Gloria Bell trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

A free-spirited divorcee spends her nights on the dance floor, joyfully letting loose at clubs around Los Angeles. She soon finds herself thrust into an unexpected new romance, filled with the joys of budding love and the complications of dating.

Initial release: March 8, 2019 (USA)
Director: Sebastián Lelio
Distributed by: A24
Production company: FilmNation Entertainment
Screenplay: Sebastián Lelio

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Film synopsis :  

Director Sebastián Lelio made history at the 2018 Academy Awards when he brought Chile its first ever Best Foreign Language Film prize. Though the movie he won it for, A Fantastic Woman, almost seems like it could be the title of his entire oeuvre: Again and again, he bathes his female subjects — from the dancing divorcée in 2013’s Gloria to Fantastic’s trans nightclub singer to the Orthodox lesbian lovers in last year’s Disobedience — in a kind of tender, full-fledged humanity that other auteurs, let alone mainstream Hollywood, rarely touches.


Directed by Sebastián Lelio
Produced by
  • Juan de Dios Larraín
  • Pablo Larraín
  • Sebastián Lelio
Screenplay by Alice Johnson Boher
Story by Sebastián Lelio
  • Julianne Moore
  • John Turturro
  • Michael Cera
  • Caren Pistorius
  • Brad Garrett
  • Jeanne Tripplehorn
  • Rita Wilson
  • Sean Astin
  • Holland Taylor
Music by Matthew Herbert
Cinematography Natasha Braier
Edited by Soledad Salfate
  • FilmNation Entertainment
  • Fabula
Distributed by A24
Release date


  • March 8, 2019 (United States)
Running time
102 minutes
  • United States
  • Chile
Language English

Film Review: 

Sebastián Lelio’s “Gloria Bell” is the second film this year to end with the Laura Branigan song “Gloria” — the kind of high-energy empowerment anthem that recasts its leading lady in a different light — the other being Netflix’s recent Gloria Allred docu “Seeing Allred.” Speaking of recasting leading ladies, it also happens to be the second of Lelio’s films to close with that song, although there’s a perfectly good explanation for that: “Gloria Bell” is a nearly scene-for-scene remake of the “A Fantastic Woman” director’s 2013 single-woman drama, this time in English and featuring Julianne Moore in the role that earned Paulina García the Berlin Film Festival’s best actress prize.

Many were skeptical when the project was announced, much as they were to the news that Jack Nicholson might star in an American version of “Toni Erdmann,” and yet Moore insisted in this case that if she were to play the role, Lelio must agree to direct. And so we get a film that shares the original’s generous view of the title character — of all its characters, really — along with a great many of its creative choices. But even with the same director and nearly the same script, “Gloria” and “Gloria Bell” are hardly the same movie, in the way that no two stagings of “Hamlet” can be the same when cast with different leading men. And it’s easy to imagine audiences who showed no interest in a Spanish-language version of this story responding to what Moore does with the role when A24 releases it next spring.

That’s true of not just Gloria but also fellow divorcé Arnold (John Turturro), a paintball enthusiast who picks her up at the club one night, enjoys a tender connection back at her place (there is sex, though Lelio recognizes that the afterglow is more meaningful for both of them), and shyly calls her up a few days later, after wrestling with the question of whether he deserves to feel the emotions she awakens in him. Moore is great in the movie, uncovering — and sharing — all sorts of new facets to Gloria’s character, but Turturro is a revelation, taking what was always a frustrating role (Arnold’s still too attached to his needy ex-wife and daughters, who are constantly calling him, and it’s a drag to watch Gloria competing for his attention) and recognizing what that character is feeling as well.

But even if Turturro finds soul in the male part, “Gloria Bell” remains one of the great female-led films of the 21st century, passing the Bechdel test with flying colors — which explains why Moore would be so keen to remake it. The actress’s fan base loves when she goes slightly over the top, gnashing her teeth at the pharmacy counter in “Magnolia” or bowling in a Valkyrie costume in “The Big Lebowski,” but she’s a master of subtlety as well, and here, the challenge is to see ourselves in a character who prefers to blend in. Even at the club, she’s a bit of a wallflower (though it’s interesting that Gloria is nearly always the one to initiate contact with others), though Lelio adds a few nice scenes at work and home (where a neighbor’s hairless cat keeps showing up uninvited) while still managing to deliver a film that’s eight minutes shorter overall.

Although García and Moore were born in the same year (under the same sign!), Lelio is more mature now than he was when he made the original film, and he brings that experience to the project in small but crucial ways, namely by shifting ever so slightly the points when audiences are invited to laugh, more often directed at other characters than at Gloria herself. Meanwhile, he treats quiet, private glimpses into her life — singing to outdated pop songs in the car, hand-washing her undergarments in the sink — with what’s best described as dignity.


The same goes for the nude scenes, which hardly feel as revealing as the places Moore goes to explore Gloria’s insecurities and later, the strength she finds to be independent. The character’s look (she wears two pairs of oversize spectacles, one red, the other blue) has been toned down somewhat, as has the film’s overall style — still elegant yet not nearly so surface-oriented, replacing the nightclub gloss of the original with a warmer pastel glow from “The Neon Demon” DP Natasha Braier (who could certainly have outdone the original in the other direction, if Lelio had wanted it).

Gloria Bell Full Movie Watch

Gloria Bell Full Movie Download

A remake like this is something of an anomaly, but it would be fascinating to explore the character with other actresses in additional countries — say, Cate Blanchett in “Gloria Down Under” or Isabelle Huppert in “Gloria de France” — with each new “cover” undoubtedly finding fresh notes.

I’m Not Here trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019

As the power is shut off and the fridge runs empty, an aging and debilitated man contemplates a life full of loss and mistakes. As he relives his significant memories, he hopes to move past the pain and forgive himself.

Initial release: March 8, 2019 (USA)
Director: Michelle Schumacher
Music composed by: Nima Fakhrara
Producers: Michelle Schumacher, Randle Schumacher, Eric Radzan
Screenplay: Michelle Schumacher, Tony Cummings

I’m Not Here  Full Movie Watch

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Film synopsis :  

Even though it’s his 60th birthday, Steve (J.K. Simmons) has confined himself to his home. The tragedies of his past have emotionally overwhelmed him, and he spends his days wallowing in alcohol and the silence of his unkempt home. With numerous mementos and titbits scattered around him, he reflects on the memories that have brought him to this point.

We flashback to his time as a child in the swinging 1960s (Iain Armitage, who will soon be seen as the lead in the upcoming sitcom Young Sheldon); where the difficulties of his parents marriage (Mandy Moore and Max Greenfield) sets him down the wrong path.

Accompanying this we see him in the 80s/90s as a middle-aged adult (Sebastian Stan); and witness how the lessons and pain of the past shapes the relationship with his wife, Karen (Maika Monroe).

Bouncing back and forth between all three time periods, it is revealed how decisions and actions, both big and small, have brought Steve to the low point he finds himself in the present day.


Directed by Michelle Schumacher
Produced by
  • Michelle Schumacher
  • Randle Schumacher
  • Eric Radzan
Written by
  • Michelle Schumacher
  • Tony Cummings
  • J.K. Simmons
  • Sebastian Stan
  • Maika Monroe
  • Mandy Moore
  • Max Greenfield
  • Iain Armitage
Music by Nima Fakhrara
Cinematography Pete Villani
Edited by Michelle Schumacher
  • Rubber Tree Productions
Distributed by Gravitas Ventures
Release date


  • March 8, 2019 (United States)
Running time
81 minutes
Country United States
Language English

Film Review: 

J.K. Simmons holds the spotlight as a broken old man in the trailer for Michelle Schumacher’s drama, I’m Not Here. For years, Simmons made his trade as a celebrated character actor, playing everyone from Peter Parker’s delightfully loud-mouthed boss J. Jonah Jameson in Sam Raimi’s Spider-Man trilogy to Ellen Page’s good-natured dad in Juno. However, since his Oscar-winning turn as the music conservatory instructor from hell in Damien Chazelle’s Whiplash four years ago, Simmons has started to get the spotlight to himself, more and more often.

While he’s continued to show up in everything from Justice League to Jason Reitman’s political drama The Front Runner, Simmons now has his own TV series in the form of Starz’s acclaimed sci-fi thriller Counterpart. He also plays the lead in I’m Not Here, his second collaboration with Schumacher after the comedy 3 Geezers! (which also marked the latter’s feature debut as director). The film arrives in theaters and On Demand next March, following its world premiere at the 2017 Raindance Film Festival and its screening at San Diego’s annual film festival earlier this year. In the meantime, a trailer has been released online, ahead of its debut.

As the trailer demonstrates, I’m Not Here is a showcase for not only Simmons, but also Sebastian Stan as the younger version of his character. It Follows’ Maika Monroe also plays an important role here, as do Mandy Moore, Max Greenfield, and Young Sheldon’s own Iain Armitage. You can watch the trailer below, followed by the film’s official synopsis.

By the sound of it, I’m Not Here (which Schumacher also cowrote) moves back and forth in time in an effort to explore how toxic masculinity and conformity to gender roles not only poisoned the relationship between Steve’s parents (Moore and Greenfield), but also his own marriage to Karen (Monroe) when he was a younger man. The juxtaposition between warmly-lit scenes in Steve’s past and the increasingly darker glimpses of his failures as a husband – culminating with shots of an older and emaciated Steve shuffling around his shadowy home in the present – is pretty effective in the trailer, which bodes well for the film itself. Really, any movie that gives Simmons the spotlight is doing something right, and having Schumacher calling the shots only improves the odds of I’m Not Here making for an interesting study of a man trapped by his own flawed sense of masculinity.


Get ready for a star-studded sadness from I’m Not Here. Seriously, there are no more stars in the sky because they’re crying in this trailer. J.K. Simmons plays Steve, a man who’s haunted by his past and relives each painful moment when he interacts with the objects in his home. Steve is also portrayed by Sebastian Stan and Young Sheldon’s Iain Armitage. Steve’s parents are played by Mandy Moore and Max Greenfield.

I’m Not Here  Full Movie Watch

I’m Not Here  Full Movie Download

It Follows star Maika Monroe plays Steve’s super dead wife. I’m Not Here is co-written and directed by Simmons’ wife, Michelle Schumacher. On a barely related note, isn’t it weird that both I’m Not Here and I’m Not There feature multiple stars in a single role? Get Cate Blanchett on the horn, and ask her why she’s not in this.

The Kid trailer, review, release date, dc wiki, dc comics, Budget, imdb Rating, Cast, Cast Salary 2019


Chaplin’s first full-length feature is a silent masterpiece about a little tramp who discovers a little orphan and brings him up but is left desolate when the orphanage reclaims him. Chaplin directed, produced and starred in the film, as well as composed the score.

Initial release: January 21, 1921 (USA)
Director: Charlie Chaplin
Screenplay: Charlie Chaplin
Music composed by : Charlie Chaplin
Box office: 5.45 million USD

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The Kid

Charlie Chaplin was already an international star when he decided to break out of the short film format and make his first full-length feature. The Kid doesn’t merely show Chaplin at a turning point when he proved that he was a serious film director—it remains an expressive masterwork of silent cinema. In it, he stars as his lovable Tramp character, this time raising an orphan (a remarkable young Jackie Coogan) he has rescued from the streets. Chaplin and Coogan make a miraculous pair in this nimble marriage of sentiment and slapstick, a film that is, as its opening title card states, “a picture with a smile—and perhaps, a tear.”


  • New 4K digital restoration of Charlie Chaplin’s 1972 rerelease version of the film, featuring an original score by Chaplin, with an uncompressed monaural soundtrack on the Blu-ray
  • New audio commentary featuring Chaplin historian Charles Maland
  • Jackie Coogan: The First Child Star, a new video essay by Chaplin historian Lisa Haven
  • A Study in Undercranking, a new program featuring silent-film specialist Ben Model
  • Interviews with Coogan and actor Lita Grey Chaplin
  • Excerpted audio interviews with cinematographer Rollie Totheroh and film distributor Mo Rothman
  • Deleted scenes and titles from the original 1921 version of The Kid
  • “Charlie” on the Ocean, a 1921 newsreel documenting Chaplin’s first return trip to Europe
  • Footage of Chaplin conducting his score for The Kid
  • Nice and Friendly, a 1922 silent short featuring Chaplin and Coogan, presented with a new score by composer Timothy Brock
  • Trailers
  • PLUS: An essay by film scholar Tom Gunning



Carl Miller———————————-The Man

Edna Purviance ————————The Woman

Jack Coogan ———————————-The Child

Charles Chaplin —————-A Tramp


Charlie Chaplin’s career underwent many transitions and transformations, but none more important than the one marked by the making of The Kid. During his time at Mack Sennett’s Keystone Studios in 1914, Chaplin had moved from simply acting in films to directing them. In a few brief years, his movies grew from less than half an hour in length to an hour or more. Released in 1921, The Kid was Chaplin’s longest title to date. Although earlier films of his—A Dog’s Life and Shoulder Arms (both 1918)—had burst the concise forms of the shorts that preceded them, The Kid was Chaplin’s first true feature, at six reels (originally more than an hour) and with a new dramatic structure. The Kid embeds Chaplin’s Tramp character in the drama of the Woman (played by Edna Purviance), who abandons her illegitimate child and spends her life regretting it. (In Chaplin’s 1972 revision and rerelease of The Kid, the Woman’s story still frames the film, but he eliminated several scenes involving her, as if he regretted splitting the audience’s emotional engagement between the father-son bond that develops between the Tramp and the Kid and the pathos of the Woman’s situation.)

Chaplin’s expansion of the dramatic scope of his films also signaled a shift in mood. Although his melancholy and sentimental side had emerged early on in his filmmaking career (arguably first appearing at the end of 1915’s The Tramp), it was with The Kid that he first fully embraced an emotional approach. The movie announces this with an intertitle: “A picture with a smile—and perhaps, a tear.” This ambiguous tone would mark Chaplin’s films from this point on, and it is here that the roots of the filmmaker’s graceful dance between laughter and grief can be seen. Some critics have claimed that this new emotional depth lifted Chaplin’s art above its slapstick roots. Others feel that it spoiled a rich vein of rough-and-tumble humor and domesticated cinema’s original wild man into a sentimental clown. The truth is that The Kid reveals how closely Chaplin’s irreverent slapstick could be intertwined with his sentiment. And rather than simply making the Tramp more palatable to middle-class tastes of the day, Chaplin’s new emotional range provided the core of his lasting appeal.

Chaplin was born in London in 1889, into a Victorian culture whose art was based in sentimentality. His childhood was one of hardship and deprivation, and his art can be seen as springing from his ambivalence toward that dominant culture, from which he felt excluded but to which he aspired—a love-hate oscillation that fueled both his greatest moments and his most embarrassing lapses. The era’s most popular dramatic form, the melodrama—with its contests between vice and victimized innocence—was already appearing a bit old-fashioned by the end of the nineteenth century. Chaplin’s own background as a performer from early childhood was primarily in the English music hall, where knockabout farces might alternate with sentimental songs, and British working-class entertainment generally found room for both moods, in spite of their apparent contradiction. When he started in movies, he found himself very much at home at Keystone, where Sennett had devised a comic formula that burlesqued the morality, characters, and sentimentality of traditional melodrama while introducing thrills and speed to provoke narrative action. Chaplin joined in this wholesale liquidation of nineteenth-century melodramatic tropes with originality and gusto. Even after he left Keystone, the unmasking of conventional displays of emotion remained essential to his comedy.

In one of the short films Chaplin made for the Mutual Film Corporation, The Pawnshop (1916), a stock melodramatic figure, the honest old man fallen on hard times, enters the Tramp’s pawnshop to sell his wedding ring. Wary at first of this odd customer, the Tramp mocks the character’s theatrical poses. But with a cut in to a closer medium shot, the little fellow’s attitude changes as he listens—while continuing to munch on a cracker—to the old man’s histrionically pantomimed tale of woe and loss. Chaplin’s gags frequently pit natural appetites against ideals of sentiment—and he always sides firmly with the natural man and his needs. As the old man tells his sad story with conventional gestures and expressions, the Tramp expresses increasing sympathy and grief, his lip quivering—even as he continues chewing. The scene’s literal climax occurs when the Tramp can no longer contain his sobs and spews out a shower of cracker crumbs right at the camera, not once but three times. Chaplin’s gag parades its technique: two radically antithetical activities collide—grief and empathy for the old man encountering the physical processes of mastication and swallowing. The disturbingly material (but frankly hilarious) action undoes Chaplin’s emotional expression, exploding sentimental convention by giving grief the form of a torrent of undigested food.

Chaplin was warned by a number of people as he embarked on The Kid that slapstick and sentiment would not mix and that gag comedy could not support the length of a feature film. The success of the movie proved them wrong, even if it remains poised on a knife-edge between a wonderfully original comedy and a perhaps too predictable maternal melodrama. But the old-fashioned plot offered Chaplin the chance to base his comedy not simply in burlesque but in a deeper exploration of the primal emotions of separation and abandonment. His engagement with melodrama no longer relied on Keystone’s parodies of mustachioed villains in top hats pursuing innocent maidens but on the genuine feelings of a family separated and then reinvented, and of a child’s fear of loss and desire for union and security.

The autobiographical aspects of The Kid are often invoked by critics, and they undoubtedly played a role in bringing that emotional authenticity to the film. Chaplin and his brother, Sydney, endured a childhood defined by an absconding father and a mentally ill mother whose children were occasionally turned over to institutions. The Chaplin boys provided emotional support for each other, and that bond lasted all their lives. And shortly before Chaplin started production on The Kid, his teenage bride, Mildred Harris, gave birth to a malformed baby that survived for only three days. While such details may provide background, their explanatory role is never simple. If The Kid responds to tragic aspects of Chaplin’s life, it is by replacing them with a human drama of emotional bonding. The horror of abandonment, the pathetic vulnerability of an infant in a harsh world, provides the dark backdrop against which that vision stands out. Instead of denying such horrors, Chaplin learned from melodrama that hardship could be confronted and defeated. His way of defeating horror was to transform it—by converting loss into gags.

If the film’s opening scenes of the Woman being released from a charity hospital and abandoning her baby seem lackluster, The Kid takes on life with the entrance of the Tramp. His reaction to discovering the infant is entirely unsentimental. He tries to leave the bundle of joy next to some garbage; tries to palm it off on an unsuspecting mother; then finally considers dropping it down a storm drain. The laughs that these acts elicit express humor’s dark side—its delight at forbidden solutions and its tacit acknowledgment of the cruelty of life. The detailed grubbiness of the alleyway and tenement building sets buttresses the hard bite these scenes carry. But Chaplin’s genius lies in the way he reveals how real care and nurturing can emerge from desperation. The Tramp responds to the infant’s absolute dependence after reading the pleading note his mother has pinned to him and, with a shrug, shuffles off into the duties of fatherhood.

Chaplin’s poetic response to the world relies on his ingenious redefinition of objects. Many of his gags repurpose things, transforming their uses and meanings through his inventive play with them. The Tramp’s undertaking of the chores of parenting displays this bricoleur’s imagination. We see him efficiently cutting up and folding cloths for the baby’s diapers, acknowledging from the start that care includes the most basic of bodily functions. Instead of a traditional cradle, the baby hangs suspended in an improvised hammock. His nutritive needs are taken care of by a similarly hanging teapot with a nipple forced onto its spout. The baby voraciously suckles on the nipple, and when it slips from his mouth, the Tramp deftly redirects it. Besides supplying this system for nourishment, the Tramp also entertains the baby with a series of facial contortions, which the infant interrupts his suckling to watch with delight. Rocking the hammock, the Tramp feels dampness, wipes his hand, and again improvises: he cuts a hole in the bottom of a chair, which he then places beneath the baby’s hammock and over a cuspidor on the floor. More fanciful than practical, this conduit for infant urine again shows us Chaplin’s poetic redefining of things, again wedded to the frank acknowledgment of the physical.

All these gags serve to articulate the close bond between child and ersatz father, giving it humor as well as emotional depth. The heart-wrenching sequence in which the Tramp rescues the Kid (Jackie Coogan) from the authorities and they kiss and embrace carries an authenticity the opening scenes of the mother’s plight cannot touch. While the Woman’s maternal dilemma seems lifeless, Chaplin portrays the power of an improvised family and invented home, originating an idea that has had resonance throughout American cinema, with its recurring ad hoc families of misfits, from Rebel Without a Cause to Boogie Nights.

Nowhere is the genuinely poignant sense of human needs and ideals that Chaplin creates through the collision of sentiment with the physical and everyday more poetically achieved than in the Tramp’s dream of heaven when he believes he has lost the Kid forever. Chaplin’s heaven remains a tenement alleyway, albeit bedecked with flowering vines and filled with angelic slum dwellers in nightshirts and wings, playing harps as they skip merrily around. The Kid awakens the sleeping Tramp by tickling his nose with an angel’s feather. Even doggies have wings, and when the Tramp is outfitted with his own pair, he scratches them with his cane and sheds feathers like a puppy sheds fur. But this burlesque paradise is soon invaded by demonic tempters, who sow sexual desire, jealousy, and violence and undermine its harmony. Angelic battles erupt in a flurry of feathers that not only recalls the explosion of crumbs in The Pawnshop but anticipates the shower from a burst pillow in The Gold Rush (1925).

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A cop-angel terminates the Tramp’s flight with a pistol shot, and Charlie crashes very solidly to earth. This image ends the dream: Chaplin as a fallen angel with crumpled wings. It captures his unique, almost surrealist imagination, and his creation of a new claim on our emotions, founded in the contradiction between desire and reality, heavenly love and a harsh world.


Captain Marvel release date, dc wiki, dc comics, Budget, trailer, review, imdb Rating, Cast, Cast Salary 2019

Captain Marvel gets caught in the middle of a galactic war between two alien races.

Initial release: March 8, 2019 (USA)
Directors: Anna Boden, Ryan Fleck
Budget: 152 million USD
Music composed by: Pinar Toprak
Screenplay: Anna Boden, Ryan Fleck, Nicole Perlman,


In Theaters March 8th, 2019 Directed by Anna Boden and Ryan Fleck. Starring: Brie Larson (Captain Marvel), Samuel L Jackson (Nick Fury), Ben Mendelsohn (Talos), Clark Gregg (Phil Coulson), and Lashana Lynch (Maria Rambeau).

Captain Marvel Full Movie Watch

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The story follows Carol Danvers as she becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races. Set in the 1990s, Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe.
Rating: PG-13 (for sequences of sci-fi violence and action, and brief suggestive language)Genre: Action & Adventure, Science Fiction & Fantasy

Directed By: Anna Boden, Ryan Fleck
Written By: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet
In Theaters: Mar 8, 2019, Wide
Runtime: 128 minutes
Studio: Marvel Studios


Captain Marvel is set to be released on March 8, 2019 — the first solo female superhero movie in the Marvel Cinematic Universe. The film stars Brie Larson as the lead character, Carol Danvers.

Danvers was introduced to Marvel comic books in 1968; due to a freak accident, she has powers like super strength and the ability to fly. Captain Marvel’s story has been through many iterations and twists and turns, but the upcoming film will focus specifically on a 2012 comic book arc that features a revamp of Danvers’s character. Captain Marvel has a dedicated, passionate fandom, many members of which are hoping to learn more about Carol Danvers’s origin story and the secrets of her past.

There have been 20 movies in the Marvel Cinematic Universe so far, and this one will make history as the first Marvel film starring a solo female superhero. In 2017, Warner Bros.’ Wonder Woman was a worldwide box office hit and proved that audiences will watch a female superhero. If Captain Marvel is a box office success, it could change how moviegoing audiences perceive superheroes — and could encourage studios to invest in more women-led superhero films.

While the story takes place in the Marvel Cinematic Universe, it’s independent Of the events of Avengers: Infinity War. So Avengers fans hoping for clues about the fate of the Avengers will have to wait until Avengers: Endgame hits theaters in April

It seems that Captain Marvel had some of its inspiration in the best of places as the directors have said that part of the movie comes straight from Robocop.

During a recent interview with Screen Rant, the pair of directors talked at length about their upcoming film. This included the comic run that was the biggest inspiration to them and even some homages to The French Connection. The most interesting bit, however, came when the directors were asked about the alleged similarities to Robocop.

The two were quick to shoot down the notion that the film would have nearly as much dark humor. Instead, they focused in on when Robocop walked through his house and began to remember fragments of his past. While the two directors did not confirm that Captain Marvel would have such a deliberate moment, they did say that it was one of the first things that they talked to Marvel about in terms of the character remembering her past:

There will be humor. It is not a dark movie in that way like Robocop I think that what is exciting to us about Robocop was this idea of a character who’s finding himself and finding his past and even though it’s a dark movie it’s also like extremely emotional in that way. If you remember that scene of him walking into his own home, you know, and remembering those moments from his past life and remember who he was I mean that’s big. And that was one of the first things we talked to Marvel about in terms of this character the idea that self-discovery and reconnecting and rediscovering your humanity and who you were and it’s a huge part of this film.

From the look of things, there is going to be a major revelation for Captain Marvel before this film is through!


My name is Charles, and I can’t Magic Eye.

Despite what the elderly might tell you, the ‘90s were a particularly odd (read: often bad) time for optical illusions masquerading as entertainment. Take, for example, Magic Eye, the books popularized by N.E. Thing Enterprises that convinced people they were having a good time staring at images distorted to give the impression that they had depth to them.

In its latest bit of reminding you that Captain Marvel is set in the ‘90s, the movie’s Twitter account has posted a series of Magic Eye images that presumably reveal something interesting about the characters, but I couldn’t tell you because my eyes are apparently not at all magical. What exactly am I not seeing ?

Pretty much since the original Avengers movie, Marvel movie fans have speculated that the cinematic universe could slowly build toward the most infamous interstellar skirmish of Marvel’s comic history: the Kree-Skrull War. It’s taken awhile, but Captain Marvel looks like it could finally be the film to do it—so here’s what you need to know.

The Avengers ultimately went with the Chitauri as its cosmic goons, but still, the idea slowly percolated in the background of the Marvel Cinematic Universe for years, until Agents of SHIELD and eventually Inhumans paved the way for the Kree’s arrival, and Guardians of the Galaxy went a step further with the addition of characters like Korath the Pursuer and Ronan the Accuser. But now, Captain Marvel is blasting the path toward one of the biggest cosmic scraps Marvel Comics has ever seen by actually introducing not only more of the Kree people, but the whole other side of the conflict: the sinister shape-shifting Skrulls.

The Kree-Skrull War is actually technically two things—there’s the actual war itself, which spans millennia in the background that has had an impact on corners of the Marvel Universe beyond the realms Carol is concerned with, and then there’s the 1971 comics event of the same name, by Roy Thomas, Sal Buscema, Neal Adams, and John Buscema, that ran in the Avengers series and was one of Marvel’s earliest and most influential cosmic event sagas. That event will likely not be a direct inspiration for Captain Marvel’s story with the Kree and Skrulls, but we’ll explain that first before getting into the mythos that’s much more likely to form the basis for what the movie sets up.

Beginning in June 1971, the Kree-Skrull War storyline included a whole bunch of super teams like the Avengers, the Inhumans, and the Fantastic Four. It included several plotlines interwoven around the return of Mar-Vell, the Kree warrior who was the original Captain Marvel, years before either Carol Danvers (or Mar-Vell’s actual successor in the role, Monica Rambeau) took on the title. At the time, Mar-Vell had actually spent years trapped in the alternate dimension known as the Negative Zone, where he battled Annihilus, got doused with lethal radiation that threatened to kill him and…had a kid with a Skrull princess? He was busy, but really, that’s not what matters: Mar-Vell escapes returns to Earth, and is promptly taken in by some of the Avengers.

It’s here the shit hits the fan and a bunch of different story threads spin out. First, the Avengers find themselves fighting the now-outlawed Ronan the Accuser as he attempts to revert the Earth back into a prehistoric state to use it as a staging ground for the war against the Skrulls. That battle sees Mar-Vell’s alien identity exposed to the world and the formation of the Alien Activities Commission under Senator H. Warren Craddock, a thinly-veiled take on the real House Un-American Activities Committee that investigated private American citizens the government believed to be Communist sympathizers or otherwise disloyal to the United States.

Refusing to hand over Mar-Vell during a hearing with the AAC leads to the Avengers’ reputation being tarnished in the public eye, and even temporarily sees Earth’s Mightiest Heroes disbanded—only for a bunch of the Avengers and Mar-Vell to be captured by a group of Skrulls, who want Mar-Vell to build a doomsday device called an Omni-Wave Projector for them to use on his own people, and whisk him off-Earth.

After a short sidestep into the realm of the Inhumans—where the Avengers help Black Bolt deal with a coup attempt by his brother Maximus, secretly working with the Kree to overthrow Black Bolt in exchange for offering up the Inhumans as soldiers in the Kree-Skrull War—the Avengers head to space to rescue Mar-Vell. But first, he’s forced to build the projector, which opens up a portal to the Negative Zone and sucks in Mar-Vell’s human ally Rick Jones (did I mention Rick was with the Avengers? Look, a lot is going on in this story!).

In the Negative Zone, Rick encounters the Kree’s ruler, the Supreme Intelligence, and not only learns about the long and bitter war between the Kree and the Skrulls, but unlocks his own superpower, known as the Destiny Force, which basically lets him summon astral projections of classic Marvel heroes like the original Human Torch and Namor. Rick uses the Force against the Skrulls, seemingly ending the war and somehow reverting Senator Craddock back to his true Skrull form. Surprise, the anti-Mar-Vell and Avengers guy was secretly a Skrull! The real Craddock is found and a crowd of alien-hating protesters beat the Craddock-Skrull to death, which sorts out the Avengers’ PR crisis and reunites the team when they return to Earth.

The Kree-Skrull War is cited as one of the most influential early “event” storylines in Marvel’s history, praised for its wild scope and seen as the herald of storylines like the iconic Secret War or the X-Men’s own cosmic excursions with the Shi’ar Empire. But beyond the fact it’s got the Kree, the Skrulls, and a Captain Marvel in it, it likely won’t have much impact on the Captain Marvel movie. Although elements of it have made their way into the movie universe already—such as the burgeoning romance between Scarlet Witch and the Vision, which began in this story—there’s so much wackiness and other superteams involved it could be a while before we see any more elements work their way into the MCU.

The war itself has been a part of both the Kree and the Skrulls’ backgrounds for millennia in the lore of the Marvel universe; however, it didn’t really start with the event, even if this was where we really started learning a bit more about its origins.

In the comics, the Kree and the Skrulls have been at each others’ throats for thousands upon thousands of years, ever since the Skrull Empire—a once peaceful spacefaring civilization that explored the galaxy offering trade and technology to other worlds—first encountered the Kree homeworld of Hala. At the time, Hala was home to two species, the Kree and the Cotati—of similar technological and evolutionary levels, the races lived in relative harmony. That is, until the Skrulls decided to make a game out of their benevolent arrival. They decided that only one species would gain the benefits of Skrull technology and trade, and set up a competition in which some of the brightest minds of the Kree and Cotati would be sent across the stars to construct a project with supplies gifted to them by the Skrulls.

The Cotati, sent to a distant moon in barren parts unknown, built a sustainable garden in the year they were given by the Skrulls. The Kree, meanwhile, were sent to another moon—and not just any moon, but Earth’s moon, a million years ago—and built a fabulous city in an artificial environment created by the Skrulls for them to work in, an area that would eventually become known as the Blue Area of the Moon (that’ll get important later).

While the Skrulls were impressed with both efforts, they ultimately declared the Cotati the victors. And the Kree were pissed. So pissed, they promptly wiped out the Cotati on Hala and the Skrull delegation overseeing the contest—stealing the technology from the ship the Skrulls arrived in and setting about repurposing it so the Kree could launch an attack on the Skrull Empire at large.

The outbreak of the conflict kickstarted the process that transformed Skrull society into the warlike race we know it as now, but it also eventually had an interesting impact on another area of Marvel Comics lore beyond the cosmic realms: the Kree-Skrull War is what gave us the Inhumans. With the War in full swing, the Kree returned to the solar system the Skrulls had taken them to for their contest and established a series of outposts, including one on the Blue Area of the Moon—where they discovered sentient life on Earth and began experimenting on a group of humans to turn them into potential soldiers to be used against the Skrulls, creating the process of Terrigenesis and giving birth to the subspecies that would form the basis for Inhumanity.

In the Marvel Cinematic Universe, some of this has already come into play thanks to both the arrival of Inhumans on Agents of SHIELD and the Blue Area of the Moon (as well as Attilan, the floating city-state home of the Inhumans) being presented in the absolutely awful Inhumans TV series. But we know Captain Marvel will at least dabble in some of the wider implications of the Kree-Skrull War, simply because we know one of the reasons Carol, acting as an operative of the Kree Starforce, comes to Earth is to hunt down Skrulls that have infiltrated the world.

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Whether she meets any Inhumans or even mentions them along the way remains to be seen, but given how poorly the Inhumans show went down? She probably won’t.