Author: Robert Greenberger

One the most pleasant developments with Warner Premiere’s line of animated movies featuring DC Comics’ heroes has been the addition of [[[Showcase]]], shorts based on the lesser known characters from the countless characters lingering in the library. To date, we’ve been treated to [[[The Spectre]]],[[[ Jonah Hex]]], and[[[Green Arrow]]] with two of them proving more satisfying than the main features. Now, the three have been collected, along with a fourth, all-new feature in the just released [[[Superman/Shazam! The Return of Black Adam]]].

Michael Jelenic, the mastermind behind [[[Batman: The Brave and the Bold]]], writes the screenplay and since this is based on now source material, it only vaguely resembles any of the origins for the World’s Mightiest Mortal. Yes, orphan Billy Batson is summoned by magical subway to stand before the wizard Shazam and be given the power of six gods to be a champion of justice. However, this is adjusted as a reaction to the return of Black Adam, the first such champion who was corrupted by absolute power and was banished from Earth to travel through the stars. His return brings him to Earth and directly to Billy, who he somehow sees as Shazam’s designee. And it just so happens this all happens when Metropolis reporter Clark Kent is interviewing Billy about being a child of the streets. The remainder of the 20 minute short is a slug fest and is way too short on characterization or rationale for why the story was told this way.

The character designs, other than Black Adam, seem slight and a little too Asian in influence. The vocal casting choices are adequate although James Garner’s Shazam is almost unrecognizable. Overall, it was entertaining but wastes its length and leaves me wishing for more.

On the other hand, more is not always better. The three previous shorts are here in “extended” form and you’re hard-pressed to find what’s been added. The good ones remain good and the weak offering, Green Arrow, remains wretched.

The disc is complemented with four episodes of various series featuring the spotlighted characters which show other approaches to interpreting the comic books. As a result, this is a solid collection but only if you do not have any of these in other form. The lead feature just isn’t strong enough to make it worth buying.

[[[Toy Story 3]]] is a textbook example of how to conclude a trilogy, a lesson that needs to be learned by movie studios. It also illustrates how a family film can work on multiple levels, touching all who watch it. This Pixar film is a farewell to childhood, one that parents watch wistfully and one that warns children to enjoy their youth while it lasts. Even the most jaded people will tear up during the final twenty minutes while the rest of us stated crying long before.

Disney has released Toy Story 3 in a variety of formats today, including the Combo Pack with two Blu-ray discs, standard DVD, and digital copy. Everyone should have this.

Andy has grown up. He’s packing his room, readying to leave for college and its time to part with his beloved toys. They’ve remained in the wagon-like chest for years, neglected and lonely, fretting for their future: garbage, attic or worse. The movie shows us that the attractive options also hide dark secrets and not every toy has a happy outcome. But toys endure and are meant to be handed down from generation to generation, which is what we learn once again.

Since the first film fifteen years ago, Pixar has remained at the technological edge and the characters look sharper and more refined, their movements more fluid and their world more realistic. The biggest improvement has to be in their depiction of human beings as we see Andy all grown up along with his family. Many of the key crew members involved have been along from the beginning along with musical composer Randy Newman which keeps the internal integrity solid.

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[[[Moving Pictures]]]

By Kathryn & Stuart Immonen
Top Shelf, 136 pages, $14.95

Kathryn Immonen has made her name as a writer for Marvel, telling quirky stories in unconventional ways. Her husband, Stuart, has proven a chameleon of an artist and storyteller, going from high-gloss super-heroes in the [[[New Avengers]]] to a more impressionistic and simplified style in Moving Pictures.

The story is set in World War II, after Paris has fallen to the Nazis. As the French try and catalogue their works of art then hide them from the enemy’s grasp, the occupying Germans also want the works catalogued so they can divvy up the spoils of war. Ila Gardner has given her passport to a friend, helping her escape, and comes under interrogation by  Rolf Hauptman, a German officer, and someone she is also involved with.

Kathryn weaves a story told in parallel time periods as we learn about Ila and Rolf while at the same time, Rolf questions Ila. Slowly, the truth between them is revealed and layers of artifice are stripped away from both, leaving raw emotions exposed.

We see how the French value their great works and one another. The dialogue is spare and you learn as much from body language and gesture as you do from the words. Here, Stuart does a masterful job with the black and white form and simplified drawings. He sets the characters against the artwork in question, letting the paintings loom over the people, threatening to crush them with their historic significance.

A visual trick with papers allows the couple to shift the story from time period to time period and you’re never lost. In fact, your attention does not wander as you get caught up in the tension between Rolf and Ila, wishing to learn more about both.

While set against true events from the war, this is really a slice of life that craves both a beginning and ending. You enjoy what there is but their work is crafted well enough to leave you desiring more.