Author: Robert Greenberger

In case you missed it, Brave opens on Friday but first, they honor Father’s Day (despite the holiday not existing at the time of the film).

Set in the rugged and mysterious Highlands of Scotland, Disney•Pixar’s Brave follows the heroic journey of Merida (voice of Kelly Macdonald), a skilled archer and headstrong daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to change her fate, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) andcantankerous Lord Dingwall (voice of Robbie Coltrane), unleashing chaos in the kingdom. When she turns to an eccentric Witch (voice of Julie Walters), she is granted an ill-fated wish and the ensuing peril forces Merida to harness all of her resources—including her mischievous triplet brothers—to undo a beastly curse and discover the meaning of true bravery. Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, Brave is a grand adventure full of heart, memorable characters and signature Pixar humor. Opens on June 22, 2012, in Disney Digital 3D™ in select theaters.

BURBANK, Calif. (June 11, 2012) – Walt Disney Animation Studios presents an epic tale of adventure and comedy in “Frozen,” a computer-animated feature film slated for the big screen in November 2013. Directed by Chris Buck (Tarzan, Surf’s Up) and produced by Peter Del Vecho (Winnie the Pooh, The Princess and the Frog), Frozen features the vocal talents of film/TV/stage star Kristen Bell as Anna, a young dreamer about to take the adventure of a lifetime, and Tony Award ®-winning actress Idina Menzel as Elsa the Snow Queen. The movie will feature original songs by Broadway greats Robert Lopez and Kristen Anderson-Lopez.

In Frozen, a prophecy traps a kingdom in eternal winter, so Anna (voice of Bell) must team up with Kristoff, a daring mountain man, on the grandest of journeys to find the Snow Queen (voice of Menzel) and put an end to the icy spell. Encountering Everest-like extremes, mystical creatures and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction.

Bell has starred in a variety of films, including the comedies Forgetting Sarah Marshall and Couples Retreat, and the upcoming films Hit & Run, Some Girls and the Farrelly Brothers’ Movie 43. On the small screen, Bell is currently starring in the Showtime series House of Lies alongside Don Cheadle; she has also starred in Heroes and Veronica Mars. Broadway credits include The Crucible and Tom Sawyer.

Menzel, who won a Tony Award® as Best Actress in a Musical for her role as Elphaba in Broadway’s Wicked (2004), landed her first role on Broadway in 1995 in the Tony Award-winning musical Rent. Film credits include Enchanted and the feature film Rent. She has appeared in a recurring role on TV’s Glee and recently released Idina Menzel Live: Barefoot at the Symphony, a live concert with an orchestra led by composer/conductor Marvin Hamlisch. Menzel is currently on a North American concert tour.

Robert Lopez is a three-time Tony Award®-winning writer of the Tony and Grammy® Award-winning musical The Book of Mormon, which was co-written with Trey Parker and Matt Stone (South Park), and the musical Avenue Q, which ran for six years on Broadway and four years in London’s West End.  Lopez teamed with wife Anderson-Lopez, whose Drama Desk-winning show In Transit is Broadway-bound, to write original songs for 2011’s Winnie the Pooh, a stage version of Finding Nemo and a new musical called Up Here.

I thought it was funnier. Meatballs looms large in the memory as Bill Murray’s first big film and a laugh riot along the lines of Caddyshack. It certainly has the right pedigree as it came from director Ivan Reitman and was co-written by Harold Ramis. The film was a hit when first released in 1979 and spawned several sequels and now it is making its Blu-ray debut on Tuesday from Lionsgate Home Entertainment.

It has not aged well. The humor is mild, even for 1979, when Animal House rewrote the rules a year earlier. This PG-rated comedy features the counselors and kids at Camp North Star, a ramshackle summer camp. Despite a reporter telling us the camp charges $1000 a week, we have no idea where the money goes given the dilapidated bunks, grounds, and facilities. The kids aren’t required to wear camp uniforms and they don’t seem to be following much of a schedule.

Written by Ramis, Len Blum, Dan Goldberg, and Janis Allen, the characters aren’t well-defined archetypes or satirical portraits of the kind of people you would find at such a place. We have no clue about the kids and their backgrounds, or the counselors and counselors in training (CITs). It doesn’t appear to be a very large camp given each age range is represented by about four people each.

When I went to sleepaway camp in the early 1970s there were plenty of things to ridicule and mock and the film barely touches on any of them making it an empty and disappointing exercise that most certainly does not hold up well on repeat viewing.  Murray stars as the head counselor, Tripper Harrison, who meanders from activity to activity, with glimpses of the character that would grow up to become the star of Stripes, a far better collaboration with Ramis and Reitman a mere three years later.

There’s a sentimental storyline as he befriends Rudy Gerner (Chris Makepeace) the kid who has no friends and self-esteem issues. Of course, he goes jogging with Murray every day so when the big competition with another camp requires a marathon runner, you know who will race and who will win.  The story includes several teen crushes and romances which are more cloyingly sweet than laugh-filled raunch.

Of the No Name cast, Makepeace went on to a short-lived teen heartthrob career while Murray took the money and ran back to Saturday Night Live. The rest never aspired to much with the exception of Matt Craven, who now stars on NCIS.

The film’s grainy low-budget feel is retained in the Blu-ray transfer and doesn’t look much better on high definition. The sound is nice and Elmer Bernstein’s score is a welcome touch. Unlike the most recent DVD release, the 2007 special edition, the only bonus track we get here is the original commentary from Reitman and Goldberg. Now, if you’ve never heard this before, it’s worth a listen to understand that Murray’s participation was never confirmed until he arrived for work and an hour of sub-plots were jettisoned to make room for the Murray/Makepeace sub-plot. It was shot fast and the haphazard feel robs the film of any strength it could have possessed.

Overall, the movie itself and the Blu-ray release are remarkably disappointing.

Award-winning comics writer Joe Kelly has crafted an engaging, thought-provoking, action-packed thriller in adapting his 2001 Action Comics #775 classic tale (“What’s So Funny About Truth, Justice & the American Way”) into Superman vs. the Elite, the latest DC Comics Premiere Movie.

Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated Superman vs. the Elite arrives TODAY – June 12, 2012 – from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. Both the Blu-ray™ Combo Pack and DVD will include an UltraViolet™ Digital Copy.

In Superman vs. the Elite, Superman’s effectiveness as a super hero comes into question when a new group of super powerful crusaders, known as “The Elite,” appear on the scene.  As super heroes, the Elite know no bounds, and are more than willing to kill, even on a massive scale, to stop villainy — putting them on a collision course with the ever-ethical and decidedly non-lethal Man of Steel.

“What’s So Funny About Truth, Justice & the American Way” was lauded by Wizard Magazine as the “Greatest Superman Story of All Time,” and the magazine ranked the epic tale at No. 21 on its list of the “Top 100 Comics of the last 30 years.” It is arguably Kelly’s masterwork from a career of notable comics, including such titles as Deadpool, Uncanny X-Men, Action Comics and JLA.

Today, Kelly is one-fourth of the comics-oriented quartet known as Man of Action Studios. The group are superstars in the comic and TV animation/action world already as the creators/producers and writers of the megahit, Ben 10.  Their Ben 10 empire has generated over three billion dollars in sales based on their four television series and merchandising and now Joel Silver is producing a feature film adaptation of their creation.  Ben 10, arguably the most successful youth brand and superhero franchise of the last decade, has also launched two live-action TV movies and is seen in more than 168 countries and 312 million households.  Man of Action Studios also created Generator Rex, write/produce Ultimate Spider-Man on Disney XD, and they create/write/produce video games, TV shows, films, comic books, graphic novels, stage productions, etc.  Joining Kelly at Man of Action Studios, which began in 2000, are renowned writers Duncan Rouleau, Joe Casey and Steven T. Seagle.  The quartet are now in development/production on numerous TV and film projects including The Great Unknown, Kafka, Disco Destroyer and, of course, Superman vs. The Elite.  They proudly have their own Man of Action imprint at Image Comics, where they continue to flourish in the creator-owned comics world.

Kelly spoke about the creation of the film, the transition from page to screen, and his favorite scenes in a chat late last week. Here’s what the wordsmith had to say …

Question: For the uninitiated, what was the genesis for the original story of this comic?

Joe Kelly: The germ for the story really came from a very visceral reaction I had to a comic I was reading at the time – The Authority. It was a dark anti-hero comic. I really like the Authority and its characters, but there was an issue in particular that felt like it had pushed the boundaries of what makes a hero and what makes anti-hero. I found myself getting ‘fanboy mad,’ which I don’t normally get. We had an anniversary issue, and I asked Eddie (Berganza) if we could directly address those characters. I wanted Superman to take those characters on. And that became the germ for Action Comics #775.

Question: As Action Comics #775 was a single issue, how much did you need to add to the story to make it a full-length film?

Kelly: We wrote a lot of new content for the film, and it was funny looking back at the comic because I forgot how much is discussed rather than shown. There’s so much going on between the panels. So it was very exciting to get to see the action sequences that were just hinted at. I’d always seen them in my head, now I get to see them played out in animation.

Question: What was the purpose of adding the Atomic Skull to the story

Kelly: We knew we needed a villain or a character that would externalize Manchester Black’s argument against the revolving door jail policy. We wanted that parallel to be personal and easily identifiable. Originally it was the Parasite, but he’d been used in a recent previous film, so it became the Atomic Skull. And I really thought the Atomic Skull came out very cool. He worked well visually and for the story. Not having Parasite meant we lost a smidgen of the thematic approach – the Parasite really fit well in terms of his name and what he does to the people around him. But that’s just being picky.

Question: Do you have a favorite scene in Superman vs. the Elite?

Kelly: I’m especially proud of the quiet scenes. It’s very difficult to get quiet emotion in animation and to let the silence actually play on screen. But when you look at the quiet scenes in this film — Pa Kent and Clark on the porch, or Lois and Clark on the couch – those scenes really give us the chance to see Superman questioning himself with the people he trusts the most. And those scenes play beautifully in the film.

It’s like in one of my favorite scenes – just before the Elite takes over the airwaves and makes their grand announcement. I think it’s in the original, but it really came to life for me in the film. Lois and Clark are having a little debate, and he asks if she believes that criminals deserve the Elite’s sense of justice and punishment. And she says “Some days I think they do.” That’s just like a punch in the gut. It’s really an awesome scene, especially because it’s one of those moments in animation that you don’t expect. The big battle with the Atomic Skull is pretty great, too. And the finale is awesome. But I love the quiet moments.

Question: Whose sense of justice do you side with: the Elite or Superman?

Kelly: I’m definitely more in the Superman camp. There are plenty of people I get angry about, and the eye-for-an-eye mentality does flash though my head. I think it does for anybody. But at the end of the day, I do believe we need to aspire to higher ideals. Maybe I’m being naïve, and I may not be able to achieve those ideals myself, but we must make the attempt. You’ve got to try. My dad was a cop and he had very strong opinions about this stuff, but he would straddle the line. He had his days when he’d think “kill them all and let God sort them out,” but there were far more days where he believed that the law is the law, even if its broken, and we live in the best country on Earth because of those laws. So that definitely informed my weird sense of justice.

Question: Did the voices of the actors portraying these characters match the voices in your head while writing the film?

Kelly: The voice acting is so good in this film. Robin (Atkin Downes) is such a good Manchester. He’s got all the snark and all the personality, and his line deliveries are so spot on for that guy. It’s funny because everybody says the same thing: you can’t do an actual Manchester accent and expect to be understood, but Robin’s modified Mancunian accent is awesome. And understandable. The rest of the Elite’s voices are perfect: Menagerie is scary and sexy; Coldcast wears his “angry man” on his sleeve; and everyone giggles when The Hat comes on. I can’t say enough about George (Newbern) – I had heard his acting before, and he does such a great Superman. It’s terrific to see George portray the range of emotion he gets to do in this story. And Pauley (Perrette) so knocked it out of the park – I was immediately in love with Lois. Pauley gets all the smarts of the character. The two of them as a partnership really comes across, which is critical to the story. Lois keeps Clark grounded, and she’s literally the only one that can tug on Superman’s cape. Lois can bust his chops, and that comes through in Pauley’s voice. She’s terrific in the quiet moments, as well. Pauley sells it all so, so well.

Question: Are there other stories you’ve written as comics that you could see adapting to animation?

Kelly: In the DC realm, I’m very proud of Justice League Elite because the characters that pick up from this story are darker and very layered. It’s all about how messy you can get before you become a monster. I love that theme. If we could ever pull off Justice League Obsidian Age, that would be amazing – it’s just an insane, gigantic epic, and to see those characters animated would be incredible.