Author: Robert Greenberger

REVIEW: Glee the Complete Third Season

glee-season-3-b_glee_bd_ssn3_spine_boxshot_jp01_rgb-300x400-2757563The greatest pitfall television series featuring high school cast members has is that the cast is already older when the series begins and they age out rapidly. Smallville stopped setting stories in the high school because the cast looked ridiculous on the sets. Confronting the inevitable graduation challenges the producers to find tortured ways to keep the cast intact after the caps and gowns are put away. Even Buffy the Vampire Slayer suffered from this challenge so it is refreshing to see Glee take graduation head on in the third season of the Fox series.

Glee the Complete Third Season came out on DVD last week and seeing it without the weeks-long breaks between cycles, allows you to see how they handled the coming graduation and choices the teens are being asked to make. While the series has never really focused on the kids’ academics, there was almost zero interest in ACTs or college visits, so it was always in the ether but never the focal point of the stories. Instead, it was all about getting to Nationals in New York and succeeding. The season opened with the need for fresh members thanks to a rival Glee Club set up by Shelby Corcoran (Idina Menzel) while Sue Sylvester (Jane Lynch) ran for Congress on an anti-arts platform.

Clearly, the producers had no real idea of where to take the characters as motivations and the status quo changed, twisting them beyond recognizabilty. The most ill-served may have been Quinn (Dianna Agron) who started off trying to steal back her baby, given to Shelby for adoption,  then embracing the final year of high school until her driving accident (don’t text and drive) and recovery. Somewhere along the line, this sympathetic character, who in season two recognized she was a small town girl stuck in Ohio, gained 50 IQ points and got into Yale and was Ivy League bound. Huh? The best teen villain has become a hero. All the edges to characters are gone, from Puck (Mark Salling) to the divas Mercedes (Amber Riley), robbing the students of interesting character variety. Santana (Naya Rivera) was also softened although her coming out as a lesbian and rising as a performer were among the season’s highlights.

Finn Hudson (Cory Monteith) and Rachel Berry (Lea Michele), the romantic couple at the center of the storm, decided to get married and their arc dealt with that reality and the choices each need make for themselves and each other. This rang far more true than the disastrous marriage between Coach Beiste (Dot-Marie Jones) and Cooter Menkins (Eric Bruskotter), which formed a mini-arc in the final third of the season.

While each of the 22 episodes is entertaining and often heartfelt, as a season-long arc for the faculty and students it’s a mess and by now Ryan Murphy should have a very clear idea of who they are and where these characters are going. Instead, he seems to have lost any sense of edge in Sylvester, giving her instead a rival in Roz Washington (NeNe Leakes). Even the show’s most intriguing character, Burt Hummel (Mike O’Malley), somehow found himself running for Congress and winning, stealing him from Kurt (Chris Colfer), just as his son’s dreams of going to NYADA are crushed.

Musically, the show remains strong, aided by the welcome addition of Darren Criss’ Blaine to the New Directions. Sam Evans (Chord Overstreet) is also back after a brief contract issue. Some of the winners of the reality series, The Glee Project, wind up added to the cast but are little more than hangers-on with little learned about them and rarely given a showcase. The quest for a championship takes a backseat to the fall musical, West Side Story, which featured some terrific reimaginings of the classic numbers.

In the finale, eight of the cast graduate and turnover in the New Directions will fuel the fourth season as it begins in a few weeks. Most of the graduates will continue to appear so the ensemble swells which is not always a good idea.

The four disc set looks amazing and of course sounds terrific but we’ve come to expect that from 20th Century Fox Home Entertainment. A neat feature to the set is that the menus will help you keep track as you work your way through the season, remembering where you are.

As usual, the extras are heavy on the music, the show’s hallmark. We get more from the Glee Music Jukebox, although you get clips and not the full songs that were edited to air. Some of the non-musical bits include “Glee Under the Stars” (7:45), a kickoff event at Santa Monica High School. “Glee Give a Note” (7:46) shows stars Jayma Mays and Jones present Culver City Middle School a check for $10,000 for arts education.

You can enjoy some extended and deleted scenes throughout the discs. The highlight here is a Sue Sylvester flashback that should have found its way on air. “Glee Swap: Behind the Scenes of ‘Props'” (5:41) is a nice look at the fun body-swapping episode. “Meet the Newbies” (13:20) spends more time with the new cast members than the series seemed to. “Saying Goodbye” (15:19) is a good look at the emotional toll the finale took on one and all. Lynch’s acerbic Sylvester is found on “Ask Sue: World Domination Blog” (6:07) and “Return of Sue’s Quips” (2:58).

One can hope that the freshened cast will ignite some greater dramatic consistency to match its musical excellence. For now, we have this set which is maddeningly enjoyable while being frustratingly inconsistent.

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REVIEW: Astonishing X-Men: Torn

  • News
  • August 17, 2012

astonising_x_men_torn_motion_comic_middle-1005259Joss Whedon’s take on the X-Men is the series that keeps on giving. Winner of the Will Eisner Award winner for Best Continuing Series, it first it became a series of motion comics, adapting the 25 issue run, and in a few weeks, it will be turned into a series of prose novel adaptations (by Peter David, due out September 5). Why? Whedon understands character, action, and using larger than life people to work as metaphors for life. Buffy the Vampire Slayer was really about surviving high school and being a mutant in the comics is dealing with prejudice and fear of the unknown. But, unlike so many others, Whedon tends to leaven his work with humor and character traits that amuse and surprise.

Astonishing X-Men was created as a showcase series for Whedon but he was accompanied by acclaimed artist John Cassaday, who brought a photorealistic style to characters that have tended to be drawn with great exaggeration by artists ever since their 1963 debut. Grounding the visuals with Whedon’s writing style made for one of those magical pairings which seems to happen with less and less regularity.

Cassaday’s visuals work wonderfully on the printed page but less so given the limitations of the motion comic format. Serialized for the web, these have been collecting in a series of DVDs from Shout! Factory and Torn is the latest installment, out this week. As noted when we reviewed Dangerous, motion comics is this weird hybrid that is really a modern day version of the cardboard cutout animation first used in Marvel Super-Heroes back in the 1960s.

Wisely, they retained as much of Cassaday’s artwork as was practical and the dialogue has that Whedon ring, although as usual the voice casting leaves something to be desired. Cassaday worked with Atomic Cartoons and Neal Adams to bring some life to his four-color efforts.

Torn adapts issues #13-18 and pits the merry mutants against the less merry Hellfire Club – featuring Xavier’s twin sister Cassandra Nova, Emma Frost, Perfection, Negasonic Teenage Warhead, and the deadly Sebastian Shaw. We learn that the enigmatic Emma Frost is conjuring up a psychic project of the villainous alliance because she was being blackmailed by Nova. Whedon also pauses to deepen Scott Summers by letting us learn of a childhood trauma that manifested in his losing control of his optic blasts.

Whedon’s affection for teen characters remains evident as it is Kitty Pryde who winds up saving the day this time.  He has some fun with the simmering Kitty/Colossus relationship, displaying some nice character-based humor. Similarly, when Emma plays mind games with the team, it mixes painful memories with humorous situations, giving us some fresh insights into the team.

The six chapters, totaling 81 minutes, are nicely adapted into animated installments and keeps the momentum moving even when the visuals are overly static. If you love this run in all its incarnations, then you want this. Or you could wait a bit and get all the motion comics series on a Blu-ray, coming later this year.

Remembering Joe Kubert

  • News
  • August 13, 2012

Joe Kubert’s distinct art style was one of the earliest I recall being able to identify. It seemed such a perfect fit the DC war titles and I was always pleasantly surprised to see the occasional superhero cover during the 1960s. I didn’t really get a sense of his lengthy tenure in comics until he was spotlighted in an issue of DC Special.

Then came Tarzan. I knew of the character but had not then read Burroughs or the Gold Key comics so this was an eye-popping revelation. It was my first sustained exposure to the jungle lord and Kubert’s artwork seemed an ideal fit. Thanks to DC’s expanded reprint program through the 1970s, I was exposed to more and more of his work and recognized a true artist.

In the summer of 1980, I was briefly on staff at DC prior to beginning my career at Starlog Press and I wound up spending a lot of time in Ross Andru’s office. It was small and cramped, but he sat at his drawing board working up covers or layout covers for others. At the same, all cover art was passed under his nose and it was through his tutelage that I grasped how carefully Kubert constructed his covers and he drew for color, something I had never considered before. At first I would see the artwork and wonder where the blacks were to give the cover weight but then I would see the color guide and it suddenly made sense and worked wonderfully.

Joe and I became nodding acquaintances when I finally joined DC in 1984 and he contributed pages to Who’s Who but we never did more work together and remained friendly enough. At some point, Ðìçk Giordano asked me and Mike Gold to reread the five issues that Joe had completed of The Redeemer, a project DC ballyhooed in 1983 before yanking the project for various reasons. It was a rare treat to see stuff that no one else had. Unfortunately, the conclusion was that the time for such a work had passed and it was quietly canceled and the rights returned to Joe.

I admired and respected his work and the school, which by then was feeding the comics companies’ voracious need for talent. I then learned he was doing work for overseas publishers and I really wanted to see them. Thankfully, several, such as Abraham Stone made it over here and I distinctly recall one San Diego show, I actually waited on line for something like an hour or longer to buy a copy and have the blank first page graced with a Kubert sketch. I watched as Joe made small talk with the fan as he knocked off a flawless head shot of Sgt. Rock or one of his other characters. When it was my turn, he perfunctorily opened the book, said hi and asked what I wanted then looked up. Recognizing me, he broke into a big grin and was very pleased I had waited in line. The patience was rewarded with a wonderful full figure Tarzan.

We’d see one another at cons through the years, chatting ever so briefly since he was usually surrounded by fans, friends, and other professionals he had worked with through the years. As a result, I was delighted to hear we would both be at the Grenada Convention in 2010. For several days, we would share meals and conversation, with Joe talking to me about the early days of comics and chatted with Deb about the general world. He was good natured, usually sketching when he wasn’t eating, explaining he couldn’t help himself. Despite the language barrier, he expressed his appreciation and enthusiasm for the work of artists, shyly showing the master their portfolios.

We last saw one another, the usual handshake, smile and quick “how are you?” at Baltimore Comic-Con last fall. I was looking forward to seeing him again at the show next month. And then I received the word that he had shockingly, unexpectedly, passed away yesterday after a brief illness.

Joe broke in at the beginning of his teenage years. He worked his way up, improving his craft with every passing year. Long after he retired from editing at DC and then as the work from the majors dried up, he continued to write and draw graphic novels that essentially took over from where Will Eisner left off. Look at his output over the last 20 years and it’s an incredible achievement for any creator let alone the final chapter of one man’s career. Works like Yossel and Fax from Sarajevo are must read volumes. There’s still a bunch of work out there that needs to be translated and brought here so we can enjoy fresh Kubert for a little while longer.

He rarely had a cross word for anyone, always smiling and being as encouraging as possible. His legacy is certainly one of the broadest of any creator thanks to not only the generations of graduates but his own kids, Adam and Andy, who continue to push artistic boundaries.

The likes of Joe Kubert won’t be seen again and we’re all the poorer for it.

REVIEW: The Art and Making of the Dark Knight Trilogy

The Art and Making of the Dark Knight Trilogy
By Jody Duncan Jesser and Janine Pourroy
304 pages, Abrams, $40

There is so much visually wonderful about Christopher Nolan’s trilogy of Batman films that this book seemed an obvious event. An oversized hardcover, it has amazing production values with gorgeous photography on heavy paper, cleanly designed (thank you, Chip Kidd), and overall appealing. Clearly, the authors had access to everyone from Nolan on down and they spoke freely about the challenges of conceiving themes to marketing the films.

And yet, everything feels like we’ve just touched the surface and each chapter –Screenplay, Production Design, Cast, Costumes & Makeup, The Shoot,  Special Effects & Stunts, Editing, Music & Sound, Visual Effects, and Marketing – all leave you wondering about what else happened. For example, during the Shoot, one chapter per film, you never get a feel for how Nolan directs his cast, or how he adjusts to the needs of each actor. How did Katie Holmes and Maggie Gyllenhaal differ in their interpretation of Rachel Dawes. We’re left wondering why the comic book antecedents for most of the characters are referenced but not Henri Ducard nor are we told about the various reveals through the films (such as Ducard really being Ra’s al Ghul, echoed in the third film by Miranda Tate being revealed as Talia). Michael Caine writes an introduction that extols Nolan’s virtues as a director, but after that, we’re still left wondering what those are.

This reads about two steps above the usual press materials sent out when films open, the canned features sent to media outlets hungry for content. The writing is clear and facile, but a little too fawning in spots and far from critical about things that worked and didn’t work.

Perhaps the most glaring omission is a real in-depth look at the wildly successful viral marketing. This section needed more content, more images of the viral marketing at work, and more examples of the Internet phenomena, especially for The Dark Knight, which raised the bar for films.

You get some great shots of how the costumes, sets, and vehicles were built and see some of the shooting challenges that were presented over the last decade. It certainly works as a primer to Nolan’s take on the caped crusader and his world, but you don’t necessarily get into the filmmaker’s head, especially why he felt he was done after three. Nor does he comment how his successful reinterpretation of the hero led to supervising next summer’s Man of Steel. The contributions from screenwriters David S. Goyer and Jonathan Nolan are acknowledged but hearing more from them would have certainly helped us better understand how the films evolved, especially the themes for the final film in the wake of Heath Ledger’s death. Nolan writes in his foreword, “I never thought we’d do a third – are there any great second sequels?” Well, there’s The Last Crusade for starters, but Batman has endured monthly for seventy-five years so the answer is yes.

The book is a fine read but given the size and weight of the tome, one would have hoped for depth in the written content. It leaves you want much, much more and at this price, readers deserve all that and more.

Indiana Jones The Complete Adventures Blu-ray Bonus Features Announced

It was 30 years ago, that magical summer when we had our minds blown with amazing regularity. Among the highlights, of course, was this collaboration between George Lucas and Steven Spielberg. as they channeled their childhoods into something new and delightful for the present generation. We’ve been awaiting this collection and share with you the press details about what you will find in addition to the four films.

SAN FRANCISCO, Calif. (August 7, 2012) – Every unforgettable exploit of world-renowned, globetrotting hero Indiana Jones finally comes home with pristine picture and sound when INDIANA JONES: The Complete Adventures debuts on Blu-ray September 18, 2012 from Lucasfilm Ltd. and Paramount Home Media Distribution. The cinematic classic that started it all—Raiders of the Lost Ark—has been meticulously restored under the supervision of director Steven Spielberg and sound designer Ben Burtt.  Additionally, Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade have both been remastered alongside 2008’s Indiana Jones and the Kingdom of the Crystal Skull making this landmark release the first time all four films in the epic and award-winning franchise have been available together in sparkling high definition. INDIANA JONES: The Complete Adventures will also be available on iTunes, so the adventure is just a click away!

In addition to all of Indy’s thrilling adventures, the set includes seven hours of fascinating documentaries, featurettes and interviews with cast members and filmmakers.  This comprehensive collection of behind-the-scenes bonus features is augmented by a brand new two-part documentary entitled “On Set with Raiders of the Lost Ark – From Jungle to Desert and From Adventure to Legend.”  Featuring nearly an hour of rarely seen footage from the set of the film and archival interviews with Steven Spielberg, George Lucas and Harrison Ford, these captivating pieces transports fans back to where the legend began.

Raiders of the Lost Ark has been painstakingly restored with careful attention to preserving the original look, sound and feel of the iconic film.  The original negative was scanned at 4K and then examined frame-by-frame so that any damage could be repaired.  The sound design was similarly preserved using Burtt’s original master mix, which had been archived and unused since 1981.  New stereo surrounds were created using the original music tracks and original effects recorded in stereo but used previously only in mono.  In addition, the sub bass was redone entirely up to modern specifications and care was taken to improve dialogue and correct small technical flaws to create the most complete and highest quality version of the sound possible while retaining the director’s vision.

Disc Specifications:

Disc 1—Raiders of the Lost Ark

Raiders of the Lost Ark is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Spanish 2.0 Dolby Digital, Portuguese 5.1 Dolby Digital, Portuguese 2.0 Dolby Digital and English, English SDH, French, Spanish and Portuguese subtitles. The disc includes the following:

  • Teaser Trailer (HD)
  • Theatrical Trailer (HD)
  • Re-Issue Trailer (HD)

Disc 2—Indiana Jones and the Temple of Doom

Indiana Jones and the Temple of Doom is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Spanish 2.0 Dolby Digital, Portuguese 5.1 Dolby Digital, Portuguese 2.0 Dolby Digital and English, English SDH, French, Spanish and Portuguese subtitles. The disc includes the following:

  • Teaser Trailer (HD)
  • Theatrical Trailer (HD)

Disc 3—Indiana Jones and the Last Crusade

Indiana Jones and the Last Crusade is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Spanish 2.0 Dolby Digital, Portuguese 5.1 Dolby Digital, Portuguese 2.0 Dolby Digital and English, English SDH, French, Spanish and Portuguese subtitles. The disc includes the following:

  • Teaser Trailer (HD)
  • Theatrical Trailer (HD)

Disc 4—Indiana Jones and the Kingdom of the Crystal Skull

Indiana Jones and the Kingdom of the Crystal Skull is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description and English, English SDH, French, Spanish and Portuguese subtitles. The disc includes the following:

  • Theatrical Trailer #2 (HD)
  • Theatrical Trailer #3 (HD)
  • Theatrical Trailer #4 (HD)

Disc 5—Bonus Features

Bonus features are presented in standard and high definition (as indicated below) in English with English, French, Spanish and Portuguese subtitles.

  • NEW – On Set with Raiders of the Lost Ark
    • From Jungle to Desert
    • From Adventure to Legend
  • Making the Films
    • The Making of Raiders of the Lost Ark (1981 documentary previously unavailable on DVD)
    • The Making of Raiders of the Lost Ark
    • The Making of Indiana Jones and the Temple of Doom
    • The Making of Indiana Jones and the Last Crusade
    • The Making of Indiana Jones and the Kingdom of the Crystal Skull (HD)
  • Behind the Scenes
    • The Stunts of Indiana Jones
    • The Sound of Indiana Jones
    • The Music of Indiana Jones
    • The Light and Magic of Indiana Jones
    • Raiders: The Melting Face!
    • Indiana Jones and the Creepy Crawlies (with optional pop-ups)
    • Travel with Indiana Jones: Locations (with optional pop-ups)
    • Indy’s Women: The American Film Institute Tribute
    • Indy’s Friends and Enemies
    • Iconic Props (Crystal Skull) (HD)
    • The Effects of Indy (Crystal Skull) (HD)
    • Adventures in Post Production (Crystal Skull) (HD)

REVIEW: Whatever Happened to the World of Tomorrow?

Whatever Happened to the World of Tomorrow?
By Brian Fies
208 pages, $14.95, Abrams ComicArts

whatever-happened-to-the-world-of-tomorrow-292x450-6945886The future never turns out like people predict. Nostradamus was wrong. Authors, philosophers, painters, and clergy have all been wrong about what the world of tomorrow will turn out to be. Depending upon when you were born and where you were raised, the future is either shockingly surprising or deeply disappointing. Brian Fies’ Whatever Happened to the World of Tomorrow? falls into the latter category.

The 2009 book is now out in softcover and a personal essay on what the world has become since the 1939 World’s Fair, which also parallels the development of geek culture since, after all, that was the first place Superman made a personal appearance as his popularity was just beginning to soar. The sky was the limit, it seemed, and the World’s Fair promised peace and prosperity at a time that war was already being fought in Europe and Asia. The fair seemed to be willing to war to stay away from our shores.

The promise of space adventures, which first appeared monthly in the pulp magazines, took off at this same period thanks to adventure serials in newspapers, radio exploits doled out in fifteen minute installments and then fifteen chapter serials shot on a shoestring but told at a such a breakneck pace you just had to come back next week to learn what happened next. At the same time, war shook America out of the Depression doldrums and forced manufacturing, technology, and science to stay one step ahead of the Axis powers.

Whatever Happened to the World of Tomorrow?, the long-awaited follow-up to Mom’s Cancer, is a unique graphic novel that tells the story of a young boy and his relationship with his father.

Spanning the period from the 1939 New York World’s Fair to the last Apollo space mission in 1975, it is told through the eyes of a boy as he grows up in an era that was optimistic and ambitious, fueled by industry, engines, electricity, rockets, and the atom bomb. An insightful look at relationships and the promise of the future, award-winning author Brian Fies presents his story in a way that only comics and graphic novels can.

Interspersed with the comic book adventures of Commander Cap Crater (created by Fies to mirror the styles of the comics and the time periods he is depicting), and mixing art and historical photographs, this groundbreaking graphic novel is a lively trip through a half century of technological evolution. It is also a perceptive look at the changing moods of our nation-and the enduring promise of the future.

Fies, best known for his award winning Mom’s Cancer, followed up with this look back at the promises of the past and the failure of the future to deliver. The story stretches from the World’s Fair to the final Apollo mission in 1975 and is told entirely from the point of view of Pop and Buddy and thanks to the miracle of comic book storytelling, the two age incredibly slowly while the world moves ahead in real time. It’s a conceit, using them as metaphors not actual characters, that doesn’t entirely work despite an Author’s Note up front, but it’s at worst a minor annoyance.

Interestingly, the book also tells the story of American society by showing the mindset as world events changed around us, going from the anything is possible 1940s to the disillusioned 1960s. Also reflective of this evolution are a series of faux comics featuring Commander Cap Crater and the Cosmic Kid. Imitating the styles of the 1940-1970s, these stories also show how comic books have grown ever more sophisticated in reaction to the changing readership. Fies does a terrific job matching the bad color registration and subtly adjusts the paper yellowing to reflect the ages as well as the ever more complex indicias.

The book also nicely integrates actual photography from space or of the fair along with images taken from the great futurist artist Chesley Bonestell. The storytelling, artwork, layout, pacing, and color are terrific and does a nice job taking us era to era even as our main characters oh so slowly grow and age. Dad remains representative of an American society whose time has passed and maintains his conservative stance which ultimately causes conflict with Buddy, who yearns for the future to be here now.

It’s the 1960s when everything changes as the Russians reach space before the Americans and it has become clear that the promises of the 1930s will not be kept. There’s a sense of anger and loss at this realization which also makes the 1970s a sad period when there’s little to believe in.

Still, Fies offers up an optimistic ending, pointing out the current technology boom of the last 10-15 years has once more awakened the endless possibilities offered in the years ahead. We may not be getting jet packs and interplanetary travel any time soon, but we are reminded there is a lot to look forward to.

REVIEW: Economix

  • Uncategorized
  • August 3, 2012

Economix
By Michael Goodwin and Dan E. Burr
304 pages, $19.95, Abrams ComicArts

economix_cover-300x426-4222079Having never taken economics in college, I find the world of high finance needlessly complicated and confusing. You spend what you need to make a good; you sell it for a reasonable profit. Repeat. The problem, though, is that the world makes it far more complicated to determine how those goods are made or what a reasonable profit might be. And as globalization has altered the way everyone on Earth lives and works, things have grown ever more complex.

Thankfully Michael Goodwin saw the need for a basic primary on how the economy currently works and how we got here. Better, he decided to really make it easy to follow thanks to using the comic format, hence the graphic novel Economix. Nicely illustrated by Dan E. Burr, best known for Kings in Disguise, the book from Abrams starts off in The Distant Past and walks us on a parallel path between what really happened and how the early economist philosophers thought it should happen.

Along the way, Goodwin makes it clear that for too long, people hewed to theories that sounded great on paper but were impractical in the real world which is why the early bubbles occurred. He also introduces us to the keep economic and political players, and how he talks about them makes it clear which ones he finds laudable and which ones deserve mockery.

This is not a classroom textbook but has a distinct point of view so the result is that some people and events have their dimensionality stripped away, leaving a caricature to make his point. This trait is on display beginning with the Industrial Revolution all the way through the modern day economic woes (the book’s information is nicely current through mid-2011 so it remains relevant).

He makes it clear that the bigger corporations got, the less and less they were to be admired. Instead, they prove to be the villains you expect in graphic fiction and while there’s a lot here that’s true, it’s certainly just one point of view. Goodwin is also harsh to many people, notably Calvin Coolidge and Warren G. Harding, who watched America’s economy grow, burst, and couldn’t figure out how to pick up the pieces. Using their own words against them, certainly sounds convincing.

Where Goodwin excels is simplifying the verbiage so even guys like me can follow it. He also pauses to show what is happening around the world, since opening trade with Asia or the Russian Revolution certainly had a bearing on American dollars and cents. The book also doesn’t expect you to remember everything, constantly pointing you back to relevant pages such as “That’s right – we live in a mixed economy, not in pure capitalism. For instance, let’s take another look at modern New York. We saw on page 24 how trying to control everything wouldn’t work…”

Obviously, the most interesting chapters are the ones covering the times we live in. The book pointedly takes us from Reagonomics through the housing bubble, pausing to chart how our National Debt has grown through various presidential administrations and the decisions they made.  Paul Volcker and Alan Greenspan both get taken task in this recounting. Clearly, today’s mess began in the 1980s and continues today.  A large part of the problem was the repeal of the 1932 Glass-Steagall Act in 1998 and today, many a politician and businessman has come to regret that – note the comments sandy Weill made last week.

Burr’s artwork nicely captures the text and makes it visually comprehensible with some fun portraits of how the economic machinery works, using iconic images of farmers, merchants, businessmen, and so on. He caricatures key figures and keeps his pages packed but not cluttered. On just a few cases his page layout and balloon placement challenge even the most veteran of comics readers so this might be a tough read for some novices but its well the effort.

A text like this would certainly help high school and college students gain their first taste of financial literacy and it comes recommended for the rest of us.

REVIEW: Forever Marilyn

  • Uncategorized
  • August 2, 2012

forever-marilyn-300x405-5595065Given her enduring appeal fifty years after her death, it can easily be argued that Marilyn Monroe was the signature pop culture icon of the 20th Century and her allure is lasting well into the next century. Last year, I read Max Allan Collins’ take on Marilyn’s death before watching Michelle Williams portray her in My Week with Marilyn. Her career has become the spine for the NBC series Smash. Her image is found in commercials, artwork, music videos, calendars, and on and on. While her appeal and persona don’t grab me, I respect her impact on America and the world.

Out this week form 20th Century Home Entertainment, in time for the morbid memorial, is the seven-disc Blu-ray set Forever Marilyn. Included in the set are the recently released Blu-ray editions of Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), River of No Return (1954), There’s No Business Like Show Business (1954), The Seven Year Itch (1955) and the Blu-ray debut of Some Like It Hot (1959) and The Misfits (1961). The cardboard packaging does not properly serve a collection of this magnitude. Similarly, there’s a paucity of extras to codify just how special Marilyn Monroe was as a personality, performer, and woman.

It’s not a comprehensive collection of her films and afficianados are upset over the deletions but in the grand scheme of things, this collection is a pretty solid sampler of her greatest works. If you’re feeling selective, they are also now available as individual releases. The reason has as much to do with the material as it does with the performer. Monroe was well situated, placing herself in the hands of directors Billy Wilder and Howard Hawks along with some very smartly written roles. While she might have been a wreck in her personal life, her choice of parts was pretty spot on as witnessed in this septet of films.

Of the films included, the only special feature love was showered on The Seven Year Itch which includes Audio Commentary by Billy Wilder Biographer Kevin Lally, Isolated Score Track, Deleted Scenes, Still Galleries, Theatrical Trailers, “The Hays Code: Picture-in-Picture with Sexual Innuendo Meter”, Marilyn Monroe Interactive Timeline, “Monroe & Wilder: An Intersection of Genius”, Fox Movie Channel presents “Fox Legacy with Tom Rothman”, “Hollywood Backstories: The Seven Year Itch”, and “Fox Movietonews: The Seven Year Itch” Given that the film gives us the iconic shot of Marilyn and the upblown skirt and a statue of that image is entitled Forever Marilyn, this is all very fitting.

The transfers to Blu-ray are fairly excellent and uniform, looking and sounding very impressive. And it’s fun rewatching the classics because they hold up nicely. You can enjoy them as film fare, recognizing Marilyn added to their luster and was not the cause. Credit has to be given to the writer, director and costars, which includes some fine work by Ethel Merman, Jane Russell, and Betty Grable. and Lauren Bacall.

Most of these are slight fare compared with other works of the time, but they remain marvelously entertaining starting with Gentlemen where Marilyn and Jane sing and dance in search of husbands. A variation on that theme is in the non-singing Millionaire with Marilyn, Betty, and Lauren as models (back when models had some meat on them). Merman is the focal point of Show Business, of course, but the story of The Five Donahues is nicely told. You can’t go wrong with a supporting cast including Donald O’Connor, Mitzi Gaynor, and Dan Dailey.

More dramatic fare is River where Robert Mitchum is a widower taken advantage of by gambler Rory Calhoun. When Calhoun’s wife Marilyn nurses him back to health things grow complicated. Director Otto Preminger shot this at the Jasper and Banff National Parks a so the scenery rivals Marilyn for beauty.

The two Wilder films remain the strongest in the set starting with Itch, a story of temptation in the form of Monroe as the sexy next door neighbor. She helps herself to Tom Ewell’s air condition while his wife and son are away and it’s all he can do to honor his vows. While entertaining, it treads a fine line between comedy and betrayal but it merely was a warm up to Some Like it Hot, one of the funniest films of the century. Jack Lemmon and Tony Curtis were never sharper as men in drag, performing with Sweet Sue and Her Society Syncopators, an all-girl group, so as to avoid mobster George Raft. Monroe took all her screen personas and poured them into “Sugar” Kane Kowalczyk, a memorable character. A lovesick Joe E. Brown steals the film with the immortal last line.

The Misfits is remembered best as her final film, but it was also Clark Gable’s last screen appearance as he died within two weeks of wrapping production. Written by Arthur Miller, it’s a somber story to begin with and was given added weight for the bookend it provided her screen career. As their marriage was unraveling, Miller continued on rewrites which led to some autobiographical material seeping into the story which was conceived to put Monroe’s dramatic chops on display. Legendary John Huston oversaw a troubled shoot, drawing what he could from an ailing Gable and a drug addicted Monroe. Despite the credentials of director and writer and the talent of the cast, the finished film is uneven and never quite achieves its lofty goals.

Whether you’re eternally infatuated with Marilyn or not, there plenty of reasons in this collection as to why she captivated one generation after another. In Blu-ray, these dazzle and delight, offering you a good reason to sit down and enjoy these all over again.

Dark Shadows Coming to Blu-ray in October

  • News
  • August 1, 2012

darkshadowsdvd-bd_art-300x204-1270823In time for your Halloween party planning Warner Home Video has announced the October 2 release of Dark Shadows. The Tim Burton/Johnny Depp was not the faithful adaptation of the Dan Curtis soap opera some expected and yet it was an affectionate tribute to the ABC series. Here’s the formal press release with details:

Burbank, CA, July 31, 2012 – Vampires, werewolves and a family of quirky characters collide as Dark Shadows comes back to life, arriving onto Blu-ray Combo Pack, DVD and Digital Download on October 2 from Warner Home Entertainment Group. Directed by Tim Burton and starring Johnny Depp as Barnabas Collins, Dark Shadows follows a vampire awoken from a multi-century sleep only to find that the family business is near ruin, his descendents are struggling and his past may come back to haunt him.

Burton directed Dark Shadows from a screenplay by Seth Grahame-Smith, story by John August and Grahame-Smith, based on the television series created by Dan Curtis. The film was produced by Oscar® winner Richard D. Zanuck (Alice in Wonderland, Driving Miss Daisy), Oscar® winner Graham King, (Rango, The Departed), Johnny Depp, Christi Dembrowski, and David Kennedy.

Johnny Depp leads the acclaimed cast, which also includes Michelle Pfeiffer, Helena Bonham Carter, Eva Green, Bella Heathcote, Chloë Grace Moretz, Johnny Lee Miller, Gully McGrath and Jackie Earle Haley.

Dark Shadows will be available on Blu-ray Combo Pack for $35.99 and on single disc DVD for $28.98.  The Blu-ray Combo Pack features a hi-definition and standard definition copy of the film and UltraViolet; and the single disc DVD features a standard definition copy of the film and UltraViolet. UltraViolet allows consumers to download and instantly stream the standard definition theatrical version of the film to a wide range of devices including computers and compatible tablets, smartphones, game consoles, Internet-connected TVs and Blu-ray players.*

SYNOPSIS

Director Tim Burton brings the cult classic series Dark Shadows to the big screen in a film featuring an all-star cast, led by Johnny Depp, Michelle Pfeiffer and Helena Bonham Carter.

In the year 1750, Joshua and Naomi Collins, with young son Barnabas, set sail from England to start a new life in America, where they build a fishing empire in the coastal Maine town that comes to carry their name: Collinsport. Two decades pass and Barnabas (Johnny Depp) has the world at his feet. The master of Collinwood Manor, Barnabas is rich, powerful and an inveterate playboy…until he makes the grave mistake of falling in love with a beauty named Josette DuPres (Bella Heathcote) and breaking the heart of Angelique Bouchard (Eva Green). A witch in every sense of the word, Angelique dooms him to a fate worse than death—turning him into a vampire, and then burying him…alive.

Nearly two centuries later, Barnabas is inadvertently freed from his tomb and emerges into the very changed world of 1972, a stranger in an even stranger time. Returning to Collinwood Manor, he finds that his once-grand estate has fallen into ruin, and the dysfunctional remnants of the Collins family have fared little better, each harboring their own dark secrets.

Family matriarch Elizabeth Collins Stoddard (Michelle Pfeiffer) is the one person Barnabas entrusts with the truth of his identity. But his rather odd and anachronistic behavior immediately raises the suspicions of the live-in psychiatrist, Dr. Julia Hoffman (Helena Bonham Carter), who has no idea what kind of problems she’s really digging up.

As Barnabas sets out to restore his family name to its former glory, one thing stands in his way: Collinsport’s leading denizen, who goes by the name Angie…and who bears a striking resemblance to a very old acquaintance of Barnabas Collins.

Also residing in Collinwood Manor are Elizabeth’s ne’er-do-well brother, Roger Collins, (Jonny Lee Miller); her rebellious teenage daughter Carolyn Stoddard (Chloë Grace Moretz); and Roger’s precocious 10-year-old son, David Collins (Gully McGrath). The longsuffering caretaker of Collinwood is Willie Loomis (Jackie Earle Haley), and new to the Collins’ employ is David’s nanny, Victoria Winters (Bella Heathcote), who is, mysteriously, the mirror image of Barnabas’ one true love, Josette.

BLU-RAY AND DVD ELEMENTS

Dark Shadows Blu-ray Combo Pack contains the following special features:

  • See how the brilliant imaginations of Tim Burton and Johnny Depp created Dark Shadows with nine behind-the-film Focus Points.

1) BECOMING BARNABAS – It takes more than just a set of prosthetic fangs! Get the scoop from directly from Johnny Depp on his reimagining of this infamous and undead cult character.

2) WELCOME TO COLLINSPORT! – Explore every strange nook and peculiar cranny of the most spectacularly detailed city to never exist!

3) A MELEE OF MONSTROUS PROPORTIONS – Join the fight and experience the thrilling final battle sequence in a way that only Tim Burton and Johnny Depp could imagine.

4) ANGELIQUE: A WITCH SCORNED – Johnny Depp and Eva Green reveal the lurid details of their character’s centuries old lascivious and tumultuous relationship.

5) RELIVING A DECADE – From groovy bell bottoms to classic rock & roll, strut through the Collinsport of the 70s and discover the topsy-turvy world that Barnabas finds himself in after centuries in the grave.

6) DARK SHADOWY SECRETS – Watch out for exploding buildings and all manner of bizarre, supernatural occurrences as Tim Burton’s spectacular props and special effects wizards bring this eccentric world to crazy life.

7) THE COLLINSES: EVERY FAMILY HAS ITS DEMONS – Become scarily familiar with this creepy cast of quirky characters as Johnny Depp, Helena Bonham Carter and their co-stars reveal their unique working relationship.

8) COOPER ROCKS COLLINSPORT! – Shock rock the night away with the master of musical horror himself, Alice Cooper, as Johnny Depp and the cast invite him to rock the roof off of Collinsport Manor.

9) VAMPIRES, WITCHES AND WEREWOLVES, OH MY! – Uncover the method behind Tim Burton’s madness as he twists and tweaks his favorite classic movie monsters for the gothic universe of Dark Shadows.

  • DELETED SCENES

Dark Shadows Standard Definition DVD contains the following special features:

  • THE COLLINSES: EVERY FAMILY HAS ITS DEMONS – Become scarily familiar with this creepy cast of quirky characters as Johnny Depp, Helena Bonham Carter and their co-stars reveal their unique working relationship.

DIGITAL DISTRIBUTION ELEMENTS

On October 2, Dark Shadows will be available for download from online digital retailers including iTunes, Xbox, PlayStation, Amazon, Vudu and CinemaNow.

The film is also available digitally in High Definition (HD) VOD and Standard Definition (SD) VOD from cable and satellite providers, and on select gaming consoles.

ULTRAVIOLET

*UltraViolet allows you to collect, watch and share movies and TV shows in a whole new way.  Available with the purchase of specially marked Blu-ray discs, DVDs and Digital Downloads, UltraViolet lets you create a digital collection of movies and TV shows.  Services such as Flixster and VUDU allow you to instantly stream and download UltraViolet content across a wide range of devices including computers and compatible tablets, smartphones, game consoles, Internet-connected TVs and Blu-ray players.  Restrictions and limitations apply.  Go to ultraviolet.flixster.com/info for details.  Learn about VUDU compatible devices at vudu.com.

BASICS

PRODUCT                                                                            SRP

Blu-ray Combo Pack                                                               $35.99

DVD                                                                                       $28.9

Standard Street Date: October 2, 2012

DVD Languages: English, Latin Spanish, Canadian French

BD Languages: English, Latin Spanish, Brazilian Portuguese, Canadian French

DVD Subtitles: English SDH, Latin Spanish, Parisian French

BD Subtitles: English SDH, Latin Spanish, Brazilian Portuguese, Parisian French

Running Time: 113 minutes

Rating: PG-13 for comic horror violence, sexual content, some drug use, language and smoking

DLBY/SURR   DLBY/DGTL   [CC]

When Archers Collide

  • News
  • August 1, 2012

We know, you’re all out buying Hawkeye #1, which we will also be picking up in a few hours. Clearly, it’s the season of the archer and for those following the Olympics, the archery competition has been fun. But now, we have a weird crossover.

The Hunger Games global phenomenon has inspired a surging popularity in the sport of archery demonstrated even further by the success of the United States Archery Team at the Olympics, as well as the highly anticipated Blu-ray and DVD release of the film on August 18 from Lionsgate. Team USA member Khatuna Lorig was there at the beginning to teach actress Jennifer Lawrence how to shoot a bow and arrow in preparation for her iconic starring role. In this image, Olympian Khatuna Lorig poses as “Katniss Everdeen” in a replica jacket from the film, with a symbolic mockingjay pin, in celebration of The Hunger Games’ huge and lasting impact on the sport.

As most recall, archery experts said Jennifer Lawrence’s skill with the bow was far superior to that of Jeremy Renner’s work with the same weapon in The Avengers. This sort of seals the deal on that topic.

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