Movie Review: El Camino: A Breaking Bad Movie

Walter White’s (Bryan Cranston) conclusion to his arc was flawless, but his partner Jesse Pinkman (Aaron Paul) was left with an ambiguous end as he drove into the darkness. I never thought I needed a revisit, but El Camino delivers the proper end to the second half of one of the greatest shows ever produced.

The DEA along with everyone else in law enforcement are on the hunt for Jesse. He needs cash and a way out-of-state. Following him on this lonely mission is grim and intense, matching many of the emotions felt during the show’s run, yet it feels more intimate. The road he goes down to finish things off rounds out his arc the way it should have done in 2013.

Past characters pop in and out with a few surprises outside of the reveals made in trailers. Skinny Peter (Charles Baker) and Badger (Matt L. Jones) make the biggest splash as that comedic relief along with being that heartwarming duo that help out their old friend. Flashbacks to Todd Alquist (Jesse Plemons) and Jesse’s relationship during his time in a hole gave a new level to what Jesse had gone through when captured, while making Todd a more complex personality.

Speaking of flashbacks, the lone protagonist consistently looks back during his time with Walter or his crew of captors. New scenes in between the events of Breaking Bad gave a better insight to beloved characters I have known and loved years ago. Some of the reminiscing scenes tie into Jesse’s thoughts along with the narrative’s progression, but others felt unnecessary in length or the substance brought to the table all together.

All of the actors slip right back into the roles with ease. Paul goes further into the depths of Jesse’s anguish as he tries to climb out of the rut he has emotionally been thrown into. The bar was set high during his time on Breaking Bad, and he surpasses even his highest achievements that he had established on the series.

Marshall Adams’ cinematic eye made for beautiful environments on this heartbreaking journey. The world around Jesse reflected who he is and where he is going.

Vince Gilligan did not miss a beat in both direction and writing. It feels like his breakout hit while still bringing new ideas to avoid feeling like a grab at nostalgia. El Camino has a necessity that it provides to this world and it is given respect.

A few scenes adding to the length when looking to the past does not hold down a trip back to one of my favorite shows. I have not seen Better Call Saul as I have felt complete in my time with those characters, but this goes into a place that I did not realize how much I needed. It might have come six years later, but I am glad I got to spend time with Jesse on his sendoff.

Score: 10/10

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40 Facts You (Probably) Did Not Know About Alien

Ridley Scott may have some duds in his history as a filmmaker, but Alien towers over most of his work along with anyone else in the business. The classic sci-fi horror flick turned 40 years old this past May. Now it is Oct. with Halloween around the corner, it is time to celebrate with 40 facts that you may never knew about this landmark movie.

#40: A Different Title

The recognizably simple name was almost not Alien, instead it would have been titled Star Beast. Dan O’Bannon was writing the first draft with the later name and did not like it. One writing session inspired him with some dialogue that changed the name to Alien, mostly because he liked that the word is both an adjective and noun.

#39: Star Wars Sold Alien

O’Bannon and co-writer Ronald Shusett had trouble trying to convince a studio to get this horror film made. After a missed deal with B movie writer, producer, and director Roger Corman lead to landing an official deal Brandywine Productions, a company with ties to 20th Century Fox, but a wall was still being hit as Fox wanted to change the script. Once Star Wars smashed the box office, every studio needed a sci-fi flick, opening up the door for Alien to come out the way the writers wanted.

#38: Creature Designs Come From a Painter

The facehuggers, chestbursters, and the Xenomorph all came from a surrealist painter named H.R. Giger, who worked on Dune left to a relationship between him and O’Bannon. The writer was inspired by the artist’s dark artwork and got him on his sci-fi project.

#37: Ripley as a Man?

Sigourney Weaver is hailed as one of the best role models for women looking for an empowering heroine. Except, her iconic role as Ripley was almost a man. The characters were all written as men, but could be swapped without making a difference to the film.

“Looking it over, [producer Walter Hill] and I thought, ‘Here’s this one character who’s not too interesting,’” Brandywine producer David Giler said. “And this studio—I hate to say this, but for very cynical reasons—this studio [20th Century Fox] is making Julia and Turning Point and they really believe in the return of the woman’s movie. [We’d] probably get a lot of points if we turn this character into a woman.”

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#36: Ash Was Later Added

Initially the secret android Ash (Ian Holm) was not in the original script. After the producers pushed for it, he joined the rest of the crew. Shusett was on board, but O’Bannon was not a fan.

#35: Nostromo Origins

The ship’s name, Nostromo, comes from a 1904 novel of the same name by Joseph Conrad. The other reference to the author is through the shuttle Ripley uses to escape, Narcissus. That other novel has an extremely racist title, so we can just move on from here.

#34: The Man Behind the Alien

Balaji Badejo, a Nigerian student who out of complete luck got the part as the Xenomorph. He moved to London to study graphic art, and when sitting in a pub, he got spotted by a casting agent who called producer Ivor Powell. The 6’10” student was hired as he was the first person seen who could fit in the large costume.

#33: Chestburster Surprise

The cast was not told what would happen to Kane (John Hurt) besides that a creature would appear. Scott wanted genuine reactions, and that is what he got when the alien bursts out of the man’s torso. Yaphet Kotto who played Parker reportedly stayed locked up in his room and did not talk to anyone after shooting the scene.

#32: Chestburster Inspiration

What inspired the iconic brutal scene comes from O’Bannon’s digestive issues with Crohn’s disease. Something brewing inside of him that felt like something was trying to escape his body.

#31: Meryl Streep and Harrison Ford Almost Got Casted

Eyes were set on Meryl Streep or Sigourney Weaver. Weaver was unknown, and Streep was a huge star after staring in The Deer Hunter. Due to Streep’s boyfriend, actor John Cazale’s death, it was decided it would be best to not put her through a horrifying experience with chest exploding from a worm-like alien. The rest is history as Weaver got to play Ripley, making her the ultimate bad ass.

Harrison Ford turned down the role as he did not want to do another sci-fi flick right after Star Wars. Leading to Tom Skerritt to get the role as Dallas.

#30: A Translucent Alien

The Xenomorph costume was almost translucent as bringing Giger’s designs to life became a challenge. Scott did not like the design when it was made. He came up with the idea to make the alien black to sneak through the shadows and make for a scarier experience.

#29: How John Hurt Got Hired

John Hurt was Scott’s first choice, but commitment issues with another film got in the way. Jon Finch was hired, but due to medial issues with his diabetes, he collapsed and was taken off set. Hurt got an opening at the right moment and got one of his most famous roles.

#28: Cast Clashing With Scott

Scott took a long time to shoot as he wanted everything perfect. This tedious process got on Skerritt’s nerves. He openly expressed his annoyance to the director as the waits were testing his concentration and patience. After the  film was done he has said the whole thing was worth the frustration.

Kotto had another problem, he worked best when improving. A tight budget and work schedule does not allow sharp turns to change some dialogue or the character’s action. He brought up ideas to Scott, but was usually shot down.

#27: Facehugger Shot Upside Down

To manage the iconic facehugger scene, Scott had to get creative when filming. The camera was placed upside down so the audience can see the slime that covers the egg to drip up. The director put on some gloves and moved the alien for an added effect along with an air cannon to shoot out pig intestines.

#26: Dallas’ Fate

A deleted scene shows Ripley going through the ship. Dallas who had disappeared into the shadows is then found encased in a cocoon. Scott cut the scene due to pacing reasons, but it does dismiss the mystery of Dallas’ death.

#25: Composer Jerry Goldsmith Got Screwed Over

Scott hated the original score the Jerry Goldsmith had composed as it felt like most other films and feed into the tone. Out of spite, Goldsmith tried to make the weirdest music possible, which the director and producers fell in love with.

Scott threw out other musical cues for certain scenes. Some temp tracks were kept outside of editing purposes that made it into the final product. Other parts of the score were moved or thrown out like the credits, leaving Goldsmith to having little impact on the film’s music.

#24: Test Audiences Felt Sick

For today’s standards, Alien is still gruesome and disgusting with all of its slime and guts. Audience members screamed, gasped, vomited, fainted, and one person who tried to flee in the chaos broke an arm. It was the type of reaction that the filmmakers had only dreamed about.

#23: A Box Office Hit With a Limited Release

For its time, $3.1 million is a lot of money for a movie to earn. Despite its small release with a peak number of theaters hitting 757 showings, the fans could not get enough of Alien. Constant sold out shows raked in the cash even with a low amount of places to go see the film.

#22: The Who Helped Out

Rock legends The Who helped with the filming. Blue lights in the egg chamber came from the band’s own lighting system. They were testing somethings out next door and let the crew of Alien use it to add to the atmosphere.

#21: Scaring the Cat

To get Jones the cat to react to the alien, a German Shepherd was brought on set. A screen to separate the two made it so the cat would not hiss immediately until it was lifted up to reveal the dog.

#20: Toned Down Violence

Those fainting and vomiting audience members got some of the blood and gore take down a notch. With the possibility for an X rating, which it did get in the UK, the violence went into R territory for a wider release.

#19: Acid Blood Origins

An alien is hunting your crew down, then why not shoot it? Well, it has acid blood, so no shooting or stabbing it. Concept artist Ron Cobb came up with the idea to avoid having the crew killing the invasive creature minutes after seeing it.

#18: Best Summary Ever?

The producers had readers who would summarize the film. It was described as “It’s like Jaws, but in space.” Brilliant, awesome, and accurate.

#17: Eyes or No Eyes?

Giger’s first drafts in his concepts for the Xenomorph, it had eyes. When gearing up to make the official design, the eyes were removed to remove the emotion from the bloodthirsty alien.

#16: Machine Operated Alien

Before getting Badejo in the costume, Scott wanted animatronics to control the alien, similar to Jaws or down the road with Jurassic Park. Due to technical limitations, the decision was made to make a costume and get someone to wear it despite the fear of it looking too fake.

#15: Film Inspirations

The three main inspirations came from Star Wars: Episode IV – A New Hope and 2001: A Space Odyssey for the sci-fi elements and The Texas Chain Saw Massacre for the horror influences.

#14: Green Facehugger

The original design had the facehugger to be green. After seeing the its resemblance to human skin, O’Bannon argued to keep the color as it is.

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#13: Scrapped Sex Scene

Ripley and Dallas were meant to have a sex scene together. It was meant to show how the crew blew off steam and to feel less lonely in the vast emptiness of space. Skerritt told Scott it disrupted the flow and felt unnecessary, which the director agreed and scrapped the scene and any references to it all together.

#12: You Are My Lucky Star

Weaver had the idea for Ripley to sing You Are My Lucky Star from Singin’ in the Rain. Scott liked it, but the studio fought against having the song. The budget was tight enough which caused plenty of issues, so the song would add more tension to the film’s money, but it made it into the final product.

#11: Fox Doubles the Budget

Going from a budget of $4.2 million to $8.4 million was a decision Fox made from some of the film’s concepts. Artwork and storyboards got the suits at the studio to give Scott extra money.

#10: Egg Ingredients

How the crew created the eggs came from various animal parts. It was a mix of cattle hearts, stomachs, and the tubes were made up of sheep intestines.

#9: Up the Hooter

In preparation of Ash shoving a rolled up magazine in Ripley’s mouth, Scott explained the scene to Weaver. Some confusion came out of that conversation as he told her the magazine is going “up your hooter.” In America, that means breast, so Weaver was a little lost going into shooting this moment.

#8: Getting Woman Approval

To make sure Scott had an appropriate heroine, he invited a group of women from the production office to watch a screen test for their perspective. The ladies were impressed by Weaver’s performance.

#7: Ship Name Changes

Nostromo was not the first pick for the name of the crew’s ship. It started off as Snark then to Leviathan, then to the name we all know now.

#6: Storyboard Art Inspiration

Scott’s storyboards were inspired by comic book artist Jean Giraud. The French artist was known for his sci-fi, fantasy, and Western comics.

#5: Held Up By Customs

Giger was held by U.S. Customs at the Los Angeles International Airport when they discovered his concept art for the facehugger. O’Bannon had to come by to explain that it was for a horror movie they were making.

Sadly, people still cannot separate reality from a movie.

#4: Android Blood and Guts

Ash’s internal parts and “blood” was made up a mix of various ingredients. Colored water and for close-ups, milk was used. Pasta and glass marbles were used for his “organs.”

#3: Behind Parker’s Death

Kotto’s head had a fiberglass cast made and filled with pig brains. A wax forehead was created so the teeth of the alien could penetrate easier. Barbed hooks for the teeth helped it bite in easier and that is how movie magic is made, crafting material and animal organs.

#2: Cast Passing Out

The actors had problems getting cool enough or getting enough oxygen in their space suits and within the claustrophobic environment. Several of the cast had fainted under the extreme conditions while shooting.

#1: First Test Screening Failure

The test screening where people ran and vomited was the second. The first test screening had audio issues, causing a lackluster response from the crowd.

 

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PlayStation 5 Announced For 2020 Holiday Release Plus Details

A month before the six-year anniversary of the PlayStation 4, Sony Interactive Entertainment gave an announcement today with the console’s release date and some information on the PlayStation 5.

The details entailing the PS5 comes from the company’s blog and what SIE CEO Jim Ryan told Wired. Most of the upgrades being made will be hardware focused rather than software which was initially rumored.

A solid-state drive (SSD) to make for a faster working device. Games will have little to no load times. Buying a title on disc will be a 100 GB.

For physical media users, the PS5 will read DVDs and 4K Blu-ray discs.

Installing games will continue as it has become a standard for this current generation of consoles. Sony did confirm users will have more control on which aspects of  a game installs or uninstalls like a campaign or multiplayer mode.

A new user interface allows for players to see more information on the games. An example would be seeing the availability of online matches.

Wired got a prototype controller and compared to its features being closely related to the controller for the PS4. The triggers will be “‘adaptive triggers’ that can offer varying levels of resistance to make shooting a bow and arrow feel like the real thing.”

They also commented on its rumble features when playing a demo from the developers of the PS VR game Astrobot Rescue Mission:  “On ice, a high-frequency response made the thumbsticks really feel like my character was gliding. Jumping into a pool, I got a sense of the resistance of the water; on a wooden bridge, a bouncy sensation.”

Micro USB wires are now obsolete as the PS5 is switching to USB-C to charge its controllers.

That is all that the world knows about for Sony’s next console. Xbox has its next release slated for the same time frame, holiday 2020, with the code-named Project Scarlett. Save up your money, 2020 will be a big year for gaming.

Image via Flickr/KniBaron

 

 

 

 

John Carpenter’s The Thing: Going From Disaster to Horror Classic

The season of ghouls, monsters, and masked killers seems like the time to look back on John Carpenter’s The Thing. 37 years later is no milestone unlike a 50 year anniversary, but as networks play it for marathons of old school scary movies, it does stir up thoughts about how it went from a disaster at launch to becoming a classic today.

The seed started from a 1938 story by Who Goes There? by John W. Campbell. The popular 1951 film The Thing From Another World was the inspiration behind Carpenter’s version. Rarely does a remake or sequel or spiritual successor rise above its predecessor, but it is hard to find anyone who will even say one word about the original source material or the Christian Nyby’s movie that started it all.

Production began in the 70’s and it was stuck in hell. Shifting from writer to writer and director to director, it was hard to find anyone to faithfully create this film. It finally landed on the Halloween director’s lap and it eventually came out to the world in 1982.

Ask most aficionados and they will say this is a classic, but it did not come off that way in the 80’s. At release, it was an utter failure from a revenue and review standpoint. Fans and critics hated it. Off of a $15 million budget, it only made $19 million domestically, not even a release outside of the United States. It got panned for its visual effects, an ambiguous ending that left to no happy conclusion, and the R rating did not help against friendlier releases like the Spielberg hit E.T.

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“The movie tanked when it came out,” Carpenter admitted in a post-screening Q&A at the CapeTown Film Festival in 2013. “It was hated, hated by fans. I lost a job [1984 film titled Firestarter], people hated me, they thought I was horrible, violent—and I was. But now here we are 31 years later, and here you are filling the theater.”

The New York Times wrote at the time, “The Thing, which opens today at the Rivoli and other theaters, is too phony looking to be disgusting. It qualifies only as instant junk.”

The ending was problematic for the studio and anyone who saw the film when it opened in theaters. Audiences often like happy endings that are neatly wrapped up with a big bow. A bleak conclusion leaving people, even to today, wondering hopelessly which of the two survivors is not human was not what was desired in the 80’s. Universal pressured for a change, which Carpenter had filmed, but decided to stick to his guns, resulting in one of cinema’s most dramatic, and ambiguous finales.

Today, its pre-CGI effects look stunningly horrifying, making it confusing that people hated it nearly 40 years ago. Some technical limitations were present, but that did not stop Rob Bottin (Se7en, Total Recall, Robocop) and his team when creating the horrifying, shapeshifting alien. Ideas like the creature breaking through the ice to attack the struggling scientists from below was tossed around, but nobody could figure out how to accomplish that.

The design of the monster and its mechanical elements were ahead of its time. Similar to Jurassic Park, it used robotics to move around and come to life. Bottin was meticulous and careful about his creation.

“Rob [Bottin] was always very sensitive about his creatures,” recalled cinematographer Dean Cundey. “Whether there was too much light on them. We always sort of joked: If it was up to Rob he would build the creatures to be incredibly interesting and imaginative and then not put any light on them because he was afraid of showing them.”

In 2019, anything can be possible with either CGI or using practical effects. Bottin had to get creative with his craft. When Dr. Copper (Richard Dysart) attempts to revive Norris (Charles Hallahan) with a defibrillator, and Norris’ chest turns into a mouth that devour’s the doctors arms, Bottin had to find a way to make this iconic scene work. After finding a man who had lost both of his arms in an industrial accident, Bottin got the man with two prosthetic forearms made out of wax bones, rubber veins, and Jell-O. In the wide-angle, he fit the man with a mask taken from a mold of Dysart’s face and placed the arms into the cavity, where a set of mechanical jaws chomped down on them.

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The network television version was edited by Sidney Sheinberg. This scene altered the ending and other parts throughout. Carpenter dismisses this version as Sheinberg’s edition eliminated the director’s themes.

After a home video release and reevaluation from the audience and critics lead to a different conclusion about the film’s quality. Empire wrote, “In fact, The Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror, placing 12 men at an Antarctic station while a shapeshifter takes them over one by one.”

People were distracted by E.T. and some films are ahead of the times. Today violence on both TV and film is way more extreme, altering the view on blood and gore. A growing audience and home video is what took this from the trash and onto the mantel where the other beloved horror icons are placed.

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Movie Review: Joker

I had mixed feeling leading up to Todd Phillips’ origin story for the iconic comic book baddie, Joker. My worries were due to his work with the Hangover trilogy, but the trailers gave me more confidence. Once the credits rolled I knew this is a redefining moment for the highly saturated genre, it is brilliant in every sense of the word.

Gotham is going down hill with its crime, making a depressed Arthur Fleck (Joaquin Phoenix) spiral down further into the depths of his own darkness. All he has is his job as a clown, which he is not so good at being, and his beloved mother Penny (Frances Conroy), a less compelling role like everyone else compared to Arthur. After being beat down, it is time for him to get up and give himself a new way of life, the sinister force that will terrorize the city.

Phoenix carries the narrative on his back. His acting is both chilling and complex with the emotions he displays. His emaciated body and twisted take on Batman’s arch nemesis’ laugh stands out away from any other actor who has been given the honor to play this role.

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Supporting actors like Conroy, Robert De Niro as Murray Franklin, a TV star that Arthur admires, and his neighbor Sophie (Zazie Beetz) hold their own with strong performances. The characters themselves are not too compelling as they are building blocks for Arthur, except for De Niro’s charming personality.

Giving a name and face outside of the makeup dangerously elevates the classic villain, but it was done justice. Immediately establishing who he is along with his arc works with this grounded  depiction of Gotham. It is not just a study on him because Joker is more than just one man. I hope for a universe that involves this version instead of the Warped Tour attendee that got time on the big screen in Suicide Squad.

This mature drama is refreshing when the genre is full of epic battles and world ending stakes. Some moments of levity help not go too dark, but at times it is confusing if it was intentional or not to bring in humor, making it more awkward than funny. DC has been criticized for its darkness, but the proper execution feels like an adult film rather than acting like an edgy teenager.

Composer Hildur Guðnadóttir (Arrival, Sicario, Chernobyl) created a score with her team that set an atmospheric, somber tone. The limited orchestra of low strings heightened the soon to be criminal’s struggles. As his arc moves, the music follows him for an epic conclusion.

Costume designer Mark Bridges (Inherent Vice, Fifty Shades of Grey), art director Laura Ballinger (The Fighter, The Greatest Showman), set decorator Kris Moran (The Wolf of Wall Street), and Lawrence Sher’s (Hangover trilogy, Godzilla: King of the Monsters) cinematography work makes this into a gorgeous piece of cinema. Balance of color along with a new design for the Joker’s outfit gives a new outlook on both the character and the city that has been put to the big screen so many times before.

Joker is a moody, psychological look into one of DC’s best creations. The ending should have been cut a few minutes early as one shot would have been the ultimate conclusion, then the filmmakers could step on the brakes of this slow vehicle. My hope is for more Phoenix as Joker and everyone to take note of what this movie gets right to freshen up the genre.

Score: 9/10

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Images via Warner Bros. Pictures

6 Rock and Metal Songs/Albums Based on Horror Movies

Metal and rock music mixes perfectly with the spirit of Halloween. The shocking genres match the levels from horror movies. Bands often gain inspiration from the spookiest or bloodiest of films. If you are a metalhead trying to get into the mood this Oct. then this list will set you up perfectly for the rest of the month.

#6: The Black Dahlia Murder – Raped in Hatred by Vines of Thorn

Vocalist Trevor Strnad got into horror from Evil Dead then got into metal due to horrifying album covers. In classic fashion from the Michigan natives, Strnad focuses less on the brutal side of the horror-comedy film, but on the weirder, and more disturbing aspect. His perspective hones in on a tree raping a woman and turning her and controlling her mind to kill her boyfriend and friends.

#5: Deceased – Elly’s Dementia 

Few bands scream horror like Deceased. The underground death thrash metal group’s addiction to movies that will leave you wide awake at night is highlighted from the final track from the album Supernatural Addiction which takes inspiration from the classic found footage flick, The Blair Witch Project.

#4: Ice Nine Kills – The Silver Scream

The metalcore outfit’s latest release is an anthology of various horror flicks from American Nightmare, based on Wes Craven’s masterpiece Nightmare on Elm Street, to adapting from the 1984 cult classic Silent Night, Deadly Night with the song Merry Axe-Mas. There is something for everyone on this diverse record full of killers and monsters.

#3: Rammstein – Engel

Taking inspiration from the vampire queen dance scene, Rammstein take their own interpretation with this track. It is everything you would expect from this odd German group with an added scary ingredient.

#2: Rob Zombie – Living Dead Girl

Of course Rob Zombie has a song based on a horror film, the guy directs his own creations and has made a name for himself by his theatrics. Living Dead Girl takes inspiration from a French film called La Morte Vivante. Now time to check out this track and movie.

#1: Deicide – Dead By Dawn

Sam Raimi’s Evil Dead guided many bands towards writing terrifyingly brutal music, especially Deicide. You know you are starting your career off right as some of the first pioneers of a gruesome genre when you write a song on a movie where people get dismembered and possessed by demons.

I know I missed a lot with a list of six songs, so what horror based tracks will you be listening to when getting ready for Halloween?

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Image via Relapse Records

5 Spider-Man Villains Who Have Not Appeared on the Big Screen

Sony and Disney kissed and made up, allowing for Tom Holland’s Spider-Man to come back into Marvel’s skyscraper tall franchise. This good news opens up many possibilities for the future for the closing film in his trilogy along with any opportunities that arise in both Sony’s spider-verse and the MCU. Plenty of foes have not had a chance to face the web-slinger, maybe Marvel Studios boss Kevin Fiege and director Jon Watts should consider some of these adversaries.

#5: Kraven the Hunter

Not only does Watts, the director for Holland’s standalone adventures in the MCU wants Kraven, it makes the most sense due to the direction that the iconic hero is heading after the events of Far From Home. His identity revealed and taken the hit for the death of Gyllenhaal’s Mysterio. The door is open for someone to hunt the spider, that is Kraven.

A world renown hunter of big game may want to set his eyes on an Avenger who depicts himself as an arachnid who fights crime. His skills in hand to hand combat along with a potion that grants him faster speed and greater strength will make for a worthy foe for Peter.

The route Marvel has taken with this iteration of Spider-Man has focused on his more grounded enemies, so Kraven would work with the established bubble for the teenage superhero.

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Image via Marvel Comics

#4: Mister Negative

I have no theory on how he can fit into Spider-Man’s current arc and he sets himself apart from the more tech savvy opponents that the wall-crawler has faced so far, but Mister Negative would make for something refreshing for fans.

Martin Lee can deal significant damage from both a power and emotional perspective. His work at the soup kitchen F.E.A.S.T. that Aunt May attends would web together his connection to Peter. Plus the man has powers of negative energy blasts and can control people to serve his will.

A complex character with a Dr. Jekyll and Mr. Hyde persona that would be unlike any other villain shown in the MCU so far. His big appearance that gave him so much notoriety was Insomniac’s PlayStation exclusive Marvel’s Spider-Man, giving proof to a large audience that he is a force to fear.

#3: Scorpion

Mac Gargan was shown talking to Vulture (Michael Keaton) at the end of Homecoming, so we just need his suit and a release or escape from prison to set him loose on Spider-Man.

His insanity from the experiment that turns him from a criminal into super levels of evil will give a great task for Peter to conquer. He would be a more sinister threat unlike the sympathetic Vulture or manipulative Mysterio.

In case a Sinister Six movie gets made, adding Scorpion would be a smart choice as he is a classic member of the clan of enemies who want revenge on the hero who webbed them up and flung them into confinement.

#2: Morbius

Jared Leto is set to play the vampire next year in Sony’s universe, if he is allowed to crossover onto Marvel’s turf then a possible story can emerge. Having his own standalone would help flesh him out as a character then bring him in to face his warm-blooded rival.

The ultimate face off, if Holland continues in Marvel movies, would to have Blade (Mahershala Ali) to team up with Spider-Man to defeat this bloodsucker. The casting of Ali has the vampire slayer in the fifth phase of the MCU gives both Holland and Leto enough time before diving into an all out battle. Fiege has previously discussed, and proven, that the MCU will focus on collaborations between its heroes, making it possible for Ali and Holland to form that relationship to face a common enemy.

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Image via Marvel Comics

#1: Screwball

Watts, whoever is hired to write the third movie, and the people at Marvel Studios can come up with a less goofy way to introduce Screwball, a live streaming antagonist. A mysterious character who parodies our modern world while misusing technology for an immoral agenda. Vulture and Mysterio seemed too weird to put onto the big screen, yet were turned into compelling foes for Spider-Man, so can someone who is a Twitch streamer.

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Image via Marvel Comics

Who would you like to see appear in future Spider-Man movies? Comment your dream choices and maybe we can get our wishes granted.

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