Tag Archive: Spider-man: Into the Spider-verse


Review by C.J. Bunce

It’s the latest in what has become a packed 12 months of studios releasing animated movies.  And it carries a common theme for a venue families once could prop their kids up in front of for easy content to enjoy.  The subject again is death and dying, and more to the point, what happens to you after you die,  It’s the Disney-Pixar movie Soul, a big-budget movie that at first blush is about a musician and his love for jazz.  Starring the voices of Academy Award-winning actor Jamie Foxx and the versatile Tina Fey, the animation is the best of merging digital animation with stunning real-world imagery.  The musician theme is great, and directors Pete Docter and Kent Powers do their best to juggle humor and humanity’s most age-old questions: Who am I? Why am I here?  And what’s next?  This Disney+ offers some impressive visuals and ideas, but it also might be more for the older tier of kids and audiences ready for the thoughtful themes.

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Review by C.J. Bunce

Over the Moon is Netflix’s latest achievement in animation, a Chinese-American production with Pearl Studio about a young girl named Fei Fei (meaning “to fly”) who decides to build a rocket to the moon.  The animation style is a mix of 1990s Disney, elaborate and surreal Fantasia-inspired sequences of color and texture, with doses of Japanese anime and kawaii characters while immersed in Chinese culture–and it’s a musical.   In a word the film is ambitious… in a good way.  At its best, visually the 3D CGI visual effects may recall the groundbreaking imagery of Spider-Man: Into the Spider-Verse.  The sweet and innocent girl’s story is built on the idea that a kid can actually build a ship to go into outer space (just as in the 1980s film Explorers).  But as with many animated movies, like Bambi and Dumbo, its focus is on the serious issue of overcoming grief, and in this case it’s moving on after the death of a parent, so the audience for the film may be a bit narrow.  To take Netflix viewers on a deeper journey, film critic and historian Leonard Maltin has written a behind the scenes look at the making of the film and its stunning artwork.  Below we have a preview of his Over the Moon: Illuminating the Journey for borg readers.

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Review by C.J. Bunce

Comic book readers knew him first when he was created in 2011 from the mind of Brian Michael Bendis in the pages of Marvel Comics, then in 2018 Miles Morales took the world by storm in the groundbreaking animated movie Spider-Man: Into the Spider-Verse, one of the best animated films that year.  A new novel for teens fleshes out the young superhero as he moves to a new neighborhood and experiences a new generation’s take on the teen angst once exhibited in the comics pages of newspapers everywhere by his mentor, Peter Parker.  Spider-Man Miles Morales: Wings of Fury is a prequel novel (not a comic book) to the new PlayStation game Spider-Man: Miles Morales from Insomniac Games and Sony, but it’s a story that can appeal to anyone beaten up and battered around by life and circumstance.

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altered-carbon-resleeved

Review by C.J. Bunce

Audiences have seen some great animated films in recent years, with movies upping the ante on technology and visual magic, whether in Ferdinand or Spider-Man: Into the Spider-verse or Spies in Disguise or Klaus.  Netflix’s new anime movie, a sequel to its live-action, futuristic, sci-fi hit Altered Carbon, takes animation and visual effects even further.  Altered Carbon: Resleeved is part Blade Runner 2049, part Marvel’s The Punisher (season two), and part Wu Assassins.  Live-action action sequences are rarely as thrilling as those choreographed in this film.

As with the live-action Altered Carbon, the inspiration from Syd Mead’s trademark futurism is all over this film, and that world looks just as stunning in anime form.  The storyboarding and layouts, the surprise screen angles, wipes, and character movements are like nothing you’ve seen before, and the details are at times life-like and three dimensional.  The story and execution is a vast improvement on the second season of the live-action show, which was a really good season of episodes to begin with.

Gena

Two years after the end of season two we catch up with Takeshi Kovacs, resleeved and working a job for Mr. Tanaseda, who has him pursuing a girl named Holly, a tattoo artist with cybernetic eyes and pawn of the yakuza, who carries some critical secrets.  Working for CTAC is Gena, a badass agent carrying secrets, who clashes with Kovacs early on.  It’s two days from an ascension ceremony–the anointing of a new mob boss–and in that time Kovacs must figure out why Mr. Tanaseda has set him on this job.  The anime film, available with English subtitles or dubbed, has a new hotel and a new concierge named Ogai (voiced in the dubbed version by Chris Conner, who plays the concierge, Poe, and hotel manager in the live-action series).  Ogai is a holographic Japanese man loyal to the new boss, but fond of Holly.  Fans of the series will find his hotel to have equally exciting defensive feature’s as Poe’s hotel, The Raven.

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Review by C.J. Bunce

Stickers as art?  Why not?  You’ve seen stickers for decades and used them for all kinds of purposes.  And they are all around you–on telephone poles, on city benches, on subways, on bus seats, on the walls of bathrooms in bars and pubs, even 2018’s Spider-Man: Into the Spider-Verse, as Miles sticks his artwork all over his Brooklyn neighborhood–places not quite intended for communicating via a form of art.  Are they art, or just stuck-up pieces of crap?  This is the question posed by DB Burkeman, skateboarder and punk rocker turned DJ who bounced between London and New York collecting these images over the past 40 years.  He tells the story of stickers as street art in a book that updates his first book on the subject from 2010.  The new collection is Stickers 2: More Stuck-Up Crap, From Punk Rock to Contemporary Art, coming in June from Rizzoli New York Publishing.  The out-of-print first volume, Stickers: Stuck-Up Piece of Crap, documented the subgenre as its own art scene, sought after by sticker enthusiasts, and the new volume reproduces more than 3,000 more sticker images.

Burkeman’s sticker art is contemporary art in the Banksy sense.  Often irreverent, sometimes humorous and even political, they are quick, cheap ways to convey messages and meaning between the artist and the pedestrian.  A fair analogy is our world of DIY culture where people can self-publish or do anything else because of technological advances–how can more artists become street artists any cheaper than making their own stickers and leaving them anywhere they can be seen?  Some artists even print their own stamps (also stickers) and send them to each other around the world.  The stickers Burkeman examines also include the nostalgic: Remember scratch-and-sniff stickers from the 1970s?  They’re still being produced, and a few are pictured in this volume (sorry, no scent).  From stickers on your fruits at the grocery store to billboards mocking corporate brands or politicians, and art pranks from artist-activists (and simple power socket stickers stuck on the walls at every other major airport these days), Burkeman connects it all together.

Stickers 2: More Stuck-Up Crap includes commentary from a variety of collectors, DJs, artists, and others influenced or inspired by the medium, from Nathalie Richter, 1988 German half-pipe champion (and vintage sticker collector), to BMX legend Mike Humphrey (he put ’em on bikes), to Mark Mothersbaugh from the band DEVO (and one of filmdom’s great composers), to famous mosaic street artist INVADER, to indie film director Aaron Rose, to graffiti writers and DJs who leave there mark behind in sticker form.  The “OBEY” signs from John Carpenter’s sci-fi classic film They Live–they have a particular influence on artists, who have reinterpreted the signage in several ways, many pictured in the book.

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Review by C.J. Bunce

Make no mistake, Billy Batson aka Fawcett Comics’ Captain Marvel (aka Shazam since 2012) has always been the most difficult to fold into the DC pantheon of superheroes.  With Batman, Superman, and Wonder Woman–the trinity at the top of DC Comics for so long–audiences always know much of what those characters are going to bring to a story even before they walk into the theater.  To be fair, Billy wasn’t a DC original, shuffled much later into the DC universe because of some decades-long legal tedium.  Billy Batson is a kid who suddenly becomes a superhero, so the trailers have been compared to Penny Marshall’s Big, another story about a kid suddenly dealing with being grown-up.  And that is, indeed, part of Shazam!  The movie is also part origin story, because although Shazam! adheres to Billy’s origin story going back to the 1940s (just as Captain America: The First Avenger adhered to its source material), much of the audience that saw the character in his heyday–when he was even more popular and well-known than Superman–aren’t around to make up the target moviegoing audience.  But Big and an origin story is just the beginning.

You know it when you watch a movie unfold and realize something great is happening.  DC Entertainment–the movie guys–finally paid attention to DC Comics–the actual writers and artists who built the character from the ground up–and at last delivered what this comic book reader has always wanted.  Shazam!, the story, Zachary Levi‘s superhero, and a new young actor named Jack Dylan Grazer as Billy’s friend Freddy–are fantastic.  The magic, wonder, and heart of DC Comics is finally back in the theaters.  It’s a gamechanger for the DC universe, because it finally steps away from Zack Snyder’s dark and brooding Justice League and returns it to the roots of DC Comics and DC At the Movies that we first got a taste of with Christopher Reeve’s first Superman and Michael Keaton’s first Batman.  So if the executives at DC are paying attention, and audiences agree once the film hits general release April 5, this could be an opportunity for a switch-up–an excuse to build a new Marvel-level superhero film universe around the new, amazingly fun and appealing superhero characters in this film.

At its core, the story by new screenwriter Henry Gayden updating a script by Darren Lemke (Shrek Forever After, Jack the Giant Slayer, Goosebumps) is about a foster family and the importance of family, so don’t think this is another frivolous superhero movie to be easily dismissed.  As with Spider-Man: Homecoming and Spider-Man: Into the Spider-Verse, it’s loaded with emotional beats, and it’s all heart.  What do kids care about, and what are they afraid of?  The film takes some time to look seriously at these things.  It’s not only laugh-out-loud funny in spots, expect some snorts, too.  But look for some emotional pangs along the way, on par with an oft-forgotten superhero movie that may have more heart than any other, the 1980 John Ritter sleeper (and one of my favorites) Hero At Large.  Which makes Shazam! also a movie for fans who count Spider-Man: Homecoming and The Incredibles among their most favorite superhero movies.

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With winter settling in and another cold snap crossing the U.S. and the film’s nomination for a Best Animated Film Academy Award, audiences are continuing to discover Spider-Man: Into the Spider-Verse in theaters (reviewed earlier here at borg).  Spider-Man: Into the Spider-Verse–The Official Movie Special is a new hardcover book going behind the scenes of the movie, and it has a different twist.  The book interviews all three of the film’s directors: Bob Persichetti, Peter Ramsey, and Rodney Rothman, who provide different perspectives on working with Phil Lord on the script, and share insight into the pre-production, voice actor recording, and visual effects.

Senior animation supervisor Josh Beveridge recounts the steps of the animation process used for the film, including inkline methodology to make the film look like a comic book, using a large team of animators.  Several pages are devoted to each of Miles Morales and his family, Peter B. Parker, Spider-Man Noir, Gwen Stacy, Peter Porker, and Peni Parker and SP//dr–how each was designed, how each was presented to distinguish their different comic book origins using variations in light, color, and dimension, and how each voice actor approached the performance.  The villains get coverage, too, including the Prowler, Kingpin, Tombstone, and a new Green Goblin and Doc Ock.

The best look at stills from the film released so far can be found in Spider-Man: Into the Spider-Verse–The Official Movie Special.  It also nicely references all the writers and artists that created the various Spider-Verse characters used in the film.  It features concept art and production art from production designer Justin K. Thompson, art director Dean Gordon, and creators Jesús Alonzo Iglesias, Seonna Hong, Patrick O’Keefe, Shiyoon Kim, Yashar Kassai, Naveen Selvanathan, Paul Lasaine, and Craig Kellman.  Voice actors Shameik Moore, Jake Johnson, and Hailee Steinfeld also provide contributions.

Take a look inside at a few pages from Spider-Man: Into the Spider-Verse–The Official Movie Special:

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Review by C.J. Bunce

Happy New Year!  Let’s start the year off with a look at a great new inside look at the holiday season’s biggest hit movie, Spider-Man: Into the Spider-VerseCompared to most “art of the movie” books reviewed here at borg, a new behind-the-scenes book offers up a very different, modern update to our understanding of creating concept art for the cinema.  The book is Spider-Man: Into the Spider-Verse — The Art of the Movie by Ramin Zahed, an account of the design development and visual production process for this latest Sony Pictures Animation/Marvel partnership.

Concept art, sketches, and storyboards take on a different flare when you’re in the digital animation tech of today.  But the images still reflect that powerful, colorful, and dynamic feel in their formation of a brand new superhero universe.  Readers will find hundreds of images of developmental artistry behind the film, plus read exclusive interviews with the creators, including a foreword prepared by Miles Morales co-creator Brian Michael Bendis.

As we found with George Lucas’s groundbreaking selection of screen captures or frames found in his multi-volume book Star Wars Frames (reviewed here at borg), studying the selected individual frames from the new Spider-Verse reveals a film on par with the composition of the future world of Ridley Scott’s original Blade Runner–a city that is realistic, yet futuristic and still obviously sourced in comic books.  It’s a gorgeous movie–and the action sweeps by so quickly that most will miss the artistry found in Miles’ graffiti, storyboard sequences, and the nooks and crannies of each set layout.  Set decoration takes on a new approach, as does prop design, art direction, and costuming, in Into the Spider-Verse.

You can also pick up a rare edition of the book, limited to 175 copies, complete with one of the prop comic books made for the film (pictured above) hand-inked by Marcelo Vignali and a signed tip-in sheet by Christopher Miller, Phil Lord, and artists from the film.  Check that out and the details at the Titan Books website here.  Take a look at this 12-page preview of Spider-Man: Into the Spider-Verse — The Art of the Movie, courtesy of Titan Books:

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borg Hall of Fame 2018

It’s been another long year of great entertainment.  Before we wrap our coverage of 2018, it’s time for the sixth annual round of new honorees for the borg Hall of Fame.  We have plenty of honorees from 2018 films and television, plus many from past years, and a peek at some from the future – 40 in all.  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 an inaugural honoree because the Arc Reactor kept him alive.  The new Spider-Man suit worn by Tom Holland is similar to Tony’s, but as far as we can tell 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 (and decades of comics before), seem to be merely wearing tech suits.  We’d love a reason for a Mandalorian to make the cut, like Boba Fett, or Jango Fett, since nobody has more intriguing armor.  Maybe Jon Favreau’s new television series will give us something new to ponder next year.

Also, if the creators tell us the characters are merely robots, automatons, or androids, we take their word for it.  Westworld continues to define its own characters as androids (like Star Trek: The Next Generation’s Lt. Commander Data throughout the TV series), and not cyborgs (going back to Michael Crichton’s original story), so we continue this year to hold off on their admittance unless something changes, like the incorporation of living biological (blood, cells, etc.) materials.  Are we closing in on admitting individuals solely based on a breathing apparatus that may allow them to breathe to in non-native atmospheres?  Only if integrated (surgically).  Darth Vader has more borg parts than his breathing filter.  We assume new honoree Saw Gerrera does as well.  With more biological enhancements we’d allow Tusken Raiders, Moloch, and Two Tubes from the Star Wars universe, and Mordock the Benzite from Star Trek, but wouldn’t that also mean anyone in a deep sea suit or space suit is a cyborg?  Again, integration is key.  Ready Player One has humans interacting with a cyber-world with virtual reality goggles and other equipment, but like the Programs (as opposed to the Users) in the movie Tron, this doesn’t qualify as borg either, but we’re making an exception this year for the in-world Aech, who is a cyborg orc character, and two Tron universe characters.

Already admitted in 2017 were advance honorees that didn’t actually make it to the screen until 2018.  This included Josh Brolin’s new take on Cable in Deadpool 2 and Simone Missick’s Misty Knight after her acquisition of a borg arm in Marvel’s Luke Cage.  New versions of Robotman and Cyborg are coming in 2019 in the Doom Patrol series, but they are already members of the revered Hall of Fame.  Above are the new looks for these two earlier honorees.

So who’s in for 2018?

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When we created last year’s preview of 2018 movies we were pretty sure we were going to have some great movies this year, but we were surprised by what ended up being the best.  All year we tried to keep up with what Hollywood had to offer and honed in on the genre content we thought was worth examining.  We went back and looked at it all and pulled together our picks for our annual Best Movies of 2018.

GenredomAs always, we’re after the best genre content of the year–with our top categories from the Best in Movies.  There are thousands of other places that cover plain vanilla dramas and the rest of the film world, but here we’re looking for movies we want to watch.  What do all of this year’s selections have in common?  In addition to those elements that define each part of genredom, each has a good story.  Special effects without a good story is not good entertainment, and we saw plenty of films this year that missed that crucial element.

Come back later this month for our TV and print media picks, and our annual borg Hall of Fame inductees.  Wait no further, here are our movie picks for 2018:

Best Film, Best Drama – Bohemian Rhapsody (20th Century Fox).  For the epic historical costume drama category, this biopic was something fresh and new, even among dozens of movies about bands that came before it.  Gary Busey played a great Buddy Holly and Val Kilmer a perfect Jim Morrison, and we can add Rami Malek and Gwilym Lee’s work as Freddie Mercury and Brian May to the same rare league.  But it wasn’t only the actors that made it work.  Incredible cinematography, costume and set recreations, and an inspiring story spoke to legions of moviegoers.  This wasn’t just another biopic, but an engaging drama about misfits that came out on top.  Honorable mention: Black Panther (Disney/Marvel).

Best Sci-fi Movie, Best Retro Fix, Best Easter EggsSolo: A Star Wars Story (Disney/Lucasfilm).  Put aside the noise surrounding the mid-year release of Solo before fans had recovered yet from The Last Jedi, and the resulting film was the best sequel (or prequel) in the franchise since the original trilogy (we rate it right after The Empire Strikes Back and Star Wars as #3 overall).  All the scenes with Han and Chewbacca were faithful to George Lucas’s original vision, and the new characters were as cool and exciting, and played by exceptional talent, as found in the originals, including sets that looked like they were created in the 1970s of the original trilogy.  The Easter Eggs scattered all over provided dozens of callbacks to earlier films.  This was an easy choice: no other science fiction film came close to the rip-roaring rollercoaster of this film, and special effects and space battles to match.   Honorable mention for Best Sci-Fi Movie: Orbiter 9 (Netflix).

Best Superhero Movie, Best Crossover, Best Re-Imagining on Film Avengers: Infinity War (Disney/Marvel).  For all its faults, and there were many, the culmination of ten years of careful planning and tens of thousands of creative inputs delivered something no fan of comics has ever seen before:  multiple, fleshed out superheroes played by A-list actors with intertwined stories with a plot that wasn’t all that convoluted.  Is it the best superhero move ever?  To many fans, yes.  But even if it isn’t the best, its scope was as great as any envisioned before it, and the movie was filled with more great sequences than can be found in several other superhero movies of the past few years combined.  But teaming up Thor with Rocket?  And Spider-Man with Doctor Strange and Iron Man?  That beat all the prior Avengers team-ups that came before (and anything offered up from the other studios).  It’s easy to brush off any given film with so many superhero movies arriving these days, but this one was the biggest, grandest, and greatest made yet and deserves all the recognition.  Honorable mention: Spider-Man: Into the Spider-Verse (Sony Pictures Animation), Black Panther (Disney/Marvel).

Best Fantasy Movie, Best Comedy MovieJumanji: Welcome to the Jungle (Columbia Pictures).  No movie provided more laugh-out-loud moments this year than last winter’s surprise hit, a sequel that didn’t need to be a sequel, and a video game tie-in for a fake video game.  A funny script and four super leads made this an easy pick in the humor category, but the Raiders of the Lost Ark-inspired adventure ride made for a great fantasy film, too.  Honorable mention for Best Fantasy Movie: Black Panther (Disney/Marvel), Ready Player One (Warner Bros./Amblin).

Best Movie Borg, Best Borg Film – Josh Brolin’s Cable, Deadpool 2 (20th Century Fox).  Brolin’s take on Cable ended up as one of those great borgs on par with the Terminator from the standpoint of “coolness” factor.  But the trick that he wasn’t really the villain of the movie made him that much more compelling in the film’s final moments.  Ryan Reynolds was back and equal to his last Deadpool film, and his Magnificent Seven/Samurai Seven round-up of a team was great fun.  If not for all that unwinding of what happened in the movie in the coda, this might have made the top superhero movie spot.  But Deadpool 2 was a good reminder there is something other than Disney’s MCU to make good superhero flicks.

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