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IF IT'S CRAP, WE WILL TELL YOU!!!


X-MEN: DARK PHOENIX - HIGH SOME OL' BULLS@#T!!!

GODZILLA: KING OF THE MONSTERS - MATINEE!!!

AVENGERS: ENDGAME IMAX - BETTER THAN SEX!!!

HELLBOY 2019 -  RENTAL!!! 

SHAZAM IMAX - FULL PRICE!!!

SECOND ACT - MATINEE!!!

US - HIGH RENTAL!!!

CAPTAIN MARVEL IMAX - FULL PRICE!!!

GLASS - LOW RENTAL!!!

 THE UPSIDE - HIGH MATINEE!!!

AQUAMAN IMAX - FULL PRICE

SPIDER-MAN: INTO THE SPIDER-VERSE - FULL PRICE!!! 














































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Avengers: Endgame Official Trailer

Avengers: Endgame TV Spot Clip

Avengers: Endgame IMAX Teaser

AVENGERS: ENDGAME IMAX

This is it: it's the end of an era and the culmination of 22 movies worth of story. Directors Joe and Anthony Russo do whatever it takes like the characters say to wrap up this series of movies, a lot of these actors' contracts are over after this chapter, and it sets up more future stories for new players in the Marvel Cinematic Universe! 'Endgame' is the part 2 of the aftermath of 'Infinity War'; Thanos succeeded in his task to wipe out half of all life in the universe by collecting all the Infinity Stones thereby having our heroes lose for a change, now they're reeling from their defeat, licking their wounds, and learning to deal with the PTSD of it all

we also see the return of Jeremy Renner as Hawkeye whom has been missing since 'Captain America: Civil War' after breaking from the Sokovia Accords and the return of Scott Lang as Ant-Man whom was trapped in a time vortex in the quantum realm while half of all life was decimated. Brie Larson officially joins the ranks as Captain Marvel as well being brought up to speed what happened since her absence in the 1990's, without giving too much away our heroes attempt to reverse the work done by the Mad Titan by working together but all too aware of the consequences involved, they understand they will only have one chance to fix everything if it can be done since the Infinity Stones are too powerful for one being. If there is one outcome they can come out on top then they will have to be ready to do whatever it takes!

There's a lot of work to get through the 3 hour run time but trust me when I say it's worth building up to a grand final showdown between our heroes and the terrifying power of

Thanos not to mention so many callbacks to the many of the previous entries that fans will smile at the filmmakers actually do a brilliant job keeping a lot of this movie’s plot turns very secretive because so much stuff I wasn't expecting the Russo Brothers are breaking away from tradition and not messing around anymore as they show everyone learning how to deal with failure, tragedy, loss, getting new second chances, putting back together things that are broken, making unexpected breakthroughs, being about how much we have left, not how much we've lost, and letting things happen as they should no matter how much we're told to move on or start over but the movie is the darkest and most somber of the MCU films put together given everything we've seen thus far as I said though there's so many cheer worthy moments by the time the climax occurs which will bring smiles and tears at the same time everything began with 'Iron Man' 11 years ago but how does it all end exactly? It'll definitely feel like a proper conclusion with this phase of movies yet I am sad many of these players are done after this entry still, it'll continue to make more exciting future stories for many other superheroes!

This is an emotional but triumphant closing chapter for fans and critics whom have been with each of these films since the very beginning. Thank you so much Joe and Anthony Russo and Marvel Studios for an incredible generation of comic book films that have now forever changed the landscape of cinema! This is a BETTER THAN SEX rating!!! And if you don't like it, you can kiss my Avenging Nick Fury Cosplayin' Ass!!!!


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John Wick: Chapter 3 Parabellum Trailer

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Godzilla: King Of The Monsters IMAX Trailer 2

Godzilla: King Of The Monsters Comic Con Trailer 1

GODZILLA: KING OF THE MONSTERS

“Godzilla is back! And this time, he’s not alone!” Right from the start, Godzilla: King of the Monsters makes it clear that it is not going to be another hide-the-monsters exercise like its predecessor, 2014’s Godzilla. Whereas that movie, which rebooted the king of the monsters for modern audiences, aimed for a more contemplative if stingy approach to portraying the iconic beast, this new film gives us a huge scene -- with a huge monster! -- Within its first few minutes. The message is clear: This Godzilla movie is going to be wall to wall with the monsters, contemplativeness be damned.

Co-written and directed by Michael Dougherty, who has also helmed the spook-fests Trick 'r Treat and Krampus, Godzilla: King of the Monsters stars Kyle Chandler, Vera Farmiga and Millie Bobby Brown as a splintered family that gets swept up in the drama when a new array of giant monsters begins to appear around the world. Perhaps not surprisingly, the cast mostly gets short shrift when compared to the kaiju, with Chandler’s character spending most of his screen time stressed out, Brown’s crying more often than not, and Farmiga’s… well, let’s just say her character’s motivations are confusing at best and ridiculous at worst. But the monsters! They include the classic Godzilla players Mothra, Rodan and the nasty King Ghidorah, all realized with designs that call back to their Toho origins while also looking fresh and, basically, fantastic. As for Godzilla, as we saw at the end of the 2014 film, he is firmly planted on the side of good, ready to battle these creatures alongside humanity… even if his motivation seems to be more as a simple force of nature rather than specifically as mankind’s BGFF -- Best Giant Friend Forever.

As has been the case with Legendary Pictures and Warner Bros.’ monster series, the secret scientific agency Monarch is once again attempting to quell the monster threat in this film, and not doing a particularly great job of it. But at least this time out Dougherty has given them more agency, allowing for the Monarch team of scientists and soldiers to do more than just stand around and watch monsters duking it out. That includes a super-cool underwater headquarters where they hang out -- complete with a view of Godzilla’s migratory lanes! -- and a ship called the Argos that enables Chandler and a bunch of fun supporting players like Bradley Whitford, Thomas Middleditch and O'Shea Jackson Jr. to keep up with the tussling giant monsters as they crisscross the globe. This leads to one particularly thrilling sequence which pits the winged Rodan in a high-speed chase against the Argo and a bunch of other military aircraft. But really, the monster action in this movie is top-notch across the board, whether its creatures being born, creatures battling humans, or creatures battling other creatures. The visual effects are key here not just in the state of the art, epic set pieces, but also in how each monster feels like they have their own, distinct personality. Even Ghidorah’s three heads have their own temperaments! Where King of the Monster does stumble, unfortunately, is in how needlessly convoluted its script can be at times. When, in the middle of dire emergency circumstances, Farmiga’s character lays out a plan that somehow includes spur-of-the-moment video montages and infographics of what she’s talking about, monstrous giggles from the audience would be excused. That also goes for Chandler’s so very serious main character, who apparently knows better than the generals, scientists and other experts around him at every clutch moment. And then there’s Game of Thrones’ Charles Dance aka "My Dear Brother Numpsay", who’s one of the film’s villains but who ultimately has almost no bearing on the story for some reason.

But hey, this is a Godzilla movie, and what we’re really here for is to see him kick some serious monster butt. And King of the Monsters pays off in that regard time and again, including an explosive, extended final battle royale between all the monsters. But the film also finds it in its monstrous heart to provide some fairly… dare we say it… contemplative bits as well. Ken Watanabe, back from the first film as a Monarch scientist and ultimate Godzilla fanboy, gets a particularly beautiful moment. Indeed, the movie manages to also pay homage to the Godzilla films of yesteryear with lots of little nerdy Easter eggs that will make fans quite happy, while also, of course, threading the needle of Legendary’s shared Monster-Verse past and future with just enough references.

Overall, Godzilla: King of the Monsters is a fun exercise in giant monster madness that indulges in all the kaiju fights fans and even casual viewers could hope for. It looks amazing while also giving its human characters a chance to stay interesting amid all the battling beasties by providing them with some really cool tech -- and some great one-liners among the supporting players. Unfortunately, the film’s plot is needlessly confusing, and not all that smart at times, and the lead characters could’ve used a little more fleshing out. Still, King of the Monsters course corrects from the 2014 film by giving audiences an abundance of monster action, proving that Hollywood can do right by Godzilla and his fellow kaiju. For me, this is a MATINEE Rating!!

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X-MEN: DARK PHOENIX

“Logan" is the proper finale to the "X-Men" film series. "X-Men: Dark Phoenix," though effectively the last movie to be released in this cinematic universe, is so disappointing that it doesn't deserve that honor. (Technically the last of this crop of "X-Men" movies will be 2020's oft-delayed "The New Mutants," which seems to be more of a standalone story.) Therefore, instead of simply panning "Dark Phoenix," I'm going to make the case that it should be replaced in the hearts and minds of "X-Men" fans with "Logan" as the real finale for this version of the franchise. (I wrote my farewell tribute to the early 21st century "X-Men" movies earlier this week.) If you're a comic book fan, you will recognize "Dark Phoenix" as an adaptation of "The Dark Phoenix Saga," a famous "X-Men" storyline in which the powers of Jean Grey/Phoenix (Sophie Turner) are amplified by her bonding with a supernatural entity known as the Phoenix Force. Continuing the recent tradition of setting one "X-Men" film in each of the last four decades of the 20th century, this one takes place in 1992 and starts when Grey bonds with the Phoenix Force after absorbing a solar flare into her body. That sets in motion a series of subplots, all of them borrowed from other (not always better) movies.

First there is the infamous 2006 film "X-Men: The Last Stand," of which this movie is practically a remake. Indeed, "Dark Phoenix" director and writer Simon Kinberg was actually a co-writer on "The Last Stand," and this one doesn't deviate from the first story's major plot beats: Jean Grey becomes a quasi-antagonist after her powers grow, she breaks away from the ones she loves, eventually loses control of her powers and ultimately brings every main protagonist to their bittersweet ending. In both movies the key relationships for Phoenix are with a love interest (Tye Sheridan's Scott Summers/Cyclops here, James Marsden's Cyclops and Hugh Jackman's Wolverine in the original), father figure Charles Xavier/Professor X (James McAvoy) and various side characters — some developed, others not so much. This time more attention is paid to the story arcs of Raven Darkhölme/Mystique (Jennifer Lawrence), Hank McCoy/Beast (Nicholas Hoult) and Erik Lehnsherr/Magneto (Michael Fassbender), whose love/hate friendship with Professor X can be the high point of an "X-Men" movie when done right. Ororo Munroe/Storm (Alexandra Shipp), Kurt Wagner/Nightcrawler (Kodi Smit-McPhee) and Peter Maximoff/Quicksilver (Evan Peters) receive less attention.

There are also some superficial comparisons to be made between "Dark Phoenix" and a much better superhero film, "Captain Marvel." Both movies are set in the 1990s, but "Captain Marvel" actually has fun with being a period piece and takes advantage of its '90s setting. This was also true of the other three "X-Men" films to follow this decade-by-decade formula — "First Class" with the 1960s, "Days of Future Past" with the 1970s and "Apocalypse" with the 1980s. Similarly, "Captain Marvel" also had shapeshifting aliens, although the Skrull in "Captain Marvel" were better developed because they felt like individuals rather than generic villains, and their storyline included a clever twist. "Dark Phoenix" wastes Jessica Chastain by writing her as a by-the-numbers antagonist named Vuk, who is completely forgettable. There is even an element of "Shazam!" in the opening scene, which gives Jean Grey a backstory similar to that of the "Shazam!" antagonist. Finally "Captain Marvel" also includes many light and funny moments, while "Dark Phoenix" only achieves semi-solemnity when it's trying to be upbeat. Bleak superhero movies can work, of course, but it has to be because they're attempting something new. "Dark Phoenix" is as far from "new" as a movie can be.

Compare that to "Logan." That was also a bleak film, far more so than "Dark Phoenix." It is set in 2029, making it the last film chronologically in this "X-Men" film universe — and also providing us with one reason why it works better as the proper "X-Men" finale. The ending of "Logan" also works in a bold and poignant way, providing the kind of closure that any story could be proud of. It brings the series to an extremely tragic conclusion: No mutant has been born in a quarter century and the world is a dystopian hellhole. The cause of a happy and flourishing future for mutants, the one that animated Professor X's life (Patrick Stewart) and caused him to found the X-Men, is in its death throes. The same can be said of Professor X himself, whose once-sage mind has been reduced to a shadow of its former self by the ravages of Alzheimer's disease. Because of his seizures, he occasionally becomes an accidental weapon of mass destruction himself, a fact that we learn caused him to do something terrible to many of the other X-Men. Logan/Wolverine himself (Hugh Jackman) is also dying. The once-invulnerable man no longer heals as effectively as he used to; he's slower, covered in scars, and relies on alcohol to deal with his constant pain. His caretaker relationship with Professor X is the movie's unsung highlight: We know from their interactions in previous films that Professor X rescued Wolverine from himself and helped him find a purpose, even though the cynical and surly lug never wanted to admit it. That backstory is embedded in Jackman's and Stewart's textured and heartbreaking performances, discernible even to one hasn't seen a single other "X-Men" movie. 

Wolverine no longer believes in the cause, but he still loves his teacher and is devoting his final years to helping them both survive, while brooding over the end of his own life and everything he loved. When events conspire to put Wolverine in charge of an 11-year-old girl named Laura (Dafne Keen), he has to learn to become a hero one more time — and to learn how to find purpose in loving, living and eventually dying. It's a character study to end all character studies, a perfect send-off to this version of the Wolverine character that ties up the underlying story of the "X-Men" series in an equally cathartic way. The bleakness works because it feels earned. In addition to its heart, it is buoyed by an interesting concept — a superhero-movie-as-Western, with visual references to classic Westerns like "Shane" (1953), "The Cowboys" (1972) and "Unforgiven" (1992). There are also dystopian sci-fi elements here, although those are more common in the superhero genre. The final scenes in both films best illustrates why "Logan" is both a better movie and a more fitting finale than "Dark Phoenix." The last shot of "Dark Phoenix" references an iconic image used throughout the series — so overused that it feels downright uninspired at this point — followed by  another image which ties up this immediate story but says nothing deeper about the "X-Men" series as a whole.

"Logan" ends, by contrast, with the mutant children saved by the titular character gathering around his grave. As they leave to head toward an uncertain future, his daughter turns his grave marker on its side to make it an X instead of a cross. This works on several levels: It's a direct visual reference to Wolverine's status as the last of the "X-Men," a deft use of Christian iconography to make a point about the X-Men's larger cause and an emotionally appropriate way of wrapping up the original "X-Men" story (tragically, but with a flicker of hope). Sadly there will never be a follow up movie to erase "Dark Phoenix" from the canon, like 2014's "X-Men: Days of Future Past" did to "The Last Stand." Thankfully, "Logan" is the final story to occur chronologically within this "X-Men" series, and even if it wasn't, it remains a far more satisfying conclusion to that larger story in every conceivable way. If you want to say a proper goodbye to this series of "X-Men" movies, you're better off spending your time on "Logan" again than "Dark Phoenix" for the first time. High SOME OL’ BULLSHIT Rating

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MIB: International Trailer

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Spider-Man: Far From Home Dolby Trailer

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Star Wars: The Rise of Skywalker Teaser

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