I grew up on Hergé’s Adventures of Tintin, long before I knew there were graphic albums featuring Belgium’s greatest export after chocolate. Then, in the 1990s, they tried again with different results and it is that latter series being collected on DVD this month from Shout! Factory.
For those in need of reminding, take a look:
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In August, I raved a bit about Griff the Invisible, a charming independent film about man who dreams of being a superhero. The movie opened and closed without much attention, which is shame because it dared to think big on a tiny budget. Fortunately, though, the film is coming out this week on DVD and is well worth your attention.
This Australian film was written and directed by Leon Ford, who did some commentary on camera with the 50th Anniversary DC Universe poster seen over his shoulder, a testament to his affection for the super-hero. His movie had plenty of heart, anchored by a dynamite performance by Ryan Kwanten.
Fantasy and reality is approached by Griff, a lonely salaryman and Melody (Maeve Dermody), a scientist challenging the laws of physics. They make an unlikely, but thoroughly charming couple of misfits, falling in love.
Shot on 16mm for atmosphere, the film transfers nicely to Blu-ray but lacks the sharpness of the bigger budgeted behemoth super-hero films that also came out this year. Same with the audio so overall, it’s fine on disc and watching it on a home screen makes it feel more intimate and touching than on a Cineplex screen. In some ways, this is better at home than anywhere else.
The disc comes with only a handful of extras, all a little perfunctory such as the commentary form Ford, Producer, Nicole O’Donohue, and actor Patrick Brammall. Ford is also the focus of director diary videos which are too short to be worth seeing. He touches on his thoughts before, during, and after production but never really says anything. There are also several pieces under the umbrella title Anatomy of a Scene — Opening Sequence (3:16), the All-In-One Shot (2:16), and the Anyhoo (2:00) — but is shot and edited in such a way that there’s little to be learned. There’s also the 4:08 making of featurette that again is too short to be worthwhile. Brammall also hosts a 1:24 set tour that shows you only brief sections and again leaves you wanting something with substance. The best part of the extras are the 7:36 of deleted scenes, none of which were vital to the story but did flesh out the story and characters.
Imagine the BBC fifteen years ago, before the current explosion of science fiction and fantasy fare. It was a dowdy set of channels, working on the cheap, and not being necessarily accommodating to the needs of its shows. Instead, they often said we have a hole for X, please take your concept and make it fit.
While their schedules were not entirely devoid of genre fare, it came few and far between with offerings like [[[Neverwhere]]], which aired on BBC Two and was written by Neil Gaiman, in the flush of his success in America with Sandman. He met with producer Lenny Henry during England’s annual Comic Relief event and they began talking about a story. Lenny imagined a society below London and that was enough of a spark to get Gaiman going.
He conjured up a fully realized fantasy world and used the character of Richard Mayhew, a thoroughly typical citizen, who does a good deed and is rewarded with being plunged into this realm. The story of Neverwhere has been told and retold, first as a BBC miniseries, complete with 1996 novelization by Gaiman, and then, years later, a comic book adaptation from Vertigo. There’s been a steady stream of talk of a film version but it remains trapped in a realm of its own called Development Hell.
The BBC at the time treated it like any of its other broadcasts, giving the fantasy a budget fit for a situation comedy and then insisting it be produced in thirty-minute installments coupled with the even odder demand that it be shot on video not film. The result was an unsatisfactory event that has left Gaiman and fans demanding a Redo.
Instead, the BBC is releasing a fifteenth anniversary DVD edition of the miniseries on Tuesday. They had a Region 2 edition around for some time now but this is a first official release in the States. (more…)
Some months back, I was asked by Danny Fingeroth to partner with him once more, stepping in during the final weeks of production on TwoMorrows’ The Stan Lee Universe. I proofread the book, doublechecked facts, filled in blanks, did some caption writing and told Danny and his co-editor Roy Thomas that it was a pretty solid tribute to a true innovator in the comics field.
The first copies came in from the printer while we were all attending New York Comic-Con and we were delighted with how good it turned out. Now, I received word this morning that the book is finally available for delivery. Since this seems to be my year with Stan, I wanted to bring this your attention. If you get it — or Stan Lee’s How Write Comics — let me know what you think.
Here’s the press release on the matter:
Face front, true believers! THE STAN LEE UNIVERSE is the ultimate repository of interviews with and mementos about Marvel Comics’ fearless leader! (more…)
After technical difficulties slowly derailed the best laid plans of Crazy 8 Press, my old story, “A Matter of Faith” is now available for the Kindle. The Nook edition will follow next week (once the IRS confirms I am really myself).
As discussed over at Crazy 8 Press recently, it’s one of two original short stories I’ve written and published through the years and I am pleased as punch to be able to have them available once more.
By all means, invest the 99 cents and see for yourself. As a bonus, there will be a sample chapter of Mike Friedman’s Fight the Gods, which will be available later this month. If you buy it, thank you. I certainly want your feedback.
As is the new habit in basic cable, the Cartoon Network split the current season of its hilarious Robot Chicken into two halves, airing the first part of the fifth season late last year and then, a few weeks ago kicking off the second season. Where they didn’t follow the script was releasing Robot Chicken Season 5 on DVD just days after the second half debuted October 23.
All 20 episodes are included and I am late in bringing this to your attention because I have been savoring the installments, catching up on what has aired, and working ahead. The show, from co-creators Seth Green and Matthew Senreich, available on Blu-ray and standard DVD in separate packages. And as has become their wont, there are hours of bonus features, some exclusive to the Blu-ray edition, which was not sent for review.
Last year, the show won a much-deserved Emmy Award for Outstanding Short-Format Animated Program and will likely be nominated again based on how much belly-laughing I did with the antics skewering pop culture celebrities, music, television and movies. You can watch mashups like Saving Private Gigli, Schindler’s Bucket List, and Casablankman (and its sequel, airing later this month), although my favorite title was Major League of Extraordinary Gentlemen.
Extras include seven deleted scenes, over 50 deleted animatics with video introductions (always worth watching), selected episode commentary with the celebrity guests, an assortment of Behind the scenes featurettes and the funny On-air promotions. The Blu-ray also offers alternate audio takes from various sketches throughout the fifth season. DVD purchasers get an exclusive of their own: the ability to download an exclusive, uncensored version of the “Blue Rabbits” song.
Among the more amusing segments: Skeletor watches in horror when Snake Mountain is foreclosed on; Gargamel disguises himself as a Smurf; Major Nelson has Jeannie exactly delicious revenge when NASA fires him, NASA’s Lego people have a very bad launch day. One of my favorites was the war between the Keebler Elves and the Cookie Monster. Given my own recent roast, I can also appreciate the GI Joes’ attempt to spoil one for Cobra Commander.
You want guest stars in on the fun? How about, to name only some: Mila Kunis, Macaulay Culkin, Seth MacFarlane, Clare Grant, Michael Ian Black, Katee Sackhoff, Christian Slater, Michelle Trachtenberg, Abraham Benrubi, Alyson Hannigan, Skeet Ulrich, Olivia Munn, Alan Tudyk, the great Frank Welker, Lea Thompson, Emma Stone, Diablo Cody, Josh Groban, Mark Hamill, Sean Astin, Donald Faison, Amy Smart, the wondrous Adrianne Palicki, Jennifer Lawrence, January Jones, Kevin Bacon, Naomi Watts, Andy Serkis, and, in his final role before an untimely death, Gary Coleman.
ComicMix readers will definitely want to see Geoff Johns’ take on the DC Universe in an extended segment that has yet to air. Additionally, there’s the issue of who’s faster: Superman or Santa Claus and more recently a pretty funny bit between Green Lantern and Sinestro.
While most of the Adult Swim is not aimed at me (or I find particularly entertaining or funny), this is brilliant, knowing humor that I adore and so should you.
Why are we reviewing this failed adaptation of Sara Gruen’s 2006 novel, Water for Elephants? Well, we like circuses and my wife enjoyed the novel. We think Christoph Waltz is one of the more interesting actors to watch these days and frankly, we just plain like Reese Witherspoon, who hasn’t made enough solid films the last few years. Then there’s director Francis Lawrence, whose Constantine I thought was underrated. With the box office disappointment out this week on disc from 20th Century Home Entertainment, it was time to give it a look.
This Depression-era story tells of Jacob Jankowski (Robert Pattinson), a would-be veterinarian whose studies at Cornell were cut short given the economy. He hits the road, as did so many others, but only he stumbled across the Benzini Brothers Circus, run by August (Waltz) and featuring his wife Marlena (Witherspoon). They need a doctor on the cheap and he gains invaluable practical experience caring for the menagerie being carted from town to town.
Jacob also gets a hard lesson in life as he watches August abuse both wife and elephant and Jacob tenderly fills the void for both. Things go awry when August learns of Jacob’s interference with his life and profession, setting up an inevitable confrontation.
There’s plenty of drama here, plenty of atmosphere and themes to explore, but the power of the novel is sapped by a labored film adaptation in the hands of screenwriter Richard LaGravenese and director Francis Lawrence. While he struggled to successful bring Constantine’s snark to film, ruined by the Americanization to accommodate Keanu Reeves, he did Richard Matheson a disservice with I Am Legend so the jury was still out on his skills. This third flawed adaptation proves the man is tone deaf to the beauty inherent in the prose. All three films call for unique settings and moods but rather than feast on a bleak 1930s America, this feels like a typical Hollywood vision of that time.
In adapting the book’s rich characters and psychological interrelationships, Lawrence comes up short, robbing every character of their depth. The attractive cast is also the wrong cast and doesn’t give them enough actual direction leaving Waltz in need of restraint and Pattinson and Witherspoon mismatched, lacking any real spark between them. He does his best work with Rosie the Elephant which isn’t saying a lot. Had the circus performers and crew been allowed to do anything in the story, it could have been a rich ensemble piece and more satisfying look at this life on the rails.
The Blu-ray edition, not sent for review, contains plenty of featurettes while the DVD comes with just a Robert Pattinson Spotlight (yawn), a by-the-numbers piece on Reese Witherspoon, and the most interesting piece The Traveling Show: From Page to Screen. There’s also an audio commentary from Lawrence and LaGravenese but I just couldn’t care enough to finish it.
For those interested, the Blu-ray comes with the above plus Working Without A Net – The Visual Effects of Water for Elephants; The Star Attraction; Raising the Tent; and, Secrets of the Big Top.
Over the summer, Dynamite Entertainment asked me to rush edit a novel and sure enough, in under a week, I read, line edited, and completed my work on Seal Team 6, a prose novel by my pal Chuck Dixon. It was initially made available as an eBook, a first for Dynamite; and today, can be ordered as a print book in the new Diamond Previews catalog. If you like men’s adventure and military action, then this book is for you.
Here’s the solicitation copy:
SEAL TEAM SIX: A NOVEL
160 page prose novel (6”x9”) • $9.99 • Teen +
Written by CHUCK DIXON
New York Times bestselling author, Chuck Dixon’s first ever novel from Dynamite
Entertainment! In the tradition of G.I. Joe, Punisher, Tom Clancy, Brad Thor, Clive Cussler, Vince Flynn, W.E. Griffin, and Dale Brown: SEAL Team Six: The Novel!They are highly trained. Their missions are classified. They are our best and last hope. Yet they do not exist. Follow SEAL Team Six as they train, hunt and fight an enemy who reaches out from the most remote corners of the world to murder and maim. These highly-trained, military men are the unknown heroes who endure unimaginable hardship and murderous combat to protect our homeland.
For whatever reason, my kids didn’t want to see Cars and we even missed it on cable and home video. When word spread that it was good but not Pixar’s best feature, there wasn’t a lot of desire among the family to check it out. The same feeling arrived this June when the inevitable sequel, spurred by enough box office revenues and massive merchandise success, arrived. We empty-nesters just couldn’t muster the desire to go see the film, despite an engaging trailer and a love for all things Pixar.
The home video release of the movie this coming week remedied this void in my Pixar knowledge. The movie is entertaining enough, moving at, appropriately enough, a racing clip; it reintroduces the established characters, moves them to a new setting and gives audiences (and merchandisers) some new players. Hilarity ensues for 106 minutes and the film itself is entertaining but it felt cookie cutter in its approach with little in the way of either heart or surprise. Where I found Up too implausible to make me suspend my disbelief, this felt far more like pure kiddie fare than the usual family friendly feature that offers something for everyone.
I suppose the espionage angle was for the adults in the crowd and yes, Michael Caine was a perfect choice for the automotive version of James Bond. Still, it felt unnecessarily tacked on, although his contrast with Mater (Larry the Cable Guy) was a nice idea. Mater is a supporting character uncomfortably thrust into the spotlight and much like a television sitcom spinoff written around a supporting character (Joey anyone?), Mater just isn’t a strong enough personality to handle the lead.
The advent of CGI allowed anything to become a reality if you could afford it. The promise seen in Terminator 2 quickly led the big budget producers to play with the new technology and the 1990s saw a shift in storytelling as these extravaganzas grew larger. When Steven Spielberg announced he was adapting Michael Crichton’s Jurassic Park for the screen, we knew this was going to be the pinnacle of an era. From the lush and note-perfect John Williams score to the familiar and welcome cast, we were in for a treat. That first establishing shot of the park and its legendary inhabitants was a jaw-dropping moment in cinema. Done right, the CGI didn’t overwhelm, but fit seamlessly to convincingly tell a story.
Unfortunately, as CGI technology became widespread and cheaper, it got used and misused with abandon. Similarly, the wild box office success of the first Jurassic film prompted Universal Studios to go ahead with a second and third installment when really all you needed was the first with a satisfying beginning, middle and conclusion. Still, kids love dinosaurs and the movies did well enough that even today talk of a fourth film surfaces now and then.
In time for the holidays Universal Home Entertainment has collected the trilogy, spiffed them up a bit and collected them as the [[[Jurassic Park Ultimate Trilogy]]], a three-disc Blu-ray box set in a handsome case. (more…)
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