Russo Brother’s Announce Plans For’Avengers: Infinity War’ Part I & Part II

With the UK release of Captain America: Civil War right behind them, and the US release pending, people might think the Russo Brother’s would want to wind down a little, have some time on the down low.

People might be wrong.

In the space of 24 hours, Joe and Anthony Russo have announced two of their plans for Avengers: Infinity War, the two-part feature coming in 2018 and 2019 respectively.

The first bit of news, is that the Russo brothers are planning on a name change for the two titles. So far, Infinity Wars is just a working title it seems.

“It is misleading,” stated Anthony Russo, when asked about the current two-part title for Infinity War.

“The movies are two very different movies,” said Joe Russo, explaining why the title change has come about. “The intention is we will change it, we just haven’t come up with the titles yet,” he said. “But, yes, we will change it. And, yes, that is a scoop: we will retitle them.”

To top off this title change, the Russo brothers then made a nod to how Captain America: Civil War will affect things for Avengers: Infinity War (don’t worry, no spoilers here folks!)

What we do know about Captain America: Civil War is that it features Marvel’s biggest and bravest facing off against each other, in a heated conflict that’s ripped the team into two sides. Regardless of however the Russo’s choose to tell that story, it’s a story that will have an impact that will carry on through, and set the tone for Phase 3.

According to Joe Russo, that’s exactly what he had planned;

“What we love about [the Marvel Cinematic Universe] as storytellers is that we get to tell a story over the course of movies. We get to take the characters on journeys that, again, can be unique to the cinematic experience. So knowing that we’re doing ‘Infinity War’ really informs ‘Civil War’ because we knew we wanted to leave the characters in as complicated a place as possible to set up Infinity War.”

Scary words, Mr Russo, scary words – and yet also, completely reassuring that the MCU and the fate of the Infinity War movies are in the completely right hands. The whole point of the Cinematic Universe is that it’s a universe, and these movies have got to tie into one another and balance each other, even when it’s completely different directors and writers. It’s much like the link people make between Iron Man 3 and The Avengers; Age of Ultron – IM3 effectively ended in Tony Stark retiring and destroying all his suits, and then Age of Ultron opened on him kicking ass, running the Stark Tower as the Avengers Tower, and still very much working as a superhero, with no reference to the arc reactor he had removed from his chest.

The fact that the Russo’s are treating every project they’re given by Marvel as a careful piece to a bigger story, making sure they’re leaving their ends ready for the next beginning, is a massive reassurance for Marvel fans.

Avengers: Infinity War Part I is due 2018, and Part II is due 2019, pending name changes.

Agents Of S.H.I.E.L.D. SN3E16 – ‘Paradise Lost’

This review contains spoilers.

Last weeks episode, ‘Spacetime’, finally saw the rise of Hive over Malick, and Daisy was shown a horrifying vision of someone on a shuttle in space being killed in an explosion.

‘Paradise Lost’ opens on a mansion, with a lot of black, old school cars leaving it’s grounds. We’re then informed the year is 1970, and that the two boys are in fact Nathaniel and Gideon Malick – and that this is their fathers funeral. They’reordered into a car and taken to none other than Whitehall. As the car rolls by, we’re brought back to the modern day .

This episode was absolutely fantastic. Filled with wonderful acting, intense scenes and a phenomenal ending. This episode not only moved pieces for the finale forward, it flung them at the audience with a lot of aggression.

The Kickass Parts;

I loved seeing Hydra’s belief system broken down – it’s finally made Hydra look like a larger organisation with different belief systems and branches, rather than just one cult-esq driven united front. It added some serious depth to these guys, making them more like separate forces rather than just hashing out the same murderous villain each time.

I also enjoyed seeing Whitehall again – he was scary as all hell, and he helped add to that layered belief system of Hydra’s – he absolutely mocks the Malick family beliefs, and asks the boys to join his Hydra. Gideon vehemently refuses this.

Leading off from this, I absolutely loved watching Malick’s belief system be so utterly shattered. Usually, Hydra are pretty damn unwavering in everything they do – because most of what they do is murdering and leading the way for world domination. The Malick Family belief was that someone would bring back the exhiled Inhuman and that this would grant them untold amounts of power and control. Granted, it’s still world domination, but it’s very much a deity method of doing so. So watching that firm, almost arrogant belief he has be pulled apart is fascinating – Agents of SHIELD has always been great at character development and emotional stories, so this is just awesome. Top it off with the fact that Malick’s beliefs are being torn to shreds by the very thing he worships – Hive.

Hive taking over Malick’s house – damn. He’s shown in this episode he is in total control over Malick, and it’s so very obvious how frightened Malick is of Hive now. He has absolutely no trust in him, and he’s completely devoid of the arrogant happiness he had earlier this season. I also really love watching Malick’s daughter, Stephanie, and how she interacts with Hive. She follows him with the same awe and devotion that Malick began with, and it’s fascinating to see that contrast of an intense believer vs. someone whos faith has been shaken.

We can also see exactly why Malick fears Hive so much in this episode. Malick reveals the vision that Charles showed him in the last episode; the vision is of his own painful, violent and bloody death. I do really feel like the writers are turning up the violence this season – the vision, which we also get to see, involved Malick’s eyes full of blood and swelling to the point of bursting, while he screams with blood pouring down his head. It’s really intense and creepy, and it’s genuinely understandable as to why Malick’s more terrified of him than anything else. It’s not just that this idol he discovered is more powerful and out of his control – it’s that he saw a future where this idol, who he was promised would grant him an incredible life, is tearing his body to shreds.

We’re also part way to finding out what Hive is, and as we all probably predicted when Ward’s gross skin-crawling corpse showed up in the mid-season finale, it’s not good. Simmons inspects some data and finds out that the way in which Hive is tearing these bodies apart, is that he’s sending parasites to feast on them. Worst part – these little parasites aren’t controlled by Hive – they are Hive. Which is about a thousand times worse and disgusting.

We also kind of get a reveal of Hive’s “true self” – and it isn’t looking pretty, even from the back. The Malick’s and their audience didn’t look overly thrilled at the arrival of this HYDRA Alien they’d all been waiting for, for all these years.

We’re also introduced to a would-have-been Inhuman, James. He’s Australian and clearly beyond paranoid, with minefields planeted around his trailer property, a huge barbwire fence, and a gun in his hand upon arrival. It’s absolutely fascinating to watch him, because he is angry, and he’s clearly feeling the emptiness Lincoln mentions all Inhumans have before they go through the change. Lincoln dangles the Terrigan Crystal right in front of his eyes, and when he pulls it away, James is furious – lashing out and spitefully telling Daisy nods to Lincoln’s past. He’s clearly bitter, and has some drinking and trust issues brewing. I would like to see more of Jiaying’s failed Inhumans explored, and find out just how banishment or denial has affected them.

Of course, to finish off this section – the fight scenes. The fight scenes always get a mention in these reviews, but that’s because they always look absolutely fantastic. This weeks episode had one particular fight scene I adored – May vs. Giyera. This scene was excellent in every single way. The scene looked fantastic for one thing – it was in a stark white room with two people in black gear, who also have dark hair. It just looked awesome. And then the choreography is utterly mind-blowing – Giyera’s fighting style is one I haven’t seen in this show before, and it was so inventive and painful looking. Let’s also give a massive shout out to Melinda May running up a wall and using it to backflip over Giyera. Iconic.

Family moments;

There were some great bonding moments in this episode, and not all of them SHIELD related.

In the SHIELD department, I thoroughly enjoyed Phil and Fitz’s talk about Ward – about whether or not Ward “deserved” to die, and if that’s what SHIELD is about. It’s an interesting conversation to see them have – by all accounts, Ward was vicious and dangerous, putting him down most likely was the right choice. But in Phil’s eyes, it was the right choice done for the completely wrong reason – once again, it’s SHIELD discussing openly about doing the wrong thing for the right reasons, and doing something that could lead to positive results but doing it for personal reasons.

I also really liked this small interaction between Daisy and Mack (yay, Mack’s back!) where he gives her a nice hug and they just talk. It’s so small, but it’s because it’s so casual and looks so comfortable that it’s so important in showing team dynamics.

Also on team Daisy, there was a really great moment between her and Lincoln. I like seeing Lincoln break down – not because it’s funny to see someone try and rebuild their whole life, but because it’s so interesting. Lincoln was a vision of pure calm and serenity when he was at Afterlife – after that all ended, we’ve watched Lincoln react with fear and in some cases violence. He’s not in control the way he was in Afterlife, when his days and life were planned and everything was fixed and perfect. Now he’s been flung full force into the real world, and it’s a lot to take.

I also enjoyed finding out more about him, and this episode featured some pretty dark stuff. It explains that Lincoln was once a violent alcoholic, struggling to fill this empty depression inside him, and that he caused a collision drunk-driving that nearly killed the last girl he was with. Luke Mitchell brings a lot to that confession, with so much emotion in every movement. I’m really enjoying his performance as Lincoln, and I’d like to get to know more.

Honestly though, the family that truly stole the show this episode? The Malick family.

The writers of SHIELD did such an incredible job on this, and I’m beyond pleased Malick isn’t some schmuck Hydra villain they churned out – he had a family and a lot of raw emotion went into it.

There was obviously the relationship with his brother – he put a lot of work into defending that relationship, and trying to keep the truth about their father. There was then the awful moment he betrayed him, and the look on their faces as it happened. It’s clearly a stand-out moment in Malick’s history, one he’s kept hidden all these years. It was so painful to watch Nathaniel talk to Malick through Hive – the horror only coupled by Brett Dalton nailing it by completely changing the tone, by matching this young man Hive met in the 70’s perfectly. It’s a raw, wonderful moment and I loved/hated it.

Then, of course, there was Stephanie Malick. This episode well and truly mastered the art of presenting a deep, loving relationship to it’s audience, before absolutely decimating it. We spend the whole episode watching Stephanie support her father, and her talking about how he’s supported her too. It’s made very obvious that through high and low, in his own way, Malick has supported and raised his daughter with only the best intentions, with love and the need to make her strong and independent. Stephanie then spends this episode bonding with her dad, teasing him and reminding him of the lessons he taught her – they share a scotch in front of the fire and he thanks her, for reminding him of how he should be. It’s incredibly touching and loving, and not what I expected from a family built on Hydra values.

It’s what makes this episode all the more utterly horrifying when it rips your heart out as Hive murders Stephanie in front of her father. First, he completely breaks down her trust in her dad and outs him as a traitor and a coward. Then, when the moments right, he just straight up kills her from the inside out, messily and painfully right before Malick’s eyes. To then add to this, he drops her corpse on the hands with a non-chalant wave of his hands and this statement; “now you know the true meaning of sacrifice.” It’s so beyond cold, and vicious.

I’d like to also take this moment to mention the music choice for this episode, for one particular scene, was perfect. Malick is drinking a scotch in his daughters chair, sitting in front of the fire they were looking into not that long ago. The music playing is this sad, slow piano tune – then as Hive rests his hand on Malick’s shoulder, and tells him he no longer has anything to fear, the music takes this jarring drop. It’s so perfect, and the delivery of the line after the events of this episode gave me absolute chills.

I am pleased to say I have absolutely zero “meh” moments this episode – this was a really solid, exciting episode from beginning to action packed ending.

The ending then leaves us with this; all of our team aboard the bus have been captured by Hydra, taken in by Giyera. The only two outstanding members are Daisy and Lincoln – and Lincoln and Daisy agree it’s time to call in the people on the Secret Warrior’s Initiative. This episode also leaves us with a reveal from Daisy that the vision she had, of the SHIELD agent aboard the exploding space craft, is actually a member of their own team.

This episode was beyond solid, and with an episode focused entirely on Daisy’s recruited Secret Warrior’s only a moment around the bend, I am so excited for this action and fantastic story-telling to keep building on this show.

 

Agents Of S.H.I.E.L.D. SN3E15 – ‘Spacetime’

This post contains spoilers.

This weeks episode leads off from “Watchdogs”, where we got an inside look on how Maleck is turning Trolls to Terrorists and investing in weapons on a mass scale, while simultaneously we get introduced to Mack’s Inhuman fearing brother, Ruben.

“Spacetime” begins with a homeless man carving a small bird outside the back of a restaurant, and he’s then asked to please leave by the owner because him sleeping out there has put off customers coming in. The owner, realising what’s asking is harsh and unfair, reaches out to give the man some money for a hot meal. The homeless man freaks out and tries to move away – understandably, because when he touches the own, he writhes in pain, staring at the sky and choking, seeming to have some kind of seizure.

After the title card, we are then led to a 911 call recording, in which the attacked owner asks for Daisy Johnson. Understandly, the team are more than confused, especially as this person has zero involvement with SHIELD or any other government body. They get to the scene, to find this owner narrating a sequence of events; then, we watch as the next five minutes play out a horrific massacre – a massacre the owner saw coming. And as Daisy races to catch the homeless man they’ve established as an Inhuman, her fingers brush his – and a horrifying series of events that SHIELD must prevent are shown to her.

This episode was off the chain amazing. For the past few episodes, the audience has been waiting for something to happen – and episode fifteen took us there.

The kickass stuff;

Man, where to begin.

I’ll kick off with this weeks Inhuman – I really enjoyed it. I know the “tortured powered person who can’t touch others” thing has been done a lot, but this was portrayed really well. His power wasn’t just hurting people – it was revealing terrible futures to them. Not only that, but the whole process was excruciatingly painful.

Then, as his past comes out, we find out he was a happy man named Charles, with a wife and a little daughter. After he went through the transition, he left, because not only could he never touch his child again, but if he did ever touch her it gave her nothing but absolute pain, and visions of death. The writing of this episode, combined with the acting of both Bjorn Johnson and Lola Glaudini (Charles’s wife) really portrayed this as absolutely agonising and a heart-wrenching decision he had to make.

Once again, fight scene choreography. I mention this every single review, but hey, when this show stops giving good fight scene, I’ll stop mentioning them. But, seeing as the fight scenes were all wonderfully executed, with gorgeous cinematography and fluid, violent motions, I’m going to keep mentioning that they were great.

Speaking of awesome scenes, I really loved the whole, rushing to change the future stuff – I know, again, it’s done a lot in sci-fi TV shows, where somehow the future is shown to them and the future is awful, so they rush to change it – and they either change it, or the exact same outcome comes about but just in a different way they expect. Watching them rush to change fate, and then how everything falls into place and comes around exactly as Daisy saw, is absolutely amazing. I love putting the pieces together, such as when Daisy thinks Phil is shooting at her and it turns out she’s looking at him in a one-way mirror. This show executed this racing against the future plotline really well, and I thoroughly enjoyed watching it all unfold.

HiveWard is back and goddamn, Brett Dalton, can I get a round of applause for you? His acting this episode (as it has been the entire time he’s been in this show) was out of this world. No pun intended, I guess. Seriously, though, he’s kicked it up into damn good villain notch – again. He looks fearsome, he’s quiet and incredibly formidable. He’s so calm and absolute, and is so all knowing whilst being so new to the Earth. His intelligence and calmness is so measured and easy, that it’s terrifying to watch him, never knowing what he’s going to do next.

What makes HiveWard so much worse is the calmness in which he executes everything. At least with Malick, you can read his emotions – he’s happy, or lying, or angered. For a villain, he was fairly easy to read for an audience; he was generic bad guy 101, here to take over the world.

Hive is an entirely different ball park because he gives away absolutely nothing. He tells people what to do, with no rhyme or reason, he just asks that they do it. He’s calculated and completely devoid of emotion; that is a million times worse than any crazed man looking to take over the world, because this is someone who can, and will, calmly strip human beings down to bits of flesh on a skeleton, and then carry on a conversation as if all he did was bump their arm a bit. That is the sign of something ultimately horrifying.

Finally, I just want to throw out here how goddamn violent this episode was. Like, there was a moment in this episode that made me scream “HE MOUNTAINED HIM!” – Game of Thrones fans, you know what I mean.

Yeah. I’ve mentioned before that Agents of SHIELD, whilst having some gross moments, was never overly violent. It rarely crosses particular lines, especially not the lines its more violent friend Daredevil tends to take – so when it does cross over into violent, bloody territory, it’s always all the more shocking and engaging. The whole episode was full of a lot of blood, death and really graphic imagery that most Agents of SHIELD fans won’t be used to. I mean, not only did that poor schmuck have his entire head crushed, there were other moments, including the pure beating Daisy took. It was so drawn out and aggressive, and it genuinely made you feel like there was a rock in your stomach, watching her suffer that way.

The “Family SHIELD Team Moments;

This episode was not only ripe with kickass stuff – this was such a great episode for character bonding time.

Phil Coulson, back with the quips as always;
“I haven’t seen the original Terminator.”

“…You are off the team.”

And also – “Yeah. Day got weirder.”

I am also completely and utterly here for the “Papa Phil” thing – I don’t care, Phil looking out for Daisy, struggling to cope with her name change and slipping up, and oh the look on his face as he tells her to, “Just come back safe” – it melted me. It’s been a while since we saw Phil care for Daisy the way he seemed to fret about her 24/7, and I’ve missed that dynamic. Now, if we can bring back “A.C.”, please.

I really loved the scenes where they try and re-create the vision Daisy had so they can stop it happening – by sending May instead, and walking her through every single moment. Obviously, this was an important sequence, but it was really good to see them all working so hard together, to watch them try so hard to pull this all together. They looked adorably goofy doing it too.

Final family moment, and this one really broke me, starting with a line from Phil Coulson – “If you don’t go and be with him right now, you’re gonna regret that for the rest of your life.” Andrew, seconds before they get May ready to leave to face Malick and HYDRA, is brought into their base after surrendering himself. He’s about to change for the last time, and he wants to say goodbye.

This whole sequence was pretty awful – May was throwing her all into finding Lash so she could put him down, and then Andrew came to her, calm and knowing, and needing to say goodbye to her. It was a really awful scene, after everything they’d been through and their incredibly rocky relationship, to watch as May witnessed the destruction of the man she loved. It was brutal.

The “meh” stuff;

Honestly, I loved this entire episode. I had but one fault – why did Charles die? Like, I mean, I know he got grabbed by the throat and all by RoboMalick but…nothing, seemed to happen except he got gripped a bit hard? And given the tonne of bloodshed and the crushing of a mans skull that took place not even fifteen minutes prior, you’d think they wouldn’t have an issue being a bit more graphic and clear on why Charles just decided to die then and there. But as I said, this is my one gripe.

Overall, this was such a solid episode. Finally, it’s moved things forward, and not only has it moved them forward, it’s moved in significant and engaging steps. This episode was action-packed, with emotional moments, wonderful characters and fantastic writing. Top it off with the fact Hive has very clearly become the head villain to deal with as the season finale creeps upon us, I’m really excited to see what this show is going to throw at us next. I’m also very interested to see what Malick’s death vision was, and what it is that’s got him so shaken up.

My prediction so far, is that Malick has waded into something way bigger than himself that he cannot hope to control – but I think we all saw that coming after two seconds of HiveWard. I also have a very big feeling that Lash is going to become part of the plan of dealing with Hive – he’s an Inhuman who has a primal urge to murder other Inhumans. And Andrew did say he felt like he had a purpose – so I think this will be it.

I’m also really interested to see what this recurring vision of the view from space, with the cross necklace and the SHIELD logo burning up horrendously – because this isn’t the first we’ve seen of that, and I doubt it will be the last. I’m hoping it’s not a horrific sad sacrifice but when has this show ever been afraid of killing someone?

Also, I’m anticipating perhaps Hive gathering them all in one room under Guest Right then stabbing them in front of their parents. No, just me?

Next episode will be Paradise Lost, airing on Tuesday 12th April.

Casting News & Director For ‘ Captain Marvel ‘ To Be Announced This Summer

Move Over Guardians of the Galaxy, the Marvel Cinematic Universe is about to get that much more busier when Captain Marvel arrives on the scene.

News of a Captain Marvel film has been public knowledge since Marvel’s press-event in October 2014, showcasing their upcoming Cinematic slate . What has remained tight-lipped however has been exactly who will portray the popular heroine and the Director that will helm the ambitious project.

In an interview with Fandango, Marvel Studio’s President Kevin Feige revealed that fans guessing game as to the identity of the lucky actress that will embodied Captain Marvel’s alter ego Carol Danvers will soon be over. “I think we’ll be announcing a filmmaker in the next month or two, and probably some cast members later in the summer, at the end of the summer.“

From Sci-Fi icons such as BattleStar Galactica’s Katee Sackhoff to Buffy The Vampire Slayer’s own Eliza Dusku – and even UFC Megastar Rhonda Rousey – fan speculation has been rife as to who should be awarded the role.

Feige also hinted as the nature of the standalone Captain Marvel film, revealing that it will serve as an origin story “about Carol Danvers and that journey to being Captain Marvel.“

Captain Marvel is currently slated to hit theaters on March 8, 2019.

For all your Marvel-Cinematic-Guessing-Game-News, stick with @mitch_rated only on Skatronixxx

Agents of S.H.I.E.L.D. SN3 EP13 – ‘Parting Shot’

This review contains spoilers.

Last weeks episode finished off with Hunter and Bobby in the belly of a plane that Malick is riding off in, after his success in turning Anton Petrov to his “cause” and convincing him that Phil Coulson is the head of Hydra.

The episode opens on Bobby and Hunter being interrogated by Russian authorities. After a small sequence, we cut to Bobby and Hunter elsewhere – and a caption reads ’34 hours before’ – instantly, I’m excited. I’m a huge sucker for narratives where you’re presented with a current situation, and then the rest of the time is spent showing you how the characters got there.

Kickass, really great things about the episode:

This was a really Hunter and Bobby centric episode, and seeing them work together was actually really great. We haven’t had a hugely intense look at them working together in SHIELD so a whole episode dedicated to them? Awesome.

It was also cool to see them discuss their relationship in terms of SHIELD, and them bringing up the sacrifices they’ve not only made as a couple (never getting to go away together, no honeymoon), but as people – namely, the fact SHIELD constantly makes alliances with people they shouldn’t, Ward being a prime example. They constantly talk about the ‘Greater Good’ but then they end up getting damaged later.

The fight scenes this episode were incredible – they were really wonderfully choreographed, as per usual with this series, and there were some really stand-out moments – slow-mo Daisy kicking ass, Daisy and Bobby fighting together, and Bobby and Hunter fighting off security guards. It’s just awesome.

The episode twist, of going from Espionage to Assassination real damn quick. I loved that the initial plan was infiltration and intel gathering, because SHIELD is in a terrible position, and if Russia thought America was coming in hostile on them, it would cause a lot more problems for just SHIELD. I also liked this weeks Inhuman – a man who could manifest his shadow as a sentient being. He was also a political Inhuman, and the first of his kind.

Enjoyable family moments I loved:

So first things first, MACK IS BACK. After his mysterious just not, being around at all for the last episode, I was glad to have him and his sarcastic quips back. I also have a note about this particular exchange;

“You’re going to need some transport, is that going to be a problem?”
–Insert Hunter punching a Russian man in the face-
“No, I think we’re good.”

What we also learn from this episode are that Hunter and Bobby are the King and Queen of bullshitting. The detective interrogating them says something along the lines to Hunter of “It’s impressive. How you can talk about absolutely nothing and make it sound like information” – that sounds an awful lot like most adults.

FitzSimmons are BACK! Finishing each others sentences and working together again – it’s really fantastic to see and it made me really excited. This was especially heightened by the fact that Hunter apparently shares nature documentaries about the planet dying with the two and gets them to watch them so they can all sit and discuss it together – absolutely adorable.

I think we all also know the ultimate team moment of this episode: the ending. But I’ll come to that later.

The “meh”/”why.” stuff;

 This episode didn’t have many moments I didn’t like – but one moment I did sigh at was May’s speech to Hunter about how she’s still angry about him shooting Ward even when it could cost Andrew (SN3 EP4 – Devil’s You Know) – but then she talks about how SHIELD is for the great good? Don’t get me wrong – anyone and their dog knows Hunter’s choice was driven mostly by vengeance for Bobby, but considering Ward was the head of Hydra, and he had a metric tonne of weapons at his and Hydra’s disposal, I would honestly say he made a better call than risking Ward getting away. So I feel like that moment was a contradiction – but, it did lea to Hunter and May being friends again, and Hunter making quips later to her that she smiles at.

Overall, I really liked this episode – I feel like it’s my favorite so far of 3B. The narrative was great, the cinematography and fight choreography was really something else, and it was one of those great episodes where the team act like a family. I also felt like this episode, while seemingly filler, moved character issues forward a bit more. We had a major change in the teams layout, and it also gave a close look at just how precarious a position that SHIELD is in right now. This precarious position is only more heightened by the fact Malick has political influence all around the world – making him all the more formidable, because he is untouchable.

The final scene of this episode with The Spy’s Goodbye broke my heart. It was such a bittersweet ending, and by the time the second shot had been purchased for Hunter and Bobby’s table, I was an absolute mess.

It was such a beautiful way to say goodby to two really significant characters from the SHIELD roster, two agents that have come so far and become such an integral part of the team. It really solidified that these people aren’t just spies who work together – they’re a unit, they’e friends and they love each other. This final scene was so perfect, and a fitting farewell to two great Agents – for now, at least.

Seeing as their was no hide nor hair of HiveWard this episode (which surprised me considering his huge dramatic ending in The Inside Man), I imagine next episode will bring him forward. Given the ending of the episode featuring Malick’s daughter who wants to meet “someone” – and I can only assume that someone is Hive.

I’m hoping that from this point on, with the new team and information, we’ll start to see major progress and we’ll build up to an incredible, action-filled finale that this show has now become famous for.

Agents of S.H.I.E.L.D. SN3 EP12 – ‘The Inside Man’

This review contains spoilers.

Last episode, we left off on HiveWard playing the worst game of ‘pull my finger’ known to man, whilst Coulson and the team gear up to take on Malick, to take down the final head of Hydra once and for all. Alongside this, we find out the President has assigned our favourite General Talbot as the new head of the ATCU.

 This weeks episode is largely a good, old fashioned undercover episode. It’s good to see these kinds of episodes where the whole team work undercover with new stories and names, and show the spy work SHIELD also does outside of helping the Avengers.

The episode starts with a flashback to the mid-season finale scene where Coulson kills Ward by crushing his heart inside his chest – because what better was to violently and personally kill the man who shot the person you love?

The flashback then proceeds to show the gross and violent possession of Ward’s corpse, and a series of flashbacks of Ward’s life before and after Shield before it cuts to his possessed face opening it’s eyes and saying “Grant Ward. I wish we could have met under different circumstances.” It makes Hive all the more terrifying that to accompany his ever decomposing Ward-Suit, that he constantly refers to himself as “we.” – and the other part of the “we” there probably isn’t Ward.

Then, they proceed to drag in Lucio, the Inhuman cop from Bouncing Back who can paralyze people simply by looking into their eyes – at first he’s bandaged, but then Hive demands to see his eyes. Creepily (but kind of predictably enough.), Hive isn’t hurt by this Inhumans particular power, which naturally causes Lucio to be just a little bit on the afraid side. Then Hive proceeds to step backwards out of an outline of his body, and when Lucio asks “what are you?”, Hive responds with “What are we?” before sending the outline of himself forward. Yikes.

Then, we open up the episode post the Agent’s of S.H.I.E.L.D logo and we’re in an airport with General Talbot and his very angry wife, Carla. He’s asking her not to leave like this, to which she angrily responds telling him he’s always put his work above his family, and now they’re paying for it. Talbot calls after her, looking rather defeated, that he will fix it – and Carla storms away with one last disappointed look. I can’t help but feel a bit sad about it – it was fairly obvious from their last interactions that they have a deeply loving relationship. (Taco Tuesday’s was so adorable.) Then Phil meets up with him, and they proceed to talk/argue about their roles and relationship now, and about the undercover operation they’re involved in – and then we find out shortly later, much to the others agents horror, that Talbot has Creel on his side.

The next 40 minutes of the episode, we’re treated to Talbot and his overwhelming inability to do espionage. The man was in the army for God’s sake, and yet, the man can barely hold it together. He makes casual racist ignorant (“I don’t just wear a dress for anyone!” – regarding the ceremonial robe he’s been asked to wear to honour the country he’s in, and “It’s good to finally put faces to all of your unpronounceable names” – oh, oh dude. Why have you been made head of the ATCU when it requires being a people person.) There’s also some really cool spy moments in there, including Coulson using his high-tech prosthetic to create film gloves for his team-mates to break into their targets rooms and try and find out which one of them is working for Malick.

Then, during the meeting in which three very important politicians want to make a sanctuary state for Inhumans, the absolute unthinkable happens – Talbot blows Coulson’s cover wide open. He exposes the team, Phil’s arm, everything – and then just when you think it couldn’t get any worse, Malick strolls on in and tells the room that Phil Coulson is the director of Hydra.

At the point, I briefly started to worry about the direction this show is going in – because it makes literally no sense for Talbot to be Hydra, and it wouldn’t have held the same shock value as say, when Ward turned out to be Hydra. However, it turns out that Malick has Talbot’s son (which explains Carla’s fury in the beginning of the episode.) – and Talbot is bound to helping him to save his son.

There’s also some side action going on with Lincoln and Daisy but it’s not an awful lot – it’s mostly them fighting and being cute. And oddly enough, pushed to the side is this little tidbit – Creel’s blood contains the secret to stopping people with Inhuman blood from transforming. Why this is only a side story and not a massive focus, I’m not entirely sure, but it does crop up an argument between Daisy and Lincoln, with Lincoln on team “not everyone should change” and Daisy on team “It’s a birthright and if this gets into the wrong hands they will wipe us out”. Both have really valid points – it’d be nice to have control over the people who could turn and use whatever powers they’re given to murder or hurt people, but who gets to decide that path for another person? I wish this had been given more focus than just fleeting scenes between the spy-story side of things.

Overall, this is a fun episode. It doesn’t hold anything too consequential in the main characters story lines, because by the end of it, Talbot’s son is safe again and Phil and Talbot go back to their “hate-buddy” routine. I think if they’d kept the child with Hydra longer, kept using Talbot as a pawn, it might have held some more weight, but this was just more of a filler episode. That’s not a bad thing – it was still a lot of fun, and I always really enjoy the undercover SHIELD stuff a lot. The gadgets, the cover stories, it’s just good old-fashioned spy stuff that makes the show enjoyable.  It’s a bit of a fluffy episode with some action, a few character pointers and very little development, but that’s honestly fine, as long as this is just a bit of ground work for the adrenaline pumping stuff we’ve become used to on this show.

 Well, all was fun until the end of the episode.

About halfway through the episode, Hive asks for five regular, healthy humans to be delivered to him. Under the assumption he’s going to choose one as a host body because Ward’s is literally rotting around him, he’s left alone with them – and outside, you hear a lot of horrifying screaming that seems to even make the bad guys deeply uncomfortable.

And then the end of the episode reveals why they were screaming. Because standing in the middle of five skeletons, red bloody and still with a bit of flesh on them skeletons, covered in human slime and blood, kneels Hive. And slowly, oh so slowly, he rises up and stands, dripping so much of this sickly ooze, rising until he looks dead into the camera through the muck, staring right into you for a really uncomfortably long measure of time, before the episode ends.

It’s very rare of Marvel, particularly Agents of S.H.I.E.L.D. to go all out on the gore like this. While it has had it’s gross connotations and it’s violence, I can’t pinpoint much of a moment when it’s been that grim and visually shocking. It had a tonne of weight behind it, and it’s made me scared and excited to see what Brett Dalton’s character is going to do next.

I’m hoping next episode, more actual plot will start to weave it’s way into the main team, and that we get those full rich episodes that make this show fantastic.

Agents of S.H.I.E.L.D. SN3 EP11 – ‘Bouncing Back’

Last night saw the return of Marvel’s “Agents of S.H.I.E.L.D”, the television series based on Phil Coulson and his team as they deal with their own sets of problems in the MCU, fighting to keep SHIELD up and running whilst coping with the fallout from the main movie stories.

Obvious spoilers if you’re haven’t caught up/ watched the show yet.

Season 3 thus far has seen Coulson dealing with his loss of limb, and the whole team dealing with the aftermath of the Terrigan contamination in the ocean, helping find newly turned Inhumans and trying to help them and the public become safe. It then also saw the turning of Andrew, May’s ex-husband whom she was reconciling with, into an Inhuman with a desire to take out other Inhumans. It also saw the controversial argument of how to handle Inhumans and of how the public should see them.

The mid-season finale, “Maveth”, ended on a massive massive high – which saw us finding out that the man Jemma fell in love with on the alien planet was dead, and possessed by the creature – a creature of immense power. It then also saw beloved traitor/anti-hero/villain/murderer of women Grant Ward killed rather violently by Phil Coulson himself. It was a huge, action packed finale with so many questions to answer and so many places for it to go.

So how did “Bouncing Back” hold up?

Considering the show is coming back off of one of it’s massive and now infamous hiatus’s, it held its own very well. I’m glad we didn’t have an instant throw down of “AAH PLOTS AND THINGS” because realistically, it needed to reintroduce itself to it’s audience after a long time away. And it did exactly that.

The episode introduced us to a new Inhuman, affectionally named “Yo-Yo” for her ability – she has superspeed, but she has to go back to a fixed starting point – much like, a yo-yo. In the comics, she’s actually known as “Slingshot”, but considering her powers come about for completely different reasons than “I had fish for dinner that day”, I think it’s a nice nod to the comic book alias.

The episode also featured, and handled well, the subject of police brutality in other countries and the severe in-balance of justice in certain areas of the world. I also absolutely adored the ending – where she chose to stay in her home country instead of going with them to join SHIELD. It shows a chance for SHIELD to grow and develop, to become a world-wide force once again, and this time, with the right people at the controls.

There was also the whole issue of FitzSimmons and their ever perilous relationship – considering Fitz had to destroy her ex-boyfriends possessed corpse, and that they shared a rather intense kiss, viewers weren’t sure where and how this was going to go. This episode seemed to point in the direction of them trying to rebuild and “start again” – it’s going to be interesting to see how they do this, considering everything they’ve been through and how different they are as characters, but it seemed like the adult thing to do, and it’s a really refreshing development to see after the past season and a half of them being in pieces.

And then, there was the whole thing about Ward’s cold pale corpse being used as an alien vessel. Brett Dalton’s acting is absolutely wonderful. He’s done an insanely good job as Grant Ward, the mentally twisted and very complex ex-SHIELD/Hydra agent. He plays the perfect all-mighty alien power that’s come back to earth. He’s mostly silent, but his cold, purple and grey exterior paired with the small tilts and facial movements makes for a genuinely subtle and scary villain for us to look forward to.

Overall, this was a very enjoyable episode. No, it wasn’t this super duper action filled incredible episode, but that’s not really what’s needed after a long time away. What we need is a re-introduction to the plot points, to the things left hanging after the events of “Maveth” and this is exactly what this episode was. And now, it’s pointed to where the show is going from here and what foes the team are up against this time.

NEW “CAPTAIN AMERICA: CIVIL WAR” TRAILER DROPS

Ladies, gentleman, all in-between. A new trailer for the highly anticipated Captain America: Civil War has dropped.

And it’s two minutes and twenty-seven seconds of flawless, beautiful perfection. And it’s led to a lifetime of crying from me and every other Marvel fan going.

Honestly, this is a really flawless trailer – the Russo brother’s have been absolutely perfect in executing their marketing, they really have. It’s probably mostly because we all know roughly how the story goes, but with the huge differences between the MCU (Marvel Cinematic Universe) and the actual comic books, they also know that realistically – we have no clue what’s coming.

So, let’s break it all down.

By the looks of the trailers, and what we’ve heard so far, the bulk of this movie is (obviously) centering around Captain Rogers, as he blurs certain lines to try and protect Bucky Barnes – and considering Bucky was, until recently, the brainwashed Winter Soldier, a lot of people do not want him protected. Riding on that, is also General Ross, here to ask for heroes to sign up for the Superhero Registration Act – and whilst some seem to agree with the idea of monitoring heroes, keeping their actions in check, not everyone else does.

And such, all at war seems to break out.

The trailer looks like it’s going to be, as recently described, “an emotional horror movie” – you’ve got Steve and Tony fighting sure, but then you’ve also got Bucky going after Rhodey, you’ve got T’Challa coming off of a car onto a motorcycle to stop him driving away, there’s ANT-MAN ON HAWKEYES ARROW and just tonnes of the usual phenomenal stuff. Alongside the Scarlet Witch seeming to wrangle Vision down into a crumpled mess, Black Widow kicking men in what appears to be task-force gear, and Crossbones showing up, this trailer was already all levels of hype.

And then, the Russo’s did it. The Russo’s finally, finally did it. They revealed Spider-Man.

And this might be a snap judgement considering he’s in it for all of a few seconds – but he’s perfect. He’s so perfect. This trailer has captured Spider-Man and everything he should be, after coming home to MCU for his big debut with only a short clip and a few little words. Tom Holland, Russo’s – well damn done.

Captain America: Civil War hits UK cinemas April 29th 2016.

Disney Star ‘Zendaya’ Joins Sony’s Rebooted ‘Spider-Man’

Over the years various incarnations of Spider-Man have had the pleasure of locking-lips with some of Hollywoods elite babes – Kristen Dunst, Bryce Dallas Howard, Emma Stone – to name but a few.

Not bad for Marvel’s self-confess Geek.

Well now Peter Parker can add Disney Starlet, model and singer Zendaya to the list, as sources out of Deadline report that the triple-threat actress is to appear alongside Tom Holland’s Spider-Man in Sony’s third reboot of the Mega-popular Web-Headed-Hero.

Details are sketchy as to who Zendaya will play but Deadline did indicate that her character will be called “Michelle“. The name will lead many comic-book fans to predict that the actress will embody the character of Michele Gonzales. The Muay Thai, Tae Bo kickboxing, shotgun wielding criminal defence lawyer and former-flamer of Peter Paker who made her comic book debut in The Amazing Spider-Man #592.

Sony’s reboot will be Hollands first solo Spider-Man movie after the British actor makes his first appearance in the role alongside Chris Evan’s in Captain America: Civil War. The Jon Watts directed film will also mark the first time a Spider-Man franchise will fall under the banner of Disney’s Marvel Cinematic Universe after both studios agreed to share the character after the commercial flop of The Amazing Spider-Man 2 (2014).

Watts and Sony will shoot the new Spider-Man film this year with a projected release of July 7, 2017. Before then fans will be able to get their first look at Tom Holland when Captain America: Civil War opens in theatres April 29 this year.

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