Tagged: film

INTERVIEW WITH WRITER MARTIN POWELL ABOUT MONSTERS!!

AP:  Martin, thanks for joining ALL PULP once again for an interview.  Can you catch us up to speed on some of the things you’ve been doing since your last visit?
POWELL:  Thanks for asking me back.  It’s been a crazily busy time since we last spoke.  I’m writing several new comics, graphic novels, and co-writing a screenplay, as well as a top secret new pulp prose novel featuring a very famous classic character.  Also, I have a new novella for teens about to be published.  There’s a lot going on here.  I’m not sure where to begin.
AP:  You are involved in a very special project, one that means a lot to you both professionally and personally.  Talk a bit, if you would, about the professional aspects of FRANKENSTEIN MEETS THE WOLF MAN, how you became involved, the process of getting the project going, etc.?
POWELL:  I’ve written a vintage-style “filmbook” treatment of the classic Universal movie FRANKENSTEIN MEETS THE WOLF MAN for the newly resurrected Famous Monsters of Filmland magazine.  Fans of the magazine will know exactly what I mean, but to clarify, this will be a pulpy prose version of the story as adapted from Curt Siodmak’s original screenplay, profusely illustrated with photos from the film.  This is one of the secret projects I’ve been teasing about on Facebook for the past few months.  I pitched the proposal around last Halloween to editor Jessie Lilley, and she was wild about it.  Next, we approached Joe Jusko for the cover.  There was no other artist better suited and we were absolutely thrilled when he enthusiastically agreed.  Joe loves this stuff as much as we do, and he created a magnificently monstrous cover painting.
AP:  One question is why?  Why does a classic monster movie need the sort of adaptation you’re giving it decades after it was released?
POWELL:  Because this version of the movie has never been seen before, containing several scenes that were cut from the released film.  In my filmbook, Bela Lugosi’s Frankenstein Monster is blind, and will speak, as Siodmak originally intended. Think of it as a sort of “Director’s Cut” of a long-cherished classic monster movie.  Today, there are almost always novelized paperbacks of current hit movies, and FRANKENSTEIN MEETS THE WOLF MAN was a ground-breaking blockbuster at the box office, and deserves the very same attention today.
AP:  How do you as a writer take this entire concept, including the very classic, but also in some views very stereotypical portrayals of these monsters and make it appeal to a modern audience?
POWELL:  In no way do I consider these characters “stereotypical.”  Someone might as well say Superman, Sherlock Holmes, or Tarzan are stereotypes.  The Frankenstein Monster and the Wolf Man are legendary archetypes of the cinema, and will far outlive the soulless slashers and the zombie-glut of today.  I doubt there are very many kids over the age of six, anywhere in this country, who can’t name the classic monsters by sight, even if they’ve never seen one of the old movies.
AP:  What does this being a feature in a magazine add to the concept, if anything?  Why this particular medium?
 POWELL:  It’s not just any magazine—this is Famous Monsters of Filmland!  As co-created by the late, great Forrest J Ackerman, it’s been the single most influential publication of my life.  This is a national magazine with a tremendous readership, and there’s no greater home for this project.  I can hardly express how exciting it is to be the writer of a cover feature in this iconic magazine!
AP:  All right, now let’s talk about your personal affection for these characters.  Why do these monsters mean so much to you?
POWELL:  That’s tough to describe, but I’ll try.  I was sick a lot as a little kid and Famous Monsters of Filmland magazine served as a sort of security blanket for me every dreaded time I went to the doctor’s office. FM never, ever failed to make me feel better.  I was a monster movie fanatic, and my older brothers have told me that Boris Karloff and Bela Lugosi were the first movie stars I recognized on TV.  FRANKENSTEIN MEETS THE WOLF MAN was only the second Frankenstein film I ever saw—and also was my first encounter with the Wolf Man—when I was six years old, and I was utterly fascinated.  When I first read Mary Shelley’s Frankenstein novel at the age of eleven, it was a life-defining moment.  That book, and especially the Boris Karloff films, changed me forever and I’ve never been the same since.
AP:  Horror in recent years has moved away from Frankenstein, Wolf Man, Dracula, etc., and more to the visceral slasher type killers and the torture types.  Why do you think this has occurred?  And can the classic monsters and the stories those movies told be made viable again?
 POWELL:  Personally, I feel these slasher/torture movies represent lazy storytelling.  Somewhere, somehow, the horror film became the gross-out film, with visceral effects replacing story and performance.  To each his own, but I don’t find that sort of thing very entertaining.  The classic monster movies have their peaks and valleys, but they’ve always returned to the screen and to new popularity.  It’s happening again already.  I recently read in Variety that no less than a half-dozen new Frankenstein films are currently in production in Hollywood.  Plus, there’s The National Theatre’s brilliant new Frankenstein stage play by Danny Boyle and Nick Dear, where actors Benedict Cumberbatch and Jonny Lee Miller alternated the roles of Victor Frankenstein and the Creature.  The play was a huge critical success and a phenomenal sell-out hit.  Audiences are always ready for something done exceptionally well.
AP:  This is a Pulp news site.  Some would, and actually have, argued that things such as movie adaptations of classic monster tales and other such things don’t qualify as Pulp.  How would you respond to that?
 POWELL:  ‘Pulp’, at least as I understand it, is difficult to contain with such a narrow view, and by its nature has a very broad definition.
AP:  You’ve also got a ton of other projects going.  Care to share any information on what you can talk about?
 POWELL:  Well, I’m the writer for the continuing comic book series of THE SPIDER, for Moonstone, including a Halloween Special issue with artist Jay Piscopo, whom I’m very excited to be working with again.  And speaking of my favorite holiday, my teen-readers mystery novella THE HALLOWEEN LEGION will be published later in the summer, and is probably the most personal project I’ve ever written.  Also, I’ve just been contracted for a number of graphic novels coming from Sequential Pulp Comics, an imprint of Dark Horse Comics, including an exciting collaboration with my favorite author, Edgar Rice Burroughs, which will be happily teaming me again with my good friend, and Golden Lion Award Winner, illustrator Tom Floyd.  Very shortly, I’ll be co-writing the screenplay for a new murder mystery set in the 1920s, but there’s not much more I can say about that right now.  Most importantly, I’m surrounded by the things I love, which is the luckiest place for any writer to be.
AP: Martin, it’s been absolutely great to have you back on ALL PULP!
POWELL:  Thank you very much.  I always appreciate your interest in what I’m doing.

ALL PULP INTERVIEWS PULP ARTIST JOE JUSKO!

AP:  Joe, Welcome to ALL PULP.  First, tell us a little about yourself please, sir!
JJ: Thanks! I’ve been a professional illustrator since 1978 when I sold my first cover to Heavy Metal magazine at the age of 18. Since then I’ve worked for just about every major comic company producing everything from covers to posters, trading cards, and fully painted sequential stories.
AP:  You are involved in the FRANKENSTEIN MEETS THE WOLFMAN project coming up in FAMOUS MONSTERS OF FILMLAND magazine.  How did you get to be a part of this adaptation?
JJ: Facebook is a wonderful thing! Martin Powell and I follow each other’s pages and realized we both had a love all things monster in common, particularly the old Universal Monsters films and Famous Monsters of Filmland magazine. Martin contacted me to inquire as to my interest in painting the cover to his filmbook adaptation for FM and I jumped at the opportunity! I have wanted to see that Famous Monsters masthead over a piece of my art since childhood. I can’t believe after all these years it’s actually happened! Cross one more thing off of my bucket list!
AP:  The cover you’ve done for the magazine the adaptation will appear in looks fantastic.  Was there any particular scene or maybe even other influence you drew inspiration from for that cover?
JJ: Well, when you think of that film the (much too brief) climactic fight is invariably the first thing that comes to mind. If you were going to paint one image to represent the movie that would have to be it! I had seen it painted before but without the surging water from the exploded dam. That is such a dramatic element I knew from the very start I’d be including it in the painting. I had thoughts about showing the dam blowing up through a window but decided against it for compositional and narrative reasons. If you know he film you know where the water is coming from and if you don’t maybe you’ll want to find out.
AP:  As an artist, can you outline your process of creating a painting or drawing for a project?  Are there any steps you go through, any particular techniques you use each time?
JJ: Geez, that is such an involved answer. Actual steps vary from piece to piece but in general I first try to determine what scene will make the most effective and eye catching image for the cover. It’s my job to get the potential reader to pick up the magazine in the first place. Once I decide on a scene I’ll work up a quick layout or two to see if my idea will work. I very seldom do more that one or two because my instincts are pretty well honed by now and I pretty much feel my first idea is always my best. Ninety percent of the time, at least.  I’ll then send the sketch the editor/AD for approval and then proceed to the final art. I either photograph or gather the reference I’ll need for a particular job (in this case I scoured the internet and shot screen grabs from a DVD) and refine the initial idea before proceeding to paint. I work exclusively in quick drying acrylics which I find suits my temperament as I’m a very impatient painter and dislike waiting for stages to dry. I then scan the final art, clean it up in Photoshop and send it off to the client.
AP:  What appeals to you as an artist about the monsters like Frankenstein and the Wolfman?
JJ: For me it’s the nostalgia and visual interest of the films. I think the Universal Monster series had some of the most imaginative set design and atmospheric cinematography that gave them a very unique look and feel. Many have tried to emulate them but never really seem to come close. Jack Pierce’s make up also set the standard for how those creatures should look. When you think of Frankenstein you think of Boris Karloff, not Kiwi Kingston.
AP:  One question some might ask about this project is relevance.  Is this a project aimed at old fans of classic monster movies or is it a project that hopes to bring in new fans?  What role do you feel art plays in that?
JJ: Let’s face it, Famous Monsters has a fairly classic, older fan base. While I truly hope the revised magazine and the art will generate new interest among a younger demographic, based on how little interest my fiancee’s 18 year old son has in reading magazines of any kind, B&W movies or anything not digitally enhanced I’m not sure. I know that many of my friends who are painting covers for FM’s current incarnation are doing it for the coolness factor and some very fond childhood memories. We are just beside ourselves to be on the cover!
AP: Art plays a major role in Pulp Fiction, both historically and even in New Pulp work.  Do you consider yourself a pulp artist and if so, why?
JJ: In many ways I do, and I often lament the fact that I was not working in the 60’s when pulp art was so prevalent in paperbacks. I am the biggest fan of artists like Robert McGinnis, Bob Abbett, Robert Maquire and Mitchell Hooks (among many others). I would be content painting pulp and genre covers all the time. I’ve done a lot of superhero work over the years but my real love is pulpy, noirish material. All the Conan covers I’ve done as well as the Edgar Rice Burroughs work definitely falls into that category to be sure.
AP:  What other projects do you have in the works that might be of interest to our Pulpy audience?
 JJ: Harkening back to the previous question I’m actually producing a series of faux 60’s style paperback images for a proposed calendar, and Im having a blast! I’m also currently painting the monthly covers for Dynamite Entertainment’s adaptations of Edgar Rice Burroughs’ Barsoom series. You can’t get much pulpier than that! I also may be illustrating the first two Tarzan novels for the 100th anniversary but that is still uncertain as of this time.
AP:  Joe, thanks for your time!
JJ: My pleasure!

Pixar Reveals La Luna Details

Pixar has announced details about the short, “La Luna” that will run prior to Cars 2 later this month. The story’s synopsis, according to a studio release:

La Luna is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Tonight is the very first time his Papa and Grandpa are taking him to work. In an old wooden boat they row far out to sea, and with no land in sight, they stop and wait.  A big surprise awaits the little boy as he discovers his family’s most unusual line of work. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions?

The story comes from director Enrico Casarosa, who is also Pixar’s Head of Story. (more…)

Superman The Complete Anthology

It’s interesting to watch how time and again, writers, artists, moviemakers, and studio executives struggle to find ways to adapt the very first comic book super-hero. Superman was something readers (and rival publishers) had never seen before, and he served as the template for the heroic fantasy that followed these last seven decades. When you have powers and abilities far beyond those of mortal men, you need visionaries to bring the character from the printed page to other media. Robert Maxwell figured out how to do that with the popular radio serial. In fact, Maxwell came up with various characters and concepts that seeped into the comics, a symbiosis that made both stronger.

I was given to considering Superman in his many forms when the eight-disc Superman The Complete Anthology Blu-ray set arrived for review. Warner Home Video has taken all the previous versions and spruced them up a bit, added some new features, and placed them in a handsome box. Despite the uneven content, this is a must-have for fans.

When the Fleischer brothers got a chance to animate the Man of Steel, they set the standard that all other animators have emulated or strived to match. It certainly raised the bar when Superman came to the movie serials, with Kirk Allyn looking the part but the low budget and low-tech kept his feats to the above-average, not super-human. Things got somewhat better with the George Reeve television series of the 1950s, imprinting the archetype on two generations of television watchers and comics readers. Again, Maxwell receives credit for his serious translation to the half hour demands of syndicated television before he left and it got dumbed down in subsequent seasons. (more…)

HANCOCK TIPS HIS HAT TO MONOGRAM’S THIRD ‘SHADOW’!

TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock

“THE MISSING LADY”
Monogram Pictures
Starring Kane Richmond, Barbara Reed, George Chandler, et al.
Directed by Phil  Karlson
Written by George Callahan
Based on THE SHADOW stories by Walter Gibson from THE SHADOW Magazine
1946

Yes, Virginia, there was a SHADOW movie before Alec Baldwin (which, by the way, I enjoyed although many did not). Actually, there were three, all B movies turned out by Monogram Pictures in the 1940s.   ‘The Missing Lady’ is the third entry in the series, but the first that I watched, so hence the review.  

Now, for those not familiar with most movie adaptations of our beloved pulp types, they often usually go far askew of what we as fans are familiar with and enjoy.  This was true oftentimes in the days of early Hollywood, due in part to the inability to mimic many of the things that occurred in the written word, but also to often fit trends that were present in the movies at the time.  Not so different from today, this practice seems to be more prevalent in the 1930sand 40s, a period where ‘film series’ short 60-75 minutes movies were produced rather rapidly focusing on a central character.  The Saint, The Falcon, and The Lone Wolf are probably the best examples of ‘detective/hero/playboy’ types that dominated movie screens in the 1940s.   Monogram had an opportunity to jump into this genre with a totally different twist when it took on dramatizing Gibson’s THE SHADOW stories.  Unfortunately, this ended up being a very much missed opportunity.

‘THE MISSING LADY’ opens with the murder of an art collector and the theft of a Jade figurine of a lady, the absent diva of the title.  It jumps immediately to a month later, and I mean immediately with the use of a newspaper headline saying the murder we’d just watched was a month ago, and a whole host of people searching for the statue.  Included in this cast of characters is playboy and amateur detective Lamont Cranston, the only person seemingly investigating the murder.  Cranston and his cab driving roommate Shrevvie, along with their vapid bumbling girlfriends Margo Lane (yes, Margo is a jealous goofball throughout the movie) and Jenny Delaney, feel that the series of murders following the first one in the film, are all tied into the ‘Missing Lady.’  Throw in a police investigator that Cranston spars with for comedy, a list of two dimensional 1940 mystery stereotypes, and two kooky spinster sister elevator operators who have races in ‘Upsadaisy’ and ‘Downsadaisy’, their named elevator car and you have this movie.

Oh yeah, and Cranston becomes The Shadow twice and is the only person to ever mention his alter ego.

The acting was average for the most part for a B Movie from this period.  The storyline was convoluted, confusing, and way too crowded.   It was obvious that some characters, including the artist who lived in Cranston’s building, were simply thrown in so there would be more suspects.  The attempts at comedy fell flat for the standards of the period and due to that, are particularly dated for modern viewers.   The resolution of the murders was pretty good concerning the very first murder, although it was telegraphed five minutes into the movie.  The resolution for the others, however, was just as throwaway as most of the characters.

I did enjoy the way that they portrayed The Shadow the few times he was shown.  He was literally that, a black shadow in a fedora and something covering his face.  For the period, one particular effect was really cool.  The Shadow accosts a bad guy and grabs hold of him and the guy is pulled off screen.  The fight seen only in shadow added a little weight to the portrayal and had this continued in various ways, would have made this much more enjoyable.   Kane Richmond definitely fit the look for Lamont Cranston, but what was missing were many of the Shadow trademarks, like the creepiness and the laugh.   And let’s not even talk about the waste of both Barbara Reed and Margo Lane.  Reed shows promise to be a good Margo in a couple of scenes, but the writing makes Margo more ‘Lucy’ than ‘Lane’ and it just doesn’t work.

TWO OUT OF FIVE TIPS OF THE HAT-If you’re a Shadow fan who feels like you need to see, read, or hear everything THE SHADOW is in, then you need to see this.  Or if you have no idea who the character is, but you want to point and laugh at the old movie, then this is also for you.  Other than that, go watch Alec Baldwin.

Spy Cars Like Us

Spy Cars Like Us

Cars 2, revving up for release later this month, has sent us this cool new featurette:

[youtube][youtube]http://www.youtube.com/watch?v=Xw38YDxv6vA[/youtube][/youtube]

Here are the rest of the film’s details:

U.S. Release Date: June 24, 2011

Voice Talent: Owen Wilson, Larry the Cable Guy, Michael Caine, Emily Mortimer, Bonnie Hunt, Tony Shalhoub, Cheech Marin, Jason Isaacs, Joe Mantegna, Peter Jacobson, Thomas Kretschmann, Guido Quaroni, Lloyd Sherr, Paul Dooley, John Ratzenberger, Jenifer Lewis, Michael Wallis, Katherine Helmond, John Turturro, Franco Nero, Vanessa Redgrave, Eddie Izzard, Bruce Campbell, Michel Michelis, Jeff Gordon, Darrell Waltrip, Lewis Hamilton, David Hobbs

Director: John Lasseter

Co-Director: Brad Lewis

Producer: Denise Ream

Story By: John Lasseter, Brad Lewis and Dan Fogelman

Screenplay By: Ben Queen

Composer: Michael Giacchino

Star racecar Lightning McQueen (voice of Owen Wilson) and the incomparable tow truck Mater (voice of Larry the Cable Guy) take their friendship to exciting new places in “Cars 2” when they head overseas to compete in the first-ever World Grand Prix to determine the world’s fastest car. But the road to the championship is filled with plenty of potholes, detours and hilarious surprises when Mater gets caught up in an intriguing adventure of his own: international espionage. Mater finds himself torn between assisting Lightning McQueen in the high-profile race and towing the line in a top-secret mission orchestrated by master British super spy Finn McMissile (voice of Michael Caine) and the stunning rookie field spy Holley Shiftwell (voice of Emily Mortimer). Mater’s action-packed journey leads him on an explosive chase through the streets of Japan and Europe, trailed by his friends and watched by the whole world. The fast-paced fun includes a colorful new all-car cast, complete with menacing villains and international racing competitors.

 

 

 

John Lasseter returns to the driver’s seat to direct this follow-up to his 2006 Golden Globe®-winning “Cars.” “Cars 2” is co-directed by Brad Lewis, producer of the Oscar®-winning film “Ratatouille,” and produced by visual effects industry veteran Denise Ream (associate producer, “Up”; visual effects executive producer, “Star Wars: Episode III – Revenge of the Sith”). The film hits the track on June 24, 2011, and will be presented in Disney Digital 3D™ and IMAX® 3D in select theaters.

 

 

 

Notes:

 

· John Lasseter made his feature film directing debut with “Toy Story” in 1995. He has since directed such Disney•Pixar classics as “A Bug’s Life,” “Toy Story 2” and “Cars” and served as executive producer of all other Pixar films to date. He is currently the chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor of Walt Disney Imagineering.

 

· “Cars 2” is the 12th feature-length animated film from Pixar Animation Studios (its first 11 have earned $6.5 billion at the global box office). Pixar, which has earned 29 Academy Awards® and seven Golden Globes®, celebrates its 25th Anniversary in 2011.

 

· “Cars” originally released on June 9, 2006, and grossed nearly $462 million worldwide. It was nominated for two Oscars® and one Golden Globe®, winning the first ever Golden Globe for Best Animated Feature Film.

 

When star racecar Lightning McQueen (voice of Owen Wilson) and the incomparable tow truck Mater (voice of Larry the Cable Guy) head overseas to compete in the first-ever World Grand Prix, Mater gets caught up in an intriguing adventure of his own: international espionage.

GUEST REVIEW OF DOCTOR JONES’ EXHIBIT…INDIANA JONES, THAT IS!

THE TEMPLE OF INDY
A Review Of Indiana Jones And The Adventure Of Archaeology
By Andrew Salmon
     While I was in Montreal last week there was no way this long-time Indiana Jones fan was going to miss the exhibit of movie props and costumes from all four movies at the Montreal Science Centre. Throw in my lifelong love of all things related to movie making and you might even say I had a Jones for it.
     The exhibit was a lot of fun and, although we were forbidden to photograph the pieces on display, there was no law against mentally recording the wonderful treasures from the four films for the sake of this review. So here goes!

     Upon entering the hall, guests are given an interactive screen with headphones. Each item on display has a number and by punching that into the screen, visitors can hear information about what they are looking at. For the most part, I found this information of little value but the first recording is an introduction to the exhibit by Harrison Ford who sounds like he’s reading (Blade Runner narration anyone?) but, hey, he’s Indiana Jones! He can do what he wants!

     Visitors are greeted by the full Jones costume: hat, weathered leather coat, whip, pistol, shirt, pants and scuffed up shoes. This was a real treat for this fan and one of the highlights of the exhibit.
     The displays are organized in the chronological order by film so let’s cover them this way.
RAIDERS OF THE LOST ARK
     The Raiders exhibit featured the fertility idol that almost gets Indy crushed by that giant ball in the opening sequence from the first movie. The plans of how they did the stunt are also included. Marion Ravenwood’s full costume from the bar scene is also there and it was a treat for this movie fan to admire the detail of the outfit. And what would a bar be without bottles, cases and the shot glasses from the drinking contest. But of course, every Indy fan knows that the key to the bar scene is the amulet Major Toht is willing to play with fire to acquire and that too was there for all to see. The workmanship that went into
these props really has to be seen to be believed as they go by so quickly on the screen. Balloq’s priest outfit from the ceremony where he and the Nazis attempt to open the Ark of the Covenant was another example of the incredibly detailed work that went into the costumes. One of the Egyptian sarcophaguses from the snake filled burial chamber was also a treat. But, let’s face it, the prop we all want to see from the first movie is the ark itself and there it was in all its glory. It’s held up pretty well over the last 30 years and, again, the level of detail and high lustre on this large prop is breathtaking.
TEMPLE OF DOOM
     Okay, it’s not everyone’s favorite Indy movie but it is part of the series and there were some nice pieces to feast the eye upon.
     This part of the exhibit was about costumes. Indy’s tux and Willie’s nightclub dress are on display as is Short Round’s complete outfit right down to the shoes/blocks he uses for driving. Sticking with costumes, Willie’s sacrificial dress is also included here as well as Mola Ram’s head dress.
     Other props include the jade jar that kicks off the opening action sequence and the Sankara stones themselves are here. I don’t know what the ‘stones’ are made off but they give off a special radiance all their own. Rounding this part of the exhibit is the miniature mining car with the mini-Jones/Willie/Round dolls used to film that ridiculous mine car chase through the caverns.
THE LAST CRUSADE
     As one of this fan’s favorite Indy films, it was a real treat to linger over the props here – and there are a lot of them.
     Young Indy’s scout hat kicks things off followed by the Cross of Coronado which Indy hunts into adulthood. Again, the cross is wonderfully detailed and looks as old and as precious as it is supposed to be. Dr. Elsa Schneider’s outfit from early in the film is here as is the suit and bow tie Indy wears while teaching. Wonderful period clothes all. Indy’s dad’s glasses and pocket watch are also here and what display would be complete without Indy Sr.’s grail notebook. What a treat it was to look over the carefully scrawled and weathered pages.
     There are a lot of props from this third instalment. The shield from the catacombs, the rubbing Indy makes of it. The crucifixes worn by the defenders of the grail are also here as is the “Leap of Faith” artwork. And they’ve included the grails! Both Walter Donovan’s poor choice and Indy’s correct one are here and it’s fitting that the simple cup of a carpenter outshines the jewel-encrusted grail which looks more gaudy to the naked eye than it does up on the screen.
THE KINGDOM OF THE CRYSTAL SKULL
     It comes as no surprise that there are more props from the fourth Indy film than from any of the previous three. Being a more recent production, I’m sure tracking down this stuff did not require an Indy-calibre archaeologist.
     Props galore! Mutt’s jacket, gum, switchblade, and motorcycle are here as is the letter urging him to hunt down Indiana Jones. And there are costumes! Irina Spalko’s outfit makes an appearance and you can read her file if you’re brave enough to get that close to her sword. Professor Oxley’s outfit is another marvel of the kind of detailed costume work being done these days. And his drawings are also on hand.
     You’ll also be able to feast your eyes on the skull that mesmerizes Indy and a full-sized alien skeleton in its chair from the end of the film. Throw in the ancient texts Indy refers to, some of the booty traitorous McHale tries to make off with, Orellana’s mummified ‘corpse’ and death mask which are incredible pieces of work and this latest and, perhaps, final Jones adventure is well represented.
OTHER GOODIES
     Although the exhibit features Indy props and costumes, the purpose of the display is supposed to stir interest in archaeology. To that end, there are a number of exhibits featuring real ancient finds. From ancient Greece and Rome to North American Indian artifacts, these run the breadth of human history and were very interesting. A small section also covers some real archaeologists and there is a lot of information on how they dig up the past.
     To be honest, this stuff was interesting but was not what I showed up for. As a movie buff, film and TV background perfomer, pulp fan and pulp author, I was there to wallow in all things Indy and that is precisely what I did.
     Summing up, I would recommend the exhibit. The entry price of $23 seemed a little high but as a fan I was willing to pay it as I’ve been a fan of the movies for three decades now. A great gift shop had a number of Indy shirts to choose from and I picked out a couple of nice ones.
     On the downside, the headsets/screens were dull at best and I skipped most of what was there to listen to. A good idea that went sour was the inclusion of TV screen showing many of the scenes in which the numerous props were used. This was a great feature but people tended to crowd around them, watching the movies, and blocking the props! It struck me as strange that folks would pay $23 to watch scenes from the movies that they could see at home! The exhibit is about the props and costumes people!
     I really enjoyed reliving the fun of the movies through the props and costumes. If you’re an Indy fan, I’m suspecting you will as well. So if Indiana Jones and the Adventure of Archaeology comes to your town, plop that fedora on your head, make sure that bullwhip is coiled tight and slip into that leather jacket, you’ve got some exploring to do!

Win a Free A Clockwork Orange Digital Download

Warner Digital and Warner Home Video celebrate the 40th Anniversary of Stanley Kubrick’s A Clockwork Orange with the film’s release not only on Blu-ray but also available for download via iTunes with over 38 minutes of bonus content.

Our friends over at Warner Digital have provided us with a free download to give to a loyal ComicMix reader. Here’s what you need to do:

Go visit the official iTunes page and answer the following question: Which actors from the film are listed under CREDITS on the iTunes page?

You have until 11:59 p.m. on Saturday, June 4 to enter the contest and a winner will be randomly selected from the correct answers supplied.

Why THE HANGOVER 2??

The saying “Lightning Doesn’t Strike Twice” is usually true. So in the case of THE HANGOVER 2, how can the director and stars do it all again??  Bradley Cooper, Ed Helms and more talk about the “unfinished business” from the first film, and where they could go from here (HANGOVER 3?). Plus, THOR, CAPTAIN AMERICA, GREEN LANTERN? Careful, do not underestimate X-MEN FIRST CLASS!

Do you think X-MEN FIRST CLASS can be a hit?  Drop us a comment below!

We are taking a break on Monday Memorial Day (May 30th) – see you back here on Friday June 3rd!

The Lion King Arrives in Blu-ray and 3-D

Disney has done such a spectacular job with their upgraded high definition releases of their classics through the years so each announcement is most welcome. Personally, I question the value of a 3-D home video release but it’s nice they have the option for those interested. Here’s the official release:

BURBANK, Calif. (May 26, 2011) — Simba, Mufasa, Nala, Timon and Pumbaa are back and better than ever this fall when Disney’s The Lion King roars into theaters and homes in breathtaking 3D. A special two-week theatrical extravaganza kicks off Sept. 16, 2011, showcasing the Oscar®- and Golden Globe®-winning film on the big screen in Disney Digital 3D™ for the first time ever, and its highly anticipated home entertainment debut kicks off October 4, celebrating the Diamond Edition release of the epic movie “The Lion King” in high-definition Blu-ray™ and Blu-ray 3D“The Lion King is the best-selling home entertainment release of all time—and this is The Lion King like never before,” said Bob Chapek, president of distribution, The Walt Disney Studios. “The all-new 3D format immerses viewers in the epic settings and puts them face-to-face with these beloved characters. We’re showcasing one of the all-time favorite Disney movies in theaters and making it available in Blu-ray hi-def and in Blu-ray 3D—it’s the must-see, must-own title for everyone.”

Nearly a decade since The Lion King last appeared on the big screen, the upcoming theatrical release invites new generations into the “Circle of Life.” The two-week, 3D-only presentation is a planned wide domestic release—the biggest since the film’s 1994 debut—and the film’s first-ever 3D release.

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