Tagged: DVD

Review: ‘Planet Hulk’ on DVD

Review: ‘Planet Hulk’ on DVD

When Greg Pak received his dream assignment, writing the [[[Hulk,]]] he was handed a few notions that Marvel’s editorial team conjured up, starting with exiling him from Earth. From there, Pak spun the Planet Hulk epic which was the first the jade-jawed giant was allowed to cut loose in years.

Exiled to space by the Illuminati, the Hulk crashed on an alien world and suddenly was surrounded with assorted aliens who could give as well as he could. Enslaved, he suddenly was an underdog, just another mongrel to fight for the rulers’ pleasure in the gladiator games. Seeing no Banner and all-Hulk helped make this a standout adventure.

Yeah, its [[[Spartacus]]] to a degree, but seeing the Hulk in chains then in armor was cool. It made sense to ship him off Earth to spare humanity and we all knew he’d be back and there’d be some serious payback involved. But first, he had to survive.

The story was engaging and ripe for adaptation as part of Marvel Animation’s series of animated features for Lionsgate Home Entertainment. The highly promoted event arrived in stores this week. In 81 brisk minutes, the story is boiled down by Greg Johnson and streamlined, bringing this to a satisfying closing point (and leaving room to finish the adaptation in a sequel).

On the other hand, Johnson spoils Pak’s work by writing flat characters and providing everyone with stilted and trite dialogue. For legal reasons, the Silver Surfer couldn’t be used and rather than drop the moment, he’s replaced with Beta Ray Bill but also means there’s a flashback setting up Bill that doesn’t add anything to the tale and tells us nothing about Bill. It’s pretty but pointless, taking away from the main story.

The animation from Sam Liu and his team is superior to last year’s Hulk Vs. effort but could have added a little more texture and detail to the various aliens and architecture. The Hulk looks pretty ferocious and proportional for a gladiator. There are some nice subtle touches, especially in the final scene.

Overall, this feature may well be the best of the Marvel films but all fairly pale in comparison with the superior Warner Premiere efforts culled from the DC Universe.

The two-disc DVD comes with a digital copy and a ton of bonuses. There’s an informative[[[A Whole World of Hulk]], making of featurette; Let the Smashing Commence! which gives Pak his due along with penciller Aaron Lopresti; commentary from Liu, character designer Philip Bourassa and key painter Steve Nicodemus. We’re also shown the opening to 2011’s [[[Tales of Asgard]]], which actually looks even better. The Wolverine segment from Hulk Vs. is repurposed along with the motion comics for [[[Spider-Woman]]] and Astonishing [[[X-Men]]] along with music videos and too many trailers.


Review: ‘Adam’ on DVD

Review: ‘Adam’ on DVD

It used to be, actors could stretch by performing “ugly”, burying themselves under layers of makeup or by playing disadvantaged people such as Dustin Hoffman’s [[[Rain Man]]] or Larry Drake’s Benny on LA Law. The current favorite seems to be playing people with Asperger syndrome as popularized with Christian Clemson’s award winning work on [[[Boston Legal]]]. As with anything on a David E. Kelly series, the portrayal tended to be over-the-top or poignant and rarely anything in between.

A more authentic performance can be found on Adam
, a small movie you probably overlooked last year. 20th Century Fox released the movie in the fall and the DVD is being released Tuesday. The film stars Hugh Dancy ([[[Beyond the Gates]]]) as the title character and Rose Byrne ([[[Damages]]]) plays his neighbor. The movie won the Alfred P. Sloan Feature Film Prize at Sundance and is well worth a look.

The disorder is considered by many to be some form of high functioning autism but it means the person has difficulty “reading” people and is prone to repetitive patterns of behavior. Adam has been cared for by his father since his mother died when he was eight, but the film opens at his father’s funeral. Left alone, the only one seeming to look out for him is Harlan ([[[The Wire’s]]] Frankie Faison), Adam’s dad’s war buddy. Without him, Adam is the kind of person who would fall through the cracks in society’s safety net. While capable, Adam still doesn’t fit in well with others so he loses his job at a toy company and is left adrift.

During this time, he meets his new neighbor, Beth, a budding children’s author and school teacher. She thinks he’s cute and just a little weird, but he also opens her eyes to the wonders of the world, beginning with a tour of the universe starting with the Big Bang. When she learns of his condition, rather than be repulsed, she reads up on it and a romance begins.

While Adam struggles to find a new job and adjust to Beth being a part of his life, she is tormented by her father (Peter Gallagher) being tried for fraud, shattering her rock steady belief in him. When she needs Adam the most, he is incapable of giving her the emotional support she craves.

The film was shot in 28 days and the chemistry between Dancy and Byrne helps make the movie work. Both give solid performances and Dancy of course, shines by making Adam sympathetic and real. The movie was written and directed by Max Mayer, who ComicMix readers know from Alias
and he clearly has affection for these people but wisely avoids predictable moments, including the ending.

The movie is accompanied by a fine commentary track and the original Sundance ending among the bonuses. Five deleted or alternate scenes are included, complete with Mayer’s commentary. Of them, we see that Faison’s Harlan was trimmed from a more substantial part and it’s a shame since he helps keep things warm. Fox Movie Channel also ran a nine minute piece where the Australian-born Byrne talks about the acting craft with three college students.


Review: ‘Wolverine and the X-Men – Fate of the Future’ on DVD

Review: ‘Wolverine and the X-Men – Fate of the Future’ on DVD

As one would have expected, Marvel revisited the animated adventures of their merry mutants to capitalize on the anticipated success of the [[[Wolverine]]] feature film. As a result, the fourth iteration is named [[[Wolverine and the X-Men]]] and the first season aired throughout 2009 on Nicktoons. Lionsgate has been dutifully collected handfuls of episodes for single-disc collections with the fourth volume, containing five episodes, being released Tuesday.

While the [[[X-Men]]], their friends and foes are familiar, this has no bearing on the previous animated series or the comic book source material, As a result, we’re getting yet another look at familiar themes and storylines such as the Days of Future Past and Genosha. Unlike the immensely popular 1990s Fox series, this has fewer sub-plots that require episode to episode viewing. On the other hand, there are plenty of sub-plots running through the 26 episodes comprising the first season. There are also dozens of characters to meet and recall and often they arrive unnamed or their powers unspecified. As a result, you’re required to watch knowing which version of the x-verse you’re paying attention to. The only other animated series this ties to is the Hulk Vs. direct-to-DVD as noted when Nick Fury asks Wolverine to have a rematch against the jade giant.

This disc contains “Stolen Lives”, “Hunting Grounds”, “Badlands”, “Code of Conduct” and “Backlash”. Having not seen any of the previous episodes, I would have appreciated a “Previously” recap at the beginning but I quickly figured things out. The first episode focuses on Kristie, the young mutant daughter of Maverick and introduces us to X-23.

The second story skips Wolverine for the most part, focusing instead on the odd friendship of Scarlet Witch and Nightcrawler as they work together to escape Mojo’s World. It also introduces us to Magneto’s other daughter, Polaris. After that, we skip ahead to the devastating future as the descendant and survivors fight the Sentinels for survival. The just-introduced Polaris is revealed to be the sole survivor of Genosha and wanders around wearing dad’s helmet. The storyline is picked up again in the fifth episode, which has the Brotherhood of Evil Mutants and the X-Men trying to destroy the Master Mold, to prevent the horrific future from happening.

In between, Wolverine’s backstory is explored in a tale that introduces viewers to the Silver Samurai and Mariko. The battle for control and honor takes up much of the episode and apparently was deemed inappropriate to air in the UK.

Craig Kyle and Christopher Yost, who graduated from Marvel Animation to fine comic book writers, are back and their expertise helps a lot. They’re ably abetted by Greg Johnson, a writer I’m less familiar with. As a result, the stories are strong in the Marvel flavor, heavy on the anti-mutant theme, and replete with characters with some genuine personality. They come across as teens or adults, experienced or tyro.

The animation design is leaner than previous version but they come across inconsistent in size. In some cases, Wolverine is taller than Mystique but still called a runt. Everyone is a little too lean but the overall animation direction is reasonably strong. The best part of the technical side is that the voice cast is sharply superior to the 1990s version.

Other than some commentary, the disc has no extras but does have plenty of trailers including an intriguing glimpse of next year’s [[[Thor: Tales of Asgard]]] direct-to-DVD feature.


Review: ‘Defying Gravity’ on DVD

Review: ‘Defying Gravity’ on DVD

A prime time summer series launched during the dog days of August is never a good show of faith on the part of the network. Last August, ABC presented Defying Gravity
, a thirteen episode science fiction series which lasted a mere eight weeks.

A noble effort, it failed to garner much interest and even fewer ratings. The series was said to be inspired by the BBC series [[[Space Odyssey: Voyage to the Planets]]], and became an international effort co-produced by the BBC, Fox Television Studios, and Omni Film Productions in association with Canadian broadcasters CTV Television Network, SPACE, and German broadcaster ProSieben.

This misfire is now available as a complete season set on Fox Home Entertainment and you can decide for yourself what went wrong. The premise begins in 2052 with the launch of a six year mission throughout the solar system, making the first visits to several planets. Along the way, the eight-person crew is told the real secret behind the mission, then you add in the “[[[Grey’s Anatomy]]] in space” aspect and you have a sprawling tale that truly lacked a compelling focus.

We’re introduced to the eight astronauts, an appealing cast led by Ron Livingston and Laura Harris plus the team at ground control and then other recurring figures including the dogged and totally dispensable reporter. Being a global production, the cast is international in background, which introduces us to new and unfamiliar performers in addition to showing us that reaching the stars will be one way to unite our cultures.

In attempting to make the characters more complex and available for the soap opera elements, many of them come across as people NASA would never accept as astronaut candidates. There was a reason the original seven were chosen, not only did they have the right stuff to handle a spacecraft, but they were dedicated career men who put mission and country first, making them a little less colorful and a lot more trustworthy.

Series creator James Parriott covered this flaw, though, by introducing an extraterrestrial, almost mystical, element that eventually reveals to us that they were chosen to be on this mission. And right there is the series’ greatest problem.


Review: ‘Your’e a Good Man, Charlie Brown’ on DVD

Review: ‘Your’e a Good Man, Charlie Brown’ on DVD

[[[Peanuts]]] has proven exceptionally enduring and adaptable as Charles Schulz expanded his cast of characters to reflect the times and changing fascination with different players. The strip debuted in 1950 and within a decade the characters were used as spokesmen for commercial products. In 1965, though, the horizons expanded dramatically with the successful Christmas special.

Not only did that that give us Vince Guaraldi’s score and decades of specials, but it inspired others. In 1967, Clark Gesner unexpectedly showed up with a series of songs which he envisioned as being brought to the stage. Taken Off-Broadway, the songs were kept but the story was evolved. That initial version of [[[You’re a Good Man, Charlie Brown]]] was best known for spotlight Gary Burghoff as Charlie Brown, just a few years before we met him as Radar O’Reilly. That first cast also included actor/director Bob Balaban as Linus.

A different cast took the show to Broadway in 1971 and it became a high school staple for years ever after. In 1985, the play based on the comic strip was finally adapted as an animated television special. And now for the first time, Warner Home Video will release the cartoon Tuesday on a remastered DVD.

As stated above, as characters rose and fell in popularity, their prominence in the comics altered. Schulz decided for this adaptation to replace Patty and Violet with Sally and Marcie. It also presents the first time on television Snoopy had a human voice.

Overall, the breezy series of vignettes that make up the show works as a Peanuts sampler. Unlike the more successful of the television specials, there’s no one element to act as a spine so we drift from event to event, much like black out comedy. Taken as individual elements, they’re engaging enough but as a 48 minute viewing experience, it’s rather disjointed and honestly, not very funny.

The songs range from the unmemorable to the okay to the one hit, “Happiness”. Perhaps the most successful character-based song is “The Book Report”. And the audio voices do a fine job with the material but are thoroughly adequate as opposed to stirring or amusing.

The animated feature is accompanied with[[[ Animating a Charlie Brown Musical]]], a 14 minute look at the origins of the show and the process of adapting the strip to the stage and then from the stage to the television screen. Nothing is said of the 1999 revival which reworked existing songs and added additional numbers.

Overall, this is a Must Have for Peanuts fanatics only.


Review: ‘Robin Hood: Season Three’ on DVD

Review: ‘Robin Hood: Season Three’ on DVD

BBC’s retelling of the [[[Robin Hood]]] legend began in 2006 and quietly ended in 2009, never quite living up to the hype and expectations. The series was incredibly anachronistic and its budgetary limitations were clearly evident throughout its 36 episodes. When the series was good, it was highly entertaining and when it was less good, it was tolerable.

BBC Video has just released the third season on DVD in the states so if you missed it on BBC America, here’s your chance to see for yourself how it all wrapped up.

The series began teetering during its second season, especially when Lucy Griffiths chose to leave the show and they killed Maid Marian, making for a major departure from the legend. Then we heard that Robin himself, Jonas Armstrong, announced he was leaving after the third season. As a result, we began hearing them all chant “We are Robin Hood”, setting up the expectations that once Armstrong left, the Merrie Men would carry on, keeping his spirit (and the series) alive. The BBC went so far as to announce a producer had been asking for a fourth season revamp but the third season ratings changed their minds.

We open the third season with Robin and company returning from the Holy Land where Marian was buried. He’s still smoldering with hatred, wishing nothing more than to gain revenge against Gisborne (Richard Armitage) for his love’s murder. And here’s the problem, for two seasons now, Robin, Gisborne, and the Sheriff (Keith Allen) have all had one opportunity or another to dispatch the other, ending the misery. In every case, they back off or get thwarted and by episode 27, it’s gotten very tiresome. Similarly, I’ve lost track of the number of times the villagers have thought ill of Robin and the men when they know better. Then there are the anachronisms in dialogue to appeal to modern day viewers.

On the other hand, this season set up several threads that at least provided a more interesting spine to stir things up than the second season did. The arrival of Friar Tuck (David Harewood) and Gisborne being sent away to explain his failures to Prince John in person start things off nicely. The return of the Sheriff’s sister, Isabella (Lara Pulver) and seeing her replace her brother changed things up nicely. On the other hand, the later revelation that Gisborne and Robin shared a heretofore unknown half-brother, Archer (Clive Standen), doesn’t do anything but shift the focus away from the regulars.

And that’s been a consistent problem along with the earlier issue over the enmity between our hero and the Sheriff. The Merrie Men (Alan, John, and Much) have been ill-served with little time spent on their characters. They fight, get captured, get freed, argue, and bring supplies to the townsfolk. We never circle back to John’s wife and son or learn more about the others. The writers and producers certainly did these three actors (Joe Armstrong, Gordon Kennedy, and Sam Troughton respectively) a disservice. Also, the fun byplay between Robin and Sheriff from previous years is all but missing. If anything, the actor to really shine throughout the three seasons is Armitage who has been conflicted between his upbringing, his loyalty to the crown and the Sheriff, and the unrequited love for Marian.

The show builds up to a major climax, bigger than the previous seasons and actually adds a punctuation mark that nicely brings down the curtain on the series.

The five disc set comes with A Legend Reborn a self-congratulatory behind-the scenes featurette, A New Look (a nice piece on the costuming), a piece on the Trebuchet: Creating Chaos and video diaries that are mildly entertaining.

As this entertaining but less than satisfying series ends, we can turn our attentions to yet another look at the legend with the big budget Ridley Scott/Russell Crowe feature this spring.


2010 home entertainment preview: not what you will be watching but how

2010 home entertainment preview: not what you will be watching but how

The future for home video in 2010 is taking shape
and as 2009 winds down, ComicMix, like everyone else, is looking ahead. The VHS
tape is gone, replaced by DVD and that too is now quickly getting replaced by
the Blu-ray. The Digital Entertainment Group says Blu-ray Disc set-top player
sales grew 112 percent over the same period last year. Blu-ray devices are at
the top of many consumers’ holiday wish lists this year are projected to be in
15 million U.S. homes by the end of this year.

With players now as cheap as $150, the penetration rate is
skyrocketing and the studios are cognizant of this. They also know that people
are reluctant to pay more for Blu-ray discs to replace their standard DVDs so
these new discs are coming in fancier packages and with lots of extras.

One of the key differences between standard DVD and Blu-ray
is that the BD Live function allows studios to continue offering fresh content
even after the disc goes on sale. McG, for example, did a live screening of Terminator Salvation with questions from viewers. As more filmmakers figure out
how to gain maximum mileage from this direct communications, it will keep the
Blu-ray more vital.

Over the past year, Walt Disney has been collecting their
films in two and three packs. Like most studios these days, you get the DVD and
a digital copy presuming you wish to download the film to watch on your device
of choice. Disney then added the Blu-ray, DVD, and digital disc to form the
mega set, so there’s just one version to sell to one and all – of course,
up-priced so the profits are fatter.


Last Minute Video Considerations – Family Edition

Last Minute Video Considerations – Family Edition

The Blu-ray conversion process continued throughout the year and there’s something for everyone. As the hours dwindle towards Santa’s arrival, here’s a trio of family-friendly Blu-ray offerings that are perfect – as long as you don’t have these on standard DVD. Warner Home Video wisely released A Charlie Brown Christmas and Dr. Seuss’ How the Grinch Stole Christmas some weeks back, completing the hat trick with the Blu-ray debut of Horton Hears a Who!

These are basically the standard DVDs upgraded to Blu-ray so everything looks and sounds marvelous. All the standard DVD extras are still here so there’s little to compel you to upgrade, especially since the prices treat these like the full-length feature films when the reality is, these were thirty minute television specials.

None of the above robs the trio from their power to entertain. The Charlie Brown special, which has been collected in multiple DVD sets, remains the king of them all as it pokes fun at the commercialization of the holiday and Linus’ speech at the end refocuses attention to the spiritual side of the holiday. With Vince Guaraldi’s amazing jazz score, this remains the gold standard.

Also earning the gold is Chuck Jones, who brilliantly adapted Dr. Seuss Grinch. He buried his own art style in favor of bringing the book to life, adding all the right touches. Having Boris Karloff narrate was a stroke of genius and the original score and songs only added to the surreal qualities that we adore about Seuss.

This Horton is the 1970 version, which is a pretty fair adaptation. Also from Chuck Jones, it shows how cheap animation had gotten in the four years between his Grinch and Horton, as the cartoon looks more limited. The adaptation boasts the usual voice actors of the era including the wonderful Hans Conreid as Horton and the narrator; June Foray and Ravenscroft.

As Blu-rays, they all look pretty fine, notably The Grinch. The extras contain making of featurettes across the thee along with biographical notes on the cast and crew, and other bits and pieces. Best are the extra animated fare such as It’s Christmastime Again, Charlie Brown, the lesser known 1992 follow-up Peanuts Christmas special or the other animated Seuss tales Daisy-Head Mayzie and. Butter Battle Book. The Grinch has the annoying Phil Hartman history from TNT but makes up for it with a nice spotlight on singer Thurl Ravenscroft and composer Albert Hague. Horton also contains the 1994 special, In Search of Dr. Seuss, which is a loving portrait of the genius.

It should be noted that the specials come as combo sets complete with standard DVD and digital copy (Windows only). If you don’t own any version, this clearly is the one to get – just find the right sale.

Review: ‘Harry Potter and the Half-Blood Prince’ on DVD

Review: ‘Harry Potter and the Half-Blood Prince’ on DVD

A series of films based on a wildly popular series of books walks the tricky line between total fidelity to appease the fans and making the hard choices to create a successful movie-going experience. The vast majority of your audience, the filmmakers presume, have read the source material and/or seen the previous films in the series, so can take for granted that much of the backstory is understood, negating the need for extensive crawls, flashbacks, or expository scenes.

Harry Potter and the Half-Blood Prince
was released to its eager audience in 2005, but moviegoers had to wait four years before the film version was released. This film opened two years after the last film so the trick for director David Yates was in knowing how much needed refreshing for the audience. After all, some of us read the book only once; others may only know the film version. The movie, now available on DVD from Warner Home Video, makes a large number of alterations from the book and also fails to properly place the film in context; Yates expects too much recall from his audience. As a result, the brewing war between the forces of good and Lord Voldemort isn’t as front and center as it should be and his agents of darkness are barely named let alone given anything to do.

Similarly, Yates short-changes the supporting cast as Maggie Smith’s McGonagall and Robbie Coltrane’s Hagrid, for example, are little better than window dressing. He chose, instead, to focus on the teen heartthrob storyline showing the raging hormones now coursing through our heroes’ veins. The relationship between Harry and the poor, doomed Dumbledore, is the second storyline and intertwined they’re good stories, but lacks the full scale and spectacle of the book or previous films. An underdeveloped third thread is the evolution of Draco Malfoy, now a Death-Eater and he fumes his way through the film, feeling too important to remain at Hogwarts but assigned there and when called to deliver the killing blow to the wizard, finds himself conflicted. In many ways the relationship between Draco and Snape and that of Harry and Prof. Slughorn should have been the counterpoints to the film but its an opportunity missed.

The one thing he does get right is the look and feel of impending doom. Each book got more sophisticated in its plotting and characterization, reflecting the maturation of the Hogwarts students, while also growing more malevolent in tone. This film is bleaker looking than the previous quintet, the colors muted and washed out – even joyous scenes such as the Quidditch match, are somber in appearance. You just know things are not right.

Since the move opened this summer, there has been much complaining about liberties taken and favorite scenes removed. It’s been the most grumbling since the series began and as each book has grown in size, adapting the tale for the screen has proven troubling.  While the final book is being split into two films and released relatively close together, one wonders if the same should not have been done here, and treat the films as more of a linked miniseries, which seemed to work, after all for [[[Lord of the Rings]]].

The film can be purchased for home viewing in a variety of formats from a standard single-disc DVD with no extras, to a 2-Disc Digital Copy Special Edition which offers up a bunch of extras made largely for its younger audience and not fans of filmmaking. There are six and a half minutes of additional scenes, none of which would have changed the comments above. You can then enjoy the nearly thirty minute Close-Up with the Cast and Crew of Harry Potter special, which is a light look at a day on the set. Better is the 50 minute-long J.K. Rowling: A Year in the Life, which gives the series creator her due. Other extras are playful ones with the cast and an unnecessarily long look at Universal’s “The Wizarding World of Harry Potter”.

Review: ‘Robot Chicken Season 4’ on DVD

Review: ‘Robot Chicken Season 4’ on DVD

I don’t know how I missed [[[Robot Chicken]]] when it debuted several years back. I heard the buzz, I saw the ads in the comics and still, I somehow never got around to watching. When the Cartoon Network sent over their second [[[Star Wars Special]]] for review, I finally indulged and was delighted.

Now, they sent over the two-disc set collecting the complete fourth season, which goes on sale Tuesday, and watched with great delight. The season, which ran from December 7, 2008 through December 6 (last week!), has 20 episodes and the set also includes [[[The Robot Chicken Full-Assed Christmas Special]]].

The show is a riotous tour through the pop culture zeitgeist, presuming the viewers know the players from Tila Tequila to the torturous relationship between Thor and Loki. Many of the episodes are loosely connected vignettes while others feel entirely like a collection of whatever was finished in time got included. When handling a single theme, such as Christmas or [[[[Star Wars]]], they manage to make that work as well, with a broad array of talents coming together to keep things loose and very, very funny.

To me, many of the funniest bits shows the before or after events from favorite scenes such as the natives building the temple deathtraps we saw Indiana Jones avoid in [[[Raiders of the Lost Ark]]] or the day in the life of Jason Voorhees.

Seth Green and Matthew Senreich have certainly developed an eclectic following which has allowed them to bring onboard writers and performers to work with them. In fact, one of the best Video Blogs included in the Extras shows the range of actors who come in and let loose. I can’t decide who was having more fun, Billy Dee Williams or Katee Sackhoff. Among the writers to contribute, beyond the usual suspects from previous seasons is comic book darling Geoff Johns.

Back during [[[Star Trek]]]’s 20th Anniversary, there was talk of an Opera which was partially written before wiser heads canceled the project. But, thanks to one bit, we have a good idea of what it would have sounded like. The hysterical [[[Star Trek II: The Opera]]] is one of the highlights.

No, not every bit works and some episodes feel wildly uneven, but in
each episode I find myself laughing out loud at the absurd
juxtaposition of elements or seeing revered icons poke fun at

No one and nothing is sacred to these creators so[[[ Babar]]], [[[Hannah Montana]]], [[[James Bond]]] and just about everyone else you’ve grown up with is fair game. The DVD presents the episodes without censorship so there’s additional graphic violence, nudity and many instances of foul language.

In addition to the 21 episodes, there are Chicken Nuggets (the creators offer commentary), appearances at 2008’s Comic-Con International and 2009’s New York Comic-Con plus when the team promoted the show across Australia. There are way-too-brief Day in the Life glimpses at the many talented technicians who take the wacky scripts and bring them to life. There are a handful of deleted scenes with introductory material to explain how anything manages to get cut plus deleted animatics, early tests showing how a script might look. If you like, the show, these Extras continue the entertainment and are commended to your attention.