Lord knows Cap has had his fair share of godawful movie try-outs ( the 80s TV movie with the plastic shield, and the 90s one with Frank Langella as the Red Skull ), but now that they can do Cap right...here's what might have happened if the superb Winter Soldier movie had the misfortune of becoming yet another VHS remainder in the bargain bin of film history...enjoy this awesome fan trailer. See if you can spot the other movies they used when cobbling this together. Great effort, guys!
After much anticipation, thanks to the customary year-long publicity
drip-feed ( and inventive use of continuity crossovers ) Marvel’s newest
addition to their so-called ‘Cinematic Universe’ has arrived. Since Iron Man
unexpectedly stole the thunder from household names such as Spiderman and DC Comics' Superman, Marvel were quick to realise that there is gold in their comic-book
hinterlands, and now serve us the first instalment in what is Phase 3 of their
comic-book film universe ( Phase 2 spanning Iron
Man 3 to next years' Avengers: Age of Ultron
Once the cinematic Avengers and its spin-offs got
established, many were caught off-guard by the choice for Marvel’s second
super-team launch ( the Fantastic Four and X-Men still being handled – rather
shakily - by other studios ). Guardians was originally a 'C'-list comic property,
memorable for its whacky characters that, being set in the far future, wouldn’t
trouble the continuity of the regular Marvel universe too much. This reviewer
seems to dimly recall characters such as Starhawk ( who for some inexplicable
reason, could switch from being a man to a woman ), and Nikki, a chick whose
head was permanently on fire. Certainly, the abiding memory is that at the
time, Marvel creatives were kicking back, and having a bit of fun. They were
probably heavily stoned, too.
So, ten Marvel films in, does Guardians of the Galaxy bring
anything new to the table?
The film is marked by its breezy use of sweetshop colours (
a fizzy purple and lime-green palette with just about every other part of the
spectrum cranked up for good measure ), lending its alien characters, hardware,
and most impressively, spaceships the look of a Roger Dean and Chris Foss
fantasy art mash-up ( are these guys even on the payroll? – because they should
On the rare occasions you get to see an Earth-type planet,
it's an architectural visualizer’s dream – all newly-built promenades
and walkways drenched in sunshine that renders the whole thing a painterly
vision of California Futuroid. So the
film could get a pass on its visuals alone.
Admirably, Guardians gives us the fastest origin story in
movie history, and after establishing that Peter Quill - AKA StarLord – is a
hero with the obligatory parental-separation issues, we can get on with story
at hand. Namely that he’s gone from 1980’s suburban earth-kid to intergalactic
pirate within thirty seconds. Getting picked up by space police while on a
scavenger hunt, he ends up in a criminal line-up, where he meets the rest of
the ‘Dirty-Dozen-In-Space’ – forms the Guardians, and mayhem ensues.
Unfortunately, the brevity of the build-up does leave the
audience grasping for a central thread by which to anchor the spectacle. Seeing
the film with local writer and aficionado James Burr, we both exited the film
thinking that there was something missing, but we couldn’t quite put our finger
on it. ‘Maybe because it didn’t feel like there was a three-act structure..?’ my
colleague pondered. It certainly felt more like a ‘middle-movie’, and perhaps
that’s why the Empire Strikes Back similarities have been mooted on the
internet. Unlike the landmark Star Wars sequel however, Guardians lacks any real emotional depth, therefore there is little corresponding investment in the
characters’ story arcs. My friend also mentioned that the 3D – which he was
seeing in a cinema for the first time – though impressive, was distracting,
occasionally making him look at places away from the actual story-telling. Upshot: Stick with 2D.
Either way, we did feel a sense of anti-climax, as the
publicity campaign had led us to expect a sharp Douglas Adams-style
intergalactic romp. A bunch of characters pointlessly bickering between
set-pieces, is not exactly Woody Allen and Diane Keaton. Hell, it’s not even
Tony Stark and Pepper Potts.
There are, I suppose, many movie-goers who would appreciate
being jacked straight into the story, with no messing about. And it would seem
that the casting department contributed to this notion – they didn’t exactly
stretch themselves, put it that way. Chris Pratt as a semi-loveable layabout?
Check. Zoe Saldana as a feisty arse-kicking person-of-colour? Check. Michael
Rooker as a shouty ( blue ) redneck? Check. ( Bradley Cooper as an annoying
squirrel?...you get the picture. ) So it’s difficult to wrap your mind around
what it is that director, former Troma
schlock-trooper James Gunn, actually had to direct. ( ‘Don’t stand there, or
you’ll get blown up...no, don’t stand there, either’ ).
Ironically, several elements do succeed where you don’t
expect them to. Many of the humans still manage to bring out a performance
despite being buried under layers of makeup and prosthetics, notably Dave Bautista as the amusingly
literal Drax, while Groot the Tree Guy is a brilliant piece of animated pathos.
The marketing department certainly did their job, as the
film is on track to score the biggest August opening in history. However, as
far as the summer of 2014 goes, it’s not as good a superhero movie as Captain America: The Winter Soldier, nor
does it pack the pathos or punch of Godzilla’s
beautiful reboot. Ultimately, Guardians is a cheerful palate-cleansing confection
to round off the summer, and the kids will love it. Those not used to a diet of
Skittles and Cherry-ade, however, may feel like a detox is in order. *14th January 2015: It looks like Future-Rocker's content droids should make more effort to crawl the end credits of movies. Apparently Chris Foss's art played an important part in getting the film green-lit, and Chris was also brought on board to contribute designs, as James Gunn explains at COMICBOOKMOVIE.COM . Apologies to all for the incorrect information!
A friend of Future-Rocker's drew our attention to this exhibition. I've even read books by Douglas Coupland, yet had absolutely no idea that he was also an artist. Paintings, Lego, QR codes, graphics...this show is everything I want to see in an art exhibition. Totally beautiful - check out this clip!
Ridley Scott's landmark - and career-defining - film, was not a hit when it was originally released in 1982. Too slow and ponderous for the action blockbuster crowd, it suffered from bad word-of-mouth arising from film-goers who had been led to expect a gung-ho action movie in the wake of Star Wars, and Scott's previous hit, Alien. It wasn't until late-night re-runs on TV, that it slowly began to gather momentum and attract a fanbase. Things came to a head in 1990, when a 'workprint' of the film ( the original cut without the expository Raymond Chandler-style voiceover ) was accidentally released for a one-off cinema screening. The resultant positive response prompted the studio to re-release the 'director's cut', first on the arthousecinema circuit, and then later on home video. With its visually-arresting cinematography and art direction, and with a score by electronic music genius Vangelis, the film now rightly appears in all-time 'best movie' lists. Below is a beautiful edit of some of the film's key scenes, cut to a soundtrack of New Order's Blue Monday, assembled from cover versions by Orgy, Zook, Cliff Martinez and Chemical Brothers. If you haven't seen the movie, this will very much whet your appetite, and if you have seen it, what better way to have a quick refresher of Scott's singular vision of the future?
Eight years ago, Dutch artists Jeroen Koolhaas and Dre Urhahn began a project that has since expanded into a global art initiative to bring colour to some of the world's bleakest urban vistas. Beginning with a mural called 'Boy with a Kite' in the favela of Santa Marta, Rio de Janeiro, the project expanded into painting the thirty or so houses that surrounded a public square in the same neighbourhood.
Recruiting and training locals to help bring the plans to reality, the idea is now regarded as a way to open up a dialogue between the disenfranchised citizens, and the architects, urban planners and elected officials who dictate how people live.
Thus, the two Dutchmen have created a blueprint that gives local people the power to affect their environment and stamp some character into the increasingly faceless urban sprawls of the twenty-first century. And in the favelas of Rio, they have inadvertently turned what was once regarded as a no-go area, into a big tourist draw.
In the intervening years, many projects have been completed, but in 2014, Haas and Hahn will return to Rio with an even bigger project, having successfully raised $250,000 to finance the latest phase of their unique urban regeneration. Details with how you can help are at the bottom of this page. In the meantime, take a look at these pictures, exclusive to FUTURE-ROCKER.
Olivia is a UK artist, and here she talks to FUTURE-ROCKER about her unique brand of Neo-Futurism. I first started to get back into painting, having investigated
different mediums in drawing, photo-editing, collage and textiles. I had gained
a great interest in technology, having worked my ideas through photoshop and had
a love for high intensive colours, manipulating hues, saturations and
contrasts. I wanted to investigate how I could make
my paintings interact with the ideas of new technology, and the modern
lifestyle we see today. This is where the urban architectural structures and utopian virtual spaces began, and I started
to produce my large-scale abstract paintings with fluorescent vibrant paint.
Olivia Peake: Futurgarde ( Painting One ), 2013
I am influenced by Greenberg, Fried and Douglas
Fogle’s The Trouble with Painting, and the manipulation of painting to reform
the canvas into a new hybrid form. Melting the edges of the restrictive canvas
into three-dimensional form, light and installation and intervening within the
architecture of the gallery space, to depict a metaphor for the collapse and
re-development of painting itself.
Olivia Peake: Futurgarde ( Painting Two ), 2013
Further influences of mine were from movements within
futurism and modernist abstraction: Utopian spaces that present a state of re-development and movement, reminiscent
of the work of Julie Mehretu, Ian Monroe and Constant Nieuwenhuis' New Babylon. As intricate and
complex as my paintings are, my work also follows minimalistic structures,
taking inspiration for the work of Mondrian in the use of geometric forms and
technological pixilation, and creating stark building structures with
contrasting subtle reflections.
Olivia Peake: Futurgarde Installation, 2013
I develop my paintings by constantly editing, erasing,
re-doing, and working through levels of improvisation and intuitive responses, combined with precision and decisiveness of
perspective and forms. In a way my work is in a constant battle with itself,
being manipulated from a wall based canvas to a sculpture, then to an
installation. Conflicting responses between the virtual vs. actual, abstract
vs. representational, from the plastic
aesthetics of Perspex to the glossy reflective surfaces of paint.
Olivia Peake: Urban Dynamics, 2012
My work is always shifting and
developing and has began to take influences in ideas of alter-modernism and the
interventionist work of Katharina Grosse, and I am excited to know where it
will lead next. Olivia is currently living and working in Derby, UK, and further developing
her paintings at a smaller scale and continuing to involve the use of
installation and sculpture.
I am an artist based in Birmingham UK, inspired by Futurism, Cubism and Constructivism, as well as Bauhaus, and the Dutch Avant-Garde. I'm a founding member of The Cobalt Blue art collective, where we make a point of seeking out great artists to join us on projects. We are not dictated to in any way, either by institutions, or the strictures of funding programs. About the current series of paintings: I've been working on some canvases recently, that ideally need to be 'read' in sharp lighting, because of the level of accumulated detail ( in the relief patterns on the surface ). These allow you to see the 'history' of the piece - a bit like viewing a tract of land from an aeroplane. Ultimately, you're seeing structures within structures, paintings inside paintings. These close-ups work as finished pieces in themselves, and have inspired the next phase of my art.
Alexi K: HYPERION - Acrylic on canvas, 2012
Alexi K: QUARTERLY PROJECTION - Acrylic on canvas, 2014
Above: The event's beautiful poster art by Fernando Reza of Fro Design Co.
The Black List is an annual film-industry-nominated selection of the 'best unpublished screenplays' currently doing the rounds of Hollywood.
Stephany Folsom's 1969: A Space Odyssey, Or How Kubrick Learned to Stop
Worrying and Land on the Moon is due to get its first public airing in the form of a live script reading at The Los Angeles Theater on June 14th.
The idea is a clever one: NASA's Apollo Space Program is faltering - how can they get mercurial film-maker Stanley Kubrick to film a fake moon landing, in order to 'win' the Cold War space race? The script has generated a lot of buzz, and with previous 'fake movie' hit ARGO also being a past Black List nominee, the feeling is that with enough momentum, '1969' will eventually make it to the screen, too.
COMING SOON ( FALL 2014 ): AN INTERVIEW WITH STEPHANY FOLSOM
Michael Heilemann - interface director at Squarespace and self-confessed Star Wars nerd, has assembled a version of the film intercut with information and footage from the actual inspirations behind George Lucas' ground-breaking classic. This includes samurai movies, westerns, bandes dessinées, Buster Crabbe serials...the list goes on. It accompanies a project called 'Kitbashed', which is an ongoing and even more comprehensive e-book guide to 'The Ancestry of Star Wars'.
Presumably, with a new JJ Abram's-directed Star Wars episode on the way, the original film will be released yet again. Future-Rocker thinks Heilemann's exhaustive e-book and re-cut could be fantastic extras in a future DVD collectors' package. However, he may need a good legal team to get clearance from all the respective owners..! [Additional: Scroll down for last week's message from the director of the new Star Wars movie, JJ Abrams.]
Cape Town seems to be the place to be at the moment for dusty, decayed Urban Sci-Fi environments ( as seen in the movies District 9 and Dredd ). Here's the latest video from South Africa's rap-rave duo Die Antwoord ( Afrikaans for 'The Answer' ). Stunning, creepy, and definitely not for the nervous. Contains disturbing imagery and profanity.
The new video from dubstep wunderkind SKRILLEX has a grimy post-apocalyptic look, and if it has a familiar District 9 look to it, it may be because it was shot in Alexandra township, Johannesburg, South Africa.
Enjoy the brain-melting electronic rocknroll, and make sure you stick around for the fabulous lightsabre duel.
A HEAVY METAL STAR IS BORN - ON SIMON COWELL'S FRANCE HAS GOT TALENT!
''She sounds like the girl from The Exorcist!''
Future Rocker found this incredible clip entirely by accident, while browsing ground-breaking female metal singers like Dawn Crosby and Sabina Classen on YouTube. Lifted from the Simon Cowell franchise La France a un Incroyable Talent, and with four million page views and counting, after this performance we think Rachel Aspe's debut album could be the biggest-selling extreme metal record since Slipknot first appeared...
'Hello madame, where are you from?'
'And what is your talent?'
- 'I sing.'
UPDATE - VIDEO AND PRESS RELEASE!
Just over a year ago, Rachel joined the established French groove metalbandETHS, and in March of this year, they released a new EP, full details below.
New EP EX UMBRA IN SOLEM
Having finally completed an extensive tour in support of our latest album III , we recently recorded an EP with our new vocalist Rachel Aspe. The new release is entitled Ex Umbra In Solem and will come out on March 14th.
The title-track of Ex Umbra In Solem is a brand new song recorded, produced and mixed by our guitarist Staif Bihl himself. It is backed by three classic tracks of the band, recorded live on last October 24th at the Divan du Monde in Paris, mixed by Nikhertz at Studio Phantom.
Last but not least, the EP includes three songs from the III album, re-recorded with Rachel’s vocals.
1. Ex Umbra In Solem
2. Samantha (live)
3. Bulimiarexia (live)
4. Crucifère (live)
5. Voragine (Rachel on vocals)
6. Harmaguedon (Rachel on vocals)
7. Proserpina (Rachel on vocals).
Once again, the artwork was created by photographer / designer Nicolas Senegas, who already worked on the art of III and has no equal when it comes to adapt ETHS musical universe into graphic art.
Ex Umbra In Solem will be strictly limited to 1000 numbered copies on Digipak CD and is available for pre-order on Season of Mist e-shop ( - we checked and they're already out of stock, although still appears to be available on Amazon UK ). Of course, it will also be released digitally.
...and finally, for the completists, here is the full demo of the song featured on Rachel Aspe's Talent show appearance ( it's actually a cover version of Swiss Industrial Metal band SYBREED's song 'Emma O' )...
A huge influence on artists, designers, futurists, and followers of 'the fantastic', he will be greatly missed. HR GIGER, 1940 - 2014 For an update on the new GIGER documentary directed by Belinda Sallin, click here. Until then, here are some Giger-related clips you may be interested in...
MAKING OF 'ALIEN' DOCUMENTARY ( EXCELLENT QUALITY ) In-depth documentary featuring all the writers and creatives who worked on the sci-fi classic.
Future Rocker found this incredible clip entirely by accident, while browsing ground-breaking female metal singers like Dawn Crosby and Sabina Classen on YouTube. Lifted from the Simon Cowell franchisee La France a un Incroyable Talent, and with four million page views and counting, after this performance we think Rachel Aspe's debut album could be the biggest-selling extreme metal record since Slipknot first appeared...
Having finally completed an extensive tour in support of our
latest album III , we recently recorded an EP with our new vocalist Rachel
Aspe. The new release is entitled Ex Umbra In Solem and will come out on March
of Ex Umbra In Solem is a brand new song recorded, produced and mixed by our
guitarist Staif Bihl himself. It is backed by three classic tracks of the band,
recorded live on last October 24th at the Divan du Monde in Paris, mixed by
Nikhertz at Studio Phantom.
Last but not least, the EP includes three songs
from the III album, re-recorded with Rachel’s vocals.
1. Ex Umbra In Solem
3. Bulimiarexia (live)
4. Crucifère (live)
5. Voragine (Rachel
6. Harmaguedon (Rachel on vocals)
7. Proserpina (Rachel on
Once again, the artwork was
created by photographer / designer Nicolas Senegas, who already worked on the
art of III and has no equal when it comes to adapt ETHS musical universe into
Ex Umbra In Solem will be
strictly limited to 1000 numbered copies on Digipak CD and is available for
pre-order on Season of Mist e-shop ( - we checked and they're already out of stock, although still appears to be available on Amazon UK ).
Of course, it will also be released digitally.
...and finally, for the completists, here is the full demo of the song featured on Rachel Aspe's Talent show appearance...
Bartholomäus Traubeck is a sound artist who specialises in creating music from unexpected sources. In 'Years' ( 2011 ) he has used the eye camera from a Playstation to read the data from the rings of an Ash tree. This data is then translated into a musical score by a program called Ableton Live. To us humans, music is an important form of mass communication. Do trees have the equivalent? Our anthropomorphic minds want there to be. The result is eerie and beautiful.
Below: Modified record player, wood, sleeves, 2011
In the punningly-titled 'Two Axes in a Forest' ( 2014 ), the artist loops the sound of guitars humming through one another. Where the imperfections in the manufacturing process prevent it being a perfectly resonant drone, a musical 'tune' is spontaneously created by the objects.
Quality Assurance: This is no April Fool, there is no Photoshop used in this article!
Even for frequent users of the various neglected rail stations across the UK, arriving in Wolverhampton can be a shock. Though the town itself boasts many examples of great architecture in a variety of styles - from the Classical, Romantic and Gothic ( take a stroll around the Town Centre ) to Thunderbirds Brutalist ( see the Art & Design faculty ) - none of these prepare the viewer for the hideous exemplar of Chernobyl-chic that greets them upon arrival at Wolverhampton's rail station.
A corroded, mouldering agglomeration that is an insult to any great city not policed by roving death-squads, it seems that some bright intern has had the idea of re-branding the entire station to commemorate the forthcoming X-Men: Days of Future Past movie. Maybe the visual pun of the site's resemblance to the 'world's worst nuclear accident', and a film about a mutant insurgency, was something the admen couldn't resist?
For the sake of a nifty film tie-in and some cute pictograms, one wonders how many confused travellers have accidentally continued on to Wales, thinking that this wasn't their stop?
See photographs, below...
All photographs, copyright Alexi K Artist, 2014
All signage, pictograms featured, etc, presumably copyright Virgin Trains!