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Tag Archive: Harry Potter


Review by C.J. Bunce

Everyone likes Paul Rudd, right?  Rudd is the center of a new comedy-drama on Netflix that began this weekend, Living with Yourself And his fans won’t be disappointed.  The same struggling character reaching for success–but just missing it–in shows like Ant-Man, Anchorman, and Clueless is back, but this time his character is actually characters, plural, and, like Ant-Man, this show has a sci-fi twist.

In fact you could spend the 3.5 hours of the eight episode, half-hour series spotting all the sci-fi tropes picked up in the script by Timothy Greenberg (The Daily Show).  It all begins with a twist on Orson Scott Card’s short story Fat Farm (found in Isaac Asimov, George R.R. Martin, and Martin Greenberg’s collection, The Science Fiction Weight Loss Book).  In that story, a person goes to a secret clinic to lose weight, not realizing he is actually being cloned, and the “real” him shuffled off to a work farm for the rest of his life, while “new him” returns to his life slim and trim not knowing the difference.  In Living with Yourself, it’s Rudd’s character Miles who is unhappy not with his weight but his underachievement and overall dissatisfaction with himself.  A co-worker puts him onto a pricey spa that can solve his problems, which turns out to be a third-rate, pop-up cloning shop, where, unknown to clients, they get replaced with like-new clones of themselves and their old selves get suffocated and buried in the woods.  The cloning tech isn’t quite so refined so Miles experiences something like Total Recall’s schizoid embolism–instead of killing Miles’ older self, he wakes up in a shallow grave and must confront his new, cloned self.

This all plays out like another Arnold Schwarzenegger film, Twins, with old Miles left to forge ahead with his stale, unrefined DNA and new Miles “cleaned” and ready to conquer the world.  But this is just in the first half hour.  If you stay around for all eight episodes (and Rudd is fun playing two characters, so why not?), expect to catch scenes straight out of Multiplicity, Gattaca, Rachel Rising, The Last Jedi, Harry Potter, even Star Trek VI: The Undiscovered Country, and more.  Rudd’s performance in dual roles is done so much in the actor’s laid back style that the double duty goes unnoticed, seamlessly, until the two halves confront each other in the season finale.  It’s not that kind of complex, award-winning visual effects work we saw from Tatiana Maslany as a dozen-plus characters in Orphan Black, but it doesn’t need to be.  The series hits on the classic internal struggle of man versus self, but this is first and foremost a comedy.

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For Harry Potter fans and especially those who want to see every view of the film behind the scenes, your next find is probably going to require clearing off an entire shelf.  Beginning this month is a new series of books about the Harry Potter films, and it’s sporting the “film vault” legend.  We’ve seen “vaults” published for Star Wars, Terminator, Batman, Spider-Man, and all things DC and Marvel, but for Harry Potter the franchise needed 12 volumes to tell its story.  It’s Titan Books and Insight Editions’ Harry Potter: Film Vault and we have an extensive preview for borg readers below.  If you decide to collect the entire series, the spines will line your shelf to reveal the Hogwarts coat-of-arms, reminiscent of the Time-Life encyclopedic book series from the 1970s and 1980s.

With a franchise spanning eight films, you’d expect them to have collected tens of thousands of images of concept artwork and photographs of every scene, set, costume, and prop, and that becomes even clearer inside the pages of this series.  Beginning with Forest, Lake, and Sky Creatures, readers can dive into several areas of the story mythos, on to Diagon Alley, the Hogwarts Express, and the Ministry, to Horcruxes and the Deathly Hallows, and Hogwarts Students.  Later volumes feature Creature Companions, Plants, and Shapeshifters, Hogwarts Castle, Quidditch and the Triwizard Tournament, the Order of the Phoenix and Dark Forces, and more.

 

Each volume has illustrations, design sketches, and behind-the-scenes photography, plus a look at the creative process that brought to the screen Harry and his friends with the help of costumes, makeup, and props.

Take a look at 26 pages from the first four volumes below, and a peak at the first eight covers:

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Review by C.J. Bunce

Thanks to Fathom Events and other film retrospectives over the years, movie audiences can revisit their first viewings of some of the best films ever made.  In that league comes The Muppet Movie, which just wrapped its 40th anniversary with two days of screenings.  Like the one-of-a-kind The Beach Boys and The Bee Gees, and the symbols of goodness everywhere: Mr. Rogers, Bob Ross, and Steve Irwin, The Muppets are a truly unique team, and Jim Henson and his $65 million box office hit The Muppet Movie reflects why they created the word “iconic” in the first place.  It says something when a retrospective anniversary screening can make the week’s Top 10 box office after 40 years.  The Muppets are as accessible and necessary as they’ve ever been.

Paul Williams’ musical score and powerful songs might be the high point of the movie, from “The Rainbow Connection,” to “Movin’ Right Along,” to Gonzo’s emotional “I’m Going to Go Back There Again.”  Or maybe it’s the magic, the forgetting we’re absorbed in characters played by actors that are a frog and a pig and a bear and a dog and whatever Gonzo is.  Or maybe it’s the behind the scenes magic.  Filming in the lagoon once used for Gilligan’s Island, Henson spent an entire day perfecting the scene with Kermit singing in a wetsuit under water, perched inside a metal tank, reaching upward to give Kermit his character.  You wouldn’t know any of it happened that way from the perfectly still water and multiple angles the song is filmed from.  Or that Kermit was operated my remote control for the Schwinn scene (but Kermit the Muppet really was riding that bicycle, no strings attached!).  Jim Henson can’t be overstated as sitting among the kings of creating the fantastical.

But even all of those great components can’t beat the storytelling.  Full of honesty and heart, Kermit’s path is a classic reluctant hero’s journey, equal to that of Dorothy in The Wizard of Oz, Luke in Star Wars, Frodo and Bilbo in Tolkien’s stories (Fozzie is a great Samwise), Harry in J.K. Rowling’s series.  Here our green felted friend assembles a group of new friends to help him succeed by story’s end.  The Muppets had already been known to us through The Muppet Show, yet this movie succeeded in getting audiences to meet them all over again.  The story is playful, too, allowing its own script to become a plot device with the characters.

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Victoriana meets steampunk and mythology in an upcoming series.  With production design that evokes The Golden Compass, Harry Potter, and the gloom of Charles Dickens, Amazon Studios’ new Carnival Row has all the elements of a good fantasy.  With two big stars, Cara Delevingne (Valerian and the City of a Thousand Planets) and Orlando Bloom (The Lord of the Rings), it looks to be the next series to keep an eye on.

At San Diego Comic-Con this week, Amazon Studios’ released two introductions to the series, presented by the two lead actors.  The best feature may be the beautiful accompanying music by Nathan Barr, composer of many a horror show.  And this has plenty of its own blood and gore.  A detective show, a mystery and a fantasy world with its own look despite familiar influences, Carnival Row will be a certain pick to binge-watch next month.

Check out these new previews from SDCC 2019 of Carnival Row:

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Captain Kirk, The Fonz, Chewbacca, The Flash, Starbuck, the Weasleys, two Supermans, Tank Girl, and a slate of characters from The Princess Bride are heading to Kansas City

For twenty years Planet Comicon has been one of the Midwest’s biggest comic book and pop culture conventions and that was no less so in 2014 when it became the largest attended event in the history of the Kansas City Convention Center.  And it’s only gotten bigger.  Last year’s show featured guests including Jason Momoa, John Cusack, Michael Rooker, Danny Trejo, and Alan Tudyk, and this year Planet Comicon Kansas City is bringing in some of the most memorable names from TV and movies from the past and present for its 20th anniversary show.  Leading things off, Captain (and Admiral) James T. Kirk, William Shatner is returning to Kansas City for the annual event, which takes place at Kansas City’s convention center at Bartle Hall, March 29-31, 2019.

The guy who invented cool, the first person to “jump the shark,” Arthur Fonzarelli “The Fonz” from Happy Days actor Henry Winkler is making his first comic-con appearance in Kansas City.  Star of last year’s big Star Wars event, Solo: A Star Wars Story, Chewbacca actor Joonas Suotamo is scheduled to attend.  Star of one of the best sci-fi TV series of all time–the reboot of Battlestar Galactica–Starbuck actor Katee Sackhoff will be appearing at the show.  Two co-stars of the CW’s The Flash will be on-hand for autographs and photographs: Danielle Panabaker and the original 1990 Flash, John Wesley Shipp, both attending the event for the first time.  And for more of your superhero retro fix, two Superman actors, Lois & Clark’s Dean Cain and Smallville star Tom Welling, will have autograph booths on the convention floor.

Famous for her role as Tank Girl, and star of A League of Their Own and Netflix’s Orange is the New Black, actor/director Lori Petty will be in the house.  Harry Potter fans can meet actors that portrayed three of their favorite Weasleys: Ginny Weasley’s Bonnie Wright, and brothers Fred and George, James Phelps and Oliver Phelps.  Also in the fantasy movie realm, three stars of The Princess Bride are making their way to Planet Comicon 2019:  Westley’s Cary Elwes will join Prince Humperdinck’s Chris Sarandon and the inconceivable Vizzini himself, actor Wallace Shawn.

–there’s something for every TV and movie fanboy and fangirl at this year’s show.

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As a grade schooler I’d often smuggle to school a copy of the current mini Legos or Star Wars toy catalog, providing something to distract me from the day with my favorite things.  Harry Potter fans have it better today.  Now Insight Editions has a new take-anywhere volume for anyone needing their Harry Potter fix anytime, The Art of Harry Potter–Mini Book of Graphic DesignAvailable at $11.99 or less, it’s an inexpensive source for the visual details of the movies you didn’t get to see on the big screen.  The images were there, only barely seen on book covers, wrappers, newspapers, signs, and all sorts of paper ephemera that were on the desks, in the backpacks, and on the shelves, those thousands of items that needed to be created by designers to make J.K. Rowling’s books come to life.

In a small package you get more than 50 pages of book cover art and about 20 pages each of potion art, magazines and newspapers, Hogwarts documents, Ministry of Magic documents, maps, heraldry, Quidditch signage, food labels, Beasleys’ joke shop product labels, wanted posters, and other signage, all in full color.  At 304 pages you might expect a giant book of images.  But you’ll be surprised at what can be minimized into a 2.5 x 3.5-inch hardcover pocket-sized book that’s slightly less than an inch thick.  Prior to smart phones readers might have balked at a book with images and type font so small.  Now readers regularly read the equivalent of font sizes of 5 or smaller without thinking about it.  So the adjustment for the eyes for this new line of books in this format isn’t that bad.

Here is an 18-page preview of The Art of Harry Potter — Mini Book of Graphic Design courtesy of Insight Editions:

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Review by C.J. Bunce

Today is our last day of reviews of the movie tie-in books for the new J.K. Rowling fantasy film Fantastic Beasts:  The Crimes of Grindelwald Rounding out the tie-in books is an exclusive behind the scenes account of the production composed of interviews with cast and crew, plus a new double-sized coloring book of the quality of adult coloring books but suitable for all ages.

In many ways Lights, Camera, Magic! The Making of Fantastic Beasts: The Crimes of Grindelwald is like the souvenir books you’d get to commemorate a special event or show years ago.  It has all the images from the film of the key characters, environments, and scenes.  And it features interviews with all principal cast members except Johnny Depp.  Elaborating on the motivations behind scenes, scope, and decisions made for the film are screenplay writer J.K. Rowling, director David Yates, producer David Heyman, graphic designers Miraphora Mina and Eduardo Lima, production designer Stuart Craig, art director Martin Foley, costume designer Colleen Atwood, hair and makeup artist Fae Hammond, set decorator Anna Pinnock, concept artist Dermot Power, prop designer Pierre Bohanna, and visual effects supervisors Tim Burke and Christian Manz.  The book also features a foreword by star Eddie Redmayne.  Readers will find more than one photo and section describing scenes that did not make the final cut of the film, too (did anyone have any idea Newt wrote a book that was made for a book-signing scene in the film?).

The Fantastic Beasts: The Crimes of Grindelwald Magical Adventure Coloring Book offers up several scenes from the film, as well as deleted scene images, to color.  The coloring book is in the realm of the more elaborately designed adult coloring books, such as Sherlock and Doctor Who coloring books.  quality artwork and photo-real images that look like the actors being portrayed, not just quick sketches.  You’ll find images of Newt, Dumbledore, Grindelwald, and more characters, plus several beasts inside.

Take a look at these excerpt pages from each book:

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By C.J. Bunce

Of all this year’s books we’ve read and reviewed at borg in 2018, more than 100 all told, we’re hard-pressed to find one that matches the beauty of design in The Archive of Magic – The Film Wizardry of Fantastic Beasts: The Crimes of Grindelwald, a new elaborately designed and detailed look at the film, the story, and the production of the new fantasy film from the mind of J.K. Rowling.  Not only is the photograph reproduction quality superb, every page incorporates the style of the film, created by the very designers who made the images for the film.  That’s MinaLima–the dynamic art duo of Miraphora Mina and Eduardo Lima–who also designed props for the Harry Potter movies as well as a new series of classic book reprints (reviewed here previously at borg).

Writer/editor Signe Bergstrom provides several textual elements that make The Archive of Magic stand out.  She presents the narrative of the story itself in a way that will help moviegoers understand the sequence of events in the densely packed film.  She also incorporates in-world elements, like examining new characters and story elements, and she steps out of the fantasy and interviews the film’s creative staff, writers, and actors, to provide an in-depth guide through the production.  Readers will find final as-filmed versions of costumes and set production, in contrast with The Art of Fantastic Beasts: The Crimes of Grindelwald, which consists primarily of pre-production concept artwork (see our review here yesterday).

The Archive of Magic takes the paper ephemera book tie-in concept that has exploded in the past three years to another level.  Included are several reproductions of paper props that were key to the story, not merely set dressing, but the book also includes tipped-in reproductions of set dressing, too, created by the artists who made the very props seen in the film–for any past Harry Potter universe film replica props like this would sell for at least $10-20 each.  It begins with a deluxe hardcover, magnetic wraparound cover with gold embossed Art Nouveau designs.  Included are Leta Lestrange’s note she finds in the Ministry Records Room, a 3D-lenticular photo identification card for Newt Scamander, a book mark incorporating Grindelwald’s logo on paper stock like that seen in the film, Credence Barebone’s dual-sided birth certificate, Queenie’s postcard from Tina, the Spellbound magazine that incorrectly reports on a Newt Scamander/Leta Lestrange engagement, Nicolas Flamel’s business card that Dumbledore gives to Newt, Butter Beer logo label stickers, six reproduced newspaper pages, and two folded, full-size circus posters.

Take a look at this book trailer produced by Harper Design, and sixteen interior pages from the book:
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Review by C.J. Bunce

For a film inside the giant, magical world of Harry Potter, Fantastic Beasts: The Crimes of Grindelwald seemed to come and go from theaters with little fanfare.  J.K. Rowling‘s newest world is a bleak one full of darkness, and without her trademark happier, lovable, wonderful bits to echo the Harry Potter universe that draws its fans to this new series.  The spin-off series may suffer from prequel-itis.  Does it indicate that, like George Lucas and his prequels, the bestselling living author might benefit from letting someone else step in to edit these screenplays into a more accessible story for her fans?  The original screenplay to Grindelwald clocks in at a whopping 304 pages, nearly three times the standard, and it may have been simply too difficult for the production to whittle it all down into a cohesive story.  Regardless of what you think of the finished film, it is difficult to deny the amazing level of work that went into the production design.  We’re featuring some great behind-the-scenes books that spotlight the artistry behind the film over the next few days, beginning today with The Art of Fantastic Beasts: The Crimes of Grindelwald, by concept artist Dermot Power, who also penned the predecessor book The Art of the Film: Fantastic Beasts and Where to Find Them.

The Art of Fantastic Beasts: The Crimes of Grindelwald showcases the work of fifty-five artists, with notations provided by each creator, including what they were commissioned to draw, what inspired the look, and where the piece belonged in the story.  Art Nouveau inspired much of the film, coupled with a very steampunk industrial look that did not appear in the Harry Potter films.  Highlights include blueprints for stage sets, concept art that influenced the various Paris scenes, the design for Grindelwald’s vial, circus images that didn’t make it into the film, and Newt’s half-flooded basement zoo.

Best of all, Power’s new book gets to the heart of what is missing on the big screen from both Fantastic Beasts films: more images of the elaborate, intricately stylized, fantastic animal creations.  Unlike many “art of” books, the author pulls out far more fully rendered drawings, paintings, sculptures, instruments, 3D set builds, character designs, and visual effects try-ons–concept artwork that didn’t make it into the final film.  He also provides clearer images of the creatures that did make it into the film but were lost in the shadows because of the dimly lit cinematography used in the film, like the ethereal half-animal, half-vegetable Kelpie.

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Review C.J. Bunce

We have a bundle of holiday gift ideas heading into December, and this next one will bring in the younger set.  It’s an ideal book for kids, especially kids just reading their first books in J.K. Rowling’s Harry Potter series.  And it’s even better if they’ve checked out at least the first films in the movie series.  It’s Insight Editions’ Harry Potter:  Imagining Hogwarts–A Beginner’s Guide to Moviemaking.  It’s a great introduction to the principles of moviemaking, targeted at young grade schoolers through pre-teens.  It also doubles as an activity book.

Imagining Hogwarts is the kind of book that my grade school librarian always kept on the shelves–the kind of book to get kids excited and interested in unique and exciting professions, to create aspirations that could last a lifetime.  The book is a full-color, 64-page hardcover that touches on the key aspects of making movies, all applied to the Harry Potter films.  So readers can expect explanations of directing, camera work, screenplay writing, casting, the visual rule of thirds, storyboards, location scouts, set decoration, props, modelmaking, costumes, miniatures, concept art and design, special effects, and the post-production process.

Readers are taken through these concepts with an eye toward their applications in the movies, to learn more about the making of the wands, building the Hogwarts castle miniature, distressing costumes to look worn, and the use of doubles, as incorporated into the films when “Mad-Eye” Moody caused the members of the Order of the Phoenix to look like Harry.  More advanced concepts include green and blue screens, transitions and dissolves, and wire effects.

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