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Justice League vs. the Fatal Five Details Released

BURBANK, CA (February 6, 2019) – The fate of the planet rests on the shoulders of a reluctant Green Lantern and an unstable hero from the future in Justice League vs. The Fatal Five, the next entry in the popular series of DC Universe Movies. Produced by Warner Bros. Animation and DC, the feature-length animated film arrives from Warner Bros. Home Entertainment on Digital starting March 30, 2019, and on 4K Ultra HD Combo Pack and Blu-ray Combo Pack on April 16, 2019.

Justice League vs. The Fatal Five will be available on 4K Ultra HD Combo Pack ($39.99 SRP) and Blu-ray Combo Pack ($24.98 SRP) as well as on Digital ($19.99 HD, $14.99 SD). The 4K Ultra HD Combo Pack features an Ultra HD Blu-ray disc in 4K with HDR and a Blu-ray disc featuring the film; the Blu-ray Combo Pack features the film in hi-definition. The 4K Ultra HD and Blu-ray Combo Pack include a digital version of the film.

Justice League vs. The Fatal Five finds the Earth’s future hanging in the balance when the Justice League faces a powerful new threat – the Fatal Five. Superman, Batman and Wonder Woman seek answers as the time-traveling trio of Mano, Persuader and Tharok terrorize Metropolis in search of budding Green Lantern, Jessica Cruz – whom they need to free remaining Fatal Five members Emerald Empress and Validus in order to carry out their sinister plan.  But the Justice League discover an ally from another time in the peculiar Star Boy – brimming with volatile power, could he be the key to thwarting the Fatal Five? An epic battle against ultimate evil awaits!

The Justice League vs. The Fatal Five all-star cast is led by Elyes Gabel (Scorpion, Game of Thrones) as Thomas Kallor/Star Boy and Diane Guerrero (Orange is the New Black, Jane the Virgin, DC Universe’s upcoming Doom Patrol) as Jessica Cruz/Green Lantern. Reprising their Justice League/Justice League Unlimited roles as Batman, Wonder Woman and Superman, respectively, are Kevin Conroy (Batman: The Animated Series, Batman: The Killing Joke), Susan Eisenberg (Injustice 2, LEGO DC Super Heroes – Aquaman: Rage of Atlantis) and George Newbern (Superman vs. The Elite, Scandal). Providing the voices of the villainous Fatal Five are Peter Jessop (Mass Effect, Fallout 4, Resident Evil) as Tharok, Matthew Yang King (Batman Ninja, Supah Ninjas) as The Persuader, Sumalee Montano (S.W.A.T., This Is Us) as Emerald Empress, and Philip Anthony Rodriguez (Grimm, The Secret Life of the American Teenager) as Mano. (Note: Validus does not speak)

Other members of the voice cast include Daniela Bobadilla (Anger Management, The Middle) as Miss Martian, Kevin Michael Richardson (Family Guy, The Simpsons) as Mr. Terrific, Noel Fisher (Shameless, Castle Rock) as Brainiac 5, Tara Strong (Batman: The Killing Joke, Teen Titans, Teen Titans Go!) as Saturn Girl, and Tom Kenny (SpongeBob SquarePants) as Bloodsport.

Producer Sam Liu (Reign of the Supermen, Gotham by Gaslight) also directs Justice League vs. The Fatal Five from a script by Eric Carrasco (Supergirl, Justice League Action) and Jim Krieg (Batman: Gotham by Gaslight) & Alan Burnett (Suicide Squad: Hell To Pay). The film is based on a story by Carrasco. Burnett and Krieg are also co-producers. Amy McKenna (The Death of Superman) is producer. Co-Executive Producers are Benjamin Melniker and Michael Uslan. Executive Producers are Sam Register and Bruce Timm (Justice League/Justice League Unlimited, Batman: The Animated Series).

Justice League vs. The Fatal Five is an important addition to the DC Universe Movies, spotlighting two unlikely young heroes with real-world issues facing off against a daunting quintet of futuristic villains,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing.  “We’re also are proud to have Kevin Conroy, Susan Eisenberg and George Newbern reprising their seminal roles as DC’s Trinity in the Justice League & Justice League Unlimited animated series, and believe the fans will be equally pleased with their return to these characters.”

Justice League vs. The Fatal Five Enhanced Content

Ultra HD Blu-ray Combo Pack, Blu-ray Combo Pack and Digital

Battling the Invisible Menace (Featurette)– This featurette will explore the nuanced hero as many characters must deal with the everyday feelings of anxiety, depression, and other incapacitating emotions that we all must battle and overcome.

Justice League vs. Fatal FiveUnity of Hero (Featurette) – A look at how the pantheon of DC heroes has never been more diverse and inclusive, as writers and artists break boundaries and smash stereotypes.

Audio Commentary – Bruce Timm, Sam Liu, Jim Krieg and Eric Carrasco share their thoughts and insights on Justice League vs. The Fatal Five.

A Sneak Peek at the next DC Universe Movie, Batman: Hush – An advance look at the next animated film in the popular DC Universe Movies collection.

Sneak Peek Revisited: A Preview of Justice League Dark – John Constantine leads a group of misfit characters that use magic to vanquish their opponents.  This is the dark version of The Justice League taking on the malevolent forces that go beyond our plane of existence.

Sneak Peek Revisited: A Preview of Justice League vs. Teen Titans – A glimpse into the characters known as the Teen Titans.

From the DC Vault: Justice League Unlimited, “Far From Home”

From the DC Vault: Legion of Superheroes, “Man of Tomorrow”

The 4K Ultra HD Blu-ray disc of Justice League vs. The Fatal Five will feature Dolby VisionTM HDR that dramatically expands the color palette and contrast range and uses dynamic metadata to automatically optimize the picture for every screen, frame by frame. The 4K Ultra HD Blu-ray disc of Justice League vs. The Fatal Five will also feature a Dolby Atmos® soundtrack remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead. To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar. Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.

Justice League vs. The Fatal Five will also be available on Movies Anywhere. Using the free Movies Anywhere app and website, consumers can access all their eligible movies by connecting their Movies Anywhere account with their participating digital retailer accounts.

Fans can also own Justice League vs. The Fatal Five via purchase from digital retailers beginning March 30, 2019.

BASICS

PRODUCT                                                                  SRP

4K UHD Combo Pack                                                $39.99

Blu-ray Combo Pack                                                  $24.98

Blu-ray Languages: English, French

Blu-ray Subtitles: English, French

Running Time: 87 minutes

Rating: PG-13 for sequences of sci-fi violence, some bloody images, language and partial nudity.

REVIEW: Overlord

You have to give J.J. Abrams credit. For the last eleven years, he’s been surprising audiences with films he manages to make under the radar and then unleashes them on an unsuspecting audience.

The most recent was November’s Overlord, which had trailers that lulled you into thinking Abrams was producing his first war film. But, after the soldiers are dropped into Nazi-occupied territory, the creepy stuff starts and then you know you’re in for a horror thriller.

Operation Overlord, of course, was the code name for D-Day, June 6, 1944, a turning point in World War II and ripe for exploration, or in this case, exploitation. Once director Julius Avery plops Private Boyce (Jovan Adepo) and Corporal Ford (Wyatt Russell) behind enemy lines to disrupt the supply lines and mess with communications, things proceed apace. However, once they enter a church, things get creepy. Heinous activities have been happening beneath the holy structure, the kinds of things that would give even Dr. Josef Mengele nightmares.

The men gain help from a young local woman (Mathilde Ollivier) and they set to work to dismantle the experiments and complete their assigned mission. Of course, things go awry from here and Avery amps up the pace and the horrors begin. We shift from war to horror and there’s nary a let up

This is a pure horror film and there’s mayhem and gore aplenty, with a score to match the special effects, a concert of mayhem you don’t usually associate with a Bad Robot production.

The film, out this week from Paramount Home Entertainment, is an uneven production, marred by a tedious middle and nondescript characters so you don’t feel much for the leads. It’s really a throwback B film that has superior production values. If you like this sort of stuff, it’ll be a thrill ride. For the rest of us, it’s more meh than eek.

The film is out in a variety of formats including the newly regular 4K Ultra HD, Blu-ray and Digital HD combo pack. The 4K disc certainly has sharper colors and depth, a noticeably superior image to the Blu-ray (which is an excellent 1080p transfer). For a film of this nature to work best, the audio track has to be superior and here, Paramount delivers a brilliant Dolby Atmos soundtrack.

Note that the 4K disc comes with no extras but the Blu-ray contains a six-part behind-the-scenes The Horrors of War: Creation (11:04), Death Above (7:18), Death on the Ground (9:16), Death Below (6:25), Death No More (1080p, 12:19), and Brothers in Arms (5:03). There’s some interesting stuff in this 51-minute making of lore but it’s interesting there are no deleted scenes.

Animated Hellboy Twin Disc hits 4K April 2

One of the all-time greatest comics characters comes home when the Hellboy Animated: Sword of Storms and Blood & Iron double featurearrives on 4K Ultra HD™ Combo Pack (plus Blu-ray™ and Digital) April 2 from Lionsgate. Voiced by the very same actors from the popular live-action films, including Ron Perlman as Hellboy, Selma Blair, Doug Jones, and John Hurt, Sword of Storms and Blood & Iron arrive on 4K Ultra HD™ just in time for fans to catch up on the iconic franchise before the new reboot of the live-action film hits theaters on April 12. Experience four times the resolution of full HD with the 4K Ultra HD Combo Pack, which includes Dolby Vision® HDR, bringing entertainment to life through ultra-vivid picture quality. When compared to a standard picture, Dolby Vision can deliver spectacular colors never before seen on a screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker. The 4K Ultra HD Combo Pack also features Dolby Atmos® audio mixed specifically for the home to place and move audio anywhere in the room, including overhead. Available for the very first time in this absolutely stunning format, the Hellboy Animated double feature 4K Ultra HD Combo Pack is packed with special features and will be available for the suggested retail price of $22.99.

HELLBOY ANIMATED: SWORD OF STORMS OFFICIAL SYNOPSIS

In the first animated feature from director Tad Stones (Buzz Lightyear of Star Command), a folklore professor becomes unwittingly possessed by the ancient Japanese demons of Thunder and Lightning. But when The Bureau of Paranormal Research & Defense dispatches a team of agents to investigate, a cursed samurai sword sends Hellboy to a supernatural dimension of ghosts, monsters, and feudal mayhem. Now, while pyrokinetic Liz Sherman and fishboy Abe Sapien battle one very pissed-off dragon, a lost and cranky Hellboy must find his way home. Even if he can survive the perilous journey, how much crap does a guy have to put up with from the two most vengeful and ferocious spirits of Japanese legend?

HELLBOY ANIMATED: BLOOD & IRON OFFICIAL SYNOPSIS

When Hellboy, Liz Sherman, and Abe Sapien are assigned to investigate the ghost-infested mansion of a publicity-hound billionaire, they uncover a plot to resurrect a beautiful yet monstrous vampire from Professor Bruttenholm’s past. But before they can stop her bloodbath, Hellboy will have to battle harpies, hellhounds, a giant werewolf, and even the ferocious goddess Hecate herself. How much crap does a guy have to take from a Hungarian Blood Countess before he and his surrogate father can avenge the souls of the damned? It’s going to take more than just a horde of very pissed-off demons for our heroes to see the light in this animated adventure from creative producers Guillermo Del Toro and Mike Mignola.

4K ULTRA HD SPECIAL FEATURES

  • “A New Breed: Creating the New Hellboy” Featurette
  • “Conquering Hellboy: The Actor’s Role” Featurette
  • “A View from the Top: The “Heads” Sequence” Featurette
  • “Tales from the Tomb: A Look Inside Blood & Iron” Featurette
  • “’Iron Shoes’ with Introduction by Mike Mignola” Featurette
  • Sword of Storms Audio Commentary Featuring Hellboy Creator Mike Mignola, Supervising Producer-Director Tad Stones, and Director Phil Winstein
  • Blood & Iron Audio Commentary Featuring Mike Mignola, Tad Stones, and Vic Cook
  • “Reversal of Fortune, Professor Bloom’s Story” Featurette

CAST                                                 

Ron Perlman               TV’s Hand of God, Hellboy, Hellboy II: The Golden Army

Selma Blair                 TV’s American Crime Story: The People vs. O.J. Simpson, Anger Management, Hellboy, Hellboy II: The Golden Army

Doug Jones                Star Trek: Discovery,” Hellboy, Hellboy II:The Golden Army

and John Hurt             That Good Night, Harry Potter and the Deathly Hallows: Parts 1 & 2, Hellboy, Hellboy II: The Golden Army

HELLBOY ANIMATED: SWORD OF STORMS PROGRAM INFORMATION

Year of Production: 2006

Title Copyright: All Program Content © 2006, 2007 Starz Media, LLC/Revolution Studios Distribution Company, LLC. Package Artwork © 2018 Starz Media, LLC. Package Design © 2019 Lions Gate Entertainment Inc. All Rights Reserved.

Type: TV-on-DVD

Rating: PG

Genre: Animation, Action, Adventure

Closed Captioned: NA

Subtitles: Spanish, English SDH

Feature Run Time: 77 Minutes

4K Ultra HD Format: Dolby Vision, 2160p Ultra High Definition, 16×9 (1.78:1) Presentation

Blu-ray Format: 1080p High Definition, 16×9 (1.78:1) Presentation 

4K Audio Status: English Dolby Atmos

Blu-ray Audio Status: English 5.1 DTS-HD Master Audio™

HELLBOY ANIMATED: BLOOD & IRON PROGRAM INFORMATION

Year of Production: 2007

Title Copyright: All Program Content © 2006, 2007 Starz Media, LLC/Revolution Studios Distribution Company, LLC. Package Artwork © 2018 Starz Media, LLC. Package Design © 2019 Lions Gate Entertainment Inc. All Rights Reserved.

Type: TV-on-DVD

Rating: TV-14

Genre: Animation, Action, Fantasy

Closed Captioned: NA

Subtitles: Spanish, English SDH

Feature Run Time: 75 Minutes

4K Ultra HD Format: Dolby Vision, 2160p Ultra High Definition, 16×9 (1.78:1) Presentation

Blu-ray Format: 1080p High Definition, 16×9 (1.78:1) Presentation 

4K Audio Status: English Dolby Atmos

Blu-ray Audio Status: English 5.1 DTS-HD Master Audio™

REVIEW: Reign of the Supermen

One of the smarter moves the DC Animated Universe did was begin to build interlocking storylines, characters, and voice artists. This has allowed them to build off previous events and let the status quo consistently evolve rather than feel static. (Amazing animation can do this far more easily and effectively than the film division.)

As a result, we are now emotionally invested in this incarnation of the classic heroes and villains, which allowed the redone Death of Superman film in 2018 work so well. This also paved the way for the sequel, Reign of the Supermen, which has received quite the promotional bump.

Out on home video today from Warner Home Entertainment, the 87-minute adventure rarely lets up and is more satisfying than previous installments. While it takes the name from the 1993 storylines that followed the Man of Steel’s death, it bears little resemblance. This is wholly set in the new framework and fits quite nicely.

As the world adjusts to the absence of Superman, four beings wearing the S-shield arrive, each claiming to be the hero reborn. As we meet the teen version, armored hero, cybernetic edition, and cold goggled killer, it’s clear none of them are the real deal. When they tussle with one another, they are betraying the Action Ace’s ideals, doing his legacy a disservice in the name of senseless violence.

But just seeing the S-shield gives others hope. For the members of the Justice League, it raises questions. And for a grieving Lois Lane (Rebecca Romjin), it makes her heart ache.

All the pieces are in place, but then we struggle with juggling four distinct Supermen, those they interact with, and what’s the real threat. In the comics, it was the arrival of Mongul, resulting in the destruction of Coast City. Here, continuing previous animated threads, it’s Darkseid (Tony Todd) and his minions (which are bordering on being overused across all media). During the Parademons’; first assault, it’s great seeing the JLA, especially Hawkman and Green Lantern (Nathan Fillion), in action. Then they stand stupidly stock still as Darkseid sends a boom tube to remove them from the playing board.

Instead, Cyborg Superman offers mankind the ability to be their own heroes and those who accept, are transformed into variations of the OMACs from The OMAC Project comic. They are all being controlled in order to create the massive boom tube Darkseid needs to arrive in splendor. Or something. Co-writers James Krieg and Tim Sheridan could have done more with the exposition and learn that a Mother Box is a sentient device, not a laptop.

Meantime, Lois is busily investigating what’s going on at Project Cadmus, running afoul of Dabney Donovan (Trevor Devall) and Lex Luthor (Rainn Wilson). Slowly, we are given hints that maybe Superman isn’t dead since, after all, his body has vanished, and we see activity in the Fortress of Solitude.

When the next attack comes, it’s Superboy (Cameron Monaghan), Steel (Cress Williams), and the Cyborg Superman (Patrick Fabian) (secretly controlled by Darkseid) to defend humanity (apparently the Teen Titans were off that week). Showing how truly cowardly he is, Luthor refuses to get involved on more than one occasion until he comes to realize why Earth needs a Superman (Jerry O’Connell).

For all its faults, Justice League did a much better job handling Superman’s resurrection and public return than what happens here, robbing the movie of the Wow moment it had been building up to. In fact, the entire climax occurs aboard the JLA Watchtower with just Lois as witness, reducing the magnitude of the moment.

Still, as the dust settles, it resets the animated universe’s status quo for the future. When that comes remains to be seen. For now, this is a lot of fine individual moments, marred by a jumbled overall story.

The movie has been released in the usual assortment of formats including the popular Blu-ray, DVD, Digital HD combo. The 1080p, AVC-encoded disc does an excellent job capturing the brilliant hues and fervent activity. The 5.1 soundtrack, encoded in lossless DTS-HD MA, nicely complements the visuals.

There is a paucity of bonus material here, perhaps because later this year, Death of and Reign of will be combined, with extra footage, in one massive disc. What we get here is acceptable, just not thrilling. We get the obligatory Sneak Peak, this one being Justice League vs. The Fatal Five (9:29), which is designed to fit the Justice League Unlimited version of reality than the current animated universe. Me, I can’t believe my favorite Legionnaire, Star Boy, will be getting the spotlight and they introduce us to an animated Jessica Cruz.

There’s Lex Luthor: The Greatest Nemesis (16:08) with artist Jon Bogdanove and former Superman editor Mike Carlin among those chatting about what makes Lex so evilly delicious.

Rounding out the extras are episodes taken From the DC Comics Vault: Superman: The Animated Series, “Heavy Metal” (20:52), introducing Steel, and Justice League Unlimited, “Panic in the Sky” (23:04).

Robin Hood Aims for Home in February

SANTA MONICA, CA (January 8, 2019) – The action-packed epic adventure Robin Hood arrives on Digital February 5 and on 4K Ultra HD™ Combo Pack (plus Blu-ray and Digital), Blu-ray Combo Pack (plus DVD and Digital), DVD, and On Demand February 19 from Lionsgate. Directed by BAFTA Award Winner Otto Bathurst (2014, Television Craft – Director – Fiction,“Peaky Blinders”), this rich story is brought to life for today’s audiences using stunning special effects, thrilling battle sequences, and mind-blowing fight choreography. Robin Hood stars Taron Egerton (Kingsman franchise, Sing, Upcoming: Rocketman), Jamie Foxx (Django UnchainedLaw Abiding CitizenRay), Ben Mendelsohn (Rogue One: A Star Wars StoryThe Dark Knight RisesReady Player One), Eve Hewson (Bridge of SpiesBlood TiesEnough Said), and Jamie Dornan (Fifty Shades franchise, The FallAnthropoid).

Returning home from the Crusades, Robin of Loxley (Egerton) finds his country oppressed by the evil Sheriff of Nottingham (Mendelsohn). With the help of Moorish warrior Little John (Foxx), Robin transforms into the heroic outlaw Robin Hood, taking up arms to fight the sheriff and win the heart of his love, Maid Marian (Hewson).

The Robin Hood special features include an in-depth, never-before-seen, 7-part documentary; multiple outtakes; and deleted scenes, all of which show what it took to put a new spin on everyone’s favorite hooded hero. Experience four times the resolution of full HD with the 4K Ultra HD Combo Pack, which includes Dolby Vision® HDR, bringing entertainment to life through ultravivid picture quality. When compared to a standard picture, Dolby Vision can deliver spectacular colors never before seen on-screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker. The 4K Ultra HD Combo Pack also features new HDR10+ technology, making for an enhanced viewing experience on next generation displays by using dynamic tone mapping to reflect frame by frame variations in brightness, color, saturation, and contrast. Additionally, the 4K Ultra HD Combo Pack and Blu-ray feature Dolby Atmos® audio mixed specifically for the home, to place and move audio anywhere in the room, including overhead. The Robin Hood 4K Ultra HD Combo Pack,Blu-ray Combo Pack, and DVD will be available for the suggested retail price of $42.99, $39.99, and $29.95, respectively.

4K UHD / BLU-RAY / DVD / DIGITAL SPECIAL FEATURES

  • “Outlaws and Auteurs: Reshaping Robin Hood” (7-Part Documentary)
  • Outtakes
  • Deleted Scenes

PROGRAM INFORMATION

Year of Production: 2018

Title Copyright: Robin Hood © 2018, Artwork & Supplementary Materials © 2019 Summit Entertainment, LLC. All Rights Reserved.

Type: Theatrical Release

Rating: PG-13 for extended sequences of violence and action, and some suggestive references.

Genre: Action, Adventure

Closed-Captioned: N/A

Subtitles: Spanish, English SDH

Feature Run Time: 116 Minutes

4K Ultra HD™ Format: Dolby Vision, HDR10+, 2160p Ultra High Definition, 16×9 (2.40:1)

BD Format: 1080p High Definition 16×9 (2.40:1) Presentation

DVD Format: 16×9 (2.40:1) Presentation

4K Audio: English Dolby Atmos, English Descriptive Audio, Spanish 5.1 Dolby Audio™

BD Audio: English Dolby Atmos, English Descriptive Audio, Spanish 5.1 Dolby Audio

DVD Audio: English 5.1 Dolby Audio, English Descriptive Audio, Spanish 5.1 Dolby Audio

Review: Bumblebee

Review: Bumblebee

When I first saw the trailer for Bumblebee last June, I liked a lot of what I saw. The fact that the hero is a Volkswagen Beetle instead of a Camaro. The more faithful robot designs. I also liked the idea of the focus on a single character, since it suggested a stripped-down type of story, which after the cacophony of twisted metal that was the Michael Bay film series, was a welcome prospect. I had wanted to see this film earlier, but with all the holiday goings-on and other films to watch, it kinda got lost in the shuffle until now.

It was pretty good. Aside from the kid next to me that wouldn’t shut up because his typically discourteous parent wouldn’t do the right thing by instructing his child that you’re not supposed to talk during a movie (which are often found in theaters I frequent today), it was an enjoyable experience. It didn’t reinvent the wheel, but it was what the first Transformers movie should’ve been.

Storywise, the plot is a fairly straightforward prequel set in 1987, using the classic troubled-child-meets-alien framework, which evokes films of the era like E.T. The Extra-Terrestrial. Reagan era pop culture references abound, and it’s clear that 1987 was chosen not just to establish the Transformers on Earth before they met Shia LaBeouf, but to call back to the era that saw that first wave of the Transformers franchise, when the first comics filled my back issue bins (actually an old white bureau that I still own), the action figures populated the shelves of a healthy company called Toys R Us, and Orson Welles was literally a planet. Songs from the 1980s fill the soundtrack, providing not just a sense of time, but some in-jokes for Transformers fans, and for that matter, current Internet culture. I imagine that the choice of time setting may also have made it easier to write some of the film’s scenes. Without the ubiquity of cell phones, a nighttime prank carried out by characters can plausibly be pulled off without it being filmed. And without the Web to instantly learn everything about Earth history and culture, the titular hero has to learn it through his interactions with his primary contact on Earth, a talented but troubled teen tomboy (say that three times really fast) named Charlie Watson, who is given a beat-up old 1967 Volkswagen Beetle on her 18th birthday. As a prequel, the film does a good job of establishing how the Cybertronians came to Earth and why Bumblebee doesn’t talk, and answers a number of other continuity-related questions.

Hailee Steinfeld does a good job of portraying Charlie’s angst, her conflict with family and peers, and her wide-eyed astonishment at her new friend. She’s a dedicated mechanic, but sullen and withdrawn, owing to unresolved bereavement, until meeting the eponymous robot whose damaged memory and voice synthesizer helps her to confront her demons. John Cena also goes a good job as Lt. Jack Burns, a U.S. Army Ranger who comes into conflict with the Cybertronians. While I surmised from the trailer and Cena’s interviews that his character was a typical one-dimensional hardass authority figure, Cena and screenwriter Christina Hodson dial down the jingoism that might normally be on display in one of the earlier films. Burns’ actions are understandable, given the circumstances, and he is at times overzealous, but is not the cartoonishly obtuse horror movie sheriff-type that often populate films like this. There are moments when he is depicted to be as skeptical of the Decepticons as he is of Autobots, and even genuinely sympathetic. Angela Bassett and Justin Theroux voice Shatter and Dropkick, the two main villains in the film, Decepticon triple-changers who follow Bumblebee to Earth, and who easily earn the label “evil” from their surprisingly grotesque treatment of humans, including innocent bystanders.

I mentioned my hopes for the Transformer designs from the trailer, and the film doesn’t disappoint. If you were a fan of the Transformers when you were a kid like me, then you’ll appreciate that right from the opening war scene on Cybertron, you can tell which character is which. Ratchet. Arcee. Brawn. Optimus Prime. Soundwave. Shockwave. And it’s not like they copied the animated series designs slavishly. The designers struck a nice balance between the simple designs of the animated Transformers, and the greater detail needed for a modern HD theater screens. If a character had a completely red arm in the comics or animation, for example, in this film their arm might consist of a red panel on top and maybe on the sides, and then an underside of detailed mechanics. The result is a gorgeous realization of what the Transformers should look like, a welcome change from the ugly mess of Erector Sets coughed up by a wood chipper that characterized the look of the Michael Bay Transformers. This isn’t just a question of aesthetics, mind you; these designs also exhibit a greater clarity, with the greater amount of color panels making it not only easier to identify characters at a glance, but to discern what’s happening during fight scenes. Instead of an incomprehensible tangle of twisted metal that typified robot-on-robot fights in the Bay films. I also especially liked the human-looking fight moves that Bumblebee displayed in one scene, which left me to wonder if there was a scene left on the cutting room floor of him watching martial arts movies and professional wrestling on Charlie’s television that had been intended to set this up.

Cheetah!

I will say on the issue of clarity, however, that the film’s opening scene could’ve benefited from a more lucid layout of the geography of the battle. We open on an aerial shot of Cybertron, where tracer fire is blasting in half a dozen different directions from as many sources, making it difficult to discern any particular “front” between opposing forces. This wouldn’t be a big issue if it were the intention of director Travis Knight to convey a disorganized and decentralized collection of factions scattered across the Cybertroninan landscape (cyberscape?). But after we are introduced to the good Autobots and the evil Decepticons, Autobot leader Optimus Prime tells his forces to “fall back,” which is a bit confusing, since it wasn’t clearly established what was “forward” for them to begin with. Still, it’s a relatively minor point, since the story immediately moves to focus on Bumblebee, who is sent to Earth, where he’s the sole protector of humans against the two Decepticons who seek to use the planet’s satellite system to summon the entire Decepticon army to Earth. This provides a more intimate conflict, with greater breathing room for character work for both Charlie and Bumblebee, or simply Bee, as she comes to call him. The motivations are simple to understand, and action flows naturally from the conflict.

If you’ve been turned off by the last several Transformers films, and prefer a more accessible and likable story, try to catch this one before it’s gone completely from theaters.

REVIEW: First Man

REVIEW: First Man

We’ve become accustomed to movies about American heroes to have grand moments that catch our breath, make our pulses race, and bring forth an audible cheer throughout the auditorium. So, when we’re presented with a film about a grand achievement that is fairly level in its intensity regardless of human or heroic moment, we’re somewhat nonplussed.

Damien Chazelle put heart and soul into La La Land and followed it with this past fall’s First Man, an intimate look at Neil Armstrong who went from test pilot to the first man on the moon. The real Armstrong, who died in 2012, was famously private, almost taciturn. He was unflappable whether he was watching his daughter die from a brain tumor to rescuing his family from a house fire (in a deleted scene) to crashing a test model of the lunar lander. It was those qualities that made him a standout in a field of brash, crew-cutted astronauts and why NASA easily chose him to command Apollo 11.

The movie, out today from Universal Home Entertainment, fills in a lot of information about Armstrong (Ryan Goslnig), his wife Janet (Claire Foy), and the NASA family, demonstrating there was a plan and little would derail it. Armstrong apparently bottled everything up, pouring himself into his work rather than express his emotions to anyone, even his wife, who wrestled with the relocation and requirements of being an astronaut’s wife. There’s a telling scene where she has to force him to sit their two young sons down and talk about the moon mission and the possibility he might not return.

The pacing and approach to the story matches Armstrong’s personality but robs you of the feeling of exhilaration I recall when I watched the grainy television broadcast on July 20, 1969. Yu want to cheer out loud but find yourself holding your breath. This even-handedness may be why the film failed to connect with audiences and prove a box office disappointment despite the story and stellar cast.

Writer Josh Singer tells the story in a series of snippets and scenes that don’t appear to connect but before you know it, you fele something for the friendship between Armstrong and Ed White (Jason Clarke) so perhaps the most emotional moment in the film is watching Armstrong receive the news of White’s death while testing Apollo 1.

Chazelle does a terrific job recreating NASA, the astronaut neighborhoods, and the grueling testing that had to happen prior to flying into space. The 1960s is well recreated and adds much to the overall feel of the film.

It’s a worthy story with some heart and soul but in need of adrenaline.

The film comes in the usual assortment of combinations including the Blu-ray, DVD, Digital HD edition being reviewed. The 1080p transfer nicely captures the look and feel, the colors and textures of the film’s subject. There an equally strong Dolby Atmos track that captures all the nuance.

The Blu-ray comes with an assortment of features that adequately serve the film but could have been stronger. First up are the Deleted Scenes: Included are House Fire (3:37) and Apollo 8 Launch (0:37); Shooting for the Moon (3:40) with Chazelle talking about why he chose the film; Preparing to Launch (3:39), routine background on the making of the film; Giant Leap in One Small Step (4:31), all about Armstrong; Mission Gone Wrong (2:42), exploring the stunts; Putting You in the Seat (7:09), looking at the production design; Recreating the Moon Landing (6:01); Shooting at NASA (3:11); Astronaut Training (4:02); and, finally, Audio Commentary with Chazelle, Singer, and Editor Tim Cross, which offers some good insights to their thinking during production.

Win a First Man Blu-ray

Win a First Man Blu-ray

Somewhat overlooked in the fall, Damien Chazelle’s First Man, the Neil Armstrong biopic with Ryan Gosling and Claire Foy, already hit digital streaming. But, the Blu-ray release is scheduled for January 22 and thanks to our friends at Universal Home Entertainment, we have one copy of the disc to give away.

To win, post your reasons why man should return to the Moon before attempting a Mars mission. It has to be a serious, well-reasoned argument. All entries need to be posted no later than 11:59 p.m., Monday, January 21. The contest is only open to US and Canadian readers and the decision of the ComicMix judges will be final.

BLU-RAYTMBONUS FEATURES:

·       Deleted Scenes

·       Shooting for the Moon – Take an intimate look at the production of FIRST MAN and the collaborative relationship between Director Damien Chazelle and Ryan Gosling.

·       Preparing to Launch – It’s difficult to believe that FIRST MAN is the first major feature film to tell the journey of Apollo 11. Hear from Director Damien Chazelle and his cast why now is the time to tell the story of this historic event.

·       Giant Leap in One Small Step – A heroic character study, FIRST MAN sheds light on all the hard working individuals that got us to the moon and back.

·       Mission Gone Wrong – Watch as Ryan Gosling reenacts a test piloting sequence gone terribly wrong. Go behind the scenes to see how he trained to nail the landing, performing the majority of his own stunts.

·       Putting You In the Seat – Through the use of innovative technology, most of FIRST MAN was shot in-camera. Take an in-depth look behind the lens of this epic film.

·       Recreating the Moon Landing – Filmed in IMAX to show the vastness of the moon, find out all that it took to recreate the most famous moment in NASA history.

·       Shooting at NASA – Hear from Ryan Gosling and Director Damien Chazelle on how shooting at NASA brought unparalleled authenticity to FIRST MAN.

·       Astronaut Training – Go behind the scenes of the three day boot camp each of the actors underwent prior to filmingFIRST MAN.

·       Feature Commentary with Director Damien Chazelle, Screenwriter Josh Singer and Editor Tom Cross

Book-A-Day 2018 #380: Royalboiler by Brandon Graham

This is not a comic. It’s an art book by a cartoonist, featuring covers (from his own books and guest covers for others’ comics), sketchbook pages, odd single-page comics from in-house Image newsletters, convention posters, a T-shirt design or two, some logos for porn companies and stars, a little bit of movie concept art, and other assorted stuff that Brandon Graham has created in the twentyish years of his comics career.

Royalboiler  is an oversized paperback with full-bleed art most of the time — it’s a great size and format for an art book, and really makes the covers (here presented without logos) show up well. That does mean, though, that text is minimal and mostly restricted to some captions on pages where they can be accommodated. The captions are also all in Graham’s lettering font — I can’t say if they’re all hand-lettered or not; does anyone actually still do that? — so they look like they’re part of the underlying art if you don’t slow down and pay attention.

But the point of an art book is to slow down and pay attention, so I don’t consider that a problem.

There is minimal text here, again: just enough to say what this piece of art is, maybe who worked on it with Graham or what year it was done. But there is enough, from those captions and a few semi-autobiographical strips and some collages of photos and artwork from conventions, to piece together a bit of Graham’s life, or at least the parts of his life that he wants to present in his art in public.

So it starts out with covers from King City  and Multiple Warheads  and then goes into some of his odder, earlier, obscurer, or more collaborative projects — Prophet and Perverts of the Unknown and October Yen and so on, and then into lots of art for conventions and covers for other comics. After that comes the Comic Lovers strip for Image Plus, other odd pieces about comics, and so on.

There’s a lot in here — the book has no page numbers, but informed sources claim it’s 248 pages, and that seems about right. That’s almost 250 big pages full of interesting art by a quirky creator — the one thing I would note is that his cover/sketch work is often less dense than his story pages, so there aren’t as many buried jokes or puns in Royalboiler as there are in his narrative comics. Or, maybe, they’re buried even more deeply, so I missed them….

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Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Book-A-Day 2018 #379: Emma by Kaoru Mori (5 hardcover 2-in-1 volumes)

Is it damning with faint praise to say of a painter that you love her brushstrokes but aren’t crazy about her paintings? I hope not, because I’m about to say that about Kaoru Mori’s first major manga series Emma.

Emma originally ran for 72 chapters — 52 of the main story, and a follow-up 20 side-story chapters — in Japan’s Beam magazine from 2002 through 2008. It was collected into ten volumes, with the side-stories taking up the last three, then the volumes were translated into English. At some point, there were hardcovers, each collecting two of the smaller paperback tankobon volumes. And that’s what I just read: 72 serial chapters, 10 paperbacks, or five hardcovers. (Links to Volumes One , Two , Three , Four  and Five )

It’s set in the transition from the Victorian to the Edwardian era in England, starting in what seems to be the late 1890s and continuing for a few years past Victoria’s death in 1901. (There are no actual dates in the series, but Mori does contrast Victorian and Edwardian clothing styles in her afterwords without a whole lot of explanation…I don’t think she believes that everything changed poof! all at once. It is also difficult to judge how much time is passing, since even the old characters are mostly drawn with young faces.) The central character is Emma, a young woman of uncertain parentage and no actual last name, initially working as the maid-of-all-work in the London home of retired governess Kelly Stowner.

Emma meets and falls in love with William Jones, scion of a rich and rising merchant family, who also loves her. But there are the usual impediments: their respective positions in life, William’s engagement to the daughter of a Viscount, his stern father, blah blah blah and so on.

Reader, of course they get married in the end. We all know that. So I won’t pretend otherwise.

My problem is that the problems in their way are neither fish nor fowl. I’d be happy with a Dickensian drama with melodramatic problems solved in melodramatic ways — if one party were kidnapped to America by characters who look a lot like 19th century Jewish stereotypes, for example, and the other party had to chase her there and save her from durance vile — and I’d also be happy with a more serious, sedate story of manners and closely examined social mores of the time. Emma is neither of those. This story instead throws in a couple of melodramatic moments for no clear reason (like that abduction by racist stereotypes), but generally steers a sedate course without actually closely examining the actual standards of the society it concerns.

Emma, frankly, is a caricature of circa-1900 English society as seen through the lens of circa-2002 Japanese society: the aspects that resonate with Mori and her audience are emphasized, and the ones that would be inconvenient to this story are ignored or changed or misunderstood.

Some of my major issues with Emma:

  • the narrative seems to have never even heard of a “breach of promise” suit
  • a “former governess” lives in what would be an expensive London townhouse, perhaps because she became a governess as something to do after her husband died
  • in general, money may exist, but the lack of it does not seem to harm or motivate a single person in the world
  • an honest-to-God kidnapping happens and is never mentioned afterward
  • the entire race of the “the Irish” seem not to exist in this world, or at least to have no connection to domestic service
  • it’s yet another comic series whose narrative is apparently driven primarily by what the artist wanted to draw, and not any actual story purpose
  • fans of the series, and possibly even its creator, seem to be mostly interested in “stories about maids” and details of their clothing, rather than any actual story points

This is not an exhaustive list.

On the other hand, Emma looks gorgeous, and the character interaction on a scene-by-scene level is true and engaging. I might not always believe that all of Mori’s characters actually are British people born in the 19th century, but they’re interesting, distinct people no matter how ahistorical they may be. Their interactions are realistic, and if Emma had not insisted on its historicity, it could all be taken as the ways these people in this society interact.

I expect most readers won’t care about any of that. It’s a nice love story, sweet and totally innocent, as befitting the time-period. (Though there is quite a bit of female nudity in Emma, both of an older married woman and of a high-class prostitute, so it’s not appropriate for anyone looking for absolute purity of the Christian Dominionist strain.) And, again, I’m quite happy with ahistorical melodramatic stories — or solidly historical melodramatic stories, for that matter — but if something pretends to be serious and grounded, it should actually be so, and not just pretend to it.

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Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.