Another May the Fourth came and went this week and with the annual Disney-marketing Star Wars Day a new trailer and poster arrived featuring the return of Ewan McGregor in the forthcoming six-episode Disney+ mini-series Obi-Wan Kenobi. The first teaser-trailer for the series (discussed here at borg) revealed Lucasfilm’s decision to lean hard on the aftermath of Revenge of the Sith and the prequels style of storytelling instead of the look and feel of Alec Guinness’s character in the original trilogy. If you were a fan of the prequels and the animated Star Wars: The Clone Wars, this seems made for you, as the music and characters new to the live-action side of the franchise are firmly seated in that source material.
Check out this trailer for Disney’s Obi-Wan Kenobi:
After much speculation about this summer’s big Star Wars event–the return of Ewan McGregor in a painfully short six-episode mini-series for Disney+ titled simply Obi-Wan Kenobi–the first teaser-trailer for the series reveals Lucasfilm’s decision to lean hard on the aftermath of Revenge of the Sith. This is the still blonde, 50-year-old Kenobi shortly after the prequels as opposed to the wise old Jedi wizard portrayed by gray-haired Alec Guinness at age 63. If you were a fan of the prequels and the animated Star Wars Rebels, this seems made for you, as the music and characters new to the live-action side of the franchise are firmly seated in that source material. From John Williams’ score from The Phantom Menace to the Inquisitors from Star Wars Rebels, there’s a lot to wrap your head around, but it’s clear this is going to be a dark, bleak look at the franchise, complete with a villain that looks like he was plucked from Hellraiser.
We finally got to see Luke Hamill as Luke Skywalker in full Jedi mode in The Mandalorian and Darth Vader saber-waving in Rogue One, will we finally get to see Obi-Wan let loose on the Empire?
Check out this first look at Disney’s Obi-Wan Kenobi:
Remember the first time you watched Jurassic Park on the big screen? Steven Spielberg created something like we’d never seen before, taking Michael Crichton’s masterpiece science fiction novel and giving it the spectacle it deserved. A new book will take you back to that magic. In James Mottram’s Jurassic Park: The Ultimate Visual History, available now here at Amazon, fans of the original movie and the franchise finally get a behind-the-scenes chronicle worthy of the amusement park ride adventure, just as the latest movie, Jurassic World: Dominion, is being finalized for a summer 2022 release.
With the much anticipated ninth episode Star Wars: The Rise of Skywalker here at last, writer/director J.J. Abrams has succeeded again at managing a major film franchise challenge and making the best of it. With Star Trek in 2009, he took a waning property and shot new life into it, but came up short four years later when he tried again and delivered Star Trek Into Darkness, heavily milking the nostalgia of the fan base with its retread of Star Trek: The Wrath of Khan. In 2015 Abrams was handed the keys to the other big space franchise, where he revitalized a left-for-dead movie saga and delivered Star Wars: The Force Awakens, notable for the introduction of Daisy Ridley’s curious and mysterious desert scavenger Rey, arguably one of the most fleshed out characters in the entire franchise with this final installment. Fortunately Abrams’s return to Star Wars will likely net better results for its fanbase with a movie that rises to become the best in the final trilogy, or at least as good as his The Force Awakens. Is this still George Lucas’s Star Wars? No, but that just shows the power and unique status of the original trilogy–even Lucas couldn’t capture the magic again with his prequels. The Rise of Skywalker is the kind of movie that could be judged on its merits as a J.J. Abrams movie and separately as a Star Wars sequel. Whether you as a viewer like this installment or not will depend on your own expectations.
Abrams may be at his best, with his unique style, lens flares and all, when he gives fans what they want. Abram’s success this holiday season is a bit of a salvage effort, bringing Rey back as the focal hero/heroine of the story, incorporating some of the saga’s best “Jedi being Jedi” sequences, and tapping into the nostalgia for the 1977 original in bite-sized bits instead of leaning on it like he did so unapologetically with Star Trek Into Darkness. If only Abrams had made all three Star Wars films, this third chapter could have been much tighter, and the whole trilogy would likely be better received by most of the fanbase. As a viewer if you don’t (or can’t) just sit back and enjoy the cameo performances, throwbacks, and Easter eggs, you’ll get the feeling that using two directors instead of one over the three films is the crux of any problems in The Rise of Skywalker. Upon its release, the previous installment The Last Jedi felt like it belonged to an entirely different story than The Force Awakens. Plot threads created by Abrams were summarily abandoned. Key characters were eliminated without explanation. New plot threads came from out of nowhere. In short, the director-flipping was the big mistake from a storytelling perspective. Abrams has the extensive portfolio behind him to demonstrate he would have been the right choice to direct all three films. So this time Abrams had a greater task than ever before, because he was stuck making major course corrections, all to get this tale back on track, re-focused again on Rey. The necessary patchwork aside, The Rise of Skywalker will go down as one of Abrams’ best works.
Will Star Wars, or more specifically, the Skywalker saga with this three-part conclusion, endure the test of time? If audiences continue to believe in its value as entertainment, there is no reason why studios can’t keep going back to this material repeatedly–think Shakespeare’s plays, Doyle’s Sherlock Holmes, Shelley’s Frankenstein, Dickens’s Ebenezer Scrooge. Recall how even more recent stories like the Terminator, Predator, and Halloween (and Star Trek) film series have continued to make sequels and wholesale reboots, disregarding a film that doesn’t do as well and continuing like it was never made. There’s no reason that can’t happen someday with Star Wars. So those fans who still want to see the Expanded Universe on the big screen–the complexities and triumphs of both Timothy Zahn’s sequel trilogy and Dark Horse Comics’ many stories like Dark Empire that did so much more with heroes Luke and Leia–just wait. Someday the right new visionary will step in and make it happen, but fans will need to accept new actors as their heroes, just like we saw with the latest Star Trek trilogy.
It’s been another long year of great entertainment. It’s time for the seventh annual round of new honorees for the borg Hall of Fame. We have several honorees from 2019 films and television, plus you’ll find some from the past, and a peek at some from the future – 28 new borgs or updated variants in all, bringing the borg Hall of Fame total to 221.
You can always check out the updated borg Hall of Fame on our home page under “Know your borg.”
Some reminders about criteria. Borgs have technology integrated with biology. Wearing a technology-powered suit alone doesn’t qualify a new member. Tony Stark aka Iron Man was named an honoree because the Arc Reactor kept him alive, not because of his incredible tech armor. The new Spider-Man suit worn by Tom Holland is similar to Tony’s, but it’s not integrated with Peter Parker’s biology. Similarly Peni Parker, seen outside her high-tech SP//dr suit in Spider-Man: Into the Spider-Verse and Black Manta from Aquaman are merely wearing tech suits. We’d love a reason for a Mandalorian to make the cut, like Boba Fett, or Jango Fett, or the new Mandalorian from the series, since nobody has more intriguing armor. Maybe the second season coming next fall will give us something new to ponder.
Also, if the creators tell us the characters are merely robots, automatons, or androids, we take their word for it. Again, integration is key, but in the Hall, once a member, always a member.
Following up on The Toys That Made Us (previously reviewed here at borg), Netflix’s surprise hit documentary series leaning on viewers’ nostalgia with a look behind select high-profile toy lines of the past, this weekend the streaming provider added a new series based on the same formula. The Movies That Made Us takes a four episode-per-season look at what someone somewhere thinks are important movies in the national consciousness. The series arrives nicely timed, since season three of The Toys That Made Us already is showing signs the studio has run out of ideas.
Like The Toys That Made Us, the new series isn’t really about the subject of the series, instead taking viewers on a deep, dark dive into the business world of pop culture. Like the first series, The Movies That Made Us has some fascinating gold nuggets. It also has its problems. The biggest issue being the odd introductory selection of movies, and the second, the glaring omission of key players viewers want to see interviewed for the stories. As for the first issue, understandably the show is trying to appeal to a broad spectrum of viewers. But it seems highly unlikely any single person, whether a movie buff or casual moviegoer, would put the following four movies on their list of must-see films: Dirty Dancing, Home Alone, Ghostbusters, and Die Hard. As for the second problem, part of the issue is the series is too late to the table. So many of the key players behind and in front of the camera in these films have died, like Ghostbusters writer/actor Harold Ramis, Dirty Dancing director Emile Ardolino and co-stars Patrick Swayze and Jerry Orbach, Home Alone writer John Hughes, and Die Hard actors Alan Rickman and Alexander Godunov and writer Roderick Thorp. But people die and that shouldn’t hold up a good story, except that so many players that could have been interviewed who are living also didn’t participate. A documentary about Dirty Dancing without star Jennifer Grey? Die Hard without Bruce Willis? Ghostbusters without Bill Murray, Sigourney Weaver, or Rick Moranis? And the clincher… they couldn’t get Macauley Culkin, Joe Pesci, or Catherine O’Hara to say anything about Home Alone?
It really gets to the point of audience expectation. Movie buffs will enjoy this series’ first season even if they didn’t care for the films, simply because it’s always going to be interesting for them to watch the wheeling and dealing of the studio machine told from the people who were there. In that regard, the episodes about Dirty Dancing and Home Alone were entertaining by virtue of their tales of odd ideas that managed to emerge like the phoenix from dead deals to become major box office successes through a lot of luck and happenstance (told nicely in the episodes). And the same was true for The Toys That Made Us, although after nine episodes an hour of the retired talking heads of Toyland has lost its luster. To that end, the series should be called something more accurate, like The Making of the Movies That Made Us, etc. But even that would set the expectation that you’d see more than talking heads interspersed with fuzzy snapshots from productions of the past.
No one could have predicted when the original Star Wars won six of ten Academy Awards in 1978 that a newStar Wars film would be nominated 41 years later. At the end of 2019 all will be known–with Episode IX to be released in December the entirety of George Lucas’s nine-part Star Wars saga will be complete. Although the Skywalker family and its legacy is done, Disney and Lucasfilm will be sure that Star Wars is very far from over. But expect this year to be full of nostalgic products looking back over the course of the four decades since we first saw the words, “A long time ago in a galaxy far, far, away…” Two movie souvenir compilation books will take Star Wars fans across the film franchise. Solo: A Star Wars Story Ultimate Guide presents interviews and photographs behind and in front of the camera from Ron Howard’s film. And today Star Wars: The Saga Begins arrives in book stores, taking a rare look back at the Star Wars prequel trilogy. We have previews of both books for you to check out below.
In Star Wars: The Saga Begins readers will find articles collected from Star Wars Insider, the magazine that has provided fans with the latest fandom and news since 1994. In September 1997 with Issue #35, fans got their first glimpses at what would follow the original trilogy, as publisher and fan club president Dan Madsen provided updates in each issue with producer Rick McCallum. Unfolding until 2005 and beyond, Star Wars Insider provided first looks at new prequel ships, characters, and locations. Interviews explained what was happening behind the scenes of The Phantom Menace, Attack of the Clones, and Revenge of the Sith from the likes of director George Lucas, actors Liam Neeson, Ewan McGregor, Ian McDiarmid, Natalie Portman, Hayden Christensen, Temuera Morrison, Daniel Logan, Samuel L. Jackson, Anthony Daniels, and Brian Blessed, plus concept artists Ralph McQuarrie and Doug Chiang, composer John Williams, costume designer Trisha Biggar, sound designer Ben Burtt and many more. Star Wars: The Saga Begins is packed with concept artwork and prototypes of creatures and props, plus storyboards and costume designs. And it has hundreds of photographs.
A similarly designed look at Solo: A Star Wars Story can be found in Solo: A Star Wars Story Ultimate Guide. Readers will find Star Wars Insider interviews and profiles from director Ron Howard, writers Lawrence and Jonathan Kasdan, actors Alden Ehrenreich, Joonas Suotamo, Emilia Clarke, Donald Glover, Woody Harrelson, Phoebe Waller-Bridge, Paul Bettany, Jon Favreau, and Thandie Newton, plus composer John Powell, creature maker Neal Scanlan, and costume designers David Crossman and Glyn Dillon. The Ultimate Guide is full of good detail shots of the Millennium Falcon and sections featuring the newly designed Imperial armor and ships created for the film.
Here are previews from each book, courtesy of Titan:
Some of the very best genre favorites are heading back to the big screen in September and October, with many screenings celebrating some landmark anniversaries. All of the films are part of the Fathom Events series (see FathomEvents.com for local listings), bringing classic movies to theaters as a retrospective treat for fans and an opportunity to introduce a new generation to some of Hollywood and Japan’s significant achievements in film. So if you’re looking for your sci-fi/adventure/suspense fix, it’s on its way, along with one of the best fantasy films of all time, an animated movie milestone, and the film that defined cool in the 1960s.
First in theaters is Steven Spielberg’s adaptation of Michael Crichton’s sci-fi novel of archaeology meeting the future in Jurassic Park. Throw all the sequels out the window, this is the only entry in the franchise you need to see. One of film’s greatest moments was Spielberg’s first full-screen of a modern Earth populated with dinosaurs. John Williams provided one of his most memorable themes. And Samuel L. Jackson told us all to hold onto our butts as he shut down the park’s security system. It’s really been 25 years since we first saw a dinosaur in the rearview mirror. You’ll have too many reasons to see this one on the big screen again or for the first time, and no reason not to. It’s showing Sunday, September 16, Tuesday, September 18, and Wednesday, September 19 nationwide.
Then, as part of Studio Ghibli Fest 2018, the enchanting and beloved Hayao Miyazaki anime classic My Neighbor Totoro is back. Join Satsuki, Mei, Granny, everyone’s friend Totoro, and the fantastic Cat Bus for an imaginative fantasy adventure story. It’s been called delightful, strange, extraordinary, and magical. It’s all that and more. Audiences will have two options for watching Totoro, either the original Japanese version with English subtitles on Monday, October 1, or the American dubbed version featuring the young sister voice actors Dakota and Elle Fanning, Sunday, September 30, or Wednesday, October 3.
Before there was a Fast and the Furious series, before Baby Driver, before Clint was Dirty Harry, before Smokey met the Bandit, or before Max ever got mad, there was Steve McQueen in Bullitt. You may try but you’re unlikely to conjure up a film that defines cool more than McQueen does as a San Francisco cop trying to protect a witness in a major case. For 50 years the Oscar-winning car chase (from editor Frank B. Keller) has topped best action scene lists from film critics and everyone else. Robert Vaughn was hardly better than as the demanding Senator Chalmers. The music of the great Lalo Schifrin (Mission: Impossible, The Man from U.N.C.L.E., Mannix, Starsky and Hutch, Planet of the Apes) perfectly encapsulates the era, complete with a jazz flute interlude. There’s a reason Hollywood kept returning to Schifrin for action movie scores, like Kelly’s Heroes, Enter the Dragon, Brubaker, Charley Varrick, Cool Hand Luke, THX 1138, and the Dirty Harry and Rush Hour movies–the music is that memorable. We are lucky to have a dozen great Steve McQueen movies to re-visit, and this is one of the best. Plus you can only look to James Bond movies for an opening credits montage as compelling as you’ll find in Bullitt.
Now that you’re all recovering from your Star Wars Day activities and readying for Free Comic Book Day today, let’s look at the latest from Solo: A Star Wars Story. We seem to be transitioning from the high of the Avengers: Infinity War in April and heading toward the premier of Solo on May 25. And there seems to be no stopping the marketing folks at Lucasfilm. If you’ve been a fan of Star Wars since the beginning, you may find a new Lucasfilm video the greatest thing since blue milk. It’s the beginning of the scene where Lando and Han play cards, and Han offers up ships as the stakes. Is this the exact scene we’ll see in theaters, or one pretty close to it? It seems pretty likely, although don’t rule out last-minute edits as was done with Rogue One–the other awesome Star Wars Story–where much of the trailer footage ended up on the editing room floor. Check it out below, unless you want to wait to see it in the theater, but you’re not going to see it in this “virtual reality” 360 degree way in the theater.
Does this sneak peek hint at the future of the theatrical experience? We’ve seen the 360 degree clips before for other films, and some home video formats do allow the viewer to take control and move around during a film to some extent. How will that translate to the theaters years from now? Something like you’d find in a high-end theme park ride? Never before could moviegoers have such a detailed look at a film, in advance of release. Take a look at those aliens, like the two-headed fellow to Lando’s right, or the arthropoid with chelipeds to his left (that’s Therm Scissorpunch). These aliens are exquisite, instantly evoking the original Star Wars cantina where most of us first met Han and Chewbacca. We’re in for a great ride.
But there’s more: a new clip featuring the first scene with Chewbacca and Han flying together, backed by some of John Williams’ best music: sweeping, evocative cues from his “The Asteroid Field” music from The Empire Strikes Back. And another clip from director Ron Howard features some new looks at Chewbacca in front of and behind the camera. It just gets better and better.
In case you missed it yesterday, we have two highlights of this year’s Star Wars Day, both out of the UK. First up is the latest Abbey Road album cover homage. The Beatles albums have been parodied and honored in thousands of ways over the decades, but we love the above image of the original four cantina action figures from Kenner incorporated into the famous zebra crossing (if you know the source, let us know and we’ll credit it). And Heathrow airport went above and beyond for May the Fourth, with this fantastic flight schedule. Bravo! (But Alderaan? Too soon!).
Our new Lando, Donald Glover is hosting Saturday Night Live tonight. The show released a revised Solo poster for him. Take a look at it, plus a dozen new Solo posters and marketing image updates below (glasses, collectible tickets, buttons, and three trading card sets of 28 cards, too!), and the latest great clips, and don’t forget it’s Free Comic Book Day! Glover recently provided a tour of the Millennium Falcon (we’ve included that below, too):
It’s May the Fourth again, and this year we’re taking a look back to 1977, but not to the movie itself. Back then, before home video, you watched the movie and that was that. Someday if the movie was a classic it might end up on one of the three networks on a Sunday night at the movies special. Otherwise you relied on books like The Star Wars Storybook, which was released through Scholastic book orders in grade schools. Books like this featured key photographs from the film. The Star Wars Storybook sold so well it seems it will always be available if you want to track down a copy.
But it wasn’t the Storybook that kept the excitement of Star Wars in the minds of moviegoers after the film left theaters. The film actually stayed in the theaters from May 1977 and played in at least 60 theaters in the U.S. for more than a year. It returned nationally in 1978, 1979, 1981, and 1982. So if you weren’t around then, but hear about fans who saw the film ten or more times, know there were plenty of opportunities to catch it again and again. But they also had another way to revisit the film, only from home. And that’s where The Story of Star Wars LP comes in to play.
To this day when thousands of fans see the words “Along time ago, in a galaxy far, far away…” they hear in their mind those words spoken in a distinctive voice, and they hear the rest of that sentence as if that is the way it aired in theaters: “Along time ago, in a galaxy far, far away, a great adventure took place.” The words are from the opening line from Emmy Award-winning actor Roscoe Lee Browne, narrator of an LP album called The Story of Star Wars. The LP was a benchmark for movie fans, released along with the movie and in advance of all the action figures and playsets that would change how we think of tie-in products from 1978 forward, the record album was produced by George Lucas himself (along with record producer Alan Livingston). Incorporating the actual soundtrack, dialogue, sound effects, and John Williams’ score, plus several pages of photographs, it was an abridged version of Star Wars, but close enough to provide a near-theater experience when a visual version wasn’t yet in the cards. Browne filled in the blanks as narrator, and the result was a major success, reaching Gold Record status as it eclipsed the 500,000 sales mark. It was also released on cassette, 8-track, and 4-track reel-to-reel audio tape.
If you want a trip back to 1977, have a listen to The Story of Star Wars, long out-of-print, it’s available online from several locations on YouTube, including here:
