Thursday, April 22, 2010

1994 Iron Man Animated TV Series on DVD in May

IRON MAN: The Complete 1994 Animated Television Series

3-Disc DVD Set - FACT SHEET

Studio: Buena Vista Home Entertainment

Story: From Stan Lee comes Marvel’s complete 1994 animated television series, Iron Man. Experience every thrilling moment – from the very first episode, to the final climactic battle – in this 3-disc collector’s edition. Witness the action-packed adventure from the very beginning as billionaire inventor Tony Stark dons his invincible suit of iron to battle the villainous Mandarin and the power of his ten deadly rings.

With fellow super heroes Nick Fury, War Machine, Scarlet Witch, Spider Woman and Hawkeye at his side, Iron Man faces off against a band of evil foes, including Whiplash…and confronts his own demons, as well.

Go behind the armor and get to know the man under the powered suit. This complete Iron Man collection is a must-have for fans of all ages !

“Iron Man” stars voice talent Robert Hays (Superhero Movie), John Reilly (TV’s “General Hospital: Night Shift”), Jennifer Hale (Ariel’s Beginning – Voice) and is executive produced by Stan Lee (Spider-Man, Iron Man, The Fantastic Four, The Ultimate Avengers II), Avi Arad (Spider-Man 4, Fantastic Four, X-Men: The Last Stand) and Larry Leiber (Iron Man, Iron Man 2).

EPISODE LIST:

Disc 1:
1. And The Sea Shall Give Up It's Dead
2. Rejoice! I Am Ultimo Thy Deliverer
3. Data In - Chaos Out
4. Silence My Companion, Death My Destination
5. The Grim Reaper Wears A Teflon Coat
6. Enemy Within, Enemy Without
7. Origin Of The Mandarin
8. Defection Of The Hawkeye

Disc 2:
9. Iron Man To The Second Power (Part 1)
10. Iron Man To The Second Power (Part 2)
11. Origin Of Iron Man (Part 1)
12. Origin Of Iron Man (Part 2)
13. Wedding Of Iron Man!
14. The Beast Within
15. Fire And Rain
16. Cell Of Iron
17. Not Far From The Tree

Disc 3:
18. Beauty Knows No Pain
19. On The Inside
20. Distant Boundaries
21. The Armor Wars (Part 1)
22. The Armor Wars (Part 2)
23. Hulkbuster
24. Empowered
25. Hands Of The Mandarin (Part 1)
26. Hands Of The Mandarin (Part 2)

STREET DATE: May 4, 2010
Suggested retail price: $29.99 US; $35.99 Canada
Rated: TV – Y7
Run time: 572 minutes
DVD aspect ratio: 4:3
Sound: Dolby Digital Surround Sound, Spanish and French Language Tracks & Subtitles

© MARVEL, IRON-MAN and all related characters and their distinctive likenesses thereof are trademarks of Marvel Entertainment, Inc. and its subsidiaries and are used with permission. © 2010 Marvel Entertainment, Inc. and its subsidiaries. © Buena Vista Home Entertainment, Inc.

Review: Walt Disney's "Aladdin" a True Classic

TRASH IN MY EYE No. 190 (of 2006) by Leroy Douresseaux


Walt Disney’s Aladdin (1992) – animated
Running time: 90 minutes (1 hour, 30 minute)
MPAA – G
PRODUCER/DIRECTORS: Ron Clements and John Musker
WRITERS: Ted Elliot & Terry Rossio and Ron Clements & John Musker; from a story by Ed Gombert, Burny Mattinson, Roger Allers, Daan Jippes, Kevin Harkey, Sue Nichols, Francis Glebas, Darrell Rooney, Larry Leker, James Fujii, Kirk Hanson, Kevin Lima, Rebecca Rees, David S. Smith, Chris Sanders, Brian Pimental, and Patrick A. Ventura
EDITOR: H. Lee Peterson
Academy Award winner

ANIMATION/FANTASY/COMEDY and FAMILY/MUSICAL/ROMANCE

Starring: (voices) Scott Weinger, Robin Williams, Linda Lavin, Jonathan Freeman, Gilbert Gottfried, Douglas Seale, Frank Welker, Bruce Adler, Brad Kane, Lea Solanga, and Jim Cummings

Resourceful “street rat,” Aladdin (Scott Weinger) makes his living on the streets of Agrabah as a thief, ably assisted by his constant companion, a spunky monkey named Abu (Frank Welker). One day his eyes catch the sight of a beautiful young woman, whom he later rescues from an overzealous fruit vendor. Aladdin learns that she is Jasmine (Linda Lavin), the daughter of the Sultan of Agrabah (Douglas Seale), and she is walking the streets of Agrabah in disguise just to experience life outside the Sultan’s palace. Aladdin falls in love with Jasmine, but believes that he must be a prince to win her heart.

Later, Aladdin goes on a mission for another resident of the palace in disguise, Grand Vizier Jafar (Jonathan Freeman), the Sultan’s advisor. It is then that Aladdin comes into possession of a magical lamp. When Aladdin rubs the lamp, out springs the show-stealing Genie (Robin Williams). Genie takes a liking to his new master and uses his magical powers to help Aladdin get closer to Jasmine by disguising him the wealthy Prince Ali Ababwa. However, Aladdin must learn to be himself if he’s going to earn the love of the independent-minded Jasmine, and he’ll need all his smarts to stop the diabolical Jafar and his scheming parrot, Iago (Gilbert Gottfried), from overthrowing the Sultan to become rulers of Agrabah.

In 1989, Walt Disney Feature Animation began a second golden age of Disney feature-length animated films with The Little Mermaid. Almost with each successive film, the box office take grew – Beauty and the Beast in 1991 and Aladdin in 1992 (while the underrated The Rescuers Down Under floundered in 1990), peaking in 1994 with The Lion King, which at the time set a record for box office gross by an animated flick. The Little Mermaid, Beauty and the Beast and Aladdin are quasi musicals, a sort of “lite” version of a Broadway musical. Of the trio, the most comic is Aladdin.

In some ways, however, Aladdin is old school. The filmmakers and the Disney story department created lively characters with strong personalities and provided each one with sketch comic scenes that helped to endear him or her to the audience. The character animation is superb, and the characters move with fluidity and grace. The animators also provided visual quirks and clever visual gags that further defined each character – the best, of course, being Robin Williams’ Genie. While the other characters are certainly good (Jafar and Iago and Aladdin’s Magic Carpet stand out to me), Williams steals scenes without coming across as a scene hog, and his non-stop antics and transformations make Aladdin such a special movie. Genie was and remains the character that best fits Williams’ manic comic personality, and it’s not William’s effort alone. Genie is a creation of both William’s work as a voice actor and the drawing skills of large group of animators.

When a movie has Williams’ comical madness and Alan Menken’s evocative score and the songs Menken co-wrote with lyricists Tim Rice and Howard Ashman (a frequent partner of Menken’s who died over a year before Aladdin premiered), it has the potential to be a great film. Add in a cast of wonderful and charming characters, a simple, straight forward romance filled with magic and magical creatures, and two deliciously bad, bad guys, and you have a Disney classic.

9 of 10
A+

NOTES:
1993 Academy Awards: 2 wins: “Best Music, Original Score” (Alan Menken) and “Best Music, Original Song” (Alan Menken-music and Tim Rice-lyrics for the song "A Whole New World"); 3 nominations: “Best Effects, Sound Effects Editing” (Mark A. Mangini) “Best Music, Original Song” (Alan Menken-music and Howard Ashman-lyrics for the song "Friend Like Me"), and “Best Sound” Terry Porter, Mel Metcalfe, David J. Hudson, and Doc Kane)

1994 BAFTA Awards: 2 nominations: “BAFTA Film Award Best Score” (Alan Menken) and “Best Special Effects” (Don Paul and Steve Goldberg)

1993 Golden Globes:  3 wins “Best Original Score - Motion Picture” (Alan Menken), “Best Original Song - Motion Picture” (Alan Menken-music and Tim Rice-lyrics for the song "A Whole New World"), and “Special Award” (Robin Williams for his vocal work); and 3 nomination: “Best Motion Picture - Comedy/Musical,” “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song “Friend Like Me”), and “Best Original Song - Motion Picture” (Alan Menken-music and Howard Ashman-lyrics for the song "Prince Ali")

Saturday, September 02, 2006

Wednesday, April 21, 2010

The "House Party" Anniversary Bash (A Negromancer New Bits and Bites Extra)

I'd forgotten that this year is the 20th anniversary of the film, House Party.  This article from AOL's Black Voices "BV on Movies" blog reminded me.  There was an anniversary party at the Tribeca All Access kickoff event, part of the 2010 Tribeca Film Festival.

Released in 1990 by New Line Cinema, House Party starred the rap duo Kid 'N Play having a (what else) house party when Kid's dad (played by the much-missed comic, Robin Harris) is away.  The film also starred Martin Lawrence and Tisha Campbell, among others.  There would be two theatrical sequels and one straight-to-video movie.

Buy House Party Collection: 4 Film Favorites


Review: "Akira" Will Still Rock Your World

TRASH IN MY EYE No. 123 (of 2003) by Leroy Douresseaux

Akira (1988) – Animated
(dubbed in English for its U.S. release)
Running time: 124 minutes (2 hours, 4 minutes)
MPAA – R for graphic violence and brief nudity
DIRECTOR: Katsuhiro Otomo
WRITER: Katsuhiro Otomo and Izo Hashimoto (from the manga by Katsuhiro Otomo)
PRODUCERS: Haruyo Kanesaku, Shunzo Kato, Yutaka Maseba, Ryohei Suzuki, and Hiroe Tsukamoto
CINEMATOGRAPHER: Katsuji Misawa (director of photography)
EDITOR: Takeshi Seyama

ANIMATION/SCI-FI/ACTION with elements of a thriller

Starring: (voices) Mitsuo Iwata, Nozomu Sasaki, Mai Koyama, Tessho Genda, and Hiroshi Otake. (English dub) Johnny Yong Bosch, Joshua Seth, Wendee Lee, and Sandy Fox

Not only does the anime (a Japanese term for animated films) Akira have a cult following, many people who have seen it hold the film in high regard and as a watershed event not only in the history of anime and full-length animated features, but also in the history of filmmaking in general; it indeed has achieved legendary status.

Directed by Katsuhiro Otomo from his manga (Japanese term for comics) of the same title, Akira is the story of the evils secret military projects and science gone mad can bring upon mankind. Tetsuo, the runty teenager with a chip on his shoulder, was, as a child, a test subject in a covert military scientific project to create psionic beings. Psions are humans with supernatural mental powers like telekinesis (the ability to affect matter with the mind) and telepathy (the ability to communicate with others through thoughts rather than speech). As a teen, Tetsuo’s powers awaken, and he becomes a psionic psychopathic, killing and destroying almost anything in his path. It’s up to his fellow biker Kaneda and a girl named Kei to stop him. They are joined in their mission by another group of psionics, a group who fear that Tetsuo will destroy Neo-Tokyo just as another psionic creature, the legendary Akira, destroyed the original Tokyo.

Although the plot drags, the script has gaping holes, incidents happen with no explanations, and the end gets weird, Akira is nevertheless a groundbreaking and fantastic film. For everything it lacks in story structure, it more than makes up for with the visual hurricane that Otomo puts on the screen. He takes full advantage of the visual possibilities of both comic books and animation to pull off a film that is stuffed with visual feats. Comic books allow artists and cartoonists to draw things that would be nearly impossible for filmmakers to reproduce in film because of budget constraints, lack of technology, or both. If an animated film has the budget, its animators certainly have the skill to replicate the limitless possibilities of comics in the animated moving picture.

Otomo and his staff of animators and filmmakers created 2,212 shots using a total of 160,000 single pictures, about three times the number usual for animated features. What this does is not only create a film that duplicates the realism of live-action films, but actually surpasses what a live action film can do on a reasonable budget. With its scenes of bike chases, street battles, urban destruction in the form of exploding and collapsing structures, large crowd scenes, gun battles, and sci-fi action, Akira acts like a “real” movie. It’s stunning to watch this. They actually drew a movie in which the action and events carry the same weight and have the same impact as live action.

Akira, however, remains true to being an animated film. The filmmakers used 327 different colors and created 50 just for this film, so Akira has the kind of lush landscape of wonderful colors that we expect in animated films. The problems of story structure can be ignored. What is important is the film’s warning – just because we can achieve something scientifically does not mean that we should not consider science’s impact on both individuals and on the larger society. When a film visually achieves so much and has a wonderful message, I can overlook the little things.

8 of 10
A

---------------------------------


Tuesday, April 20, 2010

53rd Grammy Awards Set for Sunday, February 13 2011

53rd Annual GRAMMY® Awards Live from STAPLES Center in Los Angeles on Sunday, Feb. 13, 2011, and Will Air on CBS

SANTA MONICA, Calif.--(BUSINESS WIRE)--The 53rd Annual GRAMMY® Awards will take place in Los Angeles at STAPLES Center on Sunday, Feb. 13, 2011, and will air live on the CBS Television Network from 8 – 11:30 p.m. (ET/PT). As a result of last year's earlier show and Awards process dates, this year the eligibility dates for the 53rd Annual GRAMMY Awards are Sept. 1, 2009, through Sept. 30, 2010. (This year will mark a 13-month eligibility period.) The date for the GRAMMY nominations announcement — which showcases GRAMMY Award finalists, the year's best and brightest in music as voted on by The Recording Academy®'s membership of music professionals — will be announced shortly.

"The 52nd Annual GRAMMY Awards was a dynamic, memorable evening, and it delivered our highest ratings since 2004 and the biggest year-over-year increase in more than 20 years," said Neil Portnow, President/CEO of The Recording Academy. "We have every intention of keeping that momentum going with our 53rd show, and once again we are thrilled to be bringing the excellence and excitement of our GRAMMY Week events and charitable initiatives to the city of Los Angeles. We also look forward to working on another outstanding GRAMMY telecast with our partners and good friends at CBS and STAPLES Center."

"The 53rd Annual GRAMMY Awards will once again be event television with exciting and memorable performances that will entertain and engage our audience," said Jack Sussman, executive vice president, specials, music and live events, CBS. "We look forward to working with our partners at The Recording Academy to make Music's Biggest Night® an event that can't be missed."

GRAMMY Week — a weeklong series of cultural events culminating in Music's Biggest Night — will again feature celebrations of music, fashion, arts education and philanthropy, including the Salute To series, GRAMMY Style Studio, GRAMMY Career DaySM, Clive Davis and The Recording Academy's Pre-GRAMMY Gala, the annual MusiCares® Person of the Year tribute, the GRAMMY Foundation's Music Preservation Project, the Entertainment Law Initiative luncheon, a Producers & Engineers Wing event, and GRAMMY Museum programs, among others.

Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, join the organization's social networks on Facebook (www.facebook.com/thegrammys), MySpace (www.myspace.com/thegrammys), Twitter (www.twitter.com/thegrammys), and YouTube (www.youtube.com/thegrammys).

"Shutter Island" on DVD in June 2010

FROM ACADEMY AWARD®-WINNING* DIRECTOR MARTIN SCORSESE COMES A SUSPENSEFUL THRILLER STARRING ACCLAIMED ACTOR LEONARDO DICAPRIO

SHUTTER ISLAND

Intense and Spine-Chilling Tour de Force Debuts on DVD, Blu-ray and VOD June 8, 2010

World-renowned director Martin Scorsese delivers “a stunning masterpiece that requires and demands multiple viewings” (Ain’t It Cool News) with the critically-acclaimed suspense thriller

SHUTTER ISLAND, debuting on DVD, Blu-ray and VOD June 8, 2010 from Paramount Home Entertainment. Starring three-time Academy Award® nominee Leonardo DiCaprio (The Departed), the film features an outstanding ensemble cast including Mark Ruffalo (Zodiac), Oscar® winner Sir Ben Kingsley (Gandhi),

Max von Sydow (Minority Report), Michelle Williams (Brokeback Mountain) and Emily Mortimer (Match Point). Based on the best-selling novel by celebrated writer Dennis Lehane, SHUTTER ISLAND was written for the screen by Laeta Kalogridis and tells the story of two U.S. marshals investigating the mysterious disappearance of an inmate from a hospital for the criminally insane. But as their investigation proceeds, they uncover an intricate web of deception where nothing may be as it seems. Filled with nail-biting suspense and unexpected plot twists, SHUTTER ISLAND is a must-see thriller that will keep you guessing to the very end.

The SHUTTER ISLAND Blu-ray includes making-of featurettes entitled “Behind the Shutters” and “Into the Lighthouse”. Music from the motion picture is available now from Rhino Records at all physical and digital retail outlets. The haunting double disc set was produced by music legend and frequent Scorsese collaborator Robbie Robertson and features a stunning array of modern classical music.


SHUTTER ISLAND DVD & Blu-ray
The SHUTTER ISLAND DVD is presented in widescreen enhanced for 16:9 TVs with Dolby Digital English 5.1 Surround, French 5.1 Surround and Spanish 5.1 Surround and English, French and Spanish subtitles. The Blu-ray is presented in 1080p high definition with English 5.1 DTS-HD Master Audio, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and Brazilian Portuguese 5.1 Dolby Digital and English, English SDH, French, Spanish and Brazilian Portuguese subtitles. The Blu-ray includes the following special features:

o Behind the Shutters—Follows the film from its inception as an acclaimed novel through the production process and to the big screen. Includes interviews with cast and crew.

o Into the Lighthouse—Discusses the historical landscape of psychiatric therapies during the 1950s through interviews with cast and crew.

About Paramount Home Entertainment
Paramount Home Entertainment (PHE) is part of Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment. PPC is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. PHE is responsible for the sales, marketing and distribution of home entertainment products on behalf of various parties including: Paramount Pictures, Paramount Vantage, Paramount Classics, Paramount Famous Productions, Nickelodeon, MTV, Comedy Central, CBS and PBS and for providing home entertainment fulfillment services for DreamWorks Animation Home Entertainment.

Shutter Island - the Negromancer review.

Review: "Spider-Man 3" is Too Crowded

TRASH IN MY EYE No. 76 (of 2007) by Leroy Douresseaux

Spider-Man 3 (2007)
Running time: 140 minutes (2 hours, 20 minutes)
MPAA – PG-13 for sequences of intense action violence
DIRECTOR: Sam Raimi
WRITERS: Sam Raimi & Ivan Raimi and Alvin Sargent; from a screen story by Sam Raimi and Ivan Raimi (based upon the Marvel Comic Book by Stan Lee and Steve Ditko)
PRODUCERS: Laura Ziskin, Avi Arad, and Grant Curtis
CINEMATOGRAPHER: Bill Pope
EDITOR: Bob Muraski
BAFTA Award nominee

SCI-FI/FANTASY/ACTION/DRAMA/ROMANCE

Starring: Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, Rosemary Harris, J.K. Simmons, James Cromwell, Theresa Russell, Dylan Baker, Bill Nunn, Bruce Campbell, Elizabeth Banks, Cliff Robertson, Ted Raimi, Perla Haney-Jardine, Elya Baskin, and Mageina Tovah

Sam Raimi returns to direct Spider-Man 3, and this time he has the hero and film juggling a gaggle of new characters, which ultimately weighs down this film and denies the best villain of this installment, Venom, the substantial screen time that would have made SpM3 as good as Spider-Man 2.

Peter Parker (Tobey Maguire) has finally struck a balance between his life as the costumed superhero, Spider-Man, and his civilian life, which includes his girlfriend, Mary Jane Watson (Kirsten Dunst) or M.J., but there are so many troubles brewing on his horizon. First, Harry Osborn (James Franco), the son of Spider-Man’s most dangerous enemy, the villainous Green Goblin, strikes at him using some of his father’s technology. Next, Peter learns that Flint Marko (Thomas Haden Church) was the man who really killed Peter’s beloved Uncle Ben (Cliff Robertson). A freak scientific accident fuses Marko’s DNA with sand, and he becomes the shape-shifting Sandman. If that weren’t enough, Peter, a photographer for the Daily Bugle meets his new rival, Eddie Brock (Topher Grace), a sneaky twerp willing to do just about anything to impress the Bugle’s editor-in-chief, J. Jonah Jameson (J.K. Simmons), in order to get the fulltime photographer position Peter wants.

Peter and M.J. (who knows that Peter is also Spider-Man) are also at odds because M.J. feels that whenever she needs a shoulder to cry on, Pete is too busy talking about being Spider-Man and how popular the hero has become with the general public. Their relationship crumbles when M.J. sees Spider-Man/Peter Parker kissing Eddie Brock’s girlfriend, Gwen Stacy (Bryce Dallas Howard). Meanwhile, Peter has encountered an alien substance, a symbiotic creature, which merges with Spider-Man and his traditional red and blue costume and turns it black. The union also changes Peter’s personality, and it is the new, more aggressive and selfish Peter who publicly humiliates Brock. Unbeknownst to Pete, Brock will play a major part in bringing forth Spider-Man’s arch-nemesis, Venom. As Peter Parker tries to repair the rifts between he and his closet friends and also rediscover his compassion, Sandman and Venom form an unholy union to have their revenge against the wall-crawling hero.

Spider-Man 3 is a special effects extravaganza, featuring dizzying chase scenes in which characters are whirling, twirling, spinning, soaring, plunging, etc. between the buildings and structures of New York City. Above the street and below, Spider-Man and his adversaries defy gravity and avoid destruction even when gravity or the force of their own punches and kicks send them spiraling toward an extra hard landing. Computer rendered characters including CGI version of Spider-Man, Sandman, Venom, “Goblin, Jr. Harry Osborn, and the civilians they endanger (including M.J. and Gwen) account for the bulk of the complex action scenes, which couldn’t be pulled off with such dazzling, dizzying flair using real actors.

In the end, however, Spider-Man 3 is like the original 2002 Spider-Man movie – a lot of sound and fury dropped in between poignant character drama. The core of this movie is the message of compassion, forgiveness, and heroism. Early in the film, things are going so well for Peter – he’s going to propose to M.J. and the public adores Spider-Man – that when an obstacle presents itself or a little rain falls in his life, he’s turns to anger, pride, envy, and vengeance. In fact, most of the characters are looking for retribution or dealing with bitterness and personal defeat.

Try as Raimi, his co-writers, and cast might, the film has no soul, however. It’s simply a loud, superhero action fantasy built on CGI. There are too many characters and subplots to allow the drama and message to fully bloom into hearty flowers. Spider-Man 3 has the thrills and chills of superhero and villains colliding, but it is exceedingly dark and gloomy, which doesn’t allow the heroism to come through until the end. Of course, if this is really just popcorn entertainment, who cares if the human drama is just window dressing?

5 of 10
B-

Friday, May 11, 2007

NOTE:
2008 BAFTA Awards: 1 nomination: “Best Special Visual Effects” (Scott Stokdyk, Peter Nofz, John Frazier, and Spencer Cook)

--------------


Monday, April 19, 2010

Review: Frank Miller's "The Spirit" Has Spirit

TRASH IN MY EYE No. 24 (of 2010) by Leroy Douresseaux

The Spirit (2008)
Running time: 103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for intense sequences of stylized violence and action, some sexual content and brief nudity
DIRECTOR: Frank Miller
WRITER: Frank Miller (based upon the comic book created by Will Eisner)
PRODUCERS: Deborah Del Prete, Gigi Pritzker, and Michael E. Uslan
CINEMATOGRAPHER: Bill Pope (director of photography)
EDITOR: Gregory Nussbaum
COMPOSER: David Newman

SUPERHERO/ACTION/CRIME/FANTASY

Starring: Gabriel Macht, Samuel L. Jackson, Eva Mendes, Dan Lauria, Sarah Paulson, Scarlett Johansson, Jaime King, Stana Katic, Paz Vega, and Louis Lombardi

The Spirit is a comic book character created by the late Will Eisner. From June 2, 1940 until October 5, 1952, The Spirit appeared in a 16-page comic book that was inserted into newspapers the way the comics section, the coupon pages, and Parade magazine, etc. still are. Some readers called it “The Spirit Section.” In late 2008, Eisner’s hero finally made it to movie theatres in The Spirit, a film written and directed by a comic book creator turned movie director, Frank Miller. Among Miller’s creations is the graphic novel, 300, which became a worldwide hit movie in 2007.

The Spirit (Gabriel Macht) is the guardian of Central City, but before he was a masked man, The Spirit was a cop named Denny Colt (Macht). Seemingly murdered in the line of duty, Denny escaped death and continued to fight crime, working outside the law as The Spirit. He fights crime from the shadows, and his war takes him to the city’s rundown warehouses, to deep in the damp catacombs beneath the city, or to the windswept waterfront, among other unsavory places. No place is too high, too low, or too dangerous for this masked crusader.

His most fearsome adversary is The Octopus (Samuel L. Jackson), a loud and flamboyant kingpin of crime with a penchant for mass murder. The Octopus plots to destroy Central City and to conquer the world, but first he needs to augment his powers with the legendary Blood of Heracles. On its way to Central City, the vase containing the blood falls into the hands of an old acquaintance of The Octopus, Sand Saref (Eva Mendes), who also has a past with The Spirit. Now, The Spirit must face both The Octopus, who is determined to finally kill him, and Saref, the woman who once broke his heart and who may now break him.

Visually, The Spirit is dazzling, even brilliant at time. The shimmering colors, the extravagant costumes, and the lavish sets, as well as the shifting environments and complicated landscape that is the vibrant Central City. The characters are generally good, especially The Spirit and Dan Lauria’s Commissioner Dolan; Eva Mendes’ bombshell Sand Saref stands out among all the movie’s female characters. Sam Jackson’s Octopus is somewhere between edgy-meets-whacky and too over the top.

The Spirit was generally panned by critics and fans and was a box office failure. I think this film is too visually adventurous, and it is certainly experimental and daring in blending the cool static graphics of comic books and the basic compositional visual style of Film-Noir with cutting edge cinematography and computer enhancement and effects.

The film’s problem is that there is a disconnect between Frank Miller’s storytelling, in particularly the screenplay, and how the actors perform that story. On the technical end of the film, Miller seems to have gotten what he wanted. Directing the narrative and the actors’ performances and writing are the problems. The plot is okay and is quite straight-forward. The execution of the plot as a narrative is the problem. The story is awkward and has too many weird and/or unnecessary digressions. Quite a bit of dialogue is either too mannered or too stylized and when the actors perform the dialogue it sounds awkward and staged.

Still, The Spirit is too gorgeous to be considered a bomb or a failure. Its lustrous colors seem natural, almost organic compared to the look of Sin City and 300, two movies adapted from Frank Miller comic books. Focusing on what is good about The Spirit suggests that Miller has a future as a movie director, because this movie is just too visually alluring and too imaginative to be lumped in with truly bad movies.

5 of 10
B-

Monday, April 19, 2010

-----------------------


Sunday, April 18, 2010

World Premiere of "A Nightmare on Elm Street" Remake, April 27th

Warner Bros. Pictures News: Save the Date for World Premiere of A NIGHTMARE ON ELM STREET Tuesday, April 27


--(BUSINESS WIRE)--Warner Bros. Pictures:

WHAT:
Red carpet arrivals at the world premiere of A NIGHTMARE ON ELM STREET on Tuesday, April 27th at Grauman’s Chinese Theatre in Hollywood.

WHO:
From the film: Jackie Earle Haley, Kyle Gallner, Katie Cassidy, Rooney Mara, Thomas Dekker, Connie Britton, producers Brad Fuller and Andrew Form, and director Samuel Bayer. Celebrity guests to follow.

WHEN:
Tuesday, April 27, 2010

WHERE:
Grauman’s Chinese Theatre, 6925 Hollywood Blvd., Hollywood


Crew Arrivals: 5:00PM
Celebrity Arrivals: 6:00PM
Screening: 7:00PM

About the film:Nancy, Kris, Quentin, Jesse and Dean all live on Elm Street. At night, they’re all having the same dream—of the same man, wearing a tattered red and green striped sweater, a beaten fedora half-concealing a disfigured face and a gardener’s glove with knives for fingers. And they’re all hearing the same frightening voice…

One by one, he terrorizes them within the curved walls of their dreams, where the rules are his, and the only way out is to wake up.

But when one of their number dies a violent death, they soon realize that what happens in their dreams happens for real, and the only way to stay alive is to stay awake. Turning to each other, the four surviving friends try to uncover how they became part of this dark fairytale, hunted by this dark man. Functioning on little to no sleep, they struggle to understand why them, why now, and what their parents aren’t telling them.

Buried in their past is a debt that has just come due, and to save themselves, they will have to plunge themselves into the mind of the most twisted nightmare of all… Freddy Krueger.

New Line Cinema presents a Platinum Dunes Production, “A Nightmare on Elm Street,” a contemporary re-imagining of the seminal horror classic, starring Academy Award® nominee Jackie Earle Haley (“Little Children,” “Watchmen”) as Freddy Krueger. The film is directed by award-winning music video and commercial director Samuel Bayer (Nirvana’s “Smells Like Teen Spirit,” Green Day’s “Boulevard of Broken Dreams”), marking his feature film directorial debut.

A talented ensemble of young actors play the teenagers now taking on Freddy Krueger, led by Rooney Mara (“Urban Legend: Bloody Mary”) as Nancy, Kyle Gallner (“The Haunting in Connecticut”) as Quentin, Katie Cassidy (“Taken,” TV’s “Supernatural” & “Melrose Place”) as Kris, Thomas Dekker (“Terminator: The Sarah Connor Chronicles”) as Jesse, and Kellan Lutz (“Twilight,” “The Twilight Saga: New Moon”) as Dean.

The parents of the Elm Street kids are played by a talented supporting cast featuring veteran actor Clancy Brown (“Highlander,” “The Shawshank Redemption”), Connie Britton (“Friday Night Lights”), and Lia D. Mortensen.

Bayer directed “A Nightmare on Elm Street” from a screenplay by Wesley Strick and Eric Heisserer, story by Strick. “A Nightmare on Elm Street” is based on characters created by Wes Craven in the 1984 sleeper horror hit of the same name. That film went on to become one of the horror genre’s longest-running, most successful and innovative film series.

The film is produced by Platinum Dunes’ Michael Bay, Andrew Form and Brad Fuller, whose company has enjoyed tremendous success with a host of re-imagined horror franchises, including “Friday the 13th,” “The Texas Chainsaw Massacre,” and “The Amityville Horror.” The executive producers are Mike Drake, Robert Shaye, Michael Lynne, Richard Brener, Walter Hamada and Dave Neustadter, with John Rickard serving as co-producer.

A NIGHTMARE ON ELM STREET has been rated “R” by the Motion Picture Association of America for “violence, disturbing images and some sexuality.”

http://www.nightmareonelmstreet.com/

New Line Cinema presents a Platinum Dunes Production, A NIGHTMARE ON ELM STREET, being released on Friday, April 30, 2010 by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

"Review: "Sin City" Crazy Good

TRASH IN MY EYE No. 56 (of 2005) by Leroy Douresseaux

Frank Miller’s Sin City (2005)
Running time: 126 minutes (2 hours, 6 minutes)
MPAA – R for sustained strong stylized violence, nudity, and sexual content including dialogue
DIRECTORS: Robert Rodriguez and Frank Miller (with special guest Quentin Tarantino)
WRITER: Robert Rodriguez (based upon the Sin City graphic novels created by Frank Miller)
PRODUCERS: Elizabeth Avellan, Robert Rodriguez, and Frank Miller
CINEMATOGRAPHER: Robert Rodriguez
EDITOR: Robert Rodriguez

CRIME/ACTION/DRAMA/THRILLER

Starring: Bruce Willis, Mickey Rourke, Jessica Alba, Clive Owen, Nick Stahl, Powers Boothe, Rutger Hauer, Elijah Wood, Rosario Dawson, Benicio del Toro, Jamie King, Devon Aoki, Brittany Murphy, Michael Clarke Duncan, Carla Gugino, Josh Hartnett, and Michael Madsen

Robert Rodriguez, director of films like Once Upon a Time in Mexico and the Spy Kids franchise, really wanted to direct a film adaptation of comic book creator Frank Miller’s series of graphic novels, Sin City. Miller, who blew up in the 80’s with by revitalizing and reworking Marvel Comics’ Daredevil and DC Comics Batman character in Batman: The Dark Knight Returns and Batman: Year One, had already said “no” about a dozen times, according to Newsweek magazine, with Rodriguez being the 12th.

However, Rodriguez wouldn’t give up. He invited Miller to Austin, TX for what was supposed to be a test shoot, but what was really Rodriguez’s opportunity to show Miller what he already done in pre-production to make the film look like Frank Miller’s Sin City and not Robert Rodriguez’s Sin City. Rodriguez had already shot a short piece, an adaptation of a Miller Sin City short story “The Customer is Always Right,” with Josh Hartnett and Marley Shelton playing the roles. Miller was convinced, and the footage reportedly also amazed the actors whom Rodriguez wanted to cast in the feature film when he showed it to them.

The film, Sin City, (or by its full title Frank Miller’s Sin City) is literally the comic book. This isn’t a film adaptation of a comic book character like the Spider-Man, X-Men, and Batman franchises. This is a movie as a comic book – a frame by frame (or panel by panel, in the case of a comic book) transfer of pictures from a comic book onto film and translated into moving pictures and a film narrative. Let it be called Rodriguez and Miller’s Sin City, and, thus far, it’s best movie I’ve seen this year.

The film adapts three of Miller’s Sin City graphic novels, which are set in and around Basin City or, as it’s better known, Sin City. The Hard Goodbye features Marv (Mickey Rourke, in prosthetics), a tough-as-nails, nearly impossible to kill street fighter/killing machine, who is out for revenge for the killing of a hooker named Goldie (Jamie King), who showed him a good time and the only touch of kindness he ever received. His search leads him to Kevin (Elijah Wood), a psycho serial killer who moves and bounces around like Spider-Man.

The second is The Big Fat Kill, which finds Dwight (Clive Owen), one of the few Sin City good guys, trying to help the hookers of Old Town, after they unknowingly kill Jackie Boy (Benicio del Toro), a cop – a corrupt cop, but still a cop, and his posse. Killing a cop will end the truce that’s protected the ladies of Old Town via a deal that keeps the mob and the cops out of Old Town, as long as the cops are paid off and the girls never kill a cop, even one who gets rough with them. Now, Dwight has to keep evidence of Jackie Boy’s death a secret (by making sure his body, and then later, his severed head, not get into the wrong hands). Dwight’s lover and leader of the Amazonian prostitutes, Gail (Rosario Dawson), and a ninja super ho named Miho (Devon Aoki) assist him, but they find themselves up against a ruthless one-eyed (the other is a gold ball) mob henchmen named Manute (Michael Clarke Duncan).

The final vignette is That Yellow Bastard, which is actually split in two. One part plays before “The Hard Goodbye” and “The Big Fat Kill” and the other closes the main section of the film. In the first part, Hartigan (Bruce Willis), a good cop with a bad ticker saves Nancy (Makenzie Vega) an 11-year girl, from Rourk, Jr. (Nick Stahl), a raging pedophile and the son of the powerful Senator Rourk (Powers Boothe). Although Hartigan saves the girl, his partner (Michael Madsen) shoots him down to keep him from killing Rourk, Jr.. In the second and closing installment, Hartigan ends up in prison on trumped up charges because of the senator’s influence. After getting out, he has to protect the grown up Nancy Callahan (Jessica Alba) from Yellow Bastard (Stahl), who is Rourk, his skin made yellow by the special medical treatments given to repair “the damage” Hartigan did to him in the first segment of Bastard.

Rodriguez, who insisted that Miller get a co-director credit (which forced Rodriguez to leave the Directors Guild of America because co-directors who aren’t siblings is a no-no), shot this film entirely before a green screen. The only things that are real are the actors, the objects they touch, and the cars they ride in. Everything else was digitally inserted later using special effects, such as in Sky Captain and the World of Tomorrow. The result is a digital painting in stark black and white with dashes of vibrant color – a red dress, gold hair, a yellow-skinned bastard, etc.

But is this movie good? It’s as good as it is groundbreaking. For all it’s visual flair and the fact that it really looks like a comic book brought to digital film live, the story and the characters are also riveting and engaging. I couldn’t’ take my eyes off the screen. This is power slap to the face like Pulp Fiction and The Matrix, where you get the hard-boiled crime story that enthralls in the former and the eye-popping and mind-bending technical explosion of the latter. Hell, this is better than The Matrix and Sky Captain. Comic book geeks and aficionados, hard core action movie junkies, and the young male demographic will likely love this; this mean baby of a movie was born for them. Anyone else who likes the daring in cinema and can stomach the strangest art films can also handle this, even if they, in the end, don’t like it.

Sin City does seem to run on a little too long, but even this minor quibble is for the best. It gives the large cast (that was anxious to star in this maverick project) more film time in which to shine. There are some truly good performance here – Stahl, Rourke, and Owen for sure. How can a true fan of movies miss this? Yes, it’s vile and almost pornographically violent, but violence looks great on the big screen. Besides, the opportunity to see Jessica Alba’s gyrating dance, Rosario Dawson’s super duper fine ass, and Jamie King’s breasts of a goddess are worth it.

9 of 10
A+

--------------------------


Saturday, April 17, 2010

Review: "Ninja Assassin" is Strictly for My N.I.N.J.A.S.

TRASH IN MY EYE No. 23 (of 2010) by Leroy Douresseaux

Ninja Assassin (2009)
Running time: 99 minutes (1 hour, 39 minutes)
MPAA – R for strong bloody stylized violence throughout, and language
DIRECTOR: James McTeigue
WRITERS: Matthew Sand and J. Michael Straczynski; from a story by Matthew Sand
PRODUCERS: Grant Hill, Joel Silver, Andy Wachowski, and Larry Wachowski
CINEMATOGRAPHER: Karl Walter Lindenlaub
EDITORS: Gian Ganziano and Joseph Jett Sally

ACTION/MARTIAL ARTS

Starring: Rain, Naomie Harris, Ben Miles, Shô Kosugi, Rick Yune, Joon Lee, Anna Sawai, Yoon Sungwoong, Kylie Liya Goldstein, Sung Kang, and Randall Duk Kim

It’s not Crouching Tiger, Hidden Dragon, nor is it a Bruce Lee movie. However, if you want to see a ninja movie in which the clichés and bodies pile up in a mass of gore and severed limbs and heads, then, Ninja Assassin is just for you (and me).

Ninja Assassin focuses on an outcast ninja named Raizo (Rain). An orphan, he was taken from the streets as a child and brought into a ninja clan. There, Lord Ozunu (Shô Kosugi) gave him the name “Raizo” and transformed him into a trained killer in the service of the Ozunu Clan, a secret society whose very existence is considered a myth. After a terrible incident, Raizo leaves the Clan and vanishes. Now, living in Berlin, he waits for his former brethren to come for him, and he prepares to exact his revenge.

Meanwhile, also in Berlin, Europol agent Mika Coretti (Naomie Harris) has stumbled upon a money trail linking several political murders to an ancient network of untraceable assassins from the Far East. In spite of the discouragement she initially receives from her superior, Ryan Maslow (Ben Miles), Mika digs into top secret agency files to learn the truth behind these murders, which leads her to the Ozunu Clan. Mika’s investigation, however, makes her a target of the clan, which sends a team of killers, led by Raizo’s rival, the lethal Takeshi (Rick Yune), to silence Mika. Although he saves Mika from the first attack, Raizo knows that the Ozunu will not rest until both Mika and he are eliminated. Now, Raizo and Mika begin a deadly game of cat and mouse in hopes of finally bringing down the elusive Lord Ozunu and his ninja assassins.

There are things that Ninja Assassin does well and a number of things it doesn’t do that well. The acting is average to mediocre, defined mostly by clunky dialogue, although Naomie Harris (best know for her roles in the second and third Pirates of the Caribbean movies and also, 28 Days Later) is fair. The Asian cast is pretty good. Rain, a South Korean pop star, as Raizo is charismatic, and Shô Kosugi as Ozunu is dynamite.

The fight scenes are superb; they’ll be magic candy to the ninja-lovin’ kid in you. Too many of them are stage in darkened settings, however. Much of the drama is horridly written; the exceptions are the flashbacks about Raizo’s time training with the Ozunu Clan, which are actually quite good. That aside, what fans want are cool fight scenes, and Ninja Assassin gives us a fight scene just about every five minutes. The hacking and slashing; the severed heads, limbs, and torsos; and the blood sprays will make some viewers wince. I did, but I’ll take many brutal fight scenes in my ninja movie, especially when the alternative is poorly done character drama.

6 of 10
B

Saturday, April 17, 2010

------------------------


Friday, April 16, 2010

Eden of the East Trio at Anime Expo 2010

Anime Expo® 2010 Announces Eden of The East Trio as Official Guests of Honor

Anime Expo® is pleased to announce today that the Eden of the East trio, Kenji Kamiyama, Satoru Nakamura and Tomhiko Ishii, will be official Guests of Honor at its July convention. Anime Expo, the United States’ largest anime and manga convention is scheduled for July 1 – 4, 2010, at the Los Angeles Convention Center. Mr. Kamiyama, Mr. Nakamura and Mr. Ishii will take part in autograph sessions, meet-and-greets, and attendee panels.

The three gentlemen come to Anime Expo in anticipation of the FUNimation Entertainment release, Eden of the East. The U.S. Premiere of the TV series will be screened exclusively to Anime Expo attendees throughout the event. Creator and director, Kenji Kamiyama; animation director, Satoru Nakamura; and producer Tomohiko Ishii, are proud to represent the Eden of the East creative team through their Guest of Honor appearance.

Kenji Kamiyama is an accomplished anime creator, director, artist and writer. Some of his most well-known roles include director for Eden of the East, director for Ghost in the Shell: Stand Alone Complex, writer for Blood: The Last Vampire, and animation director for Jin-Roh: The Wolf Brigade.

Satoru Nakamura has made his mark on the anime world through his involvement with several popular anime titles. He is most known for his role as animation director in Eden of the East, Ghost in the Shell: Stand Alone Complex, Library War, Gurren Lagann and Angel Cop.

Tomohiko Ishii is excited to attend Anime Expo to promote his work as producer of Eden of the East. Mr. Ishii has also worked as producer for Sky Crawlers, Spirited Away and Howl’s Moving Castle.

Kenji Kamiyama, Satoru Nakamura and Tomohiko Ishii join Anime Expo’s 2010 line-up along with voice actor Kyle Hebert, animation director Toshihiro Kawamoto, seiyuu Yuu Asakawa, J-rock band Sophia, and anime director Shinichi “Nabeshin” Watanabe. To stay updated on all of the latest Anime Expo 2010 news, follow us on Twitter, become a fan on Facebook and check us out on YouTube.

To register for Anime Expo 2010, please visit our website.


About Anime Expo®
Anime Expo is located in Los Angeles and is the nation’s largest anime and manga convention. The Expo serves to foster trade, commerce and the interests of the general public and animation industry. This event serves as a key meeting place for the general public to express their interest and explore various aspects of both anime and manga, as well as for members of the industry to conduct business. AX 2010 will be held July 1 – July 4, 2010, at the Los Angeles Convention Center in Southern California. More information can be found at www.anime-expo.org.

About the Society for the Promotion of Japanese Animation
The Society for the Promotion of Japanese Animation (SPJA) is a non-profit organization whose mission is to popularize and educate the American public about anime and manga, as well as provide a forum to facilitate communication between professionals and fans. This organization is more popularly known by its entertainment property, Anime Expo®. More information can be found at www.spja.org.

Yahoo Movies' Must-See Films

Yahoo! Movies Releases New List of Top 100 Must-See Films

List Identifies the Modern Classics of This Generation

Yahoo! Movies, one of the leading movies websites, today released the second of the site’s annual movie lists, “100 Movies to See Before You Die: The Modern Classics.” These classics are the movies that shaped pop culture over the past 20 years, offered the most quotable lines, and worked their way into this generation’s heart and memory. The full list, compiled by Yahoo! Movies’ team of editors and experts, is available at: http://movies.yahoo.com/feature/100-movies-to-see-before-you-die-modern-classics.html

Unlike other authoritative lists, this list does not focus solely on American films — over 20 percent of the “Modern Classics” are movies from abroad, including signature films from Hong Kong and France. A few of the films also appeared in Yahoo! Movies’ first “100 Movies to See Before You Die” (http://movies.yahoo.com/feature/100-movies-to-see-before-you-die.html), a list compiled for movie buffs and encompassing films worldwide from all time periods in cinematic history, but the modern classics list focuses only on the movies of the last two decades that became classics instantly or in a short time.

“This is the list you print, hang on your refrigerator, and slowly check off as you experience what it is that makes these films stand out,” said Sean Phillips, Yahoo! Movies’ executive producer. “Whatever the genre, these films represent the best of cinema over the last twenty years.”

Well-known movies from the 1990s on the list include “Dazed and Confused,” “Pulp Fiction,” and “Schindler’s List,” The list also includes lesser-known films, such as “Elephant,” “Trois Couleur: Rouge” and “Old Boy.”

Ang Lee, Joel Coen and James Cameron made the strongest showing as directors, with three films from each director making the cut, including “Sense and Sensibility,” “The Big Lebowski,” and “Avatar,” respectively. Likewise, George Clooney, Tom Hanks, Kevin Spacey, Steve Buscemi, Catherine Keener, and Kate Winslet led in the acting category.

With Yahoo! being at the center of people’s online lives, the list is ideally constructed for Web users. It can be searched chronologically, and movies.yahoo.com offers in-depth commentary and expert analysis on many of the chosen films.

Review: "The Hunted" - White Ninja for Dummies

TRASH IN MY EYE No. 68 (of 2004) by Leroy Douresseaux


The Hunted (1995)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for strong bloody ninja violence and some sexuality
WRITER/DIRECTOR: J.F. Lawton
PRODUCERS: John Davis and Gary W. Goldstein
CINEMATOGRAPHER: John Conroy
EDITORS: Robert A. Ferretti and Eric Strand

DRAMA/MARTIAL ARTS with elements of a thriller

Starring: Christopher Lambert, John Lone, Joan Chen, Yoshido Harada, Yôko Shimada, Mari Natsuki, and Michael Warren

J.F. Lawton wrote two very successful movies – the hugely popular film Pretty Woman (which sent Julia Robert’s career into orbit) and Under Siege (the action film that briefly put Steven Seagal on the A- list), and he created the TV series V.I.P. Thus, he may never be remembered for the film he wrote and directed in the mid-90’s, the so-so Far East martial arts drama/thriller, The Hunted. It’s the story of an American businessman (Christopher Lambert) who witnesses the assassination of a prostitute(?) and earns the ire of her assassin, Kinjo (John Lone), a ninja killer with a rep of legendary proportions. His self-appointed protector is Takeda (Yoshido Harada), a samurai whose family has a centuries old grudge against Kinjo’s clan.

The film is combination of a few things, none of them very well done. Half the film is a low rent martial arts drama and revenge story that borrows Asian customs in the sort of half-assed way syndicated television series do. Basically, an American filmmaker makes a thoroughly mediocre version of what a Hong Kong, Chinese, or Japanese director would make. The other half of the film is a crime drama. A critic in the midst of reviewing the Coen Bros. Miller’s Crossing once said that every American director who aspires to greatness has to do a mob movie or movie about organized crime. This is Lawton’s attempt at it with ninja’s replacing the Irish, Jews, and Italians of American mob pictures.

The really offensive thing about this film is that Paul Racine, the American played by Lambert (of Highlander fame), ends up saving the day. After nearly two hours of grinding an ancient grudge between Japanese clans, the Westerner ends up the last man standing, and he gets the Japanese girl. I have to admit that I really liked this film the first time I saw it, except for Racine coming out on top, which is politically correct in terms of making big bucks at the American box office. Upon second viewing, I realized that this is a tepid flick that goes on for too long. Although it has lots of potential and a few interesting scenes, The Hunted struggles just to be an average flick.

3 of 10
C-

Dark Horse Comics Turns Showtime's "Dexter" into a Bust

DARK HORSE CAPTURES THE WORLD’S MOST NOTORIOUS SERIAL KILLER ALL NEW DEXTER™ BUST TO BE UNVEILED AT THIS WEEKEND’S C2E2 CONVENTION!

Dexter Morgan, recently of Miami, is now securely detained and immobilized in a sculptural facsimile limited-edition bust. He is slated for release in July.

Dexter Morgan, Miami Metro Police Department blood spatter analyst, has a double life. When he's not helping the Homicide division solve murders, he spends his time hunting and killing bad guys who slip through the justice system.

These days, America's favorite serial killer has gone from freewheeling bachelor to doting dad. Maintaining an average-guy facade while satisfying his need to kill has never been easy. But now, after being drawn into a deadly game with The Trinity Killer, a killer every bit as dangerous and conflicted as he is, last season’s shocking finale has left him dealing with the devastating consequence of his own actions.

In bringing the SHOWTIME® character, brilliantly portrayed by recent Golden Globe® and Screen Actors Guild Award® winner, Michael C. Hall, into a sculpture, Dark Horse wanted to capture both “sides” of Dexter. Their solution: viewed from the front, he is examining a blood spatter slide, as he would do in his job for the police. But danger lurks hidden behind his back, as evidenced by a razor-sharp blade.

The detailed sculpture re-creates Dexter’s signature knit shirt, right down to the weave of the fabric. The likeness of Michael C. Hall is spot-on, sculpted expressly for the Dark Horse project by the artisans at Gentle Giant Studios, who are recognized as industry leaders in the collectibles and filmed entertainment fields.

The Dexter limited-edition bust is a hand-painted, numbered edition. It is produced under license with the cooperation and participation of Showtime Networks and Michael C. Hall. It will be packaged in full-color collector packaging, and contains a Certificate of Authenticity. Release is slated for August, 2010. Fans will have the chance to see the piece in person at this weekend’s C2E2 convention in Chicago.

About Dark Horse Comics
Since 1986, Dark Horse Comics has proven to be a solid example of how integrity and innovation can help broaden a unique storytelling medium and establish a small, homegrown company as an industry giant. The company is known for the progressive and creator friendly atmosphere it provides for writers and artists. In addition to publishing comics from top talent like Frank Miller, Mike Mignola, Neil Gaiman, Gerard Way and comics legend Will Eisner, Dark Horse has developed such successful characters as The Mask, Timecop, and SpyBoy. Additionally, their highly successful line of comics and products based on popular properties includes Star Wars, Indiana Jones, Buffy the Vampire Slayer, Aliens, Conan, Emily the Strange, Tim Burton, Trigun, Serenity and Domo. Today, Dark Horse Comics is the largest independent comic-book publisher in the U.S. and is recognized as one of the world's leading publisher of licensed comics material.

About Showtime Networks Inc.
Showtime Networks Inc. (SNI), a wholly-owned subsidiary of CBS Corporation, owns and operates the premium television networks SHOWTIME®, THE MOVIE CHANNEL™ and FLIX®, as well as the multiplex channels SHOWTIME 2™, SHOWTIME® SHOWCASE, SHOWTIME EXTREME®, SHOWTIME BEYOND®, SHOWTIME NEXT®, SHOWTIME WOMEN®, SHOWTIME FAMILY ZONE® and THE MOVIE CHANNEL™ XTRA. SNI also offers SHOWTIME HD®, THE MOVIE CHANNEL™ HD, SHOWTIME ON DEMAND® and THE MOVIE CHANNEL™ ON DEMAND. SNI also manages Smithsonian Networks, a joint venture between SNI and the Smithsonian Institution. All SNI feeds provide enhanced sound using Dolby Digital 5.1. SNI markets and distributes sports and entertainment events for exhibition to subscribers on a pay-per-view basis through SHOWTIME PPV®.

Thursday, April 15, 2010

Review: Miyazaki's "Ponyo" is Simply Magical

TRASH IN MY EYE No. 22 (of 2010) by Leroy Douresseaux

Ponyo (2009)
Gake no ue no Ponyo (2008) – COUNTRY OF ORIGIN: Japan
Running time: 101 minutes (1 hour, 41 minutes)
WRITER/DIRECTOR: Hayao Miyazaki
PRODUCERS: Toshio Suzuki, Steve Alpert, Kathleen Kennedy, and Frank Marshall
CINEMATOGRAPHER: Atsushi Okui (D.o.P.)
EDITOR: Hayao Miyazaki and Takeshi Seyama

ANIMATION/FANTASY

Starring: Noah Cyrus, Cate Blanchett, Matt Damon, Tina Fey, Frankie Jonas, Cloris Leachman, Liam Neeson, Lily Tomlin, Betty White, and Carlos Alazraqui

It is a shame that moviegoers have largely turned away from hand-drawn animation (2D animation), but devour computer-animated or 3D animation. Pixar’s 3D feature-length animated films are extremely well written, and DreamWorks is usually pushing the technology of 3D with their films. Still, it is hard to believe that Walt Disney’s The Princess and the Frog cannot out gross something like Cloudy with a Chance of Meatballs and Bee Movie.

American 2D feature-length animation is largely relegated to straight-to-video releases and television, and much of that is actually produced outside the U.S. The malaise at the box office for American 2D animated films means even more trouble for high-quality, 2D animated features from other countries. This is a shame because that means so many people will miss the chance to see a hand-drawn animated, instant-classic from Hayao Miyazaki on a big screen. Miyazaki is arguably one of the world’s greatest living movie directors – live action or animation. He won an Oscar for his animated film, Spirited Away, but his other films are also highly acclaimed. Last year, Miyazaki’s most recent animated film, Ponyo, arrived in the U.S.

Ponyo centers on a fish-girl, named “Brunhilde,” who lives in an aquarium in her father, Fujimoto’s (Liam Neeson) underwater castle. During a trip in which her father takes her and her numerous siblings on an outing in his four-flippered submarine, Brunhilde decides to see more of the world and swims away, only to end up stranded. On the shore of a small fishing town, a boy named Sōsuke (Frankie Jonas) rescues Brunhilde and names her Ponyo (Noah Cyrus).

In spite of her father and his “wave spirits” efforts to stop her, Ponyo grows legs and turns into a human. To become human, however, Ponyo unleashes huge amounts of her father’s magic. When released into the ocean, this magic causes an imbalance in the world, resulting in a huge storm and later massive flooding. Now, only Sōsuke can save the world, but does he know how?

A full-length animated feature can require its animation staff to draw over 100,000 separate images. Yet when you watch a Miyazaki film, you may doubt that humans rather than super computers produced it, and Ponyo is example of the magic Miyazaki can create through 2D animation. Such scenes as the ocean storms with its seething waves, swelling surfs, and those odd-looking wave spirits are breathtaking in their ability to depict the might and power of the ocean. The night scenes that depict the storms hammering the coast along the small fishing village in which this film is set are simply terrifying. I felt the kind of fear I usually only feel when watching night scenes in horror movies.

To look at Ponyo, one might think the design of the characters and setting look rather simply, like the art and illustrations one might produce for a daily comic strip. That simplicity in design, however, belies the magic that happens when the drawings are connected to form a “moving picture.” The color, the movement, the visual effects, and the sound come together at the behest of the maestro Hayao Miyazaki, and cinematic magic is a real thing. From the majesty of Ponyo’s mother, Granmamare (Cate Blanchett), to the simple enchantment of a low tide full of prehistoric fish, Ponyo is poetic and has the magic to charm adults and children. I will not stop using the word “magic” to describe Miyazaki’s work, and when you see one of his films, you will see why.

9 of 10
A+

Thursday, April 15, 2010

-----------------------