We’re still savoring the goodness found in the Superman and Lord of the Rings treasure chests but now we have something to put on our Christmas list. Coming in October is a Blu-ray box set of the three Jurassic Park films and there’s something to recommend in all three. Here’s the formal release:
Universal City, California, June 27, 2011 – The wait is finally over to experience one of the most anticipated motion-picture trilogies of all time like never before whenJurassic Park, The Lost World: Jurassic Park and Jurassic Park III debut as a trilogy set on Blu-ray™ October 25, 2011 from Universal Studios Home Entertainment. Acclaimed filmmaker Steven Spielberg’s award-winning cinematic franchise, based on the best-selling book by Michael Crichton, generated nearly $2 billion combined at the worldwide box office and featured groundbreaking visual effects that changed the art of movie-making forever. Now, all three epic films have been digitally restored and remastered in flawless high definition for the ultimate viewing experience. Additionally, the films’ visceral sound effects and the unforgettable music from legendary composer John Williams can now be heard in pristine 7.1 surround sound. Arriving in stores just in time for holiday gift giving, this collectible three-movie set also features hours of bonus features, including an all-new, six-part documentary and digital copies of all three films that can be viewed on an array of electronic and portable devices anytime, anywhere. The Jurassic Park Ultimate Trilogy is also available on DVD, as well as in a spectacular Limited Edition Blu-ray Trilogy Gift Set which includes a custom T-rex dinosaur statue. (more…)
Season of The Witch follows a 14th century Crusader Behmen (Nicholas Cage) and his brother in arms Felson (Ron Perlman) leave the church crusaders and return to their homeland only to find it devastated by the Black Plague. After the Church finally catches up with them, they demand the two to transport an accused witch to a remote and sacred abbey. The accused witch is believed to be to root of the Plague. They must struggle to survive and reach the abbey – where they discover there are much darker forces at hand and saving mankind might be harder than originally thought.
In celebration of Season of The Witch, which is out today on Blu-ray & DVD, 20th Century-Fox Home Entertainment compiled some of their favorite “Cage sayings” both from his epic films and from “real life”.
Behmen (Season of The Witch): “I pity any man whose last face they see is yours Felson.”
Johnny Blaze (Ghost Rider): “He may have my soul, but he doesn’t have my spirit.”
Ben Sanderson (Leaving Las Vegas): “I came here to drink myself to death.”
Dr. Stanley Goodspeed (The Rock): “I love pressure. I eat it for breakfast.” (more…)
We have come to love Zack Snyder’s visual style, attention to detail, and ability to adapt comics to the silver screen. But, we don’t really have a sense of what he can do on his, without someone else’s work to rely on for inspiration. That is, until this March when he unveiled Sucker Punch, a personal project that had been gestating in his mind for years and he finally was given the opportunity to make it a reality.
Some reality. The mind-bending storyline is a visually and aural feast but is somewhat soulless and cold, not just from the over-reliance on CGI for background and texture but for the total lack of attention to characterization. Like the computer backgrounds, everything is on the surface, giving the cast little to work with, turning them into two-dimensional players on his digital chessboard. Most of that explains why the film fizzled both critically and commercially. In case you missed it, the movie is coming to DVD on Tuesday from Warner Home Video and packs a lot of meat into what feels like a snack.
The story, what there is of it, spotlights 20-year-old “Babydoll” (Emily Browning), confined to a mental institution in the 1960s by her abusive step-father (Gerard Plunkett). She’s locked away because she refused to submit to his unwanted sexual advances, although he claims she was responsible for the death of her younger sister. He exacts revenge by paying off the corrupt attendant Blue Jones (Oscar Isaac) to have her lobotomized, allowing him to solely inherit Babydoll’s inheritance.
The remainder of the film watches Babydoll plot an escape, while befriending fellow inmates — Amber (Jamie Chung), Blondie (Vanessa Hudgens), Rocket (Jena Malone), and Rocket’s older sister, Sweet Pea (Abbie Cornish) — who are being taught sexually provocative dances by the lead psychiatrist Dr. Gorski (Carla Gugino). Babydoll convinces them to help her plan their escape and she mesmerizes people with her own dances and each time she and the audience segue into an action-packed dream sequence. We never see Babydoll dance but there’s plenty of compelling visuals to occupy us while the girls steal the tools needed to enact the plan. Her dreams are directed by a Wise Man (Scott Glenn impersonating David Carradine). (more…)
Jessie Lilley has been publishing and editing small press magazines for 20+ years. She is the original publisher of the much acclaimed Scarlet Street: The Magazine of Mystery and Horror, Worldly Remains: A Pop Culture Review and is currently Editor-in-Chief of Mondo Cult Magazine and MondoCult.com as well as Editor of Famous Monsters of Filmland. Jessie is only the fourth editor of FM since it first published back in 1958. Her freelance work has appeared in the pages of Los Angeles’ Valley Scene Magazine and Perth, Australia’s Messenger along with a host of small press publications and websites related to horror films and music.
Jessie also edits biographies, including the memoir GLORIA by Bond-girl Gloria Hendry; an in-depth and candid look at the life of an African-American actress coming up in the extraordinary time known simply as ‘The 60s”. It is currently available at amazon.com. Another project which was completed in the fall of 2009 is the biography of character actor Paul Reed, Sr. by his son Paul, Jr. A delightful remembrance by a loving son and a retelling of the stories his father told him about making a mark in “the business” in early 20th century New York City. Entitled You Grew Up, the book is available from Bear Manor Media and amazon.com. Jessie is currently editing a series of children’s books called Rowdy and Me. The first in the series, Rowdy Comes Home, is due to hit bookstores later this year.
Jessie lives in Santa Cruz County, CA at the top of a hill at the end of the road with her husband, musician David Paul Campbell, four sleek, rescued cats and various, visiting doggies.
AP:Jessie, first we’d like to welcome you to ALL PULP!Thank you for taking time out of your schedule to visit.Before we get into specifics, can you share a bit about yourself, your background and such?
JL: it’s my pleasure to talk with you and thanks so much for including me in All Pulp with the likes of such luminaries as Martin Powell. I’m flattered. There really isn’t much to tell. I was brought into this business via the back door, kicking and screaming all the way. Richard Valley, who had dragged me down the rabbit hole with him several times in our 20 year friendship, did it to me again with Scarlet Street. From there, things seemed to just move along to the coveted chair that I hold today. Being Editor of Famous Monsters is truly an unbelievable opportunity for me. Philip Kim flatters me with the position which I’ve held for over a year now.
AP: You’ve been involved in the Horror arena for some time, including working with such luminaries in the horror magazine field as Forrest J.Ackerman.Has the field of horror changed dramatically since you became a part of it, particularly in the magazine arena?If so, how?
JL: You know, Forry had names for everyone. Brad Linaweaver was always “pal” and I was Wonder Woman. I was very lucky to have known the man and will always be grateful for the time I was able to spend with him. God, how that man loved his music. A love of all kinds of music was something he and I shared. Between us, we knew more lyrics than my husband. (Laughs) And that’s saying something! But you asked if the horror field has changed since I got into it in 1990. It certainly has. For one thing, the state of the US and world economy has removed 99% of the disposable income folks use to enjoy. These days if you’re making $75K a year, you’re just scraping by so those of us who make a lot less than that are just barely off the streets. The internet seems to have come along at just the right time for the news hungry populace that doesn’t have the extra change for a daily paper, let alone a monthly magazine at anywhere from $6 to $12 a pop. And those lower prices are amazing. I know what it costs to get one of these things printed and as I refuse to print overseas, it costs even more. Advertising has become extremely important to print mags at this point, even more than in decades past. Without the advertising income, a magazine like FM would be in a whole lot of trouble.
Jessie with Forrest Ackerman
And of course, the second thing that’s changed regarding the magazine arena is the aforementioned internet. There are countless web-only zines out there spreading the word and most any print mag worth its salt has a website to go with it as well as a forum where, hopefully, the magazine’s readers come to chat about the articles they’ve read and what they’d like to read about in the future.
That part hasn’t changed. We still want to know what the reader wants information on so we can continue to have those people as readers.
AP:Why is horror a popular genre?More so than most of the others, Horror seems to have a very active, committed community following and supporting it.Why is that?
JL: Because it’s fun. Because it’s easier to take than the evening news. Because it brings back memories of our youth, when times were better (they tell me) and life was simpler (they continue to tell me – it wasn’t you know, it just seemed that way because we were kids) and the world was new and fun. Horror helps keep the world fun. In the world we know today, that counts for a whole lot.
AP: Has the fact you’re a woman working in the Horror field been a benefit or hindrance, or maybe even both, in any way?Do you feel like women contribute something different within Horror that men do and if so, what?
JL: I get that question a lot and I’ve answered it a lot, but am happy to reiterate my thoughts on the matter for your readership. It’s amazingly important that people get all sides of this story. I seem to be alone in my thoughts here. There are a lot of women who really don’t like what I have to say so brace yourselves. This question always seems to generate a lot of letters.
I wish to start by saying that my being a woman – and at the time I started in this business a rather comely wench at that (I’m old and fat now) – was never a problem for me.God knows women have been in publishing for decades and while some may say that what I did in 1990 with Scarlet Street was no big deal because of the likes of Helen Gurley Brown (can’t imagine why they’d lump me into that august company, but there it is), the fact is that at the time I was the only female publisher in the horror market. That didn’t last long but for a short while that’s the way it was. So from the git go, my being a woman was a benefit because it was new. I had a different outlook than the boys did and Richard Valley, as editor, had a far different outlook than the other boys did. By 1990 when we put out issue 1, we were all so tired of the same writers writing the same stuff and commenting about each others’ work that we thought it might be time to shake things up a bit with some different viewpoints. We succeeded in that and after I left SS, Richard continued to shake things up in his own inimitable style. He’s gone now, but the legacy he left changed horror publishing forever and I’m proud to have been associated with that project and with him.
As to the second part of your question – and this is where the letters come from – may I say the answer is an emphatic yes. It’s called the mother instinct. Whether a woman has given birth, adopted or never had children, there is something inherent in the female of the species that nurtures. Men are not natural caregivers. Women are. Also, when it comes to beating on male monsters, women are better at it because it’s part of their natural defense mechanism. It’s the lesson life has taught many of us. Very few people out there are really interested in anyone but themselves. There are both men and women in this world that are out for whatever they can get. Being the “weaker” of the species – in theory, if not in fact – women are aware that men (and women too, let’s be fair here) will take any advantage they can and as a result, while a man meeting a man will assume an attitude of bonhomme, a woman’s defenses will always be up. A man can be blindsided by another man’s evil intent but a woman has a better chance of being prepared out of hand.
AP:Horror films can be divided into many categories, one of those being classic monster movies.Do you feel like the old Universal monsters still have a strong appeal today and if so, what do you think contributes to that?
JL: Yes, in fact I know those old films still appeal in the 21st century. I believe they will appeal for decades, if not centuries, to come. Many things contribute to this, I think, and while this is all speculation on my part, it comes from a fairly rich education on the subject. There’s the nostalgia factor of course. When I was a kid, the ‘new stuff’ included the goodies that Roger Corman was putting out, like the Vincent Price Poe films. I saw those at the drive-ins and movie houses. At home though, on TV, I saw the classic horror flicks; those that starred Lugosi, Karloff, Chaney and later, Rathbone and Zucco to name just a few. Wonderful films in black & white, with scripts that were well-written, actors that took the roles seriously and delivered wonderful performances and directors that knew how to scare the pants off an audience – not to mention some really cool make-up.
I’m not the only Monster Kid out here you know. We are legion and many have had kids of their own. The parents still love the old movies and their kids – through the wonder of videotape and now DVD and Blu-Ray – are being exposed to these old favorites along with the new. A large enough percentage of them have fallen in love with the Universal classics and some of those kids – older now and with their own progeny – are showing the films to their kids.
These films were very well done for the most part and the love of them will never die as long as we have recordings of them to show our children.
AP:A current project you have in the works is a new take on FRANKENSTEIN MEETS THE WOLFMAN.What details can you share about this, including format, creative team, where it will appear, etc.
JL: You know, of all the things I’ve worked on with Phil Kim, this project has to be my favorite. For 20 years or more I’ve simply been gaga for the artwork of Joe Jusko. I’ve had a mad fan crush on the guy just because of the spectacular renditions of the male and female forms divine. And his use of color is so wonderfully vibrant. I’ll never stop being in awe of those who paint. Jusko, Stout, Wrightson…. Can’t name them all here. There’s not enough room! These creatures come off the page at you when they turn their talents to paint and canvas, and you know that one night something is going to lumber off the wall and get you while you’re in bed… when Martin Powell started to lobby for the FMTWM project in one of the Retro issues, I – being a Powell fan – immediately started to lobby for it with Phil for Retro 71. Then Martin says to me, he says, “So Jessie. What do you think about the cover artist? I mean, do you know about Joe Jusko?” I almost died right then and there. What a perfect idea. What a spectacular choice. Oh, man! And Joe said yes. And Phil said yes. And I am one very happy camper. It’s like a dream come true. So, the format will be close to the original filmbooks from Forry’s day and that’s all you’re going to get out of me. I know Phil is hoping to have it for Comic Con, but it’s actual scheduled release is September of 2011. If we can get it done in time for Comic Con, we would be bringing a limited number for sale there. That’s’ the last I heard anyway.
AP:We’ve talked about the appeal of the classic monsters already.Specifically, though, what about this particular film adaptation do you think speaks to a modern audience?
JL: The fact is, there was no deep meaning in this film; not that I could see at any rate. The film says the same thing today that it said to the audience back then. Here are a couple of our monsters that you liked before. We thought we’d get them together for you and see what happens. Perhaps that statement will be seen as disrespectful by some, but it is the way I see it. FMTWM was discussed in the pages of Famous Monsters back in the day, but it never got a filmbook treatment. It struck us that it oughta have one and so Retro 71 seemed to be the logical place for it.
AP: As an editor, how do you make sure the tension and drama and fear that builds up in a horror movie translates well enough to the page to have similar effects?
JL: As an editor, you get the best writer for the project. When the writer presents the project and himself as the best writer for the job, you really don’t have to do much. Pretty much be sure all the words are spelled properly and that said writer doesn’t ramble off into areas not necessary to the project. I’ll tell you that working with Martin is quite possibly the easiest job I’ve had in 20 years. The fella knows his stuff. I guess that hardest part of the whole thing is figuring out what else goes in this issue with the filmbook.
AP:Specifically about the creative team behind this project, what do Martin Powell and Joe Jusko bring to the process that makes them the best for the job?
JL: I think other than what I’ve already stated earlier, they bring the thing back to life through the eyes of the children that they once were. Both of these men were so completely overjoyed to be doing this for Famous Monsters that it was almost laughable. Almost, but not quite – because I knew exactly how they felt. I felt the same way when someone told me that, yeah, I was the editor of Famous Monsters now.
AP:Are there any projects for the magazine or yourself personally that you can or want to let our readers know about coming up in the near future?
JL: Oh absolutely! My favorite personal project is issue 3 of Mondo Cult, the magazine I edit for Brad Linaweaver. It’s a completely different gig from FM. I’m looking forward to being able to write about music again, and in a publication that is written for adults. FM is written as a strictly family friendly magazine, which is only proper as that’s where it started out and the idea was to bring FM back in the same vein as it always was. Mondo, on the other hand, started out as a magazine of which I am Editor-In-Chief and I don’t censor my writers. I never pretended the thing was for kids so the language you will find in the pages of Mondo is usually a bit more ripe than that which you will find in FM.
This issue of Mondo Cult is going to rock. I’m really excited about it because I’m finally putting my piece on Black Zoo together. I’ve wanted to write about that film for years and now I have my chance. I think I’ve got a little something to discuss about this film that hasn’t been touched on before. It has to do with women again. What a surprise. Ron Garmon is going after DeSade and Medved and Brad Linaweaver is going after the world in general. Paul Gaita is back as Music Editor and all is right with the world. The best thing though, is the cover. It’s by L.J. Dopp but that’s all I’m going to say about it. You’ll just have to be surprised along with everyone else. We’ll have it on the stands by the end of the year.
AP:Thank you so much for your time, Jessie!
JL: As I said before, it’s my pleasure. Thanks again.
Let’s stipulate upfront that Peter Jackson’s adaptation of J.R.R. Tolkien’s Lord of the Rings may be as perfect an adaptation of the source material as we are apt to get in our lifetimes. From the casting to the visuals to Howard Shore’s amazing score, this movie was a monumental achievement well deserving of its accolades and box office success.
We thought the theatrical releases were stunning until we saw the extended editions released on home video, complete with new bridging score music from Howard Shore so it all feels seamless and not at all tacky. Apparently, Jackson doesn’t consider these to be his director’s cuts or even his final word on the subject, but unlike George Lucas doesn’t appear to be making a career out of tinkering with the trilogy.
Last year, Warner Home Video gave us the theatrical trilogy on Blu-ray and we appreciated them, especially for their extra features on the making of the film, but we wanted the longer, fuller, more complete versions and finally, that day has come. The handsome box set arrives Tuesday and is well worth the investment.
There are three cases within the golden box, each containing two-disc versions of the extended edition along with three discs of bonus features. That’s 15 discs, over nine hours of movies and over 26 hours of bonus material. Try streaming that.
Jackson and co-writers Fran Walsh and Phillipa Boyens boiled the story down to Frodo Baggins returning the One Ring to Mordor where it would be consumed in fire. With that as their through-line, they made the necessary adaptations such as excising Tom Bombadil and Glorfindel, and rearranging lines and sequences to maintain that focus. To Tolkien, he was world-building and mythmaking focused more on lore and language than on characterization, which is where the filmmakers exceeded the source material. They had assembled a stellar cast that bonded in a unique manner allowing material to be tailored to give everyone a little more to do. We, as longtime readers of the material or new to Middle-earth, were taken on a journey that left us wanting more regardless of how long we had been sitting in the theater or living room. That’s a sign of success. (more…)
Written by Basil Dickey, Ella O’Neill, George H. Plympton
Based on the comic strip by Alex Raymond
Say whatever you want about The Internet.It’s done all right by me so far.It’s a never ending source of delight to me that I can find and rediscover movies, books, comics and old TV shows that I thought I’d never see or experience again.But it’s all out there and thanks to the wonderful technology we now have, it’s a joy to be able to relive some of my childhood pleasures.This is one of ‘em.
Set The Wayback Machine for pre-Netflix days, Sherman. (I’m talking about the 70’s and 80’s, folks) when the only way I could see cliffhanger serials from the 30’s and 40’s was to either borrow them from the library and hope the VHS tape hadn’t been dubbed from a poor copy or wait until they were shown on PBS.Usually during the summer PBS would have a Saturday night marathon showing of “Spy Smasher” “Perils of Nyoka” “The Masked Marvel” or “Manhunt of Mystery Island” in their original form.Much more common were the edited versions of cliffhangers that Channel 9 or Channel 11 here in New York would show on Saturday afternoons.15 chapters were edited down into 90 minutes.It gave you a good flavor of what cliffhangers were like but that was all.
But now we’ve got Netflix and it was while accidentally finding they had “King of The Rocketmen” available, I hunted up some other serials as well.Including what is probably the best known and best loved cliffhanger serial of all; FLASH GORDON starring Larry “Buster” Crabbe.The man was known as The King of The Serials due to his playing in serials arguably the three most popular comic strip heroes at that time: Buck Rogers, Flash Gordon and Tarzan.Talk about your hat tricks.
But there’s a reason why Mr. Crabbe got to play such heroes.The cat looks like a hero.He had the genuine square chin, steely eyes and a build most guys would give ten years off their life for.But I think that Buster Crabbe’s real appeal in this serial lay in his Everyman quality.His Flash Gordon isn’t the smartest guy in the room.And he’s okay with that.He’s more than happy to let Dr. Zarkov be the brains of the outfit while he does the dirty work.He’s clever and resourceful.He’s got morals and compassion for the little guy.And when it comes to kicking ass all over Mongo, just step back and give Flash some fightin’ room.
By now, the story is legend.The planet Mongo is hurtling toward Earth on what appears to be a collision course.Earth’s weather is going crazy as well as the populace.Flash Gordon is on one of the last cross country flights as he wishes to be with his scientist father when the end comes.Also on the plane is Dale Arden (Jean Rogers).Due to the severity of the weather, Flash and Dale are forced to bail out by parachute and happen to land right near the spaceship of Dr. Hans Zarkov (Frank Shannon) who talks them into a suicide mission to fly through space to the planet Mongo and somehow stop it from crashing into Earth.
Flash and Dale agree to go along and our intrepid heroes successfully make it to Mongo where they are promptly captured by Captain Torch (Earl Askam) who takes them to his Emperor: Ming The Merciless (Charles Middleton) who rules Mongo by fear and terror.Ming and Flash take an instant dislike to each other.However, Ming’s daughter Princess Aura (Priscilla Lawson) falls immediately in love with Flash and tries to save him when her daddy throws Flash in the Arena of Death with three brutal ape men.Now mind you, this is just the first chapter and I didn’t even describe half of what happens.
The next 12 chapters are a goofy blizzard of classic space opera pulp adventure as Flash and his friends are chased, captured, enslaved, escape, battle and struggle against Ming while making friends and allies with Vultan (John Lipson) King of The Hawkmen, Prince Barin (Richard Alexander) the rightful ruler of Mongo and Prince Thun (James Pierce) of The Lionmen.
First off let me say up front that you have to have a love of this kind of thing from Jump Street or at least be curious to learn more about this genre.This entire serial was made for less than a million bucks which today wouldn’t even pay for the catering for some of today’s movie.So we’re talking about production values that are downright laughable by today’s standards.The acting is nothing to brag about.But it is sincere.Buster Crabbe sells it with all his heart.When he’s up there on screen he convinces you that he’s in the deadliest of peril even while fighting the most obvious rubber octopus in the history of movies.And the rest of the cast follow suit.Especially John Lipson as Vultan who I was afraid would belly laugh himself a hernia, that’s how much he’s enjoying playing the Falstaffian King of The Hawkmen.
Jean Rogers as Dale Arden is kinda blah, even for this material.She mostly just stands around looking gorgeous in her flowing, gossamer robes.Mongo must really be hard up for women since everybody who meets Dale wants to marry her.Her contribution to the story consists of either fainting or screaming at least once every chapter.I gotta give her props, though.Not many actresses even today could give so many inflections to one line; “What have you done with Flash?” which is usually all she gets to say.
Princess Aura is much more fun to watch as she’s the real woman of action here.She’s always pulling a ray gun on someone, even on her own father to rescue Flash.Something she does a surprising number of times.There’s even a scene where Aura tells Dale that if Dale really cared about Flash, she’d do something and not just stand there cramming her fist in her mouth to hold back yet another scream.Whenever she hears Flash has been captured yet again, Aura grabsthe nearest ray gun, holds up her dress so as not to trip and runs off in her marvelously high heels to save him.
Frank Shannon is amazing as Dr. Hans Zarkov, one of the greatest Mad Scientists in fiction.There’s a scene in the spaceship that made me laugh out loud:Our Heroes are heading for Mongo when Flash asks Zarkov if he’s ever done this before.Zarkov admits that he hasn’t but he’s tested with models.“What happened to them?” Flash asks.“They never came back,” Zarkov sheepishly admits.If you watch this serial, check out the expression on Flash’s face.Priceless.
And while I’m sure that Mr. Crabbe didn’t mind having to wear shorts through the whole production, I would think Frank Shannon and Richard Alexander did since they don’t have the legs to pull that look off.At least Charles Middleton didn’t have to.He doesn’t have the fabulous wardrobe Max Von Sydow sported in the 1980 movie but he does have the sufficient gravitas to make us take Ming seriously.Flash Gordon vs Ming The Merciless is one of the most celebrated hero/villain pairings in heroic fiction and I believe it’s largely due to the work Mr. Crabbe and Mr. Middleton do in this serial as well as the two sequels.They are never less than convincing and in their best moments they make us forget the cheapness of the production.
So should you see the 1936 serial version of FLASH GORDON?It depends.Are you just looking for a casual Friday or Saturday night movie? Thengo Netflix the 1980 version starring Sam J. Jones as Flash and Max Von Sydow as Ming with the absolutely kickass Queen soundtrack.
But if you consider yourself a student of pulp fiction, of heroic fiction in film, of the cliffhanger serial or of the science fiction movie genre or of just plain movies then I say that there is no way you can call yourself a student of any/all those genres and not watch the 1936 FLASH GORDON at least once.It’s the great-grandfather of 90% of filmic space opera that came after it and need I remind you that the major reason George Lucas created “Star Wars” is because he couldn’t get the rights to do FLASH GORDON, which is really what he wanted to do.If things had turned out different we might have been watching Flash Gordon, Prince Thun and Prince Barin wielding those lightsabers.
Ideally you should do it the right way and watch one chapter a week on Saturday to get the real effect of watching Saturday morning cliffhangers but I’m a greedy bastard and watched it all in one day with 15 minutes breaks in between.No, it’s not the same but I kinda think that after the first two of three chapters, you’re gonna keep watching.
Taken as a cultural artifact it is a superior example of a style of film storytelling that isn’t done anymore.As a gateway drug into pulp in general and as cliffhanger serials in particular, there are few better examples than FLASH GORDON.Load it up on Netflix and enjoy.
FLASH GORDON has no rating but be advised that it is a culturally and racial insensitive movie by our standard today.If you’re willing to overlook that and understand it was made in a less socially enlightened time, fine.If not, give it a pass.
Well, just over a year after Avatar encouraged the Hollywood machine to overhype 3-D movies to the point where the fad is already fading fast, the hunt is on for the next great thing. Dimension Films thinks they have the solution, announcing that this summer’s fourth installment of the Spy Kids franchise will introduce the fourth dimension with Aromascope.
Of course, adding smells to movie (as opposed to movies that just smell) is nothing new, dating back to 1906 when canny filmmakers scented cotton wool and placed them in front of ventilators. Much as is happening now, after 3-D faded in the 1950s, people sought new gimmicks ot keep people away from the television and flocking to the theater. Italian director Carlo Lizzani called his process “AromaRama” and used it to screen Behind the Great Wall, a travelogue through China.
Hans Laube createdSmell-O-Vision used in 1960’s Scent of Mystery. Thirty different odors were released at key points during this thriller.
And there was John Waters weho had people scratch and sniff in the 1980s.
So really, everything that’s old is new again.
For the curious, here’s the Dimension release:
New York, NY, June 24, 2011 – Dimension Films announced today that SPY KIDS: ALL THE TIME IN THE WORLD is taking moviegoers to a whole new dimension in 4D with Aromascope.
Cutting edge filmmaker and director of the highly popular SPY KIDS franchise, Robert Rodriguez, was one of the first to re-introduce audiences to 3D since its inception in the 1950s. After many years away from the cultural mindset Rodriguez brought back a whole new wave and rebirth of 3D into mainstream cinema in 2003 with SPY KIDS 3-D: GAME OVER. The film impressed and entertained audiences and went on to gross close to $200 million. (more…)
Mixing genres can be fun. Take a traditional western story and set it in outer space. Take a submarine thriller and set it during the Civil War. Transplant a samurai to the western frontier. Should work, right?
The Warrior’s Way, a modestly budgeted flop from last year, is such a collection of joyless clichés that a sure-fire gimmick fails to impress, let alone entertain. The film, coming out this week from 20th Century Home Entertainment, had the makings of something fun or compelling or something instead of arriving limp
Yang (Jang Dong Gun) is an assassin for a clan in blood feud with a rival group. Without expression, he slices and dices his way through the opponents, turning the Japanese roads red with spilled blood. All that now remains is an infant girl and rather than kill her, he takes the babe with him and heads east to America. Somehow, other members of his clan find out this innocent child remains breathing and fear a renewal of the rivalry if she’s allowed to live, so they sail in search of Yang.
The stoic Asian arrives in a late nineteenth century town to seek a friend, who has died. Encouraged by Lynne (Kate Bosworth) to reopen the laundry, she teaches him how to wash clothing and a bond slowly forms. The oddball town has the local drunk with a past, Ron (Geoffrey Rush), and a carnival in residence, its misfit performers led by Eight Ball (Tony Cox). Life settles down and Yang becomes part of the fabric, enjoying the simple things such as planting a garden and delighting in the baby’s development.
Lynne, though, is a tortured soul, having seen her family gunned down by the corrupt ex-Army colonel (Danny Huston) who tried to rape her a decade earlier. When the Colonel returns to town, Lynne tries to exact revenge but is endangered. Yang is then forced to unseal his katana and defend her. The act, though, lets the sword sing, a sound heard leagues away by his clan who come seeking the baby.
After that it gets messily predicable until the end credits. We’ve seen the archetype characters before, all better written and the American cast has certainly done better work in similar roles. Even the wire work felt familiar and uninspiring. There’s little wonder the $42 million film grossed barely over $11 million worldwide. Been there, done that and done far better. This is neither clever or original, funny or a touching homage to what’s come before. This is just a clear misfire from the first frame forward.
I will give the video transfer props for looking great and the score sounds lovely. There are scant extras: a two minute production montage and 12 minutes of mildly interesting deleted scenes.
Analysts gaze into a crystal ball and make educated guesses about how well a film will open. This week, they used a Power Battery instead and suggested that Warner Bros’ Green Lantern would open between $50-60 million. Box Office Mojo just released the numbers and they are estimated the Emerald Crusader brought in $52.7 million, placing it at the lower end of the spectrum.
For comparison purposes, a month earlier, Thor, one of Marvel’s ongoing series of films, opened with a god-like $65,723,338. GL’s modest numbers certainly have to be disappointing to both Warner and their DC Entertainment division. Mixed to negative reviews from the mainstream media no doubt blunted the film’s opening weekend so the better indicator of its changes will be next weekend when we gauge how much of a drop off there has been. This would be the “word of mouth” barometer and a chance for the fans to spread the gospel or take in a repeat showing.
No doubt 3-D fatigue is also a factor in the lower numbers despite being shown on approximately 2700 screens. That recent trend has shown that 3-D may actually be once more a fad and not a new form of entertainment. The jury remains out on this issue.
Coming in second was Super 8, the original thriller from J.J. Abrams. It took in $21.3 million for a two week total of $72.8 million.
In third place was the debut of Mr. Popper’s Penguins, adapted from the popular children’s book, starring Jim Carrey. It took in just $18.2 million demonstrating recognizable name value doesn’t always bring in audiences. It certain show how far Carey’s marquee value has dropped.
Speaking of Marvel, their X-Men: First Class nabbed an addition $11.5 million in its third weekend, totaling a pleasant $119.9 million, almost ensuring it a sequel order any minute now.
Warner no doubt is taking comfort in the wild success of The Hangover II, which earned an additional $9.6 million for a cumulative total of $232.7 million after four weeks.
The Ryan Reynolds action flick, directed by Martin Campbell, was made for an estimated $150 million with a nearly equal amount spent on marketing and promotion. It was plagued with a weak debut trailer in November that meant a new plan needed be created. The spring buzz turned around after several minutes were shown at Wonder Con and a steady stream of new trailers helped reshape public opinion.
Box Office Mojo Editor Brandon Gray has written that any opening short of $70 million would make a sequel questionable despite Warners already asking for script treatments. Obviously, worldwide box office may turn the tide as an increasing percentage of a film’s performance is now coming from overseas markets.
Here’s the skinny: Warner Home Video is finally unleashing the extended versions of the Lord of the Rings Trilogy on Blu-ray this coming June 28. As part of the celebration, Warner Bros is hosting midnight screenings to remind you of just how cool these movies are. What follows is the formal press release. Our review of the handsome box set with its hours and hours of bonus material will be on hand next weekend.
Burbank, Calif., June 17, 2011 — On June 28, Warner Home Video will release all three of Peter Jackson’s visual masterpieces on Blu-ray in a 15-disc stunning collection entitled The Lord of the Rings™ The Motion Picture Trilogy: Extended Edition.To celebrate the occasion, Warner Home Video has announced a count-down to “Middle-earth Midnight Madness” celebratory event at Best Buy’s West Los Angeles location, 11301 W. Pico Blvd., where fans can join in the anticipation of the magic moment when they’ll finally be able to own the new extended edition trilogy on Blu-ray. (more…)
We’re still savoring the goodness found in the Superman and Lord of the Rings treasure chests but now we have something to put on our Christmas list. Coming in October is a Blu-ray box set of the three Jurassic Park films and there’s something to recommend in all three. Here’s the formal release:
