The State of Art through Anticipating. The Stamped Statuses.

More investigation led to an ultimate conclusion regarding releases in everything of anticipating and discovery of individual information, which had a place of influence. As well as, I found additional projects for awaiting.

A book.

Covers of The Steps were demonstrated. A little while later, Sly Stallone released a video of himself holding the United States and British editions of written book. The delay was caused by nothing more than a marketing strategy. I like my fellow American edition in a picture from Rocky on a top of stairs on one side and actor’s portrait on a back side whereas the last picture is on the front of the UK variant, which doesn’t make the book beautiful in appearance.

Films.

Protector hasn’t been edited at whole as a lead actress confessed at Busan Film Festival. She characterized that they need to “find tune” but it’s “heart and soul” is there. Therefore, this means a flick isn’t finished yet. Regarding a wide release date, a performer put an assumption from the end of this year to early of the next. Later, I found and read on her official website that Protector’s coming will in 2026.

Producer Sasha Yelaun opened a release date of Hellfire, which is February 17. From there was a link directed to photos of Yoni Zoldan who was involved in many things on that production which can relate to logistics in one word. I was skeptical about a script because it’s setting wasn’t believable; that some American little town under literal administration of a crime gang. A main hero is arrived mysterious stranger and he will want to stop that ruling, leading to a routine story. Hellfire has a scent of a western as can get it: from synopsis, a filming location Little Rock and photos of Zoldan. The latter guides to a simplicity where a main personage unites with a woman. I think, an Israeli director could make a fighter even from my cats, but I can’t watch just for phenomenal rumbles if a screenplay is dull-shaded. This wasn’t once in a film directed by Isaac Florentine. Hellfire falls off from anticipating list.

Some titles and names already calibrate me to rejection as Netflix, which uncomfortable intro sound has always been a first reason to stop watching.

That was with accidental noticing a headline stated Scarlet Johansson wants to play in a Rapunzel adaptation led to assume about the princess herself and that caused deep regret by imagining her in that miscast role, which is opposite to the structure of the universe, and it made to believe you’re under deep influence of a substance and you want to drink for come to sobriety. However, her personage (of course, I can’t say “she will play” because I don’t want to insult the art of acting) is a vain evil … well, herself, but, anyway, Dame Gothel isn’t her personage with her Eastern European village look. It’s a shot into own leg. And that invokes me to same thoughts about coming to sobriety and the structure of the universe.

Or the other madness, which with Robert de Niro (a usual thing by the way) who played two mafioso in one film makes to believe he set a goal to perform all Italian-American criminals but decided to slightly cheat in Alto Knights. I couldn’t watch on that. Similarly, the same in regard to Disney. But it was once that my eye caught and made me wonder why Tron of 1982 shows a real computer world, which was filmed at a time when CGI wasn’t advanced, whereas I see a nightclub with people in thematic clothes in watching on working materials of all live action continuations. Absurdity in Hollywood is a common nowadays.

Ridley Scott carries on to get big budgets despite releases disaster after disaster. He violated three-time failure right more than once. Four bloody times (these words are pronouncing with the most British accent) if be exact. Once there were made four consecutive flops. It’s misunderstandable because his name isn’t something of stand out authority. Francis Ford Coppola, who belongs to such men, was in struggling for a couple of decades after his failure One from the Heart. Sometimes he was forced to make commercial films for survive as the director. That was with The Godfather III, which he staged because his finances weren’t well. His recent movie Megalopolis was self-financed. Coppola put own dollars and they didn’t create profit. Now, after many efforts, he could secure some money on his another project, which were received from Italian government, not Hollywood studios. Nevertheless, Tinseltown is open to finance Scott who released money catastrophes Napoleon and Gladiator II lately. I have a logical scientific explanation – that son of gun sold his soul to the devil. I would look on his box-office story from position of those who responsible for income. It’s buying a property at Vesuvius with knowing a schedule of it’s eruption, which the nearest is the next week. That’s paying for a ticket on a transatlantic ship in which you noticed many wide holes or jumping on a plane with one turbine in absence and deeply drunken pilot staff. It’s having in front of you a territory, which is a mine field by noticing warning signages informing about that and sticking out small beacons above these buried devices. It is when you bring a hot dog to your mouth but you see no sausage inside. Personally, and I don’t joke now, this man must be deprived of arrivals to France.

Filthy Five yet don’t look on profit. Mel Gibson is a solid moneymaking director released Hacksaw Ridge through independent Lionsgate, which recouped it’s budget three and a half times and it received various accolades. However, a legend was fighting for years to get banknotes for The Resurrection of the Christ. I can guess about reasons but I’m not going to do it. However, I can assure that he did Flight Risk as part of a deal with Lionsgate. Mel Gibson didn’t talk about the movie in an interview as that he wanted to research a restless human soul at ten thousand feet altitude in one closed space with a maniac in which embodies all vices of mankind. A bearded great man uttered about having fun, which describes his attitude to a flick. It became obvious after Flight Risk was in box-office for some time, which wasn’t profitable, but I read that Lionsgate will produce a sequel to The Passion of the Christ.

I wasn’t wishful to a first flick. No difference I have to a continuation. That’s because I’m not fascinated by stories about Jesus Christ and Gibson as a director isn’t wonderful in contract with him as an actor. I’ve told how I did watching Braveheart. But speaking about this movie. It hasn’t a fine script first of all because it’s far from historical events as same as I haven’t common with them. Princess Isabelle was too little for that period of First Scottish War for Independence. Her presence doesn’t move and doesn’t make influence on a plot. That character doesn’t make a story here. Pardon my Swahili, but her usage looks was only for a sex scene with a protagonist, which outside of any logic with both personages. Mel Gibson isn’t a diligent director; he couldn’t stage a skilled fight because there were always abrupt editing cuts. Cruelty in them was exaggerated, turning it as unconvincing. Now, the legend and Braveheart’s scriptwriter have decided with a screenplay of The Resurrection of the Christ, which adaptation has become in two parts eventually.

I was impressed by First Shift; therefore, I anticipate it’s two sequels. Filming of them was just completed (it was from September to October), and Uwe Boll wants to bring their releases in one day early next year. I’m not sure about period of coming but it doesn’t matter.

No report from Las Vegas about Best of the Best 5: Honor the Brave. I’m fine with that. I will exclude it from the list if I know that Phillip Rhee wants to make his continuation story as a requel and/or legacy sequel. I have these unlovable thoughts because the martial artist considered idea of reboot ten years ago. Real heroes never step back. Nevertheless, my want to see the flick is still same.

Games.

Pierre Gilhodes is still relied to finish Gobliins6 by the end of the year, as that belief he expressed on September 2. It would be possible if he had help, which in his stance could be in accompanying Muriel Tramis. She had involvement one time. It was screenwriting of a couple of levels. Alas.

I would want not be a skeptical and get the game on slated time. No other than Gobliins6 will make a lonely cynical drunkard happy at Christmas.

Paradark Studio stated in September 22 that they still hard work on the game, which was a rare response in many months in that kind of questions (a developer does feedback only on positive exclamations). But they didn’t utter anything in part “loss of publisher” from that text. Such answering already made to accept further, ExeKiller won’t come this year.

Two days later, they posted a new glimpse video which set in the same location (an abandoned gas station). I asked them there after two hours about a stance of the publisher with mentioning it’s long passivity. Paradark didn’t letter back to any of questions in that thread.

October began with Null Games being removed as publisher from all social media accounts of Krakow’s studio. A gamemaker didn’t disclose reasons but did reply to another praise on one virtual shop site, stating that everything is going good but it admitted the facing difficulties of a small studio and ended with “I’m confident that new updates will be coming soon!” The first words in that last sentence reveal that the developer in struggling.

A few days later, on October 6, Paradark responded in the same place to one more kind words, which included questions where they didn’t answer again about staying or not of 2025 as the release date. There was asking when ExeKiller would be put into early access (a thing, which never had in ideas), and their writing on that was, “it’s genuinely difficult for us to share anything concrete right now”. It made a second emphasize on studio’s situation. In the end of answering, Paradark referred their stance of a small enterprise in the factors that aren’t in their control and all that they can do now is polishing. Every of these two communications with public corroborates regarding the release, which Krakow’s gamemaker hasn’t changed in the year. I stay away from assumptions but these answers insinuate that Paradark had reducing in personnel and the developer hopes to find a new publisher in the nearest time. The project could be in danger itself, but I don’t think it will be cancelled because the studio was capable of making the game alone before striking the deal with Null.

An assumed truth became reality on October 10. The year 2025 was removed and changed on “to be announced”.

Push On placed gameplay of Alkahest in short videos. It’s revelation was what calls an exclusion now: a game, which has a resemblance with an electronic composition of the past is advanced than inspiration. I was impressed by gameplay’s mechanics and inventiveness in features, which the last screamed me not to watch videos anymore. Maybe I’ll do so. However, AI doesn’t behave well and commits reckless things but it can be bearable if basing on have seen because that part is ajar here. Developers should work on their English in writing because it isn’t elaborated. A gamemaker put a question whether people want grounded or arcade fights on swords. I pointed on the second but asked afterward about their artistry and reminded it’s detrimental if be commercial. Unity is a fine tool and it is technically advanced to beautiful, but Push On is using an engine of a company with a dark story.