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“Serve the public trust, protect the innocent, uphold the law.”

From Metropolis to Rocky IV, and The Worst to Universal Monsters, Robotech, Shogun, Slayer, Street Fighter II, Lucha, and more, one of the most eagerly awaited has been figures for RoboCop Although we’ve seen RoboCop as action figures by the likes of toy companies like NECA and other companies over the past 30 years, the new line previewed at New York Toy Fair 2019 from Super7 also pulls in that throwback toy design fans of Super7’s ReAction action figure line flock toward.  Super7 has now released its final figure and packaging designs for RoboCop, and they look great (except that sculpt for the toxic slug guy looks a lot like Super7’s sculpt for John Matuszak’s character Sloth from The Goonies).

But of any action figure previewed at New York Toy Fair in February and released this year, is there any single figure with more potential for collectors than Super 7’s Jackie Robinson?  It has that trading card quality, with its cardboard backing and its vintage photograph design, plus it’s as American as apple pie as a toy/collectible, crossing over in the collector market between ReAction retro figure fans and baseball fans.  And the entire Classic All-Stars line is superb.  The other figures in the first group available measure up with Joe DiMaggio, Mickey Mantle, Willie Mays, Ted Williams, Carl Yastrzemski, Yogi Berra, Roy Campanella, Juan Marichal, Carlton Fisk, and Orlando Cepeda–plus the first of the mascots in the toy series, from the Philadelphia Phillies.  You can pre-order any or all now at Entertainment Earth (links embedded in names above).  And if Super7 doesn’t get to your favorite player, these will be easy to paint and modify for your team–just like you may have painted the classic electric football player pieces of years ago.

The other line of figures with potential is the classic Peanuts characters in the ReAction format, featuring two Charlie Browns, Linus, Lucy, Sally, Schroeder, and, of course, Snoopy.  These are based on Charles Schulz′s original strips, and have a look that bridges the Funko Pop! and the classic Kenner retro figure sizing and packaging.

Here are images of these three lines and first phases of designs released:

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There’s something about Mary, a new horror film coming this fall, that screams out John Carpenter.  It has that seaside feel of Carpenter’s The Fog, complete with a haunted seafaring vessel and moody cinematography.  It also has that trapped-in-an-evil-car vibe of Carpenter’s adaptation of Stephen King’s Christine.  It’s about an old boat with a past, found and restored, and haunted–all Christine elements.  Who doesn’t want more Carpenter movies, or second best, a Carpenter homage?  Mary is a new horror film that boasts its contrast with the average why-not-run-from-the-haunted-house movie by staging its ghost story on a boat: “The thing about boats is there’s nowhere to run.”  A nice double feature with The Lighthouse, perhaps?  The first trailer for the movie also conjures a little Jaws, The Ring, and Dead Calm.

Academy Award-winning actor Gary Oldman (The Dark Knight Rises, Harry Potter and the Prisoner of Azkaban, RoboCop, The Fifth Element) and Emily Mortimer (Mary Poppins Returns, The Kid, The Ghost and the Darkness) star in the indie film, which is directed by cinematographer Michael Goi (Chilling Adventures of Sabrina, Swamp Thing, American Horror Story), with a cast including Jennifer Esposito, straight off her supporting role in The Boys, plus Manuel Garcia-Rulfo (The Magnificent Seven, Murder on the Orient Express), Natalie Jean (Gotham), Michael Landes (Final Destination 2, Lois & Clark: The New Adventures of Superman), Stefanie Scott (Chuck, Jem and the Holograms), and Owen Teague (IT, Black Mirror).

The solid leading and supporting cast and some nicely creepy cinematography and scares in the trailer make this look like a good Halloween pick.  And the eerie music is supplied by frequent horror movie–and Avengers movie series–composers The Newton Brothers.  Here’s the trailer for Mary:

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Review by C.J. Bunce

First previewed here at borg back in March, the first comic book story from the universe of television’s The Orville reads in every way like a script that didn’t get produced–an episode that fits nicely into the timeline of the show but didn’t get filmed.  Dark Horse Comics is publishing four issues this summer, two two-part stories written by executive producer David A. Goodman with artwork by David Cabeza and colors by Michael Atiyeh.  Fans of the show who haven’t already picked them up will want to find the two issues already in comic shops and add the next two to their lists.  The feel of the characters is spot-on, every side glance among Ed, Kelly, and Gordon looks like actors Seth MacFarlane, Adrianne Palicki, and Scott Grimes–unusual when sci-fi adaptations these days often don’t feature the drawn characters looking like the actors behind them.

Both stories for Dark Horse’s first foray into The Orville take place between the first two seasons.  The first two-issue story, “New Beginnings,” presents some things not necessary for the TV show, but still interesting to see play out, including the rapid growth of Bortus and Klyden’s child Topa, and how that relates to Kelly encountering her new love interest, Cassius, after walking away from Ed at the end of Season One.  As fans know, Cassius took on a bigger role in the second season of the show.

  

Meanwhile Ed and Gordon take off in a shuttle to attend a conference.  Gordon is bored with mundane ship tasks, specifically investigating a Magnitar.  And Ed can’t get Kelly out of his thoughts.  As they learn, sometimes it’s better to be bored.  They end up crash landing on a primitive planet, providing readers the adventure and exploration the show really excels at.  All the while writer Goodman carefully picks up that banter between Ed and Gordon that provides the backbone of the humor for the show.  All told, “New Beginnings” is a great start that will hopefully mean many more years of tie-in comics.

Take a look at a preview of the story, plus a sneak peek at the cover art to Issues #3 and #4, courtesy of Dark Horse Comics:

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Review by C.J. Bunce

Comic book fans saw an unprecedented 13 television series based in the Marvel Comics universe since Marvel’s Agents of S.H.I.E.L.D. in 2013.  Of those the six best produced of these landed on Netflix, beginning with Daredevil and Jessica Jones.  You’ll not likely find two people who can agree on which was best.  My #1 goes to Luke Cage, which went beyond the typical superhero turf to show a completely unique two seasons of stories.  I thought Daredevil offered nothing new, and The Punisher turned a ho-hum character into something exciting thanks primarily to the performance of actor Jon Bernthal.  The team-up The Defenders just couldn’t find chemistry between its members, and the best part of Iron Fist was Jessica Henwick’s Colleen Wing and appearances by Simone Missick’s Misty Knight and Rosario Dawson’s Claire Temple.  Which brings us to the third and final season of Jessica Jones, the last of Netflix’s trip through the Marvel characters at least for the foreseeable future.

Jessica Jones started out promising, and that was no small feat considering the superhero was more anti-hero than the typical Marvel story.  Actor Krysten Ritter knew her character from her first episode, and in three seasons never veered from the moody, angry detective we first met in 2015.  Unfortunately, in three seasons the character never changed, unless even more moody, angry, and alone is enough.  The first season worked because Jones had to face a particularly unique and vile villain in David Tennant′s Kilgrave.  As he’s done with this year’s Good Omens, Tennant’s energy and intensity tends to elevate even the most bland material.  Season 2 of Jessica Jones had another interesting villain as Jones’ biological mother, played by Janet McTeer.  The third season?  It lacked a compelling villain at all, with Jeremy Bobb playing a Law & Order villain-of-the-week transplant fans were stuck with for an entire season (Bobb’s played guest Law & Order characters four times).  The actual villain was the one lurking the entire time, Carrie-Anne Moss′s dying lawyer and Jones’ former comrade in sleuthing, Jeri Hogarth.  Despite the talent of the actors, the story arc this season was flat.  The series begged for episodic tales, and instead it dragged what could have been a single episode story.  It’s Netflix ending on a sour note, and confirms new creators are needed to salvage what could be a great group of characters on the small screen.

The saving grace for the entire series, and the only reason to invest your time for all three seasons, is that it launched the character Hellcat.  Just like Jessica Jones introduced Mike Colter’s Luke Cage (who returns briefly to bookend the series) and Daredevil launched The Punisher, something bigger and better than the title hero arrived.  Upstaging the star, no character had a greater character arc than Rachael Taylor′s “messed-up” child star Patsy, grown up into Trish Walker, a human with powers, known as Hellcat in the comics and in the show’s credits.  The writers knew they had something good, showing her struggle to help her sister in the second season to become an equal during season three.  But they bungled it.  Trish was loyal to her sister, trying to do what every good superhero character tries–to create good for people and try not to get corrupted.  But the show tripped into the common superhero trap–superheroes, at least these superheroes, can’t cross the line of the law for any reason and kill the bad guy.  In this case, even if a serial killer continues to murder relentlessly, and even if the cops have practically given up trying to catch him, and the legal system has failed.  So how many opportunities are presented and skipped over by the characters?  A dozen?  And the result by Jones failing to let Trish act is–surprise–more dead bodies.  If Jessica Jones, the character, is about anything, isn’t it getting dirty to take down bad guys?  So why give her series this stale Superman/Batman/Green Arrow, etc. Boy Scout story?  The question of whether superheroes can ever kill is as overdone in the genre as origin stories, and completely unsatisfying as the only dilemma here.  Yet through it all Taylor as Trish/Hellcat was fantastic stuff.

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Review by C.J. Bunce

Actor Vic Mignogna, who has played Star Trek’s Captain Kirk on the fan-made series Star Trek Continues, has taken on an enormous task in his latest project, narrating the mammoth behind-the-scenes look at classic television and creator/producer Gene Roddenberry in an audio play adaptation of the Saturn Award-winning These Are the Voyages–ST: TOS Season One–nearly 29 hours in all.  Master researcher and TV historian Marc Cushman has meticulously crafted several volumes detailing the Golden Age of Television, including four volumes (and fifth on the way) of Star Trek history.  With the new audiobook, Cushman has assembled nearly 100 voice actors, including several Star Trek insiders quoted in the book, who returned to voice their contributions from Cushman’s first book in his series.  Among the voices you’ll hear writer Dorothy Fontana, writer Ronald D. Moore, actor Clint Howard, casting director Joe D’Agosta, actor Sean Kenney, and director Ralph Senensky, plus sons of Leonard Nimoy (Adam) and James Doohan (Chris) voicing their fathers’ quoted material, and other surprises, like Mythbusters co-host and Star Trek Continues actor Grant Imahara as the voice of George Takei.  The result is a fantastic way to kick back and enjoy the long-lost past and inner-workings of your favorite 1960s sci-fi series.

Marc Cushman’s adaptation of his own work, with Susan Osborn, smartly distills his lengthy first volume into the key narrative elements–Gene Roddenberry’s arrival in Hollywood, the development of Star Trek, Roddenberry’s assemblage of creators, directors, producers, writers, and actors for his series, and the episode by episode chronicle of the ups and downs of season one.  Mignogna is a fantastic choice to walk the audience along, a mix of 1930s radioplay storyteller and Ken Burns’ award-winning series of documentaries.  For anyone afraid of embarking on a lengthy 658-page non-fiction book, this is your answer.

Actor Vic Mignogna with Star Trek repeat guest actor Clint Howard.

Voice actor Ralph Miller really nails the talkative and often irritable Gene Roddenberry.  The less-known players in the story often provide the most interesting performances, men and women reproducing 1960s inflections and accents in a myriad of types believably well.  The dialogue in the book has a more lively feel and effect when spoken.  As an example, Gene Roddenberry and Matt Jefferies’ discussions (originally via written correspondence) over details of military components to be incorporated into the series sets provides for some humor in the drama.  Listeners will really get a good picture of these two negotiating over who was better able to sign-off on the look of the practical, visual bits of the series.  And the production values are spot on–These Are the Voyages–ST: TOS Season One is a well-produced, entertaining work full of trivia for Star Trek fans and classic TV buffs, presented in an unusual, unexpected way.

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Review by C.J. Bunce

It’s not an overstatement to say Francesco Francavilla is the artist who brought Archie Comics back to life.  At the very least he has turned a new generation of readers onto one of comicdom’s longest lasting titles.  Along with Jon Goldwater and Alex Segura behind the scenes and writer Roberto Aguirre-Sacasa and later artist Robert Hack in the pages of the monthly books, it was Francavilla’s haunting, brand new look at Riverdale and its teen characters that kick-started reader interest in new titles and take another look at the classic stories, the ones with the traditional Dan DeCarlo look that 70 years of readers were familiar with.  Francavilla, the Eisner Award-winning cover artist, is the focus of a new hardcover book Archie Comics is premiering this Wednesday.  Featuring all of his Archie Comics standard covers and variants, plus selected interior artwork and cover artwork for books outside the Archie universe, The Archie Art of Francesco Francavilla is a must for collectors of his books and neo-pulp styled art prints.

In part because of his use of fantastic colors for his imagery, his designs seem to pop on every page.  You’ll find his several covers for Afterlife with Archie, Chilling Adventures of Sabrina, Vampironica, Jughead the Hunger, Archie Meets Batman, Archie vs Sharknado, Archie vs Predator, Chilling Adventures in Sorcery, Riverdale, Life with Archie, Archie, Jughead, Betty & Veronica, and Josie and the Pussycats.  Other pages highlight Francavilla’s style on the covers of New Crusaders, The Black Hood, and The Hangman.  The Archie Art of Francesco Francavilla also includes some cover and page roughs–preliminary sketches used for approval and story breaking, all shown along with the final versions.  You’ll also find exclusive cover art from convention-only covers and other variants.

Woule we have a Riverdale television series if not for Francavilla’s darker look at Archie?  Probably not.  Here is a first look at some advance preview pages of The Archie Art of Francesco Francavilla for borg readers courtesy of Archie Comics:

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Review by C.J. Bunce

If there is a bigger Trivial Pursuit fan I don’t know who it is.  Whether it was the classic 1981 Genus Edition, the 1983 Silver Screen edition, the 1984 Genus II edition, the 1989 1980s edition, the 1992 10th Anniversary Edition, the 1994 Genus III, the 1996 Genus IV, or 1998 Millennium Edition, or the dozens of tie-ins and card deck supplements since, you can pretty much count me in anytime.  But the latest may be the most fun yet.  Adding to the Stranger Things season three Hasbro Gaming tie-ins Dungeons & Dragons, Monopoly, Ouija board, Screen Test, and an Eggo card game is an all-new throwback 1980s version of Trivial Pursuit I thought I was a Trivial Pursuit purist, but the new Stranger Things Back to the ’80s Trivial Pursuit convinced me that the classic game had some problems and they’ve now been fixed.

The questions come from movies, TV, music, people, events, technology, fashion, sports, and more, and that classic orange sports/wild card category is now questions about your knowledge of the Stranger Things universe.  Don’t worry, that last category will be easy to dodge for anyone at the game table not familiar with the series, but new rules and gameplay also make it possible to give anyone a leg up toward an ultimate win.  “Roll again” spaces are gone, meaning there’s more time answering questions and less time rolling multiple times per turn.  You still need six wedges to win, but you no longer need a pie wedge from each category, so the game time is shorter.  If you aren’t a pro in any given category, you’re also no longer hamstringed into riding out a losing game because of the new “walkie talkie a friend” feature.  As with the Who Wants to be a Millionaire gameshow concept, so long as you’re not playing in Upside Down mode, you can enlist a helper, and if you win, share the spoils with a pie wedge for both players.

 

The Upside Down is an easy, clever board add-on that allows the entire board to be switched from real world mode to the dark Upside Down the series is famous for.  When you’re in the Upside Down you can lose pie wedges by answering incorrectly, and you can’t ask a friend for help.  It fits the Stranger Things story, and it further helps level the playing field among a diverse group of players.

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We previewed Amazon Prime’s first trailer for the final season of The Man in the High Castle here back in February.  Now we have a peek at an opening scene from the first episode of season four.  Last year’s finale for the season, our pick for last year’s best sci-fi TV here at borg, featured a 1960s sci-fi scene with its own version of “stranger things.”  An experiment led by an alternate history Josef Mengele, who could forever imprint a Nazi-won World War II on any and all timelines led to the Liberty Bell melted down and the Statue of Liberty destroyed, last seen falling into New York Harbor.  With Germany’s move on the Japanese States thwarted, a revolution has gained traction out West, and viewers were left with series lead Alexa Davalos’s heroic leader Juliana seemingly understanding how to phase-travel like Cary-Hiroyuki Tagawa’s Tagomi had done.

Luke Kleintank’s Joe Blake and Rupert Evans’ Frank Frink were cast out of the story, as Jason O’Mara’s Wyatt Price stepped in to fill the void.  Helen and her girls have left Rufus Sewell’s John Smith, and Himmler is taken down in an assassination attempt.  Yes, a lot was resolved, but we’re also set up for much more in this coming season.

What is this mysterious relationship in another timeline between Juliana and John Smith?  Check out this first look at an opening scene showcasing these characters in season four, the final season, of The Man in the High Castle:

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It looks entirely like an experimental expressionistic film, something created by an aspiring filmmaker in film school, maybe an ambitious effort to create something historical and strange like Ingmar Bergman’s The Seventh Seal.  Is production and costume designer-turned-director Robert EggersThe Lighthouse simply a horror movie about two lighthouse keepers or can we hope for something bigger, more of metaphor and allegory?  Shot in black and white 35mm film, the initial appeal is for anyone fond of classic black and white Gothic horror It’s billed as psychological horror, but will it feature psychological horrors of today or stick with more reserved terrors that reflect its more tempting, classic appearance?

The Lighthouse stars character actor Willem Dafoe, and co-stars Robert Pattinson in his most public role since the announcement he will don the cowl and cape in a forthcoming Batman movie.  Remember Michael Keaton releasing Beetlejuice, Clean and Sober, and The Dream Team with the new acting range spin to get us prepared to see him on the big screen as the dark knight detective?  Genre niche popularity of the Twilight series and his brief stint in the Harry Potter franchise aside, Pattinson hasn’t had the universal appeal and popularity Keaton had with Night Shift and Mr. Mom, making him a household name.  Can he convince fanboys and fangirls he has what it takes?  Can audiences push the future aside and appreciate The Lighthouse for whatever Eggers is trying to do?

As for Eggers, who co-wrote the story with brother Max, this is his second film after the Anya Taylor-Joy vehicle The Witch.  Here he’s trying that tried and re-tried convention of bringing black and white films to modern audiences.  It often works, as it did with popular and critical success for Paper Moon, Young Frankenstein, Raging Bull, Dead Again, Schindler’s List, The Artist, Logan Noir, and Roma.

Take a look at this nicely moody trailer for The Lighthouse:

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Review by C.J. Bunce

Underneath The Boys, a series so full of all things offensive, with language, misogyny, immorality, violence, sex–something sure to offend everyone, lies a backbone of a story that might have something to say, if the way it was laid out wasn’t so exploitative.  It’s easy to imagine show execs Eric Kripke, Evan Goldberg, and Seth Rogen pulling the strings behind the curtain on this project, but what exactly are they trying to say?  Mocking the real-life modern horrors on your TV, protected by the acknowledgement that the moral is clear that all the bad they show is bad, it’s intended as satire, as social commentary.  It’s an unusual medium to convey its many messages, questions without answers for many things Garth Ennis and Darick Robertson took on in their source material comics of the same name, very much like Alan Moore and Frank Miller’s stories from the 1980s it attempts to pay homage to.  It’s impossible not to compare The Boys to Moore’s Watchmen–superheroes for a dark and modern time that are different but familiar to the superheroes we all know so well–it may be even closer to Miller’s Batman: The Dark Knight Returns despite its lack of well-known characters.  The entirety of the story of the first season, now streaming on Amazon Prime, is the familiar “Who watches the watchers?”

Who are “The Boys” of the title anyway?  Led by ever-angry Bill Butcher, played by the actor of all franchises Karl Urban, it’s a small team of five rebels determined for their individual reasons to take down Vought, a corporation that manages the superheroes that protect Americans from almost every crime that’s occurring.  As good as the production values are, the series is not that clever, but its difference is how over-the-top and grimy it’s willing to get to tell its story.  From the previews you might think it compares to The Umbrella Academy.  Make no mistake, the storytelling in The Boys is better and less yawn-worthy, except The Umbrella Academy showed off some better superhero special effects along the way with its Number Five character.  You’ll find a lot here no one else is willing to touch on TV, making it a clear NC-17/R+ show: Carlin’s seven dirty words get explored, anti-fundamentalism, blasphemy in themes and situations, assault on today’s politics and extremism, nationalism, misogyny, sex abusers and other deviants, gender issues–most of these used to make valid points about issues mirroring modern times.  But like watching the daily news (or newsfeed) it’s not that enjoyable.  It never manages to approach similarly violent but fun efforts like tongue-in-cheek superhero films Deadpool or Kick-Ass.  Except for the vengeance.  When the bad guys pay–and that’s strangely rare–it’s hard to deny some of the scenes are pretty satisfying, especially when Urban wields a newborn supe as a laser gun.

The Boys has some cream-of-the-crop acting, which elevates the entire project.  Urban leads it all as the Daniel Craig-in-Layer Cake level, put-upon, amped-up mercenary Butcher.  As with all of his performances he jumps right in, creating one of his best, ugly characters (compare to his Caesar, Vaako, Cooper, and Skurge).  Equal to that is a layered performance by Jessica Jones’ Erin Moriarty.  The series is really about her.  She plays Annie January aka Starlight, a young, naive woman who sincerely wants to use her powers to help others.  She makes it into an elite, corporate controlled group of “supes” called The Seven.  But she quickly learns The Seven are more bad than good for America and the planet: one supe forces her to have sex, another invisible supe hangs out in the restroom leering at her.  Along the way Starlight picks up a friend in The Hunger Games’ Jack Quaid as Hughie Campbell, a guy whose girlfriend is killed by a speedster supe in The Seven–but was it an accident?  Hughie is enlisted to help Butcher try to take down Vought–the corporation behind The Seven.  Vought might as well be Detroit’s Omni Consumer Products from RoboCop or Veidt Enterprises from Watchmen, but even more vile.  The shock and in-your-face violence is every bit a match to these films from that infamous era of no-holds-barred 1980s violence.

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