Prince, in you I found a kindred spirit...Rest In Paradise. | |
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lol yeah Halle was the wrong choice from day one. I love Berry, but she doesn't have the 'regal' confidence needed to play Storm. | |
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https://geektyrant.com/ne...cool-stuff
This New "Mythology" Trai...Cool Stuff
Marvel has released a new "Mythology" trailer/featurette for Black Panther that focuses on the world of the hero and some of the major characters that fill it. The cast and crew of the film also talk about some of the main story elements, the conflicts that present themselves, and the influence of the comic book series. The video also features a lot of cool footage from the film! If you're excited about Black Panther, you'll definitely want to check this out. If you haven't read our review yet, make sure to check it out here. Black Panther was an incredibly well-made film that takes the MCU to an exciting new level. I loved Black Panther and I can't wait for the rest of you to get to see it for yourselves! In the meantime, enjoy this latest promo!
The movie was directed by Ryan Coogler and it's been getting amazing reviews. It stars Chadwick Boseman, Michael B. Jordan, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Danai Girira, Lupita Nyong’o and Forest Whitaker. The movie opens in theaters on February 16, 2018.
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Interesting Insights and thoughts about the process of making this film from the film's writer/director Ryan Coogler. The amount of work and research that goes into a film like this is astounding. I read that two thousand people worked on Black Panther. Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Plus Angela is STILL TONED after (what's love got to do with it) she is still fit | |
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I saw Black Panther for the second time on Sunday. The first showing here was Thursday, not Friday and I was there with bells on, geeking the fkuc out!
Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Chad must be just about the most popular guy on the planet right now, Is he blushing @33:30 when he starts talking about Lupita? [Edited 2/27/18 17:01pm] Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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I agree. On the backend of it all, Marvel fans have let directors and writers know they are not playing with them. Do it right or they will burn it all down. lol
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Did you enjoy the score music for the film? I bought the soundtrack, and I'm not so happy with it. Maybe 3-4 songs I like | |
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Black moviegoers have always bought more movie tickets than its share of the population. Disney's need to expand the MCU just exposed the latent demand for a movie like Black Panther. Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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fan art by Matthieu Jolliff
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Did ya notice his black leopard spot tatoos? | |
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HAHAHA yeah that costume was not cool lol
it almost looks like Dr Strange though
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I'm with you on all points here. Sci-fi/action films always need to be seen a few times, they move so fast. And this one did good about not lagging, and pushing a romance. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Black Panther's Production Designer Welcome to Wakanda: How Black Panther's production designer created a world never seen on film
It's the same size as Rwanda. Who knew? Hannah Beachler shares the secrets of Black Panther's universe | |
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Black Panther (Original Score)Ludwig Göransson’s spectacular score captures the multiplicity of the fictional nation of Wakanda.
In a blockbuster movie, nothing says “important” quite like the imposition of a large orchestra—especially one that favors a Eurocentricity that’s historically been set against black expression. The use of such an orchestra in Black Panther is intriguing because the film is the first of its magnitude to carry the joy of an African utopia that never was. The story wraps itself with a specific kind of grandness that a traditional, classical orchestra has rarely appealed to. Ludwig Göransson—the composer of the Black Panther’s score who’s frequently worked with the film’s director Ryan Coogler, not to mention Childish Gambino—does incorporate some African accents into his 132-piece orchestra, but even he noted that that’s not really enough. “The most difficult part is that as soon as you put production and orchestra on top of African music, it doesn’t sound African anymore,” he told Pitchfork. “So the challenge was incorporating these things and making them still feel African.”
Part of what keeps Göransson’s use of African music from feeling dilettantish is how he recognizes the breadth of the Black Panther universe. The horns swell and the polyrhythms rumble not with a distant awe, but with a believable intimacy; the reference point isn’t the mere idea of Africa, but all of what that idea encompasses. In a spectacular way, Göransson’s score captures the multiplicity of the fictional country of Wakanda.
”Wakanda”—which plays when the hero, the Black Panther T’Challa, prepares to take his throne in the film’s opening act—offers a glimpse into that sort of specificity. T’Challa begins the movie as an inheritor of a new kingdom who feels the magnitude of his deceased father’s legacy, and in this vulnerable moment, Senegalese musician Baaba Maal solemnly cries a song that serves as a metaphor for the fallen king. Göransson isn’t simply ticking off the diasporic boxes; he’s rooting them in an emotional context. The sadness adds gravity to the piece’s later half: Regal brass decorates a wide shot of Wakanda, signifying the glory he’ll have rule over.
The movie’s main villain, Erik Killmonger, is given that same amount of care and development. Not only is he a foreigner to the nation despite his familial ties; his worldview barely intersects T’Challa’s, who puts his loyalty to his nation over Killmonger’s desire to empower black people outside of the continent. The piece of music named after him embodies the inner conflict that drive his actions. The tambin flute appears as a ghostly presence, its windy notes puncturing with the urgency of an ancestral cry from the afterlife. But the theme resolves with trap hi-hats that now dominate hip-hop. The change-up and its familiarity re-centers Killmonger as an African-American, whose generations-old plight pits him against Wakanda’s isolationism.
So when Killmonger brings these elements with him to Wakanda, he becomes the disruptor. The Black Panther’s righteousness doesn’t do him much good at first, though. The royal horns and drum that once marked T’Challa’s presence—signifiers of his pride—are reduced
gasps in the pivotal second-act scene where his rival destroys him in ritual one-on-one combat, at times quieting altogether to emphasize the scene’s brutality. Killmonger’s venomous out-of-placeness is further harped on as we see him cooly marching toward the throne, as the camera flips upside down and the hi-hats rollick once again. Yes, his role as an outsider comes from being a villain. But how much of a home is Africa, really, for African-Americans when they’ve been systematically detached from the motherland for centuries?
Despite the emphasis on African instrumentation, the score’s classical elements don’t exist solely as accouterements: The orchestra delivers its traditional magnificence while the African signatures humanize it. The most significant example is that string phrase that rises in parts of “Ancestral Plane”—an emotive section that expresses a tension and surrender, like a fist unclenching in
divine humility. That theme is featured when T’Challa visits the mythical ancestral plane as part of his ritualistic duties as the new king. When he gazes at the beautiful, purple-hued universe, the music helps the audience share in his reverence but it never feels like it’s manufacturing that emotion.
It’s a testament to Göransson that he gives the score’s most resounding moments over to the African diaspora. Near Black Panther’s end, T’Challa takes the wounded Killmonger to a cliff so the tragic warrior can gaze upon Wakanda’s majesty. The orchestra gives the scene a climactic weight, but it eventually recedes to push Baaba Maal’s weeping croons to the forefront. There’s triumph mixed with a sense of mourning as he sings to this beautiful, fictitious land. Alas, the sun must set on Wakanda as well.
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^ It's on Tidal. | |
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