Actualités

The Nacelle Company will make a new animated series based on the cult ’90s show “Wild West C.O.W.-Boys of Moo Mesa.” The news comes in advance of San Diego Comic-Con 2025 and is part of the company’s plans to create a shared universe of reimagined toy and animation hits, dubbed the NacelleVerse.

First introduced in 1991 by “Teenage Mutant Ninja Turtles” artist Ryan Brown, “C.O.W.-Boys of Moo Mesa” inspired a toy line, a Saturday morning cartoon on ABC, comic books, and an arcade game. Along with new toys and a new comic, The Nacelle Company is developing a fresh series that will premiere in 2027. This upcoming series shares a connected universe and timeline with two other Nacelle animated reboots: “RoboForce,” executive produced by Brian Volk-Weiss, Dwayne Johnson, Dany Garcia, and Seven Bucks Productions; and “Biker Mice From Mars,” executive produced by Volk-Weiss, Ryan Reynolds, and Maximum Effort.

The...

An avid podcast listener (like me) could hardly stumble across better news today than this fresh item from the Zellner Bros: "Mike Plante has great taste and a vast knowledge of film. His venture Cinemad has been many wonderful things; a zine, a blog, a DVD almanac, a distributor and podcast. His latest podcast installment interviews the Zb's, hopefully we did it justice. A lot of important issues were covered from Sasquatches to Salo to Chuck Berry."

What's more, this is Cinemad's sixth podcast and, as it happens, for nearly every one of them, there's a relevant upcoming event worth noting. David and Nathan Zellner's new feature, Kid-Thing, for example, will be making its premiere at Sundance in a few weeks. As for the other five:

Nina Menkes. We've got a cinema devoted to her films even now; its virtual doors are open through July.

Azazel Jacobs. His touching...

"Martin Scorsese's Hugo begins with a vertiginous descent that only gains speed as it follows a train and barrels into the station that will be its main setting," writes Phil Coldiron in Slant. "Leaving the tracks, it continues on its path through the concourse, moving past digital extras, the first of many ghostly presences, before seamlessly entering the realm of the real — that is, the soundstage. The worlds of Lumière (the train: the document of reality) and Méliès (the impossible camera: the spectacle of fantasy) come together, the latter used as a tool to try to restore the long-lost thrill of the former. This is the first moment of Scorsese's career that could accurately be described as Cameronian; it's also the first appearance of Hugo's exceptionally personal cinematic gambit."

"Like nearly all of Scorsese's films, Hugo can be taken as personal allegory," agrees Adam Cook. "It can also...