Author: Robert Greenberger

We should have seen this coming. Last fall, Warner Animation unleashed Batman: The Dark Knight Returns, Part 1, adapting the first two issues of Frank Miller’s seminal prestige format miniseries. In January, we finally got Part 2, completing the story of 50 year old Bruce Wayne being forced to don the cape and cowl once more, to bring justice back to a crumbling Gotham City. Out now is Batman: The Dark Knight Returns Deluxe Edition, seamlessly editing the two sections into a 148-minute feature.

As previously reviewed, the adaptation is largely successful, recreating the bleak look and feel of a fascist world, protected by a Man of Steel working for a government Wayne no longer recognizes. The story is clearly Miller’s musing on the role of heroes in the time of Ronald Reagan but it is also a thrilling adventure, looking at a bitter, somewhat broken hero who has turned his back on the people he swore to protect. Events and destiny, though, have something to say about that choice.

So, the question becomes, is it worth buying the combined parts in a single disc? As a film, no, not really. Being a successful adaptation, it lays the ground work in the first half so things explode and rush along in the second., Splicing them together, it plays nicely and ramps things up and without waiting six months, delivers on the promised climax. It’s a satisfying adaptation from writer Bob Goodman and director Jay Oliva.

What you also get that’s new is a fun, interesting Audio Commentary track from Oliva, Goodman and voice director Andrea Romano and a second Blu-ray disc containing all the previous features plus a brand new lengthy documentary on Miller. Masterpiece: Frank Miller’s The Dark Knight Returns (69 minutes), narrated by Malcolm McDowell, not only talks to Miller at length but includes colleagues including Jenette Kahn, Editor Denny O’Neil, collaborator Klaus Janson, admirers Grant Morrison, Michael Uslan, and Mike Carlin. We meet the Virginia fan boy who successfully found work as an artist at Marvel, getting noticed for his work on Daredevil, leading to coming over to DC for Ronin then Dark Knight, helping shape the next generation of storytelling. Unfortunately, we don’t see the remainder of his sporadic career in comics and Hollywood.

The documentary makes this worth owning while the combined feature is a more satisfying viewing experience.

Vikings Season 1 delivers a visceral journey to a thrilling ancient world in this epic new series about history’s bravest and most brutally fearsome warriors.

Vikings follows the adventures of the great hero Ragnar Lothbrok (Travis Fimmel), a Viking chieftain seeking to fulfill his destiny as a conqueror, alongside his ambitious brother Rollo (Clive Standen) and loyal wife Lagertha (Katheryn Winnick).  Throughout his quest, Ragnar faces a path of betrayals and temptations to protect his freedom, family, and life.  When Ragnar teams up with his boat builder friend Floki (Gustaf Skarsgard) to craft a new generation of intrepid ships capable of conquering the rough northern seas, the stage is set for conflict.

Exclusively featured on the Blu-ray™ and DVD, “Birth of the Vikings” looks at the creator’s approach to, the series challenge in re-creating the period, and the wonders of shooting the series in Ireland’s beautiful, Wicklow mountains.  “Birth of the Vikings,” is an all-access look at the creation of VIKINGS.

For a chance to win your copy of the Blu-ray just answer this  question: Which Viking discovered North America before Columbus?

Have your answer posted by 11:59 p.m.  Saturday, October 19. The decision of the ComicMix judges will be final and this contest is open only to readers in the United States and Canada.

FX’s American Horror Story has helped change the way we consume terror tales on television. First of all, each season is self-contained and although some performers can be seen as different characters in each of the three seasons, they are entirely different stories. The limited nature of the premise allows the producers to nab major performers and it has worked with great success, judging by the Golden Globe and Emmy nominations it has been receiving. By having a strong story and an ensemble of repertory players, anchored by the amazing Jessica Lange, the series keeps you from ever getting bored.

With season three now airing, 20^th Century Home Entertainment is releasing Asylum, the Complete Second Season. They share the umbrella title but have little to do with one another as Asylum focuses on the inhabitants of an institution for the criminally insane in 1964.  Cocreators Ryan Murphy and Brad Falchuk, this is closer in spirit to their Nip/Tuck for FX than their Glee for Fox. I appreciate their ability to not repeat themselves and keep things interesting and fresh.

Asylum was written around Lange and then others from the first season came back in roles written around her Sister Jude. Sarah Paulson, Evan Peters, Lily Rabe, Frances Conroy, Zachary Quinto, and Dylan McDermott are all back for the ride. If the first season watched a family unravel in the traditional haunted house, setting the second tale in an asylum just begs for dysfunction and terror. The Briarcliff Mental Institution in Massachusetts is set in an era when caring for the mental ill was some limbo realm where treatment was sporadic, attempts at rehabilitation was nonexistent and patient care was little better than inmates at a penitentiary.

The season explores 1964, the year after JFK was assassinated and the birth of modern day pop culture (cue The Beatles on Ed Sullivan) and the present day. As a result, it’s interesting to see how the characters react to things such as homosexuality and changing mores. The institution was packed and functioning back in the day and now stands empty, haunted by those who dwelled and worked in its halls. Lange is tortured and hides behind her habit, avoiding coming anywhere close to the stereotype created by Nurse Ratchet. Instead, she is avoiding her past, much as Arthur Arden (James Cromwell) does leaving people to wonder if he was a Nazi torturer. Similar to Parminder Nagra’s psychiatrist set in the past portions of the failed Alcatraz, Quinto’s Dr. Oliver Thredson arrives with “progressive” approaches to treatment which he wants to apply to a serial killer.

But it’s not all psychological horror as Frances Conroy returns, this time as the literal Angel of Death. Let’s not forget the extraterrestrials, too. Of the thirteen episodes, contained on three Blu-ray discs, there are several self-contained bits while other threads spread across the entire season with Lana (Sarah Paulson) as the through-line involving her relationship with Sister Jude.

The filming is shadowy, moody, atmospheric in fresh ways, refusing to repeat the first season’s visual flair. Thankfully, the transfer to high definition is handled well so the overall visuals are strong, accompanied with good audio.

For a show packed with as much detail as there is, the paltry selection of extras is disappointing. You have deleted scenes on two of the three discs and then four short pieces. The Orderly (9:00) wastes space with an orderly being interviewed by an unseen woman, ending with a shock. What Is American Horror Story: Asylum? (21:55) is a collection of interviews from cast and crew, likely pulled from press materials. More interesting is Welcome to Briarcliff Manor (15:04), letting us look at the impressive production design. Finally, there is a look at the make-up and prosthetic work done on The Creatures (14:49).

I find Guillermo del Toro an incredibly imaginative visualist and energetic storyteller but his movies tend to be overly stuffed with too many elements to crowd the story (Hellboy II) or too many visual and nowhere near enough story (Pacific Rim). I found the latter film incredibly showy, loud, and disappointingly predictable and dull. The worldbuilding is nearly nonexistent, the characters half-baked, and the Kaiju underwhelming.

Back in my Weekly World News days, Addie Blaustein would create a Kaiju and I’d be challenged to write a piece about whatever she conjured up so I know a little something about the Japanese genre and its history. The creatures del Toro and his effects team offer up are large, loud, and messy. But they lack differentiation. Oddly, the Toho monsters had character and a different approach to their attacks. The Kaiju, levels 1-5 here, emerge from the water, attack a city and roar a lot. While visually different, they’re boring.

So are the humans manning the mecha, excuse me, Jaegers, that have been designed to battle them. We have the stereotypical Chinese and Russians, the flinty Aussies and the stoic American brothers. Ho hum. Five years after losing his sibling in a horrible battle, Raleigh Becket (Charlie Hunnam) is coaxed back by his former boss Stacker Pentecost (Idris Elba) into a final fight with the very fate of the world at stake. Gosh, who will be good enough and compatible enough to work in tandem with him? Could it be Mako Mori (Rinko Kikuchi), Pentecost’s aide with traumatic issues of her own? Of course.

Screenwriters Travis Beacham and del Toro tell us the world is under attack by alien beings under the surface and that after all these years, the Kaiju are winning and humanity is threatened. But after all the death and devastation, we have no real sense of what life is like for the common man and woman. What’s the global economy or political landscape like? The dull narration early on provides us some clues but glosses over things to give us one fight after another that is often at night and cut so quickly you can’t quite tell what’s going on.

One irksome point was that Dr. Newton Geiszler (Charlie Day) had to go to the black market to find Kaiju samples to study when one would think understanding the creatures would be a major priority for the world leaders so they can develop effective countermeasures. Day’s performance is over the top, beat only by Burn Gorham’s wacky mad mathematician. Both feel like they were imported from some other film.

You would think del Toro’s valentine to the monster movies of old would be more fun but instead, it plods and roars and bores. Rock ‘em, Sock ‘em robots versus Godzilla wanna-bes! This should have been epic and falls short on almost every level. Rather than dropping a bomb to seal the portal to Pellucidar or wherever the aliens are residing, it would have been far more interesting to send the mecha down there and bring the fight to the manufacturers of these monsters. Instead, the threat is sealed, leaving matters unresolved until the unnecessary sequel.

The summer IMAX 3-D blockbuster is out on home video now in a variety of packages from Warner Home Video. The one most of you will wind up with is the Blu-ray, DVD, Ultraviolet combo pack and it’s good to know that the video transfer is wonderful with bright colors where appropriate and clarity throughout. Additionally, the DTS-HD Master Audio 7.1 and 5.1 surround tracks are wonderful.

The package comes with two Blu-ray discs because the extras spill from one to take over the other. On disc one you get the film and can listen to del Toro’s fascinating Audio Commentary, which delves into his influences and discusses the challenges to bringing his imagination to the screen. There are 62 minutes’ worth of Focus Points, a baker’s dozen of featurettes. For the record these include: A Film by Guillermo del Toro (4:47), A Primer on Kaijus & Jaegers (4:09)

Intricacy of Robot Design (4:53), Honoring the Kaiju Tradition (4:30), The Importance of Mass and Scale (5:45), Shatterdome Ranger Roll Call (5:39), Jaegers Echo Human Grace (4:01), Inside the Drift (4:36), Goth-Tech (4:39), Mega Sized Sets (8:54), Baby Kaiju Set Visit (3:07), Tokyo Alley Set Visit (3:17), and Orchestral Sounds from the Anteverse (4:04).

Over on the second disc you then get the interactive The Director’s Notebook, which allows you to flip through his digital handbook on the making of the film, allowing you to go from still images to interviews, and tons of details on the pre-production designs. You can even use the

Magnify Mode, translating del Toro’s Spanish text and accessing exclusive galleries. The disc also offers you The Digital Artistry of Pacific Rim (17 minutes), focusing on the digital effects; The Shatterdome: an archive of the film’s design art via video and still galleries; four Deleted Scenes (4 minutes); Drift Space (5 minutes), a look at the film’s four Drift sequences; Blooper Reel (4 minutes), mostly from Day and del Toro regular Ron Perlman.

USA’s shows make up for small budgets with winning high concepts and appealing casts. Many of their series work entirely because of their superb eye for casting, using familiar faces and strong ensembles. These shows have also worked thanks to adding season-long meta-stories while solving case-of-the-week stories. As a result, the leads are generally put through the wringer, each taking a turn.

In the case of White Collar, the third season ended with Neal Caffrey (Matthew Bomer) on the run with an international manhunt launched to find the felon turned FBI advisor. The fourth season opened over the late summer of 2011, finishing up in the winter of 2012 and is now collected in White Collar the Complete Fourth Season, released this week by 20^th Century Home Entertainment. Bookending the sixteen episodes, it’s his FBI handler and now best friend Peter Burke (Tim DeKay) in hot water.
In between, the long-simmering matter of Neal’s past is finally brought to light as he learns more than he wanted to know about his father James (Treat Williams). In fact, those revelations set Peter against Senator Terrance Pratt (Titus Welliver) which plays out over the final eight episodes. Further complicating Peter’s career is the arrival of Assistant Special Agent (in charge) Amanda Callaway (Emily Procter). When James commits murder and leaves Peter framed for the crime, Neal has learned a harsh lesson and we have to wait until October to find out what happens next.

Along the way, the series continued to rearrange the deck chairs so friendships are tested and reforged time and again but at the core, there’s Neal and Mozzie (Willie Garson), Neal and Peter, and Peter and Elizabeth (Tiffani Thiessen). Of the core cast, Thiessen is left with the least to do with one exception, “Shoot the Moon”, when she and Peter both get kidnapped by would-be criminals. At the FBI, stalwart supporting cast members Marsha Thomason and Sharif Atkins do a fine job carrying the spears but have little of substance to do, which is a shame since Thomason’s Diana is intriguing.

The series does a nice job with guest casting, kicking off with the much missed Mia Maestro seen in the first two episodes as is Mekhi Phifer. And of course there’s Hilarie Burton, back as Neal’s lover Sara Ellis, who really should just settle with him but that would make boring television.

Some of the cases get hokey such as when Neal and Peter have to box in an underground boxing club or the last few episodes as they search for a valuable McGuffin within the Empire State Building. But given the beguiling performances and eternal twinkle in Bomer’s eye, you forgive a lot. The show may be starting to slow down as season five had its sixteen episode order trimmed to thirteen so enjoy these while you can.

The bonus features on the four disc set are largely made up of deleted scenes, found on each disc, along with the perfunctory gag reel. Tim DeKay—In the Director’s Chair looks at the star taking charge of an episode and the final episode, “In the Wind”, gets commentary from Bomer, DeKay, Garson, and series creator Jeff Eastin.

After a decade of low-budget cheesy special effects science fiction films, the early 1960s was particularly quiet, ceding to television series such as Star Trek and The Time Tunnel. But, also released in 1966 was an eye-opening spectacular that had a plausible premise, strong cast, and the next generation in film special effects. Fantastic Voyage may be remembered today for Raquel Welch in a tight outfit, it is also a step forward in cinematic SF. Thankfully, it preceded 2001: A Space Odyssey by two years.

At a time when miniaturization was making home technology smaller and more sophisticated, the idea of inserting a tiny sub full of humans into the body of an ill scientist seemed the next logical step. The body in question was the victim of an assassination attempt and his knowledge and life had to be saved so a daring experiment was to be undertaken. Forget that the sub is nuclear-powered and the physics doesn’t quite make sense, but this is an ambitious leap forward in man’s quest to understand himself.

Once entering the body they have to contend with antibodies, foreign matter, and a ticking clock. So of course things go wrong en route to the blood clot located in the man’s brain. Harry Kleiner’s screenplay (from a story by a story by Otto Klement and Star Trek’s Jerome Bixby) ignored the original intent for being a Jules Vernesque escapade and dashed the sense of wonder in favor of a dated Cold War vibe.

Richard Fleisher, a skilled and versatile director who helmed Barabbas, Doctor Doolittle, Soylent Green. and yes, Conan the Destroyer, brings his A game to the film, never letting the mind-blowing special effects overwhelm the adventure. He let his cast, led by Stephen Boyd, Raquel Welch, Edmond O’Brien, and Donald Pleasence, actually act and treat this as a plausible mission. Harper Goff, who gave us the Nautilus in Fleisher’s 20,000 Leagues Under the Sea, provided the designs for the Proteus while Ernest Laszlo  made the blood stream a hallucinogenic treat. Leonard Rosenman made a conscious decision not to add music until the crew was inside the scientist’s body so it added to the unreal feel of the location. All told, the film worked better than anyone expected earning it Oscars for Best Art Direction – Color  and Best Special Effects.

The film’s unheralded star was actually Isaac Asimov, who wrote the novelization and corrected numerous logic and medical flaws which were later incorporated into the film, keeping it from being silly. His work was fast while the filming was repeatedly delayed so the book was out a full six months ahead of the film making many think it was an adaptation of his work.

All told, though, today’s CGI easily beats the traditional special effects, automatically making the film feel old. The Cold War stuff distracts from a human adventure and the writing is stiff in places while the direction is leisurely compared with today’s quick cut culture. But this was a pioneering effort that restored a modicum of respect for the genre, paving the way for Kubrick and those who quickly followed. As a result, the film is well worth watching.

Therefore, it’s good to see that the transfer to high def was pretty solid although not perfect. The mono mix is transferred nicely so both add up to a pleasant viewing experience at home.

As for the extras, an incomplete collection from the Cinema Classics Collection DVD are repeated here, including

Most but not all of the supplements from the Cinema Classics Collection DVD have been ported over to this Blu-ray release. They include: Commentary by Film and Music Historian Jeff Bond; Lava Lamps and Celluloid: A Tribute to the Visual Effects of Fantastic Voyage (17:40)which is a useful tutorial on how they accomplished it all; Whirlpool Scene: Storyboard to Scene (2:22); and the Trailer and TV Spots (13:07). Additionally, there is an  Isolated Score Track With Commentary from Bond, who knows his stuff accompanied by Jon Burlingame and Nick Redman.