Author: Robert Greenberger

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‘Justice League: Crisis on Two Earths’ DVD details released, including the Spectre!

  • News
  • November 27, 2009

In case you missed the preview on Superman/Batman: Public Enemies, Warner Premiere has offered up complete details including the announcement of an exclusive Spectre short for the special edition. Here’s the release:

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BURBANK, CA (November 23, 2009) – To save our world and all those like it, SUPERMAN, BATMAN and their caped colleagues must go toe-to-toe with their evil mirror images in Justice League: Crisis on Two Earths, the seventh entry in the successful ongoing series of DC UNIVERSE Animated Original PG-13 Movies coming February 23, 2010 from Warner Premiere, DC Comics and Warner Bros. Animation. The full-length animated film will be distributed by Warner Home Video as a Special Edition 2-disc version on DVD and Blu-Ray™ Hi-Def for $24.98 (SRP) and $29.99 (SRP), respectively, as well as single disc DVD for $19.98 (SRP). The film will also be available On Demand and Download.

Justice League: Crisis on Two Earths is an original story from award-winning animation/comics writer Dwayne McDuffie (Justice League) rooted in DC Comics’ popular canon of “Crisis” stories depicting parallel worlds with uniquely similar heroes and villains. Bruce Timm (Superman Doomsday) is executive producer. Lauren Montgomery (Wonder Woman, Green Lantern: First Flight) and Sam Liu (Superman/Batman: Public Enemies) are co-directors.

In Justice League: Crisis on Two Earths, a “good” LEX LUTHOR arrives from an alternate universe to recruit the JUSTICE LEAGUE to help save his Earth from the Crime Syndicate, a gang of villainous characters with virtually identical super powers to the JUSTICE LEAGUE. What ensues is the ultimate battle of good versus evil in a war that threatens both planets and, through a diabolical plan launched by OWLMAN, puts the balance of all existence in peril.

The movie features an all-star voice cast led by Mark Harmon (NCIS) as SUPERMAN, James Woods (Ghosts of Mississippi) as OWLMAN, Chris Noth (Sex and the City, Law & Order) as LEX LUTHOR, William Baldwin (Dirty Sexy Money) as BATMAN, Gina Torres (Serenity, Firefly) as SUPERWOMAN and Bruce Davison (X-Men) as the President.


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Review: ‘Superman: The Complete Animated Series’ on DVD

  • News
  • November 22, 2009

Once Batman the Animated Series became a huge success, a follow-up featuring the Man of Steel seemed inevitable. That it took until 1996, four years later, was the only crime in the process. The equally successful adaptation from the comics lasted four seasons and 54 episodes, helping set the stage for the bets adaptation yet: Justice League/JL Unlimited.

On Tuesday, Warner Home Video releases a seven-disc Superman: The Complete Animated Series
. Much like the just-released complete JLU series, this merely takes the existing season set discs and repackages them in a nice foil box along with a bonus seventh disc. The companion booklet, therefore, makes the same numbering error by not reflecting the actual discs.

All the love and attention lavished on the Dark Knight was poured into this show, which was brighter and shinier, the villains larger in scope and giving the animators a chance to bust loose. Superman works great in animation and after the lackluster efforts from Filmation, Hanna-Barbera and Ruby-Spears, this one clearly shows the potential fulfilled.

As usual, the voice casting is fairly top-notch with Tim Daly alternating nicely between Superman and Clark Kent, sparring playfully with Dana Delany’s Lois Lane. Clancy Brown is wonderfully malevolent as Luthor and his ever-present menace is well handled, matching the reboot version launched a decade earlier.

The series winks at the fans in many, many ways which shows the love and affection they hold for the source material and their core audience. The largest change they made to the mythos was inserting Brainiac into Kal-El’s origins and it just doesn’t work for me. In fact, the use of Brainiac here may be a weak spot throughout the series, only paying off at the conclusion of the Project Cadmus arc in JLU season one.

Yes, the continuity links between the series also rewards fans and allows the production team the opportunity to plant seeds or wrap up threads they could do otherwise. It’s a shame, therefore, that the Superman appearances in Static Shock are not included here.

Wisely, the series got pretty cosmic pretty quickly and the first season ends with the introduction of Darkseid.  By bringing in the Fourth World characters, the show takes on a scope befitting the World’s Greatest Super-Hero and giving him a host of new opponents that would truly tax him. The seventh disc has some trailers but the highlight is “The Despot Darkseid: A Villain Worthy of Superman” which gathers the producers to reflect on how this really opened things up for them. The 17 minute discussion is filled with tributes to creator Jack Kirby and shows how important he became to the series.

Darkseid wasn’t the only threat and the Man of Steel’s rogues ‘ galleries is nicely introduced one at a time and then recur, varying the tone of the show. And was there any villain better suited to animation than Mr. Mxyzptlk, whose arrival always meant a nice change of pace episode was in the offing.

The stories hold up nicely, the animation fluid and the affection for the hero that started it all is clear in every frame.

Review: ‘Saga of the Swamp Thing Book Two’

  • Uncategorized
  • November 20, 2009

Saga of the Swamp Thing Book Two

By Alan Moore, Stephen Bissette, John Totleben
DC Comics, 224 pages, $24.99

DC’s hardcover collections of Alan Moore’s run on [[[Swamp Thing]]] continues with the release of the second volume next Wednesday. The nicest thing about these releases is that it prompts us to go back and reread the stories to conjure up memories of what it was like the first time we encountered these tales.

By the time these eight stories saw print in 1984 and 1985, the buzz had grown deafening and clearly this was the most talked about series and set of creators at the time. What Alan did was bring fresh thinking to American comic book concepts and played with the readers’ expectations for mainstream storytelling and horror.

Moore’s gift for words crowded the pages with allusions and imagery previously unseen and when we could look at the artwork, it was stunning. Stephen Bissette and John Totleben were ideally suited for the material and they were given free rein by both Moore and their editor, Karen Berger. The critical success encouraged the creators to take more risks and the company wisely backed them, letting [[[Saga of the Swamp Thing]]] be the first series to hit newsstands each month without the Comics Code. Instead, the covers proclaimed the series to be “Sophisticated Suspense”, a gesture to warn potentially offended readers.

Having reimagined Swamp Thing’s origins and exploring the dynamics between the shambling creature and the humans Abigail Arcane and Matt Cable, the stage was set for the return of an old foe. Anton Arcane, Abby’s uncle, was back and the slow realization that he had possessed Matt and therefore committed a form of incest with her was shocking, cold and chilling because we hadn’t conceived of anything so horrible. The trilogy that kicks off the volume is creepy and holds up.

The coda to the tale first saw print in an annual, allowing extra pages and giving Moore a chance to play with the other occult players in the DC Universe: Etrigan, the Spectre, Phantom Stranger and Deadman. All felt fresh and part of some other reality as Swamp Thing traveled to Hell to rescue Abby.

The artists, while incredibly talented, were not speed demons and 22 pages a month was a tough pace for them. The annual, therefore, meant they needed fill-in help. Chapter 2 of the Arcane trilogy was inked by Alfredo Alcala and Chapter 3 was pencilled by Rick Veitch, but at no time is the quality suffering. But they needed a break and Shawn McManus, who already drew the opening story in this wonderful collection, is back for the acclaimed “Pog”. Moore’s tribute to Walt Kelly’s [[[Pogo]]] is a challenging read and still packs an emotional wallop.

The book ends with the award-winning “[[[Rites of Spring]]]” wherein Abby confesses her love to the creature and he offers her a piece of himself as communion, letting her see the world the way he does. It’s touching and once more gives us a new look at the characters while advancing the storylines.

On a personal note, there are two pages that cutaway to the events being watched by the enigmatic Monitor and his aide Lyla. At the time, all of DC’s titles were featuring these teasers setting up [[[Crisis on Infinite Earths.]]] Alan and Karen could have argued against it or thumbed their noses the demand the way Mike Barr did in [[[Outsiders]]]. Instead, Alan complied without complaint and actually made the appearances work, maintaining the eerie feel of the moment. I was always grateful he was willing to play along and rereading them here, does in no way take away from the stories’ impact.

Review: ‘Logan’s Run’ on Blu-ray

What a difference a year makes. In 1976, MGM released a film based on William F. Nolan and George Clayton Johnson’s 1967 novel [[[Logan’s Run]]]. Generally lambasted by the press, it may have been a nadir in science fiction films putting studios off the genre until the following May, when 20th Century Fox looked forward with [[[Star Wars]]].

Warner Home Video has just released Logan’s Run
on Blu-ray and it finally gave me a chance to see the movie, something that somehow eluded me back in High School. It has most certainly not aged well and I can see why Roger Ebert called it a “vast, silly extravaganza”, which changed the novel in some ways for the better but failed to visually interest us in the society.

In the film, directed by Michael Anderson, the biggest change was in the location of society: domed and hermetically sealed as compared with the book’s newly formed surface cities. The book also has people voluntarily ending their lives at age 21 which probably meant the culture could not be sustained because no sooner did people learn a trade, they had to die. Instead, the film changed the age to 30 at a time when people still spouted “Never trust anyone over 30” (while forgetting the second half: “Or under, either”).

The hedonistic society is said to be devoted to pleasure until the glowing crystal in palm denoted your time to enter an arena and become the night’s entertainment. Everyone else gathers in a stadium to watch you and others born on that date, float upwards towards an energy field that kills them. There’s a rumor that selected people can be “renewed” so people come back night after night to see if someone will be lucky enough.

Those who eschew this lifestyle, those who question the unseen authority that governs the domed world, are known as runners who flee in search of a place known only as Sanctuary. Law enforcement officers, known as Sandmen, are charged with stopping the runners, usually by killing them. And the film follows one such Sandman, Logan 5 (Michael York), as the Artificial Intelligence in charge asks him to go undercover as a runner and find Sanctuary.

Fortunately, he’s found a potential runner to follow in Jessica 6 (Jenny Agutter), whom he met only a night or two earlier. Her very questioning society got Logan to thinking so when the opportunity presented itself; he joined her in the escape. What complicates the assignment and spoils the film is Logan not confiding in his best friend, fellow Sandman Francis 7 (Richard Jordan), so Francis chases them, thinking he’s doing the right thing.

Along the way, our heroes are told by a recording to keep following the trail down but at one point they wind up on a platform taking them up. As a result, the movie starts going off the rails when no one ever questions what was “down there”. When they reach the surface, they find an ice cave (prompting them to strip down and wrap themselves in convenient bearskins) and a berserk robot, Box, who has decided freezing runners for eventual consumption made sense.

Escaping Box leads Logan and Jessica to a surface world they never knew existed and there they find the Old Man (Peter Ustinov), who shows them that aging isn’t all that bad. Unfortunately, setting this sequence in a vine-covered Washington, D.C. adds an unnecessary layer of subtext at a time when the country was already question the Federal Government.

Anderson, who did a far better job with George Orwell’s 1984, and screenwriter David Zelag Goodman completely failed to present a comprehensible society or characterization beyond two-dimensional surface traits for the three stars. York and Agutter are easy to watch but have little emotional range in this whereas Jordan’s pop-eyed style seems to come from some other film. Ustinov’s character is about the only one you care about.

A year later, the nature of science fiction film was turned on its head George Lucas’ Star Wars arrived, washing out the distaste left by this mess. Interestingly, Anderson’s earlier film, [[[The Dam Busters]]], has been credited as inspiration for the Death Star battle at the end of Lucas’ film.

The Blu-ray edition looks like a basic transfer without digital enhancements or attempt to clean it up. The extras contain commentary from the DVD edition and a featurette produced back in the 1970s. There’s little to recommend adding this your growing Blu-ray library.

Review: ‘Kevin Smith 3-Movie Collection’ on Blu-ray

  • Uncategorized
  • November 17, 2009

You have to admire Kevin Smith. Growing up in New Jersey, he found himself a circle of likeminded friends who took his scripts and performed them in a sort of comedy revue that wowed audiences in Red Bank. Inspired, he went on to Vancouver and film school where he met his producing muse, Scott Mosier. Back home, they scraped together $27,500, recruited Smith’s friends and shot the semi-autobiographical [[[Clerks]]]. The black and white film, mostly a series of vignettes tied together by the two leads, wowed audiences and became a cult hit.

From there, Smith got hired by Universal to make a second film, the $5 million [[[Mallrats]]] but Smith and the studio system clashed and the result was a critical and commercial dud. Still, Smith used many of his friends and made new ones, casting with a keen eye towards nascent (and cheap) talent. He also found a girlfriend, Joey Lauren Adams, and as we learn, a confluence of events led Smith to shoot [[[Chasing Amy]]] as his third film and second hit. Mallrats is now considered the multi-million dollar screen test.

Smith is good to his friends and apparently is a good director for actors, most of whom have stayed loyal despite going on to greater fame and fortune. He went on to direct the wonderful [[[Dogma]]] (which he wrote as his Clerks follow-up) which scared the beejeezus out of Miramax so they sold it off to Lionsgate and missed the cash. Instead, Smith gathered everyone once more for 2001’s [[[Jay and Silent Bob Strike Back]]], in some ways a farewell to the first chapter of his career.

We can watch the evolution of the director and some of his cast with the Kevin Smith 3-Movie Collection, out today from Buena Vista Home Entertainment which includes the Blu-ray debut of Clerks and Chasing Amy, plus Jay and Silent Bob Strike Back. The three movies are individually packaged inside a cardboard box. Having never seen the bookend films, it’s interesting to watch how much surer a hand Smith has by the third film. Clerks is raw and very unpolished with genuinely horrible performances from the supporting cast. The writing is all over the place and you wonder how the clerks in question, Dante and Randal, maintain a friendship given what a screw-up the latter is. Still, Smith works in some harsh truths that give the movie its heart and soul. It’s truly the first close-up look at the slacker culture that exposes their wasted potential and lack of ambition.

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Review: ‘Gone with the Wind’ 70th Anniversary DVD

Since Gone With The Wind’s release in 1939, David O. Selznick’s adaptation has become one of the most hailed and loved feature films of all time. Adjusted for inflation, it remains today the number one box office champion with a total gross of $1,450,680,400. It deservedly won 10 Academy Awards and continues to be included in Top 10 lists with many catch phrases entering the public lexicon followed plus a score that is instantly recognizable.

On Tuesday, in time for your holiday shopping needs, Warner Home Video is releasing the 70th Anniversary edition of the film in a variety of formats. What was provided to ComicMix was the standard two-disc “plain vanilla” edition. We can tell you that it looks and sounds great and we suspect looks even more spectacular in its Blu-ray format.

Is there anything left to say about this beloved film? I had heard of it growing up but until HBO first broadcast it for the first time, I had no clue what the fuss was about. I still recall a bunch of us gathering at Beth Zemsky’s house to watch this spectacular without interruption and we were all caught up in different ways. For me, I enjoyed the sweep and spectacle, some of the performances and the nostalgic look back at a bygone era. The girls loved the romance.

In rewatching the film now, I find zero chemistry between Trevor Howard and Vivien Leigh, still befuddled over why she loved him. I also find it confusing to see how both Ashley and Melanie were so blind, in their own way, towards Scarlett’s spoiled rich girl ways. Only Rhett saw her for what she was and loved her for it. Rhett Butler is also the only one to see the South as an unsustainable culture and apparently the only man in the whole of the Confederacy to understand they couldn’t compete with northern factories. As a result, his decision to enlist towards the middle therefore makes no sense.

Honestly, the best character arc is Scarlett’s and there’s little more stirring than her return to Tara, seeing what had become of the lifestyle she understood and then declaring, set against a beautiful backdrop, she would never go hungry again. As the music swells and the intermission sign appears, you could have sent everyone home and they would have been thrilled. Instead, we get the second half which is far too melodramatic leading up to the immortal final scene.

Selznick spared no expense and the film is sumptuous, well cast and filled with enough extras to give it the sense of scale required for the needed emotional impact. From a technical standpoint, there’s not a single false note and the movie holds up during repeated viewings. SO, the bottom line comes down to the Margaret Mitchell novel and the characters adapted to the screen. If this is your sort of story then you can’t miss seeing the film. As for owning the new edition, that’s a subjective call. The new digital master seems superior to the last version but it’s the extras that will decide it for you.

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Captain Action and The Phantom to finally meet

  • News
  • November 14, 2009

We missed posting something about this the other day but it’s still cool enough for us to talk about. The revival of Captain Action now means he can begin meeting the super-heroes his action figure incarnation transformed into. This begin in March with Moonstone’s release of Phantom Action, a crossover between King Feature’s classic comic strip hero, and Captain Action.

According to the official release, the Ghost Who Walks is captured and his wife Diana pleads with Captain Action to help. “It turns out the young Captain Action has had a crush on Diana since his teenage years, so that makes for an interesting dynamic”, said series writer Mike Bullock. The two-issue mini-series is pencilled by Reno and will offer a variety of covers by artists Art Thibert, Mark Sparacio and Michael T. Gilbert.

The Phantom was one of the original set of heroes the figure could become when introduced in the 1960s. When Playing Mantis had the license in the 1990s, they included Lee Falk’s jungle hero as one of the revival figures. Currently, Cast-A-Way has announced plans to release an 8” Mego-sized Captain Action as the Phantom figure complete with long slide Colt .45s, as well as the Phantom’s signature rings. 

 “My dad has always been a big Phantom fan. As a boy, he just loved the Witman 1944 Phantom book and the weekly Sunday strip. I know I was reading too much into it, but as a child I felt there was some sort of father-son legacy when I dressed my original Captain Action as the Phantom”, said Captain Action Enterprises’ Retropreneur, Ed Catto.

“The Phantom set was one I always wished I had for my Captain Action, so it’s fitting we’re able to bring the characters back together again,” said Joe Ahearn of Captain Action Enterprises, LLC. “Recently, Cast-A-Way toys created new Mego-sized Captain Action and Phantom figures. We might soon have some additional announcements about these toys as well.”

Captain Action was revived in comics last year and has been met with mixed reaction, prompting Catto and Ahearn to consider some form of revamp in the coming year. They’ve already introduced a Lady Action to interact with the hero, who is currently portrayed as the son of the original.

‘The Dark Tower’: J.J. Abrams out, new novel coming

  • News
  • November 14, 2009

J.J, Abrams has left The Dark Tower according to comments made on MTV. During an interview, the producer said,” You’ll be hard-pressed to find a huger fan of The Dark Tower than me, but that’s probably the reason that I shouldn’t be the one to adapt it. After working six years on Lost, the last thing I want to do is spend the next seven years adapting one of my favorite books of all time. I’m such a massive Stephen King fan that I’m terrified of screwing it up. I’d do anything to see those movies written by someone else. My guess is they will get made because they’re so incredible. But not by me.”

King, now on the road in support of the well-received Under the Dome, has said he wishes to write one more book set between Wizard and Glass and Wolves of the Calla. Over at his message board, the moderator posted, “Stephen has given me permission to pass along that he has an idea for a new Dark Tower book, the working title of which will be The Wind Through the Keyhole. He has not yet started this book and anticipates that it will be a minimum of eight months before he is able to begin writing it.”

The author continues to oversee the adaptations of The Dark Tower cycle at Marvel Comics and will be writing an original vampire tale for Vertigo in 2010.

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Ray Bradbury’s Return to Television

  • Uncategorized
  • November 13, 2009

bradbury-3115097The Award-winning author Ray Bradbury will be returning to television with the announcement yesterday of The Bradbury Chronicles, which will be a six hour miniseries based on his works. White Oak Films announced the deal although no network has picked up the project for broadcast.

White Oak’s John Philip Dayton will executive produce with Merrill Capps, Todd Klick, Cory Travalena and Dale Olson doing the actual production chores. Bradbury will be an executive producer with input over stories selected and overseeing the adaptations themselves. Dayton previously partnered with Bradbury on Showtime’s The Ray Bradbury Theater, which ran from 1985-1992.

The author, now 89, remains largely confined to his home given declining health, but continues to write with Summer Morning, Summer Night his most recent work, due out in paperback next June.

‘Red’ Adds McMahon, Borgnine to Cast

  • News
  • November 13, 2009

The adaptation of Warren Ellis and Cully Hamner’s Red miniseries has moved ahead and added Julian McMahon (Nip/Tuck, Fantastic Four), Richard Dreyfuss, Brian Cox, and the great Ernest Borgnine, who will play the keeper of the CIA’s darkest secrets.  The film, scheduled for November 19, 2010 release, already stars Bruce Willis, Helen Mirren, Morgan Freeman, John C. Reilly and Mary Louise Parker.

Summit Entertainment, flush with Twilight cash, is producing this film based on the 2003 WildStorm miniseries about a former black-ops CIA agent whose a quiet, retired life is shattered when a high-tech assassin shows up at his home. Willis is the spy with McMahon portraying the Vice President who heads up a shadow conspiracy. The 92-year-old Borgnine will play the man who knows the dirty secrets and Dreyfuss is a wealthy industrialist who benefitted from Government contracts. Cox is a former Cold War-era spy with an axe to grind against Willis.

Jon and Erich Hoeber wrote the script for director Robert Schwentke (Flightplan) and shooting should commence early in 2010.

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