When you can’t be there in person, send a hologram! Darth Maul beams a remote transmission to collectors as the newest mini-bust in Gentle Giant Ltd.’s Star Wars line!
Measuring approximately 7 inches tall, this 1/6 scale mini-bust depicts Maul as he appears in Solo: A Star Wars Story, and is cast in translucent blue resin to simulate the hologram’s effect. Limited to only 500 pieces, it comes packaged in a full-color box with a certificate of authenticity. A gentlegiantltd.com exclusive!
Did you miss Solo: A Star Wars Story in the theater? Judging by the box office, a lot of you did. You can now read the collection of Marvel’s adaptation! It’s actually a good film and comic.
Solo: A Star Wars Story Adaptation collects issues #1-7.
Story: Robbie Thompson Art: Will Sliney Color: Federico Blee, Andres Mossa, Stefani Renee Letterer: Joe Caramagna, Clayton Cowles
Get your copy in comic shops now and in book stores on June 18! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.
Marvel provided Graphic Policy with a FREE copy for review This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site
When it comes to characters who exude the art of cool, there is one that stands out in science fiction, Han Solo. Harrison Ford’s portrayal of the smuggler defined what we think of the hero. He has become the prototype for what we believe all heroes start off as, reluctant. He’s basically every man and what the audience felt was their window into this expansive world.
No one necessarily wants to go against the grain. and neither did Han Solo. He just wanted to make some money by transporting Luke Skywalker, Obi Wan Kenobi, R2D2 and C3PO. Little did he know he would get caught up in an intergalactic uprising which would change the course of his life. He’s a major part of why the franchise is so popular. Fans everywhere have become ensconced in the movies’ mythology. In Star Wars Solo: Graphic Novel Adaptation, we find out how this fabled character became who he is, legendary.
We meet Han, as he steals a speedster, with his childhood
friend, Q’ira, but before they could leave, they are shake down by the local
gangster. This leads Han to take matters into his own hands, as he provides a
distraction, giving way for their escape, where they head to the closest
spaceport, and where Q’ira is snatched while Han finds his escape, vowing to
find her. This is when Han decides to become a cadet in the Imperial Army, so
that he can learn to become a pilot. Fast forward three years later, Han is
charged with being a deserter, and thrown in a pit, where he meets Chewbacca.
Chewie provides their way out, where we our heroes meet Beckett and his band of
marauders. They are recruited to do a job, one that can get them killed, as
they are pulled into a train heist, where they lose someone on the crew. Han,
Chewie and Beckett meet with their employer, which gives Han, an unexpected
reunion with the one person he though he would never see again, Q’ira. This
leads the crew to another job, to steal coaxium where we are introduced to
Lando Calrissian, as he has the perfect spacecraft for the heist, the
Millennium Falcon. When they get to the planet, they are imprisoned and from
within, Han and Chewie incite a full-on slave rebellion. This leads to our
heroes getting into a dogfight with Imperial fighters while Han races the
Millennium Falcon through Kessel in twelve parsecs. They finally arrive in
Savareen, where they are met with resistance, and someone long thought dead, is
alive. By book’s end, a few double crosses leave the crew a little lighter, Han
a little smarter and Q’ira, powerful.
Overall, a concise adaptation of this excellent origin story, one that will make fans love the character even more. The adaptation by Alessandro Ferrari hits all the right marks, while remembering who the adaptation is for. The art by Roberto Santillo is gorgeous. Altogether, a story that feels epic even in short page count.
Story: Lawrence Kasdan and Jonathan Kasdan Adaptation: Alessandro Ferrari Art: Roberto Santillo Story: 10 Adaptation: 9.0 Art: 9.7 Overall: 9.8 Recommendation: Buy
IDW Publishing provided Graphic Policy with a FREE copy for review
Ferrari (w) • Roberto Santillo (a) • Eric Jones (c)
Capturing the galaxy-spanning action
of Solo: A Star Wars Story, experience the new movie as a beautiful
graphic novel combining the wonder of Star Wars with
streamlined young-reader friendly designs. This all-ages graphic novel is a
must-read for longtime fans and a great introduction for young newcomers!
TPB • FC • 80 pages • 6-3/4” x 9” • ISBN: 978-1-68405-391-9
While I also have a top and bottom list of the movies of 2018, I love things outside of movies, too. Indeed, so much of what has happened in 2018 has been outside of movies, or blurring the lines between what movies and television even are with Netflix bringing us things like The Ballad of Buster Scruggs or Black Mirror: Bandersnatch, the first of whach was originally planned as a tv miniseries, and the latter is just. . . well, what even is Bandersnatch?
So, regardless of medium, here are my Top 5 favorites of everything.
5. Educated: A Memoir
This book hit a lot of lists of the top books of 2018 (including culture critic Barack Obama’s), but it hit especially close to home for me because, like author Tara Westover, I attended Brigham Young University in Provo, Utah. Her story of growing up kept out of public education was too familiar to me, as survivalism and mistrust of public schools were something I encountered too frequently. This is the same anti-intellectual stew that spawned Glenn Beck and the Bundys’ ranch standoff/takeover of the Malheur Bird Refuge. But Westover’s memoir is a testament to what happens when this is taken to the extreme, to the point that as an adult she had never heard of the Holocaust. It’s a great read and my favorite book of the year.
4. Detroit: Become Human
Ok, there may have been “better” games than this in 2018. (God of War, Super Smash Bros Ultimate, Spider-Man, Red Dead Redemption II) But this story of a near-future where androids begin to gain sentience and their struggle for equality was my personal favorite. It almost wasn’t a video game– it was an interactive movie.
This is one of those games where the choices you make affect the outcome of the game, and you get to choose the fate of a revolution. Will your quest for equality for androids be violent, or non-violent? What are the consequences for the other characters you’re playing as?
This hit me right in my social-justice and robot-loving heart, and also had beautiful gameplay featuring a spectacular cast of actors.
3. Sorry to Bother You
Spoiler Alert: this was my favorite movie of 2018. First time director Boots Riley delivers a searing indictment of capitalism and racial expectations, exposing a sort of gonzo form of racial exploitation that is a perfect intersectional skewering of the nexus of race and class.
It’s very rare for a movie to surprise me, and this made me literally say to the screen, “What the f@#$?!?!“
This was the only film I gave five stars to all year, and it’s something you have to see to believe.
2. Hannah Gadsby – Nanette
I had never heard of Australian comic Hannah Gadsby before this year, so imagine my shock in watching a Netflix special in which she announces her retirement from comedy and then proceeds to deconstruct what comedy is, blow it up, and put it back together again– all told against the backdrop of a heartbreaking childhood story of coming to terms with her queer identity. I never thought anything could make me feel such a rainbow of emotions over such a short period of time. This wasn’t just a comedy special — in the same way Childish Gambino’s “This is America” wasn’t just a music videos. Those were pop culture grenades tossed into the heart of the beast that blew everything up.
1. The Good Place
More than anything else this year, The Good Place ruled my heart and mind. I have not anticipated a broadcast television show like this in a long time, and in between seasons and episodes so many binges of previous seasons.
The best thing about this show that is sorta about the afterlife but kinda mostly about ethics but really just about us dirtbags here on earth and how we treat each other is how it keeps reinventing itself almost every six episodes or so. The show’s writers seem to be laboring under the idea that at some point the network is going to figure out the scam they’ve been running and pull the plug, so we’d better get through as much of this plot as possible. Where most shows would drag out their premise, this races through multiple setups in a single season. It’s refreshing, it’s smart, but it’s also stupid.
This season’s episodes “Jeremy Bearimy” and “Janets” deserve ALL THE EMMYS, especially for acting from Janet herself, D’Arcy Cardon. If you saw them, you know why. If you didn’t see them, what are you waiting for?! To Netflix! To Hulu! Begin the binge now!
It’s the best show on tv– fight me. It’s the best thing from 2018– let’s be friends and watch it together, will you please? It will make you laugh and feed your soul. Also, it has its own official podcast, hosted by Marc Evan Jackson, who plays Shawn, who ends every episode asking, “What’s good?”
The Good Place. It is good. And the best for 2018.
So, Who Won the Year?
I also like to look back at the year look for threads, throughlines, trends that indicate something. Invariably there are big winners and losers in the year. I want to quickly celebrate the top winners.
Honorable Mention: Nicholas Cage
Despite being somewhere between an internet meme and a pariah, Nick Cage still gets some pretty amazing work this year. His starring role in Mandy is like a cocaine-fueled horror fantasy made in the 80’s and then set to age for three decades soaking in LSD. But then he also showed up in the cartoons in some of the most unexpected places: as Spider-Man Noir in Into the Spider-Verse and as Superman in Teen Titans Go! To the Movies. We’re glad to see him working.
Other honorable mentions: Donald Glover, Streaming Services, Steve Carrell, Mahershala Ali, Dolph Lundgren, Michael B. Jordan
This was a good year for cults in movies and tv. Mandy, Bad Times at the El Royale, Wild Wild Country, and Hereditary. Also, the bizarre stories about real life sex cult NXIVM that involved Smallville‘s Allison Mack. So, way to go, cults? At least you have some diversity here– Jesus, Satan, new age, but all of them were big on sex, So, sex cults. Way to win 2018.
4. Emily Blunt and John Krasinski
These two not only had an amazing year, but they did it together. Blunt killed it as Mary Poppins, Krasinski brought Jack Ryan back, and then you have their on-screen duo in A Quiet Place. That movie was such a revelation– mostly about how terrible mainstream movie audiences are at making noise. But in a year when almost every top-grossing film was a sequel, franchise, or remake, A Quiet Place was a true original. Thanks to both of you. You won the year.
3. Comicsgate and the Alt-Right
Now hear me out. I know this will be an unpopular opinion, but the alt-right actually accomplished a decent amount this year, and it’s completely unacceptable. James Gunn is still fired from Guardians of the Galaxy 3. Chuck Wendig was fired from Star Wars/Marvel comics. And, they raised a lot of money through crowdfunding for various ventures.
These guys aren’t playing around. And as long as they keep weaponizing things like offensive tweets, we will lose great creators from our favorite genres.
2. Asian Movie-going Audiences
Look, America, we need to understand that most movies aren’t being made for us anymore. We can decry as braindead anything like The Meg, Jurassic World: Fallen Kingdom, Skyscraper, Aquaman, Rampage, or Venom, but those movies kill overseas. There are very specific motifs and types of shots that work there that we as American audiences just aren’t picking up. This is going to have reverberations for years to come.
What’s the major difference? You can make a strong argument for diverse casts and female leads — giving us hits like Black Panther or The Last Jedi — but those movies generally just sort of do ok overseas while overperforming in the US.
That says something comforting about our country and culture at this time. But it says some things that should maybe be concerning that we won’t get complex stories like these in the future while we spit out more Venoms.
Perhaps the biggest irony in all of this is the alt right crusaders who don’t want diversity in our movies, shows, and comics will find common cause with the globalists who will continue to churn out lots of braindead action movies starring heroic dudes. Sigh.
But let’s talk about Black Panther for one moment. It’s arguably the most culturally salient and important piece of pop culture of the year, with Infinity War not far behind. For all their evils as a corporate overlord, we got something truly important for a lot of people to see — an authentically black superhero story that deals with identity, a history of violence and oppression towards the African diaspora, and that leaves us remember that “in times of crisis, the wise build bridges while the foolish build barriers.”
When the box office receipts went off the charts, you gave back– founding an actual charity to do the work of STEM education and scholarships like T’Challa and Shuri wanted. Thank you, Disney. For an evil corporation, you sure gave us a lot of what we loved this year. You win.
[tie] 1. The City of Oakland
Speaking of Black Panther, one of the most important pieces of the film is how director Ryan Coogler brought his Oakland roots into the film. That moment when you realize the voiceover from the beginning of the film is of young Erik and his dad N’Jobu (“Tell me a story of home.”) and the entire basis for Killmonger’s wrath is based on the economic oppression of being raised in poverty in Oakland and what he had to do to escape it. It ends with a hopeful note in the same building, that future children will not have to face such hardship. “Who are you?”
I already mentioned my love of Sorry to Bother You, but that film is not possible without Oakland as a backdrop. The same is true of another of my favorites, Blindspotting, which takes a similar look at poverty, gentrification, and violence. And then we have Bodied, the rap battle movie produced by Eminem, which plays a major part in the film, but whose setting is split between Berkeley, Oakland, and Los Angeles. Still, Oakland as a force is in that film.
And then there’s real life. The Golden State Warriors win the NBA Championship. A white woman calls the cops on a black family having a cookout at an Oakland city park at Lake Merritt and becomes known as “BBQ Becky.”
And then heartbreak. The Oakland Raiders plan to leave for Las Vegas looking for more corporate pork and handouts.
To understand what is going on in Oakland in film and culture is to understand a microcosm of what is happening in so many cities across the country facing gentrification and economic pressures that are displacing historically black populations. It is why I recommend to everyone they see each of these films I mentioned here and think about what is actually happening.
(W) Robbie Thompson (A) Will Sliney (CA) Phil Noto
In Shops: Nov 21, 2018
THE GREAT TRAIN ROBBERY!
• HAN SOLO and CHEWBACCA throw down but ultimately unite to escape the Empire and join BECKETT’s crew!
• But will this ragtag group of thieves be able to pull off the train heist of their lives?
• And what happens when ENFYS NEST arrives to take the stolen coaxium out from under them?
• Featuring scenes not seen in theaters!
It was a record weekend at the box office. Sony‘s Venom delivered an estimated $80 million opening topping the previous October best opening by more than $20 million. That opening is better than Marvel’s $75.8 million opening for Ant-Man and the Wasp earlier this year and just behind Solo: A Star Wars Story‘s $84.4 million.
The film appears to be bullet proof from reviews as it received largely negative ones from critics and a “B+” CinemaScore from the opening day audience. The audience was 59% male and 36% of the audience was age 25 years or older. That’s much younger audience than expected and indicates kids are driving this film’s success.
Internationally, the film opened with $125.2 million from 58 markets for a record October opening of over $205 million. The film opens in France next weekend, Japan in November, and China’s release has yet to be dated.
Without superhero competition for the foreseeable future, it’s unknown what the drop will be in the second weekend. But, with a budget of just $100 million, the film is already looking like it’ll be quite profitable and another success for Sony’s Spider-Man franchise which earn on average $318.8 million domestically, $488.4 million internationally, and $807.2 million worldwide. The film’s budget though is less than half the average Spider-Man film which average $209.5 million.
In second place was A Star is Born which opened with an estimated $41.3 million. The film received an “A” CinemaScore and with its 66% female audience and 86% age 25 or older, the film should have some legs for some time.
In third place was Smallfoot which dropped 35% from the previous weekend with an estimated $14.9 million. It has earned just shy of $43 million after ten days domestically. It also added $11.7 million internationally and has crossed $75 million worldwide.
Night School came in fourth with a 55% drop in its second weekend. It earned an estimated $12.3 million to bring the domestic total to $46.7 million. Internationally it also earned $3.4 million for a foreign total of $12 million an global total near $60 million.
Rounding out the top five was The House With a Clock in Its Walls which dropped 42% in its third weekend earning an estimated $7.3 million for a domestic total that stands at $55 million.
When it comes to other comic films…
Ant-Man and the Wasp held steady at #27 earning an estimated $132,000 to bring its domestic total to $216.4 million.
We’ll be back in an hour for a deeper dive into this year’s comic adaptations.
On the docket this week: The geeks talk about Deadpool 2 and Solo.
As always, the Alex and Joe can be found on twitter respectively @karcossa and @jc_hesh if you feel the need to tell them they’re wrong individually, or @those2geeks if you want to yell at them together on twitter or email ItsThose2Geeks@gmail.com.
Thanks for listening, and we’ll see you in the future!
The Incredibles 2 was, well, incredible at the weekend box office. The film had an amazing opening shattering the previous record for the opening of an animated film but it’s also one of the top ten openings of all-time.
Incredibles 2 earned an estimated $180 million which beat Finding Dory‘s $135 million opening, the previous best opening for an animated film. That total is te eighth largest opening of all time beating 2016’s Captain America: Civil War‘s $179.1 million.
Internationally, the brough in an estimated $51.5 million from about 26% of the international market. That’s a global total of $231.5 million.
The film earned an “A+” CinemaScore and everything says this film will likely cross $500 million domestically.
Ocean’s 8dropped to second place with an etimated $19.6 million to bring its domestic total to $79.2 million and $116.3 million worldwide so far.
Tag debuted in third place with an estimated $14.6 million. The film was slightly below expectations. Internationally the film eaned $1.4 million in seven markets.
In fourth place was Solo: A Star Wars Story which earned an estimated $9.1 million to bring its domestic total to $192.8 million. Internationally the film earned $5.2 million to bring its worldwide total to $339.5 million.
Rounding out the top five was Deadpool 2 which earned an estimated $8.8 million to bring its domestic total to $294.7 million. The film also added $9.8 million internationally and has now earned $689.5 million worldwide. The film is now withing $100 million of the original. It’s overperforming the original overseas where it has earned 57.3% of its grosses compared to 53.6% for the original.
In other comic movie news…
Avengers: Infinity War came in at #8 for the weekend adding an estimated $5.3 million to its domestic total. The film has earned $644.2 million domestically. The film crossed the $2 billion mark, the fourth film ever to do so, and has earned $2.020 billion.
Black Panther slipped one spot to come in at #26 and added $147,000 to bring its domestic total to $699.6 million after 18 weeks. Worldwide the film has earned $1.346 billion.
We’ll be back in an hour to dive deeper into the numbers of 2018’s comic film adaptations.
Ocean’s 8 topped the weekend box office with the best opening for the franchise (not adjusting for inflation). With an estimated $41.5 million, the film outperformed estimates. It also earned $12.2 million at the foreign box office bringing its total to $53.7 million for the $70 million budgeted film. It will face tough competition as Incredibles 2 opens this coming week and Jurassic World: Fallen Kingdom the weekend after that.
The film earned a “B+” CinemaScore from the audience and was 69% female and 69% aged 25 years or older. The 11% that was 18 years or younger gave the film an “A” CinemaScore. We’ll see what the legs are but the film could be counter programming for the over the top summer films.
Dropping to second place was Solo: A Star Wars Story which earned an estimated $15.15 million bringing the domestic total to $176.1 million. The film also earned an stimated $11.3 million overseas to bring that total to $136.1 million for a global total of $312.2 million. The film has yet to open in Japan which happens on June 29. Expect this film to struggle to make it to $400 million worldwide.
Deadpool 2 slid to third place with an estimated $13.7 million to bring its domestic total to $278.7 million. Internationally the film added $18.5 million to bring that total to $376.6 million and a worldwide total of $655.3 million.
Fourth place say a new film, Hereditary which is the movie buzz right now. Driven by a strong word of mouth, the film earned an estimated $13 million beating projections. With a budget of just $10 million, everyong must be happy. Interestingly, the film received a “D+” CinemaScore from audiences. The audience was 58% male with 74% under 34 years of age.
Capping of the top five was Avengers: Infinity War which earned an estimated $6.8 million to bring its domestic total to $654.7 million. It added $10.9 million internationally to bring its worldwide total to $1.998 billion. It’ll be the fourth film ever to top $2 billion.
Jurassic World: Fallen Kingdom opened in 48 overseas markets bringing in an estimated $151.1 million. It opens in North America on June 22 and rolls out in 21 overseas territories over the month. China is on June 15, Australia and Brazil June 21, Mexico is June 22, and Japan on July 13.
In other comic film news….
Black Panther dropped a few spots to come in at #22 with an estimated $137,000. The film has brought in $699.4 million domestically and $1.346 billion worldwide.
We’ll be back in an hour with an even deeper dive into 2018’s comic films.