The vast majority of us didn’t even have a home computer yet, not even one with a floppy drive, and we were just starting to understand what BASIC meant in all caps. Forty years ago this weekend many of us gathered for a Disney movie that didn’t look like any Disney movie–or any previous movie–we’d ever seen. At one of the SouthRidge III theaters–not the big one–someone threw wet Lifesavers at the screen to get them to stick. Then the curtain dropped, the lights went down, and sci-fi was changed forever.
It’s a member of the exclusive clubhouse of the greatest year of movies–1982. In a summer that gave us E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan, Blade Runner, Poltergeist, and John Carpenter’s The Thing, Disney’s groundbreaking Tron is a great movie, and it stands the test of time as a unique science fiction classic.
Surprisingly great, surprisingly real, and surprisingly… current? Sony Pictures Animation, the studio that brought you Spider-Man: Into the Spider-verse brings its latest and greatest animated film to Netflix this weekend. It’s The Mitchells vs. The Machines–a sci-fi, apocalypse, coming of age, story about a weird family that ends up being the last family on the planet to be exterminated from the planet by the very technologies humans are so addicted to. Gravity Falls creators Michael Rianda and Jeff Rowe wrote and directed this story, a visually stunning spectacle reflecting life as we knew it in 2020… and may know it again, with contributions by Phil Lord and Christopher Miller (both known for the LEGO movies and Into the Spider-verse). The themes are influenced by Tron and Tron: Legacy,National Lampoon’s Vacation, and the Terminator movies, leaning hard on the plot of Terminator: Genisys. It’s loud, colorful, crazy, and it gets family relationships just right, at least of the 21st century variety. It’s also the movie I was hoping for with The Incredibles 2.
The biggest action film of the summer is easily the most enjoyable film of the year. That’s Fast & Furious Presents: Hobbs & Shaw, a movie that gets so many genre formulas right it just can’t miss. Certainly one of the better entries in the Fast & Furious franchise, it knows what works and uses it. That’s a sure-bet cast of Dwayne Johnson and Jason Statham, Mission: Impossible–Fallout’s Vanessa Kirby, Idris Elba in the ultimate badass role as a James Bond spy gone bad with Superman powers, lots of futuristic cyborg tech, and an understanding of why audiences come to the movie theater in the first place. Hobbs & Shaw is a movie for people who like movies.
The trailers gave audiences a glimpse at what to expect, and they delivered on all promises: laugh-out-loud funny dialogue, nonstop action, road races and camera angles that the franchise is known for, and lots of surprises and callbacks, and a script that doesn’t take itself seriously. There’s something for everyone here. If you’re after only the fast cars, action, and speed of the franchise, this entry measures up. And that family drama that the regular franchise leads Diesel, Paul Walker, and Jordana Brewster built the franchise on is here, too. This time that includes digging into the past between Statham’s Deckard Shaw and sister Hattie, played by Kirby, and Helen Mirren back again as their mother (Luke Evans’ brother Owen from the last film may or may not be mentioned this time), and Johnson’s Luke Hobbs is pals with his young daughter at home and returns to the family he left behind years ago in the Samoan Islands.
But stuntman-turned-director David Leitch(Atomic Blonde, Deadpool 2, John Wick) and script writers Chris Morgan (writer of five prior Fast & Furious films) and Drew Pearce (Hotel Artemis, Mission Impossible: Rogue Nation) know why audiences are really buying tickets, and you just need to drift over their previous film credits to see why they were tapped for Hobbs & Shaw. Hattie is a badass equal to Charlize Theron’s Atomic Blonde (Theron also co-starred in the most recent sequel), any of the four lead characters could give Leitch’s John Wick a run for his money, and moviegoers will hardly remember last year’s much-lauded Mission Impossible: Fallout’s action scenes after they see this. (A few casting spoilers follow).
Later this year classic characters from three well-known children’s stories will return in theatrical adaptations. A.A. Milne’s Winnie the Pooh and friends will return in Christopher Robin. Deja vu? Don’t confuse this with last year’s film Goodbye, Christopher Robin, which starred Margot Robbie, Domhnall Gleeson, and Kelly Macdonald. This new film actually features Winnie the Pooh and friends, along with a great cast of genre favorites: Ewan McGregor (Star Wars series, Brassed Off), Mark Gatiss (Sherlock, Doctor Who) and Hayley Atwell (Marvel Cinematic Universe), and voicing the classic characters, Jim Cummings (Pooh), Peter Capaldi (Rabbit), Toby Jones (Owl), and Brad Garrett (Eeyore). The film is directed by Marc Forster (Quantum of Solace).
The Grinch is back in a third major film incarnation from Dr. Seuss’s original book How the Grinch Stole Christmas. This time Benedict Cumberbatch replaces the voice of the big Christmas baddie made famous by Boris Karloff in 1966 and reprised by Jim Carrey in 2000. This version is titled Dr. Seuss’ The Grinch. This animated version incorporates current digital technology to provide a very modern looking update. The trailer looks great.
And also for Christmas Mary Poppins is back in a sequel to the original 1964 classic that starred Julie Andrews as Mary and Dick Van Dyke as Bert the chimney sweep and bank president Mr. Dawes. Emily Blunt (Edge of Tomorrow, The Huntsman: Winter’s War) takes on the lead role in Mary Poppins Returns, co-starring Meryl Streep (The Post), Colin Firth (The Kings’ Speech), Angela Lansbury (Murder, She Wrote), Emily Mortimer (Hugo, The Kid), David Warner (Tron, Time After Time), Ben Whishaw (James Bond franchise), Julie Walters (Harry Potter franchise), Lin-Manuel Miranda (Moana), and Dick Van Dyke, this time as Dawes, Jr.
Check out these previews for Christopher Robin, Dr. Seuss’ The Grinch, and Mary Poppins Returns:
For more than six years we at borg.com have been covering entertainment memorabilia auctions–sales of not merely replicas or mass-produced collectibles, but the real objects seen on film–rare or even one-of-a-kind costumes created by award-winning Hollywood costume designers, detailed props created by production crew, model vehicles created by special effects departments like Industrial Light and Magic, prosthetics created by famous makeup artists, set decoration, concept art, and much more. Amassing a wide variety of artifacts from classic and more recent film and television history, London and Los Angeles-based Prop Store is hosting its annual auction later this month. Known for its consignment of some of the most well-known and iconic screen-used props and costumes, Prop Store’s ultimate museum collectibles auction will be open for bidding from anyone, and items will be available at estimates for both beginning collectors and those with deeper pockets.
The Prop Store Live Auction: Treasures from Film and Television will be auctioning off approximately 600 items. You’ll find the following movies and TV shows represented and more: 3:10 to Yuma (2007), 300,Aliens, Back to the Future films, Blade Runner, Chitty Chitty Bang Bang, The Chronicles of Narnia films, Elysium, Enemy Mine, Excalibur, The Fifth Element, Gladiator, The Goonies, Gremlins 2: The New Batch, Jason and the Argonauts, Hellboy II: The Golden Army, the Indiana Jones films, Iron Man, the James Bond films, Judge Dredd (1995), the Jurassic Park films, Kick-Ass 2, Kingsman: the Secret Service, Lifeforce, Looper, The Lost Boys, The Martian, The Matrix, Men in Black III, Mission: Impossible (1996), The Mummy (1999), Patton, Pirates of the Caribbean series, Predators, the Rocky films, Saving Private Ryan, Scarface, Serenity, Shaun of the Dead, Shawshank Redemption, Sherlock Holmes (2009), Star Trek franchise, Star Wars franchise, Starship Troopers,Superman films, Terminator films, The Three Musketeers (1993), Tropic Thunder, Troy, True Grit, Underworld: Evolution, Who Framed Roger Rabbit, Willow, The Wolfman (2010), World War Z, and the X-Men films.
You can flip through the auction house’s hefty 360-page catalog, or start with a look at what we selected as the best 50 of the lots–what we predict as the most sought-after by collectors and those that represent some of fandom’s favorite sci-fi and fantasy classics and modern favorites.
Industrial Light and Magic 17 3/4-inch Rebel Y-Wing filming model from Return of the Jedi
Sark (David Warner) Grid costume from the original Tron (1982)
Julie Newmar’s Catwoman costume and Burgess Meredith Penguin hat from the classic Batman TV series
Buttercup (Robin Wright) Fire Swamp red dress from The Princess Bride
Chekov (Walter Koenig) “nuclear wessels” costume, Dr. McCoy (DeForest Kelley) costume, and Sulu (George Takei) double shirt from Star Trek IV: The Voyage Home
Full crew set of costumes (Malcolm, Zoe, Wash, Jayne, Inara, Kaylee, River, Book, and Simon) from Serenity(sold as individual costume lots)
Jack Nicholson purple Joker costume, plus separate coat and hat, from Batman (1989)
Enterprise-D 48-inch “pyro” model from Star Trek: The Next Generation
Will Munny (Clint Eastwood) stunt shotgun from Unforgiven
Star-lord helmet from Guardians of the Galaxy
Thor (Chris Hemsworth) Mjolnir hammer from Thor
Ghostbusters and Ghostbusters II jumpsuits made for Bill Murray as Dr. Peter Venkman
Witch-king of Angmar crown from The Lord of the Rings: Fellowship of the Ring
Val Kilmer Batman suit and cowl from Batman Forever
Maverick (Tom Cruise) flight suit from Top Gun
Geoffrey Rush Captain Barbossa costume from the first Pirates of the Caribbean film, Curse of the Black Pearl
We’re back today with the second part of my interview with Nicholas Meyer, director, screenwriter, and storyteller, as we celebrate the 35th anniversary of Star Trek II: The Wrath of Khan, and its return to theaters next month as part of the Fathom Events series. Meyer directed Star Trek II and Star Trek VI: The Undiscovered Country, and he was a screenwriter on both movies as well as Star Trek IV: The Voyage Home. He chatted with me about his films and more this past week. If you missed part one of the interview, check it out here.
CB: You’ve written words spoken on-screen by Lawrence Olivier (The Seven-Per-Cent Solution), David Warner (Time After Time, Star Trek VI), and Christopher Plummer (Star Trek VI). Are there any other great actors you maybe fantasize, or would like to write, dialogue for?
NM: I’ve also worked with Jason Robards and John Lithgow (both in The Day After). I’ve worked with some really wonderful actors. Fantasizing about working with actors is interesting. When I listened to the Chandos recording of the music from Henry V–the Olivier film with Christopher Plummer reciting or acting out the various Shakespeare vocal parts–I thought, “Wow, I’d really love to work with this man.” And I wrote the part of Chang in Star Trek VI specifically for him. That’s the first time I’ve ever written for an actor other than the Star Trek cast. I said to my casting director Mary Jo Slater, “Whatever you do, don’t come back without him. Because there’s no movie unless it’s him.” It would take me longer than this conversation to rustle around in my brain other actors I’d love to work with–Benedict Cumberbatch–sure, of course.
Nicholas Meyer directing the production crew, with Christopher Plummer as General Chang, on the Klingon courtroom set of Star Trek VI: The Undiscovered Country.
CB: Your Time After Time co-star Malcolm McDowell joined Star Trek in the seventh movie in the series, Star Trek Generations, after you were no longer with the franchise, and it always seemed to me to be an obvious choice to get him into the Star Trek universe. Did he ever contact you about taking on a Star Trek role?
NM: No… we never discussed it. David Warner, who actually has been in two Star Trek movies (as Chancellor Gorkon in The Undiscovered Country and St. John Talbot in Star Trek V: The Final Fronter), was the great post-war Hamlet with the RSC (Royal Shakespeare Company), and I think Malcolm at one point was a spear carrier in that company at the time when David was this huge star. In Time After Time they used to kid each other about those times. Something about carrying a pack of cigarettes under your costume.
CB: You have said you see yourself first as a writer and have been writing and telling stories since you were five years old. Are you as excited today to sit down and craft a story as you were in 1982?
NM: I think when I get going the answer is yes, and if it’s going well the answer is yes, and the hours can go by and I look up and it’s a week later. But as I’ve gotten older, the process of actually starting, of facing what used to be a blank page, which is now a blank screen, having done it again and again and again… Most of the stuff I’ve written has never been produced. Most of the stuff I’ve written for books I’m happy to say has been published, but I haven’t written that many books. But most of my screenplays–including probably my best screenplays–have never been done. So as you get older and you embark on this again and again and again there is a kind of a weariness of picking up the yoke and putting it on your shoulders. That said, getting paid for telling stories beats work any day.
On the Star Trek II: The Wrath of Khan Engineering set, that’s Catherine E. Coulson (later Twin Peaks’ Log Lady) with the camera, director Nicholas Meyer (in Starfleet captain’s jacket) and James Doohan as Scotty, filming the emotional finale.
CB: In your memoir The View From the Bridge, you mentioned some of your best ideas or solutions when writing come while doing laundry, while in the tub, or even building a model boat. What was your biggest revelation and strangest place you found it?
Star Trek: The Wrath of Khan–a member of that fabled Class of 1982’s “best summer of movies”–turned 35 this year, and to celebrate, the film is returning to theaters as part of the Fathom Events series. It has been said the film’s director and screenplay writer Nicholas Meyer saved Star Trek. Meyer was well-known as the author of the New York Times bestselling novel The Seven-Per-Cent Solution and its screenplay, which earned him an Oscar nomination, and for directing and writing the screenplay for the fan-favorite, time travel thriller, Time After Time. After the lukewarm response at the box office to Star Trek: The Motion Picture, executive producer Harve Bennett tapped Meyer to take the franchise in a bold, new direction, and the result, Star Trek II: The Wrath of Khan, became the best reviewed film of the franchise and a classic among all science fiction. Many details about Meyer’s work have been recounted in Allan Asherman’s The Making of Star Trek II: The Wrath of Khan and Meyer’s own memoir, The View from the Bridge. Meyer has also shared a trove of his thoughts and work on the film in director commentaries accompanying the film’s various home releases. He’s not quite finished with Star Trek yet–he’s back again as a writer and producer on the new series, Star Trek: Discovery, premiering next month.
I was ecstatic to interview Nicholas Meyer this past week and listen to him reminisce as director and screenwriter of The Wrath of Khan for the approaching anniversary theatrical release, and ask him questions I’ve had for years about his long writing career. Meyer sees himself first as a storyteller. In addition to The Wrath of Khan, he wrote the screenplay for Star Trek IV: The Voyage Home and he directed and wrote the screenplay for Star Trek VI: The Undiscovered Country. I think you’ll discover—or rediscover—that in Meyer’s selections of leading stage and screen actors like Christopher Plummer, Meyer provided gravitas to the Star Trek universe, and by infusing classical literature into the voices of characters from the likes of Shakespeare, Doyle, and Melville, he elevated Star Trek’s story beyond mere popular science fiction. Everything that would come after The Wrath of Khan in the Star Trek franchise exists as a direct result of Meyer’s success on that film.
Director Nicholas Meyer observing final detail work as Ricardo Montalban’s headwrap is applied, filming the first appearance of Khan in Star Trek II: The Wrath of Khan.
CB: Welcome to borg.com. Thanks for chatting with me and borg.com readers today and congratulations on the 35th anniversary of Star Trek II: The Wrath of Khan.
NM: Thank you so much. It’s a real pleasant surprise—As Kirk said to Scotty, “That’ll be a pleasant surprise.”
CB: Let’s talk about Ricardo Montalban as Khan. I have always loved this line: “I’ll chase him ‘round the Moons of Nibia and ‘round the Antares Maelstrom and ‘round Perdition’s flames.” When you write something like that, do you know that you’ve got it, and when you see Montalban saying it and it appears on the screen, do you get any satisfaction of seeing that all come together?
NM: Absolutely! I have to say, first of all, I didn’t write it. Herman Melville wrote it. I substituted a few planets or something. This is all Ahab. I just cribbed it. I remember with some satisfaction what I took to be at the time my cleverness (which turns out to be the curse of Kirk: “I patted myself on the back for my cleverness”). It wasn’t until I saw Ricardo actually do it that I got goosebumps, and thought, “Holy cow. This is wonderful!” And I said to him actually at some point during the movie, “You really should be playing Lear.” He sort of looks like Lear–with a big set of pecs. Because he has been on stage, he was on Broadway, he did legit plays. He was very touched, I think, that I had told him this, and he made some disparaging remark about his Hispanic accent. I said, “That’s all bullshit. You enunciate perfectly. You could do this.” I think Khan was as close as he ever got to doing it.
It’s a member of the exclusive clubhouse of the greatest year of movies–1982. In a summer that gave us E.T. the Extra-Terrestrial, Star Trek II: The Wrath of Khan, Blade Runner, Poltergeist, and John Carpenter’s The Thing, Disney’s groundbreaking Tron is a great movie, and it stands the test of time as a unique science fiction classic. For a movie fan, if you were stuck in a time warp you could hardly find a better place to be than 1982. Getting noticed in a year of movies like Conan the Barbarian, Rocky III, First Blood, Tootsie, The Secret of NIMH, The Last Unicorn, Night Shift, The Man from Snowy River, Tex, and Fast Times at Ridgemont High was no small feat. Tron sees the 35th anniversary of its release this week. A cinematic milestone? Of course. A must-see classic? Absolutely. Better still, you can view Tron in a more vibrant and detailed clarity than how you may have viewed it in a local 1982 movie theater thanks to an updated 2011 Blu-ray release.
For those not involved in the computing world in the early 1980s, Tron first introduced audiences to programming terms like the Master Control Program (MCP), random access memory (RAM), and the idea of avatars. It introduced us to light cycles, an early CG home run–even decades before quality 3D or IMAX–viewers were ducking and dodging in their seats as opponents exploded into the walls of the Grid. Identity discs brought to life what were only blips on the screen in the “real” world, and we cringed as Flynn took a step too close and almost fell off the game rings. No other film since looks like Tron, not even its big budget 2010 sequel Tron: Legacy or its 2012 animated series Tron: Uprising. Its backlight animation worked amazingly well for our first entry into a world we hadn’t seen before. Video games were just beyond the stage of blip games like Pong. It was a time before the Atari 2600. It was in this world that director Steven Lisberger was able to film Bruce Boxleitner as Alan Bradley aka Tron and Jeff Bridges as programmer/hacker/high scorer Flynn in a complex blue-black and white costume and fill in the details in post-production and place them in a brilliantly colored, infinitely tiny, futuristic universe. The look was both retro to an almost 1940s vision of the future and yet also it pushed ahead, way ahead, to some future we will never really meet. Just look at this futuristic, visionary image from early in the film where Bridges plays an avatar of his real world character–well before anyone knew what an avatar was:
And the story works. Tron offers a one-of-a-kind and unreal world where, in the classic sci-fi style of The Fly, you can be teleported to someplace not outside but deep within this world, where Flynn tries to understand his new world of the Users, to fight to survive with identity disk battles and light cycle races, and to get home. Boxleitner, who would get far less screen time than Jeff Bridges, provided an understated hero for a generation of kids. David Warner (Time After Time, Star Trek V, VI, Star Trek: The Next Generation), the best actor to play a villain in any franchise, also played a triple role as Dillinger, Sark, and the MCP, giving movies three of its all-time best villains, and adding yet another perfect genre performance to Warner’s portfolio. Caddyshack’s Cindy Morgan as Lora/Yori, Dan Shor as the ill-fated RAM, and Barnard Hughes as Dumont all created memorable supporting characters (plus master stuntman Vince Deadrick, Jr. (Iron Man, True Grit, Star Trek Enterprise, Fletch, Romancing the Stone) to boot).
It’s Time After Time, the series, the mash-up of real life The Time Machine author H.G. Wells and the serial killer Jack the Ripper, adapted from the 1979 novel Time After Time by Karl Alexander and the 1979 modern classic film of the same name starring Malcolm McDowell, David Warner, and Mary Steenburgen. It’s a new TV series beginning tonight on ABC that looks similar to the short-lived ABC series Forever, which followed a 400 year-old-doctor as he searched for a reason for his longevity in 21st century New York City, and starred Ioan Gruffudd, Alana de la Garza, and Judd Hirsch.
The film Time After Time was as good as any 1970s detective movie. Steeped in classic science fiction storytelling, we met author H.G. Wells, played by McDowell, who invents the actual machine of his novel. His colleague, played by Warner, turns out to be the actual Jack the Ripper, and he takes the time machine into the future to continue his evil ways, and threatens a new love interest of Wells, played by Steenburgen.
The new series appears to follow the original story, with Freddie Stroma as Wells, Josh Bowman as The Ripper, and Génesis Rodríguez as Jane. Time After Time is helmed by director Kevin Williamson, known for his horror films and series including Scream, The Following, I know What You Did Last Summer, and The Vampire Diaries.
Showtime released two teasers this month for next year’s Twin Peaks sequel, hoped for by fans of the show for 25 years. The first shows several actors, including series star Kyle MacLachlan looking like he hasn’t changed a bit, including a behind the scenes image sporting his FBI suit with director David Lynch. The second teaser shows composer Angelo Badalamenti back again working on the new score for the series.
Coming back for the series is Kyle MacLachlan (FBI Agent Dale Cooper), Sheryl Lee (Laura Palmer/Maddie Ferguson), Sherilyn Fenn (Audrey Horne), Mädchen Amick (Shelley Johnson), David Duchovny (Dennis/Denise Bryson), Michael Horse (Deputy Hawk Hill), Dana Ashbrook (Bobby Briggs), Miguel Ferrer (Albert Rosenfield), Ray Wise (Leland Palmer), Grace Zabriskie (Sarah Palmer), Alicia Witt (Gersten Hayward), Kimmy Robertson (Lucy Moran), Peggy Lipton (Norma Jennings), Catherine Coulson (The Log Lady), Everett McGill (Ed Hurley), Phoebe Augustine (Ronette Pulaski), Harry Goaz (Deputy Andy Brennan), Julee Cruise (Roadhouse Singer and soundtrack singer), Warren Frost (Doctor Hayward), Jan D’Arcy (Sylvia Horne), and Gary Hershberger (Mike Nelson).
Also returning is Andrea Hayes (Heidi), David Patrick Kelley (Jerry Horne), Bellina Logan (Louie), Walter Olkewicz (Jacques Renault), Richard Beymer (Ben Horne), Carel Struyken (the giant), Wendy Robie (Nadine Hurley), Al Strobel (one-armed man), Charlotte Stewart (Betty Briggs), Marv Rosand (diner cook), Jerry Marshall (James Hurley), Russ Tamblyn (Dr. Jacoby), Carlton Russell (jumping man), Harry Dean Stanton (Carl), and David Lynch (Gordon Cole).
So no Michael Ontkean, Lara Flynn Boyle, Joan Chen, Piper Laurie, Heather Graham, Billy Zane, Brenda Strong, Michael J. Anderson, or David Warner. Key players Jack Nance and Don S. Davis have passed away since the original series aired as has most recently Catherine Coulson, who was able to film some scenes for the series.
Check out the new Showtime teasers plus everything you want to know from past borg.com updates on the series, after the break:
