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Tag Archive: X-Men


4 X-men of the futureFor Marvel Comics and X-Men fans, the next in the line of X-Men movies to hit the big screen looks to be an epic production, starring the stars of the first three X-Men and Wolverine movies and the younger stars of X-Men’s past in X-Men: First Class.  Not only does that mean Patrick Stewart, Ian McKellen, Michael Fassbender, James McAvoy, Hugh Jackman, Anna Paquin, Shawn Ashmore, Halle Berry, and Ellen Page are back, but we get to meet new characters, too, including Peter Dinklage as Bolivar Trask, Omar Sy as Bishop, Booboo Stewart as Warpath, Bingbing Fan as Blink, and Adan Canto as Sunspot.

 

Check out this first full-length trailer for X-Men: Days of Future Past:

We have a long wait for this one.  X-Men: Days of Future Past is scheduled for release in theaters May 23, 2014.

C.J. Bunce
Editor
borg.com

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2824589-13260-gamesrocks-superman

By Art Schmidt

I was having lunch with a friend the other day and we were talking about comic book movies and the slow transition of the formulas for the ones which have succeeded to television format. My friend was grumbling about the lack of costumed heroes on popular shows such as Arrow or the new Marvel’s Agents of S.H.I.E.L.D.  I have to admit, I hadn’t really noticed the lack of costumes in those shows, loving the first season of Arrow despite very few folks with traditional comic book costumes, and enjoying the first couple of episodes of A.O.S. (can you acronym an acronym?).

But the more I thought about it, the more puzzled I was.  Why weren’t there more costumes in Arrow?  Certainly Deathstroke’s mask was a pivotal prop in the series, and the Dark Archer had a cool getup, but they weren’t costumes so much as work attire fitting the villain’s nature.  And of course A.O.S. is a show about normal people, super spies and highly-skilled to be sure, but not superheroes.  And certainly without costumes outside of May’s black leather suit, akin to Fury’s normal wardrobe and the attire seen by many personnel aboard the Heli-carrier in The Avengers.

Speaking of which, The Avengers is a perfect case in point.  The evolution of the superhero sans costume.  I’ll get back to that in a minute.

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The Wolverine poster

Basically ignoring the first standalone Wolverine film X-Men Origins: Wolverine, the new film, simply titled The Wolverine, picks up after Logan/Wolverine’s life was shattered from the events of X-Men: The Last Stand.  Based in part on the Chris Claremont and Frank Miller run on the Wolverine comic book mini-series from back in 1982, we meet a girl from Japan named Yukio who takes Logan to Japan for her dying employer, who looks like he’d pass for one of those villains with strange medical maladies like Dr. No.  Logan evidently saved this man’s life and he wants to return the favor by helping to make Logan normal.  With a taste of mortality will Logan really give up his mutant powers?

Wolverine mini-series by Claremont and Miller

Marvel Studios has released two full-length trailers for The Wolverine, a better and longer international version and a shorter U.S. version that doesn’t give much of the story away.  Check out the international trailer for The Wolverine:

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Ray Park as Darth Maul

Kansas City’s Planet Comicon announced today that actor and stuntman Ray Park will be one of the headliners of this year’s event April 6-7, 2013 at the Kansas City Convention Center downtown at Bartle Hall.  In his short career as actor he has amassed some key, iconic roles across major franchises.  And because some of his roles are behind a mask or make-up you might not recognize him at first.  But when he moves and performs has trademark wushu spin you just know this Glasgow, Scotland-born second degree black belt martial artist is behind the performance.  He’s been a lead contender to play Iron Fist in a future Marvel Comics project and on March 28, 2013 he will reprise his role as Snake Eyes in G.I. Joe: Retaliation.  Let’s check out his major acting and stunt roles so far.

Ray Park in Mortal Kombat Annihilation Continue reading

JLA 1 cover by Finch courtesy of DC Entertainment

Review by C.J. Bunce

It was way back in August that we first previewed the very first images of the new Justice League of America here at borg.com.  DC Comics has had a big month with big changes–first we reviewed Jeff Lemire beginning a new Green Arrow story in the monthly series, then we were introduced last week to Tatsu, a new recruit in a new Justice League whose superhero name is that of her sword, Katana.  And if you’re not keeping up we chatted a few days ago about DC Comics’ two trade editions available for the plain ol’ Justice League of the New 52.  And that’s not even getting into the cancelled Justice League International monthly title and the awesome Justice League Dark we’ve raved about here earlier.

Today DC Comics put the America back in the Justice League.  Sure, the Justice League (Superman, Batman, Wonder Woman, Green Lantern, Flash, Aquaman and Cyborg)–the League with all the egos–will continue as a monthly series, but the rest of the original JLA superheroes we all know and love are back in their own separate league.  They may not be the World’s Finest but writer Geoff Johns and artist David Finch have launched a new story, “World’s Most Dangerous.”  And if Issue #1 is any indication I think we’re in for a better league with the new JLA.

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Earlier this season Hollywood Treasure, Syfy Channel’s “reality” series about auction house Profiles in History, featured the Dreier family collection of screenused props, costumes and nostalgic toys.   Back in June we reported that the auction house had announced the first part of the Dreier collection would hit the auction block July 28.  Chad Dreier and son Doug had amassed a broad collection of costumes and props after Chad’s company Ryland Homes was successfully turned into a multi-billion dollar enterprise. The collection itself covers a lot of bases of primarily movies from 2000 onward, with some key pieces from the 1970s and 1980s.  Saturday the first part of the collection resulted in a few good buys but mainly showed that the economy is doing fine for those with a lot of money.

So how did the lots that borg.com projected as key pieces fare?

First off was an exquisite original Chewbacca head/mask from the original Star Wars.  It had an auction estimate of $60,000 to $80,000 and I expected this would sell for at least triple that. Profiles called this “the finest screen-correct Chewbacca costume head from the Star Wars trilogy known to exist.”  So was I right?  The sale price including fees was $172,200.  Almost three times the estimate.  But this was an exception as most items in the auction sold in-line with auction estimates.

The Dreiers appeared to purchase everything they could get their hands on related to Gene Wilder’s Willy Wonka and the Chocolate Factory from 1971. Their collection includes Wilder’s key outfit and hat and a bunch of lesser known but recognizable props and production ephemera. Wilder’s hat was expected to fetch between $20,000 and $30,000 and the costume $60,000 to $80,000.    The hat sold for $33,825  and the costume for $73,800.  An Oompa Loompa costume carried an estimate of $6,000 to $8,000.  Selling for $30,750, it showed how popular these characters still are today.

A Bob Keeshan costume from the 1960s had an estimate of $30,000 to $50,000.  It sold for $36,900.

An easily identifiable jacket of the type worn by Matthew Broderick as Ferris Bueller carried an estimate of $20,000 to $30,000.  It sold for $36,900.

The Dreiers were also fans of Christopher Reeve’s Superman from 1978.  One of the hero Reeves suits expected to sell between $60,000 to $80,000.  It sold for $79,850.  We featured the rarer costume worn by his father Jor-El, played by the great Marlon Brando, in our Comic-Con coverage here.

It had the same estimate as the Reeve suit, and sold similarly at $73,800.  Both fell in line with expectations.

The auction catalog cover featured an original set of cylon armor from Battlestar Galactica.  The suit carried an auction estimate of $40,000 to $60,000.  It sold for $46,125.

This outfit from the original series had an auction estimate of $12,000 to $15,000.  It sold for $17,220.

We also reported on this slick Wolverine costume in our Comic-Con coverage.  It had an estimate of $25,000 to $50,000 and sold for $49,200.

One sleeper item I noted was the original comic art for the Battlestar Galactica oversized comic book. With an estimate at only $2,000 to $3,000, I expected it to exceed $10,000.   Although it sold over its estimate, it didn’t make my prediction, selling at $4,305.

One other key piece sold at Profiles Saturday of note–a complete Star Trek: The Next Generation mannequin and costume of The Borg.  It was not ever for sale at auction before Profiles auctioned it in a recent auction of ex-Paley costumes, but was created by Michael Westmore’s actual production team for a museum collection once owned by The Paley Center.  It had an auction estimate of $8,000 to $12,000 and sold for just under $16,000.  I know of only three of these that are almost entirely complete and have heard a fourth example exists, but know of only one other complete from-head-to-toe version like this one.  These are the classic costumes of The Borg, not the later costumes that have deterioration problems and don’t look half as cool as these versions from “Best of Both Worlds” and “Descent”.  So it is awesome that one of these has surpassed prices for Star Trek captain uniforms, including, as in this auction, a Captain Picard costume worn by Patrick Stewart himself, which sold for $13,530.

Congratulations to the new owners of these great pieces of entertainment memorabilia!

C.J. Bunce
Editor
borg.com

By C.J. Bunce

It’s no secret that I am a fan of Green Arrow, and in advance of watching the preview to the new CW Network series Arrow and seeing the actors on their panel, I gawked at the new Green Arrow suit at the DC Comics booth at the San Diego Comic-Con.  The nicely polished display cases made it difficult to get great photos because of reflections.  I tried with two cameras but ultimately perfect shots would have only been available after the crowd dispersed after hours.  But, for the benefit of any cosplayers, here is what I was able to get:

The Green Arrow suit was designed by Academy Award winning costume designer Colleen Atwood.  The costume features a great choice for the shade of green and a combination of both fine suedes and more rugged, practical fabrics.

Close-up detail on hood of new Arrow costume.

Detail of bow carvings and boot from Arrow suit.

Detail of arm darts on new Arrow suit.

Deathstroke villain mask from new Arrow series.

Also at the DC Comics booth were Watchmen costumes, presumably advertising DC Comics’ current summer series Before Watchmen.  They showcased two costumes, the Comedian, and Nite Owl’s polar suit.  Both of these were worn by the actors in the Watchmen movie:

Warner Brothers featured some new costumes from the coming Superman reboot movie, Man of Steel.  Here is the hero suit from the movie:

Far across the convention center, I spoke with Joe Maddalena about his TV series Hollywood Treasure, which I enjoy watching for all the various props and costumes and owners that unearth them.  He had several costumes and props on display, including Marlon Brando’s costume as Jor-El from the original Superman film and one of Johnny Depp’s suits from Edward Scissorhands:

Profiles in History also had some screen-worn Star Wars costumes on display, including this Snowtrooper helmet from The Empire Strikes Back and a Stormtrooper helmet and rifle from the original Star Wars.

The Snowtrooper helmet in particular illustrates how time is not always kind to materials used for productions, never intended to survive much beyond the studio shoot.

Profiles in History also showcased a nice Wolverine costume from the X-Men films, worn on-screen by Hugh Jackman:

The guys from The Prop Store in London had a great booth again this year, attended by staff from both their London and L.A. offices.  The focus piece at their booth was this classic spacesuit from the original Ridley Scott movie Alien:

Finally, across the aisle from the Alex Ross art display was the giant display of Iron Man suits from Iron Man, Iron Man 2, and The Avengers. 

All of this led up to the later reveal of the new Iron Man suit to be featured in Iron Man 3.

Definitely impressive displays this year of screen-used costumes–something there for everyone.

Now at Round 7 of the ongoing battle, Avengers vs. X-Men has caught up with the plot foreseen in Avengers vs. X-Men Issue #0 reviewed here 100 days ago.  When you think of a title like Avengers vs. X-Men, you think of panel after panel of the Hulk vs. Colossus, Iron Man vs. Emma Frost or Cyclops vs. Captain America and everyone else.  It’s what you’d expect for an event series like this, and for the most part it is what has been delivered.  But Avengers vs. X-Men Issue #0 was unexpected, a story about the return of the exiled Scarlet Witch and the coming of age of a mutant youngster named Hope, both characters whose paths are in a state of flux.  With Issue #7, AvX is now honing in on this initial focus again, raising questions like “How will Scarlet Witch fit back into the Marvel Universe?”  “Is Hope really the key to the fate of the Phoenix?”  “Is Jean Grey gone for good, or is this all leading up to some kind of return?”

If you haven’t been reading the series, a lot has happened, yet nothing substantial or Earth-shattering to alter any key characters for their own ongoing stories, except the death of Hawkeye (more on that later).  The strange, classical, fiery, mythical Phoenix slams into Earth from beyond the stars.  This Phoenix Force was supposedly destined for the girl Hope, who is being over-trained for her destiny at the Utopia coastal base by Cyclops’s Scott Summers, doing his best Jillian Michaels impersonation.  But you press a kid too far and what do you expect as a result?

The Avengers–including X-Man Wolverine–believe that they must take Hope into their protective custody, thinking that no one entity can be trusted to harness this Phoenix Force and use it for the good of mankind.  But Summers won’t hear of it.  More and more over the series it seems that his feelings for Jean Grey, killed by the Phoenix years before, are causing him to make poor decisions.  He is a poor leader.  His actions take all the superheroes farther away from a solution.  Ultimately Wolverine’s inside knowledge allows the Avengers to track down Hope.  The conflict ends with a face-off on the “blue side” of the Moon.

Iron Man Tony Stark builds powerful “Phoenix Killer” armor that is somehow both effective and a failure in the attempt to ward off the Phoenix Force.  Stark’s suit divides the force, and instead of it being absorbed by Hope, five X-Men take it on: Cyclops, Colossus, Magik, Prince Namor and Emma Frost.  Now armed with this strange new power, they’re determined to alter the world for the better–at least as they see it.  We’re left with Cyclops’s unsettling declaration, “No more Avengers!”  He believes the mutants will never be safe without their elimination.  And the pursuit continues.  The battle is the same as found in countless other stories, fiction and non-fiction–seemingly unlimited power in the possession of a single being or a handful of beings cannot be allowed to continue because it always ends badly.

The frustration that must be felt by readers is that all of these powerful beings, including geniuses like the Beast and Iron Man, cannot sit down and work out a plan.  Of course we don’t pull a Marvel Comic to read about mediation of disputes.  And so with Issue #7 battle after battle ensues on all parts of the globe.  A smoke and mirrors, cat and mouse global chase occurs, hiding Hope, hiding the Scarlet Witch.  This includes the Avengers using amulets that allow several people to pose as the Scarlet Witch, in turn causing the X-Men to be unable to find the real Wanda Maximoff.   There is also a scene where Hawkeye is fried by the power of the Phoenix and he is dead, and you finally think some stakes have been raised, then Cyclops brings him back to life and it was all a bit of a tease.  The story is choppy here–Tony Stark seems out of character, not the typical tough guy but a bit wimpy, including a scene where Black Panther slaps him.  It just seems out-of-place (but still a bit funny).  The Scarlet Witch’s presence saves the day again–the X-Men really fear her and so we see some real conflict as they back away from her, leaving an opening for Namor to move in to strike.

The various writers and artists at Marvel have put a lot into this series so far and it shows.  It’s hard for a reader to get his/her arms around all that’s happening with so many characters in each issue, yet various scenes work well and keep you hanging in there and coming back for more.  But there are a number of threads that will need to be tied up in the remaining issues and it continues to be interesting finding out where the story is heading.  Is there too much going on?  Yes.  Too many characters?  Yes, the opening pages show a roster of so many and most don’t have any real presence.  For all the action occurring, the story is moving pretty slowly forward, and you can only hope the payoff is not saved for the last issue as often happens with highly promoted mini-series.

C.J. Bunce
Editor
borg.com

Earlier this season Hollywood Treasure, Syfy Channel’s “reality” series about auction house Profiles in History, featured the Dreier family collection of screenused props, costumes and nostalgic toys.  Now the auction house has announced the first part of the Dreier collection will be auctioned off, scheduled for July 28, 2012.

Chad Dreier and son Doug amassed a broad collection of costumes and props after Chad’s company Ryland Homes was successfully turned into a multi-billion dollar enterprise.  The collection itself covers a lot of bases of primarily movies from 2000 onward, with some key pieces from the 1970s and 1980s.  There is not a lot of focus to the collection–the Dreiers seemed to acquire several mid-range pieces from movies as opposed to going for the key hero piece from any particular film.  For whatever reason they stopped midstream, and the result is that many buyers will be able to fill in their collections from a wide range of productions.

The key pieces?

First off there is an exquisite original Chewbacca head/mask from the original Star Wars.  I could be wrong but it looks just like one that circulated the Planet Hollywood theme restaurant chain before they went bankrupt and sold off their collection via Profiles and other outlets.  It has an auction estimate of $60,000 to $80,000 and I expect this will sell for at least triple that.  Profiles calls this “the finest screen-correct Chewbacca costume head from the Star Wars trilogy known to exist.”  I’d guess George Lucas’s Skywalker Ranch has one or two just as nice, but the statement is probably not far from the truth.  For everyone’s favorite lovable Star Wars hero, some folks with big pockets will duke it out for this crown jewel.  Some background original series weapons and prequel lightsabers are up for auction, too.

The Dreiers appeared to purchase everything they could get their hands on related to Gene Wilder’s Willy Wonka and the Chocolate Factory from 1971.  Their collection includes Wilder’s key outfit and hat and a bunch of lesser known but recognizable props and production ephemera.  Annoyingly his hat and costume are being auctioned separately; the hat is expected to fetch between $20,000 and $30,000 and the costume $60,000 to $80,000.  An Oompa Loompa costume has an estimate of $6,000 to $8,000.

A Bob Keeshan costume from the 1960s has an estimate of $30,000 to $50,000.  If you’re like me you grew up with Keeshan in his nearly 40 year run as Captain Kangaroo.  No Mr. Green Jeans?

An easily identifiable jacket of the type worn by Matthew Broderick as Ferris Bueller carries an estimate of $20,000 to $30,000.

The Dreiers were also fans of Christopher Reeve’s Superman from 1978.  More interesting than one of the hero Reeves suits expected to sell between $60,000 to $80,000 is the rarer costume worn by his father Jor-El, played by the great Marlon Brando.

Although the estimate for the silver blingy Brando costume is the same as for Reeve’s supersuit, if legend status is any indication, expect the Brando to go the way of contemporary Marilyn Monroe’s costumes last summer.  Despite some four-figure estimates, expect some Christopher Reeve Clark Kent suits and kryptonite to reach five figures–screen-matched kryptonite doesn’t come up for auction every day.

The cover piece is an original set of cylon armor from Battlestar Galactica.  Whether or not you liked the original series, you cannot deny how neat the original cylons looked in 1979.  The suit carries an auction estimate of $40,000 to $60,000.  Equally cool, and a nice jewel for some sci-fi TV fan, will be the Colonial Warrior costume from that series.

In particular, the helmet is a great looking piece, and if you watch the TV series Psych, you’ll have seen a colonial helmet as a story element in the entertainment memorabilia episode starring Buffy the Vampire Slayer’s real-life hubby Freddie Prinz, Jr. as a mega-sci-fi collector.

Iconic for sure.  The lot carries an estimate of $12,000 to $15,000.  (Profiles is also auctioning off a Geordi LaForge visor from Star Trek: The Next Generation!).

Many of the items are familiar, having sold in other recent Profiles auctions.  Look for a quarter scale Batmobile from Batman Returns as well as a deteriorating Batsuit worn by Michael Keaton. The auction includes several X-Men outfits and props, including Wolverine and his claws, Magneto, Cyclops, Storm, and Rogue.  For recent films they carry pretty hefty five-figure estimates (except Rogue), but I’d expect the Wolverine to sell for a high amount as the standout of the franchise.  Other costumes and props have been seen recently at auction but may be interesting to some bidders (and are certainly just fun to browse through in the catalog), including pieces from Star Trek, such as familar borgs Seven of Nine, Data in First Contact-style uniform, and a Next Generation member of The Borg as well as a Klingon warrior, also pieces from the Indiana Jones movies, Austin Powers, The Hunt for Red October, G.I. Joe, Gladiator and Dances with Wolves.

One sleeper item of note is the original comic art for the Battlestar Galactica oversized comic book.  With an estimate at only $2,000 to $3,000, expect this full color beauty to easily exceed $10,000.  This comic book is likely to tug at the nostalgia of many a kid from the 1970s.  Every other kid I knew had this comic book–it was published and reprinted several times–and who wouldn’t want to own the original cover art now?

For those with smaller budgets, some great toy lots from Star Wars, Pez, and G.I. Joe are being auctioned, too.

Happy bidding!

C.J. Bunce
Editor
borg.com

Review by C.J. Bunce

Last week we reported on the early release of eagerly awaited new series Avengers vs. X-Men.  With the first issue upon us of Avengers vs X-Men we get to see Round One of the twelve rounds to be featured over 24 weeks in the main series, with 19 main issues, and 20 other Marvel Comics titles tying in to this AvX event.  Here are two checklists to help you keep track (click to enlarge):

        

Spoilers ahead!

Issue #1 starts out with a bang, a big bang, as the Phoenix Force is launched from far away on a trajectory toward Earth.  In front of that force hurtling toward our planet is Nova, a character long-feared dead who ends up causing the destruction of the Empire State Building in New York City as he plunges to the Earth’s surface, taking an airliner down with him.  The status of any lives taken is unknown, but the Avengers, including Ms. Marvel, Thor, Captain America, Iron Man, Spider-Man, Hawkeye, Protector, Black Widow, Beast, Captain Britain, Valkyrie and a few others, do their best to quickly mitigate the losses.

Meanwhile we learn that Cyclops is busy training Hope, who was the focus of the prologue for Avengers vs. X-Men in Issue #0.  Hope is understandably frustrated, believing that the Phoenix Force is somehow targeting her, and the X-Men will not help her adequately with answers.  Hope carries an energy signature similar to that of the Phoenix Force, and when she gets angry she sets this off, and the blast that is caused tips off the Avengers that they need to take some kind of action.

Captain America and Iron Man meet with the President and the joint chiefs in Washington, DC and explain the nature of the threat.

Captain America enlists the support of Wolverine and heads to the island of Utopia to take Hope into protective custody, but Cyclops has other plans.  Cyclops was once in love with Jean Grey, who became part of Phoenix and killed herself trying to contain the immense power of the Phoenix Force years ago.  So Cyclops thinks there is some special meaning in the arrival of the Phoenix Force, like it might be a good thing.  And there is no way he will release Hope to the Avengers.

The X-Men, including Emma Frost, Magneto, Colossus, and Namor, stand behind Cyclops’s effort to keep Captain America from taking Hope away.  Captain America is thrown back by Cyclops’s rays, but he has brought with him a ship full of the Avengers, and as this first issue concludes the first battle is upon us–a fight between the Avengers and the X-Men, over Hope.

This first chapter scripted by Brian Michael Bendis, but created by all the “Marvel Architects”–Jason Aaron, Ed Brubaker, Jonathan Hickman, and Matt Fraction–is well-paced.  The steps that occur are not complicated so there is no confusion and the story is easy to follow.  Despite the volume of characters, they, too, are easy to keep track of.  I wasn’t dazzled by John Romita, Jr.’s artwork in this issue–everything seems to “just happen” visually with little stylization, and there are no memorable single images that stand out.  But neither does the art stand in the way of the story, which has a lot to cram into the single issue page count.  All-in-all, so far, so good.  I’m reminded of the Marvel Superheroes Secret Wars limited series from decades ago, where readers get the pleasure of seeing the whole cast of characters in the Marvel Universe all as part of a common cause.

The crazy stand-out of this first issue are the several versions printed, including all these variants, some selling for $175 and up for the 1 in 200 exclusives.  Hopefully the hype settles and the coming issues simply take readers on a good ride.

Here is a checklist of the Avengers vs X-Men Issue #1 cover variations for all you completists out there:

Regular cover by Jim Cheung - Price $3.99

Avengers Team Common Variant - Price $3.99

X-Men Team Common Variant - Price $3.99

Sketch Cover Common Variant - $3.99

Midtown Comics Exclusive Wraparound Cover Side 1 - Price $8.00

Midtown Comics Exclusive Wraparound Cover Side 2 - Price $8.00

Ryan Stegman Incentive Variant Cover - Price $85

Hastings Stores Variant Cover - Price $8.00

Ryan Stegman Rare 1:200 Incentive Sketch Variant Cover - Price $175

John Romita, Jr. 1:25 Incentive Variant Cover - Price $15.00

Dynamic Forces Exclusive Variant Signed by Stan Lee (image may vary) - Price $399

Dynamic Forces John Romita, Sr. Signed Cover Edition (image may vary) - Price $69.99

Which version did I buy?  I got the first issue that Jason Aaron signed, with a note by Jason on the sketch cover version…

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