Author: Robert Greenberger

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…)

[[[Government Issue: Comics For The People, 1940s-2000s]]]
By Richard L. Graham
Abrams Comic Arts, 304 pages, $29.95

The rich history of comics is also one of the public’s perception of it being mainly for children. What is only recently being uncovered are the many ways comics have been used beyond cheap entertainment for the masses. As early as 1940, Will Eisner saw their potential and he was among the first to use the graphic form for educational purposes with what became P*S, the preventative maintenance magazine produced by the Army. During World War II, Stan Lee wrote comics to explain how forms need to be filled out and DC Comics did special editions of Superman to help teach America’s soldiers to improve their reading.

Now, we’re learning that the Federal Government has long been a proponent of using comics as educational and propaganda tool, dating back to the field’s infancy. Thankfully, Richard Graham has done the spadework that has uncovered the full flavor of material offered using your tax dollars. Government Issue is actually an important addition to our comics history, demonstrating the reach of the format and the value placed on its ability to communicate with the masses

Graham organizes his book by different subject matter – “military,” “employment and economics,” “Civil Defense, Safety and Health,” and “Landscapes and Lifestyles” – so you can get a better sense of how far-ranging this had become. And like most government operations, there was no central plan or design; no comics czar to ensure federally-produced comics met certain criteria for quality of accuracy. As a result, we see a variety of writing and artistic styles brought to bear in conveying the information to its intended audience. One of the worst results of this lack of control has to be the ham-fisted writing and terrible artwork accepted by the military for a piece on how homosexuals should consider admitting their persuasion to superior officers during the period of “Don’t Ask, Don’t Tell”.

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Walt Disney has released the first images for their forthcoming Japanese import The Secret World of Arrietty.

Residing quietly beneath the floorboards are little people who live undetected in a secret world to be discovered, where the smallest may stand tallest of all.  From the legendary Studio Ghibli (Spirited Away, Ponyo) comes The Secret World of Arrietty, an animated adventure based on Mary Norton’s acclaimed children’s book series The Borrowers.

Arrietty (voice of Bridgit Mendler), a tiny, but tenacious 14-year-old, lives with her parents (voices of Will Arnett and Amy Poehler) in the recesses of a suburban garden home, unbeknownst to the homeowner and her housekeeper (voice of Carol Burnett). Like all little people, Arrietty (AIR-ee-ett-ee) remains hidden from view, except during occasional covert ventures beyond the floorboards to “borrow” scrap supplies like sugar cubes from her human hosts. But when 12-year-old Shawn (voice of David Henrie), a human boy who comes to stay in the home, discovers his mysterious housemate one evening, a secret friendship blossoms. If discovered, their relationship could drive Arrietty’s family from the home and straight into danger. The English language version of The Secret World of Arrietty was executive produced by Kathleen Kennedy and Frank Marshall, and directed by Gary Rydstrom. The film hits theaters Feb. 17, 2012. (more…)

Brian Selznick’s award-winning hybrid novel/graphic novel The Invention of Hugo Cabret is being released this November 23 as Hugo, a big budget film directed by Martin Scorcese. Yes, that Martin Scorcese. Coming from Paramount Pictures, the movie adapts the novel and will be available in (ugh) 3-D and 2-D and the studio kjust released both a new trailer and one-sheet which we present here.

The film, set in early 20th Century France, tells the story of not only a boy who lives in the train station but involves a mystery leading to secrets about pioneer filmmaker Georges Méliès. It’s pretty fun stuff and worth a look.

First, check out this cast:

Asa Butterfield as Hugo Cabret

Chloë Grace Moretz as Isabelle, a friend of Hugo

Ben Kingsley as Georges Méliès

Sacha Baron Cohen as the station inspector

Jude Law as Hugo’s father

Christopher Lee as Monsieur Labisse, the bookshop owner

Helen McCrory as Mama Jeanne, Méliès’ wife

Michael Stuhlbarg as René Tabard, a film historian

Marco Aponte as Julien Carette

Emily Mortimer as Lisette

Ray Winstone as Uncle Claude, Hugo’s deceased uncle

Frances de la Tour as Madame Emile, the owner of the café

Richard Griffiths as Monsieur Frick, the newspaper seller

Johnny Depp as M. Roulea

I wrote a while back, lamenting over not writing much for or about Star Trek these days and it appeared that my involvement in the franchise was going to become a fading memory.

Perhaps I wrote too quickly.

Back in August, I was contacted by an editor at Voyageur Press on the recommendation of fellow Trek writer, and Voyageur employee, Scott Pearson. Grace LaBatt kindly asked if I was perhaps interested in tackling an Unauthorized History of Star Trek, tracing not only the TV series but the movies, the spinoffs, the merchandise and most importantly, the fan following that kept the dream alive.

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