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Marvel ends Ultraman Association with FInal Miniseries

New York, NY— October 31, 2025 — The climactic chapter of Marvel Comics’ acclaimed ULTRAMAN comic book saga arrives this February in THE FALL OF ULTRAMAN! The one-shot will be written by Kyle Higgins and Mat Groom, the duo behind Ultraman’s Marvel journey since its inception, and drawn by artist Davide Tinto, who returns after his work on Ultraman: The Mystery of Ultraseven.

Made in collaboration with Tsuburaya Productions, Marvel’s venture into the Ultraman mythos began in 2020’s The Rise of Ultraman, which delivered a bold reimagining of the pop culture icon’s classic origin. Ultraman’s Marvel adventures continued in The Trials of Ultraman, Ultraman: The Mystery of Ultraseven, and last year’s Ultraman X the Avengers, where Japan’s greatest superhero finally crossed over with the heroes of the Marvel Universe! It’s all been leading to this—at long last, witness the end of this incredible chapter in Ultraman’s groundbreaking legacy in THE FALL OF ULTRAMAN!

Together, they’ve crossed dimensions, unfurled conspiracies, tangled with giant Kaiju, and saved civilizations. But now, Ultraman and his team are given an unexpected glimpse at the path ahead – and that path leads unavoidably to the loss of our world’s greatest hero! What cosmic threat will be Ultraman’s undoing? Will the United Science Patrol be redeemed? And will Earth finally be lost to the sinister machinations that have been plaguing it for decades? It’s time to find out!

“Our very first version of the initial pitch for The Rise of Ultraman, our first Ultraman limited series, included an outline of how the saga would end,” Groom explained. “Now, five years later, that end is here, and it comes bearing the same title as it did in that first outline: THE FALL OF ULTRAMAN.

“It’s bittersweet to be saying goodbye to Shin, Kiki, Dan, and the rest of the Ultra Guard — but we’re thankful that we get to give them the send-off they deserve, and give Ultraman a final challenge worthy of both his shining heart and towering stature,” he continued. “For the fans who have been with us from Rise to Fall, thank you — we hope you enjoy the finale!”

“It’s been one of the great honors of my career to spend the last five years helping bring a new interpretation of Ultraman to Western comic book readers,” Higgins shared. “Getting to play even a small part in expanding such a timeless, heroic mythology has meant the world to me. My deepest thanks to C.B. Cebulski, Tom Brevoort, Jeff Gomez, Danny Simon, Kei Minamitani, and everyone at Tsuburaya Productions, as well as the incredible artists who brought these stories to life. And most of all, to my partner through every step of this journey, Mat Groom — without him, there simply wouldn’t be a series.”

THE FALL OF ULTRAMAN #1
Written by KYLE HIGGINS & MAT GROOM
Art by DAVIDE TINTO
Cover by NETHO DIAZ
On Sale 2/11

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REVIEW: Spider-Man Panel by Panel

Spider-Man Panel by Panel
By Stan Lee, Chip Kidd, Steve Ditko, and Jack Kirby
384 pages/Abrams ComicArts/$60

After the success of Fantastic Four Panel by Panel, this book was inevitable. Thankfully, we get not only Amazing Fantasy #15, but all of Amazing Spider-Man #1. As with the first book, the first few hundred pages are composed of close-up photographs of selected panels and pages from these issues. Geoff Spears is back to do the honors, and there’s a chance to relive the early Silver Age with inferior four-color printing, with its limited color palette and registration issues. There’s something quaint and almost comforting in seeing the old 64-line screens (Ben Day dots to old-timers like me) that we only know now from exaggerated Roy Lichtenstein pieces. When the FF book arrived, I questioned the number of pages devoted to this and still do.

The real treat, and the real substance of the book, arrives partway through. We get the cover feature from Amazing Fantasy, and there are pristine black-and-white scans of Steve Ditko’s original art opposite the printed pages. We therefore get a chance to enjoy Ditko’s linework and the occasional border notes. The side-by-side comparisons are a real treasure, and I remain thankful to the anonymous donor who gave the entire story to the Library of Congress.

The last few dozen pages are where the substance arrives in the form of essays. First, Chip Kidd is waxing nostalgic about these embryonic tales and talking about the approach to this book. Then, Marvel’s Executive Editor, Tom Brevoort, steps up to the plate and delivers a detailed analysis of the stories included, beginning with the cover, which Ditko initially rejected, and the one by Jack Kirby and Ditko that was printed. He nicely reviews the threads that led to the character’s creation, giving just credit to Kirby and his then-partner Joe Simon. He then takes us through both comics, page by page, calling our attention to the marginalia and the intent behind them, such as the stories in Amazing Spider-Man #1 were intended for the following issues of Amazing Fantasy before that title was abruptly cancelled. He shows the evolution of the hyphen in the character’s name and has us study how Ditko handled the FF for the first time.

The book concludes with a contextual essay from historian Peter Sanderson and some words from Sara W. Duke, curator of Popular and Applied Graphic Art in the Prints and Photographs Division of the LOC.

For me, these text pieces make the book worth having. You would have to love Spidey to buy this expensive book, gorgeous as it is with thick paper stock and excellent reproduction.

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Last Kiss: Casual Fridays by John Lustig

I felt lazy yesterday, and wanted a book I could read quickly and then write something quickly here. I may have been too lazy, if that’s possible. (I have my doubts.)

So I read John Lustig’s Last Kiss: Casual Fridays . It’s a short, digital-only collection of that strip from 2013 – much like Sex Day , which I read a couple of months ago. In fact, go see that earlier post for all the details of what Last Kiss is and how it works, if you’re interested. The short version is: Lustig takes panels from mostly ’50s romance comics, cleans them up and has them recolored in a modern style (I think by someone else), then adds snarky new captions. So it’s a single-panel comic but entirely out of repurposed artwork, a quirky hybrid of Roy Lichtenstein and Wondermark.

As you can guess from the title of the other book and the cover of this one, the jokes are often directly sexual, but Lustig leans into other clichés as well – there’s a big cluster of “women hate cooking” jokes in this book, for example. Since these are all single panels, the jokes need to be quick and tight – not a lot of room for nuance or wordplay.

I got this book – and the previous one before it – from my library app, which is how I’d recommend reading them; they may also be available from the subscription end of Kindle or other similar outlets. There is a retail price, if you’re thinking about “owning” it, but, as a 68-page book, it’s a higher per-page cost than I’d be comfortable with.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

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REVIEW: The Avengers in The Veracity Trap!

The Avengers in The Veracity Trap!
By Chip Kidd & Michael Cho
64 pages/Abrams ComicArts/$25.99

Plain and simple, this book is a valentine to Jack Kirby. Chip Kidd and Michael Cho combine to produce a story that has the look and feel of an early 1960s Avengers story, evoking the King’s art style before it took an evolutionary leap. Set around the time of Avengers #4, we have Giant-Man, Wasp, Thor, Iron Man, and Captain America all on hand. Incongruously, the Hulk is also fighting alongside the World’s Mightiest Heroes.

We open with Loki having gathered a collection of Kirby’s various creatures from Timely’s anthology titles (including Fin Fang Foom, Goom, and his son Googam, and the Toad Men), and before he can unleash them for wanton destruction, here comes the Avengers! Dropping like gods from the sky, the quintet lay waste to the creatures with gorgeous poses and plenty of pin-up pages (branded like the old Marvel pin-ups) and double-page spreads, letting Cho show off his artistic chops.

Just as they appear on the verge of victory, Loki opens his Veracity Vortex, and the heroes are quickly laid low. Thor faces a crisis of conscience when he realizes he is merely a character in a story, his words and actions dictated by others. It’s not long before our heroes come face to face with their overlords: Kidd and Cho, evoking the days when Stan Lee, Jack Kirby, and other comics creators were written into the stories.

The creators themselves are shocked when their characters come to life before them and then are taken back to the four-color world of superheroes, where they find themselves as kids. Of course they are. It’s where the spark of imagination was first ignited, and we are reminded that there’s a joy to these stories that has been lost over the years. It’s big and bombastic, and we shuttle between Kidd and Cho’s world and the comic world, all trying to find a way to halt Loki’s evil scheme (precisely what is never spelled out). But the solution requires a Kirby-esque machine that is a treat.

It’s a relatively quick rea,d but the oversized hardcover is a real treat to hold and to be reminded of what drew us to comic books in the first place. It’s not meant to fit into the Marvel Universe continuity, but stands beside it, a shining example of excellence.

Usagi Yojimbo, Book 8: Shades of Death by Stan Sakai

This one was a professional transition – it collects the first six issues (plus stories from issues seven and eight) of the second series of Usagi Yojimbo , from Mirage – but, within the story, there’s no indication of that. Creator Stan Sakai didn’t reboot the series, drop into long explanatory flashback stories for the relaunch, or even make much of an apparent effort to attract any new readers. Well, it was 1993, when “long-running” was a selling point for a comic, unlike today.

As it was, the Mirage series only lasted sixteen issues, and they didn’t manage to publish any collections – this eighth book, and all of the subsequent book-format Usagi materials (I think; there’s been a lot of them and I might be missing some odd item) came out from Dark Horse, which started the third Usagi series in 1996 and published 165 issues over the next twenty years.

That’s the background of Usagi Yojimbo Book 8: Shades of Death , which was originally published in 1997. The current edition, which I read digitally, is from 2010; it doesn’t say what was different but my guess is that it was mostly trade dress – there’s no sign that Sakai changed any of the stories fifteen years later.

Shades includes seven stories, all of which stand alone and don’t directly connect to each other. (When your main character is a wandering adventurer who’s solo most of the time, you can just make stories as you feel like it, and they line up just fine.) Two of them, “Shades of Green” and “Shi,” are long three-parters, sixty-some pages each. Two more – the wordless “The Lizards’ Tale” and the flashback “Battlefield” – are about the length of a single issue, in the low twenty-page range. The last three, “Jizo,” “Usagi’s Garden,” and “Autumn,” are eight-pagers that presumably were backup stories.

Three of those stories feature Usagi as a young rabbit – a kit, I suppose – learning Important Life Lessons from his sensei, Katsuichi. Usagi has never been officially a book for young readers, but it’s always been young-reader-adjacent, with any sex kept implied and the violence stylized enough to pass, and these three pieces show that side of the series strongly: as always, Usagi Yojimbo was a comic told in a register suitable for tweens.

The jump to Mirage also meant another crossover with the Teenage Mutant Ninja Turtles; Usagi had met one of them (Leo, maybe?) a few times before, but now all four of the TMNT are summoned to this cod-Edo-Japan world by the traditional old guy (who, unsubtly, Sakai draws to look just like their leader, Splinter) to battle side-by-side with Usagi and defeat the evil ninja, in the first story of the book, “Shades of Green.”

There are other evil ninja in other stories, too: that’s how cod-Edo-Japan stories work: noble samurai battle fiendish ninja, and of course prevail in the end. This isn’t “the end” – Sakai had another four thousand-plus story pages still to come (and I’m not sure that he isn’t still adding more on, even now) – but you know what I mean.

Usagi stories are dependable and fairly predictable, but, luckily, the American comics audience for the past eighty years has craved monthly doses of exactly the same thing, only with slightly different covers so they know to buy it again. So Usagi has been successful commercially, and it’s pretty successful artistically – as long as you like this sort of thing and are comfortable with the moral lessons inherent in any stories about violence experts.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Yeah! by Peter Bagge and Gilbert Hernandez

I never want to discourage creators from stretching, from trying new things and talking to new audiences. But, sometimes, it just doesn’t really click.

In the late ’90s, Peter Bagge had been making sarcastic comics about grumpy twenty-something slackers in Hate for more than a decade; his work was really closely associated with not just a particular adult audience, but a very specific tone and style. It’s no surprise that he wanted to do something different.

What he did was surprising, though: he wrote the all-ages, Comics Code-approved girl-band comic Yeah! for DC Comics, collaborating with Gilbert Hernandez. (Hernandez’s career has taken a lot of odd turns, and he’s worked with a number of writers over the years, so this was not quite as much of a departure for him – I’ve always gotten the sense that Hernandez just has the desire or need to generate a lot of work, to keep himself engaged and happy, and the more different the better.)

Bagge’s introduction in this 2011 collection of Yeah! – notably from Fantagraphics, longtime publisher of both Bagge and Hernandez, not DC, which is a big signpost to the fortunes of the series for those who can read tea-leaves – notes that he had an eight-year-old daughter at the time, and had gotten happily into “girl culture,” which reignited his love of pop music. There always are reasons and explanations for specific projects; they always make sense to the creators at the time, and enough sense to the publishers that they make it out into the market. The question, always, is how that market responds.

Yeah! was not a success in the market. It ran nine issues, and was only collected a decade later by a different publisher. (And here I should also note that the collection is in black-and-white, but I think the original comics were in color, since characters make comments about the colors of things pretty regularly, and 1999 was awfully late for a book for tween girls without color.)

And the comics are…OK, I suppose. Bagge is a wordy writer, and this reads not too differently from his better-known work, to the point that the regular Bagge reader starts wondering if these characters are actually being honest and straightforward, or if Bagge has just unlocked a previously inaccessible level of sarcasm. There’s one backup strip at the end that Bagge draws himself, and it’s really hard not to read it like a Hate story – Bagge clearly intends for it to be taken straight, but regular readers will assume spleen and bile in his phrases.

Yeah! is the name of the band: Honey, Woo-Woo and Krazy, three best friends not quite out of their teens, a few years into a music career. They are struggling on Earth but the biggest act in the galaxy, beloved by millions across dozens of alien worlds. (But this was a contemporary Earth that hadn’t had a first contact yet, so there’s no commerce with those alien worlds, so the vast loot Yeah! brings in is useless. They don’t seem to even bank it on an alien world so it’s available for tours or such, like the old Soviet Union; they just give it away or ignore it.) They also have an old, nutty guy as their manager: Crusty; his inventions got them out into the galaxy but his general incompetence can’t get them any good gigs on Earth.

The nine issues are each basically standalone, with goofy adventures either on Earth or in space – including the inevitable flashbacks to reveal Who They Are and How They Got Here – as Yeah! chases fame and fortune here (with little success) and gets involved in odd alien things out there. On Earth, they have a rival, Miss Hellraiser, and a band of boys, The Snobs, who always beat them in battle-of-the-bands situations and one of whom has a crush on Woo-Woo. In space, the characters are all one-offs – there’s the driver of their space limo who shows up a couple of times without actually getting a personality or anything to do. The stories are all wordy, and all full of the cultural assumptions and ideas of a guy Bagge’s age (early 40s around this time), including a bunch of hippie jokes.

This is all fine: it’s amusing and entertaining, and the gestalt of Bagge’s writing and Hernandez’s art works well together. It is too wordy, in that old-fashioned comics style, full of long captions and long dialogue balloons that say a lot of the same things over and over again. And it all comes across as something like a generation-later version of Bob Hope: goofy, sui generis comics that are meant to appeal to a younger audience but are full of the ideas and plot devices of old people.

Yeah! is basically forgotten, for good and sufficient reasons. It might not quite deserve that, but most things get forgotten twenty-five years later. If you really loved Josie and the Pussycats (the movie, the concept or the comics) and wish there was something else sorta like that, you might be in luck.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Find Your Local Comic Shop This September 27 with our new Store Locator!

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  • September 27, 2025

September 27 is Local Comic Shop Day. This is according to the good people at ComicsPro. They are the retailer organization for comic shops across the country and around the world. On this day, participating comic stores are offering exclusive, limited-edition comics and collectibles, along with special events, creator signings, sales, and so much more.

You probably already know the role comic book shops play in our communities. These stores are more than just places to buy comics. They are cultural hubs where creativity thrives. Friendships are formed, and stories come to life.

To help support these small businesses that are the lifeblood of our industry, ComicMix is launching our own Store Locator to help you find one near you!

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We’ve got thousands of stores listed, and are working on improving it every day. If you’re a store owner, we’d love to have you aboard here and help people find you! Just take the time to fill out this form to add your store to our locator. We’ll get you listed as quickly as we can.

And if you don’t own a shop yourself, go and visit one today– you’ll be happy you did.

10,000 Ink Stains: A Memoir by Jeff Lemire

For some reason, I thought this book was in comics format – maybe just from an assumption that’s how Lemire works, or that he draws so quickly that it would nearly as easy to do it that way as in text. But I was wrong: this is a conventional prose memoir, albeit one with lots of art (and an entire early self-published comic in the back).

10,000 Ink Stains  is Jeff Lemire’s memoir of what he calls the first twenty-five years of his comics career. I like a lot of what he’s done, so I hope that isn’t hubris – I’d like to think he has another twenty-five years or more ahead of him.

Lemire has done a lot of work in a lot of directions over those twenty-five years, so it’s not surprising that his memoir is well-organized, even compartmentalized. He talks a bit up front, and occasionally later, about how hard it was to talk about his personal life here, particularly some struggles with anxiety and other mental-health issues – but that’s a very small part of the book, partially because I don’t think Lemire’s readership ever noticed any slowing of work or lesser effort because of his problems. (He clearly has a ferocious work ethic – or maybe I mean he loves making stories in comics form, so that’s what he spends most of his time on.)

There are nineteen chapters here, each covering one project or a small related cluster of projects, plus an introduction to set the scene and an epilogue to sum it all up. The first chapter is the usual memoir “how I got to zero” section, covering his childhood and education and all of that – up to the point where he decided to start getting serious about comics. The second chapter covers that self-published comic – Lemire put out two issues of Ashtray in the mid-Aughts – and his Xeric-winning first book, Lost Dogs . From there, Lemire has chapters on Essex County  and The Nobody , on groups of smaller projects, on Sweet Tooth the comics series and Sweet Tooth the TV series, on his work for DC and then for Marvel, on The Underwater Welder  and Trillium  and Roughneck , on his adventure comics with other artists (Descender , Gideon Falls, and Plutona ), on Black Hammer  and Royal City , one chapter on both Frogcatchers and Mazebook , on the recent Essex County TV show, and one last chapter on his two current/upcoming projects, The Static Age and Minor Arcana.

That’s a lot of comics, even for twenty-five years. Lemire did a lot of work – a lot of different, detailed, thoughtful, often excellent work. I might make fun of Black Hammer, and suspect I would be similarly dismissive of most of his Marvel and DC work, but Lemire puts in the time and effort to do stories he cares about and do them well, even when some readers (yours truly, for example) might not be as excited by all of them.

There’s not a lot of detail about any single project, which might disappoint some readers: if you’re a massive Underwater Welder fan, for example, you’ll only get about ten pages about it. Lemire generally has liked all of his immediate collaborators and most of his editors – there are some left-unnamed editorial functionaries and fellow writers for DC and Marvel who were less than collegial, but Lemire keeps it vague enough that I think even people more plugged in than me will only have suspicions of who he’s talking about – and he mostly likes the work he did, and focuses on the things he learned or did differently on each project.

There’s some insights into how he draws each project, including how one early art teacher encouraged him to use the back of a pen nib, the source of some of those chunky, dynamic Lemire lines – but I’m not an artist, so I can only point and say he does talk about that, which may be of interest to people who understand the topic.

All in all, 10,000 Ink Stains is a comprehensive, thorough look at a busy career, by a writer I think was not overly given to this kind of introspection before. If you like Lemire’s comics, you’ll probably like hearing how he made them.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Sergio Aragones’ Groo: The Hogs of Horder

I sometimes look at a Groo book and think “that will be a quick read, and an easy one to write about.” And then I’m wrong on both counts. It happened with the three-book Friends and Foes  series in 22-23, and it just happened again now.

Groo looks quick and breezy, but it’s a wordy comic, and creator Sergio Aragones, for all his speed and facility, draws a lot of detail. So the pages are engaging and light and fun, but they demand more attention than you expect. And then I remember, after finishing reading, that Groo (the character) is aggressively stupid, but Groo (the comic) nearly always has a point of view or moral or life lesson it’s trying to impart, and untangling that takes effort.

The Hogs of Horder  was the new Groo series in 2009-2010; its four issues started in October of ’09 and the book came out in August of ’10. So it is absolutely the “the Groo take on the Global Financial Crisis” book, just to warn you.

Aragones (here, as usual, assisted by Mark Evanier on something vague related to scripting, Stan Sakai on letters, and Tom Luth with Michelle Madsen on colors) is not a subtle or nuanced creator. And, in Groo stories, there can be villains, but most of the problems in the world will be caused by Groo himself. So Hogs of Horder both wants to blame some general long-term economic shifts (moving production overseas to a lower-cost country, for one main example) for the woe in this world and also wants to make Groo personally responsible for the shift, because he’s an idiot who sinks ships and destroys stuff.

This means that we have a lot of panels with lots of mercantile folks – in Groo’s medieval-ish world, carriage-makers and home-builders and flask-makers and so on – gloating about getting loans from bankers to spend on making their stuff, but more importantly “high salaries for ourselves” (even though, if they are the owners, what they actually get is a return on their invested capital, and if they are not the owners, how come we never see the owners?) after Groo breaks things.

This runs round and round for a while, as Groo goes from the cheap foreign country to the US-analogue, breaking things and causing all of the business owners/leaders to go to the banks for loans to rebuild everything they’re doing and/or to set up new operations in that cheaper nation. It is all pitched in that speaking-to-children tone Groo often uses, and is about that level of sophistication; even readers who think capitalists are typically rapacious and destructive will find this version really overly simplified and silly.

But “silly” is the point of Groo. He breaks everything, and it is funny, and then he walks away to break something else somewhere else. Oh, and there are jokes about mendicants and cheese dip along the way. If you want a Groo story, this is one. I haven’t yet figured out a good reason to recommend any one Groo story above any other one, so just pick the Groo thing closest to your hand at the time, if you want to read one. That’s basically what I did. Maybe I’ll take a longer break before doing so again, this time.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Luc Besson’s 193-2005 Films get Limited Edition Gift Set Collection

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  • September 23, 2025

CULVER CITY, Calif. (September 12, 2025) – Travel into space, deep underwater, into battle, and beyond with unforgettably stylish and exhilarating film experiences from world-renowned director Luc Besson. Sony Pictures Home Entertainment proudly brings together nine of his films exclusively within the limited edition LUC BESSON 9-MOVIE COLLECTION (1983 – 2005), available November 11. Each film is presented in high definition, with six films also presented in full 4K resolution!

The nine films in the LUC BESSON COLLECTION include LE DERNIER COMBAT, SUBWAY, THE BIG BLUE, LA FEMME NIKITA, ATLANTIS, LÉON: THE PROFESSIONAL, THE FIFTH ELEMENT, THE MESSENGER: THE STORY OF JOAN OF ARC and ANGEL-A—with many films making their long-awaited high-def disc debut in North America and including several new 4K restorations! The discs are included within a coffee table-worthy, sleek outer box that opens to showcase the films inside. The set also includes hours of in-depth looks behind the scenes, new cast and crew interviews and more!

LE DERNIER COMBAT (1983) Synopsis: Experience Luc Besson’s dark vision of the future. LE DERNIER COMBAT (THE LAST BATTLE) – a cult classic exploration of post-apocalyptic survival. In a world populated with savages, living amongst the wreckage of a devastated civilization, one man wages war against brutality and isolation. Filmed in black and white, and almost entirely without dialogue, Besson’s first film presents in every detail a haunting premonition of a hostile tomorrow. Presented in High Definition on Blu-ray Disc; French 5.0 DTS-HD MA + French 2-Channel Surround DTS-HD MA LE DERNIER COMBAT has a run time of approximately 92 minutes and is rated R. LE DERNIER COMBAT: © 1983 GAUMONT. All Rights Reserved.  

SUBWAY (1985) Synopsis: SUBWAY is Luc Besson’s ultra cool and stylized romantic caper starring Christopher Lambert and Isabelle Adjani. Lambert plays a hipster thief who falls in love with the bored and beautiful wife of the millionaire he just robbed. She wants her stolen papers back and he wants her heart. With gangsters and Metro police on their tail, the two seek refuge in the wild labyrinth beneath the subway. Presented in 4K with Dolby Vision on 4K Ultra HD disc and in High Definition on Blu-ray Disc; French and English 2-Channel Surround DTS-HD MA Special Features Include: “The Making of Subway” Documentary, Directed by Jean-Hugues Anglade (80 minutes) Over 100 Minutes of Interviews: Actor Jean-Hugues Anglade Assistant Director Didier Grousset Editor and Co-Writer Sophie Schmit Production Assistant Didier Naert Michel Jonasz on Arthur Simms, Singer of “It’s Only Mystery” Theatrical Trailer SUBWAY has a run time of approximately 102 minutes and is rated R. SUBWAY: © 1985 Gaumont / TF1 Films Production. All Rights Reserved.  

THE BIG BLUE (1988) Synopsis: A compelling adventure and romance, shot in New York, the Caribbean and the Mediterranean. A young couple embark on a passionate romance complicated by an all-consuming love of diving and the siren call of the sea. Both 132-minute and 168-minute versions presented in 4K with Dolby Vision on 4K Ultra HD discs and in High Definition on Blu-ray Discs; English 2-Channel Surround DTS-HD MA Special Features Include: “The Adventure of The Big Blue” Documentary (95 minutes) Over 140 Minutes of Interviews: Composer Eric Serra Actor Jean-Marc Barr Actor Marc Duret Underwater Camera Operator Christian Pétron Gaumont Technical Director André Labbouz Theatrical Trailer THE BIG BLUE has a run time of approximately 132 minutes and is Unrated. THE BIG BLUE: DIRECTOR’S CUT has a run time of approximately 168 minutes and is rated R for sexuality and language. THE BIG BLUE: © 1988 Gaumont. All Rights Reserved.  


LA FEMME NIKITA (1990) Synopsis: From director Luc Besson comes a thriller about a vicious street punk turned sexy, sophisticated and lethally dangerous assassin, starring Anne Parillaud, Jeanne Moreau and Jean Reno. Rescued from death row by a top-secret agency, Nikita (Anne Parillaud) is slowly transformed from a cop-killing junkie into a cold-blooded bombshell with a license to kill. But when she begins the deadliest mission of her career only to fall for a man who knows nothing of her true identity, Nikita discovers that in the dark and ruthless world of espionage, the greatest casualty of all…is true love. Presented in 4K with Dolby Vision on 4K Ultra HD disc and in High Definition on Blu-ray Disc; French and English 5.1 DTS-HD MA + French 2-Channel Surround DTS-HD MA Special Features Include: Making-Of Featurette (24 minutes) Nikita Tour (13 minutes) Over 110 Minutes of Interviews: Actor Anne Parillaud Actor Tchéky Karyo Jean-Hugues Anglade First Assistant Director Christophe Vassort Gaumont Technical Director André Labbouz Theatrical Trailer LA FEMME NIKITA has a run time of approximately 115 minutes and is rated R. LA FEMME NIKITA: © 1990 Gaumont (France) / Cecchi Gori Group Fin. Ma. Vi-srl (Italie). All Rights Reserved.  
ATLANTIS (1991) Synopsis: ATLANTIS is acclaimed filmmaker Luc Besson’s awe-inspiring celebration of the beauty and wonder of the world beneath the sea. Combining stunning underwater cinematography and a hypnotic score by Eric Serra, Besson’s singular vision defies dialogue or narrative structure to explore ocean life as you’ve never seen it before. At once thrilling, lyrical, and mysterious, ATLANTIS’ spell-binding images – with its graceful visuals of manta rays, whales, dolphins, sea snakes, and even ferocious sharks at play – will haunt your memory long after the film ends. Presented in High Definition on Blu-ray Disc; French 5.1 DTS-HD MA + French 2-Channel Surround DTS-HD MA ATLANTIS has a run time of approximately 79 minutes and is not rated. ATLANTIS: © 1991 Gaumont (France) / Cecchi Gori Group Fin Ma. Vi. (Italie). All Rights Reserved.  

LÉON: THE PROFESSIONAL (1994) Synopsis: The mysterious Léon (Jean Reno) is New York’s top hitman. When his next-door neighbors are murdered, Léon becomes the unwilling guardian of the family’s sole survivor – 12-year-old Mathilda (Natalie Portman). But Mathilda doesn’t just want protection; she wants revenge. From the electrifying opening to the fatal finale, LÉON: THE PROFESSIONAL is a nonstop crescendo of action and suspense. Both 109-minute and 133-minute versions presented in 4K with Dolby Vision on 4K Ultra HD disc and in High Definition on Blu-ray Disc; English Dolby Atmos (on 4K UHD disc only) + English 5.1 DTS-HD MA Special Features Include: Over 80 Minutes of Interviews: Director of Photography Thierry Arbogast Editor Sylvie Landra Journalist Alain Kruger Gaumont Technical Director André Labbouz 10 Year Retrospective: Cast and Crew Look Back Jean Reno: The Road to Léon Featurette Natalie Portman: Starting Young Featurette Fact Track (Extended Version Only) Theatrical Trailer THE PROFESSIONAL has a run time of approximately 109 minutes and is rated R for scenes of strong graphic violence, and for language. LÉON has a run time of approximately 133 minutes and is Unrated. LÉON: THE PROFESSIONAL: © 1994 Gaumont. All Rights Reserved.  

THE FIFTH ELEMENT (1997) Synopsis: New York cab driver Korben Dallas didn’t mean to be a hero, but he just picked up the kind of fare that only comes along every five thousand years: A perfect beauty, a perfect being, a perfect weapon. Together, they must save the world. Bruce Willis, Gary Oldman, Ian Holm, Chris Tucker and Milla Jovovich star in acclaimed director Luc Besson’s outrageous sci-fi adventure, an extravagantly styled tale of good against evil set in an unbelievable twenty-third century world. Presented in 4K with Dolby Vision on 4K Ultra HD disc and in High Definition on Blu-ray Disc; English Dolby Atmos (on 4K UHD disc only) + English 5.1 DTS-HD MA Special Features Include: “The Making of The Fifth Element” Featurette (24 minutes) Blooper Reel (6 minutes) The Director’s Notes: Luc Besson Looks Back Featurette The Visual Element Featurettes and Tests The Star Element Featurettes and Screen Tests The Alien Element Featurettes, Tests and Outtakes The Fashion Element Featurette and Tests The Diva Featurettes, Tests and Outtakes The Digital Element Featurette Imagining The Fifth Element Featurette Fact Track THE FIFTH ELEMENT has a run time of approximately 126 minutes and is rated PG-13 for intense sci-fi violence, some sexuality and brief nudity. THE FIFTH ELEMENT: © 1997 Gaumont. All Rights Reserved.
 
THE MESSENGER: THE STORY OF JOAN OF ARC (1999) Synopsis: The year is 1429. France is in political and religious turmoil as members of the royal family battle for the crown. But one peasant girl emerges bearing a message that wins the hearts of her countrymen and the throne for her king. Both 148-minute and 158-minute versions presented in 4K with Dolby Vision on 4K Ultra HD disc and in High Definition on Blu-ray Disc; English Dolby Atmos (on 4K UHD disc only) + English 5.1 DTS-HD MA Special Features Include: “In The Footsteps of Joan” Making-Of Documentary (88 minutes) Over 30 Minutes of Interviews: Director of Photography Thierry Arbogast Editor Sylvie Landra The Search for the Real Joan of Arc Featurette Theatrical Trailer THE MESSENGER: THE STORY OF JOAN OF ARC has a run time of approximately 148 minutes and is rated R for strong graphic battles, a rape and some language; the Unrated version has a runtime of approximately 158 minutes.

THE MESSENGER: THE STORY OF JOAN OF ARC: © 1999 GAUMONT / EUROPACORP. All Rights Reserved.  
ANGEL-A (2005) Synopsis: When André, a down-on-his-luck gambler, dives into the icy Seine to end it all, he winds up instead rescuing Angela, a gorgeous, mysterious blonde. Filled with renewed passion for life, they set out to settle André’s scores as they wander the City of Lights. Along the way, André finds himself, but he still has some questions about his leggy, lovely companion -can she really be as heavenly as she seems? Filled with wit, warmth and eye-popping visuals, ANGEL-A shows just how high you can soar when passion takes flight. Presented in High Definition on Blu-ray Disc; French 5.1 DTS-HD MA Special Features Include: “The Making of Angel-A” Featurette (26 minutes) Theatrical Trailer ANGEL-A has a run time of approximately 91 minutes and is rated R for language and some sexual content. ANGEL-A: © 2005, 2006 EuropaCorp, TF1 Films Production and Apipoulaï Prod. All Rights Reserved.

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