Author: Robert Greenberger

Review: ‘The Surrogates’ on Blu-ray

You have to admire Robert Venditti. He was working for Top Shelf, had an inspiration for a story examining how society could be changed if everyone used an avatar, a surrogate if you will, rather than interact with one another. Management loved the idea, bought the story and in 2005, The Surrogates
arrived.

You have to therefore be disappointed by the Jonathan Mostow-directed film version of the graphic novel, Surrogates, which fails to examine any of the fascinating ideas in detail, favoring a tired plot. The movie came and went fairly quickly in September 2009, garnering poor reviews and meager box office. In case you missed it, Touchstone Home Entertainment releases the home video version next week.

Staring Bruce Willis, Radha Mitchell, Rosamund Pike, Ving Rhames, and James Cromwell, one would have hoped for something deeper than what we were given. In a world we’re told has 98% of the population using surrogates — androids wirelessly connected to their human master – an unregistered surrogate is destroyed, killing its human, who turns out to be the son of the man who perfected the technology. Willis and Mitchell’s surrogates investigate and action ensures.

The graphic novel is set in 2054 while the film merely says fourteen years ago. Still, we know we’re in a near future and as imagined, little has changed except surrogates have filled the streets and subways and offices in lieu of real people. The nature of work and commerce seem unchanged. Leisure time is shown as merely an amped up version of today’s clubbing. In fact, it’s so much like today that one wonders if the surrogate program was a failure. After all, if surrogates are stronger, faster, more agile, and far more indestructible, that would change many things. Also, 98% of the world means the poor from other continents which in turn would change global politics.

Lots of great ideas, none of which are examined. Instead, you get hints of how surrogates are nothing like their hosts or idealized versions while people lie on special chairs, plugged in. We gain no knowledge of how that has changed people’s diet or health (one wonders about muscular atrophy, for example).

Willis’ surrogate is damaged early on and he’s forced to leave his apartment, including his wife who has retreated from reality in the wake of their son’s death years earlier. He’s disoriented at first, but he’s Bruce Willis and quickly adjusts so the investigation continues. His mission takes him the local enclave of those who reject surrogates, forced to live within a fenced portion of the city, where things are considerably less shiny.

In a brisk 89 minutes, Mostow favors action over substance, much as he did in [[[Terminator 3]]]. Everything is nice and shiny, well designed and things blow up real well. Unfortunately, the emotional heart and soul of the graphic novel has been excised.

The Blu-ray disc comes complete with four deleted scenes, including one that shows the surrogates’ prejudice towards a “meat bag” being among them. A great notion that should have been explored not dropped. There’s a 14 minute look at modern day robotics, A More Perfect You, showing how we’re well down the road towards building surrogates. A very brief feature interviews Venditti and Brett Weldele and talks about the graphic novel. A music video rounds things out.

Overall, a wasted cast and concept and a movie that can easily be dismissed.

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Shooting Begins on ‘Red’

Flush with cash from the Twilight films, Summit Entertainment is moving ahead with other projects and today announced work has begun on Red.

January 12, 2010 — Toronto, Canada – Principal photography has begun in Toronto on Summit Entertainment’s spy-thriller Red, based on the WildStorm graphic novel of the same name by Warren Ellis and Cully Hamner.

Joining previously announced stars Bruce Willis, Mary-Louise Parker and Academy Award-winners Helen Mirren and Morgan Freeman, are two-time Academy Award-nominee John Malkovich, Karl Urban, Brian Cox, Academy Award-winners Richard Dreyfuss and Ernest Borgnine, Julian McMahon, James Remar and Rebecca Pidgeon.

Red is the story of Frank Moses (Willis), a former black-ops CIA agent, who is now living a quiet life.  That is, until the day a hi-tech assassin shows up intent on killing him.  With his identity compromised and the life of the woman he cares for, Sarah (Parker), endangered, Frank reassembles his old team (Freeman, Malkovich and Mirren) in a last ditch effort to survive.

Directed by Robert Schwentke (The Time Traveler’s Wife, Flightplan) from a screenplay by Jon Hoeber and Erich Hoeber (Whiteout), the film is produced by di Bonaventura Pictures’ Lorenzo di Bonaventura and Mark Vahradian (Salt, Transformers, Transformers: Revenge of the Fallen).  Executive producers are Jake Myers (Shanghai, Hollywoodland) and Gregory Noveck (Jonah Hex).  Di Bonaventura Pictures’ production executive David Ready serves as co-producer.

Red reunites director Schwentke with director of photography Florian Ballhaus (Marley & Me, The Devil Wears Prada) and Oscar-winning film editor Thom Noble (Witness, Thelma & Louise) who collaborated with Schwentke on The Time Traveler’s Wife and Flightplan.  Additionally, Red production designer Alec Hammond (Donnie Darko) and costume designer Susan Lyall (Rachel Getting Married) lent their talents to Schwentke’s Flightplan as well.

“I’m so excited at the phenomenal cast that Robert and our script have attracted,” said di Boneventura.  “I think audiences are going to have a great time.”

Summit’s President of Production Erik Feig said, “Red is that classic project with a little bit of something for everyone.  We are thrilled to see it come to vivid life with an outstanding cast, incredibly talented director, and top notch producing team.  It’s gonna be a good one!””

Red will film in and around the Toronto metropolitan area for nine weeks before moving on to the road and ending in New Orleans in late March for the final two weeks of principal photography.  The film is scheduled for worldwide release on October 22, 2010.

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Review: ‘Robin Hood: Season Three’ on DVD

BBC’s retelling of the [[[Robin Hood]]] legend began in 2006 and quietly ended in 2009, never quite living up to the hype and expectations. The series was incredibly anachronistic and its budgetary limitations were clearly evident throughout its 36 episodes. When the series was good, it was highly entertaining and when it was less good, it was tolerable.

BBC Video has just released the third season on DVD in the states so if you missed it on BBC America, here’s your chance to see for yourself how it all wrapped up.

The series began teetering during its second season, especially when Lucy Griffiths chose to leave the show and they killed Maid Marian, making for a major departure from the legend. Then we heard that Robin himself, Jonas Armstrong, announced he was leaving after the third season. As a result, we began hearing them all chant “We are Robin Hood”, setting up the expectations that once Armstrong left, the Merrie Men would carry on, keeping his spirit (and the series) alive. The BBC went so far as to announce a producer had been asking for a fourth season revamp but the third season ratings changed their minds.

We open the third season with Robin and company returning from the Holy Land where Marian was buried. He’s still smoldering with hatred, wishing nothing more than to gain revenge against Gisborne (Richard Armitage) for his love’s murder. And here’s the problem, for two seasons now, Robin, Gisborne, and the Sheriff (Keith Allen) have all had one opportunity or another to dispatch the other, ending the misery. In every case, they back off or get thwarted and by episode 27, it’s gotten very tiresome. Similarly, I’ve lost track of the number of times the villagers have thought ill of Robin and the men when they know better. Then there are the anachronisms in dialogue to appeal to modern day viewers.

On the other hand, this season set up several threads that at least provided a more interesting spine to stir things up than the second season did. The arrival of Friar Tuck (David Harewood) and Gisborne being sent away to explain his failures to Prince John in person start things off nicely. The return of the Sheriff’s sister, Isabella (Lara Pulver) and seeing her replace her brother changed things up nicely. On the other hand, the later revelation that Gisborne and Robin shared a heretofore unknown half-brother, Archer (Clive Standen), doesn’t do anything but shift the focus away from the regulars.

And that’s been a consistent problem along with the earlier issue over the enmity between our hero and the Sheriff. The Merrie Men (Alan, John, and Much) have been ill-served with little time spent on their characters. They fight, get captured, get freed, argue, and bring supplies to the townsfolk. We never circle back to John’s wife and son or learn more about the others. The writers and producers certainly did these three actors (Joe Armstrong, Gordon Kennedy, and Sam Troughton respectively) a disservice. Also, the fun byplay between Robin and Sheriff from previous years is all but missing. If anything, the actor to really shine throughout the three seasons is Armitage who has been conflicted between his upbringing, his loyalty to the crown and the Sheriff, and the unrequited love for Marian.

The show builds up to a major climax, bigger than the previous seasons and actually adds a punctuation mark that nicely brings down the curtain on the series.

The five disc set comes with A Legend Reborn a self-congratulatory behind-the scenes featurette, A New Look (a nice piece on the costuming), a piece on the Trebuchet: Creating Chaos and video diaries that are mildly entertaining.

As this entertaining but less than satisfying series ends, we can turn our attentions to yet another look at the legend with the big budget Ridley Scott/Russell Crowe feature this spring.

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DC Showcase Debuts with The Spectre

spectre-06-5078957While everyone is getting excited at the prospect of Justice League: Crisis on Two Earths in just a few weeks, little has been revealed about the bonus feature.

Today, Warner Premiere revealed the first glimpse into the new line of DC Showcase shorts. Debuting with the Spectre, DC Showcase puts the spotlight on favorite characters from throughout the DC archives in short-form tales.

For those, just tuning in, the Spectre focuses on a detective story with an ethereal twist, featuring the otherworldly character originally introduced by DC Comics in 1940. The short is written by Steve Niles (30 Days of Night) and directed by Joaquim Dos Santos (G.I Joe: Resolute). The voice cast is led by Gary Cole (Entourage) as the title character and Alyssa Milano (Charmed) as Aimee Brenner. The Spectre was a creation Jerry Siegel and Bernard Baily and remains a major player throughout the DC Universe.

Future DC Showcase titles include, no surprise here, Jonah Hex (written by Joe Lansdale).

Special effects wizard Drew Flynn gets spooked inside his own personal house of horrors.

A bit of romantic history flows between Detective Corrigan and Aimee Brenner in The Spectre. Gary Cole and Alyssa Milano provide the voices of Detective Corrigan and Aimee Brenner, respectively.

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Review: ‘Leverage’ Season 2.5 – The Runway Job and The Bottle Job (SPOILERS)

Over the last year or two, the more engaging dramatic series have been popping up on TNT, USA and even AMC. They run from the gravitas of[[[ Mad Men]]] to the lightweight entertainment that is [[[Psych]]]. An increasing proportion of my viewing time seems to be focused on these networks and I’m happier for the variety.

John Rogers, who used to write [[[Blue Beetle]]] for DC Comics, co-created Leverage for TNT, a show about criminals banding together to do good. Starring Timothy Hutton and a fine ensemble, the series debuted to terrific reviews and strong ratings in December 2008. Those first 13 episodes were collected on DVD just before the first half of the second season arrived in July.

TNT kindly provided us with the first two episodes of the second half season, which debuts tonight at 10 p.m. Spoilers ahead…

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‘Leverage’ returns to TNT on Wednesday with these six episodes to complete the second season

TNT’s Leverage returns to the schedule on Wednesday with six new episodes running weekly through February 17. The series, co-created by former Blue Beetle writer John Rogers, was one of the network’s bright spots when it debuted in December 2008.

As the second season opened this past summer, the Leverage team reunited in Boston to settle more scores against those who use power and wealth to victimize others.  The gang is led by former insurance investigator Nate Ford (Timothy Hutton), who first got into the racket after his former employer refused to pay for treatment that could have saved his son’s life.  His highly skilled team includes Sophie Devereaux (Gina Bellman), a grifter who uses her acting skills to corner her marks; Eliot Spencer (Christian Kane), a “retrieval specialist” with bone-crunching fighting skills; Alec Hardison (Aldis Hodge), a gadget and technology wizard who keeps the team informed; and Parker (Beth Riesgraf), a slightly off-center thief adept at rappelling off buildings or squeezing into tight places.

SPOILERS AHEAD if you haven’t seen the second season so far and don’t want to watch the marathon before Wednesday’s premiere…

By the end of summer, the Leverage team had scammed a hedge-fund manager who happened to be in the custody of U.S. Marshals; used Eliot’s martial arts skills to corner a corrupt fight promoter; and took over a private school to recover millions of dollars lost in a Ponzi scheme.  They also went head-to-head with an almost identical team of grifters to recover a painting that had been stolen by Nazis during World War II.

But for Sophie, something just wasn’t feeling right.  Her conflicted relationship with Nate left her questioning if she wanted to continue working with the team.  She decided to take some much-needed time away, but not before she arranged for a friend and fellow grifter, Tara Cole (Jeri Ryan), to fill in for her.  Tara immediately proved her worth by not only helping the team save a client’s estate from a corrupt lawyer, but also fooling everyone into thinking she was the client’s attorney. (Of course, Bellman is merely taking a maternity leave but they have written her out in a nicely dramatic fashion.)

Here’s a look at the upcoming episodes (SPOILER: with brief plot synopses) and we’ll have a review of the first two on Tuesday.

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Marvel Unveils New Iron Man Armor

As the worlds of film and comics grow ever closer, Marvel this afternoon released this image of Iron Man’s new armor. If it looks awfully similar to the movie version of shellhead, that’s no doubt intentional. Ryan Meinerding, designer on the Iron Man and Thor films helped adapt the movie suit for comics and this debuts in April’s Invincible Iron Man #25.

The series, written by Matt Fraction, has been acclaimed to the point where director Jon Favreau had Fraction consult on the sequel, conveniently due out just weeks later. With a new storyline kicking off, the new mission requires a new kind of armor.

“The inspiration for the new design came from thinking about a sleeker, leaner, tougher Iron Man,” Fraction said in a Marvel press release. “If technology is increasingly getting smaller and lighter it seems like the Iron Man should do the same: ergonomic and aerodynamic. We were looking for something that felt as sleek and glossy as a sports car Tony Stark would covet.  I love what we’ve come up with. It feels like the next evolutionary step in the Iron Man’s design.”

2010 home entertainment preview: not what you will be watching but how

The future for home video in 2010 is taking shape
and as 2009 winds down, ComicMix, like everyone else, is looking ahead. The VHS
tape is gone, replaced by DVD and that too is now quickly getting replaced by
the Blu-ray. The Digital Entertainment Group says Blu-ray Disc set-top player
sales grew 112 percent over the same period last year. Blu-ray devices are at
the top of many consumers’ holiday wish lists this year are projected to be in
15 million U.S. homes by the end of this year.

With players now as cheap as $150, the penetration rate is
skyrocketing and the studios are cognizant of this. They also know that people
are reluctant to pay more for Blu-ray discs to replace their standard DVDs so
these new discs are coming in fancier packages and with lots of extras.

One of the key differences between standard DVD and Blu-ray
is that the BD Live function allows studios to continue offering fresh content
even after the disc goes on sale. McG, for example, did a live screening of Terminator Salvation with questions from viewers. As more filmmakers figure out
how to gain maximum mileage from this direct communications, it will keep the
Blu-ray more vital.

Over the past year, Walt Disney has been collecting their
films in two and three packs. Like most studios these days, you get the DVD and
a digital copy presuming you wish to download the film to watch on your device
of choice. Disney then added the Blu-ray, DVD, and digital disc to form the
mega set, so there’s just one version to sell to one and all – of course,
up-priced so the profits are fatter.

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Review: ‘Missile Mouse: The Star Crusher’

Missile Mouse #1: The Star Crusher
By Jake Parker
Scholastic Graphix, 172 pages, $10.99

Introduced in the [[[Flight]]] anthology, M[[[Missile Mouse]]] is the plucky secret agent for the Galactic Security Agency, described as a “risk taker and a rule breaker”. Clad in his yellow and red flight suit, he performs missions that seem to earn him a broad reputation across the galaxy, which is odd considering he’s well, a secret agent.

Jake Parker, an animator for Blue Sky Studios, takes his resident rodent and produces his first graphic novel, [[[The Star Crusher]]], already billed as a series with a second volume due in January 2011. The question, though, is what is new and different here? Plucky, rule-breaking solo adventurer? Seen it before. In hot water with his blustery boss? Ditto. Thwarted time and again by his arch rival? Yep.

The brisk read pretty much is comfortable junk food, quickly consumed and easily forgotten. What is new – some of the science behind the MacGuffin — is not enough nor are the flashbacks which attempt to show us why Missile Mouse is the risk taker he is.

Instead, we get an anthropomorphized spaceworthy Indiana Jones or Buck Rogers adventure with not enough fresh thinking to the characters, story or storytelling to be worth the time and effort. For example, we’re told there’s a hidden asset at work for the villain but by then, it’s clear who it is given the small number of characters introduced so there’s zero suspense.

Parker’s storytelling is fine as are his character designs and use of color, which makes sense given his background. What he needed to do more of, especially given the page count, is show us more of how his universe works, the societal structure and why the need the GSA and why does the GSA need a rogue like Missile Mouse.

His page construction is interesting, with lots of smaller panels per page along with bigger ones, varied enough to be visually arresting. Parker should also have come up with a better cue for readers to know when Missile Mouse was experiencing a flashback. His lettering should be sharper and more distinct for a science fiction strip, paling in comparison with the vibrant use of color.   

An inauspicious debut story, Missile Mouse is certainly not mighty, atomic or marvelous enough to be enduring like his predecessors.

Review: ‘Hellblazer: Pandemonium’

John Constantine, Hellblazer: Pandemonium
By Jamie Delano & Jock
Vertigo, 128 pages, $24.99

Although crated buy Alan Moore in the pages of [[[Swamp Thing]]], Jamie Delano was the first writer to tackle the punk rocker turned occultist on his own. He wrote the first year or so of the [[[Hellblazer]]] series which helped create the gravity that pulled several titles from the DC Universe into what is now Vertigo. To celebrate the character’s 25th anniversary, Delano has returned for a lengthy graphic novel, a long overdue achievement. With the rise of the format, Constantine lends himself to lengthier explorations of the darker corners of Earth and the black, fiery realms beyond our ken.

Delano slips easily back into writing the beloved bastard as he tricks the authorities, flips the underworld the bird, and once more risks his life to keep ancient evil at bay. This time, though, the British writer intertwines a Sumerian threat with the Iraqi conflict making this more topical than the usual stories (the last time Constantine dealt with current events, it was during Garth Ennis’ Irish issues).

With the wonderful artist Jock at his side, Delano begins the story in London where Constantine encounters a Muslim woman just before things go boom and he suddenly finds himself essentially blackmailed into helping the British military deal with the occult threat. With a fresh pack of Silk Cuts in his pocket, he goes to Hell, once more, and enters a high stakes poker game with a handful of demons in order to keep the ancient threat at bay.

Being a Hellblazer tale, you might imagine John Constantine has an ace up his sleeve and of course the ending keeps the world safe and allows him to have a final word or two for those who have tried to make him their pawn.  The page count allows more than the usual Constantine antics and commentary but what’s particularly nice is the evolving relationship with Aseera, the woman who caught his attention just before things began going downhill. Her beliefs and insights make for a nice counterpoint to John’s usual cynicism.

Delano and Jock don’t waste a panel and keep the story moving quite nicely. The review copy provided by Vertigo was in black and white but knowing the artist’s style, this will really sing in full color, more than justifying the price.

This is a strong, riveting tale and we can only hope the rest of Constantine’s anniversary celebration is equally as compelling.