Earth’s greatest super heroes face foes on all fronts – using a plan initiated from within – in the all-new [[[Justice League: Doom]]], the next entry in the popular, ongoing series of DC Universe Animated Original Movies. Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated film arrives February 28, 2012 from Warner Home Video.
Justice League: Doom finds Superman, Wonder Woman, Flash, Green Lantern, Martian Manhunter, Cyborg and Batman on their heels when a team of super villains discover and implement the Dark Knight’s “contingency plans” for stopping any rogue Justice League member. The story is inspired by Mark Waid’s much-heralded “JLA: Tower of Babel.” The trailer for the movie is here.
Primetime television stars Nathan Fillion (Castle) and Tim Daly (Private Practice), the reigning voices of Green Lantern and Superman, respectively, join a group of eight actors reprising their famed Justice League cartoon roles. Fillion made his debut as Green Lantern/Hal Jordan in the recent Green Lantern: Emerald Knights, and took his initial DC Universe movie bow as the voice of Steve Trevor in the 2008 hit Wonder Woman. Daly originated his role as Superman’s voice in the landmark cartoon, Superman: The Animated Series. He has reprised the role in two DC Universe films: the 2009 extravaganza Superman/Batman: Public Enemies and the 2010 thriller Superman/Batman: Apocalypse.
I hope everyone’s Thanksgiving holiday was amazing. I myself hosted festivities for the first time in our new home. It was here, in 2011 where Marc Alan Fishman finally graduated from the kiddie table. Looks like all it took was making a meal for 10 people, in my own home. But with the assistance of my fantastic in-laws, and even more fantastic(ly pregnant) wife… we done pulled off a doosy. After last week’s lov-in, I unbuckled my belt, let my gut out, and took stock in those things that didn’t quite make me a happy camper. Sure, my initial articles covered some of those (The X-Men, Barry Allen, and Hal Jordon to name a few)… but here we are, nearing the end of the year. What exactly happened that cause my beard to stand on end? Let the hatespew begin!
Epic Events of Extremely Excessive Inanity
To be truly fair, I could spend the entirely of this editorial tearing DC and Marvel both for their predilection to create crappy crossover events. But let’s boil it down to the brass tacks, shall we? Simply put, these money-sucking whores create bloated wastes of ink and paper, all based on the idea that “everything you know will change.” This of course, preys on our fan-boy fear of being left behind. And it would seem over the course of the Aughts, such as they were, the Big Two have perfected their scheme:
Create a main book where all the bullet point action takes place. A few not so significant people will die. One or two major ones might kick it too. A great evil rises up. It looks insurmountable. Then a legion of the most marketable heroes get some brilliant form of upgrade, or a lost and forgotten hero comes back from the dead, or some other deus ex machina reveals itself in the nick of time for one last issue of double page Photoshopped explosions. What follows is generally seven to twenty seven epilogues setting up the next six months of editorial mandated character changes.
But it’s never just that one main title now, is it? These mega-loads of mega-suck bleed into the entire continuity of issues. Soon every book you’d normally pick up features the event-du-jour’s nom de plum across its masthead. What follows is generally exposition taken from bullet point A before bullet point B from the main series. Not reading that series? Well, I guess it sucks to be you. I was loving, L-O-V-I-N-G Matt Fraction’s Incredible Iron Man series until Fear Itself. And for four issues straight, all the world building he’d done was cast aside so I could follow Tony into Asgard to get drunk, swear, and make some action-figure-waiting-to-happen weapon variants for random heroes to use. Did I follow Fear Itself? No. Thanks for wasting my time, money, and love of the Iron Man book.
Don’t think for a second DC skates by here either, kiddos. Those cash-craving carnivores did one worse; they let the deus ex machina implode their entire line of comics. Flashpoint, by and large, will sit in my collection next to Countdown to Final Crisis as a testament to everything wrong with comic books today. “But why did you keep buying them, if you hated them so much?” Well… One – I’m a masochist. Two – the series promised to feature at least one or two characters I’d normally not get to read about. Three; – I didn’t want to come out of the other side confused as to why everything changed. Flashpoint even had the nerve to release wave after wave of mini-series to take us around this “Age of Not Quite Apocalypse.” And while Batman: Knight of Vengeance delivered an amazing Elseworlds tale, it was just that… An Elseworlds tale. Slap any title card you wanted on the cover, Dan, Geoff, and Jim. We all knew it should have said “Flash Point Over There and Distract The Fanboys While We Hit The Reset Button.”
4/5ths of the DCNu
And since we’re on the subject… the next thing that ground my gears was the rebooting of the DC Universe itself. I give credit where credit is due. It was a bold move that in fact did raise awareness, sales, and general levels of hope amongst the comic book readers of the world. But by and large, it was all smoke pellets and Mirror Masters.
Let’s face facts. Superman, Wonder Woman, the JLA, and Aquaman all got the reboots needed to make them matter again. Batman and Green Lantern may have gotten shiny new #1s on their books, but didn’t reboot a damned thing. Batgirl got to disappoint the handicapped community (not that the book is bad mind you, but still…), and a plethora of bad ideas were hurled out with hopes any of it would stick. What we’re left with is a mangled mess of a few fantastic books littered amongst total garbage. All the solid character-building moments that gave DC a strong legacy and continuity were thrown out with the bath water in hopes that a #1 and a power-cycle would somehow make comic books appeal to the masses who aren’t reading comic books. Guess what? Sales may have increased, but not by that much. Walk out on the street today, and ask a passer-by who OMAC, Voodoo, or Captain Atom are. Don’t be surprised when they need to Google it.
It’s still too early to say exactly what impact this reboot is going to make. Suffice to say, I hardly believe I’ll be telling my son “Oh yeah, in 2011, it all changed. DC created the new paradigm by which all comic books were created.” More likely? “Oh yeah, in 2011 DC rebooted everything, because they figured they’d move more issues if they had #1 on them. Superman turned out really good. I kind of forgot everything else.”
The Fallacy of Death in Comics
If 2011 has taught us nothing else, then we should all learn this: Death is meaningless in comic books. In the long-long ago, in a time and place far far away from here… dying meant dying. No mysterious body swaps. No time-bullets. No psuedo-science backtracking. Dead meant dead. In 2011, Marvel iced the Human Torch, Bucky Barnes (again…), and Thor (again, again). Human Torch didn’t even stay chilled long enough to be missed. With Fantastic Four #600, his mighty resurrection (as predicted by just about everyone) came to pass. In Fear Itself, Bucky and Thor each bit the dust. Who here is man enough to say they’ll stay that way for 365 days? With The Avengers movie hitting megaplexes next summer, I doubt Mr. Odinson will be resting for even a fortnight. Oh, and it looks like the Phoenix force is coming back too. As it stands, I can’t even tell you for sure who is alive and who isn’t. Only Ultimate Peter Parker seems to be the most likely candidate for a spot next to Gwen Stacy of the 616 in the land of the “neva’ coming back.” And thanks largely to Flashpoint, DC was able to kill off whole portions of their catalog, with the promise to thaw them out the second sales dip. Did someone say JSA?
Goodbye 2011. May 2012 boast less deaths and less events. See you next week, when my column resets back to #1.
Bizarro Mindy Newell’s column debut last Monday inspired me to trash the column I had in mind for today and instead tell you the story of Bizarro Marilyn Monroe and Bizarro John F. Kennedy. Well, let’s say postpone – the first rule of deadline writing is “thou shalt not never ever throw any idea out.”
Way, way back in the days shortly after newsprint replaced papyrus and the stapler revolutionized the magazine industry, DC Comics published a monthly called Adventure Comics. At this moment in time – February 13, 1962 – Adventure’s lead feature was “Tales of the Bizarro World,” based upon the popular characters running rampant through the DCU of the era. If you’re even thinking about asking if these stories were in continuity, please immediately see your doctor about Obsessive Compulsive Disorder.
DC’s approach to humor at the time allowed for inside jokes as long as they didn’t interfere with the story. Batman #66, “The Joker’s Comedy of Errors,” is perhaps the grossest evidence of this. The editor of Adventure Comics was Mort Weisinger, and there’s been a lot of stories told about the guy. He was rough on writers – they would have to pitch several stories only to be rejected and fed a premise to work on instead. I’m told some pitches would then be given to another writer. Perhaps the writer was better suited for the concept; perhaps Mort was just a sadist.
Anyway, what is less known is that Mort Weisinger was pretty heavily wired into the political and celebrity scene. The DC job was a three day a week gig, and he did a lot of writing for “legitimate” publications such as the highly credible newspaper magazine insert, This Week. I don’t know how close he was to the Kennedy family, but he ran in those circles.
What people did not know during President Kennedy’s life was something that is common assumption today: JFK had quite a sweaty relationship with Marilyn Monroe. The media knew all about it, but back then they didn’t print such stuff.
Boy, how times have changed.
So we pick up Adventure Comics #294 (cover-dated March 1962) and we find the story “The Halloween Pranks of the Bizarro-Supermen.” That’s an odd story for springtime. Halloween being what it is, various Bizarros dress up as Jerry Lewis, John F. Kennedy and Marilyn Monroe. Bizarro Superman #1 (don’t ask) donned a Mickey Mantle mask. Marilyn was almost always seen next to JFK.
Was this a remarkable coincidence? The story was written by Jerry Siegel and, for the record, was drawn by John Forte. It certainly is possible that Weisinger fed Siegel the gag. According to second-class mailing permit stats, the average sale of Adventure Comics in 1962 was 460,000 copies. Even if Mort sent copies to some of his friends, I’m guessing the number of readers who did not get the joke was around… 460,000. The story went into a different direction, evolving into a saga about the friendship between Bizarro Krypto and Bizarro Lex Luthor, with Bizarro Kltpzyxm (sic) and the “real” Krypto tossed in for good measure.
Whereas there is no physical proof of a relationship between the two celebrity Earthlings, Seymour Hersh’s The Dark Side of Camelot makes a pretty good case and various confidants of both individuals have acknowledged the liaisons over the years. Marilyn died (one way or another) in August of 1962, a half-year after Adventure #294 was published. JFK was murdered 15 months after that – 48 years ago last week.
Now we flash-forward to 1976. DC President Sol Harrison thought it would be cool if I met Mort Weisinger because of our mutual interest in politics. Mort and I had a fascinating conversation that ran about two-and-one-half hours. I asked him about the Bizarro Marilyn / Bizarro JFK story. At first I thought I made him angry, but his broad facial gesture turned into a huge laugh. “You know, you’re the only guy to ask me that!” And that was his only response.
A tip of the green visor to the Grand Comics Database for confirming the data, and to Bizarro Mindy Newell for pushing the snowball, umm, up the hill.
The New Challengers of the Unknown. Cover: Ryan Sook
The original Challengers. Art: Jack Kirby
DC Comics’ classic sci-fi adventure team the Challengers of the Unknown joins the brand new DC Universe under the creative team of writer Dan Didio and artist Jerry Ordway in February 2012’s DC Universe Presents #6.
The new Challengers of the Unknown feature imagines a new start for the team where the entirety of its membership will play a role…and one where they may not all make it out alive.
Comic Book Resources has an interview with Challengers of the Unknown writer and DC Comics co-publisher Dan Didio at http://www.comicbookresources.com/?page=article&id=35378 about the return of these classic pulpy characters.
As is the new habit in basic cable, the Cartoon Network split the current season of its hilarious Robot Chicken into two halves, airing the first part of the fifth season late last year and then, a few weeks ago kicking off the second season. Where they didn’t follow the script was releasing Robot Chicken Season 5 on DVD just days after the second half debuted October 23.
All 20 episodes are included and I am late in bringing this to your attention because I have been savoring the installments, catching up on what has aired, and working ahead. The show, from co-creators Seth Green and Matthew Senreich, available on Blu-ray and standard DVD in separate packages. And as has become their wont, there are hours of bonus features, some exclusive to the Blu-ray edition, which was not sent for review.
Last year, the show won a much-deserved Emmy Award for Outstanding Short-Format Animated Program and will likely be nominated again based on how much belly-laughing I did with the antics skewering pop culture celebrities, music, television and movies. You can watch mashups like Saving Private Gigli, Schindler’s Bucket List, and Casablankman (and its sequel, airing later this month), although my favorite title was Major League of Extraordinary Gentlemen.
Extras include seven deleted scenes, over 50 deleted animatics with video introductions (always worth watching), selected episode commentary with the celebrity guests, an assortment of Behind the scenes featurettes and the funny On-air promotions. The Blu-ray also offers alternate audio takes from various sketches throughout the fifth season. DVD purchasers get an exclusive of their own: the ability to download an exclusive, uncensored version of the “Blue Rabbits” song.
Among the more amusing segments: Skeletor watches in horror when Snake Mountain is foreclosed on; Gargamel disguises himself as a Smurf; Major Nelson has Jeannie exactly delicious revenge when NASA fires him, NASA’s Lego people have a very bad launch day. One of my favorites was the war between the Keebler Elves and the Cookie Monster. Given my own recent roast, I can also appreciate the GI Joes’ attempt to spoil one for Cobra Commander.
You want guest stars in on the fun? How about, to name only some: Mila Kunis, Macaulay Culkin, Seth MacFarlane, Clare Grant, Michael Ian Black, Katee Sackhoff, Christian Slater, Michelle Trachtenberg, Abraham Benrubi, Alyson Hannigan, Skeet Ulrich, Olivia Munn, Alan Tudyk, the great Frank Welker, Lea Thompson, Emma Stone, Diablo Cody, Josh Groban, Mark Hamill, Sean Astin, Donald Faison, Amy Smart, the wondrous Adrianne Palicki, Jennifer Lawrence, January Jones, Kevin Bacon, Naomi Watts, Andy Serkis, and, in his final role before an untimely death, Gary Coleman.
ComicMix readers will definitely want to see Geoff Johns’ take on the DC Universe in an extended segment that has yet to air. Additionally, there’s the issue of who’s faster: Superman or Santa Claus and more recently a pretty funny bit between Green Lantern and Sinestro.
While most of the Adult Swim is not aimed at me (or I find particularly entertaining or funny), this is brilliant, knowing humor that I adore and so should you.
Alex Rocco, best known for his role as gangster Moe Greene in The Godfather, returns to his mobster roots as Carmine Falcone in Batman: Year One, the next entry in the popular, ongoing series of DC Universe Animated Original Movies.
The appearance in a Dark Knight-related project brings Rocco’s 44-year career full circle. The Massachusetts-born actor, who was once an adjunct member of Boston’s Winter Hill Gang, got his first on-screen role in the 1960s Batman television series.
Rocco appeared as the thug Block in the back-to-back episodes “A Piece of the Action” and “Batman’s Satisfaction,” which premiered on March 1 and 2, 1967. The episodes also featured the first true crossover appearance of Green Hornet and Kato on the Batman series (aside from a cameo popping out a window in the first season).
Since then, Rocco has been seen on primetime in everything from Get Smart, The F.B.I. and Kojak to The Mary Tyler Moore Show, The Rockford Files and Baretta. He has had recurring roles on The Facts of Life, The Famous Teddy Z, Sibs, The George Carlin Show and The Division. His voice is easily recognized as Roger Myers Jr., the head of Itchy & Scratchy Studios on The Simpsons.
In feature films, Rocco’s most notable roles include Moe Greene (and his gruesome demise) in The Godfather, the comically curious police chief in The Stunt Man, and as over-the-top Sol Siler, the head of Playtone Records in That Thing You Do!
Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated Batman: Year One arrived this week from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. Batman: Year One is also available in a special download-for-purchase early window (starting October 11) through iTunes, Xbox Live, Zune, VUDU HD Movies and Video Unlimited on the PlayStation Network & Sony Entertainment Network.
Rocco, an agreeable and funny man in person, spent a few extra minutes after his initial recording session to chat about mob bosses, Burt Ward’s whining, Julie Newmar’s sex appeal, and how to get ahead in Hollywood when your bartending partner takes a bathroom break. Take note … Moe Greene, er, Alex Rocco is speaking. (more…)
Ben McKenzie plays a wealthy young man on a personal quest for justice in TNT’s hit series Southland. Now the actor heads to the streets of Gotham City as the voice of another rich young adult with a need for righteousness in [[[Batman: Year One]]], the next entry in the popular, ongoing series of DC Universe Animated Original Movies.
McKenzie makes his maiden voyage into animation voiceovers as Bruce Wayne/Batman, the title character of comics legend Frank Miller’s classic retelling of the Dark Knight’s gritty, formative days.
Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated Batman: Year One arrives today, 2011 from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. Batman: Year One is also be available in a special download-for-purchase through iTunes, Xbox Live, Zune, VUDU HD Movies and Video Unlimited on the PlayStation Network & Sony Entertainment Network. (more…)
Primetime television stars Nathan Fillion and Tim Daly, the reigning voices of Green Lantern and Superman, respectively, join an exciting group of actors reprising their famed cartoon roles in Justice League: Doom, an all-new entry in the popular series of DC Universe Animated Original Movies due in early 2012 from Warner Home Video.
Justice League: Doom finds Superman, Wonder Woman, Flash, Green Lantern, Martian Manhunter, Cyborg and Batman on their heels when a team of super villains discover and implement the Dark Knight’s “contingency plans” for stopping any rogue Justice League member. The story is inspired by Mark Waid’s much-heralded JLA: Tower of Babel.
Fillion, the star of ABC’s hit TV drama Castle, made his debut as Green Lantern/Hal Jordan in the recent Green Lantern: Emerald Knights. Fillion made his initial DCU bow as the voice of Steve Trevor in the 2008 hit Wonder Woman.
Currently headlining the cast of ABC’s popular Private Practice, Daly originated the title character’s voice in the landmark cartoon, Superman: The Animated Series. He has reprised the role in two DCU films: the 2009 extravaganza Superman/Batman: Public Enemies and the 2010 thriller Superman/Batman: Apocalypse.
In addition to current primetime stars Fillion and Daly, the cast is a grand reunion of the original group of actors who provided the voices of the Justice League for the cartoon of the same name and its follow-up, Justice League Unlimited. Reprising their roles are Kevin Conroy (Batman: The Animated Series) as Batman, Michael Rosenbaum (Smallville, Breaking In) as Flash, Susan Eisenberg (Superman/Batman: Apocalypse) as Wonder Woman and Carl Lumbly (Alias) as J’onn J’onzz/Martian Manhunter. Bumper Robinson (A Different World, Transformers: Animated) joins the cast as Cyborg.
The Justice League faces two sets of villainous teams in the film – The Royal Flush Gang and a sextet of notable evildoers. The latter group includes three voice acting alumni of the Justice League animated series: Phil Morris (Smallville, Seinfeld) as Vandal Savage, Olivia d’Abo (The Wonder Years) as Star Sapphire, and Alexis Denisof (Angel) as Mirror Master. Also opposing our heroes are Carlos Alazraqui (Reno 911) as Bane, Paul Blackthorne (The Dresden Files) as Metallo, and Claudia Black (Farscape, Stargate SG-1) as Cheetah.
David Kaufman (Danny Phantom) also reprises his Justice League role of Jimmy Olsen.
The film is executive produced by Bruce Timm (Batman: Year One), and directed by Lauren Montgomery (Batman: Year One), who is also credited as producer alongside Alan Burnett (Batman: The Animated Series). Justice League: Doom is the final script from the late Dwayne McDuffie (All-Star Superman, Justice League: Crisis on Two Earths). Casting and dialogue direction is once again in the capable hands of Andrea Romano (Batman: Year One, SpongeBob SquarePants).
Warner Home Video will premiere the Justice League: Doom trailer during its presentation at New York Comic Con on Friday, October 14 from 3:00-4:00 p.m. in the IGN Theater. Also premiering during that session will be the Catwoman animated short that is attached to Batman: Year One, the next DC Universe Animated Movie (streeting October 18).
All hands brace for a confession….Yeah, you got me. I admit that all the noise surrounding DC Comics’ reboot or relaunch or reinvention…whatever you call it, all the dust raised by this activity has caused me the occasional twinge. I worked in the comics trenches for a lot of years and some of it I still miss. Not all, oh no, but – sitting with bright, talented, convivial people in a room and doping out stories to tell…that was one of life’s joys and I’m guessing that the stalwarts at DC have spent a lot of time recently doing just that.
But they aren’t the first to redact the company’s pantheon of superheroes. Way back before you were born – most of you, anyway – Julius Schwartz did pretty much the same thing. The year was 1956 (I told you that you weren’t born yet) and comics, and their primary contribution to pop culture, superheroes – they’d been sickly for about a decade, ever since some politicians, editorial writers and assorted busybodies had convinced a lot of citizens that comics were spawns of evil. (To be fair, changing publishing and retail realities had something to do with comics’ decline, too.) As Julie told me the story: he and his fellow editors were having a meeting and someone decided to revive The Flash, a once-popular character that hadn’t been seen for years. Julie’s words as I remember them: They all looked at me and I said, I guess I’m it.
They did, and he was. He didn’t merely produce a carbon copy of the original Flash, though. With writer Robert Kanigher and artists Carmine Infantino & Joe Kubert, Julie gave the world a new Flash – new costume, new origin, new identity. He left the original concept intact – the world’s fastest human – and altered everything else to make The Flash and his world reflect this, the world we non-fictional beings in habit. Julie and his merry men taught those of us who followed them how to do it: leave whatever made the character popular and unique alone, and modernize the rest.
There was no particular fuss over Julie’s work, back in 1956. For him, it was just another day at the office. The network of fan publications was at best just a’borning, as were conventions, and websites, like this one, weren’t even science fiction because, as far as I know, nobody had even thought of them. Sure, some dedicated readers may have reacted, but the world at large…yawn. And that may have been where Julie had an advantage over his editorial descendants.
Imagine doing this complex task with hordes of the curious looking over your shoulder, waiting to see if you fail, some of them, human nature being what it is, maybe hoping you’ll fail. And of course, regardless of how well you perform, a lot of your audience will find fault because they’ve been establishing an emotional attachment to these characters for years – for decades? – and any significant changes is going to seem…well, dammit, wrong! Pretty daunting, huh?
I haven’t read any of the new stuff yet. Have I just convinced myself that I shouldn’t?
Well, here’s something strange. Within a 72-hour period last week a half dozen people asked me if I had read the new, new Animal Man. During that same period, my daughter was asked the same question by one of her friends. Then I had lunch with comics writer Paul Kupperberg, so I asked him if he read the book. He said no, not yet, but a number of people told him he should.
Hmmmm. Word of mouth is either the best or the worst type of publicity. I noticed not a one of these folks said it was great; just that it was worth reading.
I enjoyed the original Animal Man – the one that was created by Dave Wood and Carmine Infantino in Strange Adventures 180, some 46 years ago. It was unusual in that it was only occasionally published, and the lead didn’t get his costume (one of Carmine’s best) until the third appearance nearly a year later. His run – more like a bunch of skips and hops – was brief, but it clearly had an impact on us Baby Boomer fanboys. Animal Man was more of a cool concept than a fan fave.
Because I’m not quite paranoid to believe that all those people who recommended the book to us were part of a vast conspiracy, I approached Jeff Lemire and Travel Foreman’s Animal Man volume 2, number 1 without preconceptions.
Gone is the cool Infantino-designed costume, replaced by something that was clearly influenced by the original: no more contemporary in design, but with a more striking color scheme. We start with Buddy Baker’s home life, and here we indulge a bit in the married life superhero chiché. He’s not henpecked the way The Web was back in the 1960s (one of the first, if not the first, costumed hero with a “realistic” married life); Lemire cleverly uses the rough parts of family life as exposition.
It is that very family that is the root of this first story arc. In the 22-page format there’s very little room to establish the characters in this new reality and really get you deeply involved in an actual story, and Animal Man 2.1 does a better job of it than most of The New 52 stories I’ve read so far. Not as good as Mister Terrific #1 in terms of the quantity and depth of story, but more compelling from the perspective of character.
That seems to be what Animal Man is all about: character development within the framework of a family where the father has superpowers. I say “seems to be” because, well, hell, we don’t know. It’s just the first issue. But this beginning gives me hope.
I always get hinky when I think about how a DC series will get coopted as it is thrust into the DCU – sorry, make that DCnU – but I’ve learned to leave such speculation to time and historical inevitability. And hope that Animal Man beats the odds.
Earth’s greatest super heroes face foes on all fronts – using a plan initiated from within – in the all-new [[[Justice League: Doom]]], the next entry in the popular, ongoing series of DC Universe Animated Original Movies. Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated film arrives February 28, 2012 from Warner Home Video.
