Rogue One: A Star Wars Story finally answers the question of what kind of movie you would get if Hollywood would only, finally, let a diehard fan direct a major franchise film. For all the great cast of actors and heroic characters in this unique tie-in film that falls outside the episodic trilogies, the real hero turns out to be director Gareth Edwards. Edwards does so many things right with Rogue One you’ll lose count, and the best of this is surprise after surprise of what is at the next turn. And if you watched all the trailers that seemed to reveal all too much, surprise again, you ain’t seen nothing yet. This is, without exception, the most fun movie in the franchise since The Empire Strikes Back, despite its equally dark tone, and it has all the action of the original Indiana Jones movie, Raiders of the Lost Ark.
With Star Wars: The Force Awakens, fans immediately jumped at the chance of finding its place in the list of the best and worst of the prior six films. Is Rogue One better than The Force Awakens? In many ways, yes. In other ways, such as the use of too many jumps between geographic road marker titles along the way and tightness of story plotting, Rogue One is probably a bit behind. What fans really want to do is compare Rogue One to the original Star Wars and The Empire Strikes Back. So how does it compare? It really is too soon to tell. The hype and excitement of any new blockbuster in a franchise you love makes you want to heap on the high praise. Is The Force Awakens as good as we thought a year ago? Fans will never agree. But the fact Rogue One is worthy of the comparison to Star Wars and The Empire Strikes Back should be praise enough.
The best thing about Rogue One is CGI and motion capture technology improvements. The best kept film secret in several years should be kept for all to experience, and later we can all chat about it once everyone has had a chance to see the film. Prepare to be impressed. Technology is finally catching up with Connie Willis’s future Hollywood novel Remake. Rogue One also has great writing–an issue that haunted the prequels. The dialogue is smarter than probably all the past episodes. The space battles aren’t superfluous like in Return of the Jedi and all of the prequels. Every step in the film is in furtherance of the goal–find the plans to destroy the Death Star. This is not a mere MacGuffin, this mission has gravity for everyone. Delivered like an epic World War II era film, Rogue One is the best war movie of the franchise.
Few individuals have stood apart from their peers in their professional endeavors as much as maestro John Williams. Last week the American Film Institute presented Williams with its life achievement award, the 44th awarded and first for a composer. It’s certainly about time. With five Academy Award wins and 50 nominations, Williams holds the record for the most Oscar nominations of any living person. Three of his scores, for Star Wars, Jaws, and E.T., the Extra-Terrestrial, are on AFI’s list of the top 25 scores of all time. This Wednesday night the AFI award event will be televised, and guests honoring Williams include George Lucas, Steven Spielberg–both who owe the most to Williams for their individual successes–as well as Mark Hamill, Harrison Ford, Morgan Freeman, Drew Barrymore, Tom Hanks, Itzhak Perlman, J.J. Abrams, Bryce Dallas Howard, Will Farrell, Steve Martin, Seth McFarlane, and Daisy Ridley.
You may not remember the first time you heard a familiar tune from Williams, but for those more than 40 years old it was no doubt the theme from television’s Lost in Space series, featuring an end credit to “Johnny” Williams. He also provided the piano music for the Academy Award winning, and AFI recognized comedy Some Like it Hot. For everyone since then you can define your generation by your earliest familiarity with his music, whether it’s the Main Title to Star Wars, the Jurassic Park theme, or the theme to Harry Potter and the Sorcerer’s Stone. Those whose introduction to Williams was Star Wars: The Force Awakens have plenty of great music to discover.
Williams is of a rare breed of American composer whose songs stick with you forever. He’s in an elite club with the likes of musicians Aaron Copland, John Philip Sousa, Leonard Bernstein, Irving Berlin, and George Gershwin. For more than 60 years Williams has set the bar for–and defined worldwide for moviegoers’ ears–our expectation for modern programmatic movie music.
Stepping aside from his success at major memorable themes, one of his greatest skills is his juxtaposition of opposites. Just listen in the Jaws soundtrack to the busy streets of Amity in the “Montage” and the cheery adventure theme from “The Great Shark Chase” among his well-known bass horror cues. Some of his most brilliant compositions are tucked away behind giant, epic scores, like “The Asteroid Field” from The Empire Strikes Back and “Escape from Venice” from Indiana Jones and the Last Crusade. And would modern audiences even know a march beyond nationalistic music if not for “The Superman March,” “The Raiders of the Lost Ark March,” “The March from 1941,” and “The Imperial March” from The Empire Strikes Back?
The Renaissance of movie and TV tie-in action figures arrived in 2013 with Funko’s classic Kenner-style ReAction figure line. Other companies focus on single licensed figures and getting the likenesses spot-on, but Funko’s diversification of lines meant everyone could find something that fit their personal niche at an affordable price point. A true throwback series, one of the overlooked features of the line is the incredible variety of no-names-taken, classic kick-ass heroines represented.
In fact you can find here the top of the world’s best, in-your-face, take-no-prisoners, genre heroines. Buy them for yourself, for your friends, or get your favorite as a totem to inspire you each day from your desktop. And where the early sculpts in Funko’s line admittedly looked nothing like the actresses that made the roles famous, the new lines have only improved. And nobody has better packaging designs than the ReAction line.
Who would you add to the Funko roster of heroines? Compare your list to our more than 85 suggestions for future kick-ass women action figures below.
First, check out this Baker’s Dozen of our favorites in the current Funko pantheon:
The tropes of Steven Spielberg run rampant in the new TV series The Whispers. Its pilot episode premiered Monday night on ABC and it teases enough of those things we love about Spielberg movies–it’s practically an homage to the producer of the series–to prompt us to return for more next week. Network science fiction as a whole tends to be full of more shock and awe than the sci-fi of cable TV (compare Lost and Heroes to shows that delved deeper into the human condition like Battlestar Galactica, Doctor Who, or The Dead Zone), so the story will need to do more than just tease what’s really going on for us to not get bored and simply move along.
To begin with, The Whispers has that “creepy little girl” thing going that we’ve discussed plenty here at borg.com. It’s hard to miss the throwbacks to the original Poltergeist (Spielberg wrote the screenplay). Only this time we have more than one little girl talking to something no one else can see. We don’t really know yet whether this is a purely sci-fi show or entirely horror–or a bit of both.
The show follows Claire Bennigan, played by Lily Rabe, a federal agent whose husband died three months prior to the events in the show’s first episode. He’s also the pilot missing from a jet presumed lost in the Arctic, a jet just discovered far away in the African desert. Will the relationship between Claire and her lost husband (Milo Ventimiglia) form the foundation of a relationship as in Spielberg’s supernatural romance Always?
An imaginary friend named Drill is speaking to little kids in a way only children can hear–and Drill’s voice always come from the lights (even we don’t hear this voice so we don’t know whether it’s real or not). But these lights are up to something, like the energy from the Lost Ark from Spielberg’s Raiders of the Lost Ark. It’s not just the idea that harkens back to Raiders–as the power of the light swishes about it can’t be long before it starts zapping those who stand by who fail top keep their eyes closed.
We can see E.T., the Extra-Terrestrial imagery, like the feds in hazard gear closing in on Elliott’s house. Here, government workers close in on a giant structure that has somehow reached up and grabbed a jet from far away. E.T.’s mom, played by Dee Wallace, even makes a brief appearance in the pilot for The Whispers.
After a solid pilot episode many television series fail to measure up to the initial promise, dwindling away after a few episodes. On last night’s fourth episode of Sleepy Hollow, “The Lesser Key of Solomon,” we learn this new series may deserve to be around for the long haul. From the first scene where we catch up with Tom Mison’s Ichabod Crane in a humorous exchange with an OnStar representative to Hessians interrogating a bartender for information on Lieutenant Mills’s sister who has escaped from a psychiatric ward, we knew we were in for a wild ride even before the titles rolled.
If you haven’t climbed aboard the bandwagon for Sleepy Hollow yet, we reviewed the pilot here at borg.com three weeks ago. At its core, the series is the unlikely mash-up of two works, Washington Irving’s The Legend of Sleepy Hollow and Rip Van Winkle, and the biblical Book of Revelations. Here Ichabod Crane takes the role of Irving’s Rip Van Winkle, and the Headless Horseman of The Legend of Sleepy Hollow turns out to be one of the Four Horsemen of the Apocalypse. The Horseman was beheaded by Ichabod Crane, who is, in turn, felled by the Horseman at the same skirmish, and on Crane’s deathbed his wife–a witch–casts a spell that causes Crane to reappear in the town of Sleepy Hollow in our time.
Much has been said about Raiders of the Lost Ark. It’s the best adventure movie of all time, maybe the best action movie, too. It was nominated for nine Academy Awards and won five. The American Film Institute lists it as one of the top 100 films of all time. The Library of Congress included it on the National Film Registry. John Williams created one of the best soundtracks ever for the film. And it showed what can happen when you put two creators like Steven Spielberg and George Lucas together. It is an action-adventure, a war movie, a romance, a suspense-thriller, a roller coaster ride, and few movies will keep you glued to your seat from the first scene to the last like this movie. Yes, much has been said about Raiders. Now today we can say it is finally available on Blu-Ray.
I have watched bits and pieces of E.T., the Extra-Terrestrial over the years and haven’t viewed it in its entirety since its VHS release. I was lucky enough to see it in its original release back in 1982. I seem to recall my sister got us some special tickets she won from a radio station for opening night, and when you entered the theater everyone received a sticker for E.T. and Reese’s Pieces, which, at that moment, no one had heard of before:
I’d been a life-long fan of the oily candy coated Wonka Oompas, and these smaller bits of peanut butter goodness became a candy staple that I have yet to be able to walk away from.
Over the year stories surfaced about the little licensing battle that occurred over the M&Ms featured in a key scene in the original story and Mars’ missed marketing opportunity that resulted in Elliott leaving the trail of Reese’s instead, which ultimately seemed to be all about money as these things always are. Suffice it to say, I am happy we live in a world where Reese’s Pieces and M&Ms can live in harmony. (Enough about food, back to the movie).
If all was right in the world we would all be flocking back to the theaters to see E.T. on the big screen in the “see it again for the first time” way. Of all of Spielberg’s brilliant films, E.T. is the one that stands up with Star Wars as far as story with a heart. Raiders of the Lost Ark is probably the most exciting film ever made, and I remember the movie ending on the screen of the big River Hills theater and realizing I hadn’t eaten or drank anything or taken a restroom break because I was glued to the screen for every minute of the movie. Jaws is the best blockbuster ever and defined the very term. Close Encounters of the Third Kind illustrates the very best that science fiction can be on film. But E.T.’s story didn’t require much by way of special effects then and doesn’t now, once you get beyond the non-CGI animatronic special effect of E.T. himself. The space ship at film’s end could have been made with a soup can and strobe light and it wouldn’t have mattered.
What did matter was this very realistic neighborhood, this very real family of kids, and a simple story about concern for someone in need of help.
And John Williams delivered a standout score, a score that, like Star Wars and Raiders and Jaws and Superman, can never be confused with modern, canned soundtrack pieces. Williams was at the top of his game when he write the rousing E.T. themes.
Years ago I bought a copy of E.T. on VHS for $1. With viewings on TV every now and then it’s hard to justify getting the Blu-Ray for me, simply because it isn’t effects heavy and I’m not sure I need another version. But Spielberg did something very right with the new release that shows he has learned from the errored ways of Mr. Lucas. If you managed to see bits of the 2002 re-release edition of E.T. you may recall Spielberg jumped on the bandwagon with Lucas and decided to CGI-ify his movie a bit (CGI-ify, a newly coined term meaning “terrorizing a film through editing”).
A few odd changes Spielberg made to the 2002 release:
Elliott’s mom says Elliott’s brother looks like a “hippie,” where the original used the word “terrorist”.
The feds with guns at the end of the film had their guns replaced with circa-1982 mobile phones.
Where Lucas has hidden away his initial, brilliant versions of the Star Wars films, Spielberg’s new edition of E.T. makes none of these changes, returning instead to a cleaner modification of the 1982 film we all loved. So soon you’ll be singing “Turn on your heart light” with Neil Diamond, and saying “Phone home” and “I’ll be right here” and “Home” and “Be good” in your best E.T. voice.
Here is a trailer for the Blu-Ray release:
The Blu-Ray has a lot of extra features, like
· The E.T. Journals: Including behind-the-scenes footage.
· Steven Spielberg & E.T.: New interview with Steven Spielberg on E.T.
· Deleted Scenes: Two scenes from 2002 version of the film.
· A Look Back: Making of E.T. featurette.
· The E.T. Reunion: The cast and filmmaker reunion featurette.
· The Evolution and Creation of E.T.
· The Music of E.T.: A Discussion with John Williams
· The 20th Anniversary Premiere: Behind the scenes look John Williams concert presentation.
I have a few Honorable Mentions that I am going to list first, rather than sticking them at the end like after-thoughts. Since I didn’t include them in my actual Top Ten list, the least I can do is put them first so they aren’t entirely skipped over. These made my initial rough list but, for one reason or another, just didn’t make the final cut: Heavy Metal, The Sword and the Sorcerer, Dragonslayer, Shrek, Time Bandits & The Wizard of Oz. (Note: Starting at number one, since #10 is the ‘top’ of my list)
#1 – The Golden Voyage of Sinbad
A favorite of my youth, and one of the Ray Harryhausen classics. Dynamation doesn’t hold a candle to the powers of today’s CGI engines, but in its day it ruled the cineplex, at least as far as fantasy went. Sinbad’s voyage across the seas to find the Fountain of Destiny was fun and exhilarating and awesome in its day.
Of course, this is more a sentimental favorite than a real ‘All-time Top Ten’ winner, but it works for me. And of course, there was Caroline Munro…
#2 – Willow
“The power to control the world is in which finger?” the High Aldwin asks the young apprentice hopefuls, holding out his hand.
“I was going to say my own,” Willow later admits, after first choosing poorly.
“That is the correct answer!” Billy Barty’s High Aldwin exclaims. “You lack faith in yourself.”
Willow is one of those movies that just makes me smile. It’s funny and different and has quirky characters, but the fantasy element is strong and Val Kilmer (Top Gun, Heat, Wonderland), Warwick Davis (Return of the Jedi, The Phantom Menace, the Harry Potter movies) and Joanne Whalley (Scandal, The Man Who Knew Too Little) are all great. Especially Kilmer. Davis’ Willow gives the movie its heart and soul; Kilmer’s Madmartigan gives it the proper excitement and humor.
What I like about Willow most is that it avoided all of the Conan rip-offs of the day. No muscle-bound hero, no comedic side-kicks, no supreme magical spell/artifact/being/weapon (unless you count Princess Elora herself). It was an honest tale in the tradition of J.R.R. Tolkien, about simple people trying to thwart evil.
#3 – The Frighteners
One of my favorite movies, The Frighteners is a little bit horror movie, little bit comedy, little bit fantasy, little bit love story, and a whole lot of cool rolled into one hundred-and-ten-minute roller coaster ride. Michael J. Fox (The Back to the Future movies, Family Ties, Spin City) is funny and believable as Frank Bannister, a self-proclaimed ‘psychic investigator’ who claims to be able to rid the living of the mischievous spirits of the dead, when in fact he’s a psychic con man who sends in the spirits to drum up business in the first place. Until he runs into the Grim Reaper, taking a deadly toll on the small coastal town Frank inhabits, at which point he begins to use his powers for good in an inhuman man-hunt.
Bannister’s ghost side-kicks are hilarious, the sight gags are funny, and the scary parts have the right amount of creep in them. The whole movie is fast-paced and fun, and while some bits of the storyline are fuzzy, it’s a blast right up until the end credits roll to the tune of ‘Don’t fear the reaper’.
#4 – Conan the Barbarian (1982)
This pick needs little explanation. I’m a life-long Conan fan; the Howard stories and novels, the Marvel comics, the movies, the ongoing novels by various authors, the Age of Conan MMO (though that was short-lived), and of course numerous toys and other stuff. And Conan the Barbarian is one of the pinnacles of barbarian culture there is. The original, that is, though the recent remake was a fairly decent movie. Arnold Schwarzenegger’s hero, James Earl Jones’ villain, Mako’s gritty narration, and Sandahl Bergman’s fiery Valeria come together in what might have otherwise been a terrible movie. Many still think it is, but I beg to differ. Conan came forth in the era in-between Claymation and CGI, after Clash of the Titans but before Jurassic Park, but the effects were good enough.
#5 – Shrek 2
Disney was the king of all things animated for seventy years, and lately Pixar has ruled that roost. But Dreamworks Animation absolutely nailed the animated fantasy adventure with the Shrek series, and the best one by far is the second installment. This is one of the few sequels that surpassed the first. The clever twist on fairytale standards begun in Shrek goes crazy in the sequel, with Prince Charming, the Fairy Godmother, the frog turned prince (and then king), and the fairytale land Far, Far Away all getting a well-deserved skewering as Shrek, Fiona, Donkey and the whole troop make a joyous wreck of everyone else’s plans and schemes.
The tongue-in-cheek references are just the icing on the cake; Shrek 2 is a movie I can watch again and again and never get tired of seeing Pinocchio getting jiggy wit’ it chanting “I’m a real boy! I’m a real boy! I’m a…” *poof* “Awwwww…”
Color me tickled pink.
#6 – The Princess Bride
What can be said about The Princess Bride that hasn’t already been said? Nothing, nothing at all. Why do people love this movie so much? You mean, you don’t? Inconceivable! Ok, lemme ‘splain. No, there is no time. Lemme sum up:
It’s not a kissing book, but there is some of that in there. And the hero is not left-handed, but he is the dread Pirate Roberts. Sort of. But give him a break, he’s been mostly dead all day. And the other hero’s name is Inigo Montoya; someone killed his father, and they better prepare to die. You still don’t know what the story is about? Inconceivable! It’s about true love, of course. And perfect breasts. And having fun storming the castle.
Wow. That makes me want to watch the movie again. What’s that? You still don’t know how that movie is on my Top Ten list?
Inconceivable!
I know, I keep using that word. I do not think it means what you think it means.
#7 – Monty Python and the Holy Grail
I won’t bombard you with movie quotes from this one, the most quotable of all movies ever made, whether by the Python troop or not. Holy Grail is, quite simply, the Holy Grail of all comedies.
What is your favorite movie? The Holy Grail! No, wait, The Lord of the… AHHHH!!!!!!!
#8 – Sleepy Hollow
Tim Burton is a great director (Batman (1989), Edward Scissorhands, Alice in Wonderland (2009)), and his ongoing collaboration with Johnny Depp (Donnie Brasco, Fear and Loathing in Las Vegas, the Pirates of the Caribbean movies) has given us some great fantasies over the years (did Edward Scissorhands really come out more than twenty years ago? Sheesh, I’m old…) To me, almost all of Burton’s work is great in its geeky, off-kilter, out-of-the-box way, but none shines like his take on Ichabod Crane. The plot elements from Washington Irving’s original story, the screenplay by Kevin Yagher and Andrew Kevin Walker, the atmosphere Burton creates, the innocent beauty portrayed by Christina Ricci, and the superb fish-out-of-water academic played by Depp, is a perfect storm of fantasy creativity.
The Headless Horseman is especially well-conceived, with Ray Park (The Phantom Menace, X-Men) performing the combat acrobatics and Christopher Walken (The Deer Hunter, The Dead Zone, True Romance) giving ‘the Hessian’ ghoulish life when his head is in place. The curse, the old tree, the vengeful witch, the sleepy town, the foggy woods, they all come together in the perfect blend of fantasy, horror and, thanks to Depp, humor amidst the gore.
#9 – Excalibur
John Boorman’s masterpiece tale of King Arthur and the Knights of the Round Table is my kind of fantasy movie. It’s dark, gritty and foreboding. It pulls no punches and doesn’t candy-coat. Arthur is the boy hero but he’s also fatally flawed, Merlin is the all-knowing but equally-flawed magician, and of course the relationship between Guinevere and Lancelot is passionate, compelling and tragic. Combat is harsh and cruel and down-in-the-mud filthy, and not many of my friends came away from that movie wanting to swing a sword for a living. Boorman’s hallmark was always his ability to set a mood, dark and deep, that grabs ahold of you and doesn’t let go. And Excalibur is all of that, and Boorman’s finest work.
“Good and evil,” Merlin says wisely. “There never is one without the other.” Indeed.
#10 – Raiders of the Lost Ark
Whose blood doesn’t start pumping faster at the rousing opening notes of the theme to Indiana Jones? Ok, I know what you’re thinking. You’re probably thinking “Wait a minute! This isn’t a fantasy film, at least not in the truest sense of the word.” But hang on, it does contain magic. At the very least it contained religious paranormalism, which is pretty darned close even if you don’t think of it as real ‘magic.’ But let’s not get into a debate about that, shall we? Inevitably, no minds would get changed and it would only spoil the mood.
Raiders was and still is one of the greatest classic adventure movies of all time (fantasy adventure movies, that is!). And besides, I could not allow myself to have a Top Ten Fantasy list without a Spielberg movie on it.
#11 – The Lord of the Rings Trilogy
Duh.
I assume that you wouldn’t be reading this article unless you were interested in fantasy movies yourself, so there should be no need to explain this at all. In fact, it almost goes without saying. As in I almost didn’t even list it, since almost any Fantasy Top Ten Movie list would in reality go up to an understood Eleven, and Eleven would be The Lord of the Rings.
But if you are aren’t a fantasy fan, reading this for some other reason (I have no idea what that might be), let me educate you as to why The Lord of the Rings is the most awesome fantasy ever. It’s the chicks. All those elven chicks running around in leather halter tops with bare midriffs, and the scenes where they make out with the heroes (that rules!). And all of the dragons, the ones rampaging across the skies and waylaying all those armies of trolls and skeletons, yeah, that’s what it was. And the big, strong hero guys in cool-looking armor on horseback with the huge magic swords cutting all of the bad guys’ heads off, those guys rule. Oh, and the awesome sorcerer combat scenes where the wizards are hurling fireballs and lightning bolts and vorpal bunny swarms at each other. These movies totally rock!
Of course, all those common tropes of hum-drum fantasy movies are not in LOTR, and that’s what makes it so awesome. Years ago, a friend of mine summed it up perfectly. “In most fantasy, the heroes are questing for all-powerful magic that’s central to their success and will make them famous. In The Lord of the Rings, the heroes are striving to destroy the great magic so they can return to their normal lives.” Fantastic.
Turn out the lights, this discussion is over.
(OK, not really, tomorrow… come back for ten more of our favorite fantasy movies).
A lot has been written about “comic book adaptations”—taking a comic book character and making it into a movie, as has now been done extensively in the theaters with Superman, Batman, the Avengers characters and X-Men, and to a lesser extent with Hellboy, Green Lantern, Fantastic Four, and on the small screen with Superman, Wonder Woman, the Flash, and several others. What hasn’t gotten as much attention is the art of successfully translating of a movie into comic book form.
For years, comic book publishers have teamed with movie studios to co-market a new film with a same-day or early release adaptation of the movie or to take advantage after the fact on the public’s desire to view the movie again later. The recent term is the movie “tie-in”. This has been done in fiction novelations as well, sometimes to positive effect and sometimes not. A striking example is an early attempt to create a novelization for Ridley Scott’s movie Blade Runner, itself based on a Philip K. Dick novel, Do Androids Dream of Electric Sheep? That didn’t fly for the original creator and the novel issued with the movie release was actually a re-issue of Dick’s original work. This lent some confusion to viewers of both the book and movie because of the many changes made for the film.
In comic books, studios and publishers have been cross marketing movies extensively back at least to the early 1950s, with the Dell Four Color comic books series, which included movie adaptations of John Ford’s The Searchers, Moby Dick with Gregory Peck, and dozens of others, to the Gold Key series of the 1960s, which delivered the popular Star Trek and other TV series adaptations in addition to movies, to Marvel Comics in the 1970s with adaptations of Planet of the Apes, 2001: A Space Odyssey,Close Encounters of the Third Kind, and Logan’s Run, and even into the 1980s with adaptations of films like The Last Starfighter. For some movies, rights issues prevent a movie from making it into comic book form. This is the case with the James Bond movies and Peter Jackson’s Lord of the Rings trilogy.
Getting a comic book adaptation right involves the same sensibilities as that required for a good novelization. Story must always remain the key focus, but with comics you get the added bonus of the visual re-presentation of the film. Often the writers get advance looks at what the filmmakers are doing, but sometimes they don’t get to see as much as would be helpful for rounding out the adapted work. In the 1977 Star Wars comic book adaptation, one page featured a first look at Jabba the Hutt, who we would later meet in the movie Return of the Jedi and find to be a giant slug. In the original Star Wars adaptation he is a yellow, whiskered biped, a humanoid–an example of preparation and timing not allowing for an accurate translation of what ends up on screen.
In 35 years I still have not seen a comic book adaptation that was as well done as Archie Goodwin and Al Williamson’s The Empire Strikes Back, published by Marvel Comics (cover at the top of this article). Where the Star Wars adaptation was a stylized sci-fi epic, Empire featured a stunningly drawn adaptation of characters, aliens and places, and even characters that looked like the actors playing the characters. The Empire adaptation was released in a giant over-sized book in the same way the Star Wars adaptation had been released. As a kid, I had repeatedly checked out the hard-bound library version of the Star Wars adaptation—to get that taste of the movie in the days when you had to wait years to see a movie re-released in the theater, long before video tapes. So when I got the Empire version in the same format for my birthday, it became a well-worn companion that stuck by me until Return of the Jedi premiered. Incredibly it is still available for sale on eBay and at Amazon.com.
Why did the Empire adaptation work? Preparation clearly played a key role, with the writers and artists having full access to the complete director’s version of the film, including scenes that eventually were cut from the film. An artist who stuck to the film and refrained from unwanted elaboration also helped. Clearly, compared to the Star Wars adaptation that had been quickly drawn, the Empire adaptation benefitted from on artist who had the time to include great detail. And just as Star Wars was issued in single issues over a period of four months, so was Empire, and the plotting and chapter divisions also reflected a film that was paced well, lending itself toward a good adaptation. What followed suit would be years of similar high-quality adaptations, including a superb three-issue Marvel Comics series adapting Raiders of the Lost Ark, and later, a four-issue adaptation of Return of the Jedi. From then on adaptations would stick closer to the films they were adapting.
A few recent comic book projects will be featured in the following days. These works are not adaptations as much as science fiction movie tie-ins, but they are also some of the most creative and interesting bridging between movies and comic books to ever hit the shelves.
, and if you’re a super-fan of E.T. check out this 
featuring its own mother ship model, complete with sound.
comic book adaptation, one page featured a first look at Jabba the Hutt, who we would later meet in the movie Return of the Jedi and find to be a giant slug. In the original Star Wars adaptation he is a yellow, whiskered biped, a humanoid–an example of preparation and timing not allowing for an accurate translation of what ends up on screen.
, published by Marvel Comics (cover at the top of this article). Where the Star Wars adaptation was a stylized sci-fi epic, Empire featured a stunningly drawn adaptation of characters, aliens and places, and even characters that looked like the actors playing the characters. The Empire adaptation was released in a giant over-sized book in the same way the Star Wars adaptation had been released. As a kid, I had repeatedly checked out the hard-bound library version of the Star Wars adaptation—to get that taste of the movie in the days when you had to wait years to see a movie re-released in the theater, long before video tapes. So when I got the Empire version in the same format for my birthday, it became a well-worn companion that stuck by me until Return of the Jedi premiered. Incredibly it is still available for sale on eBay and 
, and later, a four-issue adaptation of 
. From then on adaptations would stick closer to the films they were adapting.
