Ryan Gosling fulfills his dream and replaces Nicolas Cage in the role of this Marvel superhero

Ryan Gosling wanted it and Marvel has made it happen. After insisting for years that he would love to play Ghost Rider, the actor’s desire to ‘Barbie‘has finally been fulfilled. During San Diego Comic-Con, Kevin Feige officially announced that Ryan Gosling will play Marvel’s famous demon biker in a new movie. Gosling was invited to take the stage in Hall H, where he excitedly said, “Is this really happening? This is a character I’ve been dreaming of playing for a long time.” He then added that “only one director could make this movie,” just before giving way to Shawn Levy, the director of ‘Deadpool and Wolverine‘. An alliance that comes from afar This won’t be Shawn Levy’s first time directing Ryan Gosling. Both are already working together on ‘Star Wars: Starfighter‘, whose release in theaters is scheduled for May 27 next year. Later they will meet again in ‘Ghost Rider’, whose script will be in the hands of Jonathan Tropper (‘The Adam Project’, ‘The Wrecking Crew’). The release date is not confirmed, but it is expected that goes to 2028. In this way, Ryan Gosling takes over from Nicolas Cage in the role of Johnny Blaze. Cage played the character in ‘Ghost Rider: The Ghost Rider‘ in 2007, as well as in the sequel ‘Ghost Rider: Spirit of Vengeance‘ in 2012. Nicolas Cage’s Ghost Rider Both films were absolutely trashed by critics, although they were surprisingly profitable. The first, whose budget was 110 million dollars, has 26% on Rotten Tomatoesbut raised $228.7 million. The second, despite being even worse (18%), raised 132.5 million. It did not generate direct losses, but it was enough of an indicator for Sony to decide to sell the rights to the character, which ended up returning to Marvel Studios. According to exposed Kevin Feige in 2013, “When a character comes back to us it’s usually because the other studios don’t want to make any more movies, which almost always means that the previous installments weren’t particularly well received. They all have potential, but we’re not going to say ‘We’ve got him back, let’s do it now!’” 13 years later, after passing through the fourth season of ‘Agents of SHIELD’ and with superhero movies in low hours, It seems that it is time. As for Ryan Gosling, the actor is preparing for a golden future in commercial cinema after the consecutive successes of ‘Barbie’ and ‘The Specialist’. The next step will be taken within Disney and in the Star Wars franchise, another saga that It’s not going through its best moment either.. Via | AlloCiné Image | AlloCiné

Tomorrow one of the most incredibly strange films of the late Nicolas Cage arrives on Prime Video

There is a scene where Nicolas Cage fills a bottle with cloudy water from a public tap and tries to drink it. Shortly after he is about to eat a dead rat. Neither of them is the strangest image in the film, and that says enough about the terrain in which it moves.The Surfer‘, a psychological thriller that had a very discreet run in theaters in 2025 and now, a year and a half later and since July 17, it shines as one of the strangest pieces in the summer catalog of Prime Video. The film follows an unnamed man (Cage) who takes his teenage son to the Australian beach where he surfed as a child. He wants to buy the family house on the cliff, the same one he grew up in before his father died. The welcome is not what was expected: a group of local surfers, the Bay Boys, led by the charismatic Scally (Julian McMahon, whom we remember from ‘Nip and Tuck’ and The Fantastic Four – no, not that one, the other one… no, that one neither, the other one -), prevents him from entering the water with a mantra that is repeated throughout the film: “If you don’t live here, you don’t surf here.” And what starts as a one-time humiliation turns into a spiral of harassment with the heat of the Australian summer in the background. The Irishman Lorcan Finnegan, director of the film, is not a new name for fans of psychological tension films. Before this, he signed the magnificent ‘Vivarium’, with Jesse Eisenberg and Imogen Poots trapped in a residential neighborhood that repeats itself ad infinitum, and ‘Nocebo Effect’ (2022), with an Eva Green affected by a suffocating exotic disease. In all three titles he works with a closed and oppressive space that begins as everyday and ends up becoming a trap. And this time the film has an excellent plus: the Australian sun, which has given us so many magnificent works of extreme oppression, such as ‘Long Weekend’ or ‘Waking Up in Hell’. On this occasion, in addition, the disturbing desert of the country is contrasted with the beaches where Cage goes, allowing himself to give one of his best manic and out of character performances, for the first time in an environment that does him absolute justice. In Xataka | We won’t have any more ‘Stargate’: the perfect excuse to recover this peak of 90s science fiction

Satellite images revealed that Russia covered a building with an anti-drone cage. Ukraine turned it into an action movie set

In World War II, the United Kingdom became camouflage entire factories with nets, fake structures and even fictitious neighborhoods built on rooftops to fool German bombers. The idea it was simple– If you can’t stop the attack, make the target disappear from the air. Eight decades later, that logic has returned. Only now the enemy is no longer looking from a bomber, but from a drone. The giant cage. Satellite images made it clear: Russia had done something that until recently seemed unthinkable, wrapping an entire building in a gigantic anti-drone structure. We are not talking about a tank or an armored vehicle, where “cope cages” are already common, but rather about a strategic factory more than 900 kilometers from the front. The facility, part of the VNIIR Progress plant in Cheboksary, had been protected with that kind of metal skeleton for at least a year. Was the test of the extent to which Moscow assumes that Ukraine can strike very deep inside Russia. But it was also a silent admission: the drone threat has already changed even the industrial architecture of warfare. Shield the rear. VNIIR Progress is not just any factory. Produces essential navigation components for a good part of the Russian arsenal: Shahed-136 type drones, Kalibr cruise missiles, Iskander ballistic missiles and gliding bombs. It is, in essence, a critical piece of the Russian military gear. Protecting it with a cage of that size reveals something important: it is no longer enough to move factories away from the front. Russian strategic depth has been eroded and the war has meant that once safe places now need permanent physical defenses. Ukraine changed the rules (again). The problem for Russia is that Ukraine no longer only strikes with drones. In the most recent attack, kyiv used its new cruise missiles FP-5 Flamingoa nationally manufactured weapon with more than 2,800 kilometers of range and an explosive warhead weighing more than one ton. That detail completely changes the equation. The anti-drone cage could make sense against small kamikaze drones or light munitions. But faced with a missile of that size, the structure becomes practically in decoration. Ukraine, in essence, demonstrated that the Russian solution was designed for yesterday’s war. What the defense gives away. The most interesting thing is not only the damage caused, but what it means the very existence of that cage. Every new anti-drone net, mesh or cover that appears over Russian refineries, air bases or factories is a sign of vulnerability. For decades, the industrial rearguard was a sanctuary. Now Russia is spending resources to fortify even its production centers. In other words, what you see is a clear symptom that the Ukrainian deep strike campaign is working at least on a psychological and operational level, forcing Moscow to redistribute protection and assume additional costs. The invisible climb. The episode also reflects a broader evolution: the industrial war is becoming a war constant adaptation. Ukraine began using long-range drones to overwhelm defenses and hit critical infrastructure. Russia, like we have been countingresponded with networks, interference and physical structures. Now kyiv goes up a notch with missiles heavier and more precise. Each defensive layer generates a higher offensive layer. And that turns the conflict into a technological race where no solution lasts too long. The lesson of the attack. The image is very powerful because summarizes all the logic of modern warfare: an entire building wrapped in steel to protect electronic parts that then guide precision weapons… and still reached. The conclusion is inevitably uncomfortable for Moscow. If a facility hundreds of miles from the front needs a giant cage and not even that guarantees your safetythen the real frontier of war is no longer in the trenches. It is anywhere on the map where the military industry continues to function. Image | Ventor In Xataka | Ukraine has found Russia’s weak point in Crimea. And now there is a line of Russian trucks that cannot move forward In Xataka | The drone war has left a clear lesson for Ukraine: you can’t leave home without a 100-year-old machine gun

Tomorrow on Prime Video, a series with a superb Nicolas Cage that is already said to be Marvel’s best proposal in years

Nicolas Cage was about to don the Superman suit in the mid-nineties, in a Tim Burton production by Warner Bros. that was canceled when filming was already imminent. Decades later, two estimable ‘Ghost Rider’ films, an animated cameo in ‘Spider-Man: Into the Spider-Verse’ and a very brief multiversal nod in ‘The Flash’ as ​​the Superman that never was are his resume as an actor with a cape and/or mask. ‘Spider-Noir‘ comes to Prime Video this May 27 and makes us dream of an unleashed Cage who restores some dignity to the exhibition of mediocrities that superhero cinema has become. The series is not a spin-off of the Spiderverse films, although Cage voiced Spider-Man Noir in the aforementioned ‘Into the Spider-Verse’. It is based on the comics from the 2009 Marvel Noir line, which relocated the label’s classic characters to an alternate interwar universe. In this version, Cage plays Ben Reilly (not Peter Parker, as in the original comics), a private investigator who ends up becoming a superhero called The Spider. The nickname comes from the heroes who inspired Stan Lee in the creation of the publisher’s first superheroes. Prime Video has released the series in two visual formats, “Authentic Black and White” and “True-Hue Full Color”, i.e. black and white in the style of the thirties and vibrant colors and with an artificial point. It is an unusual decision that, those responsible say, is not free: neither of the two is the “main” one, both have been calibrated and designed so that they function completely and autonomously. The color one, specifically, has sought the effect of an artificially colored black and white film. ‘Spider-Noir’ enjoys a spectacular 92% on Rotten Tomatoesone of the highest scores for any property in the live-action Spider-Man franchise. It is already spoken of as one of the best series of the yearand the interpretation of Cage, lost sometimes (just sometimes) in recent years among products that do not deserve his talent, as one of the most eccentric and stimulating contributions to the MCU. In Xataka | Today the culmination of one of the most famous series in the history of Spain arrives on Prime Video in an ironic closing format

In 2024 Nicolas Cage, in 2025 Stephen King. The revolutionary horror cinema returns with a new epic of humor and gore

Osgood Perkins is one of the most stimulating horror film directors of today (in addition, consecrated to gender: fans are lucky that it is not one of those creators who roll two impact films and then retire to more prestigious genres or profitable). And above, it is wonderfully prolific: last year, ‘Longlegs‘It became the cult film par excellence; This year, already in February, his ‘The Monkey’ is on his way to running the same fate. Oz Perkins likes fear. As is well known, Perkins is the son of an authentic horror cinema icon, Anthony Perkins, but with his good work he has been distanced from the titanic shadow of his father: before his international revelation with ‘Longlegs’, Perkins He already signed small but tremendously disturbing films, in which he showed an incredible hand for gender. As in his debut, the very sick ‘The envoy of evil‘, his personal vision of fairy tales with’Gretel and Hansel‘, And the modest but very intense’I am the beautiful creature that lives in this house‘For Netflix. ‘Longlegs’, a murky descent to madness. Descent, but as one descends rolling down the stairs to the darkest corner of a flooded medium basement. ‘Longlegs’ left Patidifuso to everyone in 2024 thanks to one of the most extreme papers of Nicolas Cage (which is already), but also because of the unexpected of their script turns and for the few concessions that this story gave this story this story of an FBI agent with some extrasensory capacity, and that is embarked in the search for a murderer who soon acquires absolutely inexplicable dyes. And now, Stephen King. Here is all of icons of the disheveled gesture and the insomnia nights. Stephen King, Nicolas Cage and now, Stephen King. Because his is the story that inspires Perkins’s new movie, ‘The Monkey’, which arrives at theaters this week. The original story is the variant of a code that King has used on countless occasions (‘the store’, ‘animal cemetery’), that of the monkey leg: do not want something very strong, because the desire can meet with the same force and with devastating consequences. But Perkins has brought the original story completely to its land. The desire monkey. The film starts when two twin brothers find among their father’s objects, whom they did not get to know, an old toy monkey with a drum. Soon a series of truculent deaths begin to happen in their surroundings, and that blame the monkey. The brothers decide to get rid of him and continue with their lives, although they end up distancing over the years. But suddenly the strange deaths take place again and the brothers must meet to end the power of the monkey. Laugh until he died. We said that Perkins had taken his own way when adapting the original story, and that path is that of humor. The deaths, absolutely free, unexpected and very bloody, are the most grotesque that have been seen on the screen from the saga ‘final destination’, with which ‘The Monkey’ has more than one point in common. Blood acrobatics, creative gore and a feverish rhythm of demential deaths mark the rhythm of a hilarious film and that definitely consecrates Osgood Perkins as one of the greats of modern terror. In Xataka | About the new ‘Wolf Man’ weighs more than a curse: the shadow of the failed mcu of monsters that wanted to build universal

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