It was originally titled Blazing Samurai. Directors Rob Minkoff and Mark Koetsier are bringing Mel Brooks’ classic Western comedy into a goofy fun animated film featuring–that’s right–a samurai. Paws of Fury: The Legend of Hank (why not stick with Blazing Samurai?!?) is heading to theaters this summer, featuring a slate of voice actors including Samuel L. Jackson, George Takei, Ricky Gervais, Djimon Hounsou, Michelle Yeoh, Michael Cera, and Mel Brooks. A hard-on-his-luck hound named Hank (Cera) finds himself in a town full of cats who need a hero to defend them from a ruthless villain (Gervais) plotting to wipe their village off the map. Sounds like Seven Samurai and its remake The Magnificent Seven, right?
Check out the trailer for Paws of Fury: The Legend of Hank:
Usually the books from Turner Classic Movies highlight lists of select genre favorites by a single author, with selections that are always on-topic, but can often provoke readers to pull out their hair, since it’s very likely nobody’s personal list will match the author’s–or anyone else’s. We’ve seen great insights and and I’ve personally found numerous selections to track down from the likes of Must-See Sci-Fi, Dynamic Dames, Forbidden Hollywood,Christmas in the Movies, and most recently Fright Favorites. But now I am going to double back to the book, and the list, that started it all. It begins with the 2001 Saturday night series, TCM’s The Essentials. The book is TCM’s The Essentials: 52 Must-See Movies and Why They Matter, by film historian Jeremy Arnold, a very different look at classic films.
In his new novel Firefly: The Magnificent Nine, author James Lovegrove embarks on his next journey with the crew of Serenity following his highly successful launch point for the first ever novel series for the franchise, last year’s Firefly: Big Damn Hero (reviewed here at borg). It’s been thirteen years since we last saw a Firefly story like these two novels, which each contain the contents of about an entire movie. Along the way creator Joss Whedon has authorized some shorter tales via the comic books (discussed here). Firefly: Big Damn Hero was the Fireflyevent of last year, and this year we’ll have two novels competing for that honor, with Tim Lebbon′s contribution to the series of novels coming this fall in Firefly: Generations. So how did Lovegrove’s Firefly: The Magnificent Nine compare to his Firefly: Big Damn Hero?
As with Firefly: Big Damn Hero, Lovegrove writes the voices of the entire crew perfectly. This is another space Western, the core of the original series, and both books feel like natural progressions following the original 14 episodes (Firefly: The Magnificent Nine fits between the last episode and the 2005 film Serenity, allowing the inclusion of two fan-favorite characters–and they’re all fan-favorite characters–Hoban “Wash” Washburne and Shepherd Book). In a significant way the challenge of writing new Firefly stories is that writers only have 15 “canon” stories to build from, along with any notes from Whedon’s story development. The potential pitfall is mining the original episodes too much for throwback references. At 336 pages that’s not anything to worry about for Lovegrove. Yes, fans will appreciate the Easter Eggs throughout the tale: Jayne Cobb’s famous hat (“a giant piece of candy corn gone wrong”) does not get ignored here, and neither does his weapon of choice, Vera. But the framework of the story allows for plenty of opportunities for Lovegrove to do more with the characters. It’s hard to beat his ability to get inside the head of River in Firefly:Big Damn Hero–a difficult character who didn’t get enough time to get fleshed out in the series. But this time River takes a backseat and Jayne gets the spotlight. As a completely original storyFirefly: Big Damn Herowins, but not by a lot.
As the title should indicate, Firefly: The Magnificent Nineis an homage to the classic, epic Western The Magnificent Seven, its source Akira Kurosawa’s Seven Samurai, and countless adaptations since. It’s notable and important that this isn’t another actual adaptation or full retelling of the story, as Lovegrove takes his own tangent from the story after setting up the novel’s first act. But he peppers the story with familiar references, like using actors’ names and Kurosawa himself for new characters in his story. He also has plenty of Louis L’Amour tropes and references. One thing this novel makes clear is there are at least as many opportunities for new novels in the series as there are Kurosawa movies and L’Amour novels to pull good ideas from. So this isn’t merely another take on The Magnificent Seven so much as establishing that the nine heroes of the Serenity are worthy of that title.
An unusual new mash-up of historical drama and supernatural horror is coming your way this month. Set in medieval Korea, Netflix’s Kingdom will be the second Korean series for the streaming service. Netflix released two excellent trailers so far for the series’ first season, with the second trailer just arriving this week. Actor Ju Ji-hoon (Mask, Confession) plays the Crown Prince, a man set on a mission to discover the cause of a deadly plague spreading across the country. And an evocative classic Eastern costume drama becomes the next zombie series. It looks similar to the world of Pride and Prejudice and Zombies, taken from a different part of the world.
The elaborate production quality of the trailers was created at a price tag of nearly $2 million per episode, resulting in some compelling preview footage with an Akira Kurosawa-inspired, creepy and cool “Seven Samurai vs zombies” vibe. Eight episodes have been filmed for season one, and season two begins filming this month in South Korea. The series blends the vision of film director Seong-hun Kim (Tunnel) and television writer Eun-hee Kim (Signal). The series is based on Eun-Lee’s Land of the Gods, a 2014 webtoons/webcomic from Seoul’s YLAB Comics, which was drawn by Kyung-il Yang.
The series also stars Doona Bae(Jupiter Ascending, Cloud Atlas, Sense8), and Seung-Ryong Ryu (Psychokinesis, Masquerade).
Check out the teaser preview and two trailers for the Netflix original series, Kingdom:
When Lando Calrissian showed up on the doorstep of Han Solo and Leia with a toddler Ben in tow, Han knew the outcome couldn’t be anything good. In Daniel José Older‘s novel Star Wars: Last Shot–A Han and Lando Novel, it’s Lando that causes angst for Han, but it also gets him away from a home life where it’s just not happening for the former smuggler and decorated General of the Rebellion. Someone has set off some assassin droids and if your name was ever on the title for the Millennium Falcon, you’ve been marked. The mastermind behind the droids is a character inspired by H.G. Wells’ The Island of Doctor Moreau, a medical student plucked from his good life and plunged into a maddening existence where he begins to merge men with machines. For Fyzen Gor, droids are the more advanced form and he will stop at nothing until the galaxy knows it. Enter Han, Chewie, Lando, and Ugnaught, an Ewok tech guru or “slicer,” an attractive Twi-lek who Lando has his eyes on, and a young hotshot pilot, and you have a Seven Samurai/The Magnificent Seven story plucked from the pages of classic Marvel Comics.
But that’s the present, or at least the present time as it existed a few years after the events of Return of the Jedi, where only part of the story takes place. Both partners Han and Chewie, and Lando and companion droid L3-37 have each encountered Fyzen Gor and his enigmatic Phylanx device before–once before Lando loses the Falcon to Han during Solo: A Star Wars Story, and once afterward. Star Wars: Last Shot presents three parallel stories all culminating with the present search and confrontation with Gor to learn the secret of the device. L3-37’s theme of droid rights is a significant element in this tale, and further expands L3’s influence on the future beyond being merged with the Falcon’s computer. Despite several key cyborgs in the Star Wars galaxy (not the least of which being Luke and Darth Vader), this novel is Star Wars taking on cyborg themes not usually found in the franchise outside the early comics, themes you’d find wrestled with previously in other sci-fi properties.
The prequels live on. Adding to the surprise presence of Darth Maul in Solo: A Star Wars Story, writer Older resurrects many bits and pieces from the Star Wars prequels, including a Gungun who makes clear that Jar Jar Binks was not emblematic of the alien race. We also encounter many names, aliens, and places from past stories, like aliens reflecting the likes of Bossk, Hammerhead, Ewoks, Ugnaughts, and Cloud City from the original trilogy.
It’s almost more useful to critique the critics than the new movie The Magnificent Seven, released in theaters this weekend. You’ll find the whole lot so predictable. The Magnificent Seven is a reboot or a remake (call it what you want) and so the best that critics are willing to do is provide the phoned-in, knee-jerk dismissal of it being something less than the original and therefore not worth the time it takes them to write a thoughtful review. Or they will compare it to the best Westerns of all time, and tell you why it falls short. The better reviews will point out that it’s a remake of the 1960 classic Western starring Yul Brynner and Steve McQueen. The smarter ones will remind you that even that version was based on the original Japanese version, Akira Kurosawa’s Seven Samurai. Paycheck earned. Existence justified. But that’s all too easy.
Yes, the original 1960 John Sturges version is both a great Western and quite fun (it’s on my top ten list). The darker original Japanese film is more dramatic, brilliant in its simplicity, and not so much a rousing popcorn movie. Is the 2016 remake among the best Westerns of all time? Maybe not. But is it a good Western? Absolutely. Do we always want to see the best picture nominee when we go to the theater? I don’t. I want to have fun. And The Magnificent Seven is a blast. In fact, critics are looking at it wrong. It’s actually the year’s best superhero movie.
I understand the modern film critic’s dilemma, especially when Hollywood seems to have lost its imagination, churning out remake after remake. It’s the same old song: If you were a fan of–or better yet–love the original, you’re more likely than not to brush off the remake altogether, or at least not give it the attention it deserves. Those who never saw the original or those who can view a remake as its own incarnation–those who can tell themselves their feelings for the remake will not “ruin” their feelings about the original–probably enjoyed the Star Trek reboot from 2009, or Always, or Assault on Precinct 13, or The Flight of the Phoenix, The Fog, The Jackal, The Man from U.N.C.L.E., The Money Pit, Ocean’s Eleven, RoboCop, The Taking of Pelham 1 2 3, or Walking Tall. Each of these, viewed on their own merits is a great film. They may even be good remakes. Those who avoid The Magnificent Seven are missing out on a fun outing. And a good remake.
Today’s ensemble movie is mostly found in the superhero genre. Stack up The Magnificent Seven against The Avengers, The Avengers 2, or Captain America: Civil War, or any DC Comics superhero film of the past 20 years, and it leaves them all in its dust in its success in introducing a team, getting them to work together, and MacGyver the situation into some giant climactic battles. Each of the titular seven stars of the movie have their own extraordinary abilities, they just don’t wear capes. It’s an ensemble piece. A superhero team-up. So why don’t we have a casting Oscar? The three casting directors knew what they were doing–they created the teams for Suicide Squad, Batman v. Superman, No Country for Old Men, True Grit, Sin City, and Star Wars Episode VIII.
Sony has finally released the first trailer for the remake of The Magnificent Seven, which we first previewed here at borg.com last May. Based on a reworked script by Nic Pizzolatto (True Detective) and John Lee Hancock (Snow White And The Huntsman) from the classic John Sturges film starring Yul Brynner and Steve McQueen, the new version will be directed by Antoine Fuqua (The Equalizer, Shooter, King Arthur, Training Day).
The list of leading actors is promising: Denzel Washington (2 Guns, Unstoppable, The Manchurian Candidate, Training Day, Philadelphia, Much Ado About Nothing),Chris Pratt(Guardians of the Galaxy, Jurassic World, Moneyball, Everwood),Vincent D’Onofrio(Men in Black, Jurassic World, Daredevil),Byung-hun Lee(Terminator Genisys, G.I. Joe: Retaliation, G.I. Joe: The Rise of Cobra, RED 2),Matt Bomer(White Collar, Tru Calling, Chuck), and Ethan Hawke (Gattaca, Dead Poet’s Society, White Fang, Alive, Training Day, Assault on Precinct 13) should come together to form an interesting ensemble cast.
The 1960 cast was as gritty as they come: Brynner and McQueen were joined by Charles Bronson, James Coburn, and Robert Vaughn with Brad Dexter and Horst Buchholz.
If you think a remake of one of the greatest Westerns of all time is a bad idea, recall that The Magnificent Seven itself was a remake of Akira Kurasawa’s equally superb The Seven Samurai from 1954, starring Takashi Shimura and Toshirô Mifune. We’d also count Washington, Bomer, Hawke, Lee, and Pratt among our favorite actors in Hollywood, so this is promising. Other actors slated for the remake include Peter Sarsgaard, Luke Grimes, and Haley Bennett (who is a ringer for Bryce Dallas Howard in the previews).
Check out this first trailer for The Magnificent Seven:
With Quentin Tarentino’s The Hateful Eight due in theaters in November, we can only hope Westerns have another shot at making a comeback. Will a remake of one of the all-time, best-reviewed classic Westerns indicate other studios jumping on the bandwagon?
Actor Peter Sarsgaard(Green Lantern, Orphan, The Skeleton Key) is the latest addition to the cast of a remake of The Magnificent Seven being finalized for a 2017 release by MGM and Sony. Based on a reworked script by Nic Pizzolatto (True Detective) and John Lee Hancock (Snow White And The Huntsman) from the classic John Sturges film starring Yul Brynner and Steve McQueen, the new version will be directed by Antoine Fuqua (The Equalizer, Shooter, King Arthur, Training Day). The villain in the original 1960 story of an oppressed Mexican farming village seeking a small band of mercenaries for protection was played by Eli Wallach.
The only actor we think is missing from this remake is Dwayne “The Rock” Johnson, who we would cast as Brynner’s badass hero. Still, the list of leading actors revealed so far is promising: Denzel Washington (2 Guns, Unstoppable, The Manchurian Candidate, Training Day, Philadelphia, Much Ado About Nothing),Chris Pratt(Guardians of the Galaxy, Jurassic World, Moneyball, Everwood),Vincent D’Onofrio(Men in Black, Jurassic World, Daredevil),Byung-hun Lee(Terminator Genisys, G.I. Joe: Retaliation, G.I. Joe: The Rise of Cobra, RED 2),Matt Bomer(White Collar, Tru Calling, Chuck), and Ethan Hawke (Gattaca, Dead Poet’s Society, White Fang, Alive, Training Day, Assault on Precinct 13) should come together to form an interesting ensemble cast.
Byung-Hun Lee on horseback in I Saw the Devil.
The 1960 cast was as gritty as they come: Brynner and McQueen were joined by Charles Bronson, James Coburn, and Robert Vaughn with Brad Dexter and Horst Buchholz.
If you think a remake of one of the greatest Westerns of all time is a bad idea, recall that The Magnificent Seven itself was a remake of Akira Kurasawa’s equally superb The Seven Samurai from 1954, starring Takashi Shimura and Toshirô Mifune. We’d also count Washington, Bomer, Hawke, Lee, and Pratt among our favorite actors in Hollywood, so this will be worth a shot.
What you want to see in a giant ensemble movie is probably different than what you’d expect to see in any other movie. Above all, you’re probably after sheer entertainment—whatever that means to you—and you’d likely judge the movie using a different standard than what you’d expect to see in the next Academy Award nominee for Best Picture. These ensemble movies are plentiful enough today that they deserve their own sub-genre in the “Action” tab on streaming Netflix or Amazon Prime (what used to be the “Action” aisle in Blockbuster or Movies To Go).
We’re talking about those movies that crammed in every star that could be found, showcases where studios would show off their current talent, but always big in scope and always a box office draw. A comedy like It’s a Mad, Mad, Mad, Mad, Mad World!, disaster movies like Airport ’76, Earthquake, and The Towering Inferno, epic Western films like The Magnificent Seven and How the West Was Won, and biblical efforts like The Greatest Story Ever Told. Each offered some of the best stars of the day, sometimes full of current stars, sometimes full of has-been stars.
The Avengers franchise seems to have turned around the ensemble film with its many lead actors in leading roles, or at least reinvented the sub-genre, but they still don’t have the sheer volume as past ensemble cast films. The Avengers suffers like many past efforts—with so many actors, how can you please every movie watcher with so little time to devote to each actor? Ultimately it’s all about finding a good balance. None of these films ever get a nod for filmmaking perfection, and many would hardly even rate a 5 on a 10 star scale, but that doesn’t mean they don’t often result in good, old fashioned entertainment. Which brings us to The Expendables 3.
Remember the joke about Rambo, The Terminator, The Transporter, Zorro, Jack Ryan, and Mad Max walking into a bar? Probably not. It would probably not be that funny. But it would be fun to see. It’s that visual that is enough to make The Expendables 3 work.
This Wednesday Dynamite Comics will take on a reboot of the fierce and beautiful she-devil with a sword, Red Sonja. We’ve previewed Issue #1 and were happy with the result–full of swordplay and the mythic dialect you’d expect from the heroine originally found in the pages of Conan the Barbarian. The big news is that the new series is written by Gail Simone. Known for many comic book series, but particularly her gutsy Batgirl and Wonder Woman, Simone’s fans will find her Red Sonja a worthy new addition to the pantheon of strong women characters in comics. With some nice classic Conan-style artwork by Walter Geovani, Dynamite will no doubt have a winner with this new series.
Simone’s Red Sonja story has bits and pieces of archetype characters and settings. In Issue #1 keep an eye out for a new take on Akira Kurasawa’s classic save the village story. She also includes enough backstory to allow new readers easy accessibility to the character and her medieval high fantasy world.
