It seems as if there’s as much chaos going on behind the scenes of the upcoming Punisher: War Zone film as a typical Frank Castle firefight these days. Earlier this year, various sites reported that the Lionsgate Studios project had its release date pushed back to December, but now that change appears to be just the tip of the iceberg when it comes to problems with the highly anticipated film.

Over on the website for the film’s director, Lexi Alexander, all references to Punisher have been deleted — including her praise for the ultra-violent "red band" trailer release that we linked to back in June. Beyond that, the Latino Review recently reported that the studio is pushing for a PG-13 rating for the film due to the success of the The Dark Knight, igniting a massive backlash among fans of the character, the trailer and, well… just about everything related to the project. Luckily, that rumor was later semi-squashed in a follow-up report on Latino Review.

Meanwhile, Heidi MacDonald points us to even more rumor-mill chatter about the film, its potential rating and whether Alexander still has a role in it.

So what’s the real story? No one really seems to know anymore — but everyone seems to have a source "close to the project" with an opinion.

Heck, my source tells me that they might scrap the project entirely and bring back Dolph Lundgren to play the character. After all, he did tell one of the villains in the 1989 Punisher film, "I’m Batman." Coincidence… or a return to the character almost a decade in the making?

Oh, and if you have a chance, be sure to check out the <a href=”

vs. Punisher" video I came across on YouTube, comparing the 1989 and 2004 films.

Early in July, I spoke with Greg Weisman about the acclaimed Gargoyles animated series he created and the new comics that continue the storyline of that project (and feel free to check out that interview, by all means). Afterward, I had the opportunity to speak with him about the Kids WB animated series The Spectacular Spider-Man, which I reviewed a few weeks ago. Weisman developed this new cartoon series for television along with Victor Cook (Hellboy: Blood and Iron, Darkwing Duck) and which features voice talents such as Josh Keaton, Lacey Chabert, Josh Lebar, John Dimaggio, Phil Lamarr, Robert Englund, Clancy Brown, Jeff Bennett and Vanessa Marshall.

Taking place a few short months after Peter has gained his powers and learned that “with great power there must also come great responsibility,” the cartoon showcases a 16-year-old superhero who is still learning the tricks of the trade when folks like the Green Goblin, Electro and Dr. Octopus start showing up. When he’s not web-slinging, Peter spends his days trying to change how people at his high school view him, since his super-abilities have given him the confidence to stand up for himself rather than just be the nerd who’s picked on. But it’s not easy — and even when he’s surrounded by people who love him, like longtime friend Gwen Stacy and his doting Aunt May, Peter still feels alone, unable to trust anyone with the secret of his double-life.

Here’s what Weisman, the series’ Story Editor and Supervising Producer, had to say about the first season of the series.

COMICMIX: As Story Editor, how did you approach the development of the series and the character himself?

GREG WEISMAN: When I got the job, I went and bought the first seven volumes of The Essential Spider-Man and re-read them. I’d read them as a kid, I grew up on Stan Lee and John Romita, Sr. and later went back and read the original Stan Lee, Steve Ditko stories. So, I re-read them and took copious notes and tried to get the voice of those early stories.

COMICMIX: Of course, you’re still putting your own spin on some of the origins and the costume designs.

GREG WEISMAN: Right. With the new series, we wanted to create something that was coherent, cohesive, contemporary and classic. Those are the four Cs we always go back to. We’re retooling and redesigning things for the modern day but we want the characters to still be iconic. We want you to see our updated version of the Vulture and still say “yep, that’s the Vulture” and “yeah, that’s the Green Goblin.” It’s a contemporary version but the changes aren’t there just for the sake of making changes. It’s still true to what Lee, Ditko and Romita did. (more…)

Over at io9, the website’s resident comics expert Graeme McMillan has put together a nice analysis of the events leading up to the current "World’s End" relaunch of DC’s Wildstorm line. I was pleasantly surprised by the recent issues #1 of Wildcats and The Authority — mainly because I’ve been a fan of both these series for quite a while and been both terribly excited and subsequently disappointed by prior attempts at re-establishing the universe around each series.

The new Wildstorm status quo places its superheroes in a world ravaged by events that they share much of the blame for, and this dynamic provides the opportunity for stories that have always been relegated to one-shot or "What If?" status elsewhere. So, I guess you can color me intrigued.

Here, McMillan provides a quick assessment of recent Wildstorm history:

This isn’t the first time that the Wildstorm line has gone all out for change; in 2003, their Coup D’Tat series had the Authority depose the US Government and set themselves up as dictators of the United States, before they realized that they couldn’t be bothered with all the paperwork. But with fans still hurting about 2006’s failed Worldstorm relaunch (which died when Grant Morrison’s core two series Wildcats and The Authority disappeared after one and two issues, respectively), will even the end of the world get them interested in checking out the series again?

Like McMillan, I’m impressed with the decision to change the Wildstorm Universe so dramatically — and I’m also hoping there isn’t a deus ex machina in the works at this point. For more on the new Wildstorm U and some thoughts from creators on why it was necessary, head over to io9.

Even though the newest Pixar feature has been in wide release since the spring, we just got around to seeing it together. Here’s what we thought. The film is about a deserted Earth, abandoned by humans when it got too polluted. Robots were left to clean it up, and only one is still working, the title character, Wall-E.

MT: My husband says that one way to tell an animated movie is good is to see how much it relies upon dialogue for exposition. A really good cartoon doesn’t need words to tell a story. Wall-E, for the first chunk, used hardly any dialogue, just some television news to explain the set-up.

LB: Wall-E has a cockroach friend in this movie. Lots of movies seem to have cockroaches these days, like the movie we reviewed last, Enchanted.

LB: Yeah, I think it could happen. Not the robots trying to take over the spaceship or anything. I don’t think robots can malfunction that badly.

MT: Wall-E is the only robot still working on Earth, and he gets swept away to a spaceship that has people on it when he falls for a robot, Eva, sent to see if there is any plant life on Earth. (more…)

The Dark Knight surpassed Star Wars twice this weekend.  First, it firmly grabbed second place on the All Time Box Office charts with a total now estimated at $471,493,000.  Its weekend take of $16,790,000 also surpassed the debut of the CGI-animated Star Wars: The Clone Wars which managed a so-so $15,505,000.  The film received mixed reviews and little in the way of anticipatory buzz so its performance over the next week or two will be telling.

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