a huge talent. Don’t believe me? Check out a movie called We Need To Talk About Kevin, a movie more relevant than ever in the wake of yet another school shooting. With a face that looks like it was designed by an artist Miller’s take on the Flash is wonderful. His comment that Barry Allen “needs friends” is heartbreaking. In fact Justice League more than hints at the notion that all these characters “need friends” most of all Batman and Cyborg. Miller brings humor to a movie that needs it, he makes an impossible character believable and likeable, all the actors do quite frankly. Which brings me to:
9. Jason Momoa as Arthur Curry “The Aquaman” I saw Conan the Barbarian in a theater and have it on dvd. Momoa really didn’t make much of an impression in that project. He must have been working on his craft because he is flat out wonderful in Justice League. Steals every scene he’s in and, for a man who can live and breathe under water is the voice of reason and sanity and common sense in a comic book universe. How many comic book super heroes are there that not only drink whisky straight out of the bottle but litter the landscape with their empties? Aquaman does. And I love his “truth to tell” rant due to his sitting on Wonder Woman’s lasso. Aquaman was never one of my favorite DC heroes, I now look forward to his stand alone movie. Justice League is worth seeing for Momoa alone.
8. The first battle scene. I love the idea of all the Justice League members being dependant on Batman’s various vehicles and gizmos. The fight in the tunnels under Gotham Harbor is complex and involves a lot of movement; it could have easily degenerated into confusion and chaos, much like the (rightfully) disliked Batman vs Superman Dawn of Justice final battle. We never lose track of anyone’s location and who is doing what to whom. This battle can stand alongside any of the action set pieces in the Marvel Universe.
7. Henry Cavill as Kal El, Clark Kent, “Superman.” I will be the first to admit Cavill is not the most versatile actor in the business. Want real proof? Try The Man from Uncle Movie with Cavill as Napoleon Solo and Armie Hammer as Ilya Kuryakin, if you can make it all the way through. However, if there was ever an actor who looked exactly like a comic book character Cavill is it. I will be honest, I grew up with the George Reeves Superman television series and to me he will always be Clark Kent/Superman. I also very much enjoyed Christopher Reeves take on a classic character (except for that fourth movie!) Cavill looks exactly like the Superman of the 1960s DC Comics. And he brings his A game to the project and, as I told my sweetheart Radah Sheah, when we watched Superman Vs Batman Dawn of Justice (which she hated) “you can’t kill Supes, can’t be done!” And yet another issue I have with Justice League, when Superman finally (finally!) joins the fight against Steppenwolf and his cartoon minions we fully expect him to pound the living shit out of the Bad Guy and slam him back and forth on the concrete (much like what The Hulk did to Loki in the first Avengers movie) No, we see Supes get in a few licks and then run off to save “civilians!” Whatever!
6. Another visit to Paradise Island/ Themyscira/The Amazon Kingdom. I love the Amazons, LOVE the Amazons, adore them! I saw Wonder Woman 7 times last year, in theaters (that’s Seven times!) And not just for Gal Gadot. When I was 10 years old I became obsessed with the legend of the Amazons (yes obsessed is a good word, although it may not be strong enough!) I read of them in a children’s encyclopedia and checked out books, written at an adult level, from the library on Greek and Roman history and mythology for any information about the Amazons.
I even wrote my own stories about Amazons in my grade school classrooms, when I should have been paying attention to Geography and Arithmetic lessons. Other boys drew pictures of tanks and fighter planes; I scribbled out stories of women warriors defeating entire armies of men. The first time I saw Wonder Woman, during the entire opening on Paradise Island I wept, cried tears of absolute joy! I had forgotten all of my youthful enthusiasm for the Amazons.
There are other movies about the Amazons. Tarzan and The Amazons with Johnny Weissmueller, 1945, depicted a very cool Amazon kingdom in Tarzan’s territory. Ironically those Amazons defeated men armed with guns using bows and arrows, spears and swords, much like the Amazons of Wonder Woman. And during my time in the Navy when I ran the ship’s tv station on the USS AMERICA I broadcast a later day Italian peplum movie, War Goddess aka Amazons from 1973. Depicting the Amazons dealings with the Greeks and a disputed power struggle, it has its moments. Those Amazons apparently spent all their money on eye makeup. Those movies were ok, but Wonder Woman’s movie depicted the Amazon Empire exactly as I had pictured it at 10, 11 and 12 years of age. Except my Amazons had a bowling alley, equipped with pin ball machines, bumper pool tables and a soda fountain. My Amazons also got to use automatic weapons, grenade launchers, tanks and what have you. Hey, they were MY stories and I enjoyed that I could give them anything I thought they should have! So Wonder Woman is a very special movie to me and I was ecstatic that Justice League took us back to Themyscira and populated the Amazons with many of the same actors and athletes who portrayed the Amazons in Wonder Woman. I would love to see them have their own stand alone movie. A sweeping historical epic about their wars with the Greeks and Romans, and especially how they got mixed up with Hercules! It would be a perfectly logical reason to bring back Robin Wright as Antiope, one of the most awesome woman characters ever captured on film! I should add too, my Amazons always won, every engagement they kicked ass and took names. And they never even had any casualties (again, they were my stories, and no, none of the stories survived. Whenever recess was called I would throw my stories in the trash. I wrote them only for my own amusement and I was convinced that if any one, especially adults, found out about my obsession I would be put in an institution! I am NOT kidding!)
5. The second battle scene. In the DC and Marvel Universe there seems to be a great concern about collateral damage. And rightfully so, if super heroes and super villains really did exist and had epic battles in urban areas, the damage would be catastrophic. In Justice League the final showdown happens in what appears to be Chernobyl. Very few civilians present and the League members take great pains to get them out of harm’s way. And again, we never lose track of who is doing what, when, where and why. And the action, once it gets rolling, is truly awesome.
4. Ray Fisher Victor Stone “Cyborg” This is the one character I was not familiar with. I have not bought a comic book since about 1985. It finally dawned on me that I could no longer afford to buy and store huge amounts of paper collectibles. So Cyborg was a new character to me and Ray Fisher brings a lot to the project. I read at least one comment on the web that Cyborg is based on Robocop. Not really, Cyborg made his debut in 1980, Robocop the original movie, was released in 1987. If anything Robocop owes a debt to DC Comics and the character of Cyborg. What’s left of a man housed in a robotic body and finding himself stronger, faster and with many other powers not possessed by mundane people, like you and me. We get all that with Fisher, the pain of being different, an outcast, alone. And even better we have the incredible Joe Morton, star of John Sayles classic cult movie Brother From Another Planet as his suffering Father. Cyborg and all the other Justice League members are to have their own stand alone movies. I am looking forward to all of them.
3. Ben Affleck Bruce Wayne “The Batman” I have a co worker who refused to see Batman Vs Superman: Dawn of Justice or Justice League because she cannot stand the idea of Ben Affleck playing Bruce Wayne/Batman. I could not possibly disagree more. Affleck makes a good Batman and an even better Bruce Wayne. I will readily admit I am a sentimental old fool when it comes to these characters. I saw all the faults of Batman Vs Superman and loved it anyway, mainly for the thrill of finally seeing Batman, Superman AND Wonder Woman in the same movie. Don’t get me wrong, I love the Marvel Universe and have seen most of their movies. But Superman, Batman and Wonder Woman were there first. There was no Marvel Comics publisher during that time frame of the late 1930s and 1940s. Captain America was published by an outfit called Timely. I treasure what is probably the best moment in Dawn of Justice “Is she with you?” “I thought she was with you!” And I love the moment when Diana literally pulls Batman’s ass out of the fire. Affleck is a fine Batman, there is an epic sadness to this Caped Crusader. Bruce Wayne in Justice League is about, literally, at the end of his rope. A reluctant leader.
I love the idea that he would much rather have Superman back or somehow goad Wonder Woman into taking the lead. It’s heartbreaking when he openly admits that Superman is a better man than him. In fact this Batman seems to think that Wonder Woman is a better man than him! Of course Supes is a better man than anybody, and everybody! I would put Affleck’s Bruce Wayne/Batman about midway between Michael Keaton and Val Kilmer (my personal favorite of all the contemporary actors who have played Batman.) Affleck has proved himself as an actor and he’s an even better director, The Town and Argo prove that beyond any doubt. I’m going way out on a limb here and say it for the whole world, Justice League is the best Batman movie since Dark Knight. You want to see a bad DC movie? Try sitting through Dark Knight Rises more than once.
2. Gal Gadot Diana Princess of Theymyscira “Wonder Woman” If you’ve read this gibbering nonsense this far here is a no brainer. Of course I adore Gal Gadot and Wonder Woman. Here is the best example I can think of for an actor to be inseparable from a comic book super hero character.
Don’t get me wrong, I loved Lynda Carter but her television show was to Wonder Woman what the 1960s Batman show (which I loved too, Adam West will always be the “real Batman”) was to the Caped Crusader. A goofy, pop art, more comic than book, take on this iconic character. Patty Jenkins and her crew gave us what is probably the greatest superhero movie that will ever be made.
I’ll say it again, I saw Wonder Woman seven times last year, bought the blu ray the day it went on sale, and could watch it every day the rest of my life. My co workers during the summer of last year, told me to shut up about Wonder Woman (and most of my co workers are women!) I also treasure the movie Professor Marston and the Wonder Women, which I also saw in a theater.
I love that Wonder Woman was created by a man, who truly believed women were superior to men. Marston’s my man, I have believed that for years, decades. Jenkins is on the record, Wonder Woman is only about 20% of what she had in mind! I would love to see how she originally envisioned this masterpiece.
I love that Gadot is, apparently, the real deal. She is an Israeli Army veteran and was a combat trainer, hand to hand and firearms., She downplays that and says it was no big deal. I doubt that, during my time in the US Navy we had class room training, one class involved “know your allies and your enemies” a rundown on various countries different military outfits. I distinctly recall being told the Israeli army is one of the toughest and most well trained in the world. I rest my case.
I had a co worker tell me that I kept going to see Wonder Woman because of Gal Gadot’s astonishing looks. No, if she were just another pretty face I would have seen it once, maybe twice. Part of what kept me going back is her incredible acting talent. The male super heroes, both Marvel and DC, when they go into combat mode, look very grim, determined, no nonsense. When Diana cuts loose and runs amok on the German Army she has this lovely smile, of utmost confidence and, could it be…..joy? Her smile, after she knocks aside her first bullet with those bracelets (one of my few problems with Wonder Woman, I would like to have an explanation of what those are and why they work the way they do. I also don’t think the Germans of WWI would be so quick to open up on one lone woman crossing No Man’s Land, some hesitation would be in order, but these are minor quibbles.)
When she comes busting through that window and lands in a roomful of heavily armed Germans her smile says it all “I’ve got this! You people are about to enter a world of pure, agonizing pain!” What she does after that is the best example of what I would call “running amok!” And she wears that smile of determination in Batman Vs Superman Dawn of Justice, repeatedly. Every time she gets knocked down by Doomsday she has that smile, gets back up and goes right back to knocking the shit of “a creature from another world.”
I could write page after page of how much I loved Wonder Woman’s movie, the humor, the valor, the team work, the pure joy of knocking the piss out of somebody who has it coming. And Gal Gadot brings all that to Justice League, and a whole lot more. The lady has talent and charisma and style to burn. I could watch her take a nap on the couch. Of course if she woke up and saw me she’d scream bloody murder and beat the shit out of me (I should be so lucky!)A good friend made a very rude comment when I showed him my Wonder Woman poster, which I shall not repeat on the internet. I told him the truth, such comments are sacrilegious, blasphemous, “I do not see this woman as a sex object, I worship her as a Goddess (I am only half joking!)
1. And finally; this is the Justice League movie. This IS the Justice League movie! Good Bad or Indifferent this is a movie aging comic book fan boys, and girls, like me have looked forward to for years. In the 1960s when I was reading comic book and monster magazines and science fiction books and magazines I never dreamed there would be a whole series of Marvel Comic movies,, or DC, that brought these wonderful characters to life. If someone had told me that in the future there would be movies as good as Spider Man Two or Dark Knight or The Avengers or Captain America: Winter Soldier or Wonder Woman, or a complete filming of The Lord of the Rings, I would have called them out for bull shit artists. And yet , here we are. As I said I am a sentimental old fool, at the end of Justice League I wept, again, at seeing Superman, Batman, Wonder Woman, Cyborg, Flash and Aquaman in the same shot, dust still in the air, with the American flag behind them.
And there are other moments I love, Jeremy Irons joins a long list of great actors who have played Alfred, Bruce Wayne’s right hand man. His Alfred has several great moments. And Diane Lane is probably the best Ma Kent we will ever see. There is a video on Youtube of Chris Hemsworth, Thor in the Marvel Universe, at Comic Con. He was asked about the DC Universe series; he laughed and said something to the effect that “those guys are just trailing in our dust!” Don’t get me wrong, I like Hemsworth, and Thor. I thought Thor Ragnarok was a very fine piece of work, loved it. But that was a rude thing to say. There is room in the market place for Marvel and DC. Although if somebody ever makes a Thunder Agents movie I’ll know for sure we are really living in the end times (or Blue Beetle or Plastic Man for that matter!) So yes, I love the Marvel Universe and DC, I thought Justice League was fine. Could it have been better? Of course, any movie could, unless you’re talking about directors at the level of Kubrick or Hitchcock. Having said all that, at some point in the future, if it’s possible, I would love to see a Justice League meets the Avengers movie. Of course the threat would have to be colossal, the fate of the entire solar system? Galaxy? The Universe itself? All of life hangs in the balance? I would just imagine that Superman and Thor would have something to talk about. And I would love to hear a conversation between Tony Stark and Bruce Wayne, technical innovations and high finance? But what I would really treasure, the moment I dream of, I would love to see Diana, Princess of Theymyscira, Wonder Woman, sit down with Agent Romanov; The Black Widow and The Scarlet Witch and have a nice cup of espresso and a croissant and talk about how messed up it is to try and deal with male super heroes. I can hear it now “you think Tony Stark is a jerk! Let me tell you what Bruce Wayne did! What he said!” “Sister you have no idea!”
And how would this be for a slow motion team walk:
Superman, Batman, Iron Man, Captain America, Wonder Woman, Black Widow, Spiderman, Antman, Wasp, Black Panther, Flash, Aquaman, Hulk, Thor, Cyborg, Scarlet Witch, Hawkeye, The Vision, War Machine, Green Lantern, and what the hell, Suicide Squad, Guardians of the Galaxy, The X Men, Fantastic Four and everybody else in the Marvel and DC Universe, striding towards the camera with a “terrible resolve” to face down an implacable and unstoppable enemy. If I’m going to dream I may as well dream big!
I have friends, good friends, who don’t care for the super hero movies. To paraphrase a line of dialog from My Favorite Year “ I need my heroes, I need them bigger than life! As big as I can get them!” And I thank everyone who works on these movies, in the DC and Marvel Universe. And I am so happy for Stan Lee, the Marvel movies are something he dreamed of for years.
And so, yes I love the Justice League, for all this and so much more.
BEST F(R)IENDS starring Tommy Wiseau and Greg Sestero will premiere as a Fathom Event this Spring. Part one screens March 30th and April 1st at 8pm (C). Ticket information can be foundHERE. Part Two will screen June 1st and 4th
Finally, the dynamic duo that is Tommy Wiseau and Greg Sestero has reunited for a dream project that will send fans of The Room and The Disaster Artist into paroxyms of unabated joy once more, and send new fans into a journey of unprecedented comedic madness.
Volume One: When a drifter (Sestero) is taken in by a peculiar mortician (Wiseau), the two hatch an underground enterprise off the back of the mortician’s old habits. But greed, hatred, and jealousy soon come in turn, and their efforts unravel, causing the drifter to run off with the spoils and leaving the mortician adrift.
Volume Two: As Sestero’s drifter makes a run for it, he finds himself on an expedition across the Southwest, where he encounters wild and crazy characters through a series of twisted and dark foibles. While his misadventure teaches him a valuable lesson about friendship and loyalty, Wiseau’s mortician carries the story home with more than a few surprises.
Nothing can accurately describe basking in the unholy glow that is the ‘Best F(r)iends’ saga — a dark, strange journey that reminds you why we all fell in love with this amazing duo in the first place.
The Tenth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series continues this weekend. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema. This year’s fest kicked off last weekend with a screening of Bertrand Tavernier’s acclaimed documentary MY JOURNEY THROUGH FRENCH CINEMA.
There are two more events for the Tenth Annual Robert Classic French Film Festival happening this weekend:
Saturday, March 9th at 7:30pm – CASQUE D’OR. Ticket information can be found HERE
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance — the French equivalent of the legend of Frankie and Johnny. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani), their passion incites an underworld rivalry that leads inexorably to treachery and tragedy. With poignant, nuanced performances and sensuous black-and-white photography, “Casque d’or” is Becker at the height of his cinematic powers — a romantic masterpiece. Tom Milne in Time Out London enthuses: “This elegant masterwork is a glowingly nostalgic evocation of the Paris of the Impressionists, focusing on the apache underworld and an ill-starred romance that ends on the scaffold…. Signoret, as voluptuously sensual as a Rubens painting, has never been more stunning than as the Golden Marie of the English title; and she is perfectly partnered by Reggiani, seemingly carved out of mahogany yet revealing an ineffable grace in movement, as the honest carpenter who defies the malevolent apache leader (Claude Dauphin) to claim her. Along with ‘Letter from an Unknown Woman,’ one of the great movie romances.”
With an introduction and post-film discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).
Saturday, March 10th at 7:00pm – Germaine Dulac Double Bill: THE CIGARETTE (1919) and THE SMILING MADAME BEUDET (1922) with Live Music by The Rats and People Motion Picture Orchestra. Ticket information can be found HERE
A pioneering filmmaker and feminist, Germaine Dulac toggled between commercial and avant-garde modes, with one of her most famous works, “The Seashell and the Clergyman” (1928), prefiguring surrealism. Dulac’s earliest extant title, “The Cigarette” concerns a liberated young woman and her older husband who believes she is having an affair. With its understated acting and location shooting, Dulac fuses realistic tendencies with impressionistic visual association. Considered one of Dulac’s most feminist films, “The Smiling Madame Beudet” is also a crucial step in her continuing de-emphasis of traditional narrative structures in favor of visual association. The film offers a bleak portrait of marriage and its constraining effects on the woman, while vividly externalizing her dreams of liberation. In her monograph “Germaine Dulac: A Cinema of Sensations,” scholar Tami Williams notes that the filmmaker “played a founding role in the evolution of the cinema both as art and social practice. History has overlooked her importance as a pioneer of the 1920s French avant-garde, and as an innovator of a modern cinema. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from impressionist to abstract. She made an equivalent number of newsreels and several documentaries, whose discreet, unobtrusive approach to filming daily life had an important impact on the evolution of nonfiction filmmaking in France.”
With an introduction and post-film discussion by Lionel Cuillé, the Jane and Bruce Robert professor of French and Francophone studies at Webster University.
Look for more coverage of the CLASSIC FRENCH FILM FESTIVAL here at We Are Movie Geeks.
Here’s the rest of the line-up:
Sunday,March 11th at 7:00pm – BOUDU SAVED FROM DROWNING
Michel Simon gives one of the most memorable performances in screen history as Boudu, a Parisian tramp who takes a suicidal plunge into the Seine and is rescued by a well-to-do bookseller, Edouard Lestingois (Charles Granval). The Lestingois family decides to take in the irrepressible bum, and he shows his gratitude by shaking the household to its foundations. With “Boudu Saved from Drowning,” legendary director Jean Renoir (“The Rules of the Game,” “Grand Illusion”) takes advantage of a host of Parisian locations and the anarchic charms of his lead actor to create an effervescent satire of the bourgeoisie. London’s Telegraph observes: “It’s hard to imagine cinema without ‘Boudu Saved from Drowning.’ Released in 1932, it’s equal parts farce, social satire and existential drama — and one of Jean Renoir’s most enduring works, at once delightful and troubling. Its story — a suicidal tramp is taken in by a do-gooding middle-class home only for him to wreak havoc — explores some of the same territory as Tom Wolfe in his essay “Radical Chic.” It also formed the basis of Paul Mazursky’s ‘Down and Out In Beverly Hills’ (1986)…. ‘Boudu Saved from Drowning’ is blessed by fluid camerawork, beautiful cinematography and riverine rhythms. Simon gives a towering and infinitely merry performance. But it’s the film’s philosophical implications that have fascinated generations of moviegoers.”
With an introduction and post-film discussion by Jean-Louis Pautrot, professor of French and international studies at Saint Louis University.
Friday, March 16th at 7:30pm – ALPHAVILLE
A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Jean-Luc Godard’s irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to eliminate Professor Von Braun, the creator of the malevolent Alpha 60, a computer that rules the city of Alphaville. Befriended by the scientist’s beautiful daughter Natasha (Godard muse Anna Karina), Lemmy must unravel the mysteries of the strictly logical Alpha 60 and teach Natasha the meaning of the word “love.” Calling the film a “hyper-sci-fi-meta-noir, which skylarks about an absurd dystopian future in the wet streets of 1965 Paris,” the Village Voice’s Michael Atkinson describes “Alphaville” as “all totemic genre gestures all the time”: “Everything is a dislocated signifier of totalitarian confusion — language, institutional sex, assassination attempts, scientific lingo, modernist architecture, bureaucracy, human emotion (officially outlawed, but shruggingly prevalent), Anna Karina’s luminous eyes. But it’s all also a Godardian gag, a riff on artifice and the blithe joy of cinematic bullshit. Iconic in its very grain, the film toggles effortlessly between toast-dry farce and vogueing postwar hipitude, and like the balletic swimmers performing mid-pool state executions, it’s a thing of insensible beauty.”
With an introduction and post-film discussion by Andrew Wyatt, film critic for Cinema St. Louis’ The Lens and the Gateway Cinephile film blog.
Saturday, March 17th at 7:00pm – THE LOVERS ON THE BRIDGE
Leos Carax’s “The Lovers on the Bridge” is one of the most spectacularly romantic films of the 1990s, an exploration of the intense, convulsive relationship between one-eyed artist Michele (Juliette Binoche) and alcoholic street performer Alex (Carax’s longtime collaborator Denis Lavant). Paris’ oldest bridge, the Pont Neuf, is both their home and their stage as they break up and get back together in increasingly explosive reunions, with the detonations becoming quite literal during a jaw-dropping re-creation of the epic fireworks display that marked the 200th anniversary of the French Revolution. One of the film’s ardent admirers, Stuart Klawans of the Nation, declares: ‘The Lovers on the Bridge’ is one of the most splendidly reckless films ever made — the film that might have torn through the mind of Godard’s Pierrot le Fou, after love made him paint his face blue and tie sticks of dynamite to his hair…. While the fuses sizzle near your head, Carax makes a film about orange flames shooting across a black sky; about a subway passage that turns into an inferno; about the thrumming and skittering of a cello sonata, random gunfire, a snowfall out of an old movie musical…. It’s a mistake, a wreck, an absurd imposture — a priceless gift.”
With an introduction and post-film discussion by Pier Marton, video artist and unlearning specialist at the School of No Media. Marton has lectured with his work at the Museum of Modern Art, the Carnegie Museum, and the Walker Art Center and has taught at several major U.S. universities.
Sunday, March 18th at 7:00pm – PICKPOCKET
This incomparable story of crime and redemption from the French master Robert Bresson follows Michel, a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. As his compulsive pursuit of the thrill of stealing grows, however, so does his fear that his luck is about to run out. A cornerstone of the career of this most economical and profoundly spiritual of filmmakers, “Pickpocket” is an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers. Dave Kehr of the Chicago Reader writes: “Robert Bresson made this short electrifying study in 1959; it’s one of his greatest and purest films, full of hushed transgression and sudden grace. A petty thief (Martin Lasalle) becomes addicted to the art and thrill of picking pockets. He loses his friends and fiancee, and begins to live like a monk, concentrating his entire being on his obsessional, increasingly devotional acts of theft. If the film seems familiar, that’s because Paul Schrader recycled great chunks of it in his scripts for ‘Taxi Driver,’ ‘American Gigolo,’ and ‘Raging Bull.’ But the original retains its awesome, austere power.”
With an introduction and post-film discussion by Calvin Wilson, film, jazz, art, and dance critic for the St. Louis Post-Dispatch.
Friday, March 23rd at 7:00pm – LE SAMOURAI
In a career-defining performance, Alain Delon plays Jef Costello, a contract killer with samurai instincts. After carrying out a flawlessly planned hit, Jef finds himself caught between a persistent police investigator and a ruthless employer, and not even his armor of fedora and trenchcoat can protect him. An elegantly stylized masterpiece of cool by maverick director Jean‑Pierre Melville, “Le samouraï” is a razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture — with a liberal dose of Japanese lone-warrior mythology. Writing in the New Yorker on the film’s original U.S. release, Penelope Gilliatt called Melville “the poet of the implacable. In France he is thought of as the most American of directors, the man who has taken the B picture and the policier to new heights; to us he is apt to seem one of the most French, able to make something artful and full of art out of little, like a chef concocting an idyllic hors d’oeuvre out of mayonnaise and a few raw vegetables.” She describes “Le Samourai” as “a sort of meditation on solitude, embodied in a lonely, rigorous mercenary who assassinates to order,” and praises the film as “cold, masterly, without pathos, and not even particularly sympathetic; it has the noble structure of accuracy.”
With an introduction and post-film discussion by Kathy Corley, professor of film in the Electronic and Photographic Media Department at Webster University.
Saturday, March 24th at 6:00pm – LA BELLE NOISEUSE
Winner of Cannes’ Grand Prix in 1991, Jacques Rivette’s “La belle noiseuse” is a free adaptation of Balzac’s “The Unknown Masterpiece” infused with elements drawn from a trio of works by Henry James. In the film, the once-famous painter Édouard Frenhofer (Michel Piccoli) lives quietly with his wife, Liz (Jane Birkin), in a rambling countryside château in the rural Provence region of France. When young artist Nicolas (David Bursztein) visits him with his striking girlfriend, Marianne (Emmanuelle Béart), the aging and increasingly unproductive Frenhofer finds himself inspired to begin painting again in earnest. At the urging of his agent, he commences work on the painting “La belle noiseuse,” a nude portrait that he left unfinished years earlier (and for which Liz had posed). Pressed by Nicolas, Marianne reluctantly agrees to serve as Frenhofer’s new (and nude) model. Critic Jonathan Rosenbaum — a longtime enthusiast of the director’s work — writes in the Chicago Reader: “The complex forces that produce art are the film’s obsessive focus, and rarely has Rivette’s use of duration to look at process been so spellbinding; hardly a moment is wasted. Rivette’s superb sense of rhythm and mise en scene never falters, and the plot has plenty of twists. With exquisite cinematography by William Lubtchansky, beautiful location work in the south of France (mainly at an 18th-century chateau), and drawings and paintings executed by Bernard Dufour. The title translates roughly as ‘the beautiful nutty woman’; it’s also the title of the masterpiece the painter is bent on finishing.”
With an introduction and post-film discussion by Robert Hunt, film critic for The Riverfront Times.
Sunday, March 25th at 7:00pm – PEPE LE MOKO
The notorious Pépé le moko (Jean Gabin, in a truly iconic performance) is a wanted man: Women long for him, rivals hope to destroy him, and the law is breathing down his neck at every turn. On the lam in the labyrinthine Casbah of Algiers, Pépé is safe from the clutches of the police — until a Parisian playgirl compels him to risk his life and leave its confines once and for all. Julien Duvivier’s “Pépé le moko” is one of the most influential films of the 20th century and a landmark of French poetic realism. The Chicago Tribune’s Michael Wilmington raves: “Pépé le moko’ is a timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself. It’s a film with atmosphere so thick and rich you can almost smell it: full of winding fetid streets that steam with spices and intrigue, packed cabarets latticed with smoke and shadows. Directed and co-written by Julien Duvivier, starring Jean Gabin as Pépé, this splendid entertainment is set in ’30s Algiers. But despite extensive location photography, it’s not a real city we see here but a noir metropolis, as fantastic as anything in the Arabian Nights.” Wilmington concludes: “‘Pépé le moko,’ despite its pop origins, becomes, like its imitator ‘Casablanca,’ a powerful statement on cultural exile and doomed romance.”
With an introduction and post-film discussion by Robert Garrick, attorney, board member of the French-preservation nonprofit Les Amis, and former contributor to the davekehr.com film blog.
The Toyman Toy Show in St. Louis has been going strong for over 26 years now and just keeps getting bigger and better! The fun takes place seven times a year at The Machinists Hall 12365 St Charles Rock Road in Bridgeton, MO 63044. There are over 130 vendors at the Toyman Toy Show spread out over 225 tables. all selling vintage toys, comics, dolls, diecast cars, movie memorabilia, and more as well as cosplayers and artists. It’s an unbelievable amount of fun for only $5 and this next show, you’ll have the opportunity to meet a local movie-maker and a pair of famous wrestlers!!
The next Toyman Show is March 11th from 9:00a to 3:00p with Marvel Artist Steve Geiger and The Walking Dead’s Jim Proctor in attendance! A Facebook invite for the event can be found HERE.
Steve Geiger is an artist for Marvel comics. His artwork has been featured in the pages and on the covers of The Incredible Hulk, The Amzaing Spiderman, The Punisher, and many more.
Tim Proctor is an American freelance artist and illustrator who is most known for his sketch card work. He created the sketch cards from season 2 and 3 of the TV Show The Walking Dead. He also portrayed a walker on Season 5 in episode “No Sanctuary”
General admission is 9am to 3pm – Adults $5 and 16 and under FREE. Over 140+ Vendors on 225+ tables of Toys, Comics, Games, Movie posters, Barbie, Hot Wheels, Die-Cast, Models, Pop Culture and NEWLY REOPENED Balcony as an ARTIST ATTIC. The show can’t be complete without the SEVERAL Illustrators, Authors, Artists, Pop Culture Crafts, WPW Wrestling, A.P.G. Grading, Zombie Squad, Gateway City Ghostbusters, U.S.S. UMIAK, Curvy Kitty Cosplay along with SC DC 3D Printing in attendance.
“What I’m going to need is your standard flame thrower”.
NIGHT OF THE CREEPS screens Midnights this weekend (March 9th and 10th) at The Moolah Theater and Lounge (3821 Lindell Blvd, St. Louis, MO 63108) as part of Destroy the Brain’s monthly Late Nite Grindhouse film series.
Writer/director Fred Dekker’s NIGHT OF THE CREEPS is all about little, parasitic aliens that take over human bodies and turn them into deadly zombies. This is a big pain in the backside for Chris Romero (Jason Lively), who is finally getting a chance to woo Cynthia (Jill Whitlow), a girl he has fallen in love with. With gruff Detective Cameron (Tom Atkins) trying to figure out what’s going on as bodies start to, apparently, wander off on their own it’s not long until the living have to band together to keep the living dead at bay.
A cross between ’50s sci-fi B-movie, teen comedy and zombie flick, NIGHT OF THE CREEPS really does remain a hugely enjoyable little film that should be seen and appreciated by as many genre fans as possible. A lot of the movie may be wish-fulfilment stuff usually delivered by John Hughes back in the ’80s, but that doesn’t detract from the overall enjoyment.
Tom Atkins has never been more fun (his “thrill me” answering of the telephone just one small, enjoyable nuance from a selection of many), the rest of the young stars are good enough (Steve Marshall as the best buddy, J.C., strikes just the right balance between confident and irritating) and Jill Whitlow’s character is easy enough to grow fond of, making the lengths that Chris will go to to keep her safe all the more believable. Allan Kayser is an easy-to-hate douchebag named Brad, and there’s also a nice little Dick Miller cameo for fans to watch out for.
With a sharp script, many wonderful, individual moments and pacing that perfectly delivers a number of little, eerie moments before building up to an all-out battle of a finale, the movie delivers just the right mix of fun, thrills and overall entertainment. Fans of sci-fi and horror will enjoy the fact that all of the main characters are named after the likes of Raimi, Carpenter, Cronenberg, etc and the more eagle-eyed viewers should easily spot a piece of graffiti exclaiming “GO MONSTER SQUAD”. Don’t miss your chance to see NIGHT OF THE CREEPS on the big screen this weekend at The Moolah!
TICKETS ARE $7 AND YOU CAN BUY THEM ONLINE VIA MOOLAH’S WEBSITE.
THE PSYCHOTRONIC PRE-SHOW STARTS AROUND 11:30P WITH THE FILM STARTING AT MIDNIGHT.
The Moolah Theatre & Lounge serves alcohol until 2:30AM! Feel free to show up early and stay late to have some drinks and get friendly with the amazing Moolah staff.
CHUCK BERRY HAIL! HAIL! ROCK ‘N’ ROLL screens Thursday March 8th at 7:00pm at Schlafly Bottleworks (7260 Southwest Avenue Maplewood, MO 63143). This is part of the A FILM SERIES “Culture Shock” Film Fest which has moved to the second Thursday of every month.
On October, 18th 1986, on the sixtieth birthday of Chuck Berry, there was a concert at the Fox Theater in his hometown Saint Louis. With CHUCK BERRY HAIL! HAIL! ROCK ‘N’ ROLL, director Taylor Hackford does a phenomenal job in this movie. Chuck Berry, one of the most complicated and conflicted figures in the history of rock and pop music is rich territory and Hackford managed to catch Berry in all of his many guises – charming, professional, intelligent, thoughtful, bitter, petulant, unprofessional, difficult, and combative. What really marks this movie as a superior documentary is Hackford refusal to judge Berry to focus on just documenting the man and his behavior in a variety of situations and from a variety of sources. There really is no ax-grinding going on in this movie and there is no whitewashing – everything is what it is whether it’s Berry in a touching scene with his mother and father or it’s Berry in a petulant rehearsal stare-down with Keith Richards when Berry isn’t getting his way.
Hackford’s other great achievement in this movie is the excellent recording of Berry’s 60th Anniversary Concert, the predominate reason for the whole project and the involvement of other pop/rock music notables at the Fox Theatre. Backed by Keith Richards, Johnnie Johnson (Berry’s pianist and forgotten early influence), Steve Jordan, Bobby Keys, Robert Cray, and Joey Spaminato, Berry performs a spectacular show. Hackford catches the performer’s excitement, the crowd’s excitement, and Berry’s energy and showmanship in a way those of us too young to have seen or heard Berry can begin to understand why he serves a such a seminal influence in pop and rock music.
The movie is full of entertaining nuggets. Hackford’s interviews with Keith Richards are fascinating. Richards’ comments are just insightful about Berry, the influence of Berry’s music, and the influence of Johnson of Berry’s songs; they’re also fascinating in just watching and listening to Richards himself – part mystic, part philosopher, part drunk. Also particularly interesting is a three-way conversation between Berry, Little Richard, and Bo Diddly who go into great detail about their early careers, music, business, and how racism negatively affected their careers and their recognition as the earliest purveyors of rock and roll.
I think this movie is interesting regardless of whether your actually interested in Berry beforehand or not. It is as fine a documentary that any director could produce and you should catch CHUCK BERRY HAIL! HAIL! ROCK ‘N’ ROLL March 8th when it screens at Schlafly Bottleworks in Maplewood.
$6 for the screening. A yummy variety of food from Schlafly’s kitchen is available as are plenty of pints of their famous home-brewed suds.
“Culture Shock” is the name of a film series here in St. Louis that is the cornerstone project of a social enterprise that is an ongoing source of support for Helping Kids Together(http://www.helpingkidstogether.com/) a St. Louis based social enterprise dedicated to building cultural diversity and social awareness among young people through the arts and active living.
The films featured for “Culture Shock” demonstrate an artistic representation of culture shock materialized through mixed genre and budgets spanning music, film and theater. Through ‘A Film Series’ working relationship with Schlafly Bottleworks, they seek to provide film lovers with an offbeat mix of dinner and a movie opportunities.
The truth is revealed in the new trailer for CHAPPAQUIDDICK starring Jason Clarke, Kate Mara, Ed Helms, and Jim Gaffigan with Bruce Dern. The untold true story, recalling the mysterious events of the scandalous 1969 car accident involving U.S. Senator Ted Kennedy (Clarke) and Mary Jo Kopechne (Mara), a campaign worker he callously left to die at the scene, hits theaters April 6th!
In the riveting suspense drama, CHAPPAQUIDDICK, the scandal and mysterious events surrounding the tragic drowning of a young woman, as Ted Kennedy drove his car off the infamous bridge, are revealed in the new movie starring Jason Clarke as Ted Kennedy and Kate Mara as Mary Jo Kopechne. Not only did this event take the life of an aspiring political strategist and Kennedy insider, but it ultimately changed the course of presidential history forever. Through true accounts, documented in the inquest from the investigation in 1969, director John Curran and writers Andrew Logan and Taylor Allen, intimately expose the broad reach of political power, the influence of America’s most celebrated family; and the vulnerability of Ted Kennedy, the youngest son, in the shadow of his family legacy.
Cast: Jason Clarke, Kate Mara, Ed Helms, Jim Gaffigan, Clancy Brown, and Taylor Nichols with Olivia Thirlby and Bruce Dern
Directed by: John Curran (Tracks, The Painted Veil)
Written by: Screenplay by Taylor Allen and Andrew Logan
In celebration of next week’s Blu-ray & 4K release of THOR: RAGNAROK, Marvel Studios has some great behind-the-scenes videos featuring Valkyrie & Hela, as well as some select concept art from the film:
Marvel Studios’ THOR: RAGNAROK, the God of Thunder’s third installment in the Marvel Cinematic Universe, electrified both audiences and critics alike reaching over $845M at the global box office. Now the colorful cosmic adventure, loaded with action, humor, drama and spectacle, bursts into homes Digitally in HD and 4K Ultra HD™, and Movies Anywhere, on Feb. 20 and on 4K Ultra HD™, Blu-ray™, DVD and On-Demand on March 6.
In Marvel Studios’ THOR: RAGNAROK, Thor (Chris Hemsworth) is imprisoned on the other side of the universe without his mighty hammer and finds himself in a race against time to get back to Asgard to stop Ragnarok – the destruction of his home world and the end of Asgardian civilization – at the hands of an all-powerful new threat, the ruthless Hela (Cate Blanchett). But first he must survive a deadly gladiatorial contest that pits him against his former ally and fellow Avenger – the Incredible Hulk (Mark Ruffalo) – and grapple with his silver-tongued adopted brother Loki (Tom Hiddleston), the fierce warrior Valkyrie (Tessa Thompson) and the eccentric Grandmaster (Jeff Goldblum).
Fans who bring home the Ultimate Cinematic Universe Edition (4K Ultra HD + Blu-ray + Digital) of THOR: RAGNAROK will experience all the thunderous action and lightning-fast wit in stunning 4K Ultra HD with next-generation high dynamic range (HDR) visuals and Dolby Atmos immersive audio. Exclusive, never-before-seen bonus features include deleted scenes; hilarious outtakes; an exclusive short: part three of the mockumentary “Team Thor,” retitled “Team Darryl” and featuring an eccentric new roommate; the evolution of MCU’s heroes culminating in “Avengers: Infinity War;” numerous making-of featurettes which explore the unique vision of director Taika Waititi; the story’s unstoppable women; the effortlessly charismatic Korg; the tyrannical leader of Sakaar, the Grandmaster; and the film’s comic-book origins; audio commentary by Waititi; and more.
BONUS MATERIAL (may vary by retailer):
Blu-ray:
Director’s Introduction
Deleted/Extended Scenes – Deleted Scenes: The Sorcerer Supreme, Skurge Finds Heimdall & Hulk Chases Thor Through Sakaar and Extended Scenes: Thor Meets the Grandmaster, Stupid Avenger vs. Tiny Avenger & Grandmaster and Topaz
Gag Reel – Watch a collection of goofs, gaffes and pratfalls starring the cast
Exclusive Short/Team Darryl – Fresh off being unseated as the ruler of Sakaar, the Grandmaster makes his way to Earth to start a new life. It’s been over a year since Thor left Australia and Darryl has been struggling to pay his rent. Now Darryl needs a new roommate to help make the monthly payments. Unfortunately for Darryl, the Grandmaster was the only one who answered Darryl’s “Roommate Needed” ad and with no viable options, the Grandmaster moves in.
Marvel Studios: The First Ten Years – The Evolution of Heroes – Marvel’s universe is vast and transcends both time and space. We’ll examine the Cinematic Universe as a whole and revisit each of our heroes’ current location and their place in the current MCU timeline, as it all leads up to the one culminating event: “Avengers: Infinity War.”
Getting in Touch with Your Inner Thor – “Thor: Ragnarok” director Taika Waititi has brought his unique sensibility and sense of humor to the film in a great many ways but it is the evolution of Thor’s own sense of humor, which stands out the most in the new film. This piece explores the impact Chris Hemsworth has made on the development of his widely-loved character and celebrates the mighty cast and crew who reveal the fun and hard work that went into assembling Thor’s eccentric counterparts.
Unstoppable Women: Hela & Valkyrie – This piece explores the strong female characters in “Thor: Ragnarok,” their importance in the MCU, their incredible casting and their epic comic origins.
Finding Korg – A tongue-in-cheek interview with Taika on casting Korg. He describes the difficult search for just the right evolution of the character design, and the nuances of this instantly classic character in the MCU. This conversation will also delve into all the extraordinary visual effects that brought Korg, Sakaar and the worlds of “Thor: Ragnarok” to life.
Sakaar: On the Edge of the Known and Unknown – Sakaar is the collection point for all lost and unloved things. This documentary will answer all known and unknown questions while also exploring the hard work and creativity that went into creating the look and feel of Sakaar. From design inspired by Jack Kirby’s classic artwork to the dedication of the visual development team to the awe-inspiring physical and digital production, you will see this distant world come alive.
Journey into Mystery – A deep dive story piece with the writers, director and producer Kevin Feige about the inspirations for “Thor: Ragnarok” within the comics. Most notably, the contest of champions limited series where the Grandmaster pitted our favorite heroes against one another as he does in the film. This piece also further explores Thor’s comic book origins and classic arcs through interviews with some of the most important comic creators, such as Walt Simonson and Jack Kirby.
8bit Scenes – Final Bridge Battle + Sakaar Spaceship Battle. Dive into these climactic sequences presented in retro video-game format.
Directors Commentary
Digital Exclusives:
Evolution of Thor and Hulk’s Bromance – We’ll examine this Super Hero friendship, which has spanned through several Marvel films. From their original Helicarrier fight match to the now iconic Hulk punch from Avengers 1, see how Marvel’s most powerful Super Heroes become the most extraordinary Super Hero buddies.
Additional Deleted Scenes – Travel to Asgard & Race To The Wormhole
