Shockwave (Movie) - Transformers Wiki. The name or term "Shockwave" refers to more than one character or idea. For a list of other meanings, see Shockwave (disambiguation). Shockwave is a Decepticon from the live- action moviecontinuity family.

1. Shockwave was left to watch Cybertron by Megatron long ago, but he would eventually follow the call of the AllSpark to Earth. Deadly efficient with a cold devotion to.
2. On an island off the coast of North America, local residents simultaneously fight a zombie epidemic while hoping for a cure to return their un-dead relatives back to.

Shockwave was left to watch Cybertron by Megatron long ago, but he would eventually follow the call of the All. Spark to Earth. Deadly efficient with a cold devotion to logic, Shockwave is a killing machine like few others, and is one of the very few who could rival Megatron. Shockwave is ready and willing to destroy the Autobots with his arm- mounted Astro. Mag Cannon. Fiction.

I Am Frankie - Season 01 : The series tells the story of Teen Experimental Android "Frankie" who has to keep her identity a secret to avoid being tracked down by the. News, Sports, Weather, Traffic and the Best of LA/OC.

Movies. Revenge of the Fallen film. At some point during 2. Shockwave was caught on film and the event was written up for a newspaper article.

A newspaper page with the headline "Mysterious Robot Spotted" was discarded in Egypt, where it was sucked up by a rampaging Devastator. Revenge of the Fallen. Dark of the Moon film. Voice actor: Frank Welker (English), Jirō Saitō (Japanese), Horst Lampe (German), Alessandro Ballico (Italian), Miguel Ángel Ghigliazza (Latin American Spanish)Shockwave and his pet Driller attacked the Autobots when they were summoned to Chernobyl by the Decepticon agent Alexi Voskhod.

This was done as an act of misdirection to ensure that the Autobots did not realize that the Decepticons actually wanted them to find the fuel cell from the Ark located within the facility. After Optimus retrieved the fuel cell from the Driller, Shockwave emerged from it to reveal himself to Optimus, and the pair quickly retreated underground, leaving Optimus very disturbed to see Shockwave on Earth.

Later, Shockwave took part in the invasion of Chicago. He and the Driller emerged from beneath the convoy of Autobots, and the Driller separated Optimus from his trailer. Shockwave left the Driller and proceeded to track down the Autobots. The Wreckers were sent to distract him, peppering his armor with fire from their machine- guns. He used a car as a shield and fired at them, and once they drove off, he menacingly began to pursue them down the road, missing the two small Autobots, Wheelie and Brains, who quickly fled. Later, he noticed humans inside a building, and sent his Driller into the fray to topple a building and kill Sam Witwicky, Carly Spencer, Robert Epps, and the other humans inside. However, the beast was killed by Optimus Prime using his flight gear.

Enraged by the death of his pet, Shockwave opened fire on the Autobot leader, briefly disabling him and taking him out of the fight. He soon joined Soundwave and Barricade in rounding up the other Autobots. Brains and Wheelie forestalled the Decepticons from further executing their prisoners by taking control of a Decepticon gunship, and dropping fighters onto the battlefield. Shockwave retreated further away with Barricade and some other Decepticons, but the human soldiers had set a trap and fired upon them.

Shockwave's face was obscured by one of their parachutes, and his eye was then shot out by the Wreckers, causing it to dangle by its wires. He then attempted to escape, but Optimus Prime came charging back into the battle, and when Shockwave fired at him, the Autobot dodged the shot, donned a set of knuckle- spikes, and punched Shockwave so hard that part of his abdomen shattered. Even this did not put Shockwave down, but Prime did not give up - he punched Shockwave again, pinned the Decepticon down and tore his dangling eye out through his throat, finally killing the bloodthirsty Decepticon. Optimus then used Shockwave's cannon to shoot out the control pillar set up in the city. Dark of the Moon.

Age of Extinction film. Five years after the Battle of Chicago, Shockwave was listed as "deceased" by the CIA taskforce "Cemetery Wind".

Age of Extinction. The Last Knight film. When Viviane Wembly was abducted by Hot Rod, she remarked that her captor had better be a famous Transformer, like Shockwave or Soundwave, perhaps unaware that both Deceptions were deceased. Hot Rod retorted that he was more impressive than either of them. The Last Knight. The Last Knight TRF prisoner bios. Shockwave's death on Earth greatly angered fellow Decepticon Nitro Zeus. Titan movie comics.

While Starscream didn't like or trust Shockwave, he respected his intelligence and, if he had to choose, would give the nod to Shockwave being his successor. Star Screams. IDW movie comics"Your star burns! I require frozen treats."Eons after the Dynasty of Primes were vanquished, Cybertron fell into dark times. The All. Spark had been buried somewhere within Cybertron and been dismissed as a legend, and the planet itself lacked a star to orbit. As energy became more and more scarce, Cybertronians segregated into tribes. Shockwave chose to rally behind Sentinel Prime, who claimed to be descended from Primus himself.

However, he faced opposition from the non- believer Thetacons, and Shockwave joined Megatron, Optimus, and several others in repelling their attacks. Ultimately, Sentinel Prime won the day, as he and Wheeljack were successful in locating the lost All.

Spark and harnessing a new sun to orbit. This, however, did not please Shockwave. Now that the war was over, he was dissatisfied, and he no longer knew his purpose. This shocked his old friend, Megatron, and Shockwave explained that it was the journey he enjoyed, not the destination.

Plus, well, that new sun was kind of bright. Watch Dog Soldiers Download Full. Foundation #1. The next day, Megatron detailed to Shockwave how he had eavesdropped on a conversation between Sentinel and Optimus, where Sentinel had tried to pass on leadership to Optimus, who refused, unable to accept he was also a Prime. At the outskirts of Thetacon, they encountered a Driller, a subterranean lifeform that had been brought to the planet's surface by the new energy flowing through it, which was attacking a group of Hatchlings and their protector Starscream.

Shockwave was amazed by the creature and called it "magnificent". After besting it, he joined the Cybertronian Defense Force that Sentinel placed under Megatron's command, rooting out dissident Transformers. Foundation #2. After the war broke out he joined the Decepticons. As Starscream was asking what to do next minutes before the Nemesis went to space, Shockwave told him that they would obey Megatron's orders without any question. Foundation #3 When the Autobots attacked Simfur Temple, Shockwave attempted to apprehend Elita- One, but with no success. When Starscream blew up the ship carrying Sentinel and his secret weapon, Shockwave ordered the annihilation of the retreating Autobots, but Megatron made him stand down, gleefully predicting Optimus would return with a vengeance. Foundation #4. Shockwave returned with Megatron to his citadel during Optimus's revenge attack.

Foundation #1 Shockwave asked Megatron if he could kill Optimus Prime and Ironhide after they had been stuck by the smelting pool, but Megatron was disappointed by Shockwave's lack of vision. Foundation #3 Optimus got inside to fight Megatron, while Starscream and Shockwave attempted to kill their former comrade Ironhide. Suddenly, the skies darkened: the Autobots had attacked the citadel to distract the Decepticons from their true goal of stealing the All. Spark from the temple. Optimus blasted Starscream and Shockwave, and the two Autobots escaped. Foundation #4 Some time later, after the Autobots sent the All Spark into space, Starscream left Shockwave in charge of the Decepticons still on Cybertron as he went in search of his prize.

During a battle with a team of Autobots, Shockwave heard the scream of the All. Spark when it was found by Sector Seven. Leaving Dreadwing in charge of the Decepticons on Cybertron, Shockwave set out in an impossibly fast ship, swearing not to return without the All. Spark. He crashed in Tunguska, Siberia in 1. He remained buried there in stasis lock, healing until Soviet Russia found him ten years later. Using stolen research from the U.

Amazon Studios Looks to Shake Up the Movie Business as it Moves Into Self- Distribution – Variety. Amazon may be a new- media innovator, but when it comes to making movies, the company isn’t selling itself as a barricade- breaching revolutionary. Unlike its rival, Netflix, which debuts its films on its streaming service and largely forgoes a theatrical run, Amazon is all about releasing its offerings in cinemas.“Our entry into the market is not particularly disruptive,” says Jason Ropell, worldwide head of Amazon’s motion picture group, as he sips black coffee at the Ritz- Carlton in Toronto, where his company’s Ben Stiller dramedy “Brad’s Status” is premiering at the film festival.

We’re a theatrical company that supports a theatrical window. We have home entertainment sales. In many ways we’re operating like a traditional studio.”Instead of burning down the customary system of releasing movies, Amazon is ready to become a full- fledged studio, equipped to handle every step in the life span of the films it creates and acquires. In the past, Amazon partnered with the likes of indie distributors Roadside Attractions, Bleecker Street and Lionsgate to support the rollout of its movies in theaters. But starting with Woody Allen’s “Wonder Wheel” in December, Amazon will begin distributing its own films and overseeing all parts of their theatrical campaigns. Among the upcoming pictures it will self- release: Lynne Ramsay’s thriller “You Were Never Really Here,” Luca Guadagnino’s horror remake “Suspiria” and Gus Van Sant’s drama “Don’t Worry, He Won’t Get Far on Foot.”“It represents the final stages of the evolution of our strategy,” says Ropell. It completes the picture in terms of our ability to control a film from its inception to how it comes to customers.”That’s required staffing up substantially.

The company’s marketing and distribution team, headed by Bob Berney, now tops out at 4. It’s also hired Mark Boxer, an IFC executive best known for his work on Richard Linklater’s Oscar- winning “Boyhood,” as head of theatrical distribution. The company believes that distributing its own films will help with branding as well as cut costs. One thing that will not change is the emphasis on having films screen in theaters.

Amazon believes that showing a move on the big screen gives it a patina of respectability, and the publicity that comes with having its talent do interviews and appear on shows draws attention to the company’s Prime streaming service. CREDIT: Courtesy of Amazon Studios/Jessica Miglio“We found that the customers want quality films, but also films that they’ve heard about and perceive as big events, because they’ve been reviewed in newspapers, screened at festivals and had long- running theatrical engagements,” Berney says. When Amazon first made noise about making movies, studio executives expected the company would take a page from the Netflix playbook and focus on driving customers to its streaming service, just as its sprawling e- commerce platform had encouraged an earlier generation of customers to order their paper products online instead of trucking down to a brick- and- mortar store. Instead, Amazon has fully embraced a more conventional approach to releasing its films and has had little appetite for positioning itself as a market disruptor like Netflix. That’s not to say that what it’s doing isn’t innovative.“Their agenda is complex,” says sales agent John Sloss, founder of Cinetic Media. “I increasingly believe that the future belongs to people who will not live or die by the performance of the individual pieces of content.

Instead they will have something of a double bottom line where there will be collateral benefits that come from their content.”Amazon isn’t in the movie business to make money from box office returns and home entertainment sales, though it does both. Nor is it purely a subscription- based service in the vein of Hulu or Netflix, though it is that too. It’s primarily interested in offering movies to the people who pay $8. Prime shipping service. In addition to getting packages quicker, Prime users can stream movies like “Manchester by the Sea” or “The Big Sick.”“Amazon is using movies to drive people into its great virtual shopping store and to keep them on its site longer so they buy more stuff,” says Peter Csathy, founder of Creatv Media, a business and consulting firm.

In the fast- moving movie business — one with a high fatality rate, where companies launch and shutter with dizzying speed — Amazon is looking downright geriatric. In the three years since it entered the scene, the constellation of companies on the prowl for films to release has altered dramatically. As indie studios like Relativity Media, Broad Green and Alchemy close their doors or dial down their ambitions, they’ve been replaced by an onslaught of digital players looking to buy movies.

Apple, You. Tube Red and Facebook have hit up festivals, kicking the tires on projects that might excite their customers. Despite the wave of Silicon Valley types riding into Hollywood, Ropell insists that Amazon isn’t going to deviate from its game plan. It doesn’t change our strategy,” he says. We’re not a competitor- focused company in any of our businesses. Strategically speaking, we don’t change what we do based on who might be coming intothe space.”In interviews and public statements, Netflix has been disdainful of the theatrical movie business and critical of Amazon. Last spring, Netflix CEO Reed Hastings quipped that the only innovation cinemas had made was to offer better- tasting popcorn, while chief content officer Ted Sarandos told Variety last month that Amazon’s emphasis on theatrical releasing was puzzling. I don’t understand why perpetuating a model that feels more and more disconnected with the population is good,” he said.

Amazon doesn’t have Netflix’s sharp elbows. Likewise, Berney, a bookish sort who exudes affability, isn’t eager to get into a battle of put- downs with its streaming rival.

They can take their swipes, but it’s more about showing that our model is actually working,” he says. We’ve done that.”“They’ve done some great projects,” Berney adds, complimenting Netflix. They have their own very religious philosophy that everything just goes online. I think that our approach is working. It enhances and incentivizes artists globally, and that encourages filmmakers to come work with us.”Since it started releasing movies in 2. Spike Lee’s “Chi- Raq,” Amazon has primarily backed director- driven projects that appeal to art- house crowds and attract awards attention.

Last year, Amazon’s movies won three Oscars, for “Manchester by the Sea” and Asghar Farhadi’s “The Salesman,” and the company is planning awards campaigns for “The Big Sick,” its surprise summer hit, and upcoming films such as Todd Haynes’ “Wonderstruck,” Linklater’s “Last Flag Flying” and Allen’s “Wonder Wheel.” Going forward, it plans to release between 1. The idea of nurturing talent or working with the masters comes from the older studio system,” Berney says. But I think we’re a little more filmmaker friendly. Studios tend to have one way they do everything every single time. We’re going to try to maintain a handcrafted, artisanal way of doing each film.”“We’re going to try to maintain a handcrafted, artisanal way of doing each film.”Bob Berney. Amazon is also moving more heavily into developing its own projects in- house, as opposed to relying solely on picking up films at Sundance, Cannes and other festivals.

Wonderstruck” and “Wonder Wheel” are Amazon productions, for instance, and the company expects that going forward, fewer than half of its movies will be acquisitions. To augment its slate, the company has been signing development deals with the likes of “Carol” producer Killer Films and Casey Affleck’s Sea Change Media.