A young man who once trained as an assassin for a Chinese criminal organization discovers just how hard it can be to escape one’s past in the first teaser for Marvel Studios’ upcoming film, Shang-Chi and the Legend of Ten Rings, part of the MCU’s Phase Four. Directed by Destin Daniel Cretton, it is the first Marvel film to feature an Asian lead—Simu Liu, best known for his role as Jung Kim on the sitcom Kim’s Convenience—as well as a predominantly Asian/Asian diaspora cast and crew.
The title character first appeared in a Marvel comic in 1973, after the company had tried and failed to acquire the comic book rights for the popular 1970s TV show Kung Fu (starring David Carradine). Modeled in part on Bruce Lee, Shang-Chi was originally the son of Chinese criminal mastermind Dr. Fu Manchu, trained in martial arts since childhood to become an assassin. After Marvel lost the rights to the Fu Manchu character, Shang-Chi’s paternity became murkier, but the international crime lord theme was common—although his father was revealed to be an ancient immortal sorcerer in the Secret Avengers storyline.
Shang-Chi has not traditionally had special superpowers, but his training in multiple styles of martial arts and assorted weaponry makes him a formidable opponent and a useful ally. Plus, he is a master of chi, making him even stronger and faster—fast enough to dodge bullets. When he eventually joins forces with the Avengers in the comics, Tony Stark gives him a pair of bracelets to further focus his chi (as well as some snazzy high-tech nunchaku).
Back in the 1980s, Stan Lee had preliminary discussions with the late actor Brandon Lee about portraying Shang-Chi in a film adaptation, but no concrete project ever transpired. The Ten Rings organization was briefly name-checked in 2008’s Iron Man, and the infamous Marvel supervillain the Mandarin made an appearance in Iron Man 3—or rather, Ben Kingsley played Trevor Slattery, an imposter posing as the Mandarin. For Shang-Chi and the Legend of the Ten Rings, Marvel created an entirely new character, Wenwu, who has gone by many names over the years—including the Mandarin.
In addition to Liu, the film stars Awkwafina (Crazy Rich Asians) as Shang-Chi’s best friend, Katy, and none other than Hong Kong superstar Tony Leung (Hard Boiled, Chungking Express, Hero, and so on) as his father, Wenwu, aka the Mandarin. Meng’er Zhang plays Xialing, Shang-Chi’s estranged sister; Florian Munteanu (Creed II, Borderlands) plays Razor Fist; Ronny Chieng (Crazy Rich Asians, Bliss) plays another pal, Jon Jon; and Fala Chen (The Undoing) plays Jiang Li. Michelle Yeoh (Star Trek: Discovery) plays a character named Jiang Nan, having previously played a different MCU role (Aleta Ogord) in Guardians of the Galaxy Vol. 2. There’s also a masked character dubbed Death Dealer; Marvel has not yet revealed who plays him.
Based on this teaser and what little is known so far, the film appears to borrow a few elements from the Ultimate Marvel universe, among other storylines, and possibly the wuxia-inspired Secret Wars (2015) as well. We hear Leung’s voice as the Mandarin in a voiceover, admonishing his son for “wasting” the last 10 years. Shang-Chi works as a parking valet for a posh hotel when he isn’t hanging out with Katy singing karaoke tunes.
That carefree existence is about to end. “I trained you so the most dangerous people in the world couldn’t kill you,” we hear the Mandarin say. “But it’s time for you to take your place by my side.” Shang-Chi stubbornly refuses the offer—or is it a command? He just might learn, as his father says, that “you can’t outrun who you really are.”
Shang-Chi and the Legend of Ten Rings is currently slated for release on September 3, 2021. As of this writing, it will be solely a theatrical release.
Fresh off the successful release of Zack Snyder’s Justice League, we’ll soon be getting the director’s latest project: Army of the Dead, about a group of mercenaries that attempts a heist in a zombie-ridden Las Vegas. In a sense, Snyder has come full circle. His directorial debut was 2008’s Dawn of the Dead, an entertaining reboot of the original George Romero classic from 1978.
Army of the Dead started out as a joint project between Universal Studios and Warner Bros. back in 2007. But like so many films, it got stuck in development hell until Zack Snyder signed on as director in 2019. Netflix picked up the distribution rights from Warner Bros. soon after.
Per the official premise:
Army of the Dead takes place following a zombie outbreak that has left Las Vegas in ruins and walled off from the rest of the world. When Scott Ward (Dave Bautista), a displaced Vegas local, former zombie war hero who’s now flipping burgers on the outskirts of the town he now calls home, is approached by casino boss Bly Tanaka (Hiroyuki Sanada), it’s with the ultimate proposition: Break into the zombie-infested quarantine zone to retrieve $200 million sitting in a vault beneath the strip before the city is nuked by the government in 32 hours. Driven by the hope that the payoff could help pave the way to a reconciliation with his estranged daughter Kate (Ella Purnell), Ward takes on the challenge, assembling a ragtag team of experts for the heist.
They include Maria Cruz (Ana de la Reguera), an ace mechanic and Ward’s old friend; Vanderohe (Omari Hardwick), a zombie killing machine; Marianne Peters (Tig Notaro), a cynical helicopter pilot; Mikey Guzman (Raúl Castillo), a go-for-broke influencer and Chambers (Samantha Win), his ride-or-die; Martin (Garret Dillahunt), the casino’s head of security; a badass warrior known as the Coyote (Nora Arnezeder) who recruits Burt Cummings (Theo Rossi), a slimy security guard; and a brilliant German safe cracker named Dieter (Matthias Schweighöfer). Scott finds an unexpected emotional hurdle when Kate joins the expedition to search for Geeta (Huma S. Qureshi), a mother who’s gone missing inside the city. With a ticking clock, a notoriously impenetrable vault, and a smarter, faster horde of Alpha zombies closing in, only one thing’s for certain in the greatest heist ever attempted: survivors take all.
Notaro replaced comedian/actor Chris D’Elia late in the project, on the heels of a number of sexual misconduct allegations against the comedian. This required reshooting some scenes with an acting partner, which were then inserted into the film; Notaro was also inserted into several scenes via digital compositing. She has been fantastic on Star Trek: Discovery, and it will be interesting to see how she fares in Army of the Dead.
The trailer is entertaining, with Kenny Rogers’ “The Gambler” as a musical backdrop, just to set the mood. “There’s 200 million dollars in a vault beneath the Strip,” Tanaka tells Ward and his team. “This should be a simple in and out.” Of course, nothing is ever simple. Vegas is swarming with zombies—faster, smarter zombies, not the classic Romero variety. They’re smart enough to organize, and that, plus their far superior numbers, doesn’t bode well for our human protagonists. (The house, after all, always wins.) But we are definitely on board for the Zombie Elvis and zombie tiger.
Army of the Dead debuts in select theaters and on Netflix on May 21, 2021. If this is as much fun as Snyder’s Dawn of the Dead—and it looks like it could be—Army of Dead should be a huge success. There are already plans for a prequel film focusing on the character Ludwig Dieter (played by Matthias Schweighöfer) and an anime-inspired TV series, Army of the Dead: Las Vegas.
A crew of young people on a lifelong expedition to colonize a distant planet grow frustrated with their rigidly controlled existence and begin to rebel, putting the mission at risk, in Voyagers. Director Neil Burger’s (Limitless) new film is part classic space epic, part mystery and part dark psychological thriller. All those elements serve as a framework to explore questions of morality, freedom, power, and the fundamental core of human nature.
(Some spoilers below, but no major reveals.)
Burger was inspired by two vivid mental images. “The first was a group of young people sitting around inside a spaceship,” he said. “They were disheveled, zoned out, and looking like predators resting after a hunt. I don’t know where that image came from. But the second [image] implied a story: that same group of people chasing another crew member down the narrow corridor of the ship, pursuing him like an animal.”
Burger sensed there was a meaningful story there, and shaped his film around the ship as metaphor for our own world. He also researched the science of long-distance space exploration, and on human behavior, most notably the effects of prolonged confinement, aggression, tribalism, and violence. The result is Voyagers.
Per the official premise:
With the future of the human race at stake, a group of young men and women, bred for intelligence and obedience, embark on an expedition to colonize a distant planet. But when they uncover disturbing secrets about the mission, they defy their training and begin to explore their most primitive natures. As life on the ship descends into chaos, they’re consumed by fear, lust, and the insatiable hunger for power.
In the year 2063, scientists have discovered a new habitable exoplanet where the human race could flourish, as Earth is fast becoming uninhabitable. Richard Alling (Colin Farrell, Minority Report, Artemis Fowl) is charged with raising a crop of designer babies to serve as the crew aboard the spaceship, Humanitas. Their voyage will take 86 years, meaning it is their grandchildren who will ultimately reach their new planetary home. So the children are raised and trained in isolated conditions that mimic those they will experience on the Humanitas. Alling grows attached, and opts to join them on the mission, even though he won’t live to see its end.
Ten years in, the crew have matured into young adults, dutifully performing their assigned tasks and taking their daily “vitamin supplement,” dubbed the Blue. Then Christopher (Tye Sheridan, Ready Player One) discovers a strange toxin in the irrigation water aboard the ship, and realizes it’s coming from the crew’s urine. Specifically, it’s an ingredient in the Blue, designed to subdue the personality and decrease pleasurable response.
“They’re drugging us so we can be controlled,” Zac (Fionn Whitehead, Dunkirk, Black Mirror: Bandersnatch) says when Christopher tells him about the toxin. They resolve to go off the Blue, and eventually most other crew members follow suit, bringing all those raging hormones to the fore. The result is teen rebellion against Alling’s authority, growing distrust and paranoia, and of course, sexual experimentation and the desire for instant gratification. Could there be a mysterious alien life force lurking just outside the ship, further complicating matters?
Ars Technica: I’ve seen this film described repeatedly as Lord of the Flies in space. Do you agree with that description?
Neil Burger: It makes sense in a way. I love that book and I love the Peter Brook movie. Whenever there’s teenagers going wild or society breaking down, it becomes a Lord of the Flies reference. And I understand that. To me, it’s a little different. Lord of the Flies is about those boys enacting male behavior from English society and [notions of] masculinity: hunting and going to war and all that stuff. This movie’s a little different in the sense that this crew, they have no cultural reference. They have none of that background.
Voyagers is about a group of extraordinary young people waking up to sensual desires, to freedom, to power, and the thrilling euphoria that goes with that experience. The ship is a sterile environment where the young crew almost seem like laboratory rats. We watch to see how they behave under the conditions, how quickly they descend into savagery. [The film] is more about, who are we when you strip away all that cultural baggage? Who are we at our core? Are we good? Are we animals? Are we moral?
“Who are we at our core? Are we good? Are we animals? Are we moral?”
Ars Technica: There are a lot of scientific elements in this film: designer babies, exoplanets, interstellar travel. You clearly did a lot of research on these and other story elements. What is your approach to weaving science into your storytelling?
Neil Burger: I love science. I’m really interested in all sorts of aspects of it, and learning as much as I can about all sorts of things: growing babies in a laboratory, or how we’re able to sense whether a distant planet has certain chemicals, if there’s water on them. I love exploring all of that. I wanted to make [the film’s setting] as real as possible. The themes about human nature are important and real, so I wanted the setting and the ship and everything around it to be as real as possible as well. The spacecraft is purely utilitarian and functional and based on actual proposals within NASA and other organizations studying space travel outside our solar system.
Ars Technica: There’s a nature versus nurture question, I think, that comes up because, as you say, these young people have no cultural context. They were genetically designed to be the ideal crew. But sometimes it’s not enough to just design them that way, as we see with the character of Zac. There are other influences that shape who we are.
Neil Burger: For me, the movie is about human nature in a vacuum. [The crew members] have no real models for behavior, and little to do on the ship except eat, work, and sleep. In a way they are pure humans—all nature, not nurture, I always thought of them as horses that have never been let out of the stall. As I said, when you strip away everything; who are we at our core? And is that even a real thing?
Perhaps for the mission planners in this movie, that’s what they were looking for. But there’s always small things that do influence us. Is there something inside Zac, for example, that makes him tend toward a certain kind of response? I would argue that he’s smart enough, that he senses that he’s being controlled. So when he gets a little taste of his own control or power, he’s just never going back. It [feels] reasonable, what he’s doing—even though it isn’t.
Ars Technica: Zac’s actions demonstrate the power of manipulating with misinformation. That resonates particularly strongly these days for obvious reasons. But it’s fairly universal in human beings: even though we love our freedom, we are very vulnerable to that kind of manipulation.
Neil Burger: I think we’re understanding that more and more. When I wrote the screenplay, it was years ago, and I was obviously aware of that happening in our society and other societies. I was writing it as a cautionary tale. In the last few months it’s become something completely different. Fear is a big theme, and a major issue in the movie: how a leader uses it to manipulate his followers and maybe even drive them to mob violence. It all raises questions about how a society can function—about selfishness and self-sacrifice. That’s the foundation of the conflict.
Ars Technica: You’ve said that the ship is a metaphor for our world: humans hurtling through space on Earth, not sure why we’re here or where we’re going. And somehow we have to find meaning in that. We see the best and worst of human nature on display in the film as it builds up to a big central question: is humanity worth saving?
Neil Burger: I think it is worth saving. And I think that we continue as a species to try to move things to a better place. It’s tough and there’s setbacks, but I think that the predominant thrust is to try to alleviate suffering in our fellow humans. It’s not always easy.