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Invincible, the series from the creator of The Walking Dead that you must see if you like superheroes

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Animation for adults is experiencing a sweet moment in terms of production. The release of audience ties, together with the transmedia bridges laid by natural genres of other media (such as superheroes), have led to a situation in which these types of products seem to have a greater facility to get ahead. This also brings us as a general public closer to the true nature of animation, that of its definition as a form and not as a genre, something that means that in animation, as in the real image, everything can be done. . It has a multitude of genres that can target very different audiences. This is not new, in fact adult animation has been with us for decades, what does seem new is its accessibility and its current popularity. Streaming services have given rise to another way of understanding and treating audiovisual production, now the product can allow itself to abandon the generalist perspective and, therefore, be more authentic. This context, together with the current popular acceptance of the world of superheroes, their themes and their narrative tropes, are the perfect breeding ground for the series that we are going to talk about today to exist: Invincible.

But what does this production offer us, with the appearance of an animated series from Marvel or DC? Invincible places us in a world in which the superpowers are completely normalized. In it, we chronicle the journey into manhood of Mark Greyson, a teenage son of the most powerful superhero on the planet, who has just received his powers and is forced to grow up quickly as he learns to harness them. The starting point is so common that it may not attract much attention. The first difference? His approach, as his own creator comments in an interview for the IndieWire portal:

“Invincible is a true story of superheroes with a beginning and an end … It is not about Spiderman or Batman, whose history does not change and they keep the narrative alive to be able to continue telling things throughout decades”

Robert Kirkman, who as the creator of The Waliking Dead comics has also been involved in its television production, alludes with these words to another of the components that make Invincible special. And this is none other than the absence of fear of change. His series moves away from the clichés of reboot and false death as accepted norms in the genre, something that allows you to play with the feeling of real danger for your characters, give more tension to your situations and enhance all this through one of its most surprising characteristics, ultraviolence of which it boasts.

Invincible: Free Blood?

The series takes less than an hour to arrive first at the table in this sense, and it does so with a scene that has little to do with the one that stars in the first minutes of the pilot episode, more typical of children’s or youth animation. From that moment, the viewer is clear that the tone of what is coming is going to be something peculiar. It is a visceral violence, close to what is seen in products like The Boys, but it has a purpose beyond the morbid linked to the explicit, and Robert Kirkman himself explains it in an interview for Toonado:

“I think most superhero stories don’t present violence as realistic. It can be exciting, energetic and entertaining, but it falls short of the level of brutality that exists in real-world violence. In Invincible, we are trying to show the weight of this world and the drama that comes from two super powerful beings going out of their way to try to hurt each other. There is a lot of collateral damage from that. And there is a lot of drama that comes from that collateral damage. Invincible is a world in which, when a building collapses in a city, that building fills up with people and all those people die and people cry for those people…. it is something we do not shy away from. It’s something that I think makes us unique and helps us differentiate ourselves from our film and television counterparts … “

In the audiovisual field, approaches have already been made to the deconstruction of the superhero (and its demystification) through the adaptation of classic works such as Zack Snyder’s Watchmen or the HBO series, and with more recent products such as the aforementioned The Boys. However, the plasticity of the animation and the distance it generates with the viewer, allow Invincible to burst heads and tear off limbs with greater cadence than usual. Something that, in addition, does so through spectacular, forceful and well-directed scenes in terms of the development of the action. When it comes to hitting, the series falls short as well.

Mark Greyson, another teenager with identity problems?

In front of him we find, as we have already commented, Mark Greyson. This is a 17-year-old boy who would be normal if it weren’t for his father, who is nothing more and nothing less than Omni-Man, a kind of omnipotent Superman who is far above the rest of superhero figures. Good old Mark, knowing that sooner or later his father’s powers will awaken in him, has to deal with the responsibility that this entails, but also with the expectations that his father has placed on him. This starting point serves to draw a lost protagonist, who like every teenager, must begin to position himself to mark the path that he wishes to travel as an adult. The series uses its figure and that of other characters to face social problems that have always had a presence in comics, but it has the unusual virtue of knowing how to deal with complex issues in a simple way, positioning its characters without shame, directly and without mark it, naturally.

From there, his position as the son of Omni-Man allows him to bring the viewer closer to the bureaucracy attached to this peculiar world of superheroes. Government organizations, individual interests, different groups of heroes and Omni-Man’s always haunting gaze are elements that Kirkman and his team know how to use to generate mystery and weave a plot that, for now, they know how to keep the viewer attentive. . keeping the balance between intrigue, humor and action.

There are four episodes and it already points out ways

The series, which has just started on Amazon Prime, currently only has the first fourth chapter, but the project is already pointing to paths. The team led by Kirkman has successfully transferred the essence of a very particular comic to television. Its format, with animated episodes close to an hour long, is an interesting exercise that vindicates this type of productions and brings to the table the idea that it is possible to bet heavily on animation for adults.

The result is an intelligent series that plays with the nostalgia transmitted by the straight and simple lines of his drawings to get closer to the public that consumed this type of television fiction in their childhood. But through that door an adult universe, raw and ruthless, sneaks into us, which uses the familiarity that the general public has acquired with the plots of superheroes to play on their expectations and surprise. Invincible is presented as a traditional story and little by little it reveals itself as something very different, more complex and dramatic. A series that can deceive during the first half hour, but that little by little knows how to take the viewer to his land to finish offering a dish that no other restaurant serves at this time.

Undoubtedly, these first four episodes have achieved the impact that the specialized media had predicted. Now it remains to be seen what the show will look like, but based on Kirkman’s statements of respect for the original material and recent confirmation of a second season in development, the future looks very promising for Invincible. If you like layers and have not yet approached this product, give it a try, it will at least surprise you, and that is saying a lot to this day.

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“There is no kink like Luke, I am your father.” ‘Shang Chi and the Legend of the Ten Rings’ director claims Tony Leung plays an original villain

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‘Shang Chi and the Legend of the Ten Rings’ opens in a few months and, to this day, we had seen practically nothing. Wonderful He has taken advantage of the birthday of the main actor, Simu Liu, to surprise us all with the release of the long-awaited trailer. A cash advance that promises plenty of action, humor, excitement … and a great claim to a wacky Asian cinema as a server: the entry of Tony Leung in the Marvel Universe.

The real Mandarin?

A regular contributor to filmmaker Wong Kar-wai, Leung is portrayed as the hero’s father and also as a new wonder villain, leaving a first clue about the biggest conflict that Shang Chi will have ahead. Leung brings to life a character named Wenwu, a powerful warrior who has adopted many names over time, being also known as “The Mandarin”.

Recall that the Mandarin already jumped from cartoons to the big screen in ‘Iron Man 3’ (2013), causing a strong controversy among comic fans for the freedoms taken by those responsible for the film. Thanks to Ben kingsley Y Guy pearceMarvel and Shane Black created a huge surprise that divided the public. Now it seems that another version of Mandarin is coming to us, perhaps more faithful to the comics but it is still not so clear …

Or at least, they still don’t want to present it that way. Which is fine because the movie opens in September 3 And there’s no point in gutting it all now Destin Daniel Cretton, director of “Shang Chi and the Legend of the Ten Rings”, Wenwu is an original character created for the film although, effectively, it is linked to the mysterious terrorist organization of the Ten Rings, already presented in the first ‘Iron Man’ (2008).

“Wenwu could easily have been a heartless one-dimensional villain. Tony opened up this character to be an antagonist who has a profound ability to love.Cretton declares. Marvel Studios boss Kevin Feige adds that they haven’t looked for a “twist like” Luke, I’m your father “. Shang-Chi knows who his father is and is determined to leave that world behind before he is dragged back. “

It is funny how Marvel returns to quote ‘The Empire Strikes Back’ although this time to discard the reference; the Russo brothers acknowledged seeing the classic “Star Wars” to orchestrate the devastating ending of “Avengers: Infinity War.” Whether or not he is the true Mandarin, it is unquestionable that Marvel has succeeded in signing Tony Leung, I am looking forward to seeing what he does with the character.

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‘Shang-Chi and the Legend of the Ten Rings’: Impressive trailer for the debut of an Asian Marvel superhero

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Wonderful It has been asked at the beginning of the promotional campaign of ‘Shang-Chi and the legend of the ten rings’, the first film of the study starring an Asian superhero -Chinese to be more exact-, but now we can finally take a look in the trailer and poster of this film directed by Destin Cretton, responsible for titles such as “The Crystal Castle” or “A Question of Justice”.

A long-term project

Created by Steve Englehart and Jim Starlin In 1973, to try to take advantage of the popularity of kung fu, Stan Lee himself tried to make his leap to the big screen in the 80s with Brandon Lee as the protagonist, but it did not take off until recently with Simon Liu in the lead role.

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The story of ‘Shang-Chi and the legend of the ten rings’ will begin in San Francisco following a seemingly normal person but without a fixed course in life. Of course, his past is much less ordinary, as he was trained by his father to succeed him in his criminal affairs, but upon discovering it, his son decides to follow a different path.

His father’s character has been created specifically for the film and will be played by Tony leung. Of course, be very careful with him, because from Marvel they already warn that he has received different names over the years and you may know that of The Mandarin, one of the most mythical villains of the company and whose name had already appeared previously. in the MCU….

Along with Liu and Leung we will also see in ‘Shang-Chi and the legend of the ten rings’ Awkwafina, Michelle Yeoh, Fala Chen, Florian Munteanu and Ronny Chieng. The September 3 We can check the result, since that is the date chosen by Marvel to release one of the most anticipated films of 2021.

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The eight nominees for best picture at the Oscars 2021 ordered from worst to best

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This Sunday, April 25, the winners of the Oscars 2021 will be announced, an edition of the most atypical fruit of a year of cinema very marked by the delays caused by the coronavirus. However, there is quite a level between applicants and below I’m going to go through the eight nominees for best picture from worst to best In my personal opinion, although this time it might be more accurate to speak of less good than worse …

“The Chicago 7 Trial”

The second feature film of Aaron Sorkin It is based on a script according to what was expected by its manager and the great work of its wide cast. Unfortunately, behind the scenes you can see that there is no one with enough experience to fully squeeze this stuff out, as it feels more functional than anything else, unable to really elevate the true story beyond the strength it already has in itself. . herself.

Criticism in Espinof

‘Missing’

This is what the script really falls short of. I understand that David Fincher, who embroiders it again in relation to the staging, would like to make his father’s libretto come true, but there the film wants to cover up too much and loses its shine, something that manifests itself with the passage of time from its viewing. Fortunately, we also have an extraordinary old gary to qualify that weak point of “Mank”.

Criticism in Espinof

“A promising young woman”

A twist on Rape & Revenge cinema in the #MeToo era. Personally, I think the best of the function is in a very successful Carey Mulligan in the lead role and I appreciate how playful she can be, often seeming like something she doesn’t end up being. Of course, there is mostly a detail from the script of Emerald fennell That takes me out of the movie a bit.

Criticism in Espinof

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“Nomadland”

The great favorite of the Oscars for months that maintains the formal bet of Chloe zhao at the top “The Rider” to explore the lives of homeless people who have disconnected from the prevailing lifestyle. In it, the work of a wonderful Frances McDormand, a true axis of a minimal story that is based more on the sensations it transmits to the viewer than on a refined narrative.

Criticism in Espinof

‘The father’

An approach to a very widespread reality that the cinema rarely talks about: what to do with our elders when they are no longer capable of fending for themselves. Of course, here the protagonist falls into a sensational Anthony Hopkins like a man affected by Alzheimer’s who is increasingly disconnected from reality. It is true that its theatrical origins are noticeable, but also that it knows how to use all its ingredients in search of the same goal, also leaving the viewer with a bad body but never forcing anything, and even flirting with the thriller.

“Judas and the black Messiah”

It is true that Daniel Kaluuya and Lakeith Stanfield They are the ones who shine the most in the film, but also that this could have been a monotonous biographical film and when the moment comes it is the gripping portrait of a betrayal of a person who begins with clear things and then ends torn by the need to prioritize his own survival. In addition, the film balances the role of both very well, thus offering a much richer portrait of what happened.

Criticism in Espinof

“Minari. Family history ‘

A story that starts from the everyday to explore what life is like for a Korean family in the United States, something that the film knows how to take advantage of to achieve its own entity instead of resembling similar proposals but with other nationalities. The growing dramatic element is very well managed, knowing how to enhance its most emotional side without resorting to unnecessary overloads or betraying its characters.

Criticism in Espinof

The 49 most anticipated films of 2021

“Sound of metal”

There is much to celebrate in a film that in other years would never have been nominated. From the exceptional interpretation of Ahmed rice as a musician who is going deaf, a situation that he is unable to accept, even the great use of sound to illustrate that progressive deterioration of the protagonist, but also of the community of which he is part during the second act of the film.

There will be those who expect a much more forceful proposal for the type of music that its protagonist plays, but that does not stop being a starting point that the film itself disassembles seeing how his day to day is. In this way, the protagonist’s transition is smoother, first finding a good ally in Olivia cooke, but then a much more exhilarating travel companion in a sensational Paul raci.

Criticism in Espinof

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