With fanfare and excitememnt the first teaser trailer for Amazon MGM Studios and Sony Pictures’ Masters of the Universe has arrived, and it delivers on the full-on pop culture experience and epic blockbuster scale of the classic Mattel property as Prince Adam once again returns to hold aloft the Sword of Power, and fight to reclaim the lands of Eternia… and this is going to be an gigantic cinema experience.

Check out the brand new trailer for Masters of the Universe below:

Here’s the official synopsis:

Fleeing a devastating civil war, ten-year-old Prince Adam Glenn (Nicholas Galitzine) is spirited away to his mother’s home planet Earth, separating him from his ancestor’s Sword of Power. Twenty years later, a now-adult Adam must return to the planet of Eternia and rediscover his lost birthright, becoming the mighty hero He-Man and leading the few remaining warriors of Eternia against the evil forces of Skeletor (Jared Leto).

After multiple decades of developments, many a fan’s dream was made true today with the arrival of an all-new look and feel Masters of the Universe, and celebrated filmmaker Travis Knight (Bumblebee) appears to have delivered on the scale, fun and grandeur of the classic 1980s action-figure, cartoon property, and Masters of the Universe appears to be shaping up to be one of 2026’s most intriguing releases.

Almost operatic in the scale and level of its science-fiction fantasy setting, Knight has perfectly rendered the world of He-Man and Eternia into life, and every part of this trailer and its bold storytelling popped on screen. The action is full-on, the locations are grand, and the energy is crackling, and audiences will completely fall into it all.

Not only do we get to see a good bit of footage on display here, but we finally get to witness Nicholas Galitzine as Prince Adam Glenn, along with his inevitable transformation into the god-like He-Man, and he’s utterly crushing it in the role. Displaying both a vulnerability and cheeky comedic side, Galitzine then suddenly shifts it up as he screams, ‘I HAVE THE POWER’ and transforms into the mighty He-Man. Utterly yoked, Galitzine jumps headfirst into the action, and he’s really about to step into the A-list with this role.

We also have to give it up to the stacked supporting cast that includes the likes of Camila Mendes as Teela, Alison Brie as Professor Evelyn Powers/Evil-Lyn, Morena Baccarin as the Sorceress, Charlotte Riley as Queen Marlena Glenn, Sir Idris Elba as Duncan/Man-At-Arms, and Jared Leto as Skeletor! And all we can say is bring it on!

 

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Masters of the Universe is shaping up to be an utterly fun and engaging pop watch, and we can’t wait to see how the story and action unfold when it arrives in cinemas on June 5.

Image: Sony Pictures

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Clashes between Kern County Deputy Sheriff Joe “Deke” Deacon (Washington) and L.A. Sheriff Department Sergeant Jim “Jimmy” Baxter (Malek) occur during the investigation of a serial killer (Leto).

Director John Lee Hancock brings a singular focus to the narrative of The Little Things, a film which he both wrote and directed. And the result is a powerfully dark and intense neo-noir detective story that pulls audiences in and won’t let them go. Best described as a slow-burn crime story, Hancock places his attention on building out a true detective story, where the focus is on the investigation of the crime and the conflict that it causes its detectives. Mixing two distinct methodologies of two very different police officers keeps things interesting on screen and Hancock’s approach to the genre and story of his film leads to plenty of unexpected twists, and very interesting turns that you won’t see coming.

Having nurtured this story for over twenty years, having first conceived it in 1996, Hancock has really taken his time to get things right and the result shows up on screen. While quintessentially a serial killer, crime investigation story, The Little Things examines key themes of investigation, justice, intuition and obsession, and these central ideas keep this story fresh and interesting. While we’ve all seen the quintessential ‘serial killer/detective story’, The Little Things keeps you off guard thanks to its slow-burn pace and the mounting tension that grips it’s three central characters. For audiences who like a film that makes you think, Hancock really delivers something interesting and crafts a film that is a very clever watch.

Taking on one part of the acting triple threat in The Little Things is two-time Academy Award winner Denzel Washington as Kern County Deputy Sheriff Joe “Deke” Deacon. Deke is a complex, unorthodox and haunted man, who has a serious reputation and is possessed of an unwavering intensity and dark secret that haunts him to this day. As a gifted investigator, he can step into the mind of a killer enabling him to find ways into a case that others might miss. But this ‘gift’ marks him out as a pariah by his fellow officers, and he’s an unwanted presence in Los Angeles.

Deke gives Washington a complex and dark figure to portray, and Hancock takes audiences inside his broken mind and the waking hallucinations that he suffers from. It’s an intense portrayal on behalf of Washington and audiences journey to a very grim place through this character.

Standing beside Washington’s Deke is fellow Academy Award winner Rami Malek as LASD Det. Jim Baxter and this is a sharp turn for the actor. Where Malek has made a career for himself portraying oddballs and outliers, in The Little Things he’s fundamentally the straight man. As Baxter, Malek brings an unwavering intensity and focus to this hotshot young detective who has been handed the reigns of a big-time murder investigation and his burning intensity to find his killer casts a big shadow across his life and career.

In The Little Things, we see a different side to Malek, and he excels as this very stoic and by the book character. Where Deke is one to cut corners, Baxter is a by-the-book kind of character and this leads to some great interaction and character conflict. Malek really holds the attention of the screen and shares a unique chemistry with Washington and audiences will get a kick out of seeing these two together up on the big screen.

Bringing max creep factor to The Little Things, and completing the film’s acting triple threat is Academy Award winner Jared Leto, and he’s incredibly scary in this one. As would-be serial killer Albert Sparma, Leto is offputting and brings to life a character that is sure to make your skin crawl as this almost vagabond-pervert creep. There’s definitely something off about Sparma, and he knows far more than he’s letting on about. Leto is known for bringing some serious madness to his method acting persona, and he changes himself up as this bloated, greasy-haired freak whose attention soon becomes fixated on Deke and Baxtor.

The Little Things embraces the neo-noir genre to its full advantage and one of Hancock’s most important collaborators in bringing this film to life is cinematographer John Schwartzman. Schwazrtman has worked across all genres and here in The Little Things he centres his camera on the use of dark and brooding shadows and his harsh lighting teases out the darkness that threatens to envelop our characters. This use of high contrast shadows is very reminiscent of classic film noir chiaroscuro lighting and firmly cement you in the film’s dark story. A consistent green colour palette of various tonal hues keeps the audience off guard and makes the images presented here very memorable.

As a detective story, The Little Things slow-burn narrative appealed to me and I enjoyed how Hancock, Washington, Malek and Leto toyed with their viewer’s emotions and understanding of the narrative. This is not your typical noir thriller, and it tries things and takes risks that make it interesting as a film to watch. So rarely do we get a Hollywood blockbuster that takes an established genre and really flips it on its head in regards to narrative process, but that’s exactly what The Little Things does, and noted fans of the noir genre will be pleased with the results they see here.

Dark, brooding and incredibly clever, The Little Things is a very intellectually stimulating watch and your mind will really tick with this one. Washington, Malek and Leto get to do something special here, and if you’re wanting to experience a different side of a long-established genre this one is a very interesting watch.

Image: Warner Brothers Pictures

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And the official trailer has now arrived. Check it out below:

Here’ the official synopsis:

Following the death of Superman in Batman v Superman: Dawn of Justice, Batman and Wonder Woman recruit the Flash, Aquaman, and Cyborg to form the Justice League and protect the world from Steppenwolf and his army of Parademons, who seek the three Mother Boxes.

This new trailer is nothing short of epic and presents a completely new vision on behalf of Snyder. Not only do we finally get to get Henry Cavill’s Superman in the Black Suit, but we also get to see a newly designed Steppenwolf (Ciaran Hinds), alongside the appearance of Darkseid, and audiences also get their first look at a confrontation between Ben Affleck’s Batman and Jared Leto’s Joker in a hellish new landscape.

hile the basic framework of the story is the same, dozens of additional scenes, backstories, mythos, worldbuilding elements, new characters, and teases for upcoming films are present in Snyder’s version but not the theatrical release. This includes new scenes with characters including Iris West (Kiersey Clemons), the love interest to Barry Allen/The Flash, alongside Slade Wilson/Deathstroke (Joe Manganiello), who will be given new material to work with by Snyder.

This first glimpse of Zack Snyder’s Justice League is incredible to behold, and Snyder has also confirmed that the film will be presented as a one-shot event movie, instead of the four-part series that was initially rumoured.

Zack Snyder’s Justice League will arrive on HBO Max on March 18.

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After he uncovers a dark secret that could lead to the end of humanity, LAPD Officer K (Ryan Gosling), a ‘blade runner’, goes in search of the infamous and legendary Rick Deckard (Harrison Ford) to find the truth.

If your wanting plot, well that’s as much as you’re going to get. I pride myself on never revealing spoilers of any kind, and I must say that to attempt to refer to the plot of Blade Runner 2049 in a review would ultimately do a disservice to the scope, scale and size of this epic production. What acclaimed filmmaker Denis Villeneuve has done here is simply astonishing, and while the term auteur is regularly bandied about, and is applied to directors for just about every project, with Blade Runner 2049, the director rightfully earns this title. As a director, Villeneuve does the seemingly unthinkable and follows in the footsteps of the great master Ridley Scott, whose vision for the original Blade Runner was utterly groundbreaking. Villeneuve extends Scott’s original film into an even further future and builds a narrative that unfolds slowly, revealing a story that not only works on a narrative level but which also examines an array of complex themes.

The original Blade Runner was a stark and industrial look into a polluted and overcrowded future Los Angeles of 2017. Blade Runner 2049 is set 30 years later, and to put it bluntly the world has gone to hell. Call it the by-product of global warming gone wrong, this future is not the dream we all yearn for, but rather the dystopian nightmare we’d like to avoid. But while this slum cityscape makes for a harrowing environment for our characters, Villeneuve’s vision for this landscape is utterly magnificent. Combined with the talents of production designer Dennis Gassner and cinematographer Roger Deakins, along with the guidance of Ridley Scott, the world of Blade Runner 2049 is a stark, yet beautiful vision of a future of immense scale. Buildings rise above the clouds, and signs of animated virtual reality dance throughout the densely populated streets. This landscape becomes totally immersive in a format like IMAX. You’re pulled into this future, and find yourself marvelling at its vast proportions and epic size.

Blade Runner 2049 is far and away cinematographer Roger Deakins greatest achievement. This revered camera artist paints an astonishing cinematic vision with his use of lighting and dynamic camera work. Deakins’ eye gives the film both scale and intimacy and balances the slow burn effect of the original film, along with the quick tempo that younger audiences have come to expect from today’s cinema. I particularly liked his approach to capturing the fortified space of the Tyrell Corporation, and how his use of his camera took you for a ride in Officer K’s spinner. His approach to capturing this film is immersive and groundbreaking, and I have my fingers crossed that he will be awarded the praise of the Academy for his work.

Married with Deakin’s gorgeous cinematography are the sounds of Hans Zimmer and Benjamin Wallfisch. The use of music is transportative, and the score of Zimmer and Wallfisch pulls you into this futuristic landscape. It moves from melodic and peaceful to screechingly loud and furious as the danger builds. Matched with intense sound editing. the music provides the emotional core of the film and extends the actors performances up on screen.

While I can’t go into too much detail on the cast of Blade Runner 2049 without falling into spoiler territory, I can say that they are all working at 100% here. Ryan Gosling brings a chiselled and intense performance as Officer K, a full-on blade runner whose curiosity leads him to a very dark place that could have world levelling ramifications. Harrison Ford again returns as the cynical and now aged Deckard, whose choices have left him as a haunted figure of the man he once was. Ana de Armas provides a sense of reassurance and compassion as K’s companion Joi, and Jared Leto makes a very creepy appearance as reclusive replicant manufacturer Niander Wallace, who carries a cruel and calculating god complex that makes him a very dangerous adversary.

While watching this film you absolutely believe that all of the cast are wholeheartedly invested in the outcome of this film. Each performer gives his or her all to their character and combined with Villeneuve’s layered storytelling and the film’s impressive production design, cinematography and score, all of this leads to a completely mesmerising piece of science fiction.

While I’ve only given you a snapshot of what Blade Runner 2049 is to reveal too much here would only serve to lessen the impact that this work of science fiction has on its audience. Blade Runner 2049 is a film that needs to be absorbed up on screen. Every piece of it has been rendered with a passion to tell a story that extends from the original, but which also asks new questions of its story and its characters. My advice is to watch it on IMAX if you can let it wash over you, for it is an incredible experience.

Image: Sony Pictures

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After watching a sneakily filmed but fuzzy version that’s been online for the last few days, fans finally have a crystal clear and ultra magnificent trailer to view.

The trailer is an absolute roller-coaster ride from beginning to end, establishing the scene with Viola Davis’ sly manipulator Amanda Waller suggesting the use of high functioning, and lethal supervillains to do the government’s bidding on highly controversial, and thus highly deniable black ops missions.

We get a look into the squad including the diabolically cute and twisted Harley Quinn (Margot Robbie), the rough housed Deadshot (Will Smith), Aussie bruiser Captain Boomerang (Jai Courtney), goth princess/sorcerer Enchantress (Cara Delavegne), and the military-minded Rick Flag (Joel Kinnaman). The trailer is non-stop action and intriguing mood, before it introduces us to Jared Leto’s Clown Prince of Crime himself, The Joker, who’s all ripped, and tatted up, and offers us a glimpse at his psychotic new voice with the words “I’m not going to kill you, I’m just going to hurt you….really…really bad.”

With directors like Ayer and Zack Snyder, and properties such as Suicide Squad and Batman V Superman: Dawn of Justice, Warner Brothers and DC Comics are certainly re-writing what constitutes a comic book adaptation.

On August 4, 2016 prepare for justice with a hint of evil.

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