Author: Robert Greenberger

Since Mike Mignola created Hellboy in 1993, he has been a fan favorite character, growing his own mini-universe of characters and spinoff series. Mainstream audiences certainly got to know him in a pair of features from director Guillermo Del Toro, who put his own spin on the world. Over the last decade, Del Toro and star Ron Perlman talked about a third film but one thing or another kept getting in the way. Then, BOOM! founder Andrew Cosby and Mignola got to work on a script and Del Toro walked, followed by Perlman so it morphed into a full-fledged reboot.

Did we need a reboot? No. Did we need this film at all? Probably not and the poor box office has shut the doorway to Hell for subsequent installments. Perhaps he works best in print with Mignola being the sole voice.

David Harbour is having a moment. This month he had a terrific character arc in season three of Stranger Things and last night on Netflix, he was seen in Frankenstein’s Monster’s Monster, Frankenstein, which I hear good things about (and we’ll see him next year in Black Widow). He brings a fresh approach to the demon, less world-weary than his predecessor but just as snarky. His relationship with Dr. Trevor Bruttenholm (Ian McShane) is a far warmer one and less one-sided.

The story is drawn from Dark Horse’s Darkness Calls, The Wild Hunt, and The Storm and the Fury with material pulled from Hellboy in Mexico. The short version is that here, Nimue (Milla Jovovich) was the world’s deadliest witch and it took King Arthur (Mark Stanley) and Merlin (Brian Gleeson) together to defeat her, using Excalibur to chop her into six pieces. Each was boxed, blessed, and buried. Some two decades ago, a fairy, Gruagach (Stephen Graham/Douglas Tait), was left in place of infant Alice Monaghan. Hellboy arrived and beat the boar-like beast, rescuing the baby. After all this time, Gruagach wants revenge and collects Nimue’s parts and has witches sew her together for a new round of terror. Joining Hellboy in stopping Hell from coming to Earth are the adult Alice (Sasha Lane), a powerful medium, and BPRD’s Ben Daimio (Daniel Dae Kim), a man with a secret, who also distrust Hellboy, especially after learning of the prophecy he is intended to be the demon who lays waste to the world.

And we’re off. There’s blood and gore and guts. There are special effects, transformation sequences, fantasy flashbacks, reading Lewis Carroll and more. But there’s nothing special here with a seen-it-all-before feel. Director Neil Marshall makes it all look good but gets uneven performances from the cast (although it’s great seeing Thomas Hayden Church as Lobster Johnson).

Nimue is a one-dimensional witch and the relationship between Hellboy and Alice is under-baked. None of the characters feels fresh, none of the dialogue sparkles. And that’s where Cosby’s script fails the creator and audience.

The film is out this week from Lionsgate Home Entertainment in the usual varieties. The Blu-ray presents the film in its original 2.39:1 aspect ratio and has a strong high definition transfer. For a film like this, it has to look good to work on a home screen and this does not fail. The subtle colors and deep shadows are all nicely balanced. The Dolby Atmos soundtrack is up the capturing every grunt, flicker of flame, and explosion. Watching this at home was rather good despite the content.

On the other hand, you can tell Lionsgate lost faith in the film by the dearth of special features. We get Tales of the Wild Hunt: Hellboy Reborn (1:11:28), a three-part featurette on the production; a handful of Deleted Scenes (7:56), and Previsualization (7:18).

When DC Comics revived Captain Marvel in the 1970s, it was out of step with the audience and struggled to find success. Ever since, the publisher has been trying to find a formula to make the character and his world relevant to the readership. With Carol Danvers’ popularity as Captain Marvel ascendant, DC finally capitulated and began calling Billy Batson’s alter ego Shazam to keep the two from being confused.

With Captain Marvel out in March and Shazam out in April, there’s a good reason to rename the latter. (No one back in the day would ever have imagined either getting a big screen treatment or coming out so closely together.) Warner Home Entertainment has released Shazam in all the usual formats this week and it remains a fun, but not perfect film.

After countless screenwriters tried to crack the light-hearted world created by Bill Parker and CC Beck, it appears that Henry Gayden and Darren Lemke found their clues less in the classic work and more in the contemporary incarnation from Geoff Johns. As a result, if you loved the older stuff there’s plenty to like and even more of you love the new take.

We have the wizard (Djimon Hounsou) seeking someone with a pure heart to take his powers and defend the world from the Seven Deadly Sins. So far so good. After rejecting poor little rich boy Thaddeus Bodog Sivana (Ethan Pugiotto), he waits until he finds Billy Batson (Asher Angel), a homeless teen seeking his birth mother (Caroline Palmer). In trouble, Billy is taken to a group home run by Rosa and Victor Vasquez (Marta Milans, Cooper Andrews) and meets his foster siblings. As he struggles to adjust, he also is given the powers of the gods.

The whole foster family is a Johns addition and introduces a new sense of family, skewing far from the source material where Billy and Mary Bomfield (Grace Fulton) turn out to be twin siblings. Later, when they all gain rainbow-colored costumes it dilutes the Marvel Family feel.

Anyway, Billy turns into the World’s Mightiest Mortal (Zachary Levi) and has trouble acting like adult. While Billy tugs at your heart strings and Shazam is funny, they act as entirely separate beings rather than symbiotically connected. We see him trying to make money by putting on lighting shows (a power he doesn’t have in comics nor needs). To me, this is the biggest fault with an otherwise entertaining film. The sheer exuberance the adult displays is totally absent from Billy and the wisdom of Solomon seems entirely missing from the film.

Just as he’s getting acclimated to his power set and trying to find a name for himself, an amusing thread, the adult Sivana (Mark Strong) has been corrupted the Seven Deadly Sins and uses their power first for revenge against his father (John Glover) and then trying to gain the powers he feels are rightly his.

The problem here is that Sivana was a scientist and the conflict between them since 1940 was always science versus magic. Here, it’s magic versus magic and the David and Goliath riff is exchanged for muscle versus muscle. Strong does a fine job, but feh,

The siblings all have their moments to shine before Shazam shares his power with them, turning one family into another, just in time for the climax at the carnival. I’ll admit, the varying kids are all interesting, engaging varieties and their adult versions are good-looking heroes, but the adult heroes are just boring.

Overall, the movie works just fine when viewed as Big with Super-Powers but it could have been so much more. Director David F. Sandberg does a fine job making us care for the characters and keeps the action pieces moving, a growing challenge with every subsequent super-hero film. I’d be curious to see what he does with a sequel.

The high def transfer retains the 2.39:1 aspect ratio and is a strong image. The colors pop, the blacks are deep, and the lightning crackles. This definitely retains its comic book look and feel which goes a long way towards the enjoyment. The Dolby Atmos soundtrack is possibly a touch better than the visuals so the music and special effects pop.

The Blu-ray comes complete with an above-average assortment of special features starting with Exclusive Motion Comic: “Superhero Hooky” (4:05) which reminds us why motion comics have never taken off as a medium although its nice the cast does the voices in this short. We than have The Magical World of Shazam (26:56) which briefly covers different aspects of the film’s production; Super Fun Zac (3:13); Deleted & Alternate Scenes (37:27 total), with Sandberg explaining why he reshot or edited out each scene giving you additional insight into the production; Gag Reel (3:16); Who is Shazam? (5:42), a too-brief history of the character in comics; Carnival Scene Study (10:22); and Shazamily Values (6:06) pairs the kid and their adult counterpart for some fun commentary.

Stephen King was on a roll when Pet Sematary came out in 1983, with each horror novel seemingly creepier than the last. After all, everyone loves a loyal pet, and many families can recount how they commemorated an animal/fish/bird’s life at death. Turn that domestic normality on its head and you can terrify most everyone. King admitted this was perhaps his most disturbing work, the one where he may have gone too far (which is saying a lot).

The 1989 film adaptation starred Fred Gwynne, Dale Midkiff, and Denise Crosby and did a fairly good job capturing the spirit of the novel. It performed well enough that it spawned a best-forgotten sequel.

And as with all things, it was been remade this spring and is out now on disc from Paramount Home Entertainment.  

The premise remains the same: the Creeds have moved into a rural home near the local Pet Sematary. No sooner do they settle in than their cat is killed and therefore becomes the latest resident of the graveyard but then things get weird.

Adapted by horror film writer Matt Greenberg, it was polished by Jeff Buhler (David Kajganich went uncredited) and then directed by the duo of Kevin Kolsch and Dennis Widmyer, the movie performed well at the box office but I, like so many others, question “was this a necessary remake?”

The cast of Jason Clarke, John Lithgow, Amy Seimetz, Jeté Laurence, Maria Herrera, and Sonia Maria Chirila are all good in their roles but the entire production has been a read this, seen that already feel and despite trying to explore some new aspects of the town and sematary, it just never rises to the feeling of freshness. The first film did a more faithful job adapting the novel and here they try to go deeper into the mythology of the land but isn’t enough. The more gruesome visuals and thrills also fail to overcome the ho-humness of it.

The film was released in the usual assortment of formats including the $K Ultra HD/Blu-ray/Digital HD combo pack. The 2160p/Dolby Vision UHD is only a slight improvement over the Blu-ray, despite being shot at resolutions of 2.8K and 3.4K and finished at 2K. Yes, the image is sharper overall, especially important when offering an atmospheric film with creepy shadows, lots of night scenes, and shapes that go bump in the night. Colors, notably within the Creed house, do pop nicely. The exteriors build on soundstages are brought into sharper relief here which does spoil the overall feel the producers were hoping for.

The film’s Dolby Atmos soundtrack works quite nicely, well matching the atmospheric feel of the film. The sound effects are sharp and do add a nice feel to the experience.

The Special Features are found on the Blu-ray and contain an Alternate Ending (9:16), followed by Deleted and Extended Scenes (16:09); Night Terrors (4:57); The Tale of Timmy Baterman (3:04); Beyond the Deadfall: Chapter One: Resurrection (16:54), Chapter Two: The Final Resting Place (12:38), Chapter Three: The Road to Sorrow (13:59), and Chapter Four: Death Comes Home (18:07). These are all moderately entertaining and informative but nothing out of the ordinary, much like the film being supported.

When Gotham screened its pilot episode at conventions, I watched with fascination, because it showed such promise as a moody, atmospheric take on the pervasive corruption that created the antibody of The Batman. Sure, it wasn’t entirely based on eighty years of canon, but nothing could do that, so I was prepared.

I stopped watching with regularity halfway through the second season because it stopped being what was promised and became something else entirely. It was a ham-fisted, over-the-top camp take on a modern-day comic, more beholden to the ABC Batman series than the comics.

With each successive season, the twists came faster, the characters stopped making sense, and internal logic was found only in the dictionary. This was a manic Gotham City, where the line between good and evil, moral and corrupt, quality and crap was blurred with every scene.

While earlier a ratings darling, it crashed under the weight of its own absurdity and was given a ten episode fifth and final season to wrap things up, get Bruce Wayne under the cape and cowl and call it a day. Then, Fox granted them two more episodes which felt more tacked on than organic.

Gotham: The Fifth and Final Season and Gotham: The Complete Series are out tomorrow from Warner Home Entertainment. You can find them as Blu-ray or DVDs with nary a difference between them so take your pick.

Apparently, showrunner John Stephens had been planning for their take on the No Man’s Land storyline for some time, and then, for good measure, tried to graft on the horrible Zero Year arc from the current Rebirth line of comics. He shoved both under the title Legend of the Dark Knight, but really, that’s reserved for episode twelve.

The nonsense from season four led to the city being cut off from the rest of America, leaving Jim Gordon (Ben McKenzie), having found his moral bearing once more, a still-teenaged Bruce Wayne (David Mazouz), and others to take the city back from Bane (Shane West), sent there by Nyssa al Ghul (Jaime Murray), seeking vengeance for the death of Ra’s al Ghul (who should be getting better any second now).

Turning the tide against impossible odds is, of all people, the Penguin (Robin Lord Taylor) who, like Carmine Falcone in the pilot, declares his love for the city, despite its evil. “But then what? Stand on the shores of the mainland and watch the army burn it to the ground? Then watch tasteless industrialists and vapid politicians rebuild it? My life is etched on the walls of every alley and dirty warehouse here. My blood lives in its broken concrete. I’m staying to fight for my legacy,” he declares.

We win, of course, just as Barbara Kean (Erin Richards) has given birth to a daughter, named Barbara Lee Gordon, combining the threesome that fueled much of the romance for five years. We know she’ll become Batgirl down the road so it’s a nice nod even fi the timing makes little sense, like so much else of the show.

My biggest complaint was always that by having Mr. Freeze, the Riddler (Cory Michael Smith), Penguin, Scarecrow (David W. Thompson), Hugo Strange (BD Wong), and others a decade ahead of Batman’s arrival, would make them too old to be true threats when they would eventually face off. The teen Selina (Camren Bicondova) made more sense as she grew up experiencing much the same as Bruce, only to make different choices. The ever-aging Poison Ivy (Peyton List) also made a kind of sense given the life of a plant.

And it shows in the finale, where we pick up a decade later, but only Selina (Lili Simmons) has aged, the others stuck in place, stretching credulity. Bruce has finally left Gotham City, after leaving a series of farewell letters to Selina and Alfred (Sean Pertwee) for his training, something way overdue, and comes back, shadowing Gordon until things get dire thanks to Jerome (Cameron Monaghan), the faux-Joker of the series, who shoots Barbara and threatens baby Babs at the Ace Chemical plant. We finally get the Dark Knight and then credits roll.

Yes, the show had its admirers and fans, that’s how it lasted five tortuous seasons. It never lived up to my expectations, going so far in the other direction, my distaste grew visceral. Still, if you liked the show, you can relive every quirky, oddball, hyperkinetic moment.

The box set contains the existing versions of the first, second, third, and fourth seasons with nothing new added. The Fifth and Final Season contains several bonus features to sate your appetite for more craziness. There’s the lengthy Villains: Modes of Persuasion, plus Gotham S5: Best Moments at NY Comic Con 2018, Gotham’s Last Stand, and Unaired scenes.

On September 18, 1964, a serious animated adventure series, demonstrating cartoons didn’t have to always be comical such as The Flintstones (still airing then on ABC). Instead, Jonny Quest captured the sense of exploration Americans were longing for thanks to the Mercury astronauts and the rising tide of espionage films, headed by James Bond. However, Jonny was a young boy, making him an ideal feature for the Friday at 7:30 p.m. slot.

While the 26 episodes are all that were produced, the show’s overall quality proved influential to subsequent generations of animators, comic book storytellers, and audiences. It has pretty much remained in syndication for the last forty years.  Jonny Quest remained the benchmark for dramatic animated fare for decades, enjoying brief runs as a comic book (notably Comico’s 1980s run).

The series has been collected and polished to a brilliant shine on a just-released Jonny Quest: The Complete Series Blu-ray from Warner Archives, where it will be celebrated in San Diego later this month.

The credit for the Hanna-Barbera series starts with Doug Wildey, who was asked to adapt the radio serial Jack Armstrong, the All-American Boy for a cartoon series. Instead, Wildey threw himself into research and so thoroughly updated the concepts and cast that it was something entirely new.

Jonny (voiced by young Tim Matheson) is an 11-year-old homeschooled boy, who accompanies his father, the brilliant Dr. Benton C. Quest (John Stephenson/Don Messick), who is sent by the USA government on various expeditions. They are accompanied by Race Bannon (Mike Road), an agent from Intelligence One, designated as Jonny’s tutor and bodyguard, and Hadji (Danny Bravo), a Kolkata orphan adopted by Dr. Quest. With their dog Bandit, they circle the globe getting in and out of danger with regularity. The stories are imaginative and varied, giving the series its lasting appeal with heavy doses of technological plausibility plus pterodactyls.

There were several recurring characters, notably Race’s old girlfriend, Jade (Cathy Lewis), a mystery never fully solved.

The superior animation lavished on this, compared with most of Hanna-Barbera’s output from the era, looks great here with the traditional 1.33:1 aspect ratio. These files were cleaned up so the colors and heavy black line work is crisp, the colors popping and shadows properly murky.

The DTS-HD 2.0 Master Audio mix nicely preserves the one-channel original audio and works just fine with the beautiful visuals. Hoyt Curtin and Ted Nichols’ theme and music have never sounded better.

The special features from the 2004 DVD release are carried over here, including The Jonny Quest Files: Fun, Facts & Trivia (25:19), Jonny Quest: Adventures in Animation (15:15), complete with comments from Brad Bird, Steve Rude, Dan Riba, and Alex Ross; The Jonny Quest Video Handbook (16:57), and P.F. Flyer Sneaker Commercial (1:00).

If younger people today know Popeye at all, it’s probably his connection with spinach. The brilliance of the animated cartoons from the 1940s is forgotten as is his Can-Do personality and rich supporting cast. A while back, the classic black and white cartoons were being collected as a three volume DVD so it is most welcome that Warner Archives is releasing the color ones using restored and remastered in HD 4K scans of the original nitrate Technicolor negatives for Blu-ray where we can appreciate the detail.

Popeye the Sailor: The 1940s Volume 1 came out last December and now we have Volume 2 with 15 more in chronological order on a reasonably priced disc ($17.97 if you look around). There were released in 1946 and 1947 just after World War II so the content reflects that euphoria and forward-looking approach.

These are a fanciful collection with adventures under the sea, on Mars, out west, and in darkest Africa.

The cartoons lack the imagination and brilliance of the earlier Fleischer Studios, but the renamed Famous Studios still offered up some of the finest animation of the era thanks to the efforts of director Jim Tyer and director Bill Tytla who worked on the majority of these offerings. Veteran director Seymour Kneitel and writers Jack Ward, Carl Meyer, Otto Messmer, and Woody Gelman also well represented here.

We open with “House Tricks?”, which is the first to feature Popeye on the title card and is a remake of the earlier “The House Builder-Upper”. Harry Foster Welch does Popeye’s voice the first few toons before Jack Mercer arrives and takes over with “I’ll be Skiing Ya”. You will watch styles change, notably Olive Oyl, but the antics remain fresh and engaging.

“The Fistic Mystic”, “Wotta Knight”, and “The Island Fling” both feature Black stereotypes that have been edited or not aired on television and are here for inclusiveness. Look for a Herman the Mouse cameo in the latter one. Similarly, there was a moment in “Popeye and the Pirates” where he changed into drag with a glimpse of nudity that screened in 1947 but was snipped for airing and is thought lost, so remains missing here.

The loving restoration from the negatives means we’re seeing crisp, clear version with brilliant colors, a superior collection compared with the first volume. The cleaning also means we’re treated to a superior sound track without the artifacts and hissing that mar broadcast versions.

There are no special features, but I can live with that given the overall quality.

For the record, the titles include are:

“House Tricks?”

“Service with a Guile”

“Klondike Casanova”

“Peep in the Deep”

“Rocket to Mars”

“Rodeo Romeo”

“The Fistic Mystic”

“The Island Fling”

“Abusement Park”

“I’ll Be Skiing Ya”

“Popeye and the Pirates”

“The Royal-Four Flusher”

“Wotta Knight”

“Safari So Good”

“All’s Fair at the Fair”