TCM’s film reference library of books has looked at the best sci-fi and horror movies, dynamic actresses, Christmas movies, summer hits, noir and war movies, plus it’s highlighted more than 100 movies that are the best of the best–with another book that looks at the best of a century of movie directors. Tomorrow movie fans finally get the first exploration of the greatest stunt work from a century of film and the people behind it all inDanger on the Silver Screen: 50 Films Celebrating Cinema’s Greatest Stunts(available for pre-order now here at Amazon). From an icy peril in 1920’s Way Down East to a harrowing drive through Atlanta in 2017’s Baby Driver, readers will see how it’s done from contemporary accounts and new interviews. Continue reading →
As with the first three books in Abrams’ Cinemagic book series, The Moviemaking Magic of Marvel Studios’ Spider-Man blends filmmaking techniques with its key franchise star. Author Eleni Roussos combines a quickstart education in filmmaking, applied to Spider-Man’s MCU movies as the latest Spidey sequel, Spider-Man: No Way Home, is released internationally. If you love concept art, props and costumes, and all things Spider-Man, you won’t want to miss this.
So many books that go behind the scenes of films take a similar approach, skimming the surface with interviews of only top production heads, providing diehard fans of the property who have read all the fanzines little that is new. So when you get an immersive treatise like The Making of Alien, you must take a few weeks to digest every story, quote and anecdote found inside. Maybe it’s because so much of the inception of the other classics J.W. Rinzler has written about is the stuff of sci-fi movie legend, but Rinzler’s research this time around is completely enthralling. Writer Dan O’Bannon, writer and initial director Walter Hill, concept artist H.R. Giger, director and storyboard artist Ridley Scott, actors Sigourney Weaver, Yaphet Kotto, Veronica Cartwright, and Ian Holm–Rinzler’s chronology is framed by the entry of these people into the project and their key roles. The account of their intersected careers and efforts resulting in the 1979 sci-fi/horror classic provide a detailed understanding of studio productions in the 1970s. For fans of the film and the franchise, you couldn’t ask for more for this year’s 40th anniversary of Alien.
Rinzler, who has also created similar deep dives behind the scenes of Star Wars, The Empire Strikes Back, Return of the Jedi, the Indiana Jones films, and last year’s The Making of Planet of the Apes, has established the best format for giving sci-fi fans the ultimate immersive experience. In many ways The Making of Alien is an account of the necessary vetting process behind any major creative endeavor. The first draft of any story is never the best, and sometimes neither is the 100th draft. But the best books and the best movies get reviewed by other people, usually producers, editors, studios, departments, some with prestige and money backing them, sometimes over and over, with changes made to every chapter, with creators and ideas that are tried on for size, dismissed, re-introduced, and sometimes brought back again. By the end of many a film, the contributors are exhausted and disenchanted, some even devastated. Only sometimes this is alleviated by a resulting success. It was even more difficult working on a project like Alien–a mash-up of science fiction and horror pulled together in the 1970s, when drama was in, and science fiction meant either the cold drama of 2001: A Space Odyssey or the roller coaster spectacle of Star Wars. Behind the scenes there would be overlaps in creative types, like famed set “graffiti artist” Roger Christian and sound expert Ben Burtt. But ultimately Alien had to be something different to get noticed.
The stories of O’Bannon and Giger’s contributions and conflicts are the most intriguing of the bunch, and if you’ve read everything available on the film you’ll be surprised there is far more to their stories you haven’t read. The influence of John Carpenter was paramount to getting the idea of the film past the first step, particularly his films Dark Star and The Thing. Along the journey other creators would intersect with the project–people like Steven Spielberg, Alan Ladd, Jr., John Dykstra, Brian Johnson, Nick Allder, Ron Cobb, Jerry Goldsmith, and even Jean “Moebius” Giraud.
One of the benefits of behind-the-scenes and making of/art books for major studio movies is that anyone diving into the production process for the first time can usually learn plenty about the stages of filmmaking from pre-production to final product. Just pick a film you like and jump right in. Abbie Bernstein′s The Art of Godzilla: King of the Monsters is no exception, but it will be particularly fun for anyone who is a fan of concept art and mega-monsters. It’s also weighted toward pre-production and the pre-visualization process. Readers wouldn’t expect a film with giant creatures to be filmed with practical sets, but with a modern studio Godzilla movie filmed in the U.S., you automatically expect a predominantly CGI movie. The Art of Godzilla: King of the Monsters is filled with trial pieces from artists showcasing the process of turning the classic Japanese kaiju characters into something new and different.
Fans of Scott Chambliss will want to read what guided him to make the choices and decisions for the look of the film. Chambliss has his own style, and when watching the film my reaction was how many sets, and specifically the color and lighting choices, felt like Star Trek 2009, a film in which Chambliss also served as production designer. Chambliss discusses the visual tricks he used to make Godzilla, Mothra, Rodan, and King Ghidorra appear to have immense scale, but also appear real. Several effects companies worked on components of this film, each trying to make their creations the best of the pack without competing against each other–the goal being to create the best final product they could. Some artists worked on familiar software programs, combining photographs and 3D imaging of locations like San Francisco’s Union Square to combine with actors in Atlanta. Others made sculptures of each creature–in a variety of materials–and then those sculptures were scanned and manipulated into what the audience sees on screen by others, after even more creators contributed their colors, texture, lighting, and other touches.
The Art of Godzilla: King of the Monsters is a great companion book to Mark Cotta Vaz’sGodzilla: The Art of Destruction, the behind the scenes look at Gareth Edward’s 2014 Godzilla film that was the starting point for Godzilla: King of the Monsters, and Simon Ward’sThe Art of Kong: Skull Island. All of these massive monsters will come together soon in Godzilla vs. King, so it’s a good time to be a fan of kaiju. For fans of the new Legendary Pictures movie, it’s a good opportunity to understand the characters better from those who created them, and learn more from actors about their experiences on set, including Millie Bobby Brown, Vera Farmiga, Kyle Chandler, O’Shea Jackson, Jr., Elizabeth Ludlow, Thomas Middleditch, Anthony Ramos, and Bradley Whitford.
A new edition of a book about the popularity of Fawcett Comics‘ original Captain Marvel, the world’s mightiest mortal–the superhero renamed Shazam and featured in a new movie this month starring Zachary Levi–will be the perfect trip through time for fans who have enjoyed the character in his many stories going back to his debut in 1939. My personal favorite Captain Marvel stories can be found in the original Whiz Comics (all in the public domain and available to read online now here) and as drawn by Alex Ross in his landmark graphic novel with Mark Waid, Kingdom Come. For the first time in a softcover edition, Chip Kidd’s Shazam: The Golden Age of the World’s Mightiest Mortal has been reprinted by Abrams ComicArts just in time for the release of the film, Shazam!
For those not in-the-know, this is the Captain Marvel who now goes by Shazam (the word that causes him to bring forth his powers)–the one owned by DC Comics today, and not the one owned by Marvel Comics and also in theaters now in the movie Captain Marvel (reviewed here at borg). Shazam: The Golden Age of the World’s Mightiest Mortal is a historical work, and it doesn’t hesitate to use the name he’s always been known as by his fans. As told by writer Chip Kidd, the Captain Marvel fan club had 400,000 people in it in its best year in the 1940s, and Fawcett projected 40 million followers of the character in books and film. Captain Marvel books sold 1.3 million copies per month, not a common feat even today. Does anything approach that kind of fan club status today? At the height of the character it was more popular than Superman and Batman, and so of course the character had hundreds of tie-in products.
Readers will marvel over a reprint of the entire story from Captain Marvel Adventures, Issue #1–created by two then unknowns: Jack Kirby and Joe Simon, and reprints of several colorful covers from Whiz Comics, Captain Marvel, Captain Marvel, Jr., Mary Marvel Comics, WOW Comics, Master Comics, America’s Greatest Comics, Spy Smasher, and even Hoppy, the Marvel Bunny, plus pages of scans of original comic pages from ex-Fawcett staff.
The book uses photographs from a collection of some of the scarcest superhero collectibles known, including images of books, toys, and paper ephemera for Captain Marvel and the entire Marvel Family–superhero kids like Billy Batson–the boy who turns into Captain Marvel–and his friends who use the Shazam powers but remain as kids.
Let’s cut to the chase: Daniel Godfrey’s new novel The Synapse Sequence is not just the leading contender for the best science fiction novel of 2018, it’s the most absorbing, riveting, and thrilling science fiction novel I’ve read since I was first blown away by Michael Crichton’s Jurassic Park in 1990. Hyperbole? Maybe just a little, but when you are reading a new book and you’re taken aback by the twists, turns, and surprises as this book provides, it’s a bit like walking out of a big rock concert, wanting everyone else to witness what you just experienced. Godfrey is relatively new to the genre, with two solid sci-fi books behind him, New Pompeii (reviewed here) and Empire of Time (reviewed here). But this story is a completely different take on science fiction, and so deftly written, smartly paced, and completely believable in its speculative reach, Godfrey is worth comparison to some of the greats in the genre for it.
Anna Glover is an investigator with an unfortunately troubled and public past for her conclusions in investigating an airplane crash. She lives in the somewhat distant future–bots serve man, taking on so many functions that personal freedom is limited. As told from the alternating viewpoint of Glover in the present and looking back on her life, future London is very familiar and steeped in the world that technology is building right now with so much of life absorbed into the digital world. When we meet our protagonist she is attempting to lie low conducting trials for a company with an emerging technology, a “synapse sequencer,” which allows a person to be tapped into the mind of another, like a witness to a crime, to experience vivid, shared memories as an observer. She meets with her boss inside this world, where he lives out most of his life, a life better than he would experience in the real world. The process requires the help of a monitor, and hers sees that she gets in and out of submersion safely. But we learn there are risks for anyone who participates in this intermingling of brain activity. If you’ve seen the 1980s sci-fi classic Dreamscape, the modern classic Source Code, the television series Stitchers, or the shared visions of iZombie, you’ll find no suspension of disbelief issue with the wild ride that awaits you. The method for the journey isn’t as elaborate (or glitch-filled) as Connie Willis’s elaborate time travel tech, but Godfrey provides enough to submerge us into the stress and angst of Glover as she takes journey after journey to learn the who and why of a case involving a boy in a coma and a missing girl.
You can’t predict where Godfrey will take Glover from chapter to chapter in The Synapse Sequence. Godfrey has been likened to an emerging Crichton, but Crichton rarely could craft as satisfying an ending as found here. The story embraces that speculative futurism like many a Philip K. Dick story (Paycheck,Total Recall/We Can Remember It for You Wholesale, and Minority Report for starters), while weaving in a plausible future from the seeds of new tech today. He combines the audacious duplicity of Vincent and Jerome in Andrew Niccol’s Gattaca with the foreboding and despair of The Man’s story in Chris Marker’s Le Jetée and Cole’s in Terry Gilliam’s 12 Monkeys.
It’s hard to believe it’s been nearly two and a half years since we first met Krysten Ritter’s Jessica Jones in Marvel’s television universe. Although we saw her as just one of the many super-powered characters packed into Marvel’s The Defenders last year, despite all she’s been through not much has changed with the private investigator. That same angry, tough, bitter, and unhappy anti-hero is the same person we meet at the beginning and at the end of the second season of Marvel’s Jessica Jones, now appearing on Netflix. For fans of the fringe of the Marvel superhero world where little fun is to be had, Ritter’s gritty heroine stands alongside The Punisher (our favorite superhero series last year). Yet despite its heavy dramatic component, it’s very much a superhero show, providing a complete picture of the downside of possessing superhero powers created by chemicals in a lab–a key fact of life for so many Marvel creations, including The Hulk, Deadpool, Luke Cage, the Fantastic Four, the Winter Soldier, etc. For those viewers that thought Jessica Jones’s first season was the best TV had to offer, good luck comparing which is best after watching the second season.
But it’s not really Jessica who shines in Season 2 as much as the supporting characters, and the series doesn’t really reach its stride until Episode 7. The real standout for Season 2 is a new super-powered character created by the same mad scientists that created Jessica Jones, actor Janet McTeer’s new complex antagonist Alisa. Alisa is a driven, unstoppable human machine attached to a fantastic, layered core. Alisa is older and wiser and far more powerful than Jessica or anyone else we’ve seen from the Netflix Marvel realm. Two scenes with Alisa playing the piano really reveal what viewers are in for (and the cast of characters is up against). Unfortunately for Alisa and everyone that she touches, she’s been pushed to the extremes, resulting in a decisively volatile foe. As with Marvel’s Killmonger in this season’s big screen movie Black Panther, calling Alisa the villain of the show omits much about the character. A cold-blooded killer? Sure. But even the worst can still have hope for redemption, especially if what made them bad in the first place was never their fault. Or can it?
Right along with Alisa, Jessica’s step-sister Trish “Patsy” Walker–Jessica’s rather bland supporter and confidante in Season 1–really leaps into action in a breakaway performance that aims toward Linda Hamilton’s tough-as-nails heroine in Terminator 2: Judgment Day. Credit the acting range required of actor Rachael Taylor this time around and a stellar character arc created for her by the writing team of Melissa Rosenberg, Jack Kenny, Aïda Mashaka Croal, Gabe Fonseca, Lisa Randolph, Jamie King, Raelle Tucker, Hillie Hicks, Jr., Jenny Klein, and Jesse Harris. Viewers may want to strangle Trish by the halfway mark in the season, but just wait–she only gets in deeper as the series progresses.
When the Rat Pack (you know, Dean Martin, Frank Sinatra, Sammy Davis, Jr., Peter Lawford, and Joey Bishop) first made the heist comedy Ocean’s 11 about a group of WWII pals in Las Vegas, do you think they had any idea they were establishing a brand that would be continuing with a new film 58 years later? In the latest entry, Ocean’s 8, Warner Bros. has Frank’s daughter Nancy serenade us in the first trailer, which features a nicely cast crowd of actors. In case you haven’t been keeping count, this will be the fifth film featuring an Ocean family member leading a group on a major con. Sinatra was the original Danny Ocean, and in the reboot Ocean’s Eleven, Ocean’s Twelve, and Ocean’s Thirteen, George Clooney took over the role and led a cast including Brad Pitt, Matt Damon, and Julia Roberts.
Next year we’ll see Sandra Bullock lead the way as Debbie Ocean, fresh out of jail and enlisting a group of varying skill sets to steel valuable jewels at New York’s Metropolitan Museum of Art. Her co-stars include Cate Blanchett, Anne Hathaway, Helena Bonham Carter, Richard Armitage, Olivia Munn, Rihanna, Katie Holmes, Mindy Kaling, and Dakota Fanning.
Check out Warner Bros.’ first trailer for Ocean’s 8:
So long as you have a compelling story to tell, sometimes having all the right people on the big screen is enough of a reason to sit through a movie. But Agathie Christie’s Murder on the Orient Express is like watching a play by Shakespeare. You already know the story is excellent, and the challenge is how creatively the latest director will manipulate the strings and how deftly the actors will portray the characters.
The latest adaptation of Murder on the Orient Express has all the right components for a movie-lover’s two hours of bliss. How will Kenneth Branagh orchestrate his next opus? Like the magnificent Henry V or Much Ado About Nothing? We can hope. How will this room full of master thespians of the British and American schools play off each other? Aren’t you inkling to find out?
This latest trailer for the film (see the first here if you missed it) expands the reach of the first, giving us a good look at Johnny Depp, Michelle Pfeiffer, Daisy Ridley, and Branagh directing Branagh as Inspector Poirot. Other stars include Derek Jacobi, Judi Dench, Leslie Odom, Jr., Willem Dafoe, Penélope Cruz, Josh Gad, and Olivia Colman. And don’t forget, publicity for the film has indicated that the clues of the crime are everywhere, including in posters and the trailers for the film.
Here is the second trailer for Murder on the Orient Express:
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 dual role as Dillinger and the MCP, giving movies one 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).
