Tagged: review

REVIEW: Star Trek The Original Topps Trading Cards Series

Star Trek: The Original Topps Trading Card Series
By Paula M. Block and Terry J. Erdman
216 pages, $19.95, Abrams ComicArts

large-dcd617610-e1381594603458-3395383Few fans today recall that Star Trek has been the focus of several trading card sets through the years, beginning with the Leaf Brands series prior to the better known Topps cards from the late 1970s, launching just prior to the first feature film. The far better card series came much later, but as a part of Abrams ComicArts’ series of books focusing on different genre sets from Topps, that series is the one receiving the focus in this attractive book.

The series, which began with Wacky Packages and has included the legendary Mars Attacks and Bazooka Joe, is a worthy examination of the oft-overlooked time capsules of earlier eras. Topps produced cards based on numerous television properties alongside their popular baseball cards since the 1950s, notably their four amazing Batman sets based on the TV series, so it is a reminder of how minimal Star Trek’s impact was during the 1960s by virtue of the fact they didn’t have cards for a decade.

When the card set was finally released, the 88 cads and 22 stickers were culled from whatever Paramount Pictures had lying around, not yet having a fully functioning licensing department with archival graphics. As a result, Topps worked with what they had on hand and that meant all 79 episodes were not represented. And in a bizarre turn of events, George Takei’s Sulu is never seen full-on, instead glimpsed at his station only once.

Paula Block and Terry Erdman, who have mined Star Trek lore in numerous other book projects, have little fresh to reveal about those episodes and wisely devoted their text, accompanying each card in the set, to a little contextually information and quotes from Gary Giani, who wrote the text for the cards and the headline for the front of each. His use of titles of obscure SF films or episodes of Twilight Zone and Outer Limits episodes is subtle and clever, so identifying their sources here makes for fun reading.

In their breezy introduction, they set the stage for the cards and Trek’s place in the pop culture firmament. Giani and Topps’ Len Brown provide context along with fans turned professionals such as Steven M. Charendoff, founder of Rittenhouse Archives.

After nearly 40 years of neglect, Takei gets his due as one of the several newly created cards packaged in the back of the book. This is a nice touch and makes the book all the more desirable. While you won’t learn much new about the show, this is a nice addition to anyone’s library.

REVIEW: Bones the Complete Eighth Season

bones_s8_blu_f-e1381191798408-4356880The premise behind Fox’s Bones has always felt as it was straining against credulity. After all, how many bizarre murders occur that require a dedicated team of forensic anthropologists? Well, the answer appears to be eight and counting although with season nine now airing, it’s also starting to sag under its own weight and age. As a result, the cases have taken a back seat to meta stories and character arcs that never feel fully explored.

At the end of the seventh season, Dr. Temperance “Bones” Brennan (Emily Deschanel) took her infant son and abandoned her lover, FBI Agent Seeley Booth (David Boreanaz) and was on the run after a series of unbelievable charges were leveled against her by the sadistic Pelant (Andrew Leeds). We open the eighth season, out now on home video from 20th Century Home Entertainment, several months later as the couple is reunited. However, the Spectre of Pelant, which has been growing over the years, now begins to hang on like an overripe albatross and sucks the life out of the show.

He reappears later in the season, in a far-fetched plot that is designed to rob Jack Hodgins (T.J. Thyne) of his fortune, fueling the madman’s schemes, which also sets up the season’s cliffhanger. The problem is that he’s not a very interesting foe and he always seems to be flawlessly perfect in his execution. After years of building up the romance between Booth and Bones, they have conceived a child and moved in together, forging a life. He finally proposes and then Pelant arrives to orchestrate events that have him call off the deal or innocents will die. Feh.

The only person who seems genuinely happy this year is the boss, Cam (Tamara Taylor), as she engages in a full blown affair with occasional intern Arastoo Vaziri (Pej Vahdat) but she has to keep it quiet because, after all, she’s his boss and there’s a bit of an age difference which never seems to come up.

After more than a hundred episodes, the series is free to take chances and the most satisfying one may be the one that brings back psychic Avalon Harmonia (Cyndi Lauper) and everyone talks to the teen victim’s skull and we see things from its point of view.

Meantime, early in the season we have Angela (Michaela Conlin) question her personal goals which is neatly packed away after only a few episodes while Sweets (John Francis Daley) gets his mini-arc of self-doubt after failing to capture Pelant in the finale.

The series looks fine thanks to the clean transfer to high definition and the sound is also good. As usual, there are some fun and interesting bonus features. There’s occasional commentary from producer Hart Hanson, accompanied by Stephen Nathan and Ian Toynton. There are a few scattered deleted scenes, and Dying to Know: Bones Answers Your Questions! (9:00) as the cast and crew answer fan questions, which also fills Bare Bones: Total Fandom-onium (1:59). Finally, there’s the requisite Gag Reel (5:26).

REVIEW: Iron Man 3

iron-man-3-packaging-300x181-8032545Like most people, I enjoyed the heck out of Iron Man 3; it was fast, loud, noisy, and things blew up really well. The handoff from Jon Favreau to Shane Black was a step in the right direction and the casting was superb.

The movie, out now from Paramount Home Video, is definitely a sequel to The Avengers and not Iron Man 2, which everyone now seems to have declared a misfire. Clearly, the United States government has backed off demanding the armor now that they owe him their lives. It didn’t hurt that he allowed Jim Rhodes to keep the War Machine armor for America’s use.

Having Tony Stark deal with the aftermath of nearly dying while trying to end an alien invasion gave the film a nice weight, allowing us to explore the character from a new perspective. The metaphor of his anxiety and the malfunctioning Mark 42 armor was nicely handled without being heavy-handed. This was definitely a Tony Stark movie and Robert Downey Jr. nailed it. We saw his cockiness, insecurities and sheer brilliance, but all the same person.

While Stark is tinkering on armor after armor to combat his sleepless nights, a global terrorist named the Mandarin (Ben Kingsley) has reared his head, hijacking the airwaves and demonstrating a cold-blooded approach. He keeps promising the President of the United States (William Sadler) a lesson and Black’s script gets fuzzy about what it is the Mandarin wants.

robert-downey-jr-iron-man-3-teaser-trailer-tony-stark-marvel1-e1379880305405-3085354Meanwhile, Aldrich Killian (Guy Pearce) arrives at Stark Industries seeking something and again, what he wants is unclear but Pepper Potts nicely turns him down. As we have already learned, Killian has cleaned up nicely since his 1999 encounter with Stark when he first explained his desire to form a company called Advanced Idea Mechanics. In between, he wound up partnering with Maya Hansen (Rebecca Hall), the brilliant scientist Stark blew Killian off to bed. The two have wound up creating a bio-repair formula dubbed Extremis that not only can repair injuries but somehow superheats the body. Early experiments resulted in subjects going boom but Killian and his flunky Savin (James Badge Dale), and others have mastered it, becoming superhuman engines of destruction.

Now that we have all the elements in place, Black stirs the pot and things happen. Unfortunately, they don’t all blend terribly well so you have the richness of Stark’s dilemma but Hansen’s fall from grace is half-baked at best, a disappointment and waste. As much as the film is a joy to watch, I came away thinking it could have been better had everyone but Tony Stark been given more to do.

Pepper has no character arc this time around. She loves Tony, is frustrated by him, and becomes a damsel in distress, looking great all the while. But, she’s given no time to actually reflect on what happens to her in the final act and how that colors her view of the world that has changed around her. I also missed the wit of the exchanges between them that came from Joss Whedon’s pen. Here, it was perfunctory. Same with Rhodes. There’s a nice running gag about War Machine being renamed Iron Patriot but he just flies around and banters with Tony. The President and Vice President (Miguel Ferrer) should have had more to do than be chess pieces Black rapidly moves around the board.

Speaking of rapid, the ease with which the armors attach and detach themselves to Stark (and others) strained credulity throughout the film. When all the armors arrive for the fiery climax, they are readily shredded making on wonder if they are attached with Velcro. There’s been a steady increase in speed with which the suits of armor can come on and off, which is to be expected, but this has gone too far, too fast.

As for those who will complain about the radical reinterpretation of The Mandarin from his comic book past – I sympathize. But even when he was introduced in the early 1960s he was already a bit of an anachronistic foe. Frankly, this was the best way he could have been used without inviting commentary about it being a racist gesture, angering their Chinese co-producers. And by casting Ben Kingsley, you couldn’t have asked for a more perfect choice. He steals every scene he’s in.

The film kicks off Marvel Cinema Universe Phase 3 but does nothing obvious to continue the threads we saw at the end of Phase 2, the threat from Thanos. The closest we come is seeing that time has passed and Tony is still hanging around with Dr. Banner. I’ll be curious which film really propels us towards 2015′s Avengers 2. Despite the total absence of SHIELD in the film, the world is richer with the addition of AIM and Roxxon, elements we will no doubt be seeing on film — and television — in the future.

As for the video edition, it comes in the usual assortment of packages so decide which combo pack works best for you, including those who think 3-D TV is the future. My standard Blu-ay disc looked fabulous, with sharp detail and rich colors. I’m not sure it will get better than this, aided by stellar sound. The DTS-HD Master Audio 7.1 surround track lets you hear every engine roar through the skies.

Thankfully, you won’t have to scurry from store to store to secure all the bonus content but what there is leaves you wanting more (which will make you wait for the Phase 2 box set sometime in 2015 or 2016).

Black and co-writer Drew Pearce provide some interesting color commentary showing how much thought went into structuring the film given all that has come before it. You do get a fairly standard Restore the Database Second Screen Experience assuming you want to download the Jarvis app and locate the content (which is becoming as annoying as the AR moments embedded in the comics).

Additionally, there is Iron Man 3 Unmasked (11 minutes), a routine behind-the-scenes featurette that should have been far longer and more detailed. Instead, they give us Deconstructing the Scene: Attack on Air Force One (9 minutes), showing how much was real versus CGI, which is impressive these days. There are also Deleted and Extended Scenes (16 minutes) which is interesting, entertaining, and mostly thankfully not in the final product. As one would expect, anything with Downey in it means the Gag Reel (5 minutes) is funnier than usual although Cheadle nearly steals this featurette. And in case you missed that Thor: The Dark World is arriving in November; you get a two minute sneak peek.

The bonus highlight is Marvel One-Shot: Agent Carter (15 minutes), focusing on Peggy Carter, Captain America’s paramour from his first feature. Hayley Atwell is back in the title role (now rumored to being considered for a television series), joined by the always entertaining Bradley Whitford, and the return of Dominic Cooper as Howard Stark. She runs, jumps, kicks ass and we love it.

REVIEW: The Adventures of Superboy Season Three

superboy-season-three-e1379635970613-5714856When last we visited Clark Kent and Lana Lang, they were at college, leaving Smallville behind and as Season Three of the syndicated series arrived, it came with changes. The first was that Superboy became The Adventures of Superboy and then the focus moved the characters from the well-named Shuster University to a quasi-internship at The Bureau for Extra-Normal Matters in Capitol City, Florida. Clearly, the actors were aging and the premise of them being in college stopped making sense, plus menace of the week stories was becoming tougher to make plausible on the static campus. The more plausible setting worked for super-heroes but certainly took something away from the civilian side of life, a similar issue plaguing Smallville in its latter seasons.

The third season, out now on DVD from Warner Archive, also brought the welcome removal of the annoying Andy McCalister, character, with actor Ilan Mitchell-Smith taking a curtain call in this season’s “Special Effects”. He was replaced in the cast with coworker Matt Ritter (Peter Jay Fernandez) and the Bureau chief C. Dennis Jackson (Robert Levine).

While there are certainly foreshadowing elements to the far more successful Smallville, the tone this season actually evokes memories of Robert Maxwell’s film nourish first season of The Adventures of Superman, which ran some thirty years earlier. Credit for this positive change, reflecting the adult reality the leads now found themselves, goes to producers Julia Pistor and Gerard Christopher, with DC Comics’ support and approval. Christopher, who inherited the cape the previous season, seems comfortable in the uniform and while no great actor, certainly was stalwart.

The thirty minute format remain inhibiting so character development was almost nil except when it played a role in the story such as “Rebirth” where Clark thought he took a life and hung up his cape. Every series has to explore alternate futures and this series honored that trope with both “Roads Not Taken” and “The Road to Hell”, the latter a fine two-parter with former Tarzan Ron Ely as an aging Man of Steel from a possible future.

On the other hand, several stories seemed mired in the past such as “Wish for Armageddon”, which felt like an antiquated Cold War story in the aftermath of the Berlin Wall’s collapse.

Luthor, Bizarro, and Metallo make return appearances as opponents while first timers included The Golem in a strong neo-Nazi story. Pa Kent (Stuart Whitman) turned up for an appearance, a reminder of when Clark’s life was simpler and dad was always there to guide the way.

Overall, it’s a stronger season than the preceding one, but also one that less resembled the comics fans wanted and appeared somewhat alien to the general audience, neither resembling the comics or the film series.

The transfers are fine overall and the made-to-order 26 episode, three-disc set comes without any bonus features.

REVIEW: The Wonderful 101 – One-credible

the_wonderful_101-1-11-9389474

The Wonderful 101 has been a year coming – it’s been part of Nintendo’s many show reels for the Wii U system since its release, and it was one of the most popular demos at last year’s New York Comic Con.  And it has been worth every minute.

Conquering alien horde Geathjerk has set its sights on Earth, and the secret army of the Centinels, code named “The Wonderful 100” is out last hope against with you leading them, the “101st”.  The team saves citizens, and then quickly deputizes them into duty, using them like building blocks to form weapons and tools to fight the rampaging monsters.

Another work from  Hideki Kamiya, produced by Atsushi Inaba, it’s got a lot in common with their Viewtiful Joe series for the Game Cube.  If Viewtiful Joe was a love letter to the Kamen Rider series, Wonderful 101 is a love letter to the Super Sentai series, the shows they use to bring us Power Rangers.  Like Joe before it, the game is rife with fourth-wall breaking comedy, over the top action and magnificent character design.

Also like its predecessor, the game is VERY complex.  With dozens, potentially hundreds of heroes and villains on screen at once, things can get very small very quickly, combine that with a control system that at various times uses all the buttons of the Wii U Game Pad, including drawing on the screen, the playing is required to do quite a lot, quite often.  Reasonable progress can be made with button mashing (and a very welcome “very easy” mode) but there’s enough opportunity for impressive combos and innovative gameplay to keep a dedicated gamer engrossed.  With a hundred hidden characters to find and many times that in hidden items, the replay value of the game is vast.  It takes advantage of the Wii U Game Pad to deliver a new playing mechanic.

The work pays off, as the story is filled with many twists and turns, skewering the tropes of tokusatsu while it tributes them.  The character design alone will keep you laughing for days. (Wonder Beer? Wonder Toilet?).  The theme song, “Heroes’ March” that plays under the action, is a wacky ditty that sounds like what would happen of John Philip Sousa did the theme for a Power Rangers show, orchestrated by Jim Steinman.

The complexity may make it the kind of game that might turn a casual player off, but for the hardcore gamer (not to mention fans of Japanese science-fiction) it’s a treat.

‘A Week In Hell’- First In New Pulp Crime Digest Series- By J. Walt Layne Debuts From Pro Se Productions

Pro Se Productions continues its tradition of providing the best in New Pulp and Genre Fiction with its latest release- A WEEK IN HELL, the First volume in the Champion City digest novel series by author J. Walt Layne!
weekinhellfc2-8300497

 

“Crime stories,” Tommy Hancock, Partner in and Editor-in-Chief of Pro Se, comments, “have always been an essential part of Pulp Fiction.  It’s a genre not restricted by time periods or certain story conventions.  Crime is Crime and Crime is everywhere.  What J. Walt Layne does in  A WEEK IN HELL is tell a tale of crime and murder in a very tried and true style, reminiscent of paperbacks of the 1950s.  It’s two fisted, it comes at you guns blazing, and doesn’t ask for permission or forgiveness.”
 
Welcome to Champion City. A megatropolis it isn’t. But you couldn’t arrive at that conclusion by looking at the police blotter.  Most everyone in the city would tell you that a day in Champion is like… A WEEK IN HELL.
 
 
It all starts with a girl and a bag of cash. Candi was the kind of gal who could give a guy indigestion. She was poison, with looks to kill, a reluctant moll looking for a way out. Thurman was a young flatfoot, not necessarily the knight in shining armor. He went to shake out a brawl and nearly fed her his gun, was it any wonder he got a date? They spend an evening on the run, but where does it lead? Just when it looks like its over, BOOM! Is it a dead girl, a bag of somebody else’s dough, or both?
 
“Writing A WEEK IN HELL,” says Layne, “was a chance for me as a writer to try and give something back to the pulp novels and magazines of yesteryear that I enjoyed reading as a kid when no one was looking. Something about the honest, yet ornery sound of the language. The not so innocent victims, the uncompromising men. The story bigger than the hero can handle, yet coming out on top against all odds. Forty Miles of bad road for the big payoff or the big sleep.”
 
Written in the style of slang ridden, bullet riddled classic crime Pulp and mystery fiction, Layne’s A WEEK IN HELL drops the reader square into all the corruption and corrosion of human spirit that is Champion City.  Dames, gats, gumshoes, and brass cupcakes die, shoot, run and glitter from every page.  Edited by David White and David Brzeski, this book features a beautiful cover by Terry Pavlet with design, logo, and print formatting by Sean Ali and Ebook formatting by Russ Anderson.  A WEEK IN HELL by J. Walt Layne courtesy of Pro Se Productions.
 
A WEEK IN HELL is available in print for $9.00 from Amazon at http://tinyurl.com/n6meb2q and via Pro Se’s createspace store at  https://www.createspace.com/4407054.  This crime thriller is also available as an Ebook for $2.99 for the Kindle at http://tinyurl.com/lsgbvo5   and on the nook from Barnes And Noble at http://tinyurl.com/n5lgkjx and in most digital formats at http://www.smashwords.com/books/view/348511.
 
For interviews or review copies or further information on the book or the author, contact Morgan Minor, Director of Corporate Operations at MorganMinorProSe@yahoo.com.   To learn more about Pro Se Productions, go to www.prose-press.com.

PRO SE’S LATEST ANTHOLOGY, BLACK FEDORA, AVAILABLE FOR ADVANCED REVIEW!

blackfedoracover1-4446098

Pro Se Productions, a leader in New Pulp and Genre Fiction, announces digital advanced reader copies of its newest anthology!

Pro Se Productions proudly presents BLACK FEDORA! Following a Classic Pulp tradition, the stories under the BLACK FEDORA all feature villains in the lead role! Authors B. C. Bell, Phillip Drayer Duncan, and Kevin Paul Shaw Broden pen stories where Bad is Good, Dark is Light, and Wrong is Better than Right! From hardcore crime noir to Super Villainy at its Worst and beyond, BLACK FEDORA proves that one crime is another person’s glory!

Reviewers established with websites, print media, or other formats may request a review copy of this volume. Also, reviewers who consistently post reviews on their own personal sites may also request a copy. To get your review copy of BLACK FEDORA, email Pro Se’s Director of Corporate Operations Morgan Minor at MorganMinorProSe@yahoo.com.

BLACK FEDORA will be published in mid September.

For more information on Pro Se Productions, go to www.prose-press.com

REVIEW: Captain Caveman and the Teen Angels – The Complete Series

captain-caveman-dvd-e1377730738910-5290513In the 1960s, super-heroics were such the rage that ever era seemed to inspire a masked champion for Saturday morning fare. We had the Mighty Mightor who could been seen as an ancestor to his comedic counterpart, Captain Caveman, which also reflects the shift from dramatic fun to slapstick comedy (also showing how parents boxed in the animators).

Captain Caveman and the Teen Angels was created for Hanna-Barbera, shortly before they split to form their own outfit. It ran from 1977 through 1980 in ABC and the complete 40 episode series is now available on a three-disc set from Warner Archive. The series started off sandwiched as a part of Scooby’s All-Star Laff-A-Lympics and Scooby’s All-Stars before gaining their own thirty minute slot. Brenda, Dee Dee and Taffy, the erstwhile angels, found a caveman frozen in a block of ice and thawed him back to life. Now, Cavey and the girls went around solving mysteries and getting in and out of trouble. Nothing new here except you’re mixing in the detectives from Scooby-Doo with super-heroics, all played for comedy. While a trinity is a common element in such shows, the girls and name in particular owe a lot to Charlie’s Angels, which had taken the nation by storm not long before.

Much as Mightor shouted his name to invoke his powers, so too does the Neanderthal crimefighter. In addition to the standard-issue powers, his ancient fur clothing contains an unending amount of gadgets for convenient use. Not only does the show feel familiar it sounds familiar with the hero voiced by the legendary Mel Blanc and narration from Gary Owens. The girls were voiced by the lesser known Marilyn Scheffler, Laura Page and Vernee Watson.

As was far too common at the time, the mysteries were never terribly challenging and the characters were allowed one personality trait each as if they were being rationed because of a budget shortfall. The antics are not terribly inspiring such as Cavey’s flying powers proving erratic only when he truly needed them. And while he eventually revealed to the audience his crush on Taffy, not that she ever knew it. He’s also saddled with stereotypical caveman speak which can prove grating after a few minutes.

Mildly entertaining, it’s disposable and forgettable stuff.

Pulp Crime and Noir! ‘A Week in Hell’ Available for Reviewers from Pro Se Productions!

ADVANCE DIGITAL REVIEW COPIES AVAILABLE OF 
‘A WEEK IN HELL’  BY J. WALT LAYNE!
 
Continuing its tradition of action packed two fisted books featuring the best in New Pulp and Genre Fiction, Pro Se Productions announces the first in a Crime/Noir Series from Author J. Walt Layne!  A WEEK IN HELL will hit the hard bitten streets on August 15th and Pro Se wants established reviewers interested in an advance digital copy to get there first!
 
 
Welcome to Champion City. A megatropolis it isn’t. But you couldn’t arrive at that conclusion by looking at the police blotter.  Most everyone in the city would tell you that a day in Champion is like… A WEEK IN HELL!
 
weekinhellfc1-2566468
 
Pro Se Productions continues its tradition of providing the best in New Pulp and Genre Fiction with its latest release- A WEEK IN HELL, the First volume in the Champion City digest novel series by author J. Walt Layne!
 
It all starts with a girl and a bag of cash. Candi was the kind of gal who could give a guy indigestion. She was poison, with looks to kill, a reluctant moll looking for a way out. Thurman was a young flatfoot, not necessarily the knight in shining armor. He went to shake out a brawl and nearly fed her his gun, was it any wonder he got a date? They spend an evening on the run, but where does it lead? Just when it looks like its over, BOOM! Is it a dead girl, a bag of somebody else’s dough, or both?
 
“Writing A Week In Hell,” says Layne, “was a chance for me as a writer to try and give something back to the pulp novels and magazines of yesteryear that I enjoyed reading as a kid when no one was looking. Something about the honest, yet ornery sound of the language. The not so innocent victims, the uncompromising men. The story bigger than the hero can handle, yet coming out on top against all odds. Forty Miles of bad road for the big payoff or the big sleep.”
 
Written in the style of slang ridden, bullet riddled classic crime Pulp and mystery fiction, Layne’s A WEEK IN HELL drops the reader square into all the corruption and corrosion of human spirit that is Champion City.  Dames, gats, gumshoes, and brass cupcakes die, shoot, run and glitter from every page.  Edited by David White and David Brzeski, this book features a beautiful cover by Terry Pavlet with design, logo, and print formatting by Sean Ali and Ebook formatting by Russ Anderson.  A WEEK IN HELL by J. Walt Layne courtesy of Pro Se Productions!
 
If you are an established reviewer of books either through a site or other venue or you have established yourself as a reviewer with a site of your own, contact Morgan Minor, Director of Corporate Operations at MorganMinorProSe@yahoo.com to request a digital copy for review.   Also anyone interested in interviews with the author or other information concerning the book or Pro Se Productions may contact Morgan at the above address as well as going to the Pro Se website- www.prose-press.com

Beard and Murray Talk Wordslingers

 

New Pulp Author Jim Beard interviewed New Pulp Author Will Murray about his new book WORDSLINGERS for Toledo’s Eye on Your Weekend radio show.

You can listen to the entire show here. The Will Murray interview starts around the 19:20 mark.

You can read Jim Beard’s review of Wordslingers here.

Doc Savage “The Miracle Menace” Cover by Joe DeVito

In other Will Murray news, above is a sneak peak at the finished front cover for the author’s next Doc Savage novel, ‘The Miracle Menace’ by celebrated cover artist Joe DeVito. This cover will also appear as a full wraparound painting to celebrate Doc Savage’s 80th anniversary.

More news on that as it develops.