Monthly Archive: April 2009

Review: ‘Star Trek’ Season One on Blu-ray

Review: ‘Star Trek’ Season One on Blu-ray

All eyes are on what J.J. Abrams and his team have done to reinvigorate public interest in Star Trek. The reason the franchise, created by Gene Roddenberry, needs any attention at all is the result of inept studio focus during the 1990s and beyond. To Paramount’s management at the time, [[[Star Trek]]] was a cash cow to be milked dry as often and in as many ways as possible. Any care about creativity was a lucky happenstance, not by design. Therefore, they let [[[Star Trek: Voyager]]] limp along on their UPN network only to be followed by the even limper [[[Star Trek; Enterprise]]]. The film series, featuring [[[The Next Generation]]] characters, kept hitting the reset button until [[[Nemesis]]], which had a disinterested director foisted upon the series at a time it really needed to improve its game given the critical drubbing the television version of the franchise was receiving.

By the time [[[Enterprise]]] was canceled and Nemesis got ignored at the box office, everyone agreed it was time to let the entire behemoth rest. Some argued forever, others wisely knew Paramount would never let it go so bet on three to five years.

What everyone seems to have forgotten is what Roddenberry got away with back in the 1960s. Today, we’re reminded of that once more with the release of the first season of the Original Series on Blu-ray. The 29 episodes that NBC aired during the 1966-1967 television season have been carefully restored, remastered, and augmented for today’s technology and audiences.

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Review: Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith

Review: Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith

Pride and Prejudice and Zombies
by Jane Austen and Seth Grahame-Smith
Quirk Books; April 2009; $12.95

What is there left to be said about the Undead Sensation That’s Sweeping the Nation? The buzz for this book was so loud that they rushed it into publication a few months early (which no doubt accounts for the inconsistently applied British spellings in the text). Everyone and their newly risen mother has reviewed it, or at least written about it, and it’s now spending a second week on the New York Times bestseller list.

As broad farce, the book succeeds. It does a fine job of interleaving the original text with brutal confrontations with the undead, katana swordplay and ninja ambushes. There’s even a note of pathos in the fresh explanation for why Charlotte chooses to marry the dreadful Mr. Collins: she’s been stricken with the zombie plague, and wants to eke out her final days as a married woman before someone must behead and burn her. I also particularly enjoyed the revised faceoff between Lady Catherine and Elizabeth. In the original, Lady Catherine sneers at Elizabeth for not being personally educated by a governess; here, Lady Catherine mocks Elizabeth’s inferior martial arts tutelage in China—apparently true gentlewomen go to Japan to learn how to kick butt.

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Alan Moore reads Rorschach’s Journal

Alan Moore reads Rorschach’s Journal

This recording, taken straight from the text of Watchmen, is incredibly creepy and dark. You’ll listen to this and think Jackie Earle Haley was an amateur:

‘X-Men Origins: Wolverine’ premiere scuttled in Mexico City; massive theater closings in Mexico

‘X-Men Origins: Wolverine’ premiere scuttled in Mexico City; massive theater closings in Mexico

Twentieth Century Fox has decided to postpone the premiere of X-Men Origins: Wolverine set for Wednesday in Mexico City, as the city remains paralyzed by the virus that has killed over 150 people. In addition, the major cinema chains in Mexico City have already announced they will be closed for the weekend, and may end up being closed for much longer.

Hugh Jackman, who was expected to attend the premiere, will now pull back. “We were not only concerned about Hugh’s welfare – and we would never send anyone into harm’s way – but we also have an enormous office filled with people we care about,” says a rep for Fox quoted in People. “There was no point in proceeding under the current conditions.”

Mexico’s film market share is about 13% of the US, so a misfire will make a dent in worldwide box-office. But the bigger concern may be the US– New York is a major market, and more swine flu cases have been reported here. In any pandemic situation, people will be told to avoid gathering in crowds– like movie audiences.

If this keeps up, the only way to watch this film at all will be online. Which, considering how an early version of the film hit the Internet a month early, would be terribly ironic.

Review: ‘The Wrestler’ DVD

Review: ‘The Wrestler’ DVD

In our world, there are costumed champions fighting the good fight against costumed evil doers, done in public and for our entertainment. We call them professional wrestlers but given their names, attire, and storylines, they truly are comic books brought to life.  Unlike comic heroes, though, these players age and fade away, to be replaced by a new generation with new names, not retreads.

Frank Miller’s [[[The Dark Knight]]] was the first real look at what happens to an over-the-hill hero. The body is slower to heal, the acrobatic daring-do that came so effortlessly leaves the body drenched in sweat.

Wrestlers, especially those doped up on steroids, watch their bodies break down and get reduced to the independent circuit for a few hundred bucks a night or signing autographs at lightly attended local events. It’s a sad life, ripe for exploration as a film and Darren Aronofsky wonderfully covers this in The Wrestler. While everyone made a big deal about Mickey Rourke’s comeback performance, the film itself was the real revelation. It felt like a documentary, entirely shot with handheld cameras, sparing in its soundtrack, and unflinching in the portrait of an aging star who seems good at only one thing. If anything, the movie is a bookend to [[[Rocky]]]. While the Sylvester Stallone film ended with the once-in-a-lifetime championship bout, [[[The Wrestler]]] ends with a rematch of two former warriors 20 years past their prime.

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The Point – April 27th, 2009

The Point – April 27th, 2009

Ticket sales are already off the charts for this weekend’s kick off of the summer movie blockbuster season. We all take our chances hoping for another Dark Knight and not another Spirit, but what about the creative people who roll the dice risking millions? Meet Michael Uslan who, for over three decades, has been the bridge between properties like Batman and the movie industry. Plus Mike Gold gets nostalgic for a good police riot and Marvel wants to swap comics with you!


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Review: ‘Mr. Stuffins’ #1

Review: ‘Mr. Stuffins’ #1

Greetings, ComicMixers and Mixettes… I come to you today from the future. I’ve just returned home from a trip to the cinematorium (back in 2009, you would have referred to it as a “movie theatre”). I caught a wonderful little film based on a comic book series I have time tracked to debut this week. The book? BOOM! Studios’ [[[Mr. Stuffins]]]. While the film followed the source material closely, for this reviewer there was just a bit too much sex and violence. Who knew even in the future movies would still differ from their literary counter-parts such as to enhance the boom-booms and the titillation. Feh, feh I say!

Ok, I jest. I’m not from the future. And there’s no film (yet) for Mr. Stuffins. That being said though, I did read the first issue of this series, and it was a delight. If the quality of the rest of this book stays close to that of it’s first issue, we all may be plunking down the bucks for a blockbuster in a few years. So, do yourself a favor, put down the cash now for this series so you can join me in line later, where we can scoff at all the “normies” as they postulate where the series came from. We’ll point, and laugh, and clutch our signed issue #1 with either of the available covers (One cover by [[[Mouse Guard‘s]]] David Peterson, the other by Joe Abraham and Fellipe Martins). 

Mr. Stuffins is brought to you by Johanna Stokes and Andrew Cosby, the creative team behind the television series [[[Eureka]]] that appears on the SyFy network. The plot itself starts out like so many series we’ve read before… A scientist finds out (gasp… yawn) that his project wasn’t being funded for the good of mankind, but for (gasp…) profit! Cut to some running, some desperation, and the haphazard placement of said “research”–in this case an A.I. Secret Spy program– into the closest object in reach. It’s here we meet our titular hero to be… as the program is placed in a child’s teddy bear. Akin to Teddy Ruxpin of my own youth, the bear toy is your garden variety singing, talking, pal-oh-mine all kids would adore. Of course, if our Teddy Ruxpin’s could secure the perimeter, whilst using Krav Maga on my enemies… maybe I wouldn’t have lost so many fights in gradeschool.

Smart folks will anticipate most of the plot points, but you’ll do it with a smile. We’re introduced to our P.O.V. family mid-crisis. Faced with his parents recent separation, our “everykid”, Zach,  comes into ownership of the aforementioned uber-toy. Hilarity ensues. Kudos to artist Axel Medellin Machain, whose crisp style lends to a very easy read. Anti-Kudos to Crosby and Stoke’s laughably one-dimensional big sister. It’s hoped in future issues we’ll see more sides to her. But I digress. When Zach’s “Mr. Stuffins” activates, I dare anyone not to laugh, snicker, and giggle just a little bit. In his debut panel, I was completely sold.  The juxtaposition of Stuffins personifying something similar to Arnold Schwarzenegger’s John Matrix in Commando is just too perfect. While nothing will surprise you during the read, you’ll be hard pressed not to love this book anyways– thanks in large part to a script that knows when to keep danger at an arms length, backed by solid art that knows when to give readers a beat to absorb the characters’ feelings.

Parents reading this review may ask how suitable it is for the youngsters. Know that there’s no violence “on screen”, nor dirty words to read. We feel for Zach, and he’s certainly the heart of this story. While I assume Mr. Stuffins may see more violence to come, this issue is certainly friendly. While the concepts inside are typical Hollywood “Blow’d Em Up Gud!”, Stokes and Cosby have set up a book that (hopefully) will stay towards the lighter side of the genres it’s incorporating.

In Short:

Mr. Stuffins #1 hits shelves Wednesday, April 29th. Due to a fast moving script, and crisp artwork,  this book comes highly recommended. While it’s uncertain how graphic things may get, the heart is in the right place here. Add to your pull list, get ready… to get stuffed. Stuffed with awesomeness.

Review: ‘X-Men’ Animated DVDs Volumes 1-2

Review: ‘X-Men’ Animated DVDs Volumes 1-2

In the 1970s, Chris Claremont was arguably the first comic book writer to advance Stan Lee’s style of writing for the Marvel super-heroes, delving deeper into his characters and exploring what it meant to be born a mutant in a world that feared the different. As a result, much as everyone glommed onto [[[Spider-Man]]] in the 1960s, Chris’ [[[X-Men]]] in the 1970s became the new standard for popularity.

Television was slow to recognize the resurgent popularity in super-heroes, not really adding a comic book to screen adaptation for years until [[[Batman: The Animated Series]]] debuted in the wake of the wildly successful Tim Burton film. With its critical acclaim and ratings success, the networks began looking for other series and they finally learned how popular Professor Xavier’s students had become in the intervening years.

Marvel Animation produced a very faithful comic book adaptation which debuted October 31, 1992 and ran for five seasons, totaling 76 episodes. It was the tipping point in making the franchise a big deal for merchandise and eventually, the long-awaited live-action film version.

The first 33 episodes have been collected into two volumes, released Tuesday by Buena Vista Home Entertainment, cannily in time for the [[[Wolverine]]] hysteria. The first volume of X-Men covers the first sixteen episodes from the two-part pilot “[[[Night of the Sentinels]]]” through “[[[Whatever it Takes]]]”.  Volume two starts with “[[[Red Dawn]]]” and ends with “[[[The Phoenix Saga]]]” Parts 1-5.

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Review: ‘Mission: Impossible’ Season 6

Review: ‘Mission: Impossible’ Season 6

The concept behind Mission: Impossible had never been attempted on television before and the CBS series about a covert government operation taking on; well, impossible, cases became a smash hit.  Guided by the steady Peter Graves, Greg Morris and Peter Lupis, the series received awards, acclaim and most importantly, ratings.  Early on, the show was also headlined by Martin Landau and Barbara Bain, but they left after three seasons. In stepped Leonard Nimoy, Lesley Ann Warren, and Sam Elliot for the next two seasons but by spring 1971, the show was beginning to feel tired.

Season six, airing 1971-1972,  was the season that should not have been. Paramount Pictures wanted the show canceled and placed into profitable reruns but CBS saw ratings upticks at the end of season five and wanted the series back. Nimoy wanted out, saying he was bored.  It was time to change everything up.

The penultimate season, coming out on DVD Tuesday, saw numerous alterations from the departure of Nimoy, Warren, and Elliot to a domestic focus.  Lynda Day George, an attractive red-head doubled as femme fatale and makeup expert, tightening the focus to just a quartet of regular agents.  Other IMF agents turned up largely as supernumerary fillers (with Elliot making one final appearance). The producers gave up on deposing fictional presidents around the world and sent the Impossible Missions Force against “the syndicate” (code for organized crime).

Watching these 22 episodes, collected in production order not airdate order, shows how far television writing has come. The characters are all ciphers despite their loyalty and apparent friendship for one another.  We know nothing more about them in season six than we did in the previous five.  The targets for each mission were also ciphers, all surface characterization and little else.  Each episode has a case, a complication, and a resolution with variety seen in the way of additional complications or locales.  

Given the tighter team, Jim stopped flipping through pictures to select his team and we went right to the briefing scene. As the season progressed, each of the four got a chance to shine, notably Greg Morris, moved up to co-starring status. In between roles as a laconic thug, he also shone in “[[[Blues]]]” where he displayed his own golden throat.  Even Lupis got to do more than the heavy lifting this season, as he displayed technical know-how.  However, he was also the agent to fumble the most often, although this gave us a chance to see his iron will power when he was caught and drugged with truth serum in “[[[Double Dead]]]”. Based on airdate, the season effectively opened and closed with a spotlight on Graves’ Jim Phelps, who had to be blind in one episode then suffered from amnesia in another. As for the newcomer, Casey was well highlighted, especially in “The Bride” where she had to play innocent as well as strung-out and finally, dead.

The pleasure in rewatching these shows is to see how far we’ve come in terms of storytelling or in seeing familiar faces in guest roles.  One of the most preposterous but oddly satisfying stories, “Encore”, features William Shatner as a 65-year-old criminal duped into thinking 35 years have vanished all so the IMF team can find where he hid a body. It’s the most elaborate plot of the season and Shatner manages to sell it.

Other actors it’s neat to see at various points of their career include Elizabeth Ashley, Harold J. Stone, James Gregory, Richard Jaekel, Herb Edelman, Joie Don Baker, Billy Dee Williams, Leon Russom, Donald Moffat, Victor French, Gerald S. O’Laughlin, Fritz Weaver, Demond Wilson, Steve Forrest, Anthony Zerbe, Kevin McCarthy, Warren Stevens, William Windom, and of course, Christopher George.

The ratings were strong, especially with the show in the Saturday at 10 p.m. slot, finishing the season 32nd which made CBS happy. You can relive those adventures if you’re a diehard M:I fan but this was not the sharpest season by far. The six-disc set comes with zero in the way of extras.

Nebula Awards: And the winners are…

Nebula Awards: And the winners are…

The Science Fiction and Fantasy Writers of America (SFWA) announced the winners of their annual Nebula Awards tonight in Los Angeles, California. The ceremonies was toastmastered by Janis Ian— yes, that Janis Ian. Ian Randal Strock of SFScope stayed up extra late to cover the ceremony and post the results in real time, and we’re shamelessly cribbing from him here.

And the winners are:

Best Novel (presented by Joe Haldeman): Powers by Ursula K. Le Guin (Harcourt, September 2007)

Best Novella (presented by Mary Robinette Kowal): “The Spacetime Pool” by Catherine Asaro (Analog Science Fiction and Fact, March 2008)

Best Novelette (presented by David Gerrold): “Pride and Prometheus” by John Kessel (The Magazine of Fantasy & Science Fiction, January 2008)

Best Short Story (presented by M.J. Engh): “Trophy Wives” by Nina Kiriki Hoffman (Fellowship Fantastic, edited by Martin H. Greenberg and Kerrie Hughes, DAW Books, January 2008)

Best Script (presented by Wil Wheaton): WALL-E by Andrew Stanton & Jim Reardon. Original story by Andrew Stanton & Pete Docter (Pixar, June 2008)

Andre Norton Award for Young Adult Science Fiction and Fantasy (presented by Karen Anderson): Flora’s Dare: How a Girl of Spirit Gambles All to Expand Her Vocabulary, Confront a Bouncing Boy Terror, and Try to Save Califa from a Shaky Doom (Despite Being Confined to Her Room) by Ysabeau S. Wilce (Harcourt, September 2008)

Other, non-Nebula awards, previously announced but awarded tonight, include:

Grand Master: Harry Harrison

Author Emerita: M.J. Engh

SFWA Service Award: Victoria Strauss

Solstice Award: Algis J. Budrys, Martin H. Greenberg, and Kate Wilhelm

Bradbury Award: Joss Whedon (accepted by Jane Espenson)

Hey, wait, we have Joss’s acceptance speech right here! The wonders of the future…!