Category: News

Real Steel is an interesting blend of the underdog sports movie and science fiction, and from the first frame, you know exactly what will happen by the time the end credits roll. There’s nothing wrong with that since we knew exactly what was coming in Rocky or Remember the Titans and both were strong, entertaining films. The challenge for the director and cast is to make arriving at the inevitable conclusion as entertaining as possible and in this case, the film exceeded expectations.

Coming out tomorrow for home video from Touchstone Home Entertainment, the Shawn Levy-directed film looks terrific and has rock solid sound so you hear the gears grinding and Danny Elfman’s score soar with fidelity.

The story is set in 2027, a time when human boxers have been replaced by oversized robotic creations that are basically Rock’Em Sock’Em Robots controlled by a video game interface. Atop the heap is the most advanced bit of Artificial Intelligence in the hulking Zeus, built and controlled by the film’s sort of bad guys, the too cool to be true Tak Mashido (Karl Yune) and Farra Lemcova (Olga Fonda). Way down the food chain is former boxer and failed robot boxing controller Charlie Kenton (Hugh Jackman). He owes money, his life sucks, and he’s so focused on finding the next fight to earn some cash that he is merely existing, not living. That changes when his old flame Caroline dies and he’s summoned to court to sign away all parental rights to his son Max (Dakota Goyo), a smart and smart-mouthed 11 year old. In need of a cash infusion, Charlie agrees to take Max for the summer so his Aunt and her husband can take an unencumbered Italian vacation in exchange for $100,000.

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What began as intimate, largely internal, spiritual conflict in Michele Lang’s historical urban romantic dark fantasy series with Lady Lazarus explodes onto the mind’s screen with the second installment, Dark Victory (Tor, Jan. ’12, hardcover $25.99, Kindle $9.99, release party at Book Review in Huntington, Jan. 22^nd 4-6 p.m.), with new spiritual-ethical dilemmas of how far is too far to go to save a soul, a person, a whole people?—to make your head spin as only Lang knows how.

It picks up where we left off: August 30^th, 1939 on the almost-eve of Hilter’s invasion of Poland. Magda is back in Hungary and has captured the dark angel Asmodel, demon-brother of her beloved and once-archangel Raziel (he gave up his immortality to join her fight against the Nazis and make a difference, instead of being a spectator…shades of the Watchmen ethical dilemma of To Do or Not To Do?) She’s pulling out all the stops so that everyone can join forces and maybe, just maybe, thwart her powerful-but-fragile sister Gisele’s dire prophecy of blood and doom for her Jewish people and certain, final death for all, including herself (able to return from the dead, but at terrible cost and with severe limitations). Whatever happens, Magda has to try to protect her precious friends and all she loves, even if it means her own, ultimate damnation (shades of Bleach’s Ichigo, and you can also hear Scarlett O’Hara saying, “I don’t care what it takes…if I have to lie, cheat, steal, or even murder…as God is my witness…”)

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Last Tuesday night, two of my favorite series returned with new episodes – Justified on FX and White Collar on USA. Both in the same time slot, 10 PM EST. This is why TV recording equipment was created – so you no longer have to choose.

Mary and I recorded both but one we watched as it was on and the other we watched the next night. We’ll get to which one was watched “live” but first let’s talk about the shows themselves.

Is one show better than the other? Yes, but both are generally well-written, directed, and acted. And the premieres both were good examples of the two shows.

White Collar deals with a thief, con man, and rogue named Neal Caffrey (Matt Bomer) who has been sprung from prison by the FBI guy who caught him, Peter Burke (Tim DeKay) to help solve crimes. Neal’s on parole so he (usually) has to wear an ankle bracelet that allows the FBI to monitor him. The two other principle characters are Neal’s buddy, Mozzie (Willie Garson) and Peter’s wife Elizabeth (Tiffani Thiessen). Neal is not quite reformed and keeps edging towards activities that could get his parole revoked and himself sent back to the slammer. He’s not helped in staying on the straight and narrow by his buddy, Mozzie.

The show owes a lot to the movie Catch Me If You Can which had Leonardo DiCaprio as a counterfeiter and conman chased by Tom Hanks’s FBI agent. DiCaprio is also caught and eventually turned into an FBI consultant.

The show’s main strength is the bromance between the rogue and the cop. All the main characters turn in good performances. Mozzie is a delightful character and Tim DeKay does really fine turns as the FBI agent. A big plus also is the relationship between the FBI guy and his wife – they really love each other and it’s nice to see a middle-aged couple being romantically in love.

The premiere of the season picked up where the cliffhanger left us off last time. A nasty baddie has kidnapped Burke’s wife because of shenanigans that Neal, the rogue, has been doing on the side with his pal, Mozzie. And Peter, the FBI guy, knows they are responsible. Peter’s anger, fear, and sense of betrayal drive the episode as Neal and Mozzie have to work to make things right. By the end, it was very satisfying. The best show on television? No, but consistently pleasurable.

Justified. Ah, where do I start? An Elmore Leonard inspired series about a U.S. Marshall, Raylan Givens (Timothy Oliphant) sent back to Eastern Kentucky where he grew up for shooting one or two many bad guys in Miami, even if the shootings were “justified”, and he’s not happy to be home. He has an ex-wife, Winona (Natalie Zea) who is a little less ex these days, a former girlfriend Ava Crowder (Joelle Carter), a boss who’s not crazy about him (Nick Searcy) and a former co-worker in the mines, a sometimes friend and more often opponent, who has turned to the outlaw side, named Boyd Crowder played by the inimitable Walton Goggins, topping his work on The Shield.

This season also picks up after the end of the previous season which was remarkable. It had one of the best villains, male or female, I have seen on TV in the person of Mags Bennet. Margo Martindale won an Emmy for her work as she damn well should have. I was wondering if they could match that season but the first episode cleared that up for me right quick.

Raylan was shot at the end of last season and this one starts three weeks later and Raylan is still feeling the after effects. There’s a sinister crime boss from Detroit who has established himself in a memorable fashion and a sociopath for hire named Wynn Duffy (Jere Burns) who has a sadistic little game that he likes to play with his victims involving an icepick.

I don’t want to spoil things but two of the highpoints for me were when Ava makes a point with a cast iron frying pan and Raylan turns the tables on Wynn Duffy at their climatic showdown. Deeply satisfying.

The show’s writers have said that, as they approach each episode, each scene, each line they ask themselves, ‘What would Elmore do?” It shows. Leonard himself is one of the Executive Producers of the show and likes the character well enough to have his latest novel, RAYLAN, be about him.

Raylan Givens is about as cool a character as I have ever seen on TV. He means what he says and if he says he will shoot you, you’d better believe him. Both he and Neal Caffrey are charming but Raylan is definitely more dangerous. The big difference between the two shows, I think, is that White Collar could have just as easily played on network TV. In fact, the networks should be looking to USA to see how this type of show is done – the cable network has a number of good shows, such as Suits and In Plan Site that would have done well by them.

Justified would not play on network TV. There’s sex, language, and violence and they got the warning labels to prove it. All are necessary ingredients in the show and all help make the show fly.

Both shows are eminently worth watching and, in case you haven’t guessed, we watched Justified first.

MONDAY: Mindy Newell

Here’s a fun one you may not have seen: when Fisher-Price began to produce DC Comics characters in a kid-friendly toyline named after the Super Friends, a cartoon was created to package with the toys and to test the waters for a new TV series.

And these people had the right mindset. Take a look, and see if you fall in love in the first few minutes with Superman, Batman, Flash, Green Lantern, Hawkman, and Cyborg in… ah, but that would be telling. Just watch.

What do you get when you take a dystopian who-done-it, three suspects, a composer-soprano-instrumentalist-victim, set it to music that is part Baroque opera, tango, Hindustani classical, and hip-hop, add multimedia elements (including a projected big, singing head and funky fake commercials for deadly fashion accessories and wacked-out news broadcasts), dress it all up in steampunk sensibilities reminiscent of Watchmen, include a bailiff ringmaster of a TV show (The Whole Truth) that would make Tim Curry’s Frank-N-Furter proud, add Rocky Horror-like audience participation, a libretto written by the composer with director Rob Reese, and swirl in six avant-garde new music veteran musicians-singers-actors a la the most recently retooled Sweeney Todd?

This is the hybrid lovely beast that is Kamala Sankaram’s Miranda, which opened in preview (tickets $20, 9 p.m.) on Thurs. Jan. 12^th, opened on Friday the 13^th, and makes its final performance on the 21^st as part of HERE’s 3-year composer-development HARP (HERE Artists Residency) Program. Grandly ironic sensibilities. And it lived up to all its promises despite a few technical nits.

Jerry Miller as the Bailiff plays it larger than life—he sells it, with power, and controls the audience with aplomb: a bravura performance. Sankaram is a soprano worthy of Puccini, in demeanor and vocal timber and skill, plus able to carry her ethnic classical tropes with equal grace, yet still be convincing in the more contemporary milieu of the infectiously heavy hip-hop grooves of the show’s theme she writes for her mini-orchestra (guitar, cello, violin, tenor sax/clarinet, bari sax/bass clarinet, accordion—it needs a viola to round out the dark tones and support the violin and guitar—but I am a violist). Sankaram’s writing is lush, inventive, and dramatic, seamlessly slipping between the genres, and the staging, choreography, and projected imagery do it justice in the appropriately dark and industrial HERE main theatre (holds 100, capacity crowd). Her portrayal of the poor-little-rich girl is at once ditzy (when she speaks) and noble (when she sings), highlighting the dichotomies of her character and her struggles, once she discovers a wrong that shatters her protective bubble, to Do The Right Thing. She and Miller are the stand-outs of this production, along with the behind-the-scenes artists. The other voices: Muchmore’s reedy tenor, Fand’s mezzo, Fleming’s baritone, and those of the supporting cast sung by the multi-winds, were serviceable and had moments.

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Wednesday Bleeding Cool ran a piece linking to a local news promo promising a titillating exposé on modern comics that will offer tips on “HOW TO K.O. THESE COMICS BEFORE THEY CORRUPT YOUR KIDS!”

These media scare stories are nothing new. They’ve been plaguing comics since the very beginning, whether it was massive public comic book burnings in the 1940s, Frederic Wertham’s attacks in the 1950s, or the retailer stings of the 1980s that led to the CBLDF being formed.

While we’ve seen this type of story arise time and again, it should never be taken lightly. Below we offer some tips on how to deal with hostile cameras if they come to your store.

• Know Your Rights. You control the media’s access to your store, not them. While media people can shoot common spaces not maintained by your store, such as public parking lots and walkways, they cannot enter your store and shoot without permission, and they cannot block access to your store.
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