Not so much about secret identity, but about who reports to who. Speaking later about Civil War, Feige said " Events of the whole cinematic universe will make all governments in the world want regulation. "There are always plans, but mainly jokes." He said the joke was meant to misdirect fans who were in attendance. When asked later about a real movie featuring the Serpent Society, Feige responded. The next Captain America movie will be titled Captain America: Civil War. ![]() Update: Apparently the title Captain America: Serpent Society was a joke by Feige. It picks up where we leave Thor in 'Avengers: Age of Ultron' and impacts everything that comes after." "We plan on taking Thor to another level. "This is a very important movie for us in Phase 3," said Marvel Studio president Kevin Feige. Something that follows as a continuation, especially a literary, dramatic, or cinematic work whose narrative continues that of a preexisting work. ![]() Writer and director James Gunn will be returning to helm the film.įinally, Thor: Ragnarok will hit theaters on July 28, 2017. The Guardians of the Galaxy sequel, as yet untitled, will be released May 5, 2017, a move up from its original date of July 28. as Iron Man and Chadwick Boseman as Black Panther. Chris Evans will reprise his role as Captain America and be joined by at least Robert Downey, Jr. The next Captain American movie will be titled Captain America: Civil War, and was given a release date of May 6, 2016. “Happy End,” for its part, signals a return to form for the director, who here makes a stark departure from the sweet tone of “Amour” – perhaps his most mainstream work – in favor of the vinegary outlook on life manifested in such films as “Funny Games,” his 2007 horror movie about violently psychopathic home invaders, and “The White Ribbon,” his 2009 pre-World War I period piece about, among other things, child abuse.During a special event today in Hollywood's El Capitan Theatre the team at Marvel Studios announced information on a slate of new superhero movies. His work often betrays a distinctly cruel disregard for audience comfort, bordering, at times, on sadism. ![]() Haneke is nothing if not playful, but only in the sense that a cat “plays” with a mouse before killing it. That’s seemingly by design: The film opens with voyeuristic, Facebook Live-style videos – shot by an anonymous someone we only later find out is Eve – as, for example, she poisons her pet hamster. Relationships between characters are often frustratingly ambiguous an organizational chart is needed to figure out how everybody connects. Start with the basics and learn about advanced features of PostgreSQL as you go along. Just connect to a database and begin working with tables and views. Postico will look familiar to anyone who has used a Mac before. If you find yourself confused about who’s who just reading this review, you’ll be lost in the movie. Postico provides an easy to use interface, making Postgres more accessible for newcomers and specialists alike. ![]() This new Georges eventually finds a kindred spirit – if not an enabler – in his granddaughter Eve (Fantine Harduin), a 13-year-old sociopath who, as the film gets underway, has already put one character in a coma via an overdose of prescription medicine. Haneke almost always names his male characters Georges (or George, or Georg), for reasons that he has attributed to laziness, but which probably have more to do with a desire to mess with our heads than anything else. Longtime fans of Haneke will know not to read too much into the fact that Trintignant’s character is named Georges. The similarities between the two films, however, end there. As in the earlier tale, Georges has a daughter played by Isabelle Huppert (although her character here is named Anne, not Eva). And now, as he himself becomes increasingly senile, the widower starts looking for someone to help him die. Like his character in “Amour,” this Georges, as we gradually learn, has also helped his infirm wife shuffle off this mortal coil, in an act of tenderness that is fraught with troubling moral implications. In ways both thematic and circumstantial, Michael Haneke’s “Happy End” suggests a sequel of sorts to the Austrian filmmaker’s “Amour.” Like that Oscar-nominated 2012 film, which explored the gray area between coldblooded murder and assisted suicide as an act of love, Haneke’s latest effort also stars Jean-Louis Trintignant, once again in the role of an elderly man named Georges.
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