Filled with charm, action and irreverent humor this original story features characters, locations and vehicles across the entire LEGO Star Wars universe including Darth Vader, Luke Skywalker, Han Solo, Princess Leia, C-3P0, R2-D2, Darth Maul, and more. When the premiere of LEGO Star Wars: The Empire Strikes Out aired on Cartoon Network, it became the number-one telecast of the day with kids ages 6-11 and boys ages 2-17. Written by Emmy Award winner Michael Price (The Simpsons), the show features many of the beloved Star Wars voice-actors fans know and love including Anthony Daniels, Sam Witwer, Ahmed Best and more.
Thanks to our friends at Lucasfilm we have two copies of the DVD to give away.
SYNOPSIS:
HOLD ON TO YOUR BRICKS….FOR AN ALL-NEW ANIMATED ADVENTURE!
Your favorite characters are back to save the galaxy in LEGO® Star Wars®: The Empire Strikes Out™. The heroes of the Rebel Alliance including heroic Luke Skywalker, swaggering Han Solo and steadfast Princess Leia have no time to celebrate their victory over the Empire as a new Imperial threat arises. But as Jedi-in training Luke embarks on this next mission, he discovers that his celebrity status as a “Death-Star-Blower-Upper” can be a double-edged lightsaber when he’s constantly mobbed by crazed fans. So much for secret missions! Meanwhile, Darth Vader and Darth Maul are locked in a hilarious “Sith-ling” rivalry as they compete for the Emperor’s approval. It’s an action-packed comic adventure that’s out of this world!
In order to win your very own copy of LEGO Star Wars: The Empire Strikes Out on DVD, simply answer the following question. Your answer must be submitted by 11:59 p.m., Thursday, March 28, 2013. The judgement of ComicMix will be final.
What television network did LEGO Star Wars: The Empire Strikes Out premiere on?
Thanks to Steig Larson, there’s a perceived appetite for all things Swedish so some of the more stylish or interesting books and films are coming over here in drips and drabs. The most recent import is Easy Money, a film that benefits from a moral gravity underlying the crime tale. Adapted by director Daniel Espinosa from Jens Lapidus’ 2006 novel Snabba Cash, it tells the story of a student, JW (Joel Kinnaman), who falls for Sophie (Lisa Henni ), an heiress so turns to crime in order to keep up with her lavish lifestyle. You just know things are going to spiral out of control this point on so the key for the production is keeping us in plausible suspense and entertained. Sure enough, he crosses the Serbian mafia and gets embroiled with Jorge (Matias Padin Varela), a fugitive from the mob. It’s dark and violent and messy.
While released in Europe back in 2010, it came here last year courtesy of The Weinstein Company and was met with more yawns than praise. (After winning the bidding war for the remake rights, Warner Bros. turned it over to Zac Efron to produce and start, but we;’ll see what happens should this ever get made.) Still, the film was a box office smash in its home country and did well throughout Europe.
It has enough testosterone fuelling the opening sequences to hook jaded American audiences complete with violence, a prison break out and fast cars. Kinnaman, best known to audiences for his work in The Killing, is an appealing underdog we’re rooting for in the first third. You can see why he falls for the sexy blonde beauty Henni and why he might risk everything for her. Espinosa, though, careens from shot to shot and the narrative loses cohesion by the midway point and the audience stops caring by the time we get to the climax. There might be too many threads crying for attention for the director to properly service and more condensation might have been required.
The core remains the conflicts and consequences of choices made by the main characters, all of whom are trying to get out from under crushing burdens, which makes this more than your typical crime noir.
This is a pretty bare bones DVD release from Starz/Anchor Bay with nary an interesting extra so the decision is up to you if the story is enough to spring for the disc.
Academy Award®-winning filmmaker Peter Jackson will host a live first look at The Hobbit: The Desolation of Smaug, the second film in The Hobbit Trilogy, on Sunday, March 24 at 3:00 p.m. Eastern/12pm Pacific at www.hobbit.com/sneak. The live event will now include a Q&A with Jackson and fans! Video questions can be submitted beginning March 12 through March 19 on “The Hobbit” Facebook page, or through the Vine mobile app using the hashtag #askPeterJackson. Fans can also Tweet links to video questions using the hashtag #askPeterJackson. The live event will be limited to holders of an UltraViolet™ code, available by purchasing The Hobbit: An Unexpected Journey, which arrives on Blu-ray Combo Pack, Blu-ray 3D Combo Pack and 2-disc DVD Special Edition on March 19. Visit thehobbit.com/sneak for more information.
The great innovators and popular entertainers of previous generations often fade from sight from they retire or die. A new generation discovers them afresh, either on their own, or someone has done some digging. In the case of the famed director Alfred Hitchcock, he has spawned a cottage industry with recent biographies and films. Hitchcock, with Anthony Hopkins nearly unrecognizable under the latex, is based on Stephen Rebello’s Alfred Hitchcock and the Making of Psycho, and portrays a particular point of view about the Englishman.
Psycho is currently his best known work, especially with this week’s debut of Bates Motel on cable but critics tend to pick his other, earlier works as among his best. Sure, this thriller is terrifying and exciting and surprising thanks to the Robert Bloch story, direction, and performances. And the making of the film is worthy of exploration. Director Sacha Gervasi has a rich source of material and some fascinating players to explore but the end result is surprisingly slight. Rebello shone a much-needed spotlight on Hitch’s wife Alma (Helen Mirren), the secret engine behind his successes and Gervasi tries to milk tension out of the largely fictitious tension between spouses. When Universal refused to allow access to the source material, Gervasi needed something to hang the film on but clearly chose poorly.
The story picks up in 1959, with Hitch riding the success of North by Northwest and his popular television anthology series that made his silhouette the most recognizable in the country. Seeking his next project, he assigned the research to Peggy Robertson (Toni Colette), his assistant. She came up with Bloch’s novel, loosely based on the famed Ed Gein murders. It had just the right amount of lurid tension that would let him explore something different, something he did throughout his storied career.
Not everyone agreed with the choice with agent (Michael Stuhlbarg), Paramount president Barney Balaban (Richard Portnow), and Alma all thinking it beneath the director, who insisted he wanted the change of pace. When Paramount balked, he moved the film to Universal Studios which welcomed him with open arms. Hitch cast Anthony Perkins (James D’Arcy) as Norman, Janet Leigh (Scarlett Johansson) as Marion Crane and Vera Miles (Jessica Biel) as sister Lila. There’s plenty of behind the scenes intrigue, saving only the original film’s most famous moments for on camera action where we discover the tyrannical Hitchcock is as prurient as Norman himself. He later bullies Hays Office censor Geoffrey Shurlock (Kurtwood Smith) into approving the shower scene since more is implied than ever shown.
The movie’s more interesting dynamic is between husband and wife and here the film should sing but lacks spark which is odd considering how strong the performers are so the fault clearly lies in the script. There are other missteps along the way including Gein’s ghost, but by then, the film has lost its audience rather than gripped them.
The digital film is well-transferred to Blu-ray and sounds just fine. The combo edition comes complete with Audio Commentary from Gervasi and Rebello, and I wish the film was as interesting as their conversation. There is also a single Deleted Scene (1:41); Becoming the Master: From Hopkins to Hitchcock (12:28) all about Hopkins’ makeup and performance; Obsessed with Hitchcock (29:09), the usual making of documentary; Sacha Gervasi’s Behind-the-Scenes Cell Phone Footage (13:31) which is far more entertaining and informative than you imagine and gets credit for being a unique bonus; Hitchcock Cell Phone PSA (:41); The Story (3:54); The Cast (4:25) which features with interviews with the director, Mirren, Hopkins, and others; Danny Elfman Maestro (2:16) which is an all-too-brief piece on the evocative score; Hitch and Alma (3:15), which honestly needed to be more expansive and in-depth; Remembering Hitchcock (4:44): Hitchcock’s former cast and crew members trip down memory lane; Theatrical Trailer (2:33); and, Sneak Peek (14:31).
Overall, the extras bolster a weak production and makes it worth a look. Or, you might be better off reading the bios and watching the actual films from the great master. Hitchcock was terrific at building suspense, adjusting to new technologies and exploring the human psyche in ways his peers at the time avoided, giving him freedom to explore and entertain.
J.R.R. Tolkien was fascinated with language and mythology, scratching only the surface when he sat down in 1937 to pen The Hobbit. When his publisher asked for a sequel, the professor really dug deep and built on the foundations established in his children’s novel. As a result, he took over a decade to write what became Lord of the Rings and along the way, crafted new languages, cultures, and myths, creating Middle Earth from the essence of English and European folklore.
Tolkien mistrusted Hollywood, which certainly explains why it wasn’t until the 1970s before any adaptation of his works made it to the screen. There’s the somewhat cute Rankin-Bass take from the era, but really, the studios and technology weren’t up to the demands of the source material. Within the last two decades, though, that all changed. Once Peter Jackson struck gold with his trilogy of films, it was inevitable that the public would cry for the first book in the cycle to be adapted. Of course, there were the usual legal entanglements followed by MGM’s financial free-fall which cost the production the talents of Guillermo Del Toro. Jackson stepped behind the camera once more, helming an adaptation that was more in keeping with his interpretation of Middle Earth than del Toro apparently had in mind. Now, having seen The Hobbit: An Unexpected Journeyin the theater and on disc, the fresh eye may have been warranted.
Not that there’s anything wrong with the film — being released on home video in a variety of packages from Warner Home Video on Tuesday – but the familiarity with it all robs the story of its magic. Wisely, the opening is a frame, setting up the novel itself; using Ian Holm’s aged Bilbo Baggins with Elijah Wood once more as his nephew Frodo. Seeing them brought a smile to my heart but once the dwarves began to arrive, and the journey get underway, we’d seen the vistas, the mountains, and roads. As a result, the journey felt beleaguered and longer than necessary.
What did work, though, was really making this Thorin Oakenshield’s (Richard Armitage) story, aided by the dwarves and guided by Gandalf the Gray (Ian McKellan). The tension and suspicions the handsome dwarf had towards Baggins (Martin Freeman) is a nice undercurrent until it reaches a climax.
In watching the story unfold, it’s very much like a saga from days gone by and it’s interesting to note how many of the dwarf names were taken straight from Norse mythology. It’s a pretty straightforward tale with nice sets pieces such as the meeting with Gollum (Andy Serkis) and the forthcoming battles with Smaug. Expanding this initially to two films raised some eyebrows and then he came out with word that two had morphed into three. Suddenly, the single novel was being given the same weight at the trilogy and most howled. In watching the movie, it’s safe to say about 60 percent of it was the novel and the remainder was drawn from the appendices and notes Tolkien left behind. To be fair to the producer/writer/director, there’s tremendous material worthy of adapting and exploring cinematically. It worked with the emphasis on Arwen in the trilogy so he earns the benefit of the doubt for now.
He did take a throwaway line about Gandalf needing to speak with others and the book skipped that while the film uses that moment to being us to a council where familiar friends Galadriel (Cate Blanchet), Elrond (Hugo Weaving), and Saruman the White (Christopher Lee) provide wisdom and foreshadowing. It was fun seeing them as all one big happy family, knowing that even sixty years before LOTR, the dark shadows were already creeping from Mordor.
We also get to see some other wizards for the first time, including Necromancer (Benedict Cumberbatch) in the stronghold of Dul Guldur and the amusing Radagast the Brown (Sylvester McCoy).
Fran Walsh, Philippa Boyens, and Jackson used some magic to find ways to give each of the thirteen dwarves some personality and the cast and costumers ran with it. While you couldn’t necessarily name them on sight, you could tell one from another. Character reigns supreme once more for which we fans should be thankful. As fanciful as Tolkien was, he remained far more interested in lore and language than he did in interesting characterization.
Jackson is an old hand at the setting and pacing, which may be why he was more interested in the technical aspects, notably the 48-frames-per-second experiment that too few people got to witness as theaters, already paying the bills for 3-D and digital projectors, were reluctant to support. The film, therefore, is lush and rich in color, sight, and sound.
An extended edition with extra footage, which was anticipated before the film hit theaters, is now expected in time for the holiday season, following the previous pattern. So, be cautioned when getting this. So, what do you get with this edition? Well, the video transfer is most excellent, rich in color so Hobbiton to Lothlorien to the mines are sharp and clear. The visuals are equally matched by the amazing DTS-HD Master Audio 7.1 surround track.
While there some two and a half hours of bonus material, diehard fans have seen most of it online during the film’s production and release. Clearly, the most interesting stuff is being held back for the extended version. The specials are voluminous to merit its own disc, which is nice.
Early purchasers can use The Desolation of Smaug Sneak Peek Access Code: to watch the exclusive online sneak peek at The Desolation of Smaug, hosted live by Peter Jackson on March 24th at 3pm EST/12pm PST.
There’s another look at New Zealand: Home of Middle-Earth (7 minutes) demonstrating the challenge facing Jackson and his team as they had to find new countryside to show off new portions of Middle Earth.
The bulk of the extras are the ten Video Blogs (127 minutes):
How to Fake a Moon Landing By Darryl Cunningham 176 pages, Abrams ComicArts, $16.95
There has been a preponderance of memoirs as graphic novels filling bookshelves over the last few years but with the exception of Joe Sacco’s work, there has been precious little journalism done in the graphic form. Cartoonist Darryl Cunningham, therefore, is a welcome voice, shedding some much needed light on the darker areas of science and culture. He made his name with Psychiatric Tales and then turned his attentions to Science Tales; Lies, Hoaxes, and Scams, which was released in England. Since then, he added a chapter and this month Abrams’ ComicArts imprint releases it as How to Fake a Moon Landing.
Cunningham breezily takes us through some of the hot button topics that are used as bludgeons by No Nothing Conservatives or are blown out of proportion by a lazy media. As one expects, the Moon landing is just the beginning, with chapters also dedicated to the MMR Vaccination Scandal, Evolution, Global Warming and so on. Each chapter spells out the facts, sourcing them along the way, and then shows where fact goes off the rails and becomes fodder for others to misuse. While he takes the cranks and critics to task, he also often faults the news media for never digging deep enough or presenting the other side of the argument for a “fair and balanced” look at the issue.
In a sprawling interview with Tom Spurgeon in 2011, he explained, “The comic strip format is particularly good at presenting information in a concise and entertaining way. A comic strip is so easy to read, that you can often find that by the time you’ve decided not to read it, you’ve read half of it. It’s a very immediate format that engages straight away and can deliver a lot of information quickly. It’s the perfect medium for presenting complex information. I’m surprised it’s not done more often. I’ve never thought of myself as part of any social activist tradition. These social and political subjects have naturally evolved out of my own interests, and to some extent, my frustration and anger with the status quo.”
As a result, you might be surprised to learn that the MMR matter was the result of one doctor’s efforts to sell his own medicine or how much money the oil industry spent on lobbying; resulting in Vice President Dick Cheney ensuring a particular bill was effectively neutered. As usual, the common man is left to pay the price or suffer the consequences. Since its initial publication, Cunningham dropped “Electroconvulsive Therapy”, replacing it with “Fracking” which remains a current topic of debate. As a result, the book is exceedingly relevant as it digests the issues down into comprehensible chapters, pointing where you can look next for more detail.
Cunningham’s approach is pretty similar to how Scott McCloud educates us about graphic storytelling and it works. He infuses each chapter with black, white, and one other color, keeping things stark and letting the reader focus on the facts. On the other hand, those who automatically buy into conspiracy theories or refuse to allow facts into the discussion will dismiss the book which is a shame. Wisely, he closes the book with a prophetic chapter on “Science Denial”. Cunningham does a remarkable job with difficult material and for high school students, just opening their eyes to the world around them, this is a terrific primer.
Journey to the far corners of your imagination with Willow, for the first time ever on stunning Blu-ray! Written and produced by George Lucas and directed by Ron Howard, the film tells a timeless fantasy tale in which heroes come in all sizes…and adventure is the greatest magic of all. In celebration of its 25th anniversary, the unforgettable classic has been fully digitally restored and debuts on Blu-ray and DVD Combo Pack March 12, 2013 from Lucasfilm Ltd. and Twentieth Century Fox Home Entertainment.
The Willow Blu-ray and DVD include a dazzling array of extras with never-before-seen exclusive content such as deleted scenes with remarks from Ron Howard, a personal video diary of Warwick Davis, matte paintings and much more. In addition, look out for Ron Howard’s new introduction for the original 1988 featurette “The Making of an Adventure,” as well as special effect legend Dennis Muren’s new intro to his piece, “From Morf to Morphing: The Dawn of Digital Filmmaking.”
Special Features include:
NEW – Willow: Deleted Scenes with Ron Howard
NEW – Willow: An Unlikely Hero – Personal Video Diary of Warwick Davis
The Making of an Adventure with an all new introduction from Ron Howard
From Morf to Morphing with an all new introduction from Dennis Muren
Matte Paintings
Easter Egg
Our friends at Twentieth Century Fox Home Entertainment have given us two copies to giveaway. Entries must be received no later than 11:59 p.m. Wednesday, March 13. The decision of ComicMix is final. In order to win your very own copy of Willow on Blu-ray Combo Pack, simply answer the following question:
What did Ron Howard direct immediately after Willow?
Hair Shirt By Patrick McEown Abrams/SelfMadeHero, 119 pages, $24.95
A second chance at love or happiness is often cause for celebration, but as Patrick McEown explores in his graphic novel Hair Shirt, it is not always for the best. From the murky cover color through the final page, the book’s emotional spectrum tends towards the dark and troubled.
We’re in a non-descript, unnamed city when John, a college student seemingly scared of everything, chances upon Naomi, a childhood friend who always represented the promise of more. As they take up with one another again, their other connections with the world drop away and McEwon tightly focuses on what they bring to the relationship and what they bring out of the other.
Growing up, John and Naomi’s older brother were best of pals, doing everything together. That is, until the family relocated across town for some unexplained by clearly sinister reason. Chris and John reconnected in high school and by then the damage was done; they were completely different people with little in common. Chris was a troubled adolescent, hinting at abuse which was masked through obnoxious behavior. As a result, John drifted towards a deeper, more interesting relationship with the shy, and equally damaged Naomi.
After Chris dies, a victim of a car accident, the mother and Naomi flee for the west coast and she vanishes from John’s life. McEown shows us that neither can fully let go of their personal demons but merely hints at them, without really showing us what makes them tick. As a result, the hair shirt he metaphorically knits, the symbol of penance, makes little sense. We’re at least given hints what happened to Naomi; what made turned John into an introspective loner is never explored or explained.
Similarly, McEown, whose work captured our attention with Grendel: Warchild and went on to a varied career that stretches from Disney Adventures Magazine to storyboarding Batman Beyond uses a very muted color palette from beginning to end. Despite the heavy paper stock, some of the pages are just too dark to properly make out what’s happening. The various flashbacks probably could have benefitted from
Neither character appears to have a direction with their studies, nor do they seem to attend classes or do homework, but instead try to figure out what has happened to them. Naomi is nowhere near as annoying or self-destructive as her brother, but the trauma she endured in the past also prevents her from properly loving John. Instead, she keeps egging him into a physical relationship with Shaz, a zaftig mutual friend.
Additionally, the razor thin balloon tails can disappear inside the dark colors so some of the conversations between characters can be difficult to follow. There’s a lot left unsaid and open for interpretation so this emotionally wearing story could benefit from clarity wherever possible.
This is anything but your typical romance given how damaged both protagonists are but it’s also hard to find someone to root for given how dysfunctional they are. For John at least, the story’s conclusion offers us a glimmer of hope while poor Naomi is left with her inner demons, the one person who understood her now driven away.
This is bleak, difficult territory and despite the dark colors, McEown’s artwork is emotionally evocative and his dialogue has a nice natural ring to it. Love is never simple but it’s clearly what most everyone is seeking, even in the dismal city where memories are as vivid as the people close by.
History is far more than facts and figures, especially since the text books tend to get watered down by committee or skew to a particular point of view. Instead, history is really the stories of mankind. Who did what, and what drove them to commit those acts? Every era has its known heroes and as historians do their work, it’s also clear there are the lesser known players whose efforts remain equally valuable and their stories worthy of being told.
Few events have spawned more tales of heroism than perhaps World War II. We know of the Axis and Allied generals who made bold moves to change the tide of the conflict and of the American scientists who raced their German counterparts to split the atom and harness their power. Since the 1970s or so, more and more stories have been discovered and told, many about those who endured the war and survived to tell their stories. There’s Elie Weisel and Night, Anne Frank and her diary, and Oskar Schindler and his list. The latter’s story didn’t really come out until Australian writer Thomas Keneally released Schindler’s Ark in 1982 (retitled List for America). Almost immediately, Steven Spielberg snapped up the rights and then spent a decade trying to find the time and approach to honor the work and the man that inspired it.
Hard to believe it’s been 20 years since we sat mesmerized for three hours and sixteen, watching this black and white drama, which won numerous accolades, earning Best Picture and Best Director Academy Awards. Now Universal is releasing Schindler’s List a 20th Anniversary Limited Edition which comes in a combo slipcase with Blu-ray, DVD, Ultraviolet digital. Right up front, it should be noted that Spielberg wanted little attention drawn to the film and it’s making so the special features here are the same ones from the DVD release. But, the director oversaw the high definition transfer and did a masterful job so the film, with Janusz Kaminski’s cinematography, looks wonderful and John Williams’ score sounds even better. It’s nice to have the movie on a single disc so it can be enjoyed uninterrupted.
The story of German industrialist Oskar Schindler (Liam Neeson) and his efforts to rescue one thousand Jews from death in a concentration camp run by the cruel and psychotic Amon Goeth (Ralph Fiennes). Yes, Schindler made a profit and could be considered a war profiteer but he did use that money and influence wealth provided him to see to it that people did not die. He worked closely with accountant Itzhak Stern (Ben Kingsley) in crafting the typewritten list of names that became the symbol of survival.
The special features that do reappear here are worthwhile, starting with Voices From the List (77 minutes) as Spielberg hosts a series of interviews with Holocaust survivors and witnesses; USC Shoah Foundation Story with Steven Spielberg (5 minutes); About IWitness (4 minutes), an online application allowing educators and students to access more than 1,000 video testimonies of Holocaust survivors and other witnesses.
Time has not diminished the film’s power nor has its message been obscured by the director and performers’ other works. Nor has the deluge of Holocaust and WW II memoirs changed that each is a piece of a tapestry telling a story of when a world teetered on the tip of a pyramid, plunging one way towards peace and another towards unspeakable horror. While the stakes were never higher, the stories of people from both sides need to be heard and understood, seeing who had the courage of their convictions to do what was right despite the odds and personal dangers. Oskar Schindler wasn’t the only one, but saving some 1200 people is an accomplishment few other German civilians could claim.
For those who saw it when they were younger should see it again. For those with children in the intervening 20 years, should show it to them to understand what it means to be a Good Person. Its important film making and a powerful testament to the global outreach of the movies.
Chickenhare By Chris Grine 160 pages, Scholastic Graphix, $10.99
I have no idea what possessed Chris Grine to add a chicken’s legs to a rabbit’s body but he has blended two animals into the unique creature Chickenhare. Created back in 2005, Grine published two graphic novels through Dark Horse before going to the web with a portion of his third story. Now, Scholastic’s Graphix imprint has brought the first book out in full color for the first time this month.
Some compare the series to Jeff Smith’s wonderful Bone, but really, beyond some surface similarity with the artwork, they are very different. First, Bone has a deep mythology and sophistication to the characterizations and writing that set it apart from similar fare. Grine’s work is very entertaining and well-crafted but he’s intentionally creating stories for far younger readers than Smith was aiming for. While his work is All Ages, this work is clearly aimed at 9-12 year olds and for them, this is terrific stuff.
The story, originally published as The House of Klaus, opens with Chickenhare and his pal, the bearded box turtle friend, Abe already captured and about to be delivered to Klaus, the reclusive millionaire. Klaus loves to surround himself with exotic animals and ever since his beloved goat Mr. Buttons left him, he’s accumulated animals but performs sloppy taxidermy on them in order to retain them. Chickenhare and Abe are kept in cages, along with Banjo, an unexplained species called a krampus, and Meg, another unknown species. Once the four escape, the remainder of the story is an elaborate chase with a hefty dose of mysticism. Klaus is dressed intentionally to appear like a maniacal Santa Claus which is just one layer of oddity atop oddity.
The world of Chickenhare is all surface with plenty left to explore and explain but Grine’s artwork is swell, and it takes color wonderfully. He blogged last month, “I’m happy to say that since that time I have worked hard toward my goal of being able to do the kind of color I felt Chickenhare needed should the time ever come when I could relaunch the series in full color.” And he does a lovely job with the color, a mild palette that doesn’t overwhelm the characters or obscure the storytelling.
Grine’s artwork is well complemented with his writing, as the pacing is crisp and keeps things moving at a good speed for his reader. Additionally, his dialogue makes each character distinct although Klaus’ butler comes across like a watered-down Alfred. Still, Chickenhare’s heroic nature, coupled with Abe’s support and Meg’s snappy patter, make the story a joy to read.
Filled with charm, action and irreverent humor this original story features characters, locations and vehicles across the entire LEGO Star Wars universe including Darth Vader, Luke Skywalker, Han Solo, Princess Leia, C-3P0, R2-D2, Darth Maul, and more. When the premiere of LEGO Star Wars: The Empire Strikes Out aired on Cartoon Network, it became the number-one telecast of the day with kids ages 6-11 and boys ages 2-17. Written by Emmy Award winner Michael Price (The Simpsons), the show features many of the beloved Star Wars voice-actors fans know and love including Anthony Daniels, Sam Witwer, Ahmed Best and more.
