CAYOM Magazine

[Reddroast]

On 5/7/2020 at 3:51 PM, Spaghetti said:

Bex Taylor-Klaus                             This is a story                 

for anybody                            Jennifer Jason Leigh             

         Awkwafina                              in the universe                  

who ever wanted                         Lakeith Stanfield                   

            Anthony Ramos                              to feel like                                          they could escape                         with Colin Farrell          

            and Song Kang-Ho                     to somewhere better.                   

 

 

#Y8 #ProjectAmora

Are we going to find out what this is

[Reddroast]

Adam Sandler joins the josh trank project in a supporting role

[Blankments]

Minhal Baig (Hala, Hulu's Ramy) has signed on to write and direct Ms. Marvel for Blankments Productions. Aiming for an October Y8 release, the film will introduce Kamala Khan in live-action to the world, aiming to be a superhero movie truly set in the modern world. Casting details to be announced at a later date.

[SLAM!]

@CayomMagazine

 

New Journey Pictures has announced a science fiction film titled Echelon. Director Ron Howard (In the Heart of the Sea, Solo: A Star Wars Story) presents an epic tale about a group of people who volunteer to be the first ones to have their consciousness uploaded from an overpopulated Earth into a virtual landscape. Laura Harrier is attached to star in the lead role, with Timothee Chalamet and Regina King also in talks.

Edited May 14, 2020 by SLAM!

[4815162342]

PILLARS OF ETERNITY: AN ANCIENT LEGACY: THE OFFICIAL SOUNDTRACK

 

Music by Patrick Doyle

 

The overall musical score for the film represents a culmination of music for the trilogy, bringing back many of the themes and cues from the prior films. Similar to previous films the core background/ambient music is string based, a lot of cellos and violas to give a darker, ominous edge to things. There is also an increase of choral background music, with several segments of the film utilizing vocalizing to give an eerie or ethereal feel to the atmosphere. The film also introduces a number of new themes/motifs, which get referenced in the Track Listing.

 

Track Listing (in tags for potential spoilers):

 

Spoiler

 

1. Two Souls – 7:40 (This track plays over much of the prologue of the film, starting off with a quaint rustic air of the past and then moving into a more ethereal, awe-filled tone, with heavy female vocalizing and use of strings. The track introduces a theme for the Iovara-Elanore relationship that is sweet and loving but slowly sours by the end of the piece)

 

2. The Gathering Storm – 3:22 (This track features a recurrence of the Dozens theme from the second film, and introduces a motif for Lord Gathbin, which is a jagged and harsh string theme with violent notes. The track also introduces the War theme, which is a solemn and mournful tune reflecting the pointless conflict brewing, that includes over different variations strings, percussion, vocals). One inspiration for the "War Theme" is the following:

 

3. Twin Elms – 4:17 (This track introduces a general theme for the Glanfathans, being inspired by Native American tribal sounds. We also get introductions to motifs for Hiravias, which is based off of similar sounds but is more playful and irreverent, and one for Simoc, which is brooding and dour, the motif overtaken with some oboes and bassoons)

 

4. Escape to Stormwall Gorge – 5:41 (This track covers the flight of the heroes to Stormwall Gorge and their fights with Gathbin’s men pursuing them. The track is kinetic with staccato bursts of horns and drums ramping up action beats, overlaying a background tense and strumming strings. The track is the first point in the released soundtrack we hear Emery’s motif, which is brusque and to the point, but slightly earnest)

 

5. Blood in the Sands – 2:16 (This track introduces a motif for the druids of the Blood Sands, which is heavy and dark tribal-esque drum beats, and strings, with an underlay of a male choir chanting, giving the impression right off that the druids are some bad dudes)

 

6. The Council of Stars – 6:47 (This track is much more eerie and ethereal, to make the listener feel like they’ve entered a different world. This is relied on with a mix of strings, woodwinds, and a few synthesizers to really make the realm sound different from the physical world. Various prior character cues from earlier films are called upon/referenced, and each of the Gods we see for the first time each gets their own brief identifying music cue)

 

7. The Fire Within – 2:41 (This track is focused on Durance’s internal turmoil and feelings, with soft and mellow music that gives off feelings of hurt and confusion, but there is an inner resolve of a martial-based motif that slowly asserts itself through the track before triumphantly taking control at the end. There is a male choir vocalizing in the background that gets more muscular as the track progresses) The first 50ish seconds of the below track were one inspiration for how I see this theme in its more assertive/forward tone:

 

 

8. By the River – 6:43 (This track draws on several cues. There is an initial burst of Gathbin’s theme and dark action music followed by a melancholy rendition of the War theme as Pallegina and Sagani investigate the ruined village. This segues into series of action beats with their themes as well as Emery’s motif being featured, before morphing into a flood of horns and strings reflecting the flood of water coming their way)

 

9. Together – 4:09 (This track draws heavily upon the relationship theme introduced for Elanore/Iovara while also featuring heavily a romantic theme for Sarana/Nysera that had slowly made its appearance throughout this movie. The music for both themes interweaves together, slowly coming together to form a third romantic motif that incorporates elements from both to give a passionate yet slightly sad air). See below video for one inspiration for the Sarana/Nysera theme:

 

 

10. Rescue From the Sands – 4:51 (This is an action track that features high-paced adventure music that is contrasted by the slowly building tone and aggression of the Blood Sands theme, which takes on an overwhelming aura before it gets snapped in a triumphant flourish)

 

11. A Chieftain’s Challenge – 3:43 (This track has a tense atmosphere, relying heavily on the motifs for the Glanfathans, Hiravias, and Simoc, as the drama slowly ratchets up, and then the second half of the track explodes into furious action, with a lot of reliance on tribal drums and sudden twinges of string instruments)

 

12. To Stop a War – 9:17 (The track starts with another mournful reprise of the War theme, before that theme gets modified and augmented to become much more martial and aggressive as the battle begins, with the motifs of a number of characters being referenced amid the action. Midway through the track the music gets slower and melancholy as it seems things are bleak, before slowly picking up the pace and tone as the tide turns, ending with a vigorous and triumphant fanfare)

 

13. Reunion – 5:42 (This track draws heavily on many of the same elements and styles of the Two Souls and Council of Stars tracks, with soft female vocalizing in the background. The ultimate driving force of the track is the Elanore/Iovara theme, which reaches a bittersweet conclusion)

 

14. What is a God? – 9:26 (The track starts with renditions of the Thaos/Leaden Key themes introduced in earlier movies, with male chanting in the background, before seguging into action music for the final confrontation. The track near the end features a powerful reprise of cues from The Fire Within that explodes in a fanfare, before closing with a triumphant reprise of Sarana’s theme introduced in the first movie)

 

15. What We’re Here For – 3:02 (This track is sad and emotional, drawing heavily on elements introduced in Council of Stars and Together, with the centerpiece being Sarana and Nysera’s romantic theme. The track heavily utilizes female vocals, strings, and a piano)

 

16. Requiem – 3:24 (This track continues the sad and emotional feels, heavily using a piano and a mournful choir as the heroes bid farewell to a couple of their number with the choir rising in power to a climax before fading away. The second half of the track segues into a rendition of Wael’s theme, as the deity pays Sarana a final visit). See below video for one inspiration for the mourning half of the track:

 

 

17. Parting Ways – 4:26 (This track draws heavily on strings and woodwinds as the heroes slowly split up, a number of them going down their own road for the days to come, with brief reprises of their own cues tucked in here and there. The last minute-plus of the track is pastoral music evoking the journey back to Gilded Vale)

 

18. A Birthday and End Credits – 10:48 (The first couple minutes of the track are a very joyous and festive affair with jingling bells, woodwinds, and strings evoking a village having the biggest open-air party in its history, before shifting into a reflective melody that slowly turns happy and rises into a crescendo, and then the track shifts into an end-credit suite rolling over the credits)

 

19. Eora – A full symphonic remix of the video game’s main theme, as sampled here:

 

 

 

Edited May 24, 2020 by 4815162342

[4815162342]

THE LONG WAY HOME ORIGINAL SOUNDTRACK

 

Original Music by Michael Giacchino

 

Giacchino’s music aims to strike a balance between his more operatic, adventurous tone set with the Jupiter Ascending score and more modernist, electronic compositions, with some tracks working with a mix of both to complement one another. The purpose of this meld is to give a bit of that familiar space adventure feeling with soaring string notes and horn fanfares, but also to take the listener on a journey into the unfamiliar, same as the human crew experiences as they encounter a whole galaxy of life previously unknown to them. What follows is not an exhaustive list of all of the themes/cues introduced, but most of the important ones:

 

Spoiler

 

The Peregrine Theme- The theme surrounding the ship of our human crew. It is the most traditionally space opera of all of the major themes/motifs in the film, starting off with an almost loving and sweet string-based melody that traces the contours of the ship, giving it form, that rises in volume and tone via repetition until shifting to a trumpet/trombone-based fanfare to fit with its entry into space and adventure. Inspiration was drawn in part from this track:

 

Marcus’ Theme- The music theme for Marcus is very earnest and martial, with a mix of strings, horns, and drums to accentuate his forthright and ready-set-go behavior as he doesn’t shy away from a fight or speaking his mind. This theme is one of the more dominant ones to play during action beats involving the crew. There is a more reserved variant that trades the drums and horns for woodwinds.

 

Amelia’s Theme- Amelia’s cue is very brassy and jazzy, with horns and saxophones and sleek string notes to accentuate her energetic, gregarious, and playful demeanor. Very up-front and unabashed. I look to this as kind of a guide to the kind of theme:

 

David’s Theme- The motif for David is very contemplative and reserved, heavily piano-based and somewhat inscrutable, representing someone with a mind at work and not as much outward expression or attitude. At times, mainly in scenes where he is connecting with other members of the crew, the theme softens and gets more warm as he opens up. Near the end of the film, a variant of the theme emerges, tinged with electronic synthesizers as both our and his perspective of him changes.

 

Taylor’s Theme- The theme for Taylor is the most mechanical and electronic of those for the humans, reflecting her injuries that have led to mechanical prosthetics taking up portions of her body. This is primarily emphasized with the use of an electronic keyboard, with long, melancholy notes, though at times her theme is peppered with more active and up-tempo beats.

 

Ny’asha’s Theme- Ny’asha’s music theme is meant to be lithe and athletic, very efficient in notes with active strings and woodwinds, always on the move, a bit restless. This style is meant to carry over in scenes where she is having quieter moments, with there always being a slight discord reflecting how she’s still struggling with aspects of her past.

 

Jyanis’ Theme- Jyanis’ theme is fully electronic, soft and ethereal to reflect her connection with Sārānśaṁ and the almost magical powers she wields because of it. It is thoughtful and a bit distant in tone, with slow, drawn-out pace reflecting her social isolation for most of her life and slowly becoming a part of the crew. The electronic synths are backed up on occasion by female vocalizing. Inspiration for the theme is drawn in part from this track:

 

The Congregation Fanfare- A very militaristic and brutalistic musical theme, all drums and horns with some accompaniment by strings and a male choir. Very much meant to symbolize a monolithic military might moving mercilessly. It permeates many of the action beats in the film and is meant to be simple yet easily recognizable, to signify when they show up. Some inspiration for the motif is drawn from this earlier Giacchino work:

 

The Extractor- This is a very harsh and mechanical theme at start, with electronic clanks and drums and gears that evoke a great mechanical beast coming to life. But as it reaches its mechanical crescendo, it morphs into something more ethereal, soft, and yet still sinister, as the mechanical/electronic notes are padded and overlaid with eerie string beats and female vocalizing, as if emulating the siren’s call of Sārānśaṁ. This latter portion gets even more twisted and desirous in tone when used to represent Igden.

 

Su’Tanya’s Theme- The motif for Su’Tanya is very much one emulating a predator hunting its prey, with lot of slow, methodical, drawn-out notes building things up, before suddenly striking with very fast-paced and violently-cued notes that relentlessly attack. Her theme is completely electronic in nature, driven by synthesizers and some electronic keyboarding. Some inspiration is taken from the T-1000 motif, as featured here:

 

 

 

Also, because I am terrible at imitating Giacchino track title puns, I have gone with track title alliteration instead:

 

Track Listing (potential spoilers)

 

Spoiler

 

1. Prologue at Procyon – 5:36

 

2. Finding Four to Fly – 4:29

 

3. Shooting to the Stars – 1:52

 

4. Pickup at Piscium – 6:37

 

5. Racing Through Rings Recklessly – 3:45

 

6. Reaching the Resistance – 2:28

 

7. Acquiring Able Alien Allies – 3:16

 

8. Enacting Extractor Experimentation – 2:48

 

9. Bizarre Bazaar Binge – 8:37

 

10. The Storm Ship Swoop – 4:02

 

11. The Farewell Feels – 3:26

 

12. Assault of the Assassins – 7:30

 

13. Engaging the Extractor – 3:42

 

14. Jyanis Jailbreak – 5:20

 

15. Ending the Extractor – 6:54

 

16. Coming Together on Cadeilor – 4:45

 

17. Presenting Pylos – 2:07

 

18. The Long Way Home Suite – 11:36

 

 

Edited June 4, 2020 by 4815162342

[SLAM!]

THE MUSIC OF NEW JOURNEY'S Y7 FILMS

 

Grant Kirkhope, Banjo-Kazooie

The score is filled with playful silliness. It's all orchestrated. There's a lot of marching rhythms in it. Very childlike and vibrant. Some songs borrow from the style, but others sound more contemporary--like a modern Broadway song.

 

Dario Marianelli, The Written Word

The score goes through great lengths to present an audible portrait of the 17th century period in which the film is set. There's heavy use of violins and violas, and the score swells with emotion to suggest that it's cheering on the protagonist.

 

Cliff Martinez, Megalo Box

As the composer for Drive and The Foreigner, Martinez imbues the film's music with plenty of driving grooves and electronic flourishes. The electronic score doubles as sound design, existing as an undercurrent beneath the tension of important conversations. The score dabbles in utilizing hip-hop beats from time to time; the electronic music's glamour and the hip-hop's rough edges are constantly at war with one another, much like the administrative district is with the restricted area.

 

Austin Wintory, Yang

This score mirrors the composer's work on the video game Journey in that it sounds impressively grandiose and symphonic. The score utilizes strings, brass, wind instruments, and percussion--but wind instruments like the flute and the bassoon are given more emphasis then they would normally receive in film scores. The percussion bangs loudly when violent clashes happen. There's a decent mix of wickedly ambient and chaotically dynamic tracks throughout.

Edited May 16, 2020 by SLAM!

[MCKillswitch123]

PHOENIX FIRE ENTERTAINMENT ANNOUNCES ITS MAIN MUSIC CONTENDERS OF Y7

 

Lisa Gerrard, Vixen And The Flaming Feather - Similarly to the Scott Free Productions logo, the score to Vixen is characterized with plenty of wind instrument sounds, particularly flute, in the more quiet moments, and in the grander ones, it is orchestrated, but attempts to fly with the same minimalism as the art-style and the presentation of the film, putting together the flutes with some moderatedly paced drums and other, deeper sounding instruments too.

 

Atticus Ross & Trent Reznor, In The Doghouse - Very much in the Ross & Reznor way, the score to Doghouse is very eletronic ambience driven. The main sound you hear in this score is that of heartbeats, and around them, you get some dark and chilling industrial in the more tense moments envolving the bigger twists of the story, or you get some low scale themes in the vein of Gone Girl.

 

Ludwig Goransson, Tony Hawk's Pro Skater - For the dramatic moments, the main inspiration for the music of Pro Skater is Interstellar, causing an epic sensation despite the small scale of the character drama at stake. For the action of the movie (the skateboarding sequences), Goransson scored some upbeat, groovy, semi-electronic, heavily drum-based booms of energy.

Edited May 16, 2020 by MCKillswitch123

[4815162342]

and for my final film score spotlight for Y7

 

 

THE ENDS OF THE UNIVERSE ORIGINAL SOUNDTRACK

 

Original Score by Jack Wall

 

The score for the film is entirely electronic-based, using electronic instruments to create its own sci-fi tone and atmosphere separate from other Numerator Pictures’ films. The score aims to accentuate the idyllic wonder of discovering a beautiful new world that is like a paradise, and contrasting it with more gregarious and clanking action music brought in by outsiders, and a more ominous and steely tone that underlies the secrets the world holds.

 

Track Listing (potential spoilers):

 

Spoiler

 

1. Introducing the Space Pirates – 3:28 (This track covers the opening segment of the film and introduces a few motifs. First there is one for William Kidd, which is peppy and adventurous, with a hint of nobility to it. Then we have one for Bosch, which is snappy and aggressive, using heavier notes and sounds. And we get one for the space pirates in general, which is mischievous and somewhat in-your-face with actiony and sneaky variants. An indication of how I envision the sneaky variant to go is shown below)

 

2. Through the Vortex – 2:31 (This track is a bit loopy and out there with a lot of whooshing type of notes and elongated exotic synthesizer usage to give the sense of being thrown into something strange and unknown and beyond comprehension)

 

3. At the End of the Universe – 4:39 (This track evokes the awe and wonder at discovering yourself on an unknown alien world, with a lot of drawn-out sequences of notes that slowly build into crescendos as new sights are seen and new discoveries made, and much of the track follows Kidd’s initial explorations of the planet. See below for a track that shows some of what I was going for.)

 

4. The Akrai – 5:42 (This track covers Kidd’s ingratiation into the Akrai town and the music, while electronic, is stylized to evoke a pastoral and peaceful setting, with some light choir vocalizing in the background. Similar to the prior track, it’s meant to showcase through music an idyllic setting and way of life)

 

5. A Name for a Place Like This – 3:04 (This track starts by building off of the cues/styles introduced in the prior two tracks, and then slowly shifts into building for the first time the romance theme between Kidd and Adira, which is like a slow note building in tone and volume before it hits a passionate conclusion. See the below track for one inspiration for said theme)

 

6. The Space Pirates Crash Back into the Story – 3:28 (This track reintroduces the space pirates to the film with a fast-paced action track featuring the space pirate and Bosch themes, that in the final minute is taken over by the same synthesizer weirdness as Through the Vortex)

 

7. Not the Best First Contact Scenario – 3:02 (Another action track that features clashes between the space pirate theme and the cue developed for the Akrai, which for the first time takes up a darker and more violent edge to it)

 

8. The Space Pirates Go Exploring – 2:27 (A track featuring the sneaky variant of the space pirate theme as they explore the technological ruins in the cave system. There are synth beeps and boops in the background that lay an advanced/old tech background to the explorations.)

 

9. Adira’s Rescue – 2:49 (This track features some fast-paced and frantic notes underlying the escape/jailbreak scenario unfolding in the film, with the latter portion of the track taking the romance theme and giving it a more tense and urgent tone)

 

10. It’s What You’d Call a Devil – 5:02 (This track starts off as more sneaky space pirate theme mixed with some synths and overly mechanical cues, before a dark and oppressive synth cue backed up with eerie choir vocals takes things over with a domineering air, and then the track morphs into a tense and dramatic confrontation with the ominous aspect of the music ratcheting up until the final minute-plus erupts into a fast-paced action music sequence)

 

11. Tovash’s Tale – 4:23 (This track is where Tovash’s theme is given its most prominent and dominant placement, being the main musical implement covering his story to Adira. For the purpose of this track the dark and oppressive tones are softened a little, almost more like a siren call, with the same synth style backed up with choir vocals as he tries convincing Adira that what he wants is for the best. See the below track for one inspiration of the tone of the piece)

 

12. Battle for the Universe – 8:45 (This action track covers the final battle, with all of the major themes introduced in the film at least briefly referenced, with particular flourishes for the themes for Kidd, Adira, Bosch, and Tovash. The final stretch of the track is taken over by Tovash’s theme soaring towards a triumphant finish, before suddenly being interrupted by an explosion of electronic notes, and the track instead takes on a more positive, emotional conclusion)

 

13. The Space Pirates Bid Farewell – 3:11 (This track features a positive and upbeat rendition of the space pirate theme, as well as recurrences of Kidd’s theme and the cues for the Akrai. The track rises to a happy ending as the space pirates depart)

 

14. The Second Most Beautiful Thing – 2:50 (This track features references to Kidd’s and Adira’s themes, before focusing on a passionate and emotional reprise of their romance theme that builds to an operatic crescendo that closes out the movie)

 

14. Beyond the End – 4:16 [written and performed by Susanne Sundfør] (This end credits song I guess can be best described as an Electro-Pop Love Ballad, with a slow and emotional start to the song that after a minute or slow ratchets up very quickly into a fast-paced tempo for much of the rest of the song before slowing down again at the close. See below the following Sundfør songs that I see as indicating the style of the song)

 

 

 

 

 

[YM!]

@cayommagazine

 

Endless Animation has confirmed one of their next projects for Y9, an untitled original film said to be written and directed by Brad Bird (The Incredibles, Ratatouille) and produced by JJ Abrams in conjunction with Bad Robot Productions (producer of Mission Impossible - Fallout and Green Lantern Corps: Home) Not much details are known but will be revealed later in June.

 

The event Endless Summer, said to contain never before seen scenes, information and other surprises of the four studios (Endless Entertainment, Endless Animation, Infinite Studios and WhatAToon) is slated to drop Saturday, June 27th.

Edited May 17, 2020 by YourMother the Edgelord

[Ezen Baklattan]

@CayomMagazine

 

Everything about this is going to be wonderful. #BeMoreChill

 

 

 

[YM!]

@cayommagazine

 

Amy Adams (Dear Evan Hansen, Roman Fever) joins the cast of My Hero Academia: One For All as Inko Midoriya, Izuku’s mother.

 

The film arrives in theaters March 15th, Y8.

Edited May 17, 2020 by YourMother the Edgelord

[YM!]

@cayommagazine

 

The working title for Endless Animation’s Brad Bird/JJ Abrams feature is reportedly called “Stopwatch”.

[MCKillswitch123]

@cayommagazine

 

Phoenix Fire Entertainment announces its brand new logo, with the character Vixen from Vixen And The Flaming Feather front and center. Vixen is officially Phoenix Fire's mascot, and the new logo will play from The Lost Empire onwards. This will also be the beginning of a year-long campaign for Vixen And The Sea Of Dragons, the sequel to the critically and commercially successful original Vixen, set to release in January Y9. Gianluigi Toccafondo is in talks to return as director. The major change will apparently come from the addition of a voice cast, with Annalise Basso and Sam Rockwell set to voice Vixen and the main villain respectively. Patrick Stewart will reprise his role as the narrator.

 

In addition, Phoenix Fire also announces that it is in talks with Taika Waititi (What We Do In The Shadows, Hunt For The Wilderpeople, Thor: Ragnarok, Treasure Planet, Jojo Rabbit) to executive-produce and Madeleine Sami (The Breakers Upperers) to direct Eminem-Esque, a courtroom comedy about the Eminem copyright infringment case in New Zealand in 2014. The film will apparently be a parody of musical biopics, Eminem-Esque being the title of the song that New Zealand's National Party used that ripped off Eminem's Lose Yourself. Sami and Waititi themselves will also be in the cast, alongside Alan Dale, Melanie Lynskey, Eminem, John Oliver and Russell Crowe. Eminem-Esque will be released in Summer Y8. 

Edited May 17, 2020 by MCKillswitch123

[Ethan Hunt]

@ cayom magazine

 

Tom Wilkinson and Daniel Kaluuya  join the cast of Zero Project along side George MacKay and Jenifer Lawrence 

[YM!]

@cayommagazine

 

Kay Cannon (Blockers, Pitch Perfect) signs on to direct Infinite Studios’ untitled female Jump Street spin-off as Jillian Bell, Nick Offerman, Ice Cube and Amber Stevens will return to reprise their roles in 22 Jump Street. Lead actresses should be casted soon.

[YM!]

@cayommagazine

 

In a shocking turn of events, Endless Animation’s sister division WhatAToon!, that aims to produce more art house or aim for a broader audience than typical animation studios, will produce My Hero Academia: One For All instead of Endless Animation. Xavier B. Irving, CEO of Endless Entertainment has said the move was done to give more prestige to WhatAToon! “Animation has always been the bread and butter of Endless Entertainment. We are in love with My Hero Academia: One For All as the film is so far looking to be a potential smash. However, as we have become on of the leaders in the industry, we naturally want audiences to trust WhatAToon! as much as they trust Endless Animation, and we believe My Hero Academia: One For All can be the Can You Imagine? or Gateways for WhatAToon in terms of what cements the brand.”

 

Together, with WhatAToon! and Endless Animation, Endless Entertainment aims to have 3-4 animated films every year.

 

WhatAToon’s slate is below:

Y8

My Hero Academia: One For All 

AVA!

Y9:

Untitled Andrew Rannelis Musical
 

My Hero Academia: One For All will arrive into theaters March 15th, Y8 as a trailer will be attached to Should You Imagine? and a sneak peek for the upcoming Y7 Oscars.

Edited May 24, 2020 by YourMother the Edgelord

[YM!]

@cayommagazine

 

Jennifer Yuh Nelson (the Kung Fu Panda series, the Spark series) has signed on to direct Green Lantern Corps: Primal, the third chapter and end of the first trilogy for the series. 
 

The cast for the film has been revealed but contains Massive Spoilers below:

Spoiler

Armie Hammer

Joaquin Phoenix

Sterling K. Brown

Mark Hamill

Kelly Marie Tran

Alison Brie

Jacob Sciopio

with

William Hurt

and

Hugh Jackman

 

Edited May 26, 2020 by YourMother the Edgelord

[Ezen Baklattan]

B E   M O R E   C H I L L

From the producers of LUMBERJANES: SECRET OF THE EYE

And the director of ANNA AND THE APOCALYPSE

 

   

 

Zach Callison (Steven Universe) as Jeremy Heere

Ben Wiggins (Anna and the Apocalypse) as Michael Mell

Rachel Ziegler (West Side Story) as Christine Canigula

Panic! At The Disco's Brendon Urie as The Squip

 

   

 

Sabrina Carpenter (Girl Meets World) as Chloe Valentine

Hailey Kilgore (Amazing Stories) as Brooke Lohst

Jeremy Shada (Voltron: Legendary Defender) as Rich Goranski

Beanie Feldstein (Banjo-Kazooie) as Jenna Rolan

 

  

 

BTS's Jeon Jungkook as Jake Dillinger

Alan Tudyk (Amulet II: The Last Council) as Mr. Heere

Keanu Reeves (John Wick) as Mr. Reyes

 

Original Songs by JOE ICONIS

Screenplay by JOE TRACZ and EMILY CARMICHAEL

Directed by JOHN MCPHAIL

 

Only in Theaters April Y8!

Edited May 27, 2020 by Spaghetti

[YM!]

@cayommagazine

 

Isabella Moner (Thirsty, Mass Effect: Ascension, Shiverin’ Gulch) joins My Hero Academia: One For All replacing Ariel Winter as Ocahco Uraraka.