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REVIEW: King Arthur: Legend of the Sword

REVIEW: King Arthur: Legend of the Sword

There just may have been a real King Arthur in the sixth century of what is today England. Or, he may have been a legend the fractured country needed to help give it a cultural identity. Either way, that legendary figure of story and song would be horrified to see what Guy Ritchie has done in his name.

King Arthur: Legend of the Sword was a troubled production, heavily promoted, and lengthily delayed until it opened to withering reviews and poor box office. Now available on home video from Warner Home Entertainment, it is a troubling view of Arthur.

Real or not, he was reinterpreted for the needs of the country (and later portions of Europe) across the centuries with characters coming and going, victories of varying degrees, and epic romances until there was just Arthur and Guinevere. As we have come to know the legend, he was a moral character, born a bastard, and the right man in the right place at the right time when England needed a savior. And when he died, he was carried off to Avalon to return when the country needed him once more.

Instead, writer/director Ritchie along with screenwriters Joby Harold and Lionel Wigram (from a story by David Dobkin and Harold), little is recognizable. The names are familiar but the trappings and arrangement of events bears no resemblance to any previous retelling of the legend. Instead of a story of love, betrayal, and uniting England, this is reduced to a good versus evil story.

King Uther (Eric Bana) is betrayed by his corrupt brother Vortigern (Jude Law), who usurps the throne, aware that the true heir, young Arthur, has escaped on a boat. Like Moses, he is found and raised by others and he grows to become a member of the Londinium lower class, uninterested in power or the throne. But Vortigern has insisted all men of age try to lift Excalibur from the stone and Arthur (Charlie Hannum) finds himself next in line. However, his two-fisted grip unleashes both power and unbearable nightmares, adding a psychological twist to the tale.

He is rescued from certain death by a band led by Sir Bedivere (Djimon Hounsou) and an outlaw mage (Àstrid Bergès-Frisbey). Bit by bit, Arthur is forced, pushed, and told he must confront his destiny, accept the sword and the power or Vortigern will destroy the world.

Vortigern does despicable things to people he loves but since they are merely window dressing we have no real emotional connection the heinous acts. None of the characters, really, come to life as none are explored in any depth, including Arthur himself who half the time appears to be a spectator rather than participant.

After that there’s plenty of energy hurled about, sword play, betrayal, and plenty of somber music. There’s just no joy amidst the cacophony or respect for the source material. The Arthur Ritchie wants us to accept is a reluctant hero, unwilling to do what he must until there is no choice left. Most of the trappings, from Merlin to Morgan le Fay, all absent as this was intended as the first in a cycle of films, which will now never be made given the utter failure of this one.

Ritchie’s signature touch is largely absent here, save for two exposition scenes that show more energy than the rest of the film. What should have been glorious and grand was reduced to look weak and ill-conceived.

The film has been released in the usual variety of formats and the high definition transfer at 1080p, AVC-encoded Blu-ray is perfectly acceptable if not spectacular. Sort of like the film itself. The Dolby Atmos track is equally capable.

The handful of special features careful avoids the legend and the massive changes made for this misfire of a fil. You have Arthur with Swagger (9:41); Sword from the Stone (18:49); Parry and Bleed (5:44); Building on the Past (14:00); Inside the Cut: The Action of King Arthur (6:08); Camelot in 93 Days (10:23); Legend of Excalibur (6:05); and, Scenic Scotland (5:33). These are perfunctory and not especially revelatory.

Mindy Newell: Migraines and Mel

This may turn out to be a short one, guys.

A lot of us here at ComicMix have written about the agonies of writer’s block, but I don’t think anyone has ever talked about the torture of trying to write when your head is trying to separate itself from the rest of your body.

That’s ‘cause I have the worst tension migraine right now. I’ve been having them all week, on and off. It’s probably because I’m starting to go nuts from being – mostly – stuck in the house. My vision is okay, but there’s a little man with a pick-ax standing on the right side of the crown of my head, and he’s swinging away and my right ear is ringing in response – I feel like Wile E. Coyote after a run-in with the Roadrunner. I’ve taken my Advil, but the only thing that really helps is standing in the shower and letting the hot water run over me – and I can’t stand in the shower all day.

Anyway, I finished the story for the ComicMix project – see my column from two weeks ago, Patience, Perfection, and Procrastination – and what I called “connecting the towers” worked. It’s now in the hands of artist Andrea Shockling. Check out her work at andreashockling.com, and you’ll understand why I’m thankful to ComicMixer Joe Corallo for telling me about Andrea. She and I spoke on the phone last week, and we discovered that we are kindred spirits; bottom line, I am super excited and happy to be working with her.

Still plugging away at my graphic novel proposal. Did I ever mention that I am the worst, absolutely the worst, proposal writer in the world? I have the hook, I have the concept, I have the story – my big problem is I start writing the outline, and all of a sudden I am deep into it; but when I stop to take a bathroom break or make a “cuppa tea” I come back and realize that it’s already eight or nine pages long. Which means I have to go back, and cut and paste and cut and paste and edit and keep editing, all in order to get to the place where the heart of it resides, while at the same time whittling it down to three or four pages, double-spaced. Oy.

As to what happened yesterday (Saturday, August 12) in Charlottesville, Virginia…

Il Tweetci The Mad can make inane remarks and have the White House staff rush in to “stem the fallout” – as the New York Times reported today – all he wants. He ain’t fooling anybody.

Here’s a conspiracy theory for you from a migrained mind: what happened was encouraged, nay, organized, by the “deconstructionists (read: destroyers) of the world order” and Nazis currently sitting at the right hand of Il Tweetci: Steve Bannon, Steve Minchin, and Sebastian Gorka. (Okay, I’m not sure if Minchin is a “deconstructionist of the world order” or a Nazi, but he, im-not-so-ho, sure is a self-hating Jew.) Not that anyone could prove it.

Today, this morning, I went on YouTube and watched Spike Jones’ “Der Fuehrer’s Face” and “Springtime for Hitler,” from Mel Brooks’ The Producers.

Then I read an interview that Mr. Brooks did with the late Mike Wallace on CBS’s 60 Minutes in 2001. The subject was Mr. Brooks’ obsession with his ethnicity and with Hitler:

“Hitler was part of this incredible idea that you could put Jews in concentration camps and kill them…How do you get even with the man? How do you get even with him?”

“You have to bring him down with ridicule because if you stand on a soapbox and you match him with rhetoric, you’re just as bad as he is, but if you can make people laugh at him, then you’re one up on him…It’s been one of my lifelong jobs – to make the world laugh at Adolf Hitler.”

And I thought, what if people had just stood and laughed at them?

Would that have worked?

I don’t know.

But what happened is enough to give anyone a permanent migraine.

 

Ed Catto: Baby Got Back

You can’t judge a book by its cover, but in comics we do. That’s what sells it. Oftentimes, comics retailers need to make pre-ordering decisions based largely on just a comic’s cover.

Comics, like people, should be enjoyed for what’s on the inside. Corny but true. But like the B-side of a vinyl record, sometimes there’s glory on the flipside, like with comic book back covers.

Emil Novak, Sr. runs a great store in Buffalo called Queen City Bookstore. It’s overflowing with comics and lost treasures, most reflecting Emil’s ravenous appetite for great comics. During my last visit there, I stumbled across The Spirit: The First 93 Dailies reprint comic from 1977. The front cover sported a heroic Eisner Spirit image, but the back cover, showing an exhausted Spirit collapsed in the snow was the cool part. And the courageous use of negative space really stood out. I really liked that back cover, and that sparked today’s topic.

We need not only reach back into the past for examples. There are so many clever back covers on comics today. Two, in particular, come to mind:

  • Cliff Chiang’s creating some gorgeous wrap-around covers for his Image Paper Girls series, written by Brian Wood. Essentially the back cover is part of the front cover, but with Cliff’s strong sense of design and deliberate use of color, the back covers have a life of their own,
  • Greg Rucka and Michael Lark swing the pendulum far in the opposite direction for their brilliant Lazarus This is a series set in the near future that provides a stark look at the impact of wealth concentrated amongst the few. The creators provide faux back cover advertisements each issue. The back cover adds to the story as if one of the storyline’s companies or ‘governments’ has created an ad. World-building via the back cover, if you will.

Back Cover Advertising

Advertisements can also create memorable back covers. I have fond memories of Silver Age back covers selling Aurora superhero model kits. The best ones leverage Curt Swan or Murphy Anderson art for on-the-nose authenticity.

And while Land of the Giants, Rat Patrol or The Invaders weren’t TV shows I was watching back then, I sure was fascinated by their back-cover model kit ads. The Aurora monster model kits back cover ads probably deserve an entire column devoted to the creepy thrill and chills they inspired a generation of readers.

Toys ads could be hit or miss. I never warmed up to – or even understood – Skittle Bowl, despite ads illustrated by Murphy Anderson or featuring Don (Get Smart) Adams, I really loved the back-cover ads for Mattel’s Hot Birds and rrRUmblers. They must have worked. All the kids on my block collected these toys for about half a minute.

Professional Backstory

Over the years, my fascination with back covers has spilled over to my professional career. I’ve helped develop a few back covers of which I’m proud. A few examples:

  • Pagemaster was the movie that had everything going for it – a great message, hot movie stars, and a top pop music performer. It was a “can’t miss.” I was excited to lead Nabisco’s promotional program with the picture. But then, the hot movie star got weird (Macaulay Culkin) and the pop music performer (Michael Jackson) got weirder. The picture fizzled, but not before we created a great comic ad for the program. We used one of the young actors from the TV ad and we ran on the back covers of Marvel Comics for a couple of months in 1994.
  • At Bonfire Agency, our geek-focused marketing firm, and GeekRiot Media, we ran quite a few ads on the back covers of comics from lots of different publishers: IDW, Boom! Studios, Archie, Dynamite, Aspen and more. It was invigorating, and personally fulfilling, to get big brands partnering with publishers beyond the “big two”.

Coming Next Issue

I think there’s something special about advertising the “next issue” on the back cover. I could go on and on about how we live in an anticipatory culture, always looking ahead to what’s next. Have we lost the ability to live in the moment? I don’t know. That’s a whole ‘nuther topic.

No matter: I still like using the back covers for next issues, or other comics by the same publisher. Recently, publishers like Titan and Black Mask started embracing this tactic.

Some of the best “coming next issue” back issues were on the flip side of Pacific Comic’s Somerset Holmes. It was a gorgeous comic with a gorgeous female lead, based on a gorgeous real-life female creator. (There’s an epic tale behind it all that I’d like to get into one day.) Somerset Holmes’ back covers were creative and memorable – some of my favorites.

Advertising experts used to say that the back cover of any magazine is valuable real estate, as there’s a 50% change that a magazine will be put on a table with the back side up, I’m not sure if anyone ever truly believed that, but there’s no denying the charm of the oft-neglected comic book back cover.

•     •     •     •     •

Oh, and in the spirit of “coming next time”: my next column builds off my recent Back Issue article on the 80s comic Thriller! I’ve finally caught up with author Robert Loren Fleming and we’ve got some long-lost secrets to reveal!

 

Surprise NBC Hit Taken Comes to Disc in Sept.

PROGRAM DESCRIPTION

The white-knuckle revenge thriller Taken: Season One arrives on Blu-ray™ (plus Digital HD) and DVD September 26 from Lionsgate. Clive Standen and Golden Globe® nominee Jennifer Beals (Best Actress, Motion Picture – Musical/Comedy, Flashdance, 1984) lead an all-star cast in this thrilling prequel TV series to the blockbuster film trilogy. With a loyal viewership, the show was one of the top 10 p.m. network dramas and one of NBC’s top primetime shows. The Taken: Season One Blu-ray and DVD will be available for the suggested retail price of $42.99 and $39.98, respectively.

OFFICIAL SYNOPSIS

Executive Producer Luc Besson (Taken film franchise, The Fifth Element, Valerian and the City of a Thousand Planets) delivers an action-packed prequel to the international blockbuster Taken franchise. Clive Standen (Vikings) stars as Bryan Mills, a younger, hungrier version of the iconic character played by Liam Neeson in the Taken films.

BLU-RAY/DVD/DIGITAL HD SPECIAL FEATURES
“Taken: On Set” Featurette

CAST
Clive Standen – Vikings,” Everest, Hammer of the Gods
Jennifer Beals – Flashdance, The L Word, The Book of Eli
Brooklyn Sudano – My Wife and Kids, With This Ring, Rain
Monique Gabriela Curnen – The Following,” The Dark Knight, Contagion
Gaius Charles – Friday Night Lights, Grey’s Anatomy, Salt
Michael Irby – The Unit, True Detective, Law Abiding Citizen
James Landry Hébert – Gangster Squad, Looper, Super 8
Jose Pablo Cantillo  – The Walking Dead, Sons of Anarchy, Chappie

PROGRAM INFORMATION

Year of Production: 2017
Title Copyright: © 2017 Particular Skills Productions US, LLC, Europacorp Television SASU, and Universal Television LLC. All Rights Reserved.
Type: TV-on-DVD
Rating: Not Rated
Genre: Action, Thriller
Closed Captioned: N/A
Subtitles: English SDH
Feature Run Time: 440 Minutes
Blu-ray Format: 1080p High Definition 16×9 Widescreen 1.78:1 Presentation
DVD Format: 16×9 Widescreen 1.78:1 Presentation
Blu-ray Audio: English 5.1 Dolby Digital Audio
DVD Audio: English 5.1 Dolby Digital Audio

John Ostrander: The Bourne Formula

Spoiler note: Various plot elements of the Bourne movies may be revealed below. The movies have been out for a while so I’m assuming those who want to see them have seen them. Nevertheless, the spoiler flag is flying just in case.

There are a number of movies that, when I come across them on the tube, I’ll stop and watch them. I tell myself that it will be just until a certain scene or bit of dialogue but the fact is I usually wind up watching them through to the final credits. When this happens late at night, I can wind up staying awake for far too long and suffer for it the next day.

The Bourne series of movies fall into this category. They include The Bourne Identity/Supremacy/Ultimatum and Jason Bourne but not The Bourne Legacy which, despite its name, has no Jason Bourne in it and appears to be ignored by the series filmmakers so I do, too.)

The reason I’m doing this retro review is to look at how something that starts fresh can drift into formula.

The films center on an assassin working for a clandestine special ops CIA agency. Born David Webb, he has become Jason Bourne – among other identities. Trained to be a living weapon, Bourne (wounded on one failed assignment) has become amnesiac. Over the course of the films, he starts to recover that memory.

The series starts with 2002s The Bourne Identity, loosely (some say too loosely) based on Robert Ludlum’s novel of the same name. It was a refreshing take on the spy/action genre, which previously had been defined by the James Bond films. The action was more realistic as were the characters and the situation. There was a car chase but it involved what I think was a Mini. The villain in the movie was not a huge over-the-top megalomaniac but the very agency that employed Bourne. The female lead was not a striking Bond girl but a Bohemian woman named Marie. The film ends with Bourne and Marie putting a new life together for themselves and the agency that hunted them has been closed down.

The film was a big success and re-defined the genre; the Bond films were re-cast in the Bourne mode – tougher, grittier, more realistic. They had needed to change and Bourne showed the way.

The Bourne Supremacy (2004) continued the trend. There’s a successor to the black ops agency in the first film but there’s a traitor inside who frames Bourne for a failed mission. In attempting to take him out, Bourne’s love Marie is killed. This is startling; Marie was a major character in the first film and her death has a major effect on Bourne, giving him a motivation that continues through the series. Still, the Big Bad is again the Agency or, at least, elements of it. We’re seeing a pattern developing.

The third film in the series, 2004’s The Bourne Supremacy, once again has Bourne and the Agency at odds. This time, the film winds up bringing Bourne back home to the U.S., specifically New York City. He learns the truth about his origin and there are touches throughout that bring us back to the first film suggesting this is the final installment in a trilogy.

And it was, for 12 years.

In 2012, the studio tried to capitalize on its franchise with the Bourne-less The Bourne Legacy. It also tried to make Bourne more of a superhero. That didn’t work all the way around.

Last year saw Jason Bourne (with returning star Matt Damon) hit the theaters. Once again, a woman who is close to Jason is killed and once again the central villain is the Agency (or someone at the Agency). And the formula is starting to become obvious.

Every film has a car chase, each becoming more spectacular than the last. The first one was relatively modest and interesting. After that, any time Jason takes the wheel insurance rates are going up and there will be considerable collateral damage. In all the cars being upended or hit, I just imagine people being hurt and dying. I’m no longer impressed.

There will be a big hand to hand fight between Jason and… somebody. Somebody trained enough to give Jason a good fight but the outcome is never in doubt, It will be very violent and no music plays during it.

In every film, Jason says some variation on “This ends here.” Except it never does. If the studio has its way, it never will. So why even say it?

The antagonist is always the Agency or someone at the Agency. Always. Jason might as well be fighting Spectre and Blofeld.

In two out of the four films, a woman close to Bourne is killed. The first time it was effective if startling and had real impact and consequences. It’s starting to look like a trope.

Don’t get me wrong; I’ve enjoyed each Bourne movie I’ve seen and I wouldn’t mind seeing another. But what started out as fresh and different is becoming old and formulaic. That’s hard to avoid when you’re working on a series. How do you keep from repeating yourself especially when part of the attraction for the fans is that repetition of fave motifs and lines?

It can be done. The next Bourne should avoid the Agency or maybe have Bourne work with the Agency, Different settings, different stakes. As it stands now, they’re not doing sequels; they’re doing remakes.

The Bourne Repetition.

Six 1000-piece GOT Puzzles for Winter Play

The hit HBO series Game of Thrones is brutal, but our Game of Thrones puzzles are beautiful—they’re Beautiful Death, to be precise. Best known for his original creations at BeautifulDeath.com, HBO’s official episode-by-episode guide to the most iconic deaths on Game of Thrones, Robert M. Ball’s breathtaking artwork seems to pop right off the table as you assemble these 1000-piece puzzles. Measuring 19 by 27-inches, they’re large enough to capture the intricate detail of these artworks.

Long May She Reign is the artwork for season 6, episode 10, “The Winds of Winter”, marking Cersei’s successful ploy to destroy the Great Sept of Baelor and claim the Iron Throne for herself. The haunting details of the skulls and red-to-green color transition invoke an otherworldly, awe-inspiring feeling.Violence is a Disease is Ball’s rendition of season 6, episode 7, “The Broken Man.” With vivid red accents trailing across the canvas and the fearsome blade on the axe, this riveting work pays tribute to the Hound and his re-emergence into the story after the death of the Septon that helped him heal and find a new purpose in life. The axe he lifts symbolizes that he rise again with a vengeance.

Dracarys! from season 3, episode 4 is a vibrant homage to the Mother of Dragons. It captures the essence of one of the most epic moments in the series, when Daenerys releases her dragons to help free the slaves of Astapor.We Never Stop Playing from season 5, episode 6 takes Jaqen H’ghar’s words and frames life among the Faceless Men of Braavos. The eerie confines of the House of Black and White take on new life in Ball’s art.Season 6, episode 5 features one of the most notable and tragic deaths in the series when fan-favorite character Hodor sacrifices his life to get Bran Stark to safety. Ball has taken great care to immortalize this moment in Hold the Door. The deep melancholy of the moment seems to infuse the art, making it evocative of the pain many fans experienced while watching events unfold.

Your Name Will Disappear is a gorgeous tribute to vengeance and lost innocence, marking the moment in Season 6, Episode 9 when Sansa Stark releases Ramsey Bolton’s hounds to finish him off after The Battle of the Bastards. The contrast of the red hair against the dark confines of Winterfell and black coats of the dogs is magnificent.

Our whole Beautiful Death line of puzzles is available now, so be sure to chase them down—you don’t want to miss out! Robert M. Ball’s artistry lies within each of these boxes, waiting for you to put it on full display. Long May She Reign and Violence is a Disease are available at fine game and toy stores everywhere, while the other four puzzles are exclusive to Barnes & Noble.

Marc Alan Fishman: The Light At the End of the Tunnel

For those of you who follow my li’l studio Unshaven Comics on Facebook, you’ll note a recent ramping up of delightful sharing. As pages get completed in The Samurnauts: Curse of the Dreadnuts #4, I’ve been too excited not to immediately share them with our fans. As such, I’m finally seeing the light at the end of the tunnel on a book that has taken more than a year beyond what I’d intended to see it be ready for release.

We’re not there yet, but the end is truly nigh.

For those sticklers who like details: three of us presently are mashing on the necessary color work – with about 20 more pages that need final effects. Everything is lettered. The book file is built. Literally, 20 pages need some over-the-top TLC, and they will be pushed into their final form. To ensure we round third base and dive for home, I’m even taking this coming week off my normal day job to only work on the book. By the time you read my article next week, I should be sending the book off to the printer – and likely attempting to gain back a weeks’ worth of lost sleep.

Not that I’m counting our chickens before they are hatched. Within these last pages is the crux of the issue – if not the entire four book series. Fight scenes dissolve into bigger fight scenes and culminate in a space fight that will push me to my limit with meticulously placed texture maps and Photoshop glow effects. Every single page matters. Every panel needs polish. If this is to be the culmination of five years’ worth of nights, weekends, holidays, and everything in between, there will be no half-measures.

If I am to speculate that my work is successful, I will look forward to those final steps to see the book become a physical, sellable object. The book is pressed into a high-res PDF and is carefully transferred to our printer. A proof is produced, and we spot check every page to ensure the trim doesn’t cut into any major details or words. Then, issues will be printed, cut, bound, and boxed. We’ll pick up issue #4 along with a hefty helping of issues 1, 2, 3, and the not so secret origin and make the 12-hour drive to Dragon Con in Atlanta. And there lies the grail of emotion I truly seek at the end of this process.

For five years, we have minted a minor (very, very, very minor) fortune by uttering a pitch that takes less than 20 seconds to complete. I’d say, “you already know it by now,” but if you know me then you know I’m not missing my window to boldly brand:

The Samurnauts: Curse of the Dreadnuts is a team-action adventure about samurai-astronauts, led by an immortal Kung Fu monkey… saving humanity from zombie-cyborg space pirates!

And for the last five years, one burning question had remained deftly unanswered by our growing amassment of wonderful fans…

“Is this everything?”

Now, we can now look them dead in the eye, and place the entire series in their lovely mitts. A complete thought (plus a wonderful upsell if they want that origin tale) that took over a thousand hours to piece together across the birth of four kids, the marriage and subsequent moving of one Unshaven lad to Wisconsin and over 102 individual mortgage payments posted. Now for a single Andrew Jackson, the fruit of all of that labor is handed over with glee.

The light at the end of the tunnel represents more than just the culmination of a comic book. It’s the lighting of the torch that announces the next phase to Unshaven Comics. The only place to go from here is up. And now… it’s starting to feel like it’s actually true.

In this Corner of the World Opens Aug. 18

Based on the award-winning manga by Fumiyo Kouno, In This Corner of the World, bolstered by emotionally resonant storytelling and exquisite hand-drawn animation, is an empowering coming-of-age tale set against the backdrop of WWII and captures the resilience and triumph of the human spirit.

The award-winning story of In This Corner of the World follows a young lady named Suzu Urano, who in 1944 moves to the small town of Kure in Hiroshima to live with her husband’s family. Suzu’s life is thrown into chaos when her town is bombed during World War II. Her perseverance and courage underpin this heart-warming and inspirational tale of the everyday challenges faced by the Japanese in the midst of a violent, war-torn country. This beautiful yet poignant tale shows that even in the face of adversity and loss, people can come together and rebuild their lives.

In This Corner of the World in cinemas (NY, LA and SF) opens this weekend, and the film’s director Sunao Katabuchi briefly discusses various kinds of historical research since the movie shows a part of Hiroshima that was completely destroyed.

Much of the Kure and Hiroshima landscape of the 1940s was tragically lost to air raids and the atomic bomb. Not many survivors with first-hand experience of the war are still with us.  Director Sunao Katabuchi spent six years thoroughly researching the details before animation work began. He gathered accounts from people about those days and collected more than 4,000 photographs to recreate the cityscape of the 1930s and 40s.

On August 18, this movie is expanding to more screens in Los Angeles, SF Bay Area and is set to open in major cities in the U.S. and Canada.

Animated feature In This Corner of the World opens this August. The film is rated PG-13 and has a run time of 129 minutes.

IN THIS CORNER OF THE WORLD

Shout! Factory Films and Funimation Films
Director: Sunao Katabuchi
Voice Cast: Non, Yoshimasa Hosoya, Natsuki Inaba, Minori Omi, Daisuke Ono
Written by:  Sunao Katabuchi
Based on the award-winning manga by Fumiyo Kouno
Produced by: Taro Maki and Masao Maruyama
Genre: Animated Feature
*Japanese with English subtitles

Darwyn Cooke’s New Frontier gets Commemorative Edition in Oct.

BURBANK, CA, (August 11, 2017) – Warner Bros. Home Entertainment returns to the roots of DC’s greatest Super Heroes – and their unifying moment – with the celebratory release of Justice League: The New Frontier – Commemorative Edition on Blu-ray™ Combo Pack, Blu-ray™ Steelbook, and DVD on October 3, 2017.

For the new Commemorative Edition of the popular 2008 PG-13 animated film, Warner Bros. Home Entertainment has produced an all-new featurette spotlighting the late Darwyn Cooke. The comic book author and artist’s seminal work, DC: The New Frontier, received an Eisner, Harvey and Shuster Award, and that six-issue comic book limited series served as the key source material from which the film was adapted. Justice League: The New Frontier – Commemorative Edition also features box art from Cooke’s canon of dazzling New Frontier imagery.

Justice League: The New Frontier – Commemorative Edition is the epic tale of the founding of the Justice League. Produced by Warner Bros. Animation, DC Entertainment and Warner Bros. Home Entertainment, the animated film is directed by David Bullock from a script by Stan Berkowitz. Sander Schwartz and Bruce Timm are Executive Producers.  Michael Goguen is Supervising Producer

The action-packed adventure features iconic DC Super Heroes Superman, Batman and Wonder Woman alongside Green Lantern, Martian Manhunter and The Flash as they band together to form the legendary team. Strangers at first, these very different heroes must overcome fear and suspicion to forge an alliance against a monster so formidable, even the mighty Superman cannot stop it alone. If they fail, the entire planet will be “cleansed” of humanity.

Justice League: The New Frontier – Commemorative Edition features an impressive roll call of celebrity voice performances, including Golden Globe Award winner Kyle MacLachlan (Twin Peaks) as Superman, Jeremy Sisto (Law & Order) as Batman, Lucy Lawless (Xena: Warrior Princess) as Wonder Woman, Emmy and Tony Award winner Neil Patrick Harris (How I Met Your Mother) as Barry Allen/The Flash, David Boreanaz (Bones) as Hal Jordan/Green Lantern, Brooke Shields (Suddenly Susan) as Carol Ferris, Emmy and Golden Globe Award winner Kyra Sedgwick (The Closer) as Lois Lane, Phil Morris (Seinfeld) as King Faraday, and the late Miguel Ferrer (NCIS: Los Angeles) as Martian Manhunter. The cast also boasts the voices of Joe Mantegna (Criminal Minds), Keith David (Platoon), Vicki Lewis (NewsRadio) and the late John Heard (Big).

Justice League: The New Frontier – Commemorative Edition includes incredible bonus features on both the Blu-ray Combo Pack and the DVD:

  • Featurette – “Retro Action Cool: The Story of Darwyn Cooke” – A revealing look into the life and times of one of comics’ most brilliant figures, the late Darwyn Cooke.
  • Featurette – “Super Heroes United! The Complete Justice League History” – A comprehensive look at nearly a half-century of Justice League chronology from the inception in the comics to vivid animated renditions in the late 2000s. The story is told with a myriad of interviews tracing the early days of DC Super Hero team ups during the Golden Age to the Silver Age rendition where the established heroes emerged and beyond. Interviews include such notables as Dan DiDio, Michael Uslan, Paul Levitz, Mark Waid, Denny O’Neil, Stan Lee and Marv Wolfman.
  • Featurette – “The Legion of Doom: The Pathology of the DC Super Villain” – This 10-minute piece examines the early mythological archetypes of nemesis characters from a historical perspective and reveals how the tenants of this rich history were adapted and woven into the Justice League stories.
  • Featurette – “Comic Book Commentary: Homage to the New Frontier” – This mini-documentary is a nod to the fans of the New Frontier comics, further expanding the themes contained in the source material and how these elements were truncated or evolved for inclusion in the film. It features vivid imagery culled from the pages of DC: The New Frontier, mixed with the commentary of Darwyn Cooke. This featurette is a treat for both fans and scholars of the medium.
  • Sneak Peak: Gotham by Gaslight – A behind-the-scenes look at the next DC Universe Original Movie, inspired by the 1989 Elseworlds tale of Batman – at the turn of the 20th century – as first created as a graphic novel by Brian Augustyn and Mike Mignola, with inks by P. Craig Russell.
  • Audio Commentary I/The Filmmakers – Featuring Justice League: The New Frontier filmmakers Bruce Timm, Michael Goguen, David Bullock, Stan Berkowitz, Andrea Romano and Gregory Noveck.
  • Audio Commentary II/Darwyn Cooke – Featuring award-winning writer/artist Darwyn Cooke

“Justice League: The New Frontier – Commemorative Edition gives fans the opportunity to savor the unique genius of such a legendary comic talent as Darwyn Cooke in a thrilling, animated adaptation of a modern classic,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “The addition of an all-new Darwyn Cooke mini-documentary adds to the special celebration of his work. And his story serves as a keen reminder of the history of these cherished DC Super Heroes, in perfect timing with the theatrical release of the Justice League film.”

Tweeks: SDCC 2017 Voltron Interview

This week, I talk to Lauren Montgomery and Joaquim Dos Santos, the producers of Voltron: Legendary Defender, as well as, Bex Taylor-Klaus and Tyler Labine, the voices of Pidge and Hunk, about the recently released Season 3 of the hit Netflix Original. And if you are a fan of voice acting, Bex & Tyler have some great things to say about that too!

Without spoilers, let me say that Season 3 was so amazing! The characters were really explored more in this season, in regards to what makes them tick and the motives behind what they do. We also had some light shined on the lives of the original Paladins and their relationships, notably King Alfor, Haggar, and Zarkon. The season was only 7 episodes (ughhhh) but it’s worth it because Season 4 releases in October!

Let me know how you feel about Season 3 in the comments!

– Maddy

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