Just because San Diego Comic-Con 2020 was cancelled this year due to the COVID-19 pandemic doesn’t mean some of the convention exclusives won’t still be available, for those who know where to look. One of the best ideas we’ve seen from exclusives previewed so far is from Diamond Select and Entertainment Earth, and it hails from one of our favorite retro fixes: the groundbreaking 1982 sci-fi classic Tron. What says 1982 and Tron more than a VHS clamshell? Wait, it’s not just a clamshell…
Review by C.J. Bunce
In brief, it’s the best adventure, fantasy, and comedy in theaters in 2019 and a great way to begin your new year. Jumanji: The Next Level is still packing-in theaters a little more than two weeks into its run–an alternative to the other holiday releases and guaranteed to leave you smiling at the end. The four stars didn’t miss a beat in their return, swapping roles and adding new laughs, and the new characters inside and outside the game are perfectly matched to tell a new tale. Two films down and Jumanji: The Next Level is now the new major adventure fantasy franchise, up there with Tarzan, The Jungle Book, Conan the Barbarian, John Carter of Mars, Pirates of the Caribbean, The Mummy, and Indiana Jones. Put this sequel at the top of the best of those franchises.
The studio didn’t hold back on new action sequences–inside the movie again Jumanji is the same video game of curious origin. The new levels introduced this time increase the stakes in bigger and better ways. A bridge-crossing scene with swarming apes and a geometric, Mario Brothers/Donkey Kong-like element is now going to be the adventure film standard to try to beat. Sure, there are throwbacks to jungle adventures of the past, but it’s not derivative, all presented in fresh ways. As another tour inside a video game (like Tron and Ready Player One), you’ll have the added fun of spotting video game influences (like Pitfall and Q-Bert), including a new, more difficult gauntlet.
The movie does double duty as an epic quest and rollicking comedy. Comedians turned comedic actors Jack Black as Dr. Shelly Oberon and Kevin Hart as Mouse Finbar again are comedy gold. Even the small bits are a scream–Hart riding and getting off a camel is a lesson in physical comedy. They make the movie loads of fun, but straight man roles performed by Dwayne Johnson and Karen Gillan as in-game characters Dr. Smolder Bravestone and Ruby Roundhouse share the credit for the laughs, too. If you’ve seen Jumanji: Welcome to the Jungle, you’d expect big comedy from the sequel. And that’s where the writing genius comes into play, thanks to a script by writer/director Jake Kasdan and writers Jeff Pinkner, and Scott Rosenberg. How do you bring back the hour movie stars, the four young actors who played the original players (Madison Iseman, Morgan Turner, Alex Wolff, and Ser’Darius Blain), the rescued Alex played by Colin Hanks, and in-game characters played by Nick Jonas, and Rhys Darby without re-hashing the first movie? You’ll have to see it to find out. Just be prepared for some great twists and surprises.
Review by C.J. Bunce
The biggest action film of the summer is easily the most enjoyable film of the year. That’s Fast & Furious Presents: Hobbs & Shaw, a movie that gets so many genre formulas right it just can’t miss. Certainly one of the better entries in the Fast & Furious franchise, it knows what works and uses it. That’s a sure-bet cast of Dwayne Johnson and Jason Statham, Mission: Impossible–Fallout’s Vanessa Kirby, Idris Elba in the ultimate badass role as a James Bond spy gone bad with Superman powers, lots of futuristic cyborg tech, and an understanding of why audiences come to the movie theater in the first place. Hobbs & Shaw is a movie for people who like movies.
The trailers gave audiences a glimpse at what to expect, and they delivered on all promises: laugh-out-loud funny dialogue, nonstop action, road races and camera angles that the franchise is known for, and lots of surprises and callbacks, and a script that doesn’t take itself seriously. There’s something for everyone here. If you’re after only the fast cars, action, and speed of the franchise, this entry measures up. And that family drama that the regular franchise leads Diesel, Paul Walker, and Jordana Brewster built the franchise on is here, too. This time that includes digging into the past between Statham’s Deckard Shaw and sister Hattie, played by Kirby, and Helen Mirren back again as their mother (Luke Evans’ brother Owen from the last film may or may not be mentioned this time), and Johnson’s Luke Hobbs is pals with his young daughter at home and returns to the family he left behind years ago in the Samoan Islands.
But stuntman-turned-director David Leitch (Atomic Blonde, Deadpool 2, John Wick) and script writers Chris Morgan (writer of five prior Fast & Furious films) and Drew Pearce (Hotel Artemis, Mission Impossible: Rogue Nation) know why audiences are really buying tickets, and you just need to drift over their previous film credits to see why they were tapped for Hobbs & Shaw. Hattie is a badass equal to Charlize Theron’s Atomic Blonde (Theron also co-starred in the most recent sequel), any of the four lead characters could give Leitch’s John Wick a run for his money, and moviegoers will hardly remember last year’s much-lauded Mission Impossible: Fallout’s action scenes after they see this. (A few casting spoilers follow).
Review by C.J. Bunce
A behind the scenes book for a 2019 movie, which consists of a third or more of its images from 2005? As fascinating as the special effects developed for the film, the history of the movie merits its own book, and it gets it in Abbie Bernstein‘s Alita: Battle Angel–The Art and Making of the Movie, now out from Titan Books. It turns out executive producer James Cameron and artists were working on the pre-production of Alita: Battle Angel during the development of his film Avatar. According to interviews with Cameron and Alita director Robert Rodriguez, in the early 2000s the technology was not yet advanced to deliver what they wanted for their adaptation of Yukito Kishiro’s manga novel. But now that it’s arrived, fans of the film can trace its development over the past 15 years.
Alita: Battle Angel–The Art and Making of the Movie is filled with concept art, split between 2005 digital ideas in advance of knowing what actors might be cast and final characters developed, and a renewed look at the project as it began to get fully underway only a few years ago. Key interviews with Rodriguez, Cameron, producer Jon Landau, production designers Caylah Eddleblute and Steve Joyner, art director Todd Holland, visual effects supervisors Richard Hollander and Eric Saindon, costume designer Nina Proctor, Weta Digital’s Joe Letteri, and others tell the story–a marriage of practical effects and CGI. In fact the commenters almost seem to have a battle between those responsible between the practical effects and CGI–all with an eye toward realism. The most interesting aspects of the discussion are the incorporation of Alita star Rosa Salazar’s motion capture (or per Rodriguez, “performance capture” since motion doesn’t include the “emotion” element required to make a story come together) with Proctor’s real-world costumes, and the CGI layering that ends up as the final image that made it to the screen.
No doubt a highlight of the film and of the book are detailed images of Alita’s cyborg body shell, as created by the character of Dr. Ido in the film. In real life it looks incredibly porcelain, but the artists discuss how the body and all the components of the film were actually fabricated. The commenters don’t reference their inspirations for the look of the Iron City in the film or its cyborg inhabitants, but fans of the genre will no doubt see the influences–from the borg designs to story elements–from films including Chappie, Elysium, District 9, Ex Machina, Ghost in the Shell, Mad Max: Fury Road, Cameron’s The Terminator, and even the light cycles of Tron. Readers will learn more about the science behind the cyborgs in the film–how Cameron and others estimated weights of body parts, including Alita’s removable metal heart, as an example–all needed for 3D and CGI work and viewer believability.
Take a look inside Alita: Battle Angel–The Art and Making of the Movie courtesy of the publisher:
Anyone who grew up with the original Star Wars trilogy also grew up with the Kenner line of action figures and other toys. Eagerly awaiting kids learned about each new figure and each new ship and playset via commercials during Saturday morning cartoons. They also learned about them in the Sears and JC Penney Christmas catalogs and mini-catalogs that accompanied certain ships, games and playsets–making checklists from the catalog for Santa was a key component of being a kid. Over the next two days an auction house in Valencia, California is selling off a Star Wars fan’s ultimate dream collection. At its Vintage Toys and Collectibles Live Auction, auction house Prop Store is auctioning off a spectacular collection of the Star Wars toys most kids from the era are familiar with, plus many of the rarer toys and prototypes that were known for decades to exist only through rumor and occasional obscure references. Among the collection is a high-quality collection of nearly 100 pieces from Lucasfilm executive Howard Kazanjian.
Long before the latest Star Wars trilogy, Luke Skywalker actor Mark Hamill mentioned in interviews that certain Lucasfilm professionals received the line of new tie-in toy products as they were rolled out. He mentioned that his kids enjoyed most of them, and he’s joked about wishing he’d saved some in the original boxes because of the sale prices some achieve today. Kazanjian was also on that distribution list, and he maintained the toys he received in the mail for 40 years, some boxes were never opened and remain in near mint condition. Prop Store’s auction catalog is incredible, a full color book of photographs and descriptive information almost as exciting as the auction itself–an extraordinary trip back through time even if you’re not able to drop $5,000–minimum–on a rare vinyl-caped Jawa or Yak Face variant action figure.
Bop bags, a Luke headset radio, Give-a-Show projectors, all the ships and action figures you remember, and trading cards are just the beginning, The auction is featuring the rare Cloud City cardboard playset kids first saw in the Sears catalog–the only early playset that included four action figures (currently bidding at $400). There’s the radio-controlled Sandcrawler (currently at $2,500), rare plush toys each starting at bids in the thousands of dollars, and all but the rare IG-88 figure in the large-sized version that was created for the key characters to match up with G.I. Joe and The Six Million Dollar Man.
But the 3.75-inch action figures make up the bulk of the toys hitting the auction block today. The rare vinyl-caped Jawa even before the auction starts is already bid up to $6,000 (all bidders must pay the strike price plus more than 20% of the price for now-standard auction house fees). An original R2-D2 is at $4,000, and if you want one of the rare “Power of the Force” Yak Face figures, it’s going to cost you more than $8,000. At the end of the initial run of The Empire Strikes Back, I remember an entire wall of Yoda figures at my Target store being sold on clearance at fifty cents apiece. That action figure type in this auction has already been bid up to $1,000. In hindsight the figures on that clearance display were worth a small fortune.
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?
Review by C.J. Bunce
After its second week in theaters, Ready Player One is still chalking up sold-out screenings nationwide. Whether or not you’re a video game fan, and whether or not you read Ernest Cline’s novel the film is based on, it’s a fun way to spend 2.5 hours. Although his producer credits are hit-and-miss over the past few decades, director Steven Spielberg tends to take on films he loves, and handles them with due care. Same goes for Ready Player One. Along with his Oscar-nominated film The Post, Ready Player One proves there’s no slowing down for the director’s success in making good films. Even if Ready Player One is not as great as the films from the 1980s that it honors (Spielberg’s choice to ignore references from his own films leaves a big, obvious gap throughout scene after scene), it’s a nice story, and a progression of the kind of coming-of-age story the director first created long ago with E.T. the Extra-Terrestrial. Yet the backbone of the film doesn’t flow from the 1980s, but from a 1971 film classic: Willy Wonka and the Chocolate Factory, based on Roald Dahl’s 1964 book, Charlie and the Chocolate Factory.
In the year 2045, Wade Watts, played by Tye Sheridan (X-Men: Apocalypse), and a group of people he has only met as their avatars in a giant MMPORG (massively multiplayer online role-playing game) called OASIS, embark on a quest to solve the late OASIS founder’s puzzle in three steps, which would reward the winner with control of the OASIS and the hundreds of millions of dollars the company behind it (called IOI) is worth. The big win is the authenticity of relationships between Sheridan and his co-stars, including Olivia Cooke (Bates Motel) as Art3mis (pronounced Artemis), Aech (sounds like the letter “H”) played by Lena Waithe (Master of None), Daito (Win Morisaki), and Sho (Philip Zhao) as they work together on their journey. Cooke’s character comes alive as the high point of the film. The villains are more textbook bad guys, led by Ben Mendelsohn (Rogue One: A Star Wars Story), with his hulking minion i-R0K (“I rock”) played by T.J. Miller (Deadpool), and a seriously underutilized Hannah John-Kamen as F’Nale. i-R0K carries the bulk of the film’s best comedy lines. Surprisingly the story misses the opportunity to give the viewer enough information to solve the three riddles of the film. Instead we watch the characters move through a great big fictional world only they know about. But the adventure is a good ride. Look for Mark Rylance (Dunkirk) and Simon Pegg (Star Trek, Mission Impossible, Shaun of the Dead) as an interesting odd couple of Gates/Jobs-inspired visionaries.
Get ready for dizzying races and chases with the latest CGI and motion capture special effects–so much so that much of the movie feels like an animated movie. We’ve come a long way from the 1980s version of the subject matter in Disney’s Tron–the first foray into a video game world. But Ready Player One is similar in tone to Tron and another video game movie of the era, The Last Starfighter–all good family films with positive themes. Here that’s the importance of community, leadership, and personal responsibility, and the negative side of new and emerging technologies like drones and having more than merely virtual social relationships.
Review by C.J. Bunce
Bradley W. Schenck’s sci-fi-meets-retro novel Slaves of the Switchboard of Doom: A Novel of Retropolis, was our favorite read of 2017. Schenck created a unique story within a world we’ve never seen before, a world only hinted at in early 20th century pop culture, early pulp novels, and film. For fans of classic sci-fi and all things retro, Slaves of the Switchboard of Doom handled science fiction futurism like rarely seen before. With the same imagination and fun, Schenck is back again in Retropolis with a new book of short stories, Patently Absurd: The Files of the Retropolis Registry of Patents. All but one of the stories were originally published in 2016 and 2017 in Thrilling Tales of the Downright Unusual, and the new story ties together the other stories in the volume, which all really read like a single narrative with clever titles to the chapters. As with last year’s novel, it’s all great fun and smartly written.
Readers again revisit Retropolis’s day-to-day, the mundane, and the ordinary, in an uncertain world of tomorrow where nothing could possibly be mundane or ordinary, but this time Schenck hones in on one segment of the city, the Registry of Patents and new heroes of the office: Ben Bowman, investigator of patents, and secretary to the Registrar, Violet the humanoid robot. Ben does not have aspirations of greatness, he’s content to do his job, but Violet is a robot who knows she was built to be an investigator. The problem is that she’s gone through more than 14 bosses now–the Registrars–and still hasn’t been promoted. Is it because they leave each other notes in the locked safe in the Registrar’s office about Violet? And is it possible the office keeps losing Registrars because Violet is working her way through them? Nah.
Big, bright, and detailed, like Tron, Logan’s Run, Walt Disney’s vision of Tomorrowland, a bit Flash Gordon and Buck Rogers, a larger dose of Metropolis, and an equal dose of Office Space and The Office–readers won’t find anything like Scheck’s world elsewhere. The final story in the volume, “The Enigma of the Unseen Doctor,” is as compelling, rich, and poignant as any other master of science fiction’s take on what it’s like to be a robot. Scheck turns the tables as we meet a robot with compassion for what it’s like to be human. Patently Absurd provides the next step in science fiction’s investigation of the soul.
Review by C.J. Bunce
You might think that a movie from 22 years ago isn’t prime material for a reboot, especially when that movie is Joe Johnston’s barely memorable Jumanji. It starred Robin Williams, a bunch of kids and a nice pantheon of supporting actresses (including Patricia Clarkson (The Maze Runner series, The Station Agent), Bebe Neuwirth (Cheers, Malice, Star Trek: The Next Generation), and Bonnie Hunt (Zootopia, Monsters, Inc.)). Ten years later Jon Favreau would take the same formula ahead with Zathura. Both movies featured kids getting pulled into a board game where they must fight to survive. Blending these shows with the pulled-in concept first taken on by Tron in 1982, the new fantasy adventure Jumanji: Welcome to the Jungle takes the idea from board game to video game, and does it much better by taking the child actors and having them turn into adult fantasy world avatars, all played by some of Hollywood’s best-loved actors.
The result is great fantasy fun–escapist, easy, laugh-out-loud humor that showcases the talents, charisma, and humor, of the four stars. Leading the way is Dwayne “The Rock” Johnson (who according to Meet the Press is considering a 2020 presidential bid). No current personality is better at poking fun at himself, with charisma, good looks, and the smarts to pull off the persona of a teenager afraid of everything who becomes the chiseled Dr. Smolder Bravestone, and yes, smoldering is one of his video character powers. My screening was preceded by a trailer for Rampage, another big action film game tie-in along the lines of San Andreas. Jumanji: Welcome to the Jungle co-stars Johnson’s Central Intelligence co-star Kevin Hart, who brings his stand-up comic, self-effacing persona to the big screen again as the tough kid turned short-statured sidekick to Bravestone, Franklin Finbar. Finbar’s video game powers are hysterical–one of his powers is carrying Bravestone’s tools, and his weaknesses include cake and strength itself.
Another nice choice is comedic actor Jack Black, who plays self-absorbed teenager Bethany’s avatar, Professor Shelly (as in Sheldon, not Michelle) Oberon. Black plays the role for great laughs, and he pulls off playing a teenage girl like only he could. Karen Gillan stars as studious teen Martha’s avatar Ruby Roundhouse, a seriously badass superheroine of the Tomb Raider Lara Croft school. Gillan, known best for her role as Amelia Pond in Doctor Who and as Nebula in the Guardians of the Galaxy series, proves again she was born to play big action roles. She and Bravestone are exactly what you’d expect from online role player fantasy personas, not in actual Activision game but maneuvering pitfalls just the same. When they’re saving the day the audience is cheering them on every step of the way. In between those scenes audiences will be laughing as the coming-of-age story of the kids breaks through. By the end of the film, a cameo actor performance–a brilliant casting move–will take audiences full circle with the mystique of another coming of age fantasy with life-changing implications from the 30 years ago (hint: the cameo actor previously co-starred with one of this film’s actors in one of our favorite coming of age classics).
Review by C.J. Bunce
Syd Mead, the famed “artist who illustrates the future,” is an icon of visionary design and illustration. No other creator has shown the world a utopian vision of a possible future in so many ways. In the time he created a world we want to see develop that lies ahead, we have seen his future begin to be realized. His aerodynamic designs have influenced auto design in recent decades from car makers including Chrysler, Ford, and GM. He has created the look of space technology that we all accept as believable thanks to his concept art–art that has influenced the art direction of films for four decades. A new book published this month provides an in-depth intellectual review of Mead’s style, influences, and impact on the history of design. The Movie Art of Syd Mead: Visual Futurist is a college level, art design course book of sorts that takes movie concept art to an entirely new level, a serious look at his style that will appeal to serious artists in any field, and a popular work for fans of the films he has inspired.
“What makes Syd’s vision so compelling,” says the book’s author, architect/designer and professor Craig Hodgetts, “is not only the means he employs to convey it, but the acute physical and environmental awareness: the endless curiosity about how the world works; the precise level of detail and the practical engineering knowledge that he brings to even the most fantastic devices.” Beginning with the look of the both geometric and organic mechanical villain V’ger from the year 2273 in 1979’s Star Trek: The Motion Picture to a mid-21st century casino and hotel in this year’s Blade Runner 2049, Mead’s sketches, drawings, illustrations, and paintings have inspired and influenced the art design of dozens of movie productions.
Mead’s most groundbreaking and memorable cinematic visionary creations came in the 1980s with four films. Returning to our theme of celebrating 1982 films, for Ridley Scott’s Blade Runner Mead was influenced by Edward Hopper’s desolate cityscapes. To translate author Philip K. Dick’s writings into visual form, Mead and Scott took an idea of sculpture artists Robert Rauschenberg and Richard Stankewicz and author William Gibson. The filmmakers lay claim to be the first to use their ideas of “retro-fitting” on film–the process of creating a unique object by means of a strategic assemblage of allied components; by harvesting parts from abandoned or obsolescent “donors” and re-assembling them, a new entity is created. In the same year as Blade Runner, Mead saw his designs realized in the very different world of Tron, modeling a convincing digital world by extrapolating from the patterns of computer motherboards and other now obsolete technology of the era. The giant screen-filling image of Master Control, the labyrinthine pathways for the lightcycles, and Sark’s hefty transport vessel all hailed from the mind and pen of Mead. Taking the look of James Cameron’s original Alien film and modifying it significantly, Mead skipped the “slick shapes of Star Trek” and the “greeblies of Star Wars” to create what he envisioned as a “highly-engineered, purposeful vessel” where each feature could have a function, for the 1986 sequel Aliens. In the same year, Mead created what would become an iconic image of the 1980s, Number Five the robot, the friendly star of the film Short Circuit.
