And Gleason’s evolved a style that’s comparable to a looser, Brian Bolland, lots of fine, bold black detail, but also an ability to throw that to the wind where necessary. Such as the Batman image above.

He’s started publishing sketches, commissions or different versions of his published work to his Tumblr and it’s quite revelatory. By favourite has to be the steam punkish pearl-necklace-detector that never made it into the comic, but transformed Damian into Sherlock.

His initial sketches for Carrie Kelley, including her iwith Batman in the Robin costume.

Ch’p and Dex Starr fighting over the corpse of G’nort….

And sometimes just a boy and his dog…

Thank you, Patrick Gleason.

Pretty Pictures: Patrick Gleason

Lars Von Trier has always had an interest in pushing film technology in pursuit of just the images and, importantly, the production practices he wants and needs.

Breaking the Waves was revolutionary in its combination of low-light filming and post-production colour correction, and sowed the seeds of what later became the Dogme movement.

Dancer in the Dark shot some sequences with one hundred small, low-cast cameras running simultaneously.

Dogville patchworked images from multiple cameras into seemingly coherent aerial views, while much of the rest of the film was shot with a device mounted on Von Trier’s head.

And The Boss of it All apparently employed the computer-controlled Automovision system, randomly twisting parameters of the cinematography.

Now, just as I’d expect, he’s using tech in an unusual way once again with Nymphomaniac.

Speaking to The Hollywood Reporter, the film’s producer Louise Vesth gave some idea of how Charlotte Gainsbourg, Shia LaBeouf and Uma Thurman, amongst others, will be shown engaging in hardcore sex on screen.

We shot the actors pretending to have sex and then had the body doubles who really did have sex and in post we will digital impose the two. So above the waist it will be the star and the below the waist it will be the doubles.

And I dare say this would get far trickier if the actors weren’t to interact “in that way” solely below the waist. I suppose this limits the kind of acts Von Trier can portray explicitly – and I imagine the limitation has caused him some frustration.

And it could also limit the kind of camerawork, depending on the kind of budget they’re spending on VFX. How mobile is he viewpoint going to be in this film, I wonder? I wouldn’t be surprised to see a lot of tableau, something like the overtures to Antichrist and Melancholia.

Nymphomaniac will be released in two parts, each of them in both hardcore and softcore versions, later this year.

Nymphomaniac Will Use CG To Put Its Stars Faces Into Hardcore Footage

Most-Read Comic Stories Monday:

The New Nature Of Villain’s Month From DC In September 

Rather than every New 52 title being replaced by another title – Action Comics #24 becoming Zod #1, say, with the title’s usual creative team – all the regular issues will go away for a month, replaced by one shots, starring villains.

DC Comics To Pay 75% OF Comic Stores Advertising If Its Got Superman In It 

So, there’s this Man Of Steel movie coming up. And a Superman Unchained comic. I’m even told that Batman/Superman #1 is expected to get sales of over 200,000.

Is Comics Alliance Being Revived?

Well, Comics Alliance, after no posts for the month of May, today posted a new article. Entitled “heartbeat”, the headline was a sideways winky smiley.

Most-Read TV/Film Stories Monday:

Does This Moustache Confirm An Old Days Of Future Past Rumour?

Bryan Singer has tweeted an image of himself and Peter Dinklage, up to some X-Men prep work.

Mystique Is All Made Up On The Set Of X-Men: Days Of Future Past

Keeping it old school, not to mention rather sweaty, here’s Jennifer Lawrence in her Days of Future Past second skin. Yet again, we have Bryan Singer to thank for the image.

WB Might Not Have A String Of Movies To Set Up Justice League, But Plan B Is Rolling Out To Stores Soon

Marvel paved the way for their innovative big-screen Avengers team up by giving Captain America, Thor and Iron Man their own standalone movies first.

The Secret Month Of Super-Villains – Monday Trending Topics

Click here to view the embedded video.

…well, unless, of course, that was all staged and they weren’t actually in production during these shots at all, in which case they want nothing more.

There’s No Fourth Wall In This New Teaser For The Newsroom Series 2

The next picture from Ben Wheatley is as different from Sightseers as that was from Kill List. A Field in England is set in the middle of the English Civil War. This excerpt from the official blurb will explain why I’m calling it “psychadelic.”

Crossing a vast mushroom circle, which provides their first meal, the group quickly descend into a chaos of arguments, fighting and paranoia, and, as it becomes clear that the treasure might be something other than gold, they slowly become victim to the terrifying energies trapped inside the field.

There’s certainly a rather foreboding tone to this trailer, and it’s not such a surprise that they were able to get a positive quote from Nic Roeg for the poster.

Click here to view the embedded video.

Film 4 and Warp X have cooked up a pretty daring release plan for this film. As well as rolling into UK cinemas on July 5th, it’s also going to be made available on DVD, Blu-ray and VOD and premiered on television, for free, on Film 4′s channel.

To incentivise you into seeing the film in the cinema – if you don’t consider that it’s own reward – Picture House cinemas will be hosting a Q&A with Wheatley and his cast, and screening that live across their chain with one of the July 5th sessions.

I know that I’m opting for the big screen experience, but I’d be curious to learn how the viewership and sales break down across the board.

First Trailer For Psychadelic Civil War Movie, A Field In England

Joel and Ethan Coen‘s Llewyn Davis features Oscar Isaac in the title role, a folk musician struggling to make ends meet in 1961. Davis has found himself at a crossroads in life, facing problems not only with making a break in the music business but also in his personal life, as his couch-hopping lifestyle puts strain on the relationships he relies upon to get by.

We are left in no doubt that Llewyn has talent. This is very much set in stone with a rousing opening sequence as he performs at a basket house in New York’s Greenwich Village. But it soon becomes clear that he is far from being the only talented folk performer of the day and, left as a solo artist following the death of his partner Mike, Davis struggles to make the breakthrough he desperately seeks.

As the film goes on, we follow a week in the life of our dejected and often belligerent protagonist. While it’s often a very sombre affair, an uplifting soundtrack and moments of genius comedy make this anything but the dull and depressing picture that it could have been in someone else’s hands.

The acting is terrific throughout, with Oscar Isaac carrying the weight of the whole movie on his shoulders and delivering with perfection a performance that struck just the right balance of melancholy and humour. John Goodman provides an equally bright turn in one of the smaller parts that, between them, really give bring the film to life

This isn’t a classically Coenesque movie, perhaps. At times it’s very different to their previous work, but there are moments that remind us that it is very much their picture.

One thing I wasn’t bargaining for was the additional acoustics that came courtesy of the Salle du Soixantième theatre itself. Built 6 years ago to celebrate the Festival’s 60^th Anniversary, the Soixantième is a semi-permanent structure (it certainly isn’t made out of bricks and mortar, anyway!) with a tendency to be somewhat susceptible to the high winds rushing in off the Côte d’Azur. Yesterday these winds found their way through a vent and created a whistling noise that was a most unwelcome distraction. Towards the end of the movie the winds evidently had picked up further, offering a drum beat as the theatre’s tarpaulin battered again the structure. Perhaps this percussion was what Llewyn Davis needed to finally make his break in the music industry.

And it was straight back in to the Salle du Soixantième for Blind Detective, screening out of competition from veteran director Johnnie To.

Johnston is a former police detective, still highly talented despite losing his sight after becoming blind while on duty. He continues to solve cold cases for the police, picking up bounties to earn his living. During an investigation he encounters Ho, a young officer quickly rising the ranks but lacking the thoughtfulness of Johnston, who she hires to help her find a long lost childhood friend.

Movies at Cannes often cross genre boundries in a heartbeat, but none more so than Blind Detective. A murderous thriller, outrageous slapstick comedy, romantic love-triangles, drama. It has it all. And this is before you get to the cannibalism and mutilation.

Throughout we are taken back in time as Johnston attempts to act out and think his way through to solving the crimes; often inexplicably, but amusingly, finding the answer. These flashback moments were vividly and smartly shot, slapstick hilarity juxtaposed against a backdrop of increasingly sinister and blood drenched crimes. The ease at which the film interlaces the past and the present is genuinely brilliant and honestly impressive.

The sound dubbing was at times horrendous, though. Although I naturally was following the subtitles, the lack of sync between what was being spoken and the sounds heard felt amateurish in a movie which actually featured so much polish elsewhere.

Although a sprawling cross-genre movie, the story is actually wafer thin, with numerous pointless segments (inparticular an explicable 10 minute sequence following “Grandma”) and repetitive humour, which sometimes make Blind Detective somewhat of a drag.

As I sat here writing this report in the Cannes press room, ahead of a screening of Takeshi Miike’s Shield Of Straw, drama unfolded as two birds managed to fly inside. Fortunately no bird shit found its way onto the rather swish HP all-in-one computers and order was restored as a French journo took matters into his own hands, catching the birds and letting them out to safety.

Sounds like a metaphor for something, Peter? – Brendon. We look forward to your next report.

You can follow Peter on Twitter.

Cannes 2013: Coen Brothers Strike The Right Chord With Inside Llewyn Davis

Rendering Wolverine in this style was a clean, definitive statement, then The Silver Samurai was an obvious balance of content and pastiche, but these two don’t seem quite right. Perhaps the characters still seem too ambiguous to us to work with such stripped down, quasi-iconic stylings?

There’s a new Wolverine trailer tomorrow and we’ll bring it right to you.

Yukio And Viper Get Their Own Wolverine Character Posters

The confidence was on show when Aykroyd appeared with original Ghostbusters bit-player Larry King over the weekend and talked a little about the new screenplay’s set up. As well as hints of just what kind of headbending threats the film will feature, Aykroyd also revealed the first solid info on some characters from the film.

Here’s a transcript courtesy of Coming Soon, though you can see Aykroyd for yourself at Ora. And, yes, some of these details came up in a story I wrote about a month ago, but not all of them.

It’s based on new research that’s being done in particle physics by the young men and women at Columbia University… basically, there’s research being done that I can say that the world or the dimension that we live in, our four planes of existence, length, height, width and time, become threatened by some of the research that’s being done. Ghostbusters – new Ghostbusters – have to come and solve the problem.

It’s not clear if these new Ghostbusters will be the same individuals as the particle physics researchers or not. I’m taking it as not – or at least “not necessarily” – but I see from social media that many have assumed these character groups will be one and the same.

I do like the sound of dimensional distortions. There’s an awful lot of cinematic potential in that – maybe even a bit of timefolding to bring us back to the original films. And yes, I’m now wishing Michel Gondry could direct the film.

Not only is Gondry the master of dimensional distortion, he’s apparently quite the fan of Ghostbusters. He did already do a remake of it once, though. Look:

Click here to view the embedded video.

Dan Aykroyd’s Latest Ghostbusters 3 Chatter Reveals Details Of Headbending New Threat

I suppose the only way Russell Crowe could have looked more threatening is if he was holding a telephone and not a… a… a pointy thing.

Jor-El Commands The First Man Of Steel Character Poster

This new UK trailer for the film shows off more of the snail acting than any of the previous promos.

Click here to view the embedded video.

New Trailer For Dreamworks’ Turbo Showcases Some Impressive Snail Faces