Articles by robert-greenberger
Sun Jan 4, 2009 — by Robert Greenberger
Review: 'Babylon A.D.'
Babylon A.D.
In the hands of writer Éric Besnard and French director Mathieu Kassovitz, the movie is a mess. The dark near-future, Europe has collapsed and anarchy or big business rules in place of government. Vin Diesel stars as Toorop, a mercenary, who is coerced into boydguarding a young woman, heading from his monastery home to New York City. Given little choice, he agrees and discovers she has a chaperone, a strong-willed Michelle Yeoh. The girl, Aurora (Mélanie Thierry), seems an innocent at first but then begins displaying knowledge and experience impossible for someone raised in solitude.
Of course they’re chased and that’s where the mindless, seen-it-before action comes in. While Diesel excels at this sort of stuff, it was not in the least bit thrilling, with the exception of the chase across Alaska.
Upon arrival in New York, the film suddenly changes gears and tone as we begin exploring the concepts involved but they are done in a monotonous way set against opposing forces who wish to control Aurora’s immaculately conceived children and the future of mankind. While there are plenty of good notions here, they’re buried under poor acting and pacing.
Diesel and Yeoh form an interesting bond during the few quiet moments but Thierry is such a blank slate it’s hard to tell if she has any talent. Lambert Wilson and Charlotte Rampling are wasted as the creators of the AI and therefore battle over its destiny.
Kassovitz blamed 20th on butchering the film and abandoning it this August after he labored for five years on bringing it to life. Unfortunately, after five years of development work, one expects a more even, better conceived production. Even the music from the normally reliable Hans Zimmer is uninspired.
Fox is releasing the film with the theatrical release and an unedited version, which does not help the story one whit. The plethora of extras are nice, especially as you hear Dantec talk about his book and it makes you long for a film that interesting. There are the usual making of features including a nice one on the arctic chase.
A special edition two-disc set comes with a few extra features including an animated prequel (erroneously billed as a graphic novel) that fills in some of the dramatic gaps that would have enhanced the overall production. A second disc contains a digital copy for computers and iPods.
Fri Jan 2, 2009 — by Robert Greenberger
'Wonder Woman' Writer Michael Jelenic Talks Animation
Writer Michael Jelenic makes the leap from animated television to feature-length films with his script for Wonder Woman, the next entry in the popular series of DC Universe animated original PG-13 films. Warner Premiere, DC Comics and Warner Bros. Animation are set to release the all-new film on March 3, 2009, distributed by Warner Home Video. The film will also be available OnDemand and Pay-Per-View as well as available for download day and date, March 3, 2009.
Jelenic has crafted a script that offers complementary balances of action and comedy, contemporary society and Greek mythology, and the social pratfalls of both men and women. It is an origin story and a stand-alone adventure, resulting in an entertaining approach to the first-ever Wonder Woman full-length film. Jelenic and renowned comics writer Gail Simone have "story by" credits on the movie.
Jelenic is well-known for his work at Warner Bros. Animation, providing the clever words to series like The Batman, Legion of Super Heroes and the newest Dark Knight animated series, Batman: The Brave and the Bold.
Jelenic stepped away from his laptop to be both brave and bold in answering a few questions about the thoughts behind the words and story of Wonder Woman, the challenges of pleasing every fan, and the un-coolness of working in the comics realm.
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Fri Jan 2, 2009 — by Robert Greenberger
MyToons.com Collaborates with Google for Launch of MyToons Live
Animation Social Network Launches New Application to Illustrate Activity of Online Animation Community
MyToons.com, the first and only online animation community to offer HD animation, announced on December 18 the launch of MyToons Live; MyToons.com’s latest collaboration with Google, utilizing the power of Google Earth technology. MyToons.com has built its reputation on connecting animators and fans around the world, and MyToons Live graphically represents their activity on a real-time global map.
“MyToons.com thrives on connecting animators, creatives, and fans – the global animation population – bringing them all together under one virtual roof to share ideas, information, and knowledge,” says Paul Ford, president and co-founder of MyToons.com. “MyToons Live serves as a visual representation of this global collaboration, inspiring artists everywhere and emphasizing their possibilities and the breadth of their worldwide networking capabilities.”
MyToons Live is a free download available on the MyToons.com homepage. Visitors are invited to download Google Earth and install the MyToons Live application, enabling them to gain a worldview of active animators and animation fans currently connected to MyToons.com.
For further information on viewing the global animation population, please visit MyToons.com.
About MyToons.com
MyToons.com is the world's premier online animation and art community. Launched in spring of 2007, MyToons.com provides global content creators with a free platform to share their original animations, artwork, and games with animators, enthusiasts and fans worldwide.
Combining high-quality standard and high definition (HD) video file streaming with best-in-class social networking for animators, MyToons.com showcases the greatest variety of independent and studio animation anywhere. Dedicated to "everything animated,” MyToons.com allows artists to share their techniques, discuss their thoughts and ideas, and explore their commonalities in a robust visual environment. The website can be explored at MyToons.com.
Thu Jan 1, 2009 — by Robert Greenberger
Review: 'Frisky Dingo Season Two'
Reviewing the Adult Swim DVDs has been educational and occasionally entertaining. I find the third series, Frisky Dingo Season Two, the most enjoyable because it takes absurd situations and characters and uses smart humor to get its point across. The series, about Killface, an alien super-villain come to Earth and his struggles against the heroic Awesome X, pokes fun at the conventions of animation, super-heroics and action flicks. They ratchet things up in season two, collected here, as Killface finds himself accidentally solving Global Warming and running for president.
Now the humor sharpens as creators Adam Reed and Matt Thompson skewer politics and does so while serializing the campaign across most of the twelve episode season, which ran on Cartoon Network from August – October 2007 and March 2008. The escapades build as Killface’s newfound popularity has him begin ton contend with the political machine and rivals begin to figure out how to campaign against him. You see everyone pander to one base after another; especially hilarious was when Killface discovers the Bible in “The Miracle”. Another fun running gag is the confusion between Fred Hunter and Fred Dryer, who starred in the NBC series Hunter, with the notion that either is Vice Presidential material pretty offbeat.
Killface learning about life on Earth makes for some pointed commentary on society
The animation is as simple as Metalocaplypse but better designed with terrific, rich backgrounds plus varied looks to the people. The dialogue and voice work is rather good which matches the quality of the writing. Reed voices both hero and villain which is a nifty feat and he brings individual personality to both as he plays off himself, which is not easy.
The single disc DVD, on sales January 6, comes with a skit featuring the Xtacles, which is spinning off from the show. They are dim-witted armored forces normally controlled by Awesome X, but with him currently off planet, they are without guidance leading to humor. The series debuted two episodes in November and based on this skit, looks to be a little less clever than its host. The other extra is a political ad parody promoting the release of the DVD itself.
Thu Jan 1, 2009 — by Robert Greenberger
D.J. Caruso Continues to Talk 'Y the Last Man'
Hopes Film Will be Next
Eagle Eye director D.J. Caruso, promoting the film’s DVD release, said of his next project, Y the Last Man, “I think it's one of those that the source material is fantastic stuff, it's great, but it's a tough one to lick into getting into a screenplay. I've tried to feel like it's a trilogy of movies and I think everyone sort of agrees, but at the same time, just getting the first movie right and getting the right beats and knowing what to put in, it's been really tough. You have great minds like David Goyer and you've got Carl Ellsworth and you've got Brian K. Vaughn, and I'm working with them to just kind of crack it and get it down. And we're almost there. I know it's a slow process, but I think eventually we'll get it. We're going to get it and we'll get it right, but we had a pretty good breakthrough a couple weeks ago in the final act, and hopefully we'll get there.”
On the concept that the ten volume series, which concluded earlier this year from Vertigo, being turned into a trilogy, he told Coming Soon, “I don't think the movie so much will be left open-ended, it's just a matter of, if you're familiar with the source material, there's so much great stuff and he meets so many great characters but it's over the course of a long period of time. When you're telling the story—yes, the fanboys and all the people who love it will go and see it—but if you're just seeing the movie from a filmgoers' perspective and you're not familiar with the source material, you have to make sure you make the movie that they understand and they love, too. Like I said, it's been more difficult than I thought but we're getting close."
While he hopes to make this his next project, Caruso floated the notion that he may film something else if the screenplay gets delayed.
Thu Jan 1, 2009 — by Robert Greenberger
All-New 'Black Panther Saga' For Free on Marvel Digital Comics Unlimited
Following the events of Secret Invasion, darkness has fallen upon the Marvel Universe, and the great Nation of Wakanda will never be the same again. When his Majesty, the King of Wakanda, T’Challa, the Black Panther, falls in the line of duty, a new Black Panther must rise—but who is she?
Before Black Panther #1 hits stores this February, learn the character’s history in Black Panther Saga, a free feature available at Marvel’s digital comics website.
Thu Jan 1, 2009 — by Robert Greenberger
Review: 'Watching the Watchmen'
Watching the Watchmen
Dave Gibbons
Titan Books, $39.95
In January 1985, DC Comics sent me to England to begin meeting with the talent working across the pond, reminding them of our needs and working environment. Dick Giordano and Joe Orlando had been out a few years prior so this was like a booster shot, a tangible sign we loved them and wanted to keep working with them. Titan Books’ Nick Landau helped me organize two group dinners with the rising stars working for 2000 AD and Warrior and it was first introduction to them all.
Apart from that, though, was an afternoon session with Alan Moore and Dave Gibbons. Alan’s work with Swamp Thing had already proven captivating and I was an instant fan. Dave’s work was newer to me but I immediately liked his style. Interestingly, Dave’s first issue as penciller of Green Lantern and Alan’s first issue as writer of Saga of the Swamp Thing were both cover dated January 1984, just months before I joined DC in the actual January 1984 so I had a year to know their work before meeting.
Both were brimming with enthusiasm for The Watchmen, the project they were just getting started on and I had heard about in the hallways. We spent the afternoon sipping tea at the Tower Hotel as Dave pulled out pages of drawings and sketches while Alan talked through the themes of the series. If Dave’s chronology in Watching the Watchmen is correct, our meeting was weeks before the first script was delivered. By then, though, they already had the tag line “Who Watches the Watchmen?” and the bloody smiley face design.
This was going to be a sophisticated story, the like of which was just beginning to find a place amidst the more traditional good versus evil stories that filled the racks. That translated to cover design and even the gents’ notions of how to market the book. Dave showed off designs for cocktail napkins and coasters that they’d imagine DC printing up to entice college kids and adults to be made aware there was something new to read.
Sadly, those marketing designs seem to have vanished but most of Dave’s other designs, sketches, notes, annotated scripts and paraphernalia was retained. The result is this handsomely designed book that enhances your enjoyment of the graphic novel and keeps you enticed until the feature film finally arrives in March.
Gibbons writes honestly about the creative process, nicely explaining how things were done back then compared with today. His recollections are vivid and explain much of what went into the process of conceiving something entirely new rather than rehashing the Charlton heroes (truth be told: I was the one to commission Dave to draw the characters for the aborted Comics Cavalcade Weekly for that very reason). Some of his personal thoughts about favorite characters, scenes, and moments would have been icing on a rich, delicious cake.
Chip Kidd’s design lets the work breathe and makes certain you can see the detail in the thumbnails or color guides. He takes Dave’s traditional comic book approach to storytelling and enhances it with size and scope. My only quibble is that he lets thumbnails run in the gutters and spoils some of the clarity. Also, it’d be nice to have seen more of Alan’s scripts and Dave’s notes to better understand the process.
Overall, the big is a huge visual treat and one of the few in-depth looks into the creative process behind any single title. It’s really the first Making Of book for a comic book that I can recall and there’s no better series than The Watchmen to get the in-depth examination.
Wed Dec 31, 2008 — by Robert Greenberger
Platinum Dunes Talks Remakes
One Less on To Do List
Brad Fuller and Andrew Form, the head o f Platinum Dunes, spoke with Collider to update information about their many projects. Platinum Dunes is the genre division of Michael Bay’s production outfit and are making a big splash in 2009 with the February 13 release of Friday the 13th. While they have scads of other unnecessary remakes in the works, they also yearn to produce original fare. Their next project happens to be an original, David S. Goyer’s The Unborn, which opens in January.
Fuller said Friday tested well in Long Beach. “I would say that for us, the two of us, our greatest test screening…our first test screening for Texas Chainsaw Massacre was kind of a magical thing. We kind of had no idea what we had and then we’ve been jaded by all the other ones we had and then this Friday the 13th test screening came and it took us right back to where we were with Texas Chainsaw. It was crazy.”
It was recently confirmed that Warner had given a green light to their planned remake of A Nightmare on Elm Street. Fuller kiddingly suggested, “Well, we want to put Freddy in a hockey mask and we don’t know how people feel about that but we’re excited about it. I think that every iconic horror character you have to take on their own and kind of figure out what is appealing about that character and for Jason Voorhees, it’s one thing because for the most part in all the movies….
“It’s something that we are treading very lightly on and I can tell you for sure that we don’t’ have the answer yet. That is something that we’re going to work very hard to figure out just how much of the Freddy that you might know from the later movies as opposed to the Freddy from the earlier movies. I mean it’s a balance and we don’t have that answer yet. “
As to their other remakes, Form said, “We are not doing Rosemary’s Baby.
Fuller explained, “Rosemary’s Baby was announced and it’s like a little bit like we’re taking about with Freddy. We went down that road and we even talked to the best writers in town and it feels like it might not be do-able. We couldn’t’ come up with something where it felt like it was relevant and we could add something to it other than what it was so we’re now not going to be doing that film.”
Martin Campbell, though, continues to prep his new version of Alfred Hitchcock’s classic, The Birds. “We’re expecting a script in the next 2-3 weeks,” Fuller said, :but that’s another one where it’s not like Drew, Michael and I think that we’re just going to crap all over Alfred Hitchcock’s movie. I mean, Alfred Hitchcock in a company wide opinion is probably the greatest director of what we do and other things too. And as someone, that at least Michael and I studied in college and there’s a reverence for him. So that’s not a movie that we’re just going to step up and just go have birds attacking people and trying to throw that into the box office. If we can’t make that movie unique or add something to it, I don’t think we’re going to make it.”
Wed Dec 31, 2008 — by Robert Greenberger
National Film Registry Recognizes SF, Fantasy
2008's 25 Films for Preservation Announced
Every year, the Library of Congress’ National Film Registry names 25 films for historic preservation. This year’s list was announced yesterday and we applaud the inclusion of several genre offerings including The Invisible Man and the first Terminator film. The Perils of Pauline, the first movie serial, makes the list and is seminal for the way it influenced moviemakers and storytellers, notably comic book writers, ever since.
Here’s a look at this year’s list:
The Asphalt Jungle (1950)
John Huston’s brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned — until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a memorable bit part as Emmerich’s "niece."
Deliverance (1972)
Four Atlanta professionals (Burt Reynolds, Ned Beatty, Ronnie Cox and Jon Voight) head for a weekend canoe trip — and instead meet up with two of the more memorable villains in film history (Billy McKinney and Herbert Coward) in this gripping Appalachian "Heart of Darkness." With dazzling visual flair, director John Boorman and cinematographer Vilmos Zsigmond infuse James Dickey’s novel with scenes of genuine terror and frantic struggles for survival battling river rapids — and in the process create a work rich with fascinating ambiguities about "civilized" values, urban-versus-backwoods culture, nature, and man’s supposed taming of the environment.
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Wed Dec 31, 2008 — by Robert Greenberger
Funimation Entertainment Grabs 'Ikki Tousen' Rights
Also Announces Streaming Service
Funimation Entertainment announced this week that it has acquired broadcast, digital, and home entertainment rights to the 13-episode Ikki Tousen anime series, which was produced by J.C. Staff and broadcast in Japan in 2003. The Ikki Tousen anime was previously released in the domestically by Geneon, but Funimation’s announcement clearly stated it had licensed the series directly from Enoki Films.
Tokyopop is publishing Yuji Shiozaki’s original Ikki Tousen manga series under the English title Battle Vixens. The 14th and final volume in the series is due for release here on February 10. Shiozaki’s seinen manga followed the martial arts adventures of a number of well-endowed high school girls who are possessed by the spirits of warriors from the bloody Three Kingdoms period in China (roughly184 AD-280 AD).
A second anime series, Ikki Tousen: Dragon Destiny, aired in Japan in early 2007. In 2007 Media Blasters announced that it has acquired the rights to the 12-episode Dragon Destiny, but has not released any DVDs from the series. A third Ikki Tousen series aired in Japan from June to August last summer according to ICv2.
Funimation also announced the test launch of its new streaming video service (funimation.com/video), which will offer hundreds of high quality, full length episodes, including many full series. Episodes of Aquarion, Black Blood Brothers, Darker Than Black, Guyver, Gunslinger Girl II, Negima 2, Ouran High School Host Club, Romeo x Juliet, Sigurui: Death Frenzy, and STRAIN: Strategic Armored Infantry are currently available and new episodes will be rolled out each week including examples of series currently airing in Japan. The videos can be streamed for free or downloaded for a fee.
The new site features a higher-quality video player, both subtitled and English-dubbed episodes, Flash video streaming, same-screen video playback (without a pop-up window), an expandable video player, and a lower lights feature.
Wed Dec 31, 2008 — by Robert Greenberger
Pascal Laugier Talks Horror and 'Hellraiser'
Director Pascal Laugier spoke with Ain’t it Cool News with regard to his planned remake of Clive Barker’s Hellraiser. In the thoughtful conversation, the director of Martyr, was dismissive of the remake culture and lamented that his foreign film was already in the Hollywood pipeline for Americanization.
He noted, “I haven't been challenged by a horror film for a long time, you know? It doesn't mean that there aren't good films, I see a lot of good films, but I'm talking more about the very, very low budget you know? And I'm talking more about the direct to DVD community. Because these films are shot more and more on DV for a very very low budget so the guy who does the film is totally free because he deals with such a low amount of money he could do what he wants and nine films out of ten are pale copies of the classics. Another fun, you know - supposedly funny - horror zombie horror trick, another Texas Chainsaw Massacre, another slasher with a masked killer, and nobody believes in it anymore you know? It's like a ghetto, it's like belonging to a community that is absolutely unable to surprise itself, you know what I mean?
“So we pay to watch films that we already know in advance what it's gonna be and we are not challenged anymore and I think the very reason for the horror film genre's existence is to break some rules -- to be free, to be wild, you know like the 70s. In the 70s you paid for a ticket and you sat in a theater and you didn't have any kind of idea of the film you were going to see. It was really energetic and really experimental. Can you imagine the guys in '75 who first saw Texas Chainsaw Massacre? In the markets, at midnight? Or The Exorcist? It's impossible to realize now what these people must have felt before the films turned into classics, you know? So... and that's the kind of feeling I very rarely feel by watching horror films. And it's very sad, in a certain way actually, a lot of actual horror films are absolutely as safe as any family film produced by Hollywood. You know? There is no chance, no breakings.”
For the director, remaking Hellraiser for modern audiences was “a child's dream coming true. I saw the first when I was 13, I remember precisely the shock it had on me because it was so new, so fresh, so it's very hard to resist the temptation to do Hellraiser, you know? So of course. When you come from my culture it's like amazing you're even proposed to do Hellraiser.”
He told apprehensive fans, “let me write the first draft, let me tell you what all the American producers have reacted to the reading of the first draft and I will tell you if I'm in good hands or if I'm gonna leave a hellish experience but in any case, I won't betray Clive Barker's work. I want to do a fresh film filled with a lot of unexpected and surprising things. At the same time, I want it to be connected to the real, original material.”
Wed Dec 31, 2008 — by Robert Greenberger
'The Phantom of Coney Island'?
Andrew Lloyd Webber is Mounting a Sequel
You know times are tough when playwright Andrew Lloyd Webber resorts to mounting a sequel rather than something original. The theatrical maestro has announced Phantom: Love Never Dies, taking place a decade after the events of the original. The Phantom apparently survived his encounter with Christine and has relocated from France to, where else, Coney Island, New York.
The 2009 musical will open simultaneously in three cities -- Broadway in New York, London’s West End, and Shanghai – a first for any stage production. Directing will be Jack O’Brien who is known for The Full Monty and Hairspray so is used to the grand sweep of such productions. Sets will be designed by five time Tony Award winner Bob Crowley (Carousel).
According to the Times of London, the Phantom has yet to be cast with speculation over Gerard Butler, who played him in film adaptation, Hugh Jackman, and John Barrowman as possibilities. Whoever stars will be cast opposite an actress playing the younger new love interest.
The original production, still running around the world, has sold in excess of 80 million tickets and helped change the nature of musical theatre. Lloyd Webber, 60, is said to have been working on the sequel for years but only this summer began discussing it in concrete terms,
“Nine weeks ago there was a sing-through of the second act,” The Times reported, “and then, ten days ago, the decision was made:.” “We put the whole thing together with the work we had done on both acts,” Lloyd Webber said. “There is nothing to delay us. The button is pushed.
“It is set on Coney Island. He started in one of the freak shows there but, by the time we meet him, being the Phantom he has become the most powerful operator in Coney. He's pulling the strings and running the island.”
Somewhere, author Gaston Leroux is rolling in his grave.
Wed Dec 31, 2008 — by Robert Greenberger
New 'Watchmen' Featurette at MySpace
Zack Snyder Walks You Through the Characters
A new Watchmen featurette has gone live over at MySpace, which we note is owned by News Corp., parent company to 20th-Century Fox, the studio suing to gain control over the feature film. Zack Snyder narrates and is worth a look.
Wed Dec 31, 2008 — by Robert Greenberger
Review: 'Eagle Eye'
Action adventure movies work best when you have someone to root for or something to think about. Ideally, the movie offers both otherwise the action is mindless and the time in the theater wasted. Eagle Eye makes you think about the price of privacy as a government entity known as Aria uses every digital piece of data available to manipulate people into help it execute a program design to sever the Executive Branch of the government from the waking world.
The film focuses on the prime players, a slacker named Jerry Shaw (Shia LaBeouf) and a thirtysomething paralegal Rachel Holloman (Michelle Monaghan) who are directed by a feminine voice to comply with orders or things would get bad for them. In Jerry’s case, he’s framed by Aria as a potential terrorist in the wake of his Air Force lieutenant twin’s death. For Rachel, her eight year old son’s life is threatened as the boy travels with the school band to Washington to perform at the State of the Union address.
The computer gives them no choice and sees to it that they can follow orders by keeping the police and federal investigators, headed by Billy Bob Thornton and Rosario Dawson, at bay by manipulating street lights, automated construction equipment, and much more. All along, others have been manipulated to help construct and deliver the means by which Aria intends to rid America of its “corrupt” leaders and begin anew.
Jerry and Rachel find themselves thrown together and learn to trust one another as their three day odyssey takes them from Chicago east towards Washington. Given their age and background differences, the two avoid the film cliché of falling in love and pausing form saving the world to having sex. Instead they rush breathlessly towards their destiny.
While the film has lofty goals it fails to work on several levels. Watching the film with a member of the federal government meant a running commentary of security flaws such as Thornton and Dawson discussing sensitive matters over an unsecure channel. Also, we’ve seen the computer taking the world to the brink of destruction once a generation starting with the brilliant Colossus the Forbin Project and more recently in John Badham’s War Games. Heck, Aria is merely a cousin to HAL and needs to be deactivated for many of the same reasons. The cross country chase, playing beat the clock, has also been done to death especially when you add in the pursuit in the form of Thornton’s dogged fed. The nice thing about the latter is that at least screenwriters Dan McDermott, John Glenn, Travis Wright, and Hillary Seitz rounded out Thornton’s character without making him the usual one- note player.
That Aria can control all these devices is interesting and when she projects Jerry and Rachel’s lives on television screens to demonstrate how much is recorded and available for research (or blackmail) purposes, the message comes through loud and clear that we have all given up our privacy bit by bit. That’s plenty of good for thought and the featurette “Is my Cell Phone Spying on Me?” is the most compelling piece on the two-disc collector’s set, now on sale.
The variations on a theme are all appreciated but still don’t add up to something that’s greater than the sum of its parts. We lose all sense of time and place since we never see them eat or sleep or hell, wash up. To the viewer it’s an endless journey while it isn’t until you watch the extras you realize it has been only three days. Director D.J. Caruso moves things along almost too quickly, not letting the relationships build while continuing to amp up the stakes.
LaBeouf is 21 and plays 25 pretty well, avoiding to come across as any of his previous characters. He and Monaghan play off one another rather well but his Jerry rises to the occasion and becomes a hero like his deceased twin but the film ends before we find what he chooses to do with this newfound knowledge. Monaghan’s single mom is less developed and goes along for the ride in the name of her son.
The extras provide a glimpse at a nice alternate ending, a handful of deleted scenes, and some fun bloopers. The various pieces on the making of the film feel perfunctory but provide some nice insight into the filmmaker’s goals. There's also a conversation between Caruso and Badham comparing their films and how much technology has changed over the last 20 years.
Wed Dec 31, 2008 — by Robert Greenberger
Batman, Green Arrow, Etrigan vs. Morgan Le Fay
Friday's 'Brave & Bold' is All-New
On Friday, Cartoon Network’s The Brave and the Bold returns with a new episode, “Day of the Dark Knight”. The guest stars include Guy Gardner, Green Arrow, and Etrigan the Demon with David McCallum voicing Merlin.
The synopsis:
In this episode, the evil Morgan Le Fey has taken over Camelot and turned everyone to stone! To thwart her plans, Merlin transports Batman and Green Arrow back in time to retrieve Excalibur, defeat Etrigan, battle dragons and return King Arthur to the Throne! In the teaser, Guy Gardner teams up with Batman to stop a criminal riot at Green Lantern Corp.
More images after the jump.
Continue reading Batman, Green Arrow, Etrigan vs. Morgan Le Fay ›
