Captain Marvel First Images Revelead

Hello, Brie fans! Captain Marvel first official images are finally here as Brie Larson is covering the new issue as Carol Danvers/Captain Marvel. Read below what we learned about the movie and check our gallery for HQ images:

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There’s a bright new star in the Marvel Cinematic Universe.

Captain Marvel leads the cover of Entertainment Weekly’s new issue, with an exclusive first look at Brie Larson’s Air-Force-pilot-turned-intergalactic-hero.

Film fans know Carol Danvers only as the mysterious person paged by Nick Fury (Samuel L. Jackson) in the last scene of Avengers: Infinity War, and she’ll appear in the still-untitled Avengers 4, presumably to help beat up on Thanos. But before that, she’s got her own story to tell — and EW has all the exclusive intel on her upcoming solo film.

When Captain Marvel hits theaters March 8, 2019, it’ll be the 21st entry in the MCU — and the first to star a solo female superhero. In the past decade, the MCU has assembled a diverse lineup of female heroes, from witches and warriors to widows and wasps. But never before has a woman headlined her own story — until Captain Marvel, the part-Kree, part-human pilot who made her comics debut back in 1968.

“She can’t help but be herself,” Larson tells EW. “She can be aggressive, and she can have a temper, and she can be a little invasive and in your face. She’s also quick to jump to things, which makes her amazing in battle because she’s the first one out there and doesn’t always wait for orders. But the [not] waiting for orders is, to some, a character flaw.”

Directed by Anna Boden and Ryan Fleck, Captain Marvel sidesteps the traditional origin-story template, and when it begins, Carol already has her powers. She’s left her earthly life behind to join an elite Kree military team called Starforce, led by Jude Law’s enigmatic commander.

But before long, Carol finds herself back on Earth with new questions about her past. And she’s got a formidable enemy in the form of the Skrulls — the notorious Marvel baddies made all the more dangerous by their shape-shifting abilities. Ben Mendelsohn plays their leader Talos, who spearheads a Skrull invasion of Earth.

Speaking of Earth, Captain Marvel takes place in the mid-’90s, long before Steve Rogers was defrosted or Tony Stark built his first suit. That allows the film to introduce younger version of familiar Marvel faces — like Jackson’s Nick Fury, who’s still a two-eyed S.H.I.E.L.D. desk jockey — as well as let Carol carve out her own, unique space in the MCU.

“This is not a superhero who’s perfect or otherworldly or has some godlike connection,” says Boden, who’s the MCU’s first female director. “But what makes her special is just how human she is. She’s funny, but doesn’t always tell good jokes. And she can be headstrong and reckless and doesn’t always make the perfect decisions for herself. But at her core, she has so much heart and so much humanity — and all of its messiness.”

Entertainment Weekly will be rolling out all kinds of details on the film over the next few days — including exclusive photos, details from our set visit, and in-depth interviews with the cast and crew — so stay tuned to EW.com.

 

‘Captain Marvel’ featured on Total Film September Issue

We’re close to see an official footage of Brie Larson as Carol Danvers/Captain Marvel. While we’re still waiting this month Total Film issue features Captain Marvel on its Comic-Book Preview.

Pagging all ’90s fans! If you’re still recovering from Avengers: Infinity War, you’re in luck – Marvel’s fist pequel looks set to provide a dose of nostalgia to sooth some of that intergalactic angst. “These are definitely homages to our favourite ’90s action films,” studio chief Kevin Feige promises of the ’90s-set Captain Marvel, in which Brie Larson’s Air Force pilot Carol Danvers gains superpowers after crash landing in the midst of an alien war.

“Much of the movie taks place in outer space,” Feige reveals, perhaps explaining why Captain Marvel has been missing from the MCU this far. She’s sure to make a big impact in her first movie, though, which could hold the key to righting all of Thanos’ Infinity War wrongs (it lands in cinemas two months before Avengers 4). “She’s so, so strong,” enthuses Larson. “She can move planets!” Sounds like somebody the Avengers could use right about now.

With MCU regulars Samuel L. Jackson and Clark Gregg both appearing, digitally de-aged, as Nick Fury and Phil Coulson, the whole shebang’s being orchestrated by directors Anna Boden and Ryan Fleck (Mississippi Grind). And according to Feige, it’s partially inspired by the greatest of ’90s sci-fi movies: Terminator 2. “Those cool street-level fights and car chases,” he’s said, suggesting what we might expect. Adds Larson: “I’m proud of what it is we’re making. All of the hype will be worth it.” Buckle up, kids; there’s a new hero in town.

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Gallery Updates: Photoshoots from 2012 to 2016

Hello, friends! I was finally able to added more photoshoots and portraits of Brie from 2012 to 2016 and I’ve replaced some of the pictures with high quality versions. The gallery was updated with over 360 photos, enjoy!

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Brie Larson to Star in Warner Bros. Drama ‘Just Mercy’

Brie Larson to Star in Warner Bros. Drama ‘Just Mercy’

According to Variety, Brie Larson is in final negotiations to join Destin Cretton’s (Short Term 12, The Glass Castle) next pic, “Just Mercy,” alongside Michael B. Jordan.

Based on the book “Just Mercy: A Story of Justice and Redemption,” the film adaptation tells the true story of Bryan Stevenson (Jordan), a gifted young lawyer fighting for equal justice in a flawed legal system.

Details behind Larson’s role are unknown at this time. Production is set to start next month in Atlanta.

The film was originally set up at Broad Green Pictures, but moved to Warner Bros. earlier last year.

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Photos & Videos: Women In Film 2018 Crystal + Lucy Awards

Brie has been honoree with Crystal Award for Excellence in Film during the Women In Film 2018 Crystal + Lucy Awardspresented by Max Mara, Lancôme and Lexus. The event was held at The Beverly Hilton Hotel last night.

This post has been updated with videos from the black carpet and our gallery has more high quality images:

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Brie Larson announces Sundace Institute and Toronto Film Festival Initiatives for Underrepresented Press

Brie Larson closed Women in Film’s Crystal+Lucy Awards on Wednesday night as the final honoree to take the stage inside the Beverly Hilton Hotel in Beverly Hills, and she didn’t drop the mic — she broke major news about two of the industry’s most prominent film festivals.

THR — “I’m so grateful to be up here to receive this award so I can not thank my family and my team and instead talk about something that’s really important to me,” she explained in opening her speech, which came just after 9 p.m. “I’d like to bring to light an aspect of our industry that has risen to the surface in the last week. This issue has a solution that each one of us in this room can participate in.”

Larson, accepting the Crystal Award for Excellence in Film, then referenced news that broke two days earlier when USC’s Annenberg Inclusivity Initiative released a report that analyzed the gender and race/ethnicity of the critics behind every Rotten Tomatoes review of 2017’s 100 highest-grossing movies. The report titled “Critic’s Choice?” found that out of 19,559 reviews, 77.8 percent were written by men and 82 percent were written by white critics. White men wrote 63.9 percent of reviews, compared with 4.1 percent penned by women of color. More reviews were also written by white women (18.1 percent) than by men of color (13.8 percent).

“This is a huge disconnect from the U.S. population of 30 percent white men, 30 percent white women, 20 percent men of color and 20 percent women of color,” Larson explained. “Why does that matter? Why am I up here talking about statistics when I could be up here talking about my publicist? [Lindsay Galin of Rogers & Cowan] who I love and thank you so much for bringing [presenter Jessi] up here and making this super emotional while I stand up here and rattle off percentages of people.”

Larson then made a point that she swung home three separate times: “Am I saying that I hate white dudes? No, I’m not.”

Instead, what Larson was working toward is a larger point about having the right reviewers screen films that matter to specific demographics, an issue that has been gaining traction as the conversation about inclusion and diversity continues to get louder in all parts of the industry, including newsrooms that cover the entertainment industry.

“What I am saying is that if you make a movie that is a love letter to women of color, there is an insanely low chance a woman of color will have the chance to see your movie and review your movie,” she said to rousing applause in the room, which was filled to capacity and had already listened to speeches from honorees including ABC’s Channing Dungey and actress Alexandra Shipp. “We need to be conscious of our bias and make sure that everyone is in the room.”

Getting to the news of the evening, Larson delivered a personal lead-up explaining why this issue — one that she tweeted about on June 11 — matters so much to her.

“It really sucks that reviews matter, but reviews matter,” she said. “Good reviews out of festivals give small independent films a fighting chance to be bought and seen. Good reviews help films gross money. Good reviews slingshot films into awards contenders. A good review can change your life. It changed mine.”

Larson was referring to the 2015 film Room, which screened at both the Toronto and Telluride Film Festivals, which have become go-to launching pads for serious awards contenders. It worked for Larson. Her performance in the Lenny Abrahamson-directed film debuted to rave reviews and she went on to win an Oscar, Golden Globe, Film Independent Spirit Award and dozens of critics group prizes. ”

“I do not need a 40-year-old white dude to tell me what didn’t work for him out of a Wrinkle in Time. It wasn’t made for him. I want to know what that film meant to women of color, to biracial women, to teen women of color, to teens that are biracial. These are just facts these are not my emotions,” she continued. “I want to know what my work means to the world, not a narrow view.”

On that note, Larson announced that both the Toronto and Sundance Film Festivals have committed to bolstering its credentialing ranks to include 20 percent of underrepresented critics in Park City and Toronto at the next installments of each festival. TIFF is scheduled for September while Sundance will happen again in January in Utah.

Festivals aside, Larson is hoping that more outlets do the same.

“The bottom line is that each of the top 100 films in a year added nine critics that are three underrepresented males, three white females, three underrepresented females and the average critic pool would match the U.S. population in just five years,” she said, before offering her breakdown of potential solutions.

“First, female and underrepresented critics can’t review what they don’t see and many are denied accreditation and access to press screenings. If you are in this room, or if you know someone who is a gate keeper, please make sure these invites and credentials find their way to more underrepresented journalists and critics, many of whom are freelancers,” she detailed. “Artists, agents, publicists and marketing execs, you can do your part by commiting to an inclusive press plan and junket strategy on your end. This includes asking for a wider array of magazine photographers in addition to writers. Disney has been a brilliant partner on this on Captain Marvel.”

“Second: Feed the pipeline,” continued Larson, who also noted the inclusive press line that greeted the guests at Women in Film’s annual event. (And it should be noted that Larson walked the walk before heading inside for the dinner program and she stopped for every outlet on the carpet and spoke to journalists of color.) “I know you’re thinking, ‘Brie, we’d love to have a balanced pool but there’s not enough underrepresented critics to make this realistic.’ I’m super happy to tell you that 41 percent of Bachelor’s degrees in journalism and communication go to white women and 22 percent to women of color, so the talent is there, the access and opportunity is not.”

To find talent, Larson also announced “an opt-in tool” that will launch late summer that is designed to allow studios and artist representatives to more easily find and contact entertainment journalists and critics from underrepresented groups. It’s unclear which organization is behind the tool.

“I hope this is just the start. Let’s sponsor more opportunities like this for journalists and critics moving forward,” she said in closing. “Thank you very much for listening to my verbal power point presentation, and I hope you have a very wonderful rest of your evening.”