Friday, October 24, 2025

Box Office Breakdown (Season 34 Round 5)

 





The Revolution
Budget: $29,000,000
Total Box Office: $66,457,329
Total Profit: $10,102,009











Tethered
Budget: $23,000,000
Total Box Office: $72,326,511
Total Profit: $28,484,999











Blade
Budget: $80,000,000
Total Box Office: $250,255,982
Total Profit: $59,100,067










Box Office Facts
The Revolution
Sadie Sink has now headlined seven films - all of which have been profitable at the box office. The combined profits of her starring roles totals in around $113 million.

Tethered
Writer Joshua Collins is on a bit of a hot streak at the box office now with three profitable films in a row - totaling a profit of $107 million.

Blade
While Blade places 36th place out of 49 films at the box office in terms of worldwide box office for the Marvel Universe - it places 6th in the mix of the R-Rated Marvel films out of 10 entries.




Genre Rankings
The Revolution
Thriller: #96

Tethered
Horror: #84

Blade
Action: #178
Superhero: #104
Horror: #21




Season 34 Round 5
Total Box Office: $389,039,822
Total Profit: $97,687,075

Season 34 Totals
Total Box Office: $2,558,385,578
Total Profit: $442,236,373





Season 34 Summary
1. X-Men: Age of Apocalypse : $923,966,438
2. Sgt. Rock : $306,851,781
3. The Flintstones : $252,498,418
4. Blade : $250,255,982
5. Robopocalypse : $242,879,106
6. Nineteen Eighty-Four - Part Two : $196,422,340
7. All the Fives : $77,974,884
8. Exodus : $76,164,182
9. Tethered : $72,326,511
10. The Revolution : $66,457,329
11. Heist Society : $33,109,892
12. Convalescence : $19,377,305
13. Test of Time : $17,123,993
14. Mises : $14,000,561
15. Blood Brothers : $8,976,856

Thursday, October 23, 2025

Release: Blade

 
Blade
Genre: Action/Superhero/Horror
Director: Spike Lee
Writer: Dawson Edwards
Based on Marvel Comics characters
Cast: Damson Idris, Karen Fukuhara, Pierce Brosnan, Gina Torres, Taraji P. Henson, Regina King





Budget: $80,000,000
Domestic Box Office: $110,421,918
Foreign Box Office: $139,834,064
Total Profit: $59,100,067

Reaction: Solid numbers, but not exactly the blockbuster figures one tends to expect from the Marvel Universe brand. Given the R-rating though, these are very good numbers on par with other R-rated Marvel Universe films like The Punisher and Elektra.





"​Spike Lee's 'Blade' delivers a stylish, gritty, and socially conscious reimagining of the Marvel hero, with Damson Idris powerfully portraying the titular Daywalker. While the film excels in its visceral action, atmospheric visuals, and exploration of systemic corruption through characters like Gina Torres' Dr. Tilda Johnson and Pierce Brosnan's chilling Deacon Frost, its pacing occasionally falters and some supporting characters, like Karen Fukuhara's Makoto, remain underdeveloped. Despite these narrative inconsistencies, "Blade" stands as a bold and compelling entry in the superhero genre, leaving a significant impact with its dark themes and socio-political undertones." - Ted Milo, Montasefilm.com


“While pacing issues, uneven supporting arcs, and occasional over-explanation keep Blade from fully hitting its stride, the film’s atmosphere, ambition, and flashes of sharp character work give it a distinct identity. Damson Idris brings a magnetic, quietly dangerous presence to the role that it needs. The action peaks—especially in the final act—are gripping enough to leave a lasting impression, even if the road there is more compelling in concept than in execution.”
Freddie Poulter, TheWrap.com 


"Damson Idris gives Blade everything he’s got. Unfortunately, he’s trapped in a film that rarely rises to meet him. Spike Lee's execution is uneven at best. The action lacks scale and the editing is often choppy. For all its attitude, the film doesn’t bring much new to the Blade mythos. We've seen this urban vampire underworld before, and the script rarely pushes beyond familiar beats. Instead it stretches all those expected beats to shocking lengths - resulting in a near 3-hour film with very little story or action involved." - Dave Manning, Ridgefield Press









Rated R for strong bloody violence, grisly images, sexual content, and language throughout.





Comic to Film: Blade

 

Welcome back to Comic to Film! We are back with another Marvel Universe production not long after the last one. This time we are looking at the cast of Blade - LRF's first film featuring the famed vampire hunter. Spike Lee (Victims, Boys of the Bayou) directs the film from an adaptation by Dawson Edwards (Heist Society, The Legend of Zelda).











Wednesday, October 22, 2025

Now Showing: Blade

 
Blade
Genre: Action/Superhero/Horror
Director: Spike Lee
Writer: Dawson Edwards
Based on Marvel Comics characters
Cast: Damson Idris, Karen Fukuhara, Pierce Brosnan, Gina Torres, Taraji P. Henson, Regina King

Plot: The subway car rocked with a mechanical screech as it tore through the underground tunnel, fluorescent lights flickering against the steel walls. Blade (Damson Idris) sat at the back, his hood low over his face, watching the world move through reflections in the grime-streaked windows. The people around him were tired, oblivious. Some nodded off, others hunched over their phones, the glow of screens illuminating their faces. But not her.

She was maybe sixteen, her headphones loose around her neck as she scrolled through a cracked phone screen. She barely noticed when two men boarded at the last stop, dressed too well for the filth of a late-night train. Their suits were pristine, their skin too smooth, too tight over their bones. One leaned against the pole, head slightly cocked, eyes never leaving the girl. The other stood by the door, unmoving, waiting.

Blade exhaled. They didn’t even try to hide what they were.

The girl shifted in her seat, finally looking up as if feeling it now, the wrongness thick in the air. Her fingers hovered over the volume button on her phone, a nervous reflex, before the taller one moved. He was beside her in a blink, crouching at her seat like a lover about to whisper in her ear. His fingers brushed her wrist, nails just a little too sharp.

Blade was on him before he could speak.

The katana slashed through the vampire’s wrist, severing it clean. The hand dropped to the floor with a dull slap, its fingers still twitching. The creature screamed, a high-pitched, otherworldly wail that sent every other passenger scrambling for the doors. The girl bolted, pressing herself against the window, her breath fogging the glass.

The second vampire lunged. Blade ducked, catching him mid-air, flipping him over his back and slamming his skull into the metal pole. The train lurched, overhead speakers garbling an announcement for the next stop. The vampire groaned, pulling himself up, fangs flashing as blood dripped from his forehead. He grinned.

“You don’t even know, do you?” His voice was like static, layered, unnatural.

Blade stepped forward. "Then tell me."

The first vampire staggered back, his severed arm held close to his chest. "You’re just a janitor, man," he sneered, his voice trembling through the pain. "Cleaning up the streets while the real monsters build the world."

Blade didn’t hesitate. He drove his katana through the vampire’s chest, pinning him to the wall. His body convulsed before collapsing into ash.

The doors hissed open. The girl remained frozen, her hands shaking. Blade bent down, yanking his katana free, the steel still gleaming, untouched by the kill. He flicked the blade once, sending the last remnants of ash to the floor.

"Go home," he muttered. "Stay inside at night."

She didn’t move.

Blade stepped past her, disappearing into the platform before she could ask the questions he had no interest in answering.

His head pounded. The first hit of pain came sharp, a spike behind his eyes. He clenched his jaw, inhaling through his nose, pushing it down. But then came the second wave—deeper, heavier, pulling him under.

The smell of antiseptic. The hum of an overhead light. The echo of ragged, gasping breaths.

His mother’s voice.

Vanessa Brooks (Regina King) was drowning in pain, sweat slicking her dark skin, her hands clawing at the edges of the hospital bed. Her belly was tight, swollen, her body trembling from the effort of holding on. The room was too bright, the fluorescent light pulsing against the sterile white walls. The machines beeped steadily, unnervingly indifferent to her suffering.

Her breath hitched as another contraction tore through her, her back arching. The nurses around her barely acknowledged it. They moved too slow, their faces blank, their hands sterile.

She turned her head toward the doctor at her bedside. "Please," she gasped, her voice cracking. "My baby—"

The door opened. The doctor stepped aside.

A man walked in, his presence so effortless, so calm, it made the air shift. His suit was bone-white, pressed so perfectly it looked like the fabric had never known a wrinkle. Platinum hair slicked back, skin pale, lips a soft shade of pink, as if they had been freshly flushed with stolen blood. His eyes—cold, amused—lingered on Vanessa as he pulled on a pair of black leather gloves, stretching his fingers as if bored by the entire affair.

Deacon Frost (Pierce Brosnan).

Her body reacted before she did. Every muscle in her tensed, her instincts screaming louder than her pain. She tried to move, but the straps across her wrists and ankles held firm.

Her breathing quickened. “No—no, no, no—"

Frost exhaled as he stepped closer, pressing a hand to the doctor’s shoulder. “You can go,” he murmured.

The doctor hesitated. "She’s still—"

"She’s served her purpose," Frost said smoothly. "Proceed."

A nurse readied a syringe. Vanessa thrashed. "Please," she sobbed, her voice raw. "My baby—"

Frost crouched beside the bed, his gloved hand resting on the edge of the mattress. He looked at her like she was something to be studied, dissected, filed away in memory. "You should be honored," he murmured, his voice a silk thread of amusement. "You’re making history."

The needle plunged into her arm.

She seized.

Her entire body locked, her lungs burning as the cold spread through her veins. Her heart hammered, slamming against her ribcage. She choked on air, on panic. The edges of her vision darkened. She forced her head to turn, her body already slipping from her control.

Her eyes found his.

Frost smiled.



Blade inhaled sharply.

He was on the sidewalk, his hands gripping his knees, sweat beading at his brow. The world flickered around him, too bright, too loud. His breath came in short bursts, his lungs burning. The memory sat heavy in his chest.

The community center stood between two aging apartment buildings, its walls lined with missing persons flyers. Black and brown faces stared back at him, their stories reduced to scraps of paper. Some yellowed at the edges, their ink fading, lost to time. Others were fresh, their colors bold, their hope still lingering.

A woman watched him from the front desk. Dr. Tilda Johnson (Gina Torres).

She was in her late forties, her hair graying at the roots, her expression unreadable. She didn’t ask his name. She didn’t need to.

“You here about the missing?” she asked.

Blade didn’t turn. He scanned the board, his jaw tight.

"I’m here about the ones who won’t be found."

Johnson exhaled through her nose, stepping forward. “That’s most of them.”

She reached into a drawer, pulled out a thick folder, and set it on the counter. "If you really want to help, start here."

Blade flipped through the pages. Police reports. Coroner’s notes. The same patterns. No follow-ups. No deeper investigations. Then he saw it.

LUXE Biotech.

The same logo he had seen on a doctor’s coat in his mother’s memory. His fingers curled over the edges of the folder, knuckles white.

Johnson studied him. "Something wrong?"

Blade exhaled. The headache had dulled, but the anger remained. "Not yet."

Deacon Frost swirled the blood in his glass, watching the security footage flicker across the screen in front of him. A still image of Blade, standing in front of the missing persons wall. His lips curled, amusement tugging at the edges of his mouth.

"You always were a curious little thing," he murmured. "I was hoping you’d take the bait."

He leaned back in his chair, eyes glinting beneath the low lights of his penthouse.

"Let’s see how far you get."

The rain had settled into a mist, the kind that clung to the air and turned streetlights into dim halos. Blade walked with measured steps, but his mind was moving too fast, processing too much.

LUXE Biotech wasn’t new to him, but now it was different. Before, it had been just another name on another building. A shell corporation run by parasites. But now, it had weight. It had history. His history. He wasn’t just hunting anymore—he was reclaiming something.

Tilda Johnson had warned him. This isn’t a simple nest. It’s the kind of place you don’t come back from.

She wasn’t wrong. But Blade had never been the type to walk away. The community center had emptied out for the night, but Johnson was still inside, hunched over files and half-empty cups of coffee, her glasses sliding to the edge of her nose.

“You sure you want to go through with this?” she asked, not looking up.

Blade tossed the folder onto her desk. “Tell me where to start.”

Johnson sighed, pulling out a separate set of documents. She flipped through them, tapping a printed security feed.

“Bronx,” she said. “They call it a storage facility, but that’s a front. Nobody knows what’s inside because nobody who goes in comes out.”

Blade flipped through the images. The perimeter was fortified—reinforced steel gates, motion sensors, armed patrols.

“You sure you don’t need backup?” Johnson asked.

Johnson sighed, rubbing the bridge of her nose. “Then I guess you should talk to Carter.”

That made him pause. Dr. Alaya Carter (Taraji P. Henson). Her name carried weight. Once, she had been one of the loudest voices against corruption. A civil rights attorney who had built her career exposing fraud, police brutality, human trafficking—anywhere power was exploiting the vulnerable, she was there.

Then, a year ago, she vanished. No resignation. No scandal. Just disappeared.

Six months later, she re-emerged with a massive investment portfolio tied to LUXE Biotech.

“Where is she?” Blade asked.

Johnson gave him an address, but her expression was heavy. “I don’t know what she is anymore. She used to fight for us. Now she stands next to the same people she swore to tear down.”

Blade exhaled. “Then I’ll find out which side she’s really on.”

The private club smelled like expensive scotch and old money. Blade didn’t belong here, and he didn’t care to blend in. The bouncers tried to stop him at the entrance—it didn’t go well for them.

Carter was near the back, seated in a leather booth, a glass of wine in her hand. She was different from the last time he had seen her in the papers. The fire in her eyes had dimmed, replaced with something colder.

“Didn’t think you were the cocktail type,” she said, setting her drink down.

Blade took the seat across from her. “Didn’t think you were either.”

Carter smiled, but there was nothing warm about it. “Things change.”

Blade leaned forward. “You disappeared. Then you came back with a LUXE paycheck.”

Carter exhaled. “Walk with me.”

She led him toward the balcony, away from the crowd. Outside, the city sprawled beneath them, a maze of skyscrapers and shadows.

"You think this fight is about swinging a sword at monsters in the dark," she said. "But the real monsters don’t hide. They sit in boardrooms. They pass laws. They shape the world while you’re busy cleaning up their scraps."

"You used to fight them," Blade said.

"And I lost." Carter’s voice was steady, but there was something buried beneath it. "Every win I had, they found a way to undo. Every case I won, they wrote new laws to make sure it never happened again. So I changed my strategy."

"You mean you sold out."

Carter turned to face him. "I adapted."

Blade’s fingers curled into fists. "You work for them."

"I work with them," she corrected. "You think you’re different from them? You kill one vampire at a time, thinking you’re making a difference. But they don’t care about the ones you kill. They’ll make more."

Blade’s voice was quiet, lethal. "You saying I should stop fighting?"

"I’m saying you should stop fighting like you haven’t already lost."

Carter pulled something from her bag and handed it to him. A file. A location.

"The facility you’re looking for," she said. "Bronx. Tonight."

Blade didn’t move. "Why are you giving me this?"

Carter’s smile was sad. "Because I don’t want to be right about you."



The facility was a fortress. Blade crouched in the shadows, Makoto (Karen Fukuhara) at his side.

The first guard went down silent, a blade through the throat before he could reach for his radio. The second barely had time to turn before Blade’s katana severed his spine, his body crumbling into ash.

Then the alarms exploded. Floodlights bathed the compound in white, and the air was suddenly alive with movement. The first wave of enforcers poured out—vampires in full combat gear, wielding serrated blades and automatic rifles.

Blade’s katana tore through the first three bodies in raw, heavy swings, messy but effective, their screams swallowed by the storm of bullets that followed.

Makoto moved like liquid, her blade flashing through the chaos, cleaving through torsos and necks as bodies crumbled around her.

A massive vampire lieutenant emerged from the doorway, built like a linebacker, his skin scarred from years of survival. He rushed Blade, his claws like daggers, slamming him into the concrete hard enough to crack the pavement.

Blade gasped, struggling to breathe, his ribs screaming.

The lieutenant snarled, fangs bared.

"You’re just another experiment," he growled. "You don’t even know what you are."

Blade drove his katana upward, straight through the vampire’s jaw, splitting his skull in two.

The body collapsed into ash, and Blade was moving before it had even settled, grabbing his sword just in time to block another attack.

The air was thick with blood and gunfire. Makoto let out a sharp breath, her shoulder bleeding, but her blade didn’t falter.

"More coming," she muttered.

Blade exhaled. "Good."

They cut their way through the rest, but it wasn’t easy. It wasn’t clean. By the time they reached the inside of the facility, both were bloodied, breathing hard. Then they saw it. The blood tanks. The bodies strapped to tables. The ones who had been drained dry.

Makoto’s breath hitched. "This is—"

"An industry," Blade finished.

The door hissed open. Carter stepped in, flanked by more enforcers. Shock on Blade’s face was apparent despite the black shades.

"You set me up," he said, his voice low but angry.

Carter exhaled. "I gave you a chance to walk away." The alarms screamed to life. The second wave of enforcers crashed through the doors. Blade barely had time to react before he was dodging gunfire. Makoto was a blur, slicing through the chaos, but even she was slowing.

It was desperate. It was brutal. Carter was already gone. Blade’s breath came hard.

Carter stepped onto the rooftop where the helicopter was waiting. Deacon Frost sat inside, swirling blood in a crystal glass.

“I told you he’d come,” he said.

She had chosen her side. Now, she had to live with it.



The room was silent except for the distant sound of sirens, their wails stretching through the city’s veins. Blade stood at the window of the safehouse, his shoulders rigid, watching the glow of streetlights blur against the rain-slick pavement. His hands were still raw from the fight, his knuckles stiff where dried blood clung to his skin. Makoto sat on the edge of the bed behind him, unwrapping a bandage from her forearm, the wound beneath still red, still fresh. Neither of them had spoken since they made it out.

She let out a slow breath, rolling her neck. “We almost died back there.”

Makoto watched his reflection in the glass. He looked past her, through her, like she wasn’t even in the same room. Maybe he was still standing in the blood-soaked halls of LUXE Biotech, still swinging, still cutting down anything in his path. She knew that feeling. Knew it too well. He wouldn’t come back from it tonight.

She stood and crossed the room, placing a hand against his back, feeling the tension beneath the leather. “You’re holding onto it.”

His eyes, hidden behind the shades, stayed locked on the window.

Makoto exhaled and reached for the zipper of his vest, pulling it down with slow precision. His breathing hitched for a fraction of a second, then steadied.

“This isn’t love,” she said.

Blade turned, expression unreadable.

“Never was,” he muttered.

And that was it. No tenderness, no hesitation. Just release. Just skin against skin, frustration poured into something physical, something neither of them could say out loud. Her nails dug into his back, his grip was rough against her hips. Their pain, their anger, their exhaustion—it all burned through them in movement. The betrayal, the blood, the bodies left behind. For a moment, none of it mattered.

When it was over, she lay beside him, staring at the cracked ceiling. He had already started pulling his armor back on before she even caught her breath.

Neither of them said a word about it.



It was a gorgeous view of the city. One of the finest penthouses money could buy. The 130 floors below it wouldn’t be enough to keep her safe. The steel cut clean through Carter’s neck. It wasn’t graceful, much like the others. It was forceful, savage, done with a weight behind it that made the moment stretch. Her body hit the floor before her head did. The silence after was deafening.

Blade exhaled, chest rising and falling in slow, deliberate breaths. His grip on the hilt was tight, his shoulders square, the muscles in his jaw tense as he stared down at what was left of her.

Makoto swallowed hard. The blood had splattered across the carpet, pooling beneath Carter’s lifeless body, but in Makoto’s mind, it wasn’t Carter’s blood at all. It was her mother’s. Her father’s. Her brother’s. The same blank, hollow stillness that had been in their eyes the day she found them slaughtered.

Blade wasn’t looking at Carter like she had been a person. He was looking at her like she had been an obstacle. Something to be removed. Something in the way.

For the first time since meeting him, she wondered if he was becoming the enemy he swore to destroy.



Finding Frost wasn’t hard.

Carter had given them everything they needed before she died. Addresses, private security details, the blueprints of the LUXE tower. Whether she had done it to help Blade or just to prove a point, he didn’t care.

When they arrived, the halls were already crawling. The vampires weren’t sloppy this time. They had been waiting. Armed enforcers lined the corridors, their weapons gleaming under the cold white light. Blade and Makoto tore through them with a brutality that left the walls streaked with blood.

By the time they reached the top floor, Blade’s sweat was slicking his skin beneath the coat. His grip on the katana was steady, but he could feel the weight in his arms now, the exhaustion creeping in at the edges. He ignored it. He pushed forward.

Makoto’s breath came in sharp, ragged bursts as she twisted her katana through the throat of the vampire in front of her, its body collapsing into ash before her feet. Blood—hers, theirs—streaked her face, her grip tightening around the hilt as more enforcers poured through the broken glass doors of the LUXE tower’s top floor.

She barely had time to react before the next one lunged. A hulking enforcer, faster than he had any right to be, his blade swinging in a deadly arc toward her chest. She sidestepped, her katana meeting his with a metallic clash, sparks flying from the impact. He was strong. Too strong. She could feel it in the way her muscles screamed as she held her ground.

Then she felt the shift in weight.

Too late. The second blade came from the side, gleaming under the flickering emergency lights. She saw it a split second before it connected.



The double doors at the end of the hall stood open.

Frost was waiting.

He stood near the windows, a glass of dark crimson in his hand, his expression amused, like Blade had just arrived late to a dinner party. He was tall, elegant, his platinum hair slicked back in a way that made him look effortless. His suit was pristine, not a wrinkle in sight, the softest shade of ivory, as if daring the world to touch him.

“You look like hell,” Frost said, swirling the glass absently.

Blade took a slow step forward.

Frost smirked. “It’s cute how you think this ends with me on my knees, begging for my life. That’s not how this works. That’s not how any of this works.”

Blade said nothing. He was already closing the distance.

Frost sighed, finishing his drink before setting the glass down on the bar. “You know, you should be thanking me.”

Blade’s grip tightened on the hilt. “For what?”

“For making you,” Frost said simply.

Blade’s pulse pounded.

Frost tilted his head slightly. “You ever wonder why she screamed so much that night? Why she fought so damn hard to keep you?” He exhaled, stretching his fingers. “It wasn’t for you. It was for her. She was a fighter. I admired that.”

Blade took another step.

“She begged, you know.” Frost’s voice was almost thoughtful. “Not for her life, but for yours. I was going to kill you, but she wouldn’t stop—she just wouldn’t stop. So I gave her a choice.”

Frost smiled. “I let her die slowly.”

The lights above him flickered, and suddenly, he was back there.

His mother’s body arched off the hospital bed, her face contorted in agony, her veins blackening beneath her skin. The monitors around her beeped erratically, but no one moved to help her.

Frost had been standing at the foot of the bed, watching. Calm. Amused. The way he was watching now.

Vanessa Brooks turned her head toward Blade, her eyes glassy, unfocused. Her mouth opened, but the only thing that came out was a raw, wet gasp.

Then, she collapsed. The machines flatlined. Frost had smiled. Blade lunged.

The fight was a storm.

Blade swung wild, raw, fueled by something bigger than rage. Frost was faster, more refined, his movements precise, effortless, as if dancing through the blows. He deflected, countered, every attack sending Blade reeling, his strength faltering against Frost’s control.

Frost moved in, slamming a fist into Blade’s ribs, sending him crashing into the glass table. It shattered beneath him. He rolled, pushing himself up in time to parry Frost’s next strike.

It was ugly. Desperate. A blur of fists, steel, and blood.

Frost grinned through it all. “You were always meant to serve us. But you don’t even know what you are.”

Blade barely dodged the next strike, catching Frost by the collar and driving him into the steel beams, his fist hammering against Frost’s face, breaking skin, splitting flesh.

Frost wiped the blood from his lip and laughed. “You’re so predictable.”

He caught Blade’s wrist, twisting it with ease, and drove his knee into Blade’s gut.

Blade doubled over, vision swimming.

Then, he saw it.

The sun.

The first streaks of morning were crawling over the skyline, filling the room with soft, golden light.

Frost was still smirking when Blade threw him through the window.

The glass shattered, and for the first time, Frost’s grin faltered.

The sun hit him like fire. He let out a choked sound, a mix of rage and disbelief, before his body caught alight, burning away into nothing.

Blade stood over the edge, breathing hard.

Behind him, Makoto groaned, clutching her side, and missing a hand, but she was alive. That was enough.

They left the tower burning.

The morning news flickered on a television in a diner across town. The anchor spoke of the mysterious fire at the LUXE tower, speculating on its origins.

Johnson sat in the booth, watching the screen, sipping her coffee. A still photo appeared. A blurry image of a man standing near the flames, his face obscured, but the shape of his coat unmistakable.

BLADE.

He looked over his shoulder.

The shades were still on.


Writer Commentary: The Punisher: Last Exit

 

The Punisher: Last Exit

Genre: Action/Superhero/Crime

Director: S. Craig Zahler

Writer: Dwight Gallo

Based on Marvel Comics characters

Cast: Mel Gibson, Raffey Cassidy, Shea Whigham, Jennifer Carpenter, Dwight Yoakam, Goran Visnjic, Rade Sebedzija, Isidora Goreshter, Freddie Prinze Jr., Fred Melamed, Zahari Baharov


Plot: Frank Castle (Mel Gibson) visits his armorer Linus (Dwight Yoakam), asking to stock up on ammunition. Linus says that he thought that Frank was going to call it quits after he took care of the Gnucci family. [1] Frank coldly states that he doesn't know what else to do other than punish the wicked. Linus dutifully leads Frank to the backroom where he keeps his weaponry. Frank selects a few new guns and loads up on ammunition. He then gives Linus a stack of cash he stole from the Gnucci mansion. [2]


[1] Hey everyone - thanks for coming back for round two. I’m Dwight Gallo, writer of The Punisher and now The Punisher: Last Exit. Before we get going, I just want to say how humbled I was by the response to the first film. It picked up a few trophies - Best Soundtrack for that 60s soul inspired playlist, Most Wanted Sequel, and of course Best Supporting Actress for Jodie Foster, who also snagged a Best Villain nomination for her turn as Ma Gnucci. That level of reception set the bar sky-high for this one for me as a writer.


[2] The opening track for the film is "Am I a Good Man - Instrumental" by Them Two - a soul duo from Miami with just a few known recordings. This song is one of just a couple of tracks that appears in the first and second films - and possibly the third - that serves as a kind of theme for Frank Castle.


Antony Pavla (Zahari Baharov) greets a group of high-paying customers at his nightclub in the Sheepshead Bay neighborhood of Brooklyn. He guides them into a back area of the club where several Eastern European prostitutes are being kept strung out. They express disappointment as they've already had sex with all of the women there. Antony then excitedly tells the customers that he does have one new girl - fresh off the boat from Moldova. This piques their interest and they hand Antony a wad of cash. He then leads them to a small closet. As soon as he opens the door, Viorica (Raffey Cassidy) bursts out of the closet. While the men try to wrangle her, Antony jokes that she isn't housebroken yet. The men drag her outside into the alley and pin her up against a dumpster as Antony happily watches on. Frank watches from across the street through the scope of a rifle. He doesn't take a shot at the men though as he does not want the bullet to go through them and hit the girl. The customers are about to rape the unwilling Viorica when she manages to take a gun from one of them. She begins firing the gun wildly, luckily hitting Antony in the shoulder. The customers pin Viorica down, wrestle the gun away and begin beating her. They stop though when they hear another gunshot ring out. They look over Antony's dead body with a large bullet hole carving out the center of his face. Frank stands over Antony's body with a smoking gun. Frank quickly opens fire on the other men, killing them without much effort. Frank gets a closer look at the unconscious Viorica and is stunned by her uncanny resemblance to his late daughter Lisa. [3]


[3] As some may have been able to tell by this scene alone, the film’s primary storyline takes heavy inspiration from Garth Ennis’s “The Slavers” arc in Punisher MAX. It’s one of the darkest and most grounded stories Marvel ever published - grimly realistic, morally uncompromising. I didn’t lift its events wholesale, but its DNA is all over the film - the traffickers, the exploited victims, and the way Frank’s crusade crosses the line between vengeance and compassion. 


At the NYPD 122nd Precinct, Det. Martin Soap (Shea Whigham) bursts into his Punisher Task Force office in the basement and excitedly tells his partner Det. Molly Von Richthofen (Jennifer Carpenter) that there is an active Punisher sighting in Sheepshead Bay. They rush out of the building to get to the scene before anyone else can. Soap puts on the siren, runs red lights and even drives on the sidewalk to get to the nightclub. In the alley, Frank hears the sirens coming closer, snapping him out of his daze. Soap and Molly make it to the alley as Frank is carrying Viorica away. They order him to freeze, confirming once and for all that Frank Castle really is The Punisher. Frank sets Viorica down. He then expertly disarms Soap and Molly without causing them any injury and handcuffs them together. Soap tries to ask Frank why he's still out patrolling the streets after dismantling the Gnucci organization. Frank looks Soap in the eyes and tells him that the streets still aren't clean. Frank then picks Viorica back up and leaves the area. Molly reminds Soap that she is the one who first suspected Frank Castle was the Punisher. Soap and Molly stand in the alley, still handcuffed together. Soap jokes to Molly that his dream of them and handcuffs went a bit differently. [4] 


[4] This scene gave one of the very few moments of levity in a very dark picture. I wanted to remind audiences in an efficient way of the relationship between Soap and Molly, and harken back to Soap’s hapless introduction in the first movie - he’s still the guy who’s right for all the wrong reasons (and wrong for all the right reasons). Structurally, it’s the point where myth becomes man: the Punisher is officially confirmed to exist.


Frank takes Viorica to his hideout in the underground sewer system, placing her down on his bedroll to rest. Frank pulls out his tattered family picture. He compares the picture of his deceased daughter to the young Moldovan woman asleep, confirming that Viorica has an uncanny resemblance to Lisa. He plays quietly plays some 1960's soul music on an old record player as he cleans as guns. [5]


[5] While the first film had a couple songs that were more modern, I decided to dive fully into a soul-driven soundtrack for this sequel. I felt like this would be the music the character would have gravitated toward in his youth and now uses it as an almost moral and/or emotional counterpoint to the violent acts he is about to commit. 


Detective Stu Westin (Freddie Prinze Jr.) arrives at the precinct and makes fun of Soap and Molly for their embarrassing encounter with the Punisher. [6] Once all the other detectives are laughing at Soap and Molly’s expense, Westin excuses himself to make a phone call. He calls Cristu to inform him that the Punisher is responsible for the death of Antony at the club. 


[6] Freddie Prinze Jr.’s casting as Westin gave us the smooth-talking politician type that had been missing from the previous film. I've long felt he was an underrated actor never quite given the right types of roles to succeed. This role was specifically written with him in mind - it's not quite the comics version, more the Prinze version. 


After hanging up the phone, Cristu Bulat (Goran Visnjic) and Vera Konstantin (Isidora Goreshter) are discussing Antony Pavla's death at the hands of The Punisher over shots of vodka. [7] Cristu tells Vera that he doesn't want his father to know about the situation as he doesn't want the Sheepshead Bay to turn into a warzone like in the old country - he just wants to cover their tracks and make sure that their business keeps running, pointing out that war is not good for the economy.


[7] Introducing Cristu Bulat was one of the toughest creative calls. After Jodie Foster’s electric, award-winning Ma Gnucci, we knew any follow-up villain had to avoid imitation. While Gnucci was more operatic, I decided to make sure Cristu was more of a modern form of organized crime - less blood on the hands, more signatures on the paperwork. Vera makes up another third of the trio of villains in this film - designed to be cold and calculating, serving as a villain to basically everyone in the story, fellow villains included.


Frank watches over Viorica as she is having a violent nightmare, mumbling in Romanian. He has flashes of comforting Lisa when she had nightmares as a child. He holds Viorica's hand. Her nails dig into his skin, breaking the skin and causing him to bleed. [8]


[8] This is one of several great scenes for Raffey Cassidy to showcase her talents. It was not an easy role to cast - Zahler and I looked at basically every European actress under 25 years old for the role. If Raffey didn’t nail this role, I’m sure this film would have worked nearly as well as it does.


Westin sits down with Captain Ennis (Fred Melamed) and suggests they actually make an effort to bring down the Punisher since he assaulted two of the precinct's officers. Ennis downplays the situation, insisting that Soap and Molly are fine and that the Punisher makes their job easier - if he's even real. Stu suggests that if they managed to catch the man, that Ennis could easily be the next police commissioner of NYC. Ennis asks what Stu is angling for. Stu says that he wouldn't mind taking over the precinct once Ennis is surely promoted.


Viorica wakes up and talks with Frank. He asks how she found herself at the club. She explains that she was seduced by a rich man back home in Moldova, only for him to sell her and have her sent to America in a container on a Ukrainian cargo ship. She had not been here long when she was taken to Antony's club where she was drugged and imprisoned. As Frank listens to her story, the anger within him grows. Frank asks for more information on her captors so that he can deal with them. She says that the operation is run out of a house somewhere near Antony's club. A woman named Vera was in charge of the girls, Cristu runs the business, while his father is a monster who abuses and rapes the girls. [9] To change the subject to something not so painful, Viorica asks what music she heard in her dreams. Frank says he was just playing a record to pass the time while she slept. He then encourages her to go back to sleep as she's clearly been through a lot. Viorica closes her eyes and lays back down.


[9] The bulk of Viorica's backstory is straight from The Slavers storyline in the comics. Probably the most faithful page-to-screen adaptation I've done in any of my Marvel projects. 


Tiberiu Bulat (Rade Serbedzija), Cristu's father, is torturing a crack dealer for dealing in Sheepshead Bay without permission. The dealer tries to claim he doesn't need permission. Cristu walks into the room just as Tiberiu jabs out the dealer's eyeballs with his thumbs. Tiberiu pushes deeper into the dealer's skull until he dies. Cristu tells his father that a gun would have been more efficient. Tiberiu scoffs, insisting he wasn't trying to kill the dealer - he was trying to teach him a lesson about war zones, with his death merely a happy accident. Tiberiu then exits the room, leaving Cristu to dispose of the dealer's body in an oil drum. [10] Cristu and Vera dump the oil drum off a dock and into the nearby bay.


[10] Tiberiu Bulat’s introduction was specifically designed to fit Zahler's style with a heavy dose of cruel, but sound logic from this villain. He makes up the final third of the villains in the film - each covering a different villain personality. 


Captain Ennis holds a press conference to announce his precinct's mission to catch "The Punisher" after the vigilante attacked two of his officers - which he reads from a speech written by Westin. Soap and Molly stand next to Ennis, begrudgingly made up to look like they were injured by the Punisher. [11]


[11] The press conference is meant to show how the city now uses the Punisher myth for politics. In the first film, he was rumor and fear - now he’s a talking point. It seemed like the natural evolution for today's world where everything is about the headline.


Viorica wakes up to find Frank loading up some guns. She asks where he's going. He doesn't tell her, but advises her to stay in his hideout where it is safe while he goes to "work". Frank heads over to Pavla's club. The dance floor is empty, but Frank finds a group of thuggish figures in the back office. He kills all of them except for one. The man pleads for mercy. Frank shoots the man in each leg, demanding to know where the main house is. Screaming in agony, the man tells Frank where the house is. Frank turns toward the door to walk away. The man begins crawling away. Frank turns around and puts the thug out of his misery with a bullet to the head.


Viorica explores Frank's hideout. She takes a handgun for herself as she looks around. Viorica finds Frank's small collection of old soul albums. She picks one to play as she continues looking around. She stops in her tracks when she sees a picture of Frank, Maria and Lisa tacked to a wall. She takes the pictures and compares the image of Lisa to her own reflection in a mirror.[12]


[12] Viorica finding the photo of Frank’s family serves multiple purposes. It gives the audience a quick breather from the violence of the story, but it also hints at why Castle seems to care so much about this particular young woman. I considered using Raffey in a bigger dual role with some flashbacks or visions - like how Mira Sorvino was used in the first film, but this seemed like enough


Frank drives a motorcycle to the front of a house near the water in Sheepshead Bay. He inspects the house, finding that all of the windows are barred and alarmed while the doors are triple-bolted. Frank realizes there's no covert method of entry. Frank puts tracking devices on all of the vehicles in front of the house before leaving.


Soap and Molly enter their dingy basement office to find Westin going through their files. He commends them for identifying The Punisher as Frank Castle, but wants to know why they didn't bring the information to Captain Ennis. Soap says they wanted to be 100% before taking it up the ladder. Molly then adds that Castle is officially dead, so it would be a bit of a tricky explanation. Westin informs them that the information will be made public soon so they might want to figure out an excuse for sitting on the information quickly.


Frank goes to a storage unit outside of the city where the belongings from his family's former home reside. He finds a box of his daughter Lisa's clothes and puts them in a bag. He returns to his hideout where he finds Viorica listening to his music. He gives her the bag of Lisa's clothes for her to wear. Viorica manages a slight smile and tells Frank that she thinks she looks a lot like Lisa as well.


Tiberiu is cleaning a gun while watching television when he sees a report identifying The Punisher as Frank Castle, a war hero that was believed to have been killed in the explosion that killed his wife and daughter. Cristu sits by, worried by the news. [13] He says that he doesn't want their organization to go anywhere near the Punisher, they will simply relocate the house no matter how much money they lose in the short-term. Tiberiu comments that he doesn't care about business, but that the Punisher sounds like a worthy adversary should they go to war. Cristu pleads with his father to not go to war with a vigilante right now and to let his contact in the NYPD have a chance to take care of things for them.


[13] Tiberiu and Cristu watching the news report about Frank mirrors Ma Gnucci’s first scene in the original - villain learning of the Punisher through media spin. It ties both films together thematically: evil sees Frank as myth first, threat second.


Frank calls Linus from a payphone and asks if there is any movement on the tracking devices. Linus confirms that two of the vehicles Frank tagged are both heading North away from the city. Frank tells Linus that he'll be by later for some equipment and a final location on the vehicles.


Cristu and some of his men drive north in two vans loaded with drugged out European women. They eventually pull up to a large lakeside house. Cristu tells his men to take the women up to the second floor where they will be unable to escape. Cristu sits down on the porch of the house and looks out at the lake as he drinks vodka straight from the bottle.


Frank picks up more weapons and some knock-out gas from Linus, who also gives him the final location of the vehicles. Linus asks Frank how it feels to be going on a road trip. Frank says his last long trip was the one that brought him back to the city to continue his crusade against scum. [14] 


[14] The “road trip” line between Frank and Linus could be considered one of the film’s final doses of humor before things reach the violent climax. It’s also an inside wink to their working dynamic: a weary soldier and the only man left who still answers his calls.


Frank goes to upstate New York. He uses the gas to knock out everyone in the house. He goes through and puts a bullet in the head of each of Cristu's men, but ties up Cristu instead of killing him. Frank then finds the room where all the girls are kept. He calls the Punisher Task Force and talks to Soap. He asks Soap to come up and help him get the girls out of there and to a safe place. Soap asks what's in it for him. Frank tells Soap that he has evidence that Captain Ennis is dirty and would be willing to trade Soap the information for his help with the girls. Soap agrees to help, seeing a chance to do good and further his career at the same time - a rare feat in the NYPD. [15] As Soap grabs his jacket to leave the precinct, Molly stops him and asks where he's going. He quietly tells her that Frank Castle called him to ask for help. Molly tags along, not wanting to miss anything major.


[15] Frank’s bargain with Soap mirrors a lot of Punisher MAX moral gray. Soap’s motives are self-serving, but Frank weaponizes that weakness to do good. It’s not a friendship - it’s leverage. I like to think that at least Soap likes to think he’d do the right thing here even without Castle offering him anything in return, but I’m not sure that’s the case. It’s one of the reasons that I love writing Soap - he thinks he’s a better guy than he really is. He wants to be a good guy, but he is often overwhelmed by cowardice.


When Soap and Molly arrive at the house upstate, Frank gives them an envelope. Molly asks what is inside. Frank tells him that it contains information on Ennis' dealings with the Gnucci crime family. Soap and Molly load the unconscious young women into a van. Soap mentions that they are going to all freak out if they wake up on the road. Frank assures him that they should be out cold for several more hours still. Molly asks Frank what he's going to do now. Frank says he's going to punish the slavers. After Soap and Molly drive off, Frank drags Cristu out to the nearby forest. He cuts open Cristu's belly and pulls out his intestines. Cristu wakes up screaming in pain. Frank tells Cristu that the wound is survivable, but only if Cristu tells him what he wants to know before he bleeds out. Cristu asks what he wants to know. Frank tells him that he wants the whole operation top to bottom; he wants Vera and Cristu's father. Cristu spits at Frank, who then twists a knife into Cristu's internal organs, killing him. [16]


[16] The forest interrogation is the sequel’s centerpiece of brutality. After some of the violent kills of villains committed by Frank in the first film, I definitely felt a need to outdo them in this one - and Cristu felt like a character who definitely deserved the brutality.


Frank stops by his hideout to bring Viorica some food. She asks him how much longer she needs to hide. Frank tells her that it will all be over that night. She asks him what will happen to her after that, will she just be thrown to the wolves? Frank tells her that the wolves will all be dead by tomorrow, so she has nothing to worry about. [17]


[17] “The wolves will be dead by tomorrow” was the one of the first lines written for this script. It’s a companion to “the war isn’t over” from the first film. Together they define Frank’s theology: punishment as perpetual motion.


Frank pays Linus another visit, this time asking for his help locating Vera as she has been staying away from the business. Linus sits down in front of his computer and does some digging on the deed to the lakeside house. He tracks it to a shell company with a business address listed in a Manhattan high rise office building.


Vera is in her office, talking on the phone with Westin. He insists that he has no clue what's going on, but that the detectives in charge of the Punisher Task Force have not been around the precinct that day. She begins crying, saying that she hasn't heard from Cristu all day. Westin assures her that he'll take a look around to see if he can find Cristu - maybe he's just holed up with some of the girls somewhere having a good time. Frank then bursts into Vera's office. She drops her phone in terror, ending her call with Westin. Frank angrily announces that he knows what kind of business she and Cristu have been running. Vera tries to go for a gun on her desk, but Frank throws her against the glass of the windows. Frank then comments on the glass being shatterproof. Frank looks on Vera's desk and finds a folder titled Westin. He pockets the folder. Frank picks up Vera and tells her that even though the glass is shatterproof, if it is hit hard and often enough, eventually the frame will bend and the glass will fall out. Frank begins slamming Vera into the glass repeatedly, until sure enough, the glass window panel falls out. Vera falls out along with the glass, her body splattering on the city streets below. [18]


[18] Writing this scene made me learn a new word I had never known before - “defenestration” - which is literally the action of throwing someone out of a window. It’s not an easy one to use in every-day conversation, but I’ve certainly tried. 


Tiberiu and his men are at Pavla's old club gearing up for war. One of Tiberiu’s soldiers is watching out a window when suddenly a grenade flies through the glass. The explosion kills all but one of Tiberiu's men inside. Frank bursts through the back door and opens fire. Tiberiu uses his one remaining soldier as a human shield and returns Frank's fire. The soldier is killed, but Tiberiu remains behind the lifeless body until he is out of ammunition. Frank calls Tiberiu a coward. Enraged, Tiberiu lunges at Frank with a knife. Frank easily blocks the old man's attack and begins beating the man to a pulp. Frank then sets fire to the club, to purge the city of its crimes.


When Soap returns to the Punisher Task Force office, he finds Vera's folder on Westin sitting on his desk. He calls Molly over and shows her all the evidence of him working with the sex trafficking operation. Soap suggests they bring their evidence on Westin and Ennis to city hall. [19]


[19] Soap and Molly discovering the Westin file - thanks to Frank - finally gives them their first chance to really break out of the basement - both literally and metaphorically with their careers. 


Frank returns to his hideout to tell Viorica that he shut down the operation. She gives him a hug to thank him. It’s clearly been many years since Frank was last hugged as he isn’t exactly comfortable with the human contact. Frank takes Viorica to a women’s shelter where they can help her get back on her feet.


Months later, Frank is seemingly on patrol in front of a diner, but in actuality he is watching Viorica, who is now a waitress there. Viorica thinks she sees Frank outside, but when she goes to the door, he is gone. When Frank returns to his hideout that night, he finds a bag of food that Viorica has left him from the diner. [20] Frank puts on a record and sits down to eat. [21]


[20] This final scene was designed to mirror the final shows of Frank in the first film, but this time around he has other people in his life - Viorica now - for the first time in years. One of the overarching themes of these Punisher films is Frank slowly reconnecting with his own humanity - even if it doesn’t always go well.


[21] That was The Punisher: Last Exit. Thanks for taking another trip down memory lane with me. The third film in the series, The Punisher: Purgatory, is due out next season - so I imagine I will be giving a commentary on that one day too.