“Supergirl” has just added a female villain for Season 2.
YVRShoots spotted “The Last Ship” actress Dichen Lachman on the set of The CW series on Tuesday night, Sept 13. As seen in the photos obtained by the website, the 34-year-old actress was wearing a long red dress with a side split that shows her leg snake tattoo. While it hasn’t been officially confirmed yet, comic book fans are pretty sure that Lachman is playing the DC Comics villain Roulette.
According to YVRShoots, the sequence filmed that night involved Science Police detective Maggie Sawyer (Floriana Lima) escorting Lachman’s character and meeting up with Kara’s (Melissa Benoist) adoptive sister Alex (Chyler Leigh). The context of the scene is unclear, but it seems that Maggie is turning over Roulette to the D.E.O. (Department of Extra-Terrestrial Operations), where Alex works.
In the comics, Roulette, also known as Veronica Sinclair, is an enemy to the Justice Society. She runs a gambling establishment for super-villains where they can bet on different events like captive superhero death-matches. Rather than getting her own hands dirty, she is more of a calculating business-minded character who manipulates others for profit. Created by Geoff Johns and Rags Morales, Roulette first appeared in 2001’s “JSA Secret Files and Origins” #2.
Lachman has yet to confirm her “Supergirl” casting, but a week ago, she took to Instagram to share that she’s back in Vancouver.
“4:30am pick up. Back in #vancouver can’t say for what yet,” Lachman wrote on the social networking site, alongside a mirror selfie.
Too Late (2016)
In this “absurdly entertaining” thriller (New York Times), Academy Award® Nominee John Hawkes “gives the performance of his career” (Ain’t It Cool News) as Private Investigator Mel Sampson. When tasked with tracking down a woman from his own past, Sampson finds himself navigating the dark corners of Southern California and the menagerie of eccentric personalities and lost souls who inhabit it. Filmed in a series of stunning unbroken takes and featuring a gut-wrenching, tour-de-force by John Hawkes, TOO LATE tells the story of a missing woman, but paints the portrait of a lost man.
The long David Lynch-like opening sequence is memorable: Beautiful young Dorothy awaits the arrival of old flame Mel — a private detective — in a Radio Hill park high above Los Angeles. Two drug dealers, followed by a handsome park ranger, get there first. By the time Mel shows up, it’s — you guessed it — “Too Late.”
Even more memorable, perhaps, is the second sequence, in which trophy wife Janet (Vail Bloom) wanders around naked below the waist, up to and during the murder of her mobster husband, who used to employ Dorothy at one of his sleazy strip clubs.
If you stand on the cutting edge, be careful: It can slice your feet off.
Director-writer Dennis Hauck’s feature film debut plumbs the tangled depths between private eye Mel (John Hawkes) and missing Dorothy (Crystal Reed), the stripper with the proverbial heart of gold he’s hired to track down. It’s a familiar setup. But Mr. Hauck tears it apart, then stitches it back together into a tapestry of eccentric SoCal lost souls, skipping most of the PI detective stuff and focusing instead on the characters’ emotional lives, the backstory and the aftermath — NOT in that order.
This ambitious contemporary film noir unfolds across five nonsequential acts, filmed in the old 35 mm Techniscope format, which yields 22 minutes of footage per roll, compared with the 11-minute max of most subsequent 35 mm formats. With its self-conscious lighting, long zooms and tight focus, Bill Fernandez’ old-fashioned photography superbly captures both the seedy and faux-glamorous vistas of LA.
Oscar-nominated for “Winter’s Bone” (2010), Mr. Hawkes is a self-effacing, less-is-more kind of actor. Here, as the grizzled gumshoe, he resembles a down-and-out Sean Penn. Dichen Lachman as Jill, a hard-boiled Asian vamp, is a little too inscrutable, while Sydney Tamiia Poitier — yes, the daughter of Sidney! — has a nice turn in the opening.
Mr. Hauck strives to channel Quentin Tarantino — a “Pulp Fiction”-style take on the noir genre — but his script’s long-winded, grandiloquent dialogue, packed with film references, grows tedious. Is a stripper’s monologue on Bugs Bunny really necessary?
“I thought it was more interesting to ostensibly solve the case right off the bat and then delve deeper into who these characters are and how they know each other,” the director has said. “The film’s structure was conceived before I even knew what it would be about. I told myself it could be about anything, as long as it takes place in five 20-minute scenes.”
Content follows form, in other words, rather than the usual other way around.
Interesting, in theory.
Dubious, in practice.
“I could be wrong,” he adds, “but I think the shots in ‘Too Late’ are the longest continuous shots filmed on 35 mm in cinema history.”
He is, in fact, wrong. There are many instances of longer takes dating back to the silent era, up through the Andy Warhol films. Anyway, it’s not really about the length of the takes. It’s about the challenge of editing them.
Some nice music adorns “Too Late” — notably, Mr. Hawkes’ performance of “Down with Mary,” and Hank Williams’ “I’m So Lonesome I Could Cry.”
But, oy veh, the self-indulgence of this project — whose climactic finale involves a drive-in theater that doubles as a boxing venue, run by scantily clad Jill.
Director Hauck says he has another project in mind, described as “Nathanael West meets Terry Gilliam for a weird movie about a guy with no tongue.”
Gotta admire the man’s imagination. Gotta wish him better luck next time with the coherent execution.
(Opens Friday at the Pittsburgh Film Makers’ Melwood screening room in Oakland.)
With a huge thank you to Abby from Chloe Bennet Net, I’ve added some bluray captures of Dichen from 2 extras from Agents of S.H.I.E.L.D. season 2. Hope y’all enjoy!