Author: Robert Greenberger

The Inhumans were one of the last great creations by Stan Lee and Jack Kirby. Beginning with Medusa, introduced in Fantastic Four #36 in 1965, the full complement showed up nine months later. They were another branch of humanity, although it was a long time before readers learned the full story, especially as succeeding writers found new ways to tie them in to the evolving Marvel Universe cosmology. They were a fascinating, colorful bunch but each time they received their own series, it never quite caught on. Still, that hasn’t stopped people from trying, including Paul Jenkins who brought a radical approach to the race for the fourth attempt in 2003. His twelve issue maxiseries was drawn by Jae Lee, propelling him into the spotlight.

Jenkins focused on what the societal structure of Attilan, must be like. We knew previously of Black Bolt and the royal family, but we also came to know that there is a subservient class of Alpha Primitives. The maxiseries contrasts relations between the Inhumans and the mutants along with the Inhumans and the world governments. To tell the story, he focused on a group of teens as they undergo Terrigenesis, a rite of passage that exposes each to the Terrigan Mists, which unlocks their special genetic heritage.

Stirring the unrest among the Primitives is one young Inhuman, an outcast from their society. Stirring unrest among the governments is the king’s insane brother Maximus the Mad. And yes, there’s an insidious connection between the two. Various governments covet the high tech prowess possessed by the Inhumans while Black Bolt just wants to live apart from humanity. Geopolitics, fueled by family infighting, ignites and propels the story.

This was adapted into a series of motion comics shorts that ran online a while back and has been collected onto DVD by Shout! Factory. As with the other motion comics, the process is a modern day version of the 1960s Marvel cartoons with the artwork lifted from the comics and limited animation added. Jae Lee’s artwork does not lend itself well to the process and the modifications to his work by others are evident.

Jenkins’ story, already episodic, breaks into neat chapters and flows nicely. He clearly has his favorites such as Karnak the Shatterer, and doesn’t know what to do with others such as Triton and Crystal. In the center remains the mute Black Bolt, long-suffering sovereign of a people that cannot find lasting peace. He also gives new characters to embrace such as Tonaja, one of the newest Inhumans and Rexel Toiven, who considers himself an outcast and decides to take his problems to the world governments in the name of his king. Of course, the humans fight back and Attilan is brought to the brink of a global war. With Maximus stirring up the Primitives, Black Bolt has his gloved hands full.

As befit Marvel Knights at the time, this is a darker take on the Marvel Universe and their allegorical themes. In this case, the Inhumans stand in for the standard fear of mutants but there are several other themes Jenkins explores and does well, although the comic actually does a better job with this aspect.

I wish I could explain it, but as usual, the vocal talent here is lackluster although better than most of the other motion comics from Marvel. Brian Drummond’s Maximus gets an A.

Shout! merely collects the chapters without editing them into a seamless movie so you get each installment’s recap and by the midpoint it feels very repetitious. The 132 minute running time could have been streamlined and the story made stronger in the process.

Unlike some of the other DVDs in the series, this one comes with A Look Back At The Inhumans with fresh interviews from Jenkins and then-Marvel Knights chief  and now Chief Creative officer Joe Quesada. Jenkins does a nice job talking about the motivations for the project, his thoughts on the Inhumans as characters in the Marvel Universe, and writing the maxiseries. Quesada is a bit more generic and rah rah.

The Case of Charles Dexter Ward
By H.P. Lovecraft and I.N.J. Culbard
128 pages, SelfMadeHero/Abrams, $19.95

I never could warm up to H.P. Lovecraft’s prose. It was turgid and overly descriptive, so on the one hand, he had a tremendous imagination but put me to sleep as he conjured up the unimaginable horrors. His visual imagination gave birth to the legend of Cthulu which remains all he is remembered for by the mass populace. Still, people turn to his works for inspiration or, in this case, adaptation. INJ Culbard has adapted Lovecraft (1890-1937) before with At the Mountains of Madness and has also done some noteworthy versions of Arthur Conan Doyle’s Sherlock Holmes. Domestically, he probably best known for his collaboration with Dan Abnett on Vertigo’s imaginative New Deadwardians.

Now he tackles The Case of Charles Dexter Ward, Lovecraft’s 51,000 word short novel written in 1927, streamlining the story and bringing the dialogue heavy tale to life. SelfMadeHero has released this in Europe and now it comes to the United States through their relationship with Abrams. Originally a short story expanded to novel length, Lovecraft was said to have disliked the longer version but it gave Culbard plenty to work with. In short, this is a two-person tale, Ward, has become fascinated with his relative, Joseph Curwen, known for his regular visits to local graveyards. Curwen seems ageless and Ward tries to replicate the experiments that prolonged the man’s life and of course, things turn out differently. Now incarcerated, he tells his tale to Doctor Marinus Willet. As a result, Culbard is given a chance to take the reader from the past to the present and back again, as the story unfolds and the horrors are revealed.

The words may be Lovecraft’s but the storytelling and pacing are all the artist’s and he brings a nice variety to the visual narrative. Given how dialogue-laden this is, he mixes things up nicely and takes us on the journey. The heavy black borders on each page along with the somber coloring adds an atmosphere of dread to the proceedings.

This is a story of mistaken identity and Ward’s perception of reality is altered, and Culbard drops much of the descriptive narrative to focus on the images and it’s less effective than hoped for.

Where he falls down is in depicting the monster, brief as it is. Considering this is the debut of Yog-Sothoth to the Cthulu mythos, it should be far more momentous.  It just isn’t frightening so after all this build up, you’re left thinking, “Is that it?” He told Comic Book Resources, “Often, his characters aren’t there for you to invest in them; they’re there to guide you through a nightmare because the horror is often so much bigger than the individual. But this is partly why I think Lovecraft’s work lends itself so well to a visual medium like comics, because the minute you draw a face, you’re entering into characterization. Really, to some degree, Lovecraft provides you with a blank slate. The trick is really determining what you show. Quite often, Lovecraft would only really give you a glimpse of the horror, because to see it in its entirety would be too much for the mind to comprehend.” While he’s correct, he didn’t pull this off as successfully as intended.

Still and all, the ambitious adaptation is more successful than not and for fans of Lovecraft’s output, this will be well-received.

I find myself writing about Star Trek: The Next Generation Season Three more than any single season of any season from any franchise. And that’s fine by me given the quantum leap in quality improvement from the previous two seasons. I am happy to do it one more time as the Blu-ray set from Paramount Home Entertainment is due to arrive on Tuesday.

The behind-the-scenes turmoil that led to the first two seasons feeling incredibly inconsistent began to fade with the arrival of a new set of writers and producers. As Gene Roddenberry grew frailer and ceded more day-to-day control to producer Rick Berman, the show also bid farewell to the exhausted head writer Maurice Hurley. He was briefly replaced by Michael Wagner but illness forced him to leave after just four episodes, but his recommended replacement, Michael Piller, proved to be the turning point in the show’s fortunes. As Berman focused on the physical aspects, Piller took control of the writing staff, incorporating input from the actors, especially Patrick Stewart who not only wanted to see Picard off the Bridge more often, but running, shooting, fighting, and kissing babes.

The cast had also been complaining about the physical discomfort caused by the spandex uniforms. They were retooled by newly arrived costumer Bob Blackman, made looser with the addition of the high collar, but complaints continued so during the season, the regulars received near wool gabardine outfits with the men welcoming the jackets while the women continued to wear one-piece outfits.

The most significant alteration to the writing staff was most likely the arrival of Ronald D. Moore, who submitted “The Bonding” as a spec script and was promptly hired on staff. His familiarity with the original series helped him tremendously and he also quickly grew to be the writer to focus most on the Klingon culture, which resulted in significant developments for Worf and the Federation’s allies.

The show’s evolution went beyond stronger scripts as the series truly lightened up with the elevation of Marvin V. Rush to cinematographer. The change meant the show went for brighter and bolder colors, establishing a look for the remainder of the series.

Another significant addition was actually the return of Gates McFadden as Beverly Crusher. Other character alterations saw Crusher’s son Wesley receive a field promotion to ensign while Geordi La Forge was promoted from lieutenant to lt. commander and Worf advanced from lieutenant J.G. to full lieutenant – none of which required walking the plank.

All told, the changes on camera and behind it meant the show was maturing and fast. We got a greater sense of the cosmic politics through shows like “The Defector” and “Sins of the Father”. More character-centric shows allowed different members of the ensemble to shine, notably Brent Spiner in “The Offspring” and Dorn in “Sins” and “The Bonding”. It should be noted that the dictate against continuing story threads from episode to episode began to erode during this season, freeing the writers to more deeply explore the characters the repercussions of their actions.

Jonathan Frakes began his directing career this season with the moving Data tale “The Offspring”, making an impact away from Riker, a character that may have experienced the least challenge this season.

The ensemble was augmented with many returning guest stars led by the delightful John DeLancie and Majel Barrett We also welcomed back old friends in the moving “Yesterday’s Enterprise” and Mark Lenard’s turn as “Sarek”. New additions to the canon included Reg Barclay (Dwight Schultz), who became a favorite and was brought back in subsequent seasons. Whoopi Goldberg made scant appearances as Guinan and Colm Meany continued to man the transporters as O’Brien (who didn’t get a first name yet).

The third season’s most significant impact, perhaps, is the final episode, the series’ first cliffhanger and a ratcheting up of the threat level. The Borg, introduced a season earlier with a warning from Q, finally arrived and wanted to add mankind to their diversity.  Seeing Picard assimilated as Locutus followed by Riker’s order to fire phasers meant fans had a very long summer of anticipation ahead of them. It was the first time a threat was introduced with lasting repercussions unlike the thread introduced at the end of season one.

One of the greatest challenges with these releases is convincing audiences that already own them on VHS or DVD that the high definition restoration is worth the bucks. In the case of ST:TNG, it is definitely worth it as the special effects are sharper and the overall look of the series is brighter, clearer, and crisper. Then there are the bonus features. All the previous extras are back as standard definition “archival” pieces but the new ones also make a compelling argument for purchase.

For 1:15, you can be enthralled with Inside The Writer’s Room, hosted Seth MacFarlane as he chats with Ronald Moore, Brannon Braga, Naren Shankar and Rene Echevarria. It’s late in the program before you get a sense of the mechanics of the Writer’s Room but before then you watch the four reminisce and remind one another of inspiration from desperation and cringe-worthy episodes that haunt them still. It’s a little too loose as they talk over one another and don’t always answer their host’s questions, but MacFarlane demonstrates an impressive memory for episode titles.

For 90 minutes or so, there is the three-part Resistance is Futile – Assimilating Star Trek: The Next Generation, which carefully explores the show from both before and behind the camera. Wagner’s role is totally missing but Ira Steven Behr steals the documentary with his anecdotes and casual approach to the history compared with some of the reverential views. It’s interesting to hear the crew talk about them noticing the improvement in the stories and the effect Piller had on one and all.

There is a very moving Tribute to Michael Piller where his widow and coworkers all discussed what made him a special person and just what the series needed at right that moment. On more than one occasion it is noted that Piller thought he was leaving the series after one season and was leaving the cliffhanger resolution to “Best of Both Worlds” to his successors, until Roddenberry himself asked Piller to stay on for one more season. It may well be the last great act the producer did on behalf of his creation.

These days, budgets can be pared down thanks to digital photography, letting producers focus more on cast and story, which often means we get some interesting takes on the standard genres. For example, a bungled robbery has been done time and again. But in the newly released Pawn, out today from Anchor Bay, we get an interesting set of characters.

A small group of would-be thieves hit a diner and are frustrated by discovering a dummy safe and decide to wait. Bit by bit, we learn more about the characters as the hours tick down to midnight when the time-locked safe, containing the diner’s cash, will open. We’re given some interesting narrative structure added by superb performances by a familiar cast led by Michael Chiklis. Chiklis is “The Brit”, who leads the gang and largely interacts with the diner’s owner

(Stephen Lang). They banter, the tension rises and falls as the minutes pass and some interesting, plausible complications arise, starting with the unexpected arrival of a cop (Forest Whitaker).  Then there’s poor Nick (Sean Faris), an ex-con who was in the bathroom when the robbery began and worries the cop will suspect he’s part of the gang. Instead, when things go south and this becomes a hostage situation, the poor guy becomes the go-between when the police negotiator (Common) arrives.

Screenwriter Jay Anthony White is a newcomer, having previously written only shorts so this 88-minute story is his longest outing yet and shows promise. There are a few pacing issues but he creates interesting characters and has a nice way with dialogue. The key here is the structure as thigns escalate and truths are doled out, keeping your interest.  He’s helped here by cinematographer turned director David A. Armstrong, who knows a thing or two about rising tension given his work on the Saw series of films. This shows both men having promising futures as Armstrong gets nice, measured performances from Chiklis and Ray Liotta while letting this be Faris’ showcase. Chiklis has usually played the bad ass good guy, but here he wields his shotgun with authority as the real bad guy.

This is a pleasurable way to pass some time and is worth a look. The direct-to-DVD feature transfers nicely to high definition and is accompanied by a single bonus feature: Pawn: Behind the Scenes (23:09), which gives you the basic behind the scenes information.

The combo set includes the Blu-ray and a DVD edition of the film.

Ahead of tomorrow’s new Lone Ranger trailer being released around 11 a.m. EST, Disney has released a handful of attractive character-specific one-sheets. Take a gander:

In case you forgot, the film stars Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale, Ruth Wilson and Helena Bonham Carter. It’s being directed by Gore Verbinski for producer Jerry Bruckheimer. Ted Elliott & Terry Rossio and Justin Haythe turned out the classic western hero’s story.

Here’s the official Disney details:

From producer Jerry Bruckheimer and director Gore Verbinski, the filmmaking team behind the blockbuster “Pirates of the Caribbean” franchise, comes Disney/Jerry Bruckheimer Films’ “The Lone Ranger,” a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes.  Native American spirit warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice—taking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.

Native American spirit warrior Tonto (Johnny Depp) and man of the law John Reid (Armie Hammer) are opposites brought together by fate and must join forces to battle greed and corruption.

UNIVERSAL CITY, CA – Celebrate 30 years of dancing your cares away with the Fraggle Rock gang when Jim Henson’s imaginative series commemorates three decades of music, magic and mayhem with the Fraggle Rock: 30^th Anniversary Collection, singing its way to DVD May 14 from The Jim Henson Company and Gaiam Vivendi Entertainment.  Headlined by the iconic characters, Gobo, Red, Boober, Wembly, Mokey and the adventurous Travelling Matt, the groundbreaking series from the legendary Jim Henson originally aired from 1983 to 1987, and continues to capture the imaginations of adults and children of all ages today through recurring airings on The Hub. Teaching valuable lessons on tolerance, spirituality, personal identity, environment and social conflict, the 30^th anniversary collection will give parents who grew up watching the innovative television classic the chance to share the wonderful world of Fraggle Rock with their children.

The colorful and exciting world of Fraggle Rock is an underground universe behind the baseboard of Inventor Doc’s workshop, populated by upbeat Fraggles, the industrious Doozers and the giant Gorgs.  Through the different communities, the pioneering children’s series encourages tolerance, diversity, empathy and peace by modeling how these characters learn toto live in peace by working together to achieve common goals.

The Fraggle Rock: 30^th Anniversary Collection DVD, including all four seasons of the celebrated series, along with behind the scenes interviews recently discovered in the archives of The Jim Henson Company, a collectible Red plush keychain, and an all new exclusive Fraggle Rock graphic novel featuring a parent-friendly activity guide, will be available for the suggested retail price of $129.99.   Additionally, the new collection Fraggle Rock: Meet The Fraggles, featuring the pilot, as well as five acclaimed episodes highlighting each of the beloved main characters, available for the suggested retail price of $14.93 will be available to introduce Jim Henson’s world-renowned series to a new generation of fans.

Synopsis: Dance your cares away as you return to the magic of Fraggle Rock in this 30^th Anniversary Collectors Set!  Inventor Doc and his dog Sprocket spend their days in a workshop..and a hole in the baseboard of that workshop leads to the underground universe populated by the upbeat Fraggles, the industrious Doozers and the giant Gorgs.  Get ready for music, magic and mayhem from the iconic Jim Henson in this beloved series that continues to capture the imaginations of adults and children alike.