20th Century Fox used to be one of the most respected film studios in the business. Its catalog of films is virtually legendary: Miracle on 34th Street (the 1947 version, not the 1994 remake), The Day the Earth Stood Still (the 1951 classic, not the crappy remake from last year), Gentlemen Prefer Blondes, The Seven Year Itch, the original Planet of the Apes film series, Young Frankenstein, the Star Wars films, the Alien series, The Princess Bride, Wall Street, Home Alone, Die Hard, and dozens of others.
In 2008, however, it went from a respected studio to one big joke, thanks to the fact that starting at the end of ‘07 and continuing through all of ‘08, the majority of the films it released either barely broke even or were outright box-office flops (SpaceChimps, Max Payne, Australia, Meet Dave, The Rocker, and City of Ember, among others). While other studios were turning out blockbusters that earned $100 million like clockwork, Fox was fumbling the ball over and over again. For instance, it released The X-Files: I Want to Believe in the second week of The Dark Knight’s phenomenal run last summer, not to mention about ten years after anyone — even hard-core Files fans — could bring themselves to care; it interfered with the production of the Vin Diesel vehicle Babylon A.D., which, admittedly, would have probably failed no matter what; and it spurred fanboy wrath by suing Warner Bros. for profits from Watchmen, profits that Fox arguably didn’t deserve.
Now it’s reached a new low by revealing that from now on all extras — commentaries, background features, deleted scenes, etc. — on DVDs of its films won’t be included on any discs designed for rental purposes. This means that if you rent your DVDs from Blockbuster or some other store or service (possibly Netflix — more on that in a second), you won’t have the option to decide if you like the extras enough to later buy the DVD — you’ll be forced to buy them from stores, sight unseen, and have to hope that the extras are special enough to warrant the purchase of the disc, regardless of how you feel about the film.
Wonder Woman (2009, Warner Home Video)
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I’ve always been wary of many of the direct-to-DVD animated superhero films, from both Marvel and DC. I wasn’t that impressed with Justice League: TheNew Frontier, nor was I bowled over by UltimateAvengers. I thought The Next Avengers sucked, and that Batman: Gotham Knight was extremely overrated.
So perhaps it makes sense that it would take the DVD introduction of Wonder Woman–the first and greatest of all female superheroes–to break the mold and deliver one of the best animated adventures ever.
Created by William Moulton Marston in 1941 as the female-empowering answer to Superman and Batman (based on a suggestion from his wife, Elizabeth), Wonder Woman was very nearly an instant smash success, whose powers of flight, near invulnerability, super strength, lasso of truth, powerful wisdom, indestructible bullet deflecting bracelets and bombshell beauty have always stayed nearly unchanging, even though the character herself has undergone various iterations brought on by different writers throughout her publishing history.
The new Wonder Woman direct-to-DVD adventure stays true to her origins in Graeco-Roman mythology, while also borrowing from artist/writer George Perez’ excellent updating of the Amazon’s story in his 1980s run on the title, following DC’s 1985 continuity-revamping epic Crisis On Infinite Earths.
The story begins centuries ago, during a brutal encounter between Amazon forces led by Queen Hippolyta (voice of Virginia Madsen) against Ares (voice of Alfred Molina), the god of war. Hippolyta is enraged that Ares has “forced a child” upon her (the implication is that Ares raped her, much in the way Hercules did in George Perez’ run on the comic), and she’s out for vengeance. Part of that vengeance comes when Hippolyta actually kills the young demi-god, surprising Ares with her will to carry out the act. She then manages to get the upper hand on him and is about to follow suit, until the intervention of Zeus (voice of David McCallum), the king of the gods, who demands Ares be spared. Zeus’ wife Hera (voice of Marg Helgenberger) tempers Hippolyta’s need for payback by setting a pair of power draining bracelets upon Ares, rendering him helpless until and unless those bracelets are removed by another god. By way of atonement for Hippolyta’s misuse by Ares, Hera provides a secluded island for her and the Amazons, where they will remain immortal forever. (more…)
Thanks to last year’s Iron Man and Dark Knight, the age of the superhero as a legitimate and viable tale in the realm of cinema is now in full effect. The epic story of Watchmen continues the trend of anchoring such heroes in an entirely believable world.
This world isn’t exactly ours, however. Based on the 1986 best-selling graphic novel by Alan Moore and Dave Gibbons (both this book and Frank Miller’s “The Dark Knight Returns” helped raise storytelling for comics to the adult level and set in motion changes within the industry that are still felt today), the tale is set in an alternate 1985, where superheroes were once a part of everyday life–helping to win the Vietnam War and get Nixon elected to three terms in office–but have since been outlawed by the government. Most have retired, but a few, such as the enigmatic Rorschach (Jackie Earle Haley) continue to operate, while others such as the Comedian (Jeffrey Dean Morgan) and Dr. Manhattan (Billy Crudup)–the only living being with actual superpowers–live and work at the behest of the U.S. government.
It is the Comedian’s murder, in fact, which opens the film…allowing for Rorschach–a brutal conspiracy freak with a penchant for killing criminals, in his view bringing them to justice–to begin doggedly investigating the case, which ultimately leads to a type of reunion for the Watchmen, some of whom, like Silk Spectre II (Malin Akerman) and Nite Owl II (Patrick Wilson) have been itching to find a reason to don their costumes once more. (more…)
Anyone even remotely familiar with science fiction knows that the Star Trek films suffered from a quality curse. It seemed that every odd-numbered film (especially Star Trek V) was absolutely horrible, while the even-numbered movies (in particular Star TrekII) were great. It wasn’t until the cast of Star Trek: The NextGeneration began making their own films that the curse was broken, albeit in the worst way: Each of their films (especially StarTrek: Insurrection, which makes Trek V look like Apocalypse Now) –with the exception of First Contact–was exponentially worse than that which came before.
All of this is a roundabout way of stating that the original direct-to-DVD episodes of Futurama have become the equivalent of reverse Trek: The odd-numbered episodes are good, while the even-numbered episodes suck.
Unfortunately, the latest (and potentially last) installment, Futurama: Into The Wild Green Yonder, is unlucky number four.
As viewers of the last installment, Futurama: Bender’s Game will recall, that episode ended with Professor Farnsworth (voice of Billy West, who also performs as Fry, Zoidberg and others) activated a machine which destroyed all the dark matter fuel in the universe. Perhaps because a suitable followup story couldn’t be adequately broken by writer Michael Rowe (credited with part three of Bender’s Game) or for whatever reason, there is absolutelynomention or continuance of that particular major plot point in WildGreen Yonder, with the exception of a two-second tossaway closeup of a bridge monitor indicating that whale oil is the new fuel of the future. Instead the story begins with a highly amusing and well done faux Sinatra/Dean Martin song by Family Guy creator Seth MacFarlane, as the Planet Express crew makes their way to Vegas on Mars, which is promptly blown up by mega-rich developer Leo Wong, who begins setting up his own New Vegas. (more…)
I have to admit, I’ve always been more a fan of B-movie living legend Bruce Campbell’s personality than I have any of his films. Like most celebrities, there are conflicting stories of whether Bruce is a duke or a douche, but from every interview I’ve ever seen or read concerning him, he seems to be a very down-to-earth guy who’s well aware of his place in the universe, and which in turn makes him appear to be a more affable guy than most…and in the long run, makes watching those few films I’ve seen him in(the big ones like the Evil Dead trilogy, and the seldom-seen like Terminal Invasion) easier to enjoy.
I love any actor who’s willing to poke fun at themselves and deflate their perceived image whenever possible, and in his newest flick, My Name Is Bruce, Campbell pokes long and hard, and does a whole lot of deflating. Playing a sleazy version of himself–jackass on set, living in a beat-up trailer and drinking Shemp Whiskey out of his dog Sam’nRob’s (one of the many homages within the film to friends, associates and others during his long and storied career) bowl–this Campbell is at the lowest point in his life, making a sequel to CaveAlien, the crappiest film in his crappy career. About to fire his agent (Ted Raimi, brother of Evil Dead and Spider-Man director Sam), Bruce is lulled into a false hope that his agent has bigger and better things in store for him when he’s told a big “surprise” awaits him on his birthday. Shortly thereafter, Bruce is approached by Jeff (Taylor Sharpe), a teenager who tries to convince him to come to the small town of Gold Lick, which is being menaced by a vengeful Chinese demon/warrior god named Guan-di (played by James Peck, and based on the actual legendary Chinese warrior/deity Guan Yu). When Bruce refuses, Jeff abducts him.
Finally let out of Jeff’s car trunk, Bruce is at first ready to sue the townsfolk, until he catches a glimpse of Jeff’s hottie mom, Kelly (Grace Thorsen). Thinking this whole Guan-di thing might be a more upscale flick set up by his agent (and very much wanting to get into Kelly’s pants), Bruce decides to play along…little knowing the menace of Guan-di is very real, and that the townsfolk–identifying him a bit too closely with his kick-ass Evil Dead character Ash–expect him to face down the warrior deity and save their town.
My Name Is Bruce proudly displays its B-movie pedigree on its sleeve–the blatant fake background behind cars when they drive, the obvious dummies attempting to pass for beheaded corpses, the fact that teenagers seeking sexual congress in graveyards are distinct wrongdoers who must be punished–and is more of a fun ride for it. In some ways, it has no choice: shot for a budget of just $1.5 million, and having its widest release in only four theaters (thus amassing not even $200,000 as of this writing), the guerilla-style nature which Campbell as director (he also produced the film) was forced to employ would do Ed Wood proud…and believe me, in this case that’s actually a compliment. (more…)
For the benefit of those who haven’t seen Max Payne yet, but are considering renting the DVD, I’m going to spoil as much of it as possible for you. Why? Because this is a film that shouldn’t be seen under any circumstances, even if you’re dragged off an airplane under the Presidential Directive of Rendition, and are placed in a dark room where CIA operatives intend to show it to you in order to forcefully extract information.
Forewarned is forearmed.
In the movie, based on the immensely popular 2001 videogame, Mark Wahlberg (The Departed, The Happening) stars as the titular character, a detective whose wife and infant son were brutally murdered by three home intruders, one of whom managed to escape and was never found. Despondent over the loss of his family and that the final assailant was never brought to justice, Max now works the Cold Case division of the NYPD, and in his spare time hunts down clues as to who the final killer might be.
Three years have passed since the murders, and one night Max tricks three punks into trying to rob him in a subway men’s room, and instead takes two of them down–riding one for clues while the third escapes into the darkness of the subway tracks. As the last punk flees, he is suddenly accosted by what appear to be winged demons (or possibly angels), before he meets his end as a train slams into him on its way to its final destination (ba-dum-bump!)
Max then heads to a club to gain more helpful info from the stoolie who led him to the subway punks. While there, he meets up with Russian hottie Natasha Sax (Olga Kurylenko) and her sister Mona (Mila Kunis). The girls enter into a heated debate before Max brings Natasha home to gain intel on a series of odd wing-shaped tattoos he spotted on one of the subway thugs, and which Natasha has as well. When Natasha unintentionally insults Max’s dead wife, he kicks her out of his place. Shortly afterward, Mona is murdered–seemingly by the selfsame demons from earlier, and Max soon becomes the prime suspect. Caring more about solving his wife’s murder than clearing his name soon plunges Max into a race to find the real killers, and eventually forces him to team up with Mona–head of a Russian mob family–before Max can be brought in by Lt. Jim Bravura (Chris “Ludicris” Bridges), another detective investigating both Natasha’s murder and that of Max’s old partner, in which Max is now also a suspect. (more…)
There was a time, not too long ago, that when the Oscar nominations were announced, I’d seen all the nominated films. Indeed, I’d seen all the significant movies of the year. My Top 10 list would have been signed, sealed, and delivered at least a week ago.
But fatherhood has a way of devouring that moviegoing time. Days spent at double features are instead devoted to bottles and diapers. Where I once had an aisle seat, I now have a blue “Bumbo” at my feet, with a gurgling baby girl as my companion.
This has added a welcome new dimension to my life, but subtracted from my list-building. So I have to put an asterisk by this year’s list, and revisit it sometime this summer, by which I’ll have seen the best of the rest on DVD.Right?
Without further ado, my not-quite-complete, needs-work, snapshot of a *Top 10 list as of right now:
10) Chop Shop. The American Slumdog Millionaire. No, not hardly, but if that gets you to rent it I’ll have done my job and you won’t mind the misinformation. A realistic slice-of-immigrant-life set in the repair shops and garbage dumps of Willets Point, Queens is the second, excellent film from Ramin Bahrani, after Man Push Cart. He makes invisible lives, hidden in plain sight, tangible.
9) The Visitor. The way more commercially successful Gran Torino is like the McCain response to this more nuanced, waiting-for-Obama drama, with Oscar nominee Richard Jenkins suddenly confronting the immigrant underclass, and doing his bit to relieve the war on terror waged upon them. (more…)
Before we begin, allow me to state for the record that I hate remakes. With very rare exceptions, they tend to be lifeless, pale imitations of the classics which came before them.
The remake of the 1951 classic The Day The Earth StoodStill does nothing to change my perceptions of Hollywood’s latest runaway trend.
Set in New York instead of Washington D.C., the film focuses on the arrival of Klaatu (Keanu Reeves), an alien who comes to Earth with an ultimatum for mankind. Before he can even finish assembling his true form in front of an astonished gathered military force, a soldier shoots him, nearly killing him. He’s taken to a military academy for study, where one of the scientists allowed to observe him as he is operated upon and allowed to heal is astrobiologist Helen Benson (Jennifer Connelly). When Regina Jackson (Kathy Bates), the Secretary of Defense, arrives with agents in tow and declares that Klaatu is a prisoner of the government and is to be interrogated, Benson finds a measure of empathy for him and rather than dope him up, gives him a harmless saline injection which allows him to retain enough of his faculties to escape. Once he does–eventually reuniting with both Helen and her estranged stepson Jacob (Jaden Smith)–it’s up to Helen to keep him from being recaptured and, once Klaatu’s dire intentions are known to her, prove to him that humans deserve the chance to evolve, rather than be destroyed.
Aside from some minor character changes, so far it seems that The Day The Earth StoodStill follows closely in the footsteps of its predecessor (that original film inspired by the short story “Farewell to the Master” by Harry Bates…no relation to Kathy). As with all remakes, however, the proof is in the execution… and as executed by director Scott Derrickson (Love in the Ruins, The Exorcism of Emily Rose) and writer David Scarpa (only previous credit: The LastCastle), this retelling of the tale is slow-paced, bland, boring as hell, nonsensical in many parts, and is, in many ways, an outright insult to the original. (more…)
Wonder Woman (2009, Warner Home Video)
Thanks to last year’s Iron Man and Dark Knight, the age of the superhero as a legitimate and viable tale in the realm of cinema is now in full effect. The epic story of 
Futurama: Into the Wild Green Yonder (2009, 20th Century Fox)
![Cover of "Max Payne [Blu-ray]"](http://ecx.images-amazon.com/images/I/61z8-9qmweL._SL200_.jpg "Cover of \"Max Payne [Blu-ray]\"")
There was a time, not too long ago, that when the Oscar nominations were announced, I’d seen all the nominated films. Indeed, I’d seen all the significant movies of the year. My Top 10 list would have been signed, sealed, and delivered at least a week ago.
Before we begin, allow me to state for the record that I hate remakes. With very rare exceptions, they tend to be lifeless, pale imitations of the classics which came before them.
DVD News: 20th Century Fox — Disaster in the Making
by Lance Berry20th Century Fox used to be one of the most respected film studios in the business. Its catalog of films is virtually legendary: Miracle on 34th Street (the 1947 version, not the 1994 remake), The Day the Earth Stood Still (the 1951 classic, not the crappy remake from last year), Gentlemen Prefer Blondes, The Seven Year Itch, the original Planet of the Apes film series, Young Frankenstein, the Star Wars films, the Alien series, The Princess Bride, Wall Street, Home Alone, Die Hard, and dozens of others.
Now it’s reached a new low by revealing that from now on all extras — commentaries, background features, deleted scenes, etc. — on DVDs of its films won’t be included on any discs designed for rental purposes. This means that if you rent your DVDs from Blockbuster or some other store or service (possibly Netflix — more on that in a second), you won’t have the option to decide if you like the extras enough to later buy the DVD — you’ll be forced to buy them from stores, sight unseen, and have to hope that the extras are special enough to warrant the purchase of the disc, regardless of how you feel about the film.
(more…)
Tags: 20th century fox, blockbuster video, commentaries, dvd extras, DVD sales, film production, greed, Lance Berry, netflix, opinion column, rentals, Slumdog Millionaire, special features, The Dark Knight, the day the earth stood still, Wall Street, watchmen
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