Tagged: film

JOHN OSTRANDER: Seeing Movies As Movies

I read an article in Entertainment Weekly about the collective failure of the Christmas movie season overall. Some, like Mission Impossible: Ghost Protocol, did well and some, such as The Adventures of Tintin, did much better overseas (where Tintin is a better known commodity) than domestically. EW opined a variety of possible reasons, including the economy and the concept that there wasn’t a real “tent-pole” movie. However, there were some really good films out – Hugo (which I loved), for one, and The Muppets. I have a thought on another possible contributing factor.

I know a number of people who will wait for the DVD of a movie or to see it on their computer, tablet, or smartphone. It seems to me a whole generation would almost prefer to see it that way now. And I can’t help thinking that’s a mistake.

Mind you, I’ve seen many movies that I missed in the theater via DVD, Sometimes, it doesn’t matter. A smaller intimate film can work just as well on a small screen. I probably won’t get to see Tinker, Tailor, Solider, Spy until it gets to my TV screen and I think that will be alright. However, I know other films suffer.

For example, I’d seen John Ford’s The Searchers for years on the small screen and loved it. One of John Wayne’s best performances (and, yes, folks, the man could act). Several years ago, I got a chance to see it in a movie theater in a restored print. The impact was startling. Yes, I knew about John Wayne’s charisma but you don’t really feel it until you’ve seen a close up of Wayne in this movie and the image is the size of a house. And the final shot – Wayne with his back to us, framed by a door that slowly shuts – well, until you’ve seen it on the big screen, you haven’t really experienced it.

Seeing the climax of Casablanca, with those big head shots of Ingrid Bergman, Humphrey Bogart, and Paul Heinreid cross cut from one to the other, has far greater emotional impact on the big screen.

It’s not just the images, either. With the surround sound you get in the theaters today, you’re really enveloped in the movie. Think of the opening of Star Wars, the original one (a.k.a. Episode IV, a.k.a. A New Hope) – the blast of the initial theme, the crawl that recedes into infinite horizon, and then the first space ship darting out and it seems forever only to be followed with an even bigger space ship, and the sound and the music and all sucking you in. Magic. The first time I experienced that, I was hooked.

I don’t see how you can get that on a smaller screen. When I watch movies on DVD that I’ve seen in the theaters, I bring with me the memories of what that theater experience was and it enriches the viewing that I’m having with on the smaller screen. If it comes to a choice to seeing a movie only on DVD or a movie channel or not to see it at all, I’ll take the small screen experience and do it happily. It gives me an experience of the movie – but I know that it’s not the same as seeing it in the movie theater where it was intended to be seen in the first place.

There’s one final aspect of the theater experience for movies and I’ll be the first to say it’s not always positive – it’s a communal experience. It’s a shared experience with others. Yes, some of those others can be boorish morons. I’ve had the people near me who continue to chat through the film, having a running commentary about the film or about some imbecilic portion of their daily life that could just as easily wait until they were outside. It’s become a good reason why I should never be allowed to carry a gun. Yes, I’ve had people who forget or refuse to turn off their cel phones and who chat or text through the film, oblivious and/or indifferent to the fact there are other people in the theater. Maybe if they could pull their heads out of their digital asses, we’d all be happier.

But I’ve also been with audiences that add immeasurably to the experience. We laugh, gasp, cry, cheer and so on together. The film finds bonds in common between us and that is something devoutly to be wished in this day and age when so many things around us keep tearing us apart, putting up walls, and suggesting we are all enemies.

The people making the movies meant for us to see it in a theater. That’s where its truest experience lies. I’ve heard of so many people today who simply shrug that off and all I’m saying is that I think that’s a mistake and they’re shortchanging themselves.

Treat yourself if you can. Go out to the movies.

MONDAY: Mindy Newell

“Star Trek: The Next Generation” Goes HD and Blu-ray

“Star Trek: The Next Generation” Goes HD and Blu-ray

  • News
  • January 13, 2012
Star Trek: The Next Generation

Just in time for the 25th anniversary, Star Trek: The Next Generation is being transferred to high definition for the first time ever and released on Blu-ray. All 178 episodes from seven seasons will be transferred to true high-definition 1080p for release on Blu-ray and eventual runs on television and digital platforms both domestically and internationally.

While the first full season won’t be available until later in 2012, CBS Home Entertainment is releasing Star Trek: The Next Generation – The Next Level, a single Blu-ray disc to give fans a taste of the series in HD, on January 31, 2012. The disc will include the feature-length pilot – “Encounter at Farpoint” – as well as two more “fan favorite” episodes, “The Inner Light” (Season 5) and “Sins of the Father” (Season 3).

Here’s a preview of the remastered “Encounter at Farpoint”:

[youtube]http://www.youtube.com/watch?v=bQHpfk4X-wc[/youtube]

(more…)

Two Disney Clips From Tangled Ever After and Finding Nemo in 3-D

Two Disney Clips From Tangled Ever After and Finding Nemo in 3-D

  • News
  • January 12, 2012

Walt Disney has released their classic Beauty and the Beast in 3-D, hoping to capitalize on the success of their Lion King in 3-D release. We here at ComicMix think it’s merely a cash grab since the up-conversion doesn’t really add anything new to the story or songs but for those dwindling few who still buy into the current 3-D fad. Still, it does allow Disney to give us Tangled Ever After, the followup short to 2010’s surprisingly charming film.

[youtube]http://youtu.be/E6-H0HBjifE [/youtube]

And look, here’s another trailer to Finding Nemo in 3-D because you can’t just have enough re-releasees in 3-D.

[youtube]http://youtu.be/-3y-6LDArp0[/youtube]

This one will be released on September 14.

JOHN OSTRANDER: Fighting The Good Fight Scene

Bless Mindy Newell.

I was suffering from the condition she described so well in a recent column – being blocked – and she supplied the cure as well. She talked about the difficulty in writing fight scenes in superhero comics and then claimed both I and Denny O’Neil know how to do it. I’m not always sure that’s true with me but it did give me this week’s topic. Thanks, Mindy!

On the surface, writing a fight scene might not seem that difficult. You have two steroid queens pounding the poo out of each other, right? What’s the big deal? Actually, there are a number of things to keep in mind.

Let’s start with the pragmatic. As with movies and television, fights in comics are depicted, not simply described. In the credits for both film and TV, you can find the position of “fight choreographer” and, yes, it’s very like a dance choreographer. Think of fight scenes as very violent dance. Rhumbas with a right hook. Cha Chas with a karate chop.

The fight needs to be imagined in steps so as to be clear, effective and – in movies and TV – safe for the participants. The fight also has to build in intensity. There’s a great film by Walter Hill called Hard Times (1975), starring Charles Bronson, James Coburn, and Strother Martin about a bare knuckle fighter working pick-up fights around New Orleans during the Depression. There are several fights in the film and not only do they have to build individually but overall the fights have to build with greater physical and emotional intensity throughout the film to the climax.

In comics a fight scene needs one clear, definable move per character per panel. Also, for best impact, the blow is begun in one panel and then completed in the next. When possible, you end the page with one character about to strike and start the next page with the blow connecting or the other character blocking or dodging. Part of the magic that happens in between panels is that the reader “sees” the motion but only if the action in both panels is clear.

You also want to think of variety. Punch, block, counterpunch, block gets old real fast. In boxing, a boxer will go for the head, the ribs, stomach and so on to mix up the blows. In comics, you can include head-butts, kicks, leaps, martial arts moves and so on. You can also imagine a variety of different settings. Where the fight takes place can determine what fight can take place.

Different characters have different fighting styles. Spider-Man is an acrobatic fighter; the Hulk… well, Hulk smashes. Unless your character has made a change in their fighting style as part of the story, have them fight the way they are supposed to fight.

Just as important as the moves is the fact that the fight is a scene in the story you’re telling. All the rules for a scene apply – what does the character want, how badly do they want it, how far are they willing to go to get what they want? What does it tell us about the character, what does it tell them about themselves? What is revealed, what is concealed? How does this scene move the story ahead? The story is not there to justify a fight scene; the fight scene is there to advance the story. If it doesn’t, it wastes space.

There should be an ebb and flow in a fight scene. The outcome should not be a foregone conclusion for either party. Motivation will play a key factor in any fight. Maybe your character keeps getting knocked down but keeps getting back up. Keep in mind that the opponent is not always another person; it can be time, it can be physical obstacles, it can be the weather, it can be something inside of the characters themselves. All these should be factors in a good fight scene.

Finally, leave room for the artist to work their magic. When working plot instead of full script, I often just gives the basics to the artist – what’s at stake, what are the beats in the action, what is the outcome – and let them choreograph it. The artist is not your hands; the artist is your partner.

It boils down to this: you’re telling a story and that involves conflict. Conflict reveals character – who someone is as opposed to who they think they are. A fight scene is that conflict in its most physical, graphic form but it’s still part of the story. When in doubt, tell the story.

MONDAY: Mindy Newell

Transformers 3 Comes to DVD on January 31

HOLLYWOOD, CALIF. (December 27, 2011) – From director Michael Bay and executive producer Steven Spielberg, in association with Hasbro, Paramount Pictures’ global smash hit Transformers: Dark of the Moon returns to Earth January 31, 2012 in a four-disc Ultimate Edition Blu-ray 3D, Blu-ray and DVD combo pack with UltraViolet™ and a Digital Copy.  A must-own film for every home media collection, Transformers: Dark of the Moon features “jaw-droppingly amazing 3D” (Harry Knowles, AintItCool.com) and fan-favorite characters OPTIMUS PRIME, BUMBLEBEE and Sam Witwicky amidst bigger and more spectacular action in an adventure that surpassed its predecessors to earn over $1.1 billion at the worldwide box office and become the #4 biggest movie of all time at the global box office.

Bursting with nearly four hours of sensational behind-the-scenes footage, cast and crew interviews and more, the Transformers: Dark of the Moon Blu-ray 3D, Blu-ray and DVD combo pack delivers blockbuster entertainment.

“This Blu-ray 3D of Dark of the Moon will blow you away.  If you’ve been waiting for the right time to get a 3D television, this is it,” said director Michael Bay.  “For fans who’ve been waiting patiently to bring Dark of the Moon home, this Ultimate Edition release delivers the goods.”

And, for a limited time, all three eye-popping films in the Transformers franchise will be available in a 7-Disc Limited Collector’s Edition Blu-ray Trilogy featuring each film in high definition, Transformers: Dark of the Moon in high definition 3D, more than 10 hours of special features and a plaque of movie images signed by Bay. (more…)

“X-Men Origins: Wolverine” pirate gets a year in prison

“X-Men Origins: Wolverine” pirate gets a year in prison

  • News
  • December 21, 2011
Cover of "X-Men Origins: Wolverine (Singl...

One wonders if somebody at Marvel is thinking about doing the same thing to comic pirates…

A New York man has been sentenced to a year in federal prison for illegally uploading and distributing a copy of “X-Men Origins: Wolverine” before the movies premiere.

Forty-nine-year-old Gilberto Sanchez was sentenced Monday in Los Angeles federal court. The judge also imposed a year of supervised release and numerous computer restrictions.Sanchez pleaded guilty in March to one count of uploading a copyrighted work being prepared for commercial distribution.

Prosecutors say he admitted uploading a “workprint” copy of the 2009 film about one month before it was released in theaters, then publicizing the upload on two websites.Prosecutors said in court documents that the film proliferated like wildfire throughout the Internet, resulting in up to millions of infringements. Sanchez has a prior conviction for a similar offense.

via NY man gets 1 year in prison for X-Men piracy – Yahoo! News.

Watch “The Hobbit” Trailer

Watch “The Hobbit” Trailer

  • News
  • December 21, 2011
Martin Freeman

Martin Freeman (Image via RottenTomatoes.com)

Ten years and a day after The Lord Of The Rings: The Fellowship Of The Ring arrived in theaters (yes, it really has been a decade since the first film was released) the trailer was released for the prequel, The Hobbit: An Unexpected Journey.

The film will be out next December, and stars Martin Freeman as Bilbo Baggins, with Elijah Wood, Ian McKellen, Cate Blanchett, and Andy Serkis reprising their roles. Peter Jackson returns to direct.

Watch it, then discuss it below in the comments.

[youtube]http://www.youtube.com/watch?v=G0k3kHtyoqc[/youtube]

 

Uwe Boll Talks In the Name of the King: Two Worlds

  • News
  • December 20, 2011

intotk2bd-300x376-9251619Director Uwe Boll is no stranger to video games or controversy but remains indefatigable and is back next week with In the Name of the King: Two Worlds, his sequel to the 2006 film he made based on the Dungeon Siege video games. The new film, his twenty-fifth, stars action hero Dolph Lundgren and is a direct-to-video release from Twentieth Century Home Entertainment.

The German –born Boll spoke exclusively with ComicMix to talk about the film and his approach, which ignores his critics, many of whom cite him as the worst director working today. In turn, Boll has challenged them to box, to see who is the better person but our conversation was far from combative.

ComicMix: This is your first sole directorial work. Any reason why?

Uwe Boll: In the past, I was more a producer, such as with Alone in the Dark. Normally I’m the director, producer,, and sometimes the writer. I think it came to an opportunity to get the financing completely through Canada; so I said, “Absolutely, let’s go for it.”

CMix: Why a sequel to a dormant video game?

Boll: I liked the Bloodrayne film series,  and I don’t always do sequels. I liked the first movie a lot, and while I didn’t have the financing to make a big sequel, I came up with a time traveling idea for a brand new story. It brings a little humor to the story and with a guy like Dolph, with his bone dry humor; he’s very intelligent, not a guy who can have long speeches. He’s more a character from the present, and I have all these kinds of things, sending him back to the medieval time, he can wander around asking, “Where is the toilet, can I drink this water?”

It’s an interesting new storyline, not just “let’s make a second part but only cheaper”. It’s better to be completely new, and I am actually happy with the movie. It has a lot of humor; it’s quick and entertaining. (more…)

FORTIER TAKES ON GIDEON’S SWORD FROM PRESTON AND CHILD!

  • News
  • December 16, 2011
ALL PULP REVIEWS-by Ron Fortier
GIDEON’S SWORD
Preston & Child
Vision
380 pages
In 1995, thriller specialist Douglas Preston and Lincoln Child joined forces to write a best selling novel titled, “The Relic.”  In the process, they created one of the most popular action suspense heroes ever to appear on the printed page; FBI Special Agent Pendergast.  Although the book was a big success and later adapted to film, it was the creation of Pendergast that would be remembered. It has always been my personal belief that the character’s instant popularity surprised the two and they wasted no time in bringing him back in further adventures.  Enough so that with each new Pendergast book, his fame among action devotees continued to spread and today he has a huge, loyal following.
When the pair announced, last year, that they had created a brand new series hero and would be releasing his first book in 2011, the news spread like wildfire across the book world. Eager fans soon learned the new character was named Gideon Crew and the authors had clearly set out to make him as different from Agent Pendergast as they could.  We were also informed, via their website, that a major Hollywood studio had optioned the film rights from the galleys alone.  Obviously the marketing machines were moving in high gear.  The hardback arrived earlier this year to resounding critical acclaim and as of a few weeks ago the paperback edition which is what I’ve just finished reading.
Unless one has never read a Preston & Child Pendergast book, it would be impossible for anyone to read “Gideon’s Sword” without constantly comparing the two fictional heroes. What I appreciated immediately was how the writers set about breaking convention and actually giving this premier outing not one but two separate stories.  If the casual reader picks up the title based solely on the back cover blurb, he or she is going to expect to find a typical revenge drama wherein Gideon Crew goes after the people responsible for his father’s death when he was only a child.  This entire opening section of the novel serves brilliantly in defining our protagonist and giving us a complete origin history.  In a few chapters we learn who he is, what he has done with his life and where those choices have taken him.
But when that first plot is resolved effectively in the first quarter of the book, I found myself both surprised and delighted.  Suddenly the book seemed to take a detour down an entirely different road, one that led to the unknown and unexpected.  Crew is recruited by a unique organization in the employ of the government to become an independent spy.
The logic, according to this top secret “engineering” outfit is Crew’s own anonymity in the world of espionage is his greatest asset, one that will give him the advantage over competing foreign agencies.
His first assignment is to retrieve an important formula from a supposedly defecting Chinese scientist. But when that fellow is murdered upon his arrival in New York, Crew finds himself locked in a deadly race with a merciless assassin to retrieve the mysterious data.  Adding to the puzzle is no one knows what the secret really is.  At this point, Preston & Child do what they do best and that is amp up the pacing so that the story and action begin to accelerate exponentially from chapter to chapter until their over-the-top climax arrives, leaving this reviewer with finger blisters from turning the pages so fast.
“Gideon’s Sword” is a top-notch pulp thriller worthy of any fans attention and support.  As to whether Gideon Crew lives up to his predecessor’s well earned status among loyal readers is another matter.  There were many things I liked about Crew, but again this was only a first meeting and I’m going to reserve the thumbs up or down until at least one more book.  There is a rather important plot element regarding the character’s future that I’ve purposely avoided detailing here. It is one you need to discover for yourself.  I won’t spoil it for you.  Read the book and then we’ll talk.

Rise of the Planet of the Apes

When I first saw Planet of the Apes, I was struck by the bleak tone given it by director Franklin J. Schaffner, which seemed to fit the story of astronauts trapped on a world that ultimately proved to be Earth. I was stunned into silence, feeling morose and excited by the adventure right down to the slow reveal at the end.

Ever since, I have always felt the sequels and remakes totally missed the mark, none of them ever quire finding a vision to match the original. It’s probably one reason it has continued to endure long after most people put the Tim Burton remake out of their minds.

The sense of style and empty future evoked by the first film is also absent in the prequel, Rise of the Planet of the Apes, which came out on DVD this week. This film, directed by Rupert Wyatt, does a very good job in setting events in motion that ultimately will lead man and simian to virtually switch places atop the food chain. We have a pharmaceutical company exploring a therapy for Alzheimer’s patients that seems to show promising results in improving cognitive function. The brilliant scientist Will Rodman (James Franco) wants to test it on humans, but a convenient accident so angers the Board that they shut down the project. As a result, he secretly tests it on his father (John Lithgow), deep in the Alzheimer’s grip. No surprise here: it works.

The accident results in the first of the movie’s many story flaws. Apparently, they were testing the drug on a monkey that was pregnant but no one knew it. Sorry, you do drug tests after doing full medical histories to develop a baseline measure. But, she dies and only then is the infant found and surreptitiously brought home.

The serum in mom’s blood meant the baby chimp, named Caesar, inherited these vastly improved mental abilities. We then watch the chimp grow and demonstrate time and again how special and seemingly human he is. Along the way, Lithgow and Caesar come to love one another much as Franco falls for vet Frieda Pinto.  Unfortunately, we learn that Lithgow’s body had developed antibodies, combating the serum and letting the disease ravage his body anew. The problems develop when the arrogant neighbor next door attacks a befuddled Lithgow and Caesar comes to his rescue only to wind up taken away by the courts and is taken to a primate facility which reminded me a lot of Lord of the Flies. (more…)

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