Tag Archive: Blade Runner


The Renaissance of movie and TV tie-in action figures arrived in 2013 with Funko’s classic Kenner-style ReAction figure line.  Other companies focus on single licensed figures and getting the likenesses spot-on, but Funko’s diversification of lines meant everyone could find something that fit their personal niche at an affordable price point.  A true throwback series, one of the overlooked features of the line is the incredible variety of no-names-taken, classic kick-ass heroines represented.

In fact you can find here the top of the world’s best, in-your-face, take-no-prisoners, genre heroines.  Buy them for yourself, for your friends, or get your favorite as a totem to inspire you each day from your desktop.  And where the early sculpts in Funko’s line admittedly looked nothing like the actresses that made the roles famous, the new lines have only improved.  And nobody has better packaging designs than the ReAction line.

Zoe Washburne scene

Who would you add to the Funko roster of heroines?  Compare your list to our more than 85 suggestions for future kick-ass women action figures below.

First, check out this Baker’s Dozen of our favorites in the current Funko pantheon:

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Drive-in Screen SE 14th ST

I was 11 in the Summer of ’82.  And yet I remember that summer vividly.  Rare has there been a year since that I saw so many awesome movies in the theater.  Many have commented on what was the best year in movies over the years, with the classic answer from critics usually being 1939 because of stellar films like The Wizard of Oz, Gone With the Wind, Stagecoach, Mr. Smith Goes to Washington, The Hunchback of Notre Dame, The Little Princess, Young Mr. Lincoln, and Drums Along the Mohawk.

So what do you think is the best year of movies?  If you whittle it down to the best summer of movies, I’ve got a real contender here.

I remember standing in line at a new theater on my side of town, with my mom and sister, getting a sticker advertising a new brown and orange candy somehow tied to one of the movies.  I saw an unexpectedly powerful sci-fi franchise entry with my brother at the S.E. 14th Street Drive-In Theater (pictured above before they tore it down a decade later) on a really hot day one Friday night.  And he and his RadioShack computer tinkering friends took me to see a new Disney film that had its setting inside a computer at a Saturday matinée.  The preview for one of the movies gave me nightmares.  Two of the movies I wouldn’t truly appreciate for another 20 years.  It all happened during the summer 33 years ago.

ET Reeses sticker from theater giveaway 1982

Check out this summer movie sneak preview from the YouTube archives and recall where you were during the Summer of ’82:

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Friday the 13th part 3 3D

The defining film of the 1980s attempt to reignite the 3D medium, the 1982 sequel Friday the 13th, Part 3, represents both the best and the worst in the 3D genre.  It’s a film completely unapologetic about its three-ring circus of 3D gimmicks, yet in providing a hundred ways to throw something at the audience it stands by itself for trying things no other movie has tried.  Want to see an eyeball pop out of someone’s head and come right at you?  This is your movie.  If that doesn’t sound all that appealing, never fear, this is 1980s horror, so there is more to laugh at than truly be grossed out.

But let’s talk about the current options first.  You can watch Friday the 13th, Part 3 a few different ways.  As part of its October Halloween schedule (previewed at borg.com here) AMC is featuring a few showings of the Friday the 13th movie series October 20-22, 2014, including showings of Part 3.  You can also pick up a DVD Deluxe Edition version here or updated Blu-ray with features here from Amazon.com.  It’s not available on streaming but is a rental option from Netflix.  Certain versions, like the Deluxe Edition, come with a blue-red 3D glasses and the standard 2D version.  For this review we chose the standard version with the 3D TV upconvert option with Extreme 3D.

Friday the 13th Part 3 film poster

For some perspective, the film came out in the year of classic hits like E.T., the Extra-Terrestrial, Tron, Poltergeist, The Dark Crystal, Blade Runner, The Thing, Fast Times at Ridgemont High, and Star Trek II: The Wrath of Khan.  Friday the 13th, Part 3 begins with a complete recap of the climax of the prior sequel.  The disfigured Jason Voorhees, who we actually get to see in this film, returns to Crystal Lake, to torment young camp counselor Chris Higgins (Dana Kimmell), one of his targets who slipped away years ago.

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Blade Runner one-sheet John Alvin   Young Frankenstein one-sheet John Alvin

Back in early 2012 we reviewed one of several books released on movie poster artist Drew Struzan, a useful and interesting resource called The Art of Drew Struzan, reviewed here.  It chronicles the best of painted motion picture advertising one-sheets that Struzan created, and even more enlightening, includes commentary by Struzan about his process and the politics and business of his years of leading the craft.  The picture he painted wasn’t pretty, but despite his own roadblocks he is generally thought of as the best motion picture poster artist of the last 50 years.

Along with Struzan, another poster artist created posters that often could be confused for Struzan’s.  That was the late poster artist John Alvin.  Unfortunately Alvin did not document his own personal account of his creative and professional experiences, but his wife Andrea has put together a book that at least documents his most popular work, released this month by Titan Books as The Art of John Alvin What we don’t know from any of the books we’ve reviewed on poster artists is how they might have competed for work over the years.  Andrea Alvin makes no mention of Struzan, but seems to indicate Alvin was able to keep a nice niche of clients over the years, ranging from the decision-makers behind the movies of Mel Brooks, Steven Spielberg, Tim Burton, and the renaissance of animated Disney blockbusters.

ET one-sheet John Alvin   Empire of the Sun one-sheet John Alvin

Alvin’s work seems far more commercial compared to the paintings of Struzan, as can be seen in Alvin’s posters for Empire of the Sun (1987), Cape Fear (1991), Batman Returns (1992), Star Trek VI: The Undiscovered Country (1991), and Batman Forever (1995).  But that doesn’t mean they were any less effective at drawing moviegoers to the theater, the entire point of the poster.  The one-sheet for Empire of the Sun is often seen as one of the most memorable images in the history of movie posters.

The power of much of Alvin’s posters is the simplicity.  In 1982 when the public first learned of a movie called E.T., the Extra-Terrestrial, the only thing we knew was a newspaper ad showing a wrinkled alien hand touching the hand of a kid, inspired by Michelangelo’s The Creation of Adam.  His teaser poster was equally as effective—never did these pictures show E.T. himself.  Those same images were reproduced on movie posters, cardboard standees, and eventually all over picture books sold via school book orders.  Simple images, but lasting images, and what they didn’t show was part of the enticement to reel in an audience.

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Almost Human partners

This year’s TV series Almost Human had the potential to be a big hit, with movie star Karl Urban as one of the two lead actors, and a classic sci-fi plot that looked like it would mix RoboCop, Alien Nation, Blade Runner, and Total Recall.  After a fun but uncertain pilot episode, it has managed to deliver each week the kind of science fiction stories that are stuff of classic TV.  Almost Human isn’t just sci-fi, it’s a full-blown police procedural drama, and a good old-fashioned buddy cop show to boot.

The series centers on megastar-film actor Karl Urban’s future cop, Detective John Kennex.  Kennex is a grumpy guy with baggage, a past encounter gone bad resulted in the death of his partner and the need for a cybernetic leg.  Early detractors of the series likened his Kennex too much to his similarly gruff Doctor McCoy from the new Star Trek movies.  It’s a fair comparison.  But we don’t care.  They are both great characterizations and the miserable, tough guy routine is separable and fun to watch, especially Kennex’s banter with co-star Michael Ealy as almost human robot cop Dorian, an android of a decommissioned type who has become Kennex’s partner.  In fact, the buddy cop routine will make you think of your favorite buddy cop shows, in the league of Alien Nation, Adam-12, Life on Mars, Hot Fuzz, Dragnet, Life, White Collar, and Starsky and Hutch.

Almost Human buddy cops

This week’s episode was emblematic of why the series is destined to continue as long as the network will let it.  The writers basically took the plot from a classic episode of Law and Order about pacemakers being refurbished and placed in new people.  Here, that concept is blended with a current political item: what happens if there is no Affordable Care Act in the future, and a current element of technology some people use every day: the prepaid cell phone.  So how did the writers put it all together?

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Yoda and Luke

Review by C.J. Bunce

After the completion of the Star Wars prequels, George Lucas sat down and went frame by frame through all six Star Wars movies, examining literally hundreds of thousands of images and selecting about 250 screen grabs from each film, frames that he believed showed particular artistry, each in its own right.  The result was 2011’s limited edition of 1,138 boxed sets called Star Wars: Frames, sold for $3,000, and now only rarely available with one set being sold at Amazon.com for a whopping $11,500.  Thanks to Abrams Books, Star Wars: Frames is being re-released this month in a far less expensive but complete edition, collecting 1,472 stills from all six films in the Star Wars saga.  It is without a doubt the definitive visual work on Star Wars, in a rare league of deluxe book editions along with long out-of-print Dressing a Galaxy: The Costume of Star Wars and Sculpting a Galaxy: Inside the Star Wars Model Shop as the best Star Wars books ever released.

Star Wars Frames

This more affordable, unabridged version of Star Wars: Frames includes two hardcover books, each covering one of the two movie trilogies in 368 pages, housed in a hefty Death Star-themed silver box.  Listing at a published price of $150, you can buy it for less than $100 at Amazon.com.  The only difference between the $3,000 version and this version is the original was issued in a six-book set (one book for each film instead of one for each trilogy), with each image taking up a full page, packaged in a wooden crate instead of cardboard.   The content is the same.  Star Wars: Frames will be released November 5, 2013, but we received an early review copy this week.  The book lives up to its promise, in surprising ways.

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Art designers or aspiring art design students will want to pick up Mark Salisbury’s new look at creating sets, costumes and props for a world of the future in Elysium: The Art of the Film Incorporating commentary from the up-and-coming science fiction director of the geo-political sci-fi thriller District 9, Neill Blomkamp, this new large format hardcover delves into the creative process from early ponderings to the imagery that made it to the final film cut.

Like listening to the first demo tapes of your favorite band or scanning the rough sketches of your favorite artist, taking a peek at the development of Hollywood magic through various aspects of a film can teach you a lot about a designer.  Watching the development of a cyborg exo-skeletal costume from inception to final crafted piece challenges the reader to agree or disagree with what is cut and what isn’t.  What physical elements, like utilitarian tubes and pipes, plastics or metals, make us think of the visual “future”?

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AOS cover

Review by C.J. Bunce

The magical, multimedia, computer-generated art of Archeologists of Shadows is at once both like something you’ve never seen before yet strangely familiar with bits and pieces of so many different influences.  The characters seem to have evolved from the green planet in Avatar and the villains from the Iowa State Patrol borg police of Star Trek 2009.  The compositions have influences in the creepy worlds of both artist Dave McKean and at the same time the otherworldly spaces of filmmaker Guillermo del Toro’s Pan’s Labyrinth.  The fantasy evokes painted high fantasy pulp cover art and the mystery and old religions and myths of The Dark Crystal.  The colors and lights throughout the book are reminiscent of the work of artist Lee Bermejo.  The industrial architecture conjures the oppressive cityscapes of Fritz Lang, and the surreal buildings of  Antoni Gaudi.

As to the story, we’re introduced to a far off place, maybe Earth’s own future, the world of Terminator if the Connors have failed to save humanity, where humans have degraded to the point where they have only few organic parts.  The protagonists, Alix and Baltimo, are indeed borgs, with elaborate, realistically visualized cybernetics with a definite steampunk vibe.  They are on the brink of a crossroads like the dull citizens of George Lucas’s THX 1138–readying for the final steps of full mechanization.  Like the cast of Waiting for Godot, they wait for something to happen, maybe godlike intervention, until a stranger offers assistance.  Like Neo in The Matrix, do you act or not act, and which action bears the most risk, the doing or not doing?

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No doubt Oscar Pistorius’s unprecedented entry and run in the Olympics this weekend will go down as a highlight of these games.  The first person to bridge the Summer Olympics and the Paralympics, clad in neither bionic nor cyborg prosthetics but walking “blades” certified to give no advantage to him against other runners, South African runner Pistorius gave a competitive go of it in his 440 meter semi-final track event.  Truly he’s an inspiration to everyone, disabled or not.

So in honor of the closest person we’ve found to a real-life borg Olympian, we are presenting this list of the ten most interesting sci-fi or fantasy sports we’d like to see in a future Olympics.  In whittling down this list we have eliminated motor sports or the like, so no pod racing or light cycle races (but we’ll make an exception for broomsticks).  We also found far too many gladiator events in classic sci-fi, going back to the original Star Trek’s “Gamesters of Triskelion” and “Bread and Circuses” battles to Star Trek Voyager’s Seven of Nine vs. The Rock arena combat called Tsunkatse, to the combat in Mad Max: Beyond Thunderdome, which continues on this year in genre shows like Bo’s battle to the death in Lost Girl.  So we’ll skip those for this round.  Most of our games reflect a possible evolution of today’s games and come from sci-fi TV or movies, but we just had to throw some fantasy events into the mix for good measure.  So here goes:

Updating who knows what Olympic sportsParrises squares (Star Trek: The Next Generation).  A future J.J. Abrams’ Star Trek reboot movie sequel really could do some good by showing us an actual Parrises squares match.  The often celebrated Star Trek universe game has been played by everyone from Tasha Yar to the EMH’s daughter on Voyager (who sadly, dies from a Parisses squares injury).  But all we have seen are the uniforms.  This barely makes our cut because we simply haven’t seen the game in action yet, yet the possibilities from what we’ve heard from Star Trek characters is enough to make it to the list.

Updating taekwondo and judoBat’leth and Mok’bara (Star Trek: The Next Generation).  In the episode “Parallels,” Worf returns to the Enterprise from a bat’leth tournament. Part of the plot revolves around whether he scored first or ninth place in the games.  He even has a nice trophy to show for it:

Mok’bara was Worf’s version of taekwondo, an elegant art of movement for the Klingon set.  Both of these are future martial arts we’d like to see added to the Olympic slate.

Updating fencingLightsaber dueling (Star Wars).  Ben Kenobi showed Luke he could practice his saber work without anyone getting hurt.  You can even perfect your skills with a floating spherical sparring partner.  Fencing uses foils, sabers or epees. Maybe lightsabers can be set to “stun”?  I can’t think of a more elegant sport for a civilized age.

Updating fencing, judo and taekwondoAnbo-jyutsu (Star Trek: The Next Generation and Star Trek Voyager).  We’ve only seen this played by Will Riker and his dad and B’Elanna Torres and Kes, but that was all we needed.  Cool uniforms and football-type padded gear, these guys really play hard.

Updating basketballPyramid/Triad (Battlestar Galactica), and Serenity basketball (Firefly).  Less elegant than martial art competitions, street sports like Pyramid/Triad and “Serenity basketball” (played in the episode “Bushwhacked”) allow everyone to get into the act with little upfront cost to play.  Even when the end of the world just happened, you can assemble a pick-up game of Pyramid, even on board a starship like the Galactica.

Serenity basketball seems to have less clear rules, but we’re sure it can factor in to a future Olympic event.

Updating hockeyRollerball (Rollerball).  The game itself really sold the movie.  Maybe we were cheering for James Caan because we still saw him as Brian Piccolo playing alongside Gail Sayers in Brian’s Song.  Nah… he’s just cool in everything.  What an intense action sport Rollerball would be in real life, and so much fun to watch in-person.  (And yes, we allowed this sport on our list even though they use motorcycles).

Updating triathlon, skiing and shootingJames Bond skiing (The Spy Who Loved Me, For Your Eyes Only, The World is Not Enough, with nods to Arnie in True Lies).  Good luck making it down the black diamond while someone is trying to throw you off balance.  We’d substitute blanks for bullets so our athletes can come back for more.  We saw a bit of this in an old Chevy Chase Saturday Night Live skit with the Olympics and Claudine Longet.  Not a lot of Olympic sports add the element of surprise like this “sport” could.

Updating discusIdentity discs (Tron, Tron: Legacy, and Tron: Uprising). Think discus but a bit more precarious, and we don’t even need a disc battle-to-the-death like in all the Tron live action and animated shows.  Just something that puts the thrower off balance as he’s trying to make a great throw, with the addition of a boomerang feature in the discus and two athletes throwing the blindingly lighted discuses at each other–so there’s some dodging required.

Updating rugby and soccerJump Ball (Starship Troopers).  You can’t beat a sport where men and women play along side each other on equal footing.  And Johnny Rico and his pals looked like they were having so much fun, too.  Part indoor football, and full contact, with cool gear–all that makes this one a game everyone would want to play and watch.

Updating rugby, polo, and basketballQuidditch (Harry Potter and the Goblet of Fire, etc).  Beyond the flying, Quidditch offers multiple goals and ways to win, and that puts this toward the top of our list of exciting otherworldly sporting events.  On the one hand it’s another form of “air hockey” (or “basketball on broomsticks with six hoops” as Harry calls it) where you have to get the ball in the goal, but with the addition of the trickier seeker’s job, viewers can choose which part of the game to watch—assuming someone can film all the details and project it on a nice jumbotron.  And like Jump Ball, boys and girls play together on the same team.  With neat equipment like the quaffle and bludgers and the zippy little golden snitch, who wouldn’t get excited about this kind of match?

So that’s it.  Cheers to Oscar Pistorius.  We hope he comes back for the next Olympics.

C.J. Bunce

Review by C.J. Bunce

Jason McClain is a big fan of Ed Brubaker’s writing.  He’s mentioned his appreciation for Brubaker’s Sleeper books here at borg.com more than once.  So when I saw the enticing noir cover art on the first issues of the new series Fatale, I figured this was a good place to start.  I picked up Issues 1 and 3-5 and it took me awhile to track down #2 so I only this week could read the first story arc straight through.  The new story arc starts with the next issue, coming out soon.

Based on the noir covers I was looking forward to what I have found in my favorite film noir–Otto Preminger’s Laura, Hitchcock’s Shadow of a Doubt, Rear Window, Dial “M” for Murder and Vertigo, Jimmy Stewart in Call Northside 777, also Sorry, Wrong Number, Elizabeth C. Bunce’s fantasy noir Liar’s Moon, and in a strange way, even the voiceover version of Blade Runner.  For the most part these are all crime noir stories.  A dangerous damsel–the Femme Fatale as in Double Indemnity–plus a Dana Andrews-looking character in a gray fedora who is usually a cop or newspaper reporter, and a dangerous city full of secrets and dark, wet streets–all of this is the stuff of noir.  But I was thinking about this all wrong.  I had no idea Ed Brubaker and artist partner Sean Phillips were creating a supernatural 1950s pulp horror/thriller, not a noir pulp crime novel.  None of my favorite film noir has anything supernatural so from only a few pages in I was thrown a bit.  Fatale is noir, but it is just as much supernatural horror.  So I read the story once and was confused a bit.  Then I figured out what genre I was reading and read it again.

If you like supernatural horror and you like the 1950s underworld as your setting, Fatale is a very interesting read–almost like revisiting a lost story type.  The supernatural bits remind me of the TV series Medium, which often contained surprisingly dark and gory crime moments juxtaposed with the lives of good, caring people.  Same goes here.  Like the movie Skeleton Key, where a man and woman use voodoo to switch bodies and live forever, and like Rosemary’s Baby and The OthersFatale’s characters are sucked into shocking and frightening situations and as readers we aren’t supposed to know all that is going on until the end.

Fatale has the requisite fascination of an otherwise boring man with an attractive, inaccessible, mysterious woman.  Nicolas Lash meets Josephine at the funeral of his godfather, Hank Raines.  Raines once knew Josephine back in the 1950s.  She’s blackmailed by a detective in the 1950s world of the story, Walt Booker, and both Josephine and Walt have this unnatural power over each other.  Is Josephine a “pusher” in the X-Files sense or does she just bring out something in others innocently?  What are these occult priestly fellows in red showing up dead everywhere and this fanged beast who kills Raines’ wife?  I’d need a few more re-reads to really catch the complexity of what happened here.  Each issue from #2 on has a lead-in paragraph at the beginning to explain what happened in the prior issue.  I found myself puzzled by these summaries, as in “oh, is that what happened last issue?”  Since I read these through in one sitting, I’d think I shouldn’t be surprised by a summary of what I just read, yet I was.  Usually if stories suffer it’s through too much “telling” and not enough “showing.”  Here I think this story has the reverse problem, but only a bit, and could stand to explain a little more plainly what the heck is going on with the mass suicide, magic dagger, old novel script and some pile of papers that need translating.  At times I felt I was totally in sync with the story–there was a 1960s James Bond aura at different points along the way that created a cool vibe.  Then with the symbology and strange beast who was also a leader that looked like Hitler, I was out of sync again.

Without question, the best part of Fatale is Sean Phillips’ 1950s style art.  If I wasn’t following a scene from the dialogue then I could usually get there with the visual storytelling.  Fatale looks like the noir I’d expect to see, for most of the scenes.  Dave Stewart’s coloring creates a world familiar to fans of Edward Hopper’s paintings.  I think the storytelling has some jarring moments, however.  Things like expletives that seem out-of-place and -time bothered me here.  It could be because, even if people used expletives in the real 1950s, 1950s movies never did, and so the aura of 1950s drama seems more accessible to me than what might have been real-life lingo (although I refuse to believe folks in 1950s swear as much as, and with the exact same colorful metaphors as, we have today as this work reflects).  So I love the look of Fatale, but am not sure of how much I like the story and whether I would recommend it to others not familiar with this genre.  The “voiceover” parts were quite good (the “it was a dark night in the city when I first met her” kind of thing).  Are Brubaker and Phillips’ other works supernatural horror like this?  I’d be willing to try more of their works to find out.

Fatale did make me think a lot about characterization, mood, and what makes something a crime novel vs a horror novel vs a supernatural thriller.  In a different kind of way, it made me think about complexity of story much as I did reading and watching the Watchmen graphic novel and film adaptation.  Anything that makes you think like that is probably a good thing.

Fatale is available at Amazon.com for pre-order in a trade edition titled Death Chases Me.


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