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]]>Latino Review (opens in new tab) is reporting that Smith is in negotiations to join Ben Affleck’s solo Batman movie The Batman. The story goes on to say that it would be a “major role” and we may be getting a “The Good, The Bad and The Ugly scenario”, which could see the Dark Knight teaming up with the marksman to take down a villain.
It’s worth noting that this is all speculation right now, but a team-up between Affleck’s Batman and Smith’s Deadshot would be huge news and would make for another supersized superhero movie for Warner Bros. We’re looking forward to seeing what each actor will bring to their characters next year.
Directed by David Ayer and starring Smith, Margot Robbie, Jared Leto, Jai Courtney, and Joel Kinnaman, Suicide Squad will open in the UK and US on 5 August 2016. While Batman v Superman: Dawn of Justice will arrive in UK and US cinemas on March 25 2016. Check out our analysis of the latest trailer below…
Images: Suicide Squad/Batman v Superman: Dawn of Justice
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]]>The post Runner Runner review appeared first on Game News.
]]>Directed by The Lincoln Lawyer ’s Brad Furman, the plot centres around Furst’s descent into the corrupt world of Ivan Block (Ben Affleck), an online gambling “wizard of Oz” whose site – hosted in Costa Rica – initially cheats the Princeton student out of his tuition money.
The gifted Furst, having cockily flown to confront Block personally, ends up becoming the kingpin’s protégé; a relationship soon complicated by the affections of Block’s lover Rebecca (Gemma Arterton), a determined FBI agent (Anthony Mackie) and the increasingly morally dubious nature of Furst’s work.
Despite Furman’s competent handling, it’s a story that follows a fairly simple, unsurprising arc that never really gives the earnest Timberlake or villainous Affleck any chance to show off what they can do, with their friendship and eventual animosity given few scenes of depth to really develop.
This is also true of Furst and Rebecca: a character whose only purpose appears to be a default love interest in Runner Runner ’s macho fantasy of casino crime and corruption. With no character-driven substance to cling on to, you’re left relying on narrative thrills and spills – of which there are few.
Despite being set against the potentially novel – but completely wasted – backdrop of the online poker industry, Runner Runner fails to offer anything new or imaginative by its disastrously dull denouement. Stuck between Block’s betrayal and the prospect of prison, it’s Furst’s chance to show us why, exactly, he’s such a gambling genius in the first place.
His plan, however, is no film-saving act of risk and cleverness, but to merely pay off the right people. “This isn’t poker,” he defends, “this is my life.” What a shame that is.
Verdict:
Justin Timberlake and Ben Affleck give their best poker faces but ultimately fail to convince you to gamble your cash away on this limp, unoriginal story of a man out of his depth.
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]]>The post Argo review appeared first on Game News.
]]>Not content with resting on his laurels, Affleck’s third feature sees him stepping out of his comfort zone.
Leaving behind the familiar setting of his beloved Boston for a more global backdrop, Argo builds on his earlier efforts in both scope (hopping between Washington, Hollywood and Tehran) and ambition: a period-set, true-story drama that tackles an incendiary period in the history of US-Iranian relations.
Set during the 1979 hostage crisis, in which local revolutionaries seized Tehran’s US Embassy, Argo tells the story of six Americans who managed to escape.
Holed up in the Canadian ambassador’s house, their only hope of getting out alive is CIA ‘exfiltrator’ Tony Mendez (Affleck).
His plan? To fly into Iran with fake IDs and convince the new powers that the six are a Canadian film crew scouting locations for Argo , a Star Wars -inspired space opera.
The real challenge? Creating a watertight cover by duping Tinseltown itself, via casting calls, launch parties and Variety ads…
Affleck’s biggest test – and success – here is fusing various story strands, each with a very different ambiance…
In DC, Affleck channels All The President’s Men -era Pakula: all shady sets, crash zooms and political wrangling.
In Hollywood, Argo becomes a slick industry satire, John Goodman’s wry FX genius and Alan Arkin’s take-no-prisoners producer (“If I’m gonna make a fake movie, it’s gonna be a fake hit!”) making for a triumphant double act.
In Tehran, it’s grainy, gritty and full of standout set-pieces (a charged chase through a bustling bazaar, a palpably paranoid airport interrogation…) that reveal a directorial flair for sustained, sweaty-palmed suspense.
Part comic caper, part political thriller, Affleck’s genre-mashing mongrel is a strange beast. And yet somehow he makes it work, anchoring proceedings with a likeable, layered lead performance.
Sure, there’s a couple of wobbles – a subplot involving Affleck’s sci-fi-loving son adds unnecessary schmaltz, while the six embassy employees are largely undercooked – but Argo sees the director growing in confidence and broadening his range.
It’s another victorious riposte to his detractors: in the words of Mendez and co, “Ar-go fuck yourselves…”
Combining laughs and thrills with plenty of verve, Ben Affleck continues his smart directorial career with a stylish, gripping hostage drama.
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