Tagged: Superman

Supernatural Season 9 Appears September 9

supernatural-s9-e1402517354188-6261875BURBANK, CA (June 10, 2014) – The exhilarating and terrifying journey of the Winchester brothers continues as Warner Bros. Home Entertainment Group delivers the ninth season of Supernatural on Blu-ray and DVD on September 9, 2014. Supernatural: The Complete Ninth Season contains all 23 gripping episodes from Season Nine and is packed with over four hours of bonus content – including featurettes, commentaries, a Comic-Con panel, deleted scenes, and a gag reel. Fans that purchase the Blu-ray™ will also have access to a Digital HD copy of all 23 episodes. Supernatural: The Complete Ninth Season is priced at $59.98 SRP on DVD and $69.97 SRP on Blu-ray™.

How do you deal with a fallout of heavenly proportions? With the angelic Host’s descent to Earth, Sam and Dean are now facing a world inhabited by thousands of powerful beings, who soon form their own chaotic agendas. Before tackling the threat of the “loose nukes” roaming the globe, however, the Winchesters engage in their most personal conflict yet. Meanwhile, Castiel finds he’s more vulnerable – and yet capable of more humanity – than ever. As the threat escalates, a way must be found to reopen the gates of Heaven and head off a demon insurrection in Hell. The whole time, darkness leaves its mark on Dean, but has he finally crossed the line to protect his family? The excitement of this 23-episode ninth season is positively epic.

Airing Tuesdays at (9/8c) on The CW, Supernatural stars Jared Padalecki (Friday the 13th, Gilmore Girls) and Jensen Ackles (Smallville, My Bloody Valentine) as Sam and Dean Winchester, in addition to Misha Collins (24, Girl Interrupted) as Castiel. Created by Eric Kripke (Revolution), the ninth season of the hit series was executive produced by Robert Singer (Lois & Clark: The New Adventures of Superman), Jeremy Carver (Being Human), Phil Sgriccia (Smallville), McG (Terminator Salvation) and Adam Glass (Cold Case).  Supernatural returns for its tenth season this fall.

With Blu-ray’s unsurpassed picture and sound, Supernatural: The Complete Ninth Season will be released in 1080p Full HD Video with DTS-HD Master Audio for English 5.1.

BLU-RAY™ & DVD FEATURES

  • The Men of Letters Interactive Set ExperienceInteractive menu allows the viewer access to numerous featurettes hidden in the various rooms of the Men of Letters set.

·        Men Of Letters – a Set of Featurettes

o   Men of Letters: The Winchester Legacy – This documentary featurette will explore the rich mythology of the Men of Letters – from its roots with the Winchester family to the hidden compound that was passed down to Sam and Dean by their grandfather.

o   Designing the Men of Letters Bunker – From concept to completion, Production Designer Jerry Wanek will guide us through the creation of Supernatural’s largest set.

o   Supernatural – Bound by Blood: Decisions and Consequences – The documentary featurette explores the ninth season’s theme of consequences for Sam and Dean.

o   Crow’s Nest Tour- Production Designer Jerry Wanek takes the viewer on a set tour of the Crow’s Nest.

o   Library Tour – Production Designer Jerry Wanek takes the viewer on a set tour of the Library.

o   Lab – Production Designer Jerry Wanek takes the viewer on a set tour of the Laboratory.

o   Galley – Production Designer Jerry Wanek takes the viewer on a set tour of the Kitchen.

o   Dorms – Production Designer Jerry Wanek takes the viewer on a set tour of the Dormitories.

o   Room 7B – Production Designer Jerry Wanek takes the viewer on a set tour of the Dungeon.

  • 2013 Comic-Con Panel Cast and Producers discuss the upcoming storylines of Season 9.

·        Producer/Director Commentaries

o   Audio Commentary – “Blade Runners” – With actor Mark A. Sheppard and writing team Eugenie Ross-Leming & Brad Buckner

o   Audio Commentary – “Mother’s Little Helper” – Writer/EP Adam Glass and Director/actor Misha Collins provide commentary on his directorial debut.

o   Audio Commentary (920 “Bloodlines”) – EP Jeremy Carver, Director/EP Bob Singer, and Writer/EP Andrew Dabb provide commentary on the backdoor pilot Supernatural: Bloodlines

  • Behind the Scenes of Supernatural: A Fan’s Perspective – Mockumentary hosted by Misha Collins going behind the scenes on the set of Supernatural.

·        Deleted Scenes

·        Gag Reel

23 ONE-HOUR EPISODES

  1. I Think I’m Gonna Like it Here
  2. Devil May Care
  3. I’m No Angel
  4. Slumber Party
  5. Dog Dean Afternoon
  6. Heaven Can’t Wait
  7. Bad Boys
  8. Rock and a Hard Place
  9. Holy Terror
  10. Road Trip
  11. First Born
  12. Sharp Teeth

 

  1. The Purge
  2. Captives
  3. #THINMAN
  4. Blade Runners
  5. Mother’s Little Helper
  6. Meta Fiction
  7. Alex Annie Alexis Ann
  8. Bloodlines
  9. King of the Damned
  10. Stairway to Heaven
  11. Do You Believe in Miracles?

 

 

BASICS
Street Date: September 9, 2014
Running Time: Feature: Approx 1012 min /Enhanced Content: Approx 261 min.

DVD

Price: $59.98 SRP / NO MAP
6 DVD-9s
Audio – English (5.1), Portuguese
Subtitles – ESDH, Chinese, Korean, Portuguese, Spanish, French, Thai
Presented in 16×9 widescreen format
Catalog # 1000437615
UPC # 883929375011

BLU-RAY

Price: $69.97 SRP / NO MAP
4 BD-50s
1080p Full HD Video,
DTS-HD Master Audio 5.1 – English, Portuguese
Subtitles – ESDH, French, Spanish, Portuguese
Presented in 16×9 widescreen format
Catalog # 1000436078
UPC # 883929373673

Mindy Newell: Superhorse!

craig-ferguson-and-secretariat-e1402279695623-8248180His legs, you couldn’t see them. Not even a blur. You could see his white-stockinged feet. Like a low trail of vapor. A white wisp of flying fog.”

Secretariat.com

So no Triple Crown this year. The favorite, California Chrome, finished in a tie for fourth place with Wicked Strong, 1¾ lengths* behind the winner, Commissioner (as in Gordon, for all us comic geeks). There has not been a Triple Crown winner since Affirmed in 1978, which makes it a 32-year drought for horse racing’s supreme trophy. Affirmed was a great horse, as was his predecessor Seattle Slew (1977), but for me the ultimate thoroughbred of all time, the uberpferd,is Secretariat.

It is hard to put into words just what I, and the rest of America, saw on June 9, 1973. Simply put, it took everyone’s breath away.

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Warner Archive Now Streaming Filmation’s DC Super-Heroes

NewAdvSuperman_800x800_f133bf05Continuing to make available rare and hard-to-find classic films, TV movies and TV series, Warner Archive Instant is now streaming 50 animated episodes of The New Adventures of Batman & The New Adventures of Superman, with the animated Aquaman series making its debut this June on the popular streaming service.

NwAdBatman_S1_iTunes_600x600_9de23abfWarner Archive Instant is now even easier to incorporate into your digital life through Airplay on AppleTV. Simply download the app and log in for access to hundreds of films and TV series episodes running the gamut from fanboy favorites and cult classics to some of the finest films in the history of cinema – frequently presented in full 1080p high definition.

Moreover, fans are invited to sample the streaming service for two weeks – absolutely free. Fans can sign-up at instant.warnerarchive.com and start checking out the wide variety of offerings from Warner Archive Instant.

Jen Krueger: Hating Superman

I’m going to preface this week’s column by saying I’m going to express what I realize is a very unpopular opinion.

I hate Superman.

I don’t mean that I hate one of the movies, or one of the TV shows, or a particular run of the comic. I hate the character of Superman, because I find him boring.

For me to be interested in a superhero, the hero has to be flawed in some way. Iron Man has been my favorite hero for some time because of how deeply troubled Tony Stark is, from the narcissism and egomania that get him into tough spots, to the self-destructive tendencies that emerge when he’s forced to face the fact that he isn’t perfect. To be the hero he wants to be, he must grapple with a dark streak inside himself, and watching that internal battle is a thousand times more compelling to me than any external battle Iron Man engages in with an antagonist. And even when I am watching him take on a villain, Iron Man doesn’t really prevail because of the powers of his suit. Everything hinges on the man inside the suit using his advantages to the best of his ability, and that ability is sometimes compromised by the man himself. At the end of the day, Iron Man doesn’t even matter as much as Tony Stark, whose flaws have given him a complexity that makes him matter a great deal to me.

Superman, on the other hand, is basically perfect. Sure, there’s a type of rock that makes him physically weak, but to me that’s about as interesting a flaw for a hero as a gluten allergy. But even putting aside his ridiculous physical attributes, Superman continues to be about perfection. His biggest problem is that no one could possibly understand his infallible and unwavering goodness, and that he’s so benevolent he can’t help himself from dedicating his life to protecting the human race. He may brood alone in the Fortress of Solitude, but when all of a character’s contemplation stems from how hard it is to deal with being so darn unflawed, there’s neither complexity to that contemplation nor capacity for change. And while Tony Stark is sometimes Iron Man, with Superman it feels much more like Superman is sometimes Clark Kent. Stark is a person who is humanized by his flaws, but Superman is an alien who sometimes masquerades as a normal person. If Superman will always be Superman, and Superman will never be wrong, I don’t care about watching him fight villains because his external conflicts are no more interesting than that of any other hero, and almost any other hero will have an internal conflict to bring to the table as well.

But why is it that flaws and the internal conflict stemming from them are what make a hero interesting in the first place? Because those are the things that move characters from people I can sympathize with to people I can empathize with. For a long time, I wasn’t a fan of Captain America because he struck me as another hero who is little more than the embodiment of good poured into a red, white, and blue costume. But once Captain America was brought to present day and had to contend with being a man out of time, I was completely engrossed. Trying to find a place in a world that has so greatly surpassed the core beliefs around which his whole identity had been built is an internal conflict rich enough to make me care for Steve Rogers, and more importantly, it invites me to put myself in his shoes by making him vulnerable in a relatable way. I can imagine how he feels because his emotional struggles are universal even if his specific circumstances aren’t, but I can’t say the same about Superman since he has little to no emotion to struggle with.

At this point, I suppose it’s only fair for me to point out there’s technically one incarnation of Superman that I do like, but it’s one so markedly different from any other representation I’ve seen that I honestly don’t think of it as the same character. Mark Millar’s Superman: Red Son imagining a world in which Superman fell to Earth in Soviet Russia rather than the U.S. manages to put aside the hero’s perfection by making Superman a tool in a society he wants to actually belong to. Instead of willfully holding himself apart from humanity, Red Son features a Superman who recognizes he’s a cog in a machine and yearns to be something more. Reading Red Son was the first and only time I’ve seen a Superman with that kind of emotional depth and realism, which makes it the first and only time I’ve ever felt I could relate enough to what Superman was feeling to care about him.

Marc Alan Fishman: Wanted, Dead or Alive … Not Both.

wolverine-potato-head-8420659So I guess when the AV Club is reporting on the future death of Wolverine, the cat is out of the bag, eh? In yet another PR stunt, the mainstream comic houses show their full hand in hopes mega media attention will somehow garner a boost in pulp sales. I’m reminded of that saying concerning the definition of insanity. And surely this is a topic we, the snarky columnists of any number of media outlets, have covered… well… to death. It’s still worth another look though, so indulge me, kiddos. It’s time to beat a dead horse.

Isn’t it a shame when the knee-jerk reaction of your most dedicated fan-base upon hearing about the death of a beloved character comes with an audible snicker and eye roll? Suffice to say when I’d read the newswire piece it didn’t come as a shock, as much as a continual reminder that my favorite medium was often regarded as kitsch. And truly, no other medium comes to mind – save perhaps for soap operas or pro wrestling– where the announcement of a significant loss bares no bitter fruit as much as it comes complete with scoffs from the peanut gallery.

Wolverine to be stripped of his healing factor and killed. Peter Parker’s mind is destroyed, only to be inhabited by Otto Octavius. Batman banished forever in time by the impact of some Omega beams. Superman dead. Thor dead. Professor X dead. Steve Rogers dead. Jean Grey dead. Colossus dead. Hell… Bucky Barnes dead. Phil Coulson dead.

Feh, I say. Feh! In each instance of the leaked announcement, I immediately retort “…until sales drop, or a movie comes out.” And if you’re a betting man, you’d be smart to go all in each time. I think though, that ranting and railing against something you could count on as easily as the tide coming in, is a waste of negative feelings.

What sits at the root of all of these stabs into the mainstream ether is the soul-crushing realization that our beloved cape-and-cowl crowd are all for-profit entities, each built to harness the dollars and cents of a loyal customer base that has proven more often than not to continually purchase product even while loudly protesting it. Simply put, one need not sweat the wrath of the fanboys and girls until they leave you high and dry at the checkout counter. And as attendance at comic conventions continue to swell, and the multiplex becomes choked annually with blockbuster after blockbuster… there’s little need to fear that our ink-and-paper rags are going away while the licenses need to be coddled.

And what would you do if you were the EIC of a major comic book publisher? You’d keep hitting your cash piñatas until they stop dropping Tootsie Rolls. One can’t simply let their comic character live and die with the times. They must constantly be in a cycle or dramatic repartee with one another. They must converge on mighty battlegrounds. They must make odd alliances. They must recalibrate, reinvent, and redefine their very being every few months. The moment they stop, the attention is drawn elsewhere. Even to let a mortal man, like Frank Castle – a character whose very mission is clearly drawn in severe black and white terms – die a hero’s death, is really just another way to bookmark him for a new series later. One cannot simply let a comic character die… not when there’s a bloodstone to find and money left on the table.

To learn of Wolverine’s impending dirt map should not actually be met with a scoff, and an upturned nose. As in nearly all my aforementioned examples of re-re-retconned demises… in their immediate wake came some of the best stories I’d ever read concerning that character! When Batman was time-bulleted away, Scott Snyder’s Detective Comics gave me the Dick Grayson I’ve always wanted to read. When Dan Slott took the leap to let Otto drive as the friendly neighborhood wall-crawler, he opened up a fantastic object lesson in proactive versus reactive heroism. And when Wolverine bites the big one, it will be less about ending his story as it is opening up a new chapter in the plethora of X-books that will no doubt be touched by the loss. Death, as it were, is then less about the loss specifically of the character in question, rather, it’s about the aftermath that needs to be considered.

It is sad to me that we must accept this as fate; that our heroes and villains are merely pawns in a never ending churn and burn of story arcs and universe resets. In the time since its inception, the Marvel Universe (the 616), and the DCU (whatever we call current continuity since it’s neither new, nor 52) have relegated themselves to reinvention at every turn of the corner. Unlike a soap or the WWE, where fictional characters can eventually die in real life… or even Doctor Who, who remains the same alien in spirit, but purposefully reimagined to coincide with the times – mainstream comic books must remain forever in Neverland. While DC tried hard to create legacies with a few of their major heroes (The Flash and Green Lantern, most of all), they too eventually succumbed to a massive PR stunt (the still-absolutely-unbearable Flashpoint), in order to move the zeitgeist back into its clutches.

So mourn not for James Howlett, folks. Let no tears stain your mutton-chopped cheeks for his once robust form. For now, he will join any number of other X-Men at the famed Marvel Island. He’ll enjoy the umbrella drinks, and free bacon… as the 616 spins out of control.

Because let’s face it, a world with Wolverine leaves a roster spot open on at least 1,246 different teams. And that is why we mourn.

Dennis O’Neil: How Long Can You Go Without Faking It?

Story ideas are pretty malleable. I once presided over/rode herd on/sweated out an 1,100+ page continuity that began as a plot for two 15-pagers.  Hemingway is credited with writing a story in only six words.  (Go on. Google it.  I’ll wait.)  I did something a while back, just a bit over 500 words, that, I think, qualifies as a story, though some might disagree, (and because we cherish the First Amendment, if for no other reason, we welcome their dissent.)

Slick magazines, back when my mother was reading them, featured stories complete on one page.

Superman’s origin, which, you might recall, involved an exploding planet – we’re not talking small, here – was originally told on one page and the first Batman story ran a mere six pages, but it was very close to a Shadow novel that must have been in the neighborhood of 45,000 words.

[[[The Great Gatsby]]], often cited as a great novel, is 47,094 words. [[[War and Peace]]], ditto on the great novel label, goes 587,287.

So, is there a point to all this?  Let’s try to find one.

Story ideas, and literary forms, might be malleable, but that doesn’t excuse scriveners from the labor of plotting and structuring. You can’t just plunk yourself down at the keyboard, decide you’ll do an 1,100-pager and begin to perpetrate the opening of this Sahara of a continuity. No, check that: you can begin the aforementioned perpetration, but a prudent person might advise against it. The danger is that, toward the end, you might find a lot of loose ends that defy knotting, or you might have given your characters problems that they can’t solve and still stay true to whatever else you’ve established.  Or you might just run out of plot. Then, you begin to improvise. You fake it. You pad. Are you, by now, boring the reader? Admit the possibility, anyway.

It happens.  A person far wiser in the ways of Big Media recently confirmed what I’d read somewhere.  Sometimes, writers and producers of television entertainment begin a protracted and complicated storyline with no clear idea of how they’ll get from A to B. They make it up as they go along.  Sometimes they get away with it.  Sometimes.

I know that some Nineteenth Century literary luminaries – Charles Dickens and Fyodor Dostoyevsky to name two – serialized their novels before publishing them in hard covers.  I wonder: did they make it up as they went along?  Did they do outlines?  Plot summaries?

What we did, my comic book colleagues and I, was make pretty detailed outlines, in consultation with our freelancers. We all knew what story we wanted to tell and had a reasonably firm idea of how it should end.  There was a few small disagreements: some of my merry men wanted the outline to be detailed; I wanted to leave wiggle room and preserve the option of someone having a better idea along the way.  But we generally knew where we were going and how to get there.

One more thing: that outline assured us that we had enough plot to justify the number of pages we were planning to occupy.  We could and did permit side plots to run in parallel with our central story, but we wanted none of that padding stuff.

Is here any padding in the preceding 551 words?  Well…

Mindy Newell: Who Are You?

“Whooooooooo are you? Who? Who? Who, Who?”

WHO ARE YOU
Composed by Pete Townsend
The Who, 1978

Picking up from last week

All our super-powered mythic creations, whether hero or villain, man or woman, are avatars—whether we realize it or not.

Superman, of course, is the Big Kahuna avatar of comics. Every corrupt politician that Superman put in jail, each mobster who pulled a gun and watched the bullets bounce off Superman’s chest, every misogynistic wise-ass jerk who insulted a woman and was punished by Superman was really being punished by these two bookish, nebbishy, and schlemiel-y kids from Cleveland, Jerry Siegel and Joe Schuster, who weren’t able to fight the anti-Semites or win the gorgeous goyishe blonde.  I doubt very much either of them were consciously aware of the psycho-sociological underpinnings of their alien hero who would capture the world’s imagination, but it’s all there, as many critics and writers, including Danny Fingeroth, Jules Feiffer, Grant Morrison, Scott Bakutman of Stanford University, and A. C. Grayling of The Spectator have noted.  Grayling’s article, “The Philosophy of Superman: A Short Course”, discusses the need for a Superman over the decades since his creation in the 1930’s, including the early 21st century and events post-9/11, stating that:

…caught between the terrifying George W. Bush and the terrorist Osama bin Laden, America is in earnest need of a Saviour for everything from the minor inconveniences to the major horrors of world catastrophe. And here he is, the down-home clean-cut boy in the blue tights and red cape.

Others more erudite than I am may have used more polysyllabic pronouncements when analyzing the characterization of the Man of Steel, but I will say that he is a fugue, an escape, an exodus into a world in which, simply put, the good guys win.

Depending on your definition of “the good guys,” of course.

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Warner Bros Wins Superman Copyright Battle

shuster1975-4743293

Joe Shuster (Photo credit: Wikipedia)

Today the seemingly endless Superman heirs copyright suit might have truly leaped its final bound. Just over a month after lawyer Marc Toberoff petitioned the 9th Circuit Court of Appeals for a rehearing of opinion in favor of Warner Bros, the court has said no. “The panel has voted unanimously to deny the petition for rehearing,” said the order issued today. In saying no, the 9th Circuit closed the door on any more requests from the heirs of Superman co-creator Joe Shuster.

Read the rest at Warner Bros Wins Superman Copyright Battle As Heirs Denied Rehearing – Deadline.com.

Watch the first clip from “Justice League: War”

When the powerful Darkseid and his massive, relentless forces invade Earth, a group of previously unaligned super heroes – misunderstood and, in some cases, hunted by the authorities – discover the only way to fend off the attack will be to work together as a cohesive unit. Batman, Superman, Wonder Woman, Green Lantern, Flash, Shazam and, in his origin story, Cyborg combine their respective talents in an all-out battle to save the planet. Based on the 2012 graphic novel, “Justice League: Origin,” by Geoff Johns & Jim Lee, Justice League: War provides a glance into the world before the Justice League was created, and offers the initial animated incarnation of DC Entertainment’s “The New 52.”

The clip features Batman and Green Lantern meeting for the first time while simultaneously dealing with both a renegade parademon and the local police. Jason O’Mara (Terra Nova) and Justin Kirk (Weeds) provide the voices of Batman and Green Lantern, respectively.

GL-Parademon

Justice League: War arrives via Blu-ray Combo Pack, DVD and Digital HD on February 4, 2014.

Justice League: War to Debut at the Paley Center January 21

justice-league-war-cover-art-e1387743048998-8756362Warner Bros. Home Entertainment and The Paley Center for Media proudly present the World Premiere of Justice League: War, the next entry in the popular, ongoing series of DC Universe Animated Original PG-13 Movies, in New York on January 21, 2014. Filmmakers and members of the voice cast will attend the event for red carpet media interviews and a post-screening panel discussion.

BURBANK, CA (December 19, 2013) – An alien attack threatening cataclysmic worldwide devastation brings together the world’s greatest super heroes – for the first time – in Justice League: War, the latest entry in the ongoing series of DC Universe Animated Original Movies. Produced by DC Entertainment and Warner Bros. Animation, Justice League: War arrives February 4, 2014, from Warner Bros. Home Entertainment as a Blu-ray™ Combo Pack ($24.98 SRP), DVD ($19.98 SRP) and Digital HD. The Blu-rayTM Combo Pack will include a digital version of the movie on Digital HD with UltraViolet™. Order due date is December 31, 2013.

When the powerful Darkseid and his massive, relentless forces invade Earth, a group of previously unaligned super heroes – misunderstood and, in some cases, hunted by the authorities – discover the only way to fend off the attack will be to work together as a cohesive unit. Batman, Superman, Wonder Woman, Green Lantern, Flash, Shazam and, in his origin story, Cyborg combine their respective talents in an all-out battle to save the planet. Based on the 2012 graphic novel, “Justice League: Origin,” by Geoff Johns & Jim Lee, Justice League: War provides a glance into the world before the Justice League was created, and offers the initial animated incarnation of DC Entertainment’s The New 52.

“Justice League: War brings together all the best elements of DC Comics – dynamic plot twists, revolutionary new artwork and of course, hostility amongst heroes and villains alike,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family Animation Marketing and Partner Brands. “Showcasing a voice talent cast that unites some of today’s most popular actors, Warner Bros. Home Entertainment is proud to release Justice League: War as the next DC Universe Animated Original Movie.”

Primetime television stars Jason O’Mara (Terra Nova, Vegas, Life on Mars) and Justin Kirk (Weeds), the voices of Batman and Green Lantern, respectively, lead an impressive ensemble of television and film stars in the notable super hero roles. The celebrity-laden voice cast includes Shemar Moore (Criminal Minds) as Cyborg, Michelle Monaghan (Mission Impossible III, Gone Baby Gone) as Wonder Woman, Christopher Gorham (Covert Affairs) as Flash, Alan Tudyk (Suburgatory, 42, Serenity) as Superman, Sean Astin (The Lord of the Rings Trilogy) as Shazam, and Rocky Carroll (NCIS) as Silas Stone. On the villainous side, popular voice actor Steve Blum (Justice League: The Flashpoint Paradox) provides the voice of Darkseid, and Bruce Thomas (Legally Blonde, Army of Darkness) gives voice to DeSaad.

Justice League: War delivers an action-packed addition to the ongoing series of DC Universe Animated Original Movies, which have sold more than 13 million units to date. The film features brand-new extra content for collectors and fans alike.

Justice League: War Enhanced Content includes:

  • Featurette – Deconstructing Justice League: War – Part commentary, part documentary, director Jay Oliva teams up with artist Jim Lee as they compare and contrast the comic-to-screen process of some of the most memorable moments in the film.
  • Featurette – Creating Heroes: The Life and Art of Jim Lee – This documentary film explores the work of master artist Jim Lee, from his early days to his current position as co-Publisher of DC Entertainment and his comic collaboration with Geoff Johns.
  • Making Of – Justice League: War Act D – From animatic to pencil test, the final stanza of the film.
  • A Sneak Peak at Son of Batman – An advance look into the next DCU Animated Original Movie with the creators and cast.
  • From the DC/Warner Bros. Animation Vault – 4 Bonus Cartoons

BASICS

Street Date: February 4, 2014

Order Due Date: December 31, 2013

Languages: English and Spanish

Audio: Dolby Surround Stereo

Color / Closed Captioned

MPAA Rating:  PG-13

  Justice League: War

Blu-ray™ Combo Pack – $24.98 SRP

SD 1 Disc – $19.98 SRP

SD UPC: 1000381833 / 883929318421

BD UPC: 1000381834 / 883929318438

DreamWorks is hoping that your interest in things moving quickly is not limited to The Flash and The Fast and Furious films. Come March, they will be releasing The Need for Speed and unveiled the new one-sheet.