Author: Robert Greenberger

Review: ‘Indiana Jones and the Kingdom of the Crystal Skull’

Sitting in the darkened screening room at Paramount Pictures that early May day in 1981, I had no idea what I was about to experience.  Working at Starlog at the time, I thought we were pretty much aware of everything cool that was coming from Hollywood.  But we knew little about this thing called [[[Raiders of the Lost Ark]]].  Then we watched it.

An homage to the action serials of the 1930s and 1940s, director Steven Spielberg and producer George Lucas combined their best skills to produce something iconic and fresh at the same time.  They also did what has become increasingly difficult ever since – create an interesting character from scratch.  Sure, Indy is one of a long line of adventurers dating back to Allan Quatermain if not further back, but still, he was new and cool.

Ever subsequent Indy film has been measured against the original and found wanting. I missed [[[Indiana Jones and the Kingdom of the Crystal Skull]]] when it opened in May so sat with the DVD, on sale today, and was curious to see what sort of experience this would be. After all, the buzz over the summer that while good, it was ultimately a disappointment after waiting so many years.

I was entertained.  The movie wisely moved to the 1950s to reflect the passage of time and evoke an entirely new feeling.  As a result, the Roswell setting, the Crystal Skull possibly being an alien, etc. was all appropriate as was the arrival of the Cold War nemesis, successors to the Nazis for storytelling fodder.

However, Spielberg and Lucas got too cute from the get-go with the Caddyshack-like gopher  popping up as we began the story.  While winks to those no longer with us, such as Marcus Brody were fine at Indy’s home, the statue’s head striking a blow was unnecessary.  While immediately understanding the locale from John Williams’ evocative score, we didn’t need to see the Ark.  Too many winks at the expense of good storytelling.

More should have been done to examine Indy at a point in his life when he was getting a little old of adventure and his life was filled with missed opportunities.   Mutt being his son was telegraphed from the get-go and was totally without nuance.  Marion arrives too late for my taste, trades quips but seems to accept the passage of time with a smile and far more forgiveness than she showed in the first film.  Her spunk and edge, which made her extremely fascinating in Raiders was all scrubbed away, making her likeable and far less compelling.  Thankfully, Karen Allen has aged as gracefully as Harrison Ford and they still have some great screen chemistry.

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Four New Characters Join ‘Torchwood’

  • News
  • October 14, 2008

Torchwood Magazine has the first scoop on the newest members joining season three of the popular spinoff from Doctor Who. The five-episode serial, Children of the Earth, has been shooting since late August with a 2009 airdate to be announced,

Producer Peter Bennett walked readers through the four starting with Lucy Cohu (Cape Wrath) who will play Alice, "a woman keeping many secrets from the past".

Susan Brown (The Riff Raff Element) will be Bridget Spears – "a character vitally connected to the government, which plays an important part in this story".

First-time performers complete the cast: Cush Jumbo as Lois Habiba, "a secretary who hacks into some vital information", and Rik Makarem, playing Doctor Rupesh Patanjali, a "junior doctor at St Helen’s hospital who gets drawn into Torchwood’s investigations".
 

‘Mutts’ Pushes for Prop 2

  • News
  • October 14, 2008

This week’s Mutts storyline takes a political tone as creator Patrick McDonnell campaigns in favor of California’s Proposition 2, which is aimed at curbing factory farm abuses. Mutts,  found in 700+ newspapers in 20 countries, is read by four million Californians no doubt distracted more by presidential politics than the proposition.

Michael Markarian spoke with McDonnell at the Huffington Post about this unusual activism for the one page of the newspaper that usually eschews offending anyone.

“In Mutts I try to see the world through the eyes of animals,” he told the site. “This has made me more conscious of how tough many of them have it on this planet. In 2000 I was asked to join the Board of Directors of The Humane Society of the United States, and became even more aware and involved. I felt that my strip could address (hopefully, for the most part, in an entertaining way) some of these issues and help give the animals a voice.

“Prop 2 is just too important to not tackle. Even though the reform will be modest, it puts a stake into the ground that the way we treat farm animals matters…20 million animals will be directly impacted, suffering less, if this measure passes. It will also send a clear message to the factory farm conglomerates that, once people are made aware, they will not tolerate the way most animals raised for food are treated in this country.”

Review: ‘Iron Man’ DVD

  • Uncategorized
  • October 13, 2008

I’ll admit it right up front; I grew up with [[[Iron Ma]]]n as my favorite Marvel super-hero. I can’t say why exactly, although I really liked the armor and the gadgets and when Gene Colan began drawing his adventures, I loved the artwork.

So, you might imagine, I was predisposed to enjoy the movie now out on DVD. The idea that Iron Man would ever become a feature film was one I never really imagined and all through the years o development, I kept hoping. Still, as cool as it might have been to see Tom Cruise as Tony Stark or see what Nick Cassavettes would have done as a director, I was perfectly content with Jon Favreau as the director. After all, from the moment he started writing on MySpace, you could tell he got it. He understood what set the character apart.

Whereas fantastic things happened to Peter Parker, Susan Richards and Bruce Banner, among others, what happened to Tony Stark was very real world. The notion of shrapnel threatening the munitions manufacturer was a just irony and showed that Stan Lee was very plugged into the Cold War fears of the day.

It took All-American ingenuity to fashion the crude armor that allowed Stark to escape his captors and return to his Military-Industrial complex. However, the experience changed him and he knew he had things to atone for.

Favreau updated the worldview to today and the switch from Vietnam to Afghanistan was smart. Seeing so much of Stark Industries’ wares in the hands of the bad guys was also a great wakeup call and yes, the near-death experience made him a changed man.

All the elements of those early Iron Man stories are excellently updated and made to feel fresh after the previous Marvel films. This one felt more grounded in our world and we could easily accept the higher level of technology. He made Stark Industries cutting edge and by integrating Obadiah Stane into Stark’s life is the one major change and it works for a film.

Robert Downey Jr. superbly inhabits Tony Stark and makes us care for him as he evolves from the callow genius to the responsible global citizen. He’s aided by Gwyneth Paltrow as the sharp-tongued Pepper Potts and Terence Howard, a tad underused as James Rhodes (although when he looks at the Mark II armor, he tells the audience, “Next time”). There’s another tip to the comics as Stark’s chauffeur, Happy Hogan is there, played quietly by Favreau himself (he’s now a sidekick in two Marvel franchise films, a neat trick matched by Sam Elliot).

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Seven Doctors, No Waiting

  • News
  • October 13, 2008

We mentioned a rumor that the annual BBC charity special for Children in Need this year might feature a reunion of previous doctors along with the current Doctor, David Tennant.  Now London’s Telegraph is report that the seven surviving actors who have played the Doctor will be reunited for the special, to air November 14.

An insider at the BBC told the paper, "It’s a pretty ambitious idea and it’s still being finalized. Everything is being kept under wraps but Doctor Who fans are in for a big treat."

The Doctor has been seen on the special for the last several years and the producers have carefully woven his short escapade into the current dramatic series continuity.  Last year, for example, saw Peter Davison meet Tennant.

Reportedly joining those two will be Tom Baker, Colin Baker, Sylvester McCoy, Paul McGann and Tennant’s predecessor in the current revival, Christopher Eccleston.

The first trio of performers to essay the role — William Hartnell, Patrick Troughton, and Jon Pertwee – have all passed away.

Davison’s daughter, Georgia Moffett, has been seen on the current series and is currently dating Tennant.

In related news, Tennant and his most recent companion, played by Donna Tate, have been nominated for the National Television Awards’ Outstanding Drama Performance. Tennant has won twice before and will go head-to-head with Tate who played Donna Nobel.  There’ll be no Doctor Donna winner in this, the first time male and female stars will compete in the same category. The Doctor Who stars face competition from Ashes to Ashes’ Philip Glenister and The Bill’s Alex Walkinshaw.
 

Juan Antonio Bayona Turns into ‘Hater’

  • News
  • October 13, 2008

One film Guillermo del Toro will not be directing for Universal is the adaptation of Hater, the film he will produce with Mark Johnson. Instead, Variety reports that Juan Antonio Bayona has been signed to direct the movie based on David Moody’s thriller and adapted to the screen b Glen Mazzara (The Shield).

Bayona is best known for The Orphanage, which del Toro also produced, and this will be his English-language debut.

"I like the idea of a movie that talks about the state of fear we live in nowadays," Bayona told  Variety.

The novel and screenplay tells of people suddenly committing random acts of violence with no provocation. “What I loved about Hater is it recognizes the reality that we live in, where it is incredibly easy to polarize, to hate for gender, race, age,” del Toro told the trade over the summer.

Pink Panther, Collected and Reimagined

  • News
  • October 13, 2008

Pink Panther & Pals will be a new 26-episode animated series for the Cartoon Network, airing in fall 2009.  The deal between Turner Broadcasting and MGM Worldwide Television sees production in Los Angeles and Amman, Jordan, jointly produced by MGM and Jordan-based Rubicon according to The Hollywood Reporter.

The new half-hour series will depict a teenage Pink Panther as he and his peers get into all sorts of trouble. Ant and Aardvark will be back in addition to new characters. The Henry Mancini musical score and comedy themes will be reprised since after all, that’s what we all love best about the property.

"The character is drawn a little younger to depict the Pink Panther as a teenager, although he will be instantly recognizable with his signature walk and devil-may-care attitude," executive producer David Corbett told the paper.

Meantime, TV on DVD is reporting that The Pink Panther and Friends Classic Cartoon Collection will be out January 27, 2009. All nine volumes of Pink Panther shorts, totaling 190, will be collected for the first time for a retail price of $69.98.  For live action fans, MGM will be releasing The Pink Panther Ultimate Collection on November 25. The box set will contain the live action Inspector Clouseau films (including 2006’s Steve Martin rendition), in addition to the nine volumes animated theatrical shorts.

The animated volumes not only include The Pink Panther series of shorts, but also The Ant and the Aardvark, The Inspector, and Roland and Ratfink. The collection also includes Jerry Beck’s Pink Panther, The Ultimate Guide to the Coolest Cat in Town! The collection will retail for $199.98.
 

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Review: ‘Beauty and the Beast’ The Complete Series

batb-s1-3-dvd-front-3128808In 1987, television was evolving.  Thanks to [[[Hill Street Blues]]], the way dramatic stories were presented became more complex, the storytelling more diverse and the stories more compressed. The subject matter was also starting to broaden, moving beyond cops, lawyers and doctors.  It was just before the SF wave kicked off with [[[Star Trek: The Next Generation]]] but that didn’t stop CBS from trying something a little different.

On a Friday night, September 25, 1987, audiences were treated to a different look at the classic [[[Beauty and the Beast]]] tale.  The series starred Ron Perlman as Vincent, the beast, a mutant of some sort, who comes to the rescue of Linda Hamilton’s Catherine, a rich girl turned assistant district attorney.  Their connection became the stuff of fairy tale and from that pilot episode, their fates became inextricable.

It had all the lush romance of a Harlequin book and the action to keep spouses by their side.  The series had its ups and downs, making a star out of Hamilton who left the series after just two seasons, derailing the eternal romance. Jo Anderson was brought in for the third season but that, coupled with CBS’s insistence on increased action for the males, hurt and the series came to an end in January 1990 (although the final two were run that summer).  Its 56 episodes remain a testament to the creative vision of creator Ron Koslow and fantasist George R.R. Martin who wound up penning 13 of the episodes.

Paramount Home Video has released a 16-disc box set of the complete series and it shows its age.  Beauty and the Beast has the look and feel of the 1980s without fully embracing the changing storytelling in television. The storytelling is slow, almost plodding at times, and each week they seemed to focus on some new social ill without really offering long-term solutions.  The threats were fairly standard stuff for the most part, intertwined with the poetry between the characters.  Complete with lush music, long, lingering gazes into character’s eyes, it was truly a romance novel brought to the screen.

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Alan Ball Talks ‘True Blood’

  • News
  • October 12, 2008

trueblood-3179885Director Alan Ball spoke with Moviehole about the reaction to his adaptation of True Blood, now about halfway through its first season on HBO.

He was drawn to the book series because it “seems like such an original mix. There’s so much in there that I really enjoyed. There’s a gothic-romance element, and I probably wouldn’t have enjoyed it if that’s all it had been about, but there was also sex, violence and this serial murderer, all set in this crazy world where vampires are struggling for equal rights. And then there’s this cliffhanger old Saturday-afternoon matinee feel. It’s just really, really fun to work on.”

The show, recently picked up for a second season, stars Anna Paquin as a telepath in a small southern town who develops a relationship with a vampire who recently moved in nearby.

“She’s good casting,” he said. “Thank god she wanted to do TV! When the casting director said ‘Are you interested in Anna Paquin?’ I shot back ‘Well, yeah, but is she interested in this?’ She says ‘Yeah, she is’. Anna pursued this role, and thank god she did because… she really gives the show heart… soul. It’s a great cast, lets not discount anyone else in the cast, but playing someone whose been hearing someone else’s thoughts their entire life isn’t easy – and she makes it look easy.”

His adaptation of Towelhead is currently in theaters, having received largely negative reviews and he’s now at work on the second season. “I’m working with the writers on Monday. And I have two screenplays that I’ve written over the years, both original, that I may do. I think I’d like to direct one and I think I’d like to produce one. I’m playing with the idea of becoming a production company. But there’s nothing definite on the horizon besides True Blood.”

He added that actors he’s worked with elsewhere will be found on the series including Towelhead’s Lena Collins and Six Feet Under’s Chris Messina. “I tend to do that – work with actors again, especially if I feel they’re really good and are a pleasure to work with. If something is right for them, I’ll look them up.”

As for the future, he said, “I’ve found that after Six Feet Under, and now Towelhead, that the things I’m not drawn to seem to be genre – which was never the case for me before. I certainly have ideas for films that seem to be more science-fiction – that’s the label that best describes them – even though these two new scripts I’ve written both take place in the real world, one being a period piece. In terms of what I’m reading, and are interested in though, I sort of feel like I’ve had my fill of angst.”
 

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Review: ‘Typhon’ Vol. 1

typhon-cover-7946221Typhon

Dirty Danny Press, $24.95

At 50, I’m pretty set in my comic book reading habits.  Having been raised largely on the output from DC Comics and Marvel, I have fairly mainstream tastes.  Now and then, though, I push myself to see what else is out there. As a result, reading Danny Hellman’s recently published [[[Typhon]]] anthology was an eye-opening experience.

The 192-page full-color trade paperback allows me the chance to see who else is producing comic book work.  Typhon takes its name from Greek mythology and is a creature with hundreds of hissing serpents, outdoing the Medusa. Venom was said to drip form their eyes and lava to be spit from their mouths. There are no super-heroes, no continuing characters, nothing based on a media property (although Droopy appears in one story).  Each tendril from the creature’s head is the product of the fertile imagination of the 42 creators who contributed to over the course of several years.

Hellman may be best known for his [[[Legal Action Comics]]] in addition to his own work at Time, Newsweek, Fortune, Forbes, The Wall Street Journal, and the Village Voice. Promoting the book, he said, “I realized that I was looking at a far more ambitious book than what I’d done previously. The work presented in Typhon covers a wide spectrum of what’s possible in comics, from zany, offbeat humor to unnerving existential angst, and on to chilling horror, all of it brought to life with breathtaking, cutting-edge artwork.

“Anthologies give us the opportunity to enjoy work by talented cartoonists who, for whatever reason, don’t produce enough material to fill out solo books. As an editor of anthologies, I’m excited to provide a showcase for artists and work that we might not see otherwise. Diversity makes for a richer comics scene.”

Everything he says is correct and to be applauded. I really enjoyed the colorful, inventive use of the page from Hans Rickheit, Rupert Bottenberg, Tobias Tak, and Fiona Smyth.  They created visually arresting images and used color in appealing ways. On the other hand, I could not make heads or tails out of Bald Eagles’ eight page head trip that is hard on the eyes and unreadable.

On the other hand, way too often I’d reach the end of these short works and scratch my head.  “What the hell was that all about?” was a repeated refrain. I’m used to stories about character or stories about something.  Yet, these works seem to be characters and situations that begin and end and say nothing.  Too frequently, I think the creators were out to amuse themselves, forgetting their audience. Rick Trembles’ “[[[Goopy Spasms]]]” feels like it was done because he could not because he had something say or share and was generally off-putting.

Hellman told Tom Spurgeon, “…It can be tough to pin down precisely what ‘good drawing’ is. Ultimately, beautiful art is a matter of taste. Drawing chops, anatomical knowledge, the ability to recreate the natural world in two dimensions and have it be both accurate and pleasing to the eye; these are important. But what’s really vital is that we connect with the art on an emotional, perhaps spiritual level.”

I’m all in favor of creative freedom but if someone wants my $24.95, then the editor of the collection has to step up and guide the talent to make certain their point, if there is one, gets across, from page to reader.  Here, Hellman spectacularly fails.

He kicks off the collection with his own “[[[The Terror in Peep Booth 5]]]” which looks and reads closest to a mainstream comic, complete with beginning, middle and end. After that, though, it’s all over the place.  Perhaps the most moving piece is Tim Lane’s “The Manic Depressive from Another Planet”.

I enjoyed being exposed to new voices and talents but come away disappointed that there are all these people with very little to say.

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