Tagged: movie

Matt Raub record breaking movie marathon: Day 1

  • News
  • October 3, 2008

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Other web sites think their movie reviewers are tough, but let’s see them try and watch movies for five days straight while not being distracted by Times Square. That’s what our own Matt Raub (second from right) is doing right this minute, as he tries to break the world record for watching movies. No fast forwarding through the slow parts. No skipping the credits. And no popcorn throwing at the other contestants. All this for a $10,000 cash prize, a lifetime subscription to Netflix, the first-ever Popcorn Bowl trophy, and the glory of a Guiness World Record.

Go Matt!

Previous article here.

UPDATE: Sad to say, Matt nodded off at 12 noon today after making it past the 24 hour mark. We’re all very curious as to what film put him to sleep…

Review: ‘Flash Gordon’ #1

Full disclosure: I had edited a [[[Flash Gordon]]] comics series at one point in my life. It was the third greatest nightmare in my professional life. Not the part about working with the talented and understanding Dan Jurgens; Dan’s a class act and a fine storyteller. No, working with King Features Syndicate was akin to Sisyphus’s task, except the big rock was a huge boulder of shit and pushing it up that mountain happened in the dead of the hottest summer in the innermost circle of hell. And I’ve lightened up on this over the years, too. And so, on with the show.

There may be no greater icon in comic strip history than Flash Gordon. Sorry, [[[Buck Rogers]]]. You came first but Flash had better art and story, and a much, much better villain. Creator/artist Alex Raymond is generally regarded as the greatest craftsman in the field; so great, in fact, that after Dave Sim recovered from producing 300 consecutive issues of [[[Cerebus]]], he started up on a series called [[[Glamourpuss]]] that, oddly, is all about Raymond’s work.

Flash was the subject of what is also generally regarding as the three greatest movie serials ever made due, in no small part, to the performance of actor Charles Middleton as Ming The Merciless. And he had all the other media tie-ins: a radio series starring Gale Gordon (yep; Lucille Ball’s foil), a teevee series staring future Doc Savage model Steve Holland and a teevee series on Sci-Fi last year that was completely unwatchable, various animated series, a movie feature and another one in pre-production and numerous comic books by people including Archie Goodwin, Al Williamson, Reed Crandall, and Wally Wood, and licensed items. When Raymond went off to war, he was replaced by a series of artists nearly equal to him in talent: Austin Briggs, Mac Raboy (my favorite), and Dan Barry.

There’s a reason why Flash Gordon attracted such top-rank talent. Sadly, that’s also the same reason why Flash Gordon is an icon and no longer active in our contemporary entertainment: nostalgia. Flash Gordon was a product of his times, a wondrous visionary made irrelevant by real-life heroes such as Laika the dog, the first living being to orbit the Earth, and Yuri Gagaran, the first human being to orbit the Earth. Only Yuri returned alive, but I digress.

Science fiction was rocked to its core. It took talent like Harlan Ellison, Michael Moorcock, and Gene Roddenberry to re-purpose the genre, to focus more on the social aspects of the genre and extend those concepts out into the future. If you’re going to make Flash Gordon work in the 21st century – or the last four decades of the 20th, for that matter, you’ve got to distill the concept down to its essence and rebuild according to the mentality of our time.

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Oblivion, by Mike Gold

  • News
  • September 29, 2008

So we’re headed straight into another 1930s-style depression, or so our politicians and the media would have us believe. Maybe that’s true, although the attempted cure – the socialization of our investment bankers and the insurance industry – just might work. It’s the perfect solution in the Age of Irony: our neocon president nationalizing the very companies that control so much of our economy. Franklin Roosevelt must be rolling over in his grave.

But the real question that concerns us is – how might this affect us as comics and popular culture enthusiasts?

First, I’ll address the most obvious. If you lose your job, you will have less discretionary income and, despite our self-image, comics and movies and action figures are more discretionary than the rent, electricity and food. Even if you’re 45 years old and you live in your mother’s basement, if she’s living off of an annuity and her insurance company goes blooie, you might be cutting back on those X-Men titles.

If enough people find themselves in that position, the friendly neighborhood comics shop will go blooie as well. If enough comics shops go down, the smaller publishers (the “back of the catalog” people) will see retailers order their wares more conservatively than they did before. Some publishers will vaporize. It’ll certainly be tougher for creators to sell those more interesting yet less commercial projects.

Movies… well, that’s another matter. Movies have this rep for surviving the 30s Great Depression, but only among those who aren’t aware how many movie studios got sold, went bankrupt, or almost went bankrupt at the time. Today’s movie-going experience is a lot more expensive than it was for our grandparents. Even in constant dollars, $10.00 tickets are a lot more than 25¢ tickets… and our grandparents didn’t have to spend as much (relatively speaking) on popcorn and soda. More significant, most were able to walk to their local movie house. Today, we have to drive. Even the low, low price of $3.50 a gallon would crank the entire movie going experience up to $50.00 for a couple; more, with dinner. A movie date will cost you a cool hundred.

Television is no longer free. Sure, only a few people will need to get those digital adaptors for their rabbit-ears this February, but most of the rest of us get our fix from cable or satellite (or, in the case of my bestest friend, both cable and satellite). If food, rent, gasoline and utilities cost a family of four two grand a month or more and either one of the breadwinners is no longer winning bread, those premium channel packages are going to look real expensive.

Comics retailers order their stuff from Diamond on a non-returnable basis and, literally, bet the rent each month on their order form. They will have to be even more conservative. They’ve already been ordering what they know will sell; now they have to factor in the fear factor: how many of their regulars will lose their jobs, how many will be so afraid of losing their jobs that they’ll make immediate cut-backs in their purchases? I already said the “smaller” publishers would suffer; so would those companies that manufacture licensed material – action figures, posters, tie-in apparel, (more…)

Review ‘Pathology’ DVD

  • News
  • September 29, 2008

pathology-3543402There has to be a certain detachment when it comes to slicing open a human body.  After all, it looks just like your own body and once you cut into the skin, you get to the inner mechanics and it can either be fascinating or repulsive.  The art of pathology requires that emotional detachment while at the same time can remain fascinating as one tries to determine the cause of death.

While a fascinating premise for a character study, 20th-Century Fox’s Pathology used it more as a backdrop for a thriller that failed to thrill.  The movie opened last spring to middling reviews and was immediately rejected by the movie going audience, vanishing after 21 days and earning a meager $109,045 at the box office.The movie, starring Milo Ventimiglia, was released on DVD this past week by 20th and it can be a diverting experience.  Unless, of course, you like characterization.  Milo’s Ted Grey has been invited to join a prestigious Pathology program in some nameless city.  Being the newcomer, he’s easily dismissed or razzed by the team already in place, being tutored by the somewhat observant, somewhat creepy John de Lancie.

The quartet of residents is all attractive white folk who harbor a secret.  To unleash their emotions and experience something, they have formed a club to play a secret game.  Targeting and killing people then challenging one another to determine how the death was actually caused.  Jake Gallo (Michael Weston) is the ringleader and sees the brilliant Grey as a rival so seduces him to play along. At first, Grey is justifiably repulsed at the notion but is brought into the circle and commits murders, slowly losing himself in the process.

Things begin to get out of hand when Grey begins sleeping with Gallo’s girl friend, fellow club member Juliette Bath (Lauren Lee Smith) and Grey’s life begins to spiral beyond his control.  He’s killing people, doing drugs, cheating on his girl friend Gwen (Alyssa Milano) and no longer recognizable.

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‘Hellboy II’ gets 3-Disc Treatment

  • News
  • September 27, 2008

Universal Studios Home Entertainment has announced a November 11 street date for Hellboy II: The Golden Army. Mike Mignola’s character will receive the full treatment, as a three disc special edition will contain the movie, which earned over $75 million domestically, and a ton of special features. The Blu-ray edition will be a mere two disc affair.

According to Universal’s release: “With bigger muscle, badder weapons and more ungodly villains than ever before, Hellboy II: The Golden Army is available in multiple home entertainment versions. In standard definition DVD, fans can purchase either a widescreen or full frame single disc version for $29.98 SRP.  For a limited time only, fans can take home a widescreen 3-disc special edition DVD  ($34.98 SRP) or 2-disc Blu-ray Hi-Def ($39.98 SRP), featuring a digital copy of the film and hours of additional in-depth bonus features that take fans deep inside the movie’s extraordinary creative process – all encased in 3-D packaging. Just in time for the holidays, Hellboy II: The Golden Army is also available in a limited edition collector’s set featuring all of the bonus features of the 3-disc special edition plus a collectible Golden Army statuette, limited edition poster, director’s production journal and certificate of authenticity.  This set is priced for collecting and gift giving at $64.98 SRP for standard definition DVD and $69.98 SRP for Blu-ray Hi-Def. “ (more…)

ComicMix’s Matt Raub Selected for Netflix Contest

  • News
  • September 26, 2008

mattraubfoxa-9606102ComicMix’s own Matt Raub has been selected as one of the eight contestants to participate in next week’s Netflix Movie Watching World Championship. The October 2-7 event will be seen by Manhattanites in the Times Square area.

The Quest for the Popcorn Bowl is expected to last until a new Guinness World Record, for most consecutive hours spent watching movies, is set five days later on October 7. The bleary-eyed winner will take home a $10,000 cash prize, a lifetime subscription to Netflix and the first-ever Popcorn Bowl trophy.

Contestants will be expected to watch a continuous run of movies in an effort to eclipse the existing world record of 120 hours and 23 minutes held by Ashish Sharma of Mathura, India. Sharma will be on hand to defend his title.

The event begins October 2 at 10:30 a.m. with competitors assuming their positions in the Netflix Movie Watching Arena, a plexi-glass living room in the center of Times Square.

“The Netflix Movie Watching World Championship is a showcase for die-hard movie buffs who possess incredible focus and discipline,” said Leslie Kilgore, chief marketing officer for Netflix. “It combines the love of movies with the thrill of competition at the crossroads of the world.”

Raub managed to earn a spot in the competition after Netflix opened it up to amateurs who posted entertaining audition videos at Facebook.  Raub’s entry can be seen here.  He’ll be posting his experiences once the competition ends and he gets some sleep.
 

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Review: Knight Rider Premiere

knight_rider-2118822In an attempt to make up for NBC’s flop of a reboot last year with [[[Bionic Woman]]] comes the new and improved [[[Knight Rider]]] which is like the original series, but with a revamped KITT, a younger cast, a brand new back-story, and fantastic special effects, this show has the potential be a win for NBC’s fall lineup. Many will be going into this “pilot” with some hesitation after February’s TV movie (which was technically the pilot), due to the fact that the show lacked in story structure, was full of WB-level acting, and gave work to David Hasselhoff. Happily, this episode fixed many of those issues and made the hour mildly entertaining.

The story from the original movie is that terrorists go after and “kill” scientist Charles Graiman (Bruce Davison) who helped work on the supercar Knight Industries Three-Thousand, or K.I.T.T. (see what they did there?), which drives away to find Graiman’s next of kin; his daughter Sarah (Deanna Russo). They meet up and Sarah decides to go to her old flame for help, a renegade army ranger named Michael Traceur (Jason Bruening) who is in his own heap of trouble with a whole “the-government-erased-my-brain-not-unlike-in-[[[The Bourne Identity]]]” plot of his own going on. By the end of the movie, Michael decides to become an agent for the newly reformed Foundation (an updated version of the original show’s F.L.A.G.) and drive KITT permanently.

This first episode takes off right in the middle of the action, as main characters Michael and Sarah are on a James Bond-style mission when Sarah gets kidnapped and Michael and KITT go after her, when they learn that these mystery men were actually after Michael and what he “knows”. This triggers the running theme of the episode, as everybody is trying to obtain clearance levels that they don’t have. Lots of shtupping going on for one episode, as there is presumed sexual tension between Sarah and Michael, and also between some other nondescript characters back in what can only be described as the KITTcave.

The KITT effects are easily the coolest part of the show so far. With essentially a Transformer voiced by Val Kilmer, it’s a pretty good answer to the “futuristic” car we got in 1982. There are some great uses of modern special effects where the car can turn into a pick-up truck—and back again—without crushing the passengers inside! Granted, this makes the show basically a weekly 40-minute commercial for Ford, but it is still pretty cool for any fan of the original series who wanted more than a bunch of cool [[[Dukes of Hazzard]]] jumps and William Daniels.

The bad points: there are some very cheeky moments back at the “base” with the wacky super nerds (a stereotype NBC seems to love) throughout the show, which comes across as incongruous for the show’s dynamic. Three-quarters of the show consisted of shadowy government types, as the overall story of the first episode was the death of Michael Traceur and the birth of Michael Knight, which was originally helmed by Michael’s father, Hasselhoff.

The biggest weakness for the show by a stretch is certainly the amount of different elements that the show tries to cram into 40 minutes. With that said, there is still plenty of action to keep you entertained, but add that in with the government mystery storyline, Michael finding out who erased his memory and why, the “Sam & Diane” storyline between Sarah and Michael, the plucky sidekicks, a unnecessarily dominant Sydney Poiter (the daughter, not Mr. Tibbs) and the dry wit of Val Kilmer as KITT, it becomes too much to keep track of. Each element on it’s own would make for great B-story to go along with the weekly spy thriller of the show, but cramming all of this in at once only proves to be confusing and hard to keep straight. The show certainly has potential to make it farther than last year’s Bionic Woman, but may have trouble keeping it up for more than a season unless they can find some solid structure, drop a few secondary storylines, or at least bring Will Arnett back as K.I.T.T. RATING: 7/10

Tintin A $130 Million No-No

  • News
  • September 20, 2008

The $130,000,000 budget for the upcoming Tintin movie, based upon Hergé’s world-wide hit comics series, has been rejected by Universal.

The movie, produced and directed by Steven Spielberg (with the second installment to be directed by The Lord of the Rings‘ Peter Jackson) and written by Doctor Who’s Stephen Moffat, is the first in a proposed trilogy of movies. Paramount is already partnered up in the movie, having spent over $25,000,000 on development work.

If they can straighten out financing issues, shooting is expected to begin in October. If not, maybe the U.S. government will bail the movie out.

Updates available at the official Tintin movie site.

Review: ‘[[[Next Avengers]]]: Heroes of Tomorrow’

Right off the bat, to put to rest an already angry legion of fans who want to know why this movie exists instead of Allan Heinberg’s [[[Young Avengers]]] or even Tom DeFalco’s [[[Avengers]]] Next as a series or movie, know that this animated film is a great self-contained story done in the vein of Marvel’s other animated DVDs, and deserves a close look from anyone who can call themselves a Marvel–or even an animation fan. With that said, this story is not for any fan who cannot take themselves out of the grown-up world of [[[Skrulls]]] and [[[Hulk Wars]]]. In order for an adult to enjoy this, you need strip down to your inner child (metaphorically speaking) and watch the movie with a purely childlike mindset.nextavengers-7133013-4477575

The plot takes place in the future of an alternate reality where five of the original eight Avengers have been killed off by Ultron, but not before most of them produced offspring that Tony Stark whisks to a secluded location, safe from the arms of evil. They are raised by the aging [[[Iron Man]]] and trained to use their powers, as James Rogers, son of [[[Captain America]]] and Black Widow; Pym, son of Giant-Man and Wasp; Azari, the son of Black Panther and Storm; and Torunn, the daughter of [[[Thor]]], who didn’t die, but just left Earth one day. Each of them posess an amalgam of their parents’ powers, and even some of their personality quirks as well. Their hideout becomes compromised, Iron Man gets kidnapped, and the kids must then go for the rescue, running into fellow heroes like an elder Hulk and Clint Barton’s son, Francis, taking the helm of Hawkeye.

The great thing about movie is the way they depict the “age of heroes” in the beginning of the film as a bedtime story to the children. The mythos is described almost biblically by referring to the Avengers with names like the Soldier, the Knight, and the Ghost (Cap, Iron Man, and Vision respectively). There are certainly enough wacky “kid” moments and bright colors to keep anybody under the age of 13 interested, but that stays balanced by the amount of mature themes throughout the film, such as abandonment issues, and a rite of passage subplot. The film touches on the subject of death and heroism that most kids would understand, but is clearly meant for adults.

The animation is the same used for Marvel’s [[[Ultimate Avengers]]] films, like a Japanese/American animation hybrid. The strongest element here is  BBC composer Guy Cichelmore’s (Ultimate Avengers) score. This sold the entire film in its epic interpretation. The voice work is mostly done with Marvel and Lionsgate’s in-house talent. Going in the opposite route that DC Animation had gone, the company uses mostly unknown actors and professional voice actors rather than pull in celebrity names. Much like the other Marvel animated films; this was the weakest element in the film, leaving us with a poor-sounding [[[Hulk]]] and Iron Man.

Overall, the film may borderline puerile at times, but makes for a nice competitor for DC’s leading animated series [[[Teen Titans]]]. There is certainly potential for a franchise here, and will most definitely do as well, if not better than the aforementioned show. It should also be mentioned how “ironic” it is that the only two established heroes that are alive and kicking throughout the film are the only two that had a major motion picture this year.There is certainly plenty of action and violence for us adults, and more than enough geek-fodder for the die-hards. A clear recommendation for any true Marvel fan. RATING: 8/10

Tennant to be Time Lord on Screens Both Big and Small?

  • News
  • September 10, 2008

The Sun in the UK is reporting today that David Tennant’s negotiations to return for a fifth season as Doctor Who may include a guarantee that he star in the much-rumored feature film. The contract being dangled before the 37-year old actor is reported to be worth £1.5 million.

An unnamed source told the tabloid, “For ages, BBC Worldwide held the rights and were planning to make a movie, but it got held up and former BBC1 boss Lorraine Heggessey decided to bring back the TV series in 2005.

“But everyone is keen now and the fans are clamoring. Part of David’s conundrum is that he wants to do films, so this looks like it would solve both issues.”

Peter Cushing in 1965 and Paul McGann in 1996 both starred as the Doctor in previous film versions. Tennant is already committed to four specials and a Christmas story for airing in 2009.

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