Reviews

Film Frontier Reviews

Fan opinions of comics, TV shows, DVDs, movies, books, and video games for science fiction & fantasy and other adventures

January 31, 2007

"Commando"/"1942"/"Ghosts 'N Goblins" video game

posted by Tygrrius @ 10:10 PM
Commando/1942/Ghosts 'N Goblins
(Plug It In & Play TV Games, 2006 edition)

From the first moment of playing Pac-Man, I had a love for video games. A few years after trying unsuccessfully to beat the Star Wars arcade game, I found a new arcade obsession.

In middle school, I didn’t spend all of my free time inside playing video games, though. My best friend Justin and I rode our bikes throughout our neighborhood, logging hours and miles of free fun.

On hot days, our trips would inevitably lead to a corner convenience store for soft drinks. And it was at one of these stores that we encountered it, one of the greatest video games ever: 1942.

This was back when video games were still focused on fun rather than precisely simulating the real world. No complicated takeoffs, flight controls, or anything else to make the game feel like work. Just a joystick and two buttons. One that fired an unlimited number of bullets, and the other to execute an evasive loop maneuver.

Though an air combat game, all of the 1942 action took place in two dimensions--other than the evasive maneuver, which usually wasn’t all that helpful anyway. It’s just you in your "Super Ace" P-38 Lightning (and the occasional pair of wingmen) against hundreds and hundreds of Japanese planes. From island chain to island chain you flew but somehow your carrier always seemed to beat you to the next one, signaling the end of one level and the beginning of the next.

Justin and I spilled quarter after quarter into 1942, making slow but steady progress throughout the summer of 1987. By this time, the game had already been around for two or three years. In fact, I’m pretty sure I’d played it before at some point but for whatever reason, this was the year it caught on with me.

Then I hit it. It might as well have been a brick wall. After I destroyed a number of what I thought were larger-sized planes, the Japanese Mother Bomber Ayako boss plane appeared on screen. “Appeared” is too tame a word. It dwarfed the screen, took over almost the entire screen. And then it launched a hailstorm of bullets at the little bit of screen I had left.

The game developer must’ve had a good laugh designing that portion of the game. "Take this, you stupid kid!" And take it, I did. In a state of near-shock, I went down in the flurry of bullets.

The screams of disbelief that erupted from both of us at the size of our new enemy nearly led to our ouster and permanent banishment from the fine establishment that housed our favorite arcade game, but the clerk let us off with a warning.

This wasn’t the only store around with 1942, but we liked this particular unit. It just didn't feel the same playing at the other location. And besides, the other store with 1942 was well out of bike range. We calmed ourselves as the Ayako proceeded to destroy me quite easily once again.

You see, despite my confessed love of video games, I was never very good at them. What I lacked in skills, I made up for in quarters.

Justin and I started competing to see who would be able to destroy the Ayako first. It took the rest of the summer, and the rest of my quarters no doubt, but I finally brought the Ayako down in a moment of triumph that particular convenience store is not likely to see again. Only a day or two later, Justin managed it as well. Based no doubt on my expert tips.

Of course, that wasn’t the end of the game. But it might as well have been for me. My family moved shortly thereafter. The new neighborhood was not very bike-friendly and, worse, had no 1942.

Twenty years later, here I am playing 1942 again. This version is released by "Plug It In & Play TV Games." Rather than a cartridge/disc for a game console or a PC, the game is housed within a joystick that connects directly to your television's A/V inputs. The "Plug It In & Play TV Games" line is great because it oftens offers the superior arcade versions of classic games rather than their clunkier 1980's home versions.

Being a nostalgia nut, I’ve picked up a number of these, including Pac-Man, Pole Position, Galaga, Ms. Pac-Man, Galaxian, and Frogger. Like the others, 1942 is a faithful reproduction of the original arcade game.

Unlike the others, it also offers a "Continue" option (where you would normally insert another quarter), without which I would never make it past the first level or two. I put at least 23,042 quarters into 1942 back in 1987, so I figure the game owes me a few anyway.

I've found 1942 to be just as fun to play now as it ever was back then. I don’t kid myself, though. I’ll never see the final level of this game (reportedly, Tokyo), no matter how much I try to sharpen my skills.

The joystick is made by good old-fashioned 1980’s standards, back when kids were tough—which means no ergonomics. I’m old now, though. Before too long, my hands get sore and begin to cramp. Though I now have an infinite supply of quarters, the game is still finding ways to beat me.

1942 offers two difficulty levels, Normal (which, as near as I can tell, matches the old arcade game) and Easy, in which the enemies do not fire as often but the game becomes tedious in its simplicity.

Two other games are also included. I didn’t care for Commando back in the 1980's and I still don’t like it now. The gameplay seemed a little sluggish. Or maybe it was the game player that was a little sluggish.

There’s also Ghosts ‘N Goblins, a game I’d never played before or even heard of. Basically, you are a knight seeking to rescue a princess. Oddly, your main enemies are zombies who bear a disturbing and uncanny resemblance to Harry Knowles. The first time one of the zombies gets you, you lose your armor and are stripped down to your skivvies. Pretty funny, but the game itself is rather boring. It ultimately feels like a variation of Super Mario Brothers, but not nearly as fun.

For me, this one is all about 1942. My positive reaction to 1942 is certainly more rooted in nostalgia then anything else. The fact that this article is more memoir than review is proof of that.

(Overall experience: 8 out of 10)

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January 30, 2007

Jan 24th Comic RoundUp

posted by JediSheltie @ 7:54 PM
First, some... unfinished business... Ah, how time flies. Day late and dollar short, but I suppose if I didn't review this thing after substituting my first stab at "fiction" writing in a long, long time for the "initial" review, then I'd be kind of a jerk.

Superman & Batman vs. Aliens & Predator

This story, for those keeping track, apparently occurs during the period after the B13 virus remade Metropolis into a real "city of the future". This was a bit interesting for me, personally, since the B13 story was the last big Superman story I read before having to take a little financially imposed comic "breather." That being said, if you weren't around at the time, Metropolis of the "present" is transformed into its 64th century equivalent.

Yet still there's some plumbing problems...

These problems tip off the Man of Steel to the presence of some Predators shortly after the Dark Knight encounters the same in Gotham. Both sets do not seem to be engaging in the "ritual hunt behavior", as Batman refers to it. The trail leads back to your standard newly erupting, formally long dormant volcano, where a bunch of people find out that, even if they don't engage in ritual hunting behavior in Metropolis and Gotham, the Predators still have a soft spot for decapitation.

Clark and Lois arrive on assignment from the Planet, seeking some recently vanished (decapitated) explorers, and Bruce arrives on his own trail (you guessed it- the dirt), and shortly the team-up action begins. Though set ostensibly during the "wary alliance" period post-CoIE / pre-IC, there doesn't seem to be much animosity between the two in this book. Not that I'm complaining, that's the one chief annoyance I always had with the post CoIE characterizations. I'm not saying they have to act like old frat buddies, but people with differing points of view can sometimes make stronger friends than people who just agree with you constantly. John Byrne and Frank Miller are hacks. (Yes, that's comment bait.)

Aliens are also there, but they don't figure much here, with the exception of some brief "cameo" action. I suppose I'll say "spoiler alert", but suffice to say, Batman discovers the Predators are a tribe that crashed on Earth a long, long time ago, whilst doing the whole, ritual alien hunt, thing, only to be cut off underground. Now, the newly erupting volcano threatens their home, and they were out on the surface looking for new digs. It's up to Superman and Batman to figure out how to rescue them, and even their little alien pets, before the volcano erupts. Oh, and the government agency charged with defending the Earth from aliens and Predators nukes the place.

In all, after a longer than normal wait, I'd say this was a mediocre outing at best. There was some throwaway bit of dialogue about Superman's powers being "reduced" because he's underground that made for a real WTF moment. Though it's been established in the past, outside of yellow star radiation, his body will slowly "depower", he sure as heck hadn't been underground for more than an hour. Obviously there's a bit of a problem, in terms of spinning a good yarn, that Aliens and Predators, on their best day, would be no match for Clark on his worse, but I'm finding that explanation a bit lacking. Jurgens' original Superman / Aliens story did have Clark depowered, but because he'd been out in space for a while when he encountered them.

The art was serviceable. Not bad, not great, can't say more than that. The dialogue was a bit stilted, I felt. I found the author's Superman a little too exemplary of the more naive 'do-gooder' that's just far too simplistic. Characterizations like that are why a lot of people hate the character. Likewise, this is the cold, calculating "distant" Batman, that, I suppose, technically fits for the time period. I recognize there are big challenges to a story a like this, I'm just not really sure the authors ultimately rose to meet them effectively.

5 Polished Trophy Skulls out of 10
And Last... No business at all...

Wow, glad that one ran long, because there's really nothing worthy of much recognition last week. One day I'll do a review for Supergirl and the Legion of Superheroes, but I'll wait for a new arc to start. Of course, if Supergirl is really going to be out of the book eventually, then I'll be out of it as well, because I have not really become very enamored of the whiny little teen brats that populate it.

I'll give credit to Waid, he's kind of lucky in that he has a good editorial excuse to provide a completely different personality for Kara. In fact, all you that really dislike the angst-ridden Kara in the main book should pick this up, it's a little slice of Silver Age heaven for you as far as Supergirl goes. She floats through it, easily the most powerful of the bunch, always doing the right thing and never once questioning why she "should" be doing any of it.

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January 23, 2007

Jan 17th Comic RoundUp

posted by JediSheltie @ 8:00 PM
In an effort to top my previous effort, this is late and light. Not only was it a slow week overall, but distractions on a number of levels abounded, and, what I can say, I didn't introduce you to the Lazy side of the Force last week for nothing...

Green Lantern #16

Ah, well, I can muster some wordplay for a comic where the Justice League busts some armored Russian skulls. No, it's not the Cold War again, nor is it something written by Brad Meltzer, as punches are thrown, it's just a petty jurisdictional issue regarding Hal and Russian airspace. The League shows up to escort Hal out, but the Rocket Reds, demonstrating a significant lack of appreciation for the basic military concept of retreat against a vastly superior force, proceed with their attempts to apprehend them.

Clark and Co. are successful in stopping them, and regretful they had to employ force to do it. Hal, concerned for his lost wingperson, and probably nursing a torch that lacks significant amounts of military discipline, is finally cornered by the original GL, Alan Scott, and forced to explain himself. He eventually rescues her, leaving the League to clean up the couple tonnes of Russian scrap iron.

Does he rescue Cowgirl from the clutches of the pursuing terrorist forces? Of course he does. Is Cowgirl a love interest in a Green Lantern comic? Of course she is. Does that work out well for her in the end?

Heh, it's pretty cold where they are, kind of like a fridge...

Ivan Reis is good, damn good, and with the League to play with, he was outstanding. The art was exceptional this issue. Most all of the Leaguer's got some individual face time, with a great spread to start it off. Johns writes the League as a coherent fighting force, so it's good to know that, sooner or later, Meltzer will have to get there too.

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January 16, 2007

Jan 10th Comic RoundUp

posted by JediSheltie @ 4:03 PM

Heh, considering I'm now on my second day of ice-enforced vacation from work, the tardiness of this update is pretty pathetic, I know. Actually, not a very busy week, it was, with one notable exception, which... well... didn't work out so well.

Justice Society of America #2

Issue two brings more goodness, more agreeably brief and well-handled back-stories, and some meta-Nazi's being beaned in the skull with a mace (and bonus flail). Since Mr. Johns doesn't have an ice storm to blame for his recent tardiness on Action, it's good to know that most of the first 12 issues of this comic are pretty much in the can, because I'm starting to like this one even more, and don't really feel any particular cravings for delays.

We're introduced to Nathan Heywood (the Fourth, i guess), heir to the “Commander Steel/Steel” legacy. This Steel (from the moronic “Detroit” JLA), not this Steel, with whom I'm a bit more familiar. The mystery around who killed would-be member Mister America deepens, as the knowledge of who killed him only leads to the further question of who ordered the hit. Wildcat and his newly discovered “kid” do some really awkward bonding, and the new Starman gets to his roots... Kingdom Come.

I'll take a moment to shamelessly shill for Kingdom Come. Though vast in scope, at the core it is a Superman story, and a really great one, at that. Besides, now you need to know all about it to understand JSA, so, naturally, you'll run right out and buy it. Geeze, were I cynical and in marketing, I'd almost consider it a ploy. On the other hand, using marketing ploys for good things has to be good, right?

Johns weaves threads through at least 4 different plots without letting you become too lost, which is quite an achievement. Eaglesham and Jose's art is again up to task, bringing out the emotion in the characters as well as the powerful kinetics of a meta-human engagement. Since there's no delay on this particular horizon, I look forward to what's on deck next month.

Star Wars: Legacy #7

Stop me if you've heard this one... The Jedi Order, keepers of peace for... a longish time, are virtually wiped out in an act of treachery perpetrated by the Sith. The Galactic Empire, ruled by a Sith Lord, ruthlessly represses the people, wages war, and hunts Jedi.

Yes, it's 137 years after the Battle of Yavin and the galaxy is a very familiar place.

I probably sound a bit snarky. Yes, on the whole, the core concept of this series, which is known as the “Reset Button,” does rub me a bit wrong. That being said, I am kind of enjoying it, actually. Shout-outs to the greatest RPG ever, not-withstanding, the actual story is pretty well done and compelling at this point. I'm sure a lot of people who are crying bloody murder over it aren't actually reading it. I can see why, especially if, like I did in my opening, you choose to look only at the similarities and how it kind of renders massively “moot” the entire original canon.

The central protagonist, Cade Skywalker, isn't named Skywalker by coincidence. Yep, he's the Legacy, and training to become a Jedi in his youth then that whole “betrayal/destruction” thing happens (yes, again). Cast off on his own, he transforms from Luke to Han, becoming a bounty hunter, smuggler, “rouge-of-all-trades” type with his own ship and crew. While he grows up, Darth Krayt and his Sith crew shore up power. In the “yes, there are differences” category, the Sith Lords are not just 2 any longer. Not only that, but Krayt usurped the throne of the “rightful Emperor,” thus creating a schism in the Empire. Krayt's major threat isn't a Rebellion, but a group of Imperial forces loyal to the deposed Emperor Fel. And they have “Knights.”

History and Skywalkers, destined to intertwine, apparently, thrust Cade into the middle of this conflict, as he now has the daughter of Emperor Fel under his protection. She is hunted by the Sith with Imperial forces, as they hope to trail her back to her father, in order to kill him and quell the distention in the Imperial ranks.

That's about as nutshelly as I can get here. Issue 7 is, in fact, where Cade, a bit disenfranchised with his heritage at this point, finally whips out a saber and acknowledges his place in the world. If you can get past the central premise of the world in which the story takes place, it's a really good story. If you can't, then you'll be skipping this whether I tell you to or not.

Superman & Batman vs. Aliens & Predator

LightSide JS: Superman & Batman vs. Aliens & Predator will probably be pretty popular, you should ask the fine folks at the comic book shop to put it on your pull list such that you are more likely to receive a copy.

LazySide JS: Please... I drop by right after I get off work, they'll have some copies left.

LightSide JS: Perhaps, but what if they do not? You arrive rather late in the day, after all.

LazySide JS: Yeah, so I'm gainfully employed, unlike the average comic reader. I'll be there at 6, latest, I'll be fine. Those stupid slips are annoying to fill out.

LightSide JS: Yet, it would guarantee you a copy, for such a small effort.

LazySide JS: Why don't you leave me alone, go get exterminated, and plunge the galaxy into darkness, you're good at that.

LightSide JS: That only happened once.

LazySide JS: Dude, did you read the review up there?

LightSide JS: EU doesn't count.

LazySide JS: Look, trust me, okay... They'll have a copy. I had a, you know... premonition. Force stuff. Now scram.

LightSide JS: Difficult to see. Always in motion is the future.

LazySide JS: I said scram!

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January 14, 2007

"Voltron—Collection One: Blue Lion" DVD

posted by Tygrrius @ 8:43 AM
Voltron, Defender of the Universe—Collection One: Blue Lion (DVD)

Some of the things that entertained me as a child still entertain me now. The Film Frontier, after all, primarily covers Star Trek, Superman, and Star Wars. I loved those franchises back then, and have pretty much kept up with them ever since.

Returning to a once-entertaining movie or series without watching it for many years can sometimes be a jarring reality-check, though. As the old saying goes, “you can’t go home again.” Some things are best left to the fond memories of childhood. What can I say, Knight Rider, Miami Vice, and The A-Team seemed like top-notch entertainment at the time.

Voltron hit big when I was in fourth grade, elementary school. I had already discovered Star Blazers by this time by accidentally waking up extremely early one Saturday morning. I remember being awed by its realism. It was an animated series that felt live-action. Getting up early each Saturday to watch Star Blazers soon became my routine.

Voltron came along as a weekday, afternoon series. At first, I thought the show was somehow linked to Star Blazers because the animation style was similar. I quickly became hooked on this as well. And how could I not? It featured five lion spaceships that formed a “robot” warrior, Voltron.

I may have been a member of the school playground’s Masters of the Universe fan club, but I was president of the Voltron fan club. Though I remember disliking the diminutive Pidge, pilot of Green Lion, for the most part Voltron wasn’t dumbed down for kids. Yes, there were the “space mice” and (eventually) their mouse version of Voltron, but those were just minor distractions in an otherwise great series.

When the Vehicle Force replaced the Lion Force for a season, I found it harder to keep watching. What was once cool had become mundane. When the Lion Force finally returned, the airings moved to a time when I was still in school. We didn’t have a VCR for another few years, so I mourned that timeslot change. For me, Voltron was gone.

Voltron, Defender of the Universe—Collection One: Blue Lion compiles the first fifteen episodes on three DVDs. Twenty years or so later, I wondered if the magic would still be there. Or would Voltron go the way of the talking Trans-Am?

If you’re willing to throw out continuity guffaws (likely due to the series’ unique origins), Voltron actually holds up pretty well. Putting everything else aside, a robot gladiator formed by five lion spaceships is still a cool concept.

As many cartoons do, Voltron often fell into a predictable formula:

1.) Zarkon complains that Voltron is still a thorn in his side
2.) Haggar creates "the most powerful robeast ever" and sends it to Arus
3.) One of the five Voltron pilots is separated from the others
4.) Four of the five lions battle the robeast unsuccessfully
5.) The fifth lion finally shows up and they form Voltron
6.) Voltron battles the robeast to a draw with various weaponry
7.) Voltron finally forms blazing sword and destroys the robeast

Once I noticed the formula as a kid, the show lost a little something for me. As an adult, I was worried that the episodes would be that much harder to watch.

Collection One, anyway, doesn’t fall into the above formula often. That’s not to say it doesn’t happen, but it’s not every single episode. That must’ve been later in the series.

Five space explorers (Keith, Sven, Lance, Hunk, and Pidge) are captured by the forces of evil dictator King Zarkon and taken to Planet Doom. They manage to escape to Planet Arus, where they meet the beautiful Princess Allura—the last survivor of Arus’ royal family after devastating attacks by Zarkon. Allura is a take action sort of princess, along the lines of Leia from Star Wars. She's not one to sit safely in her castle and let others do all the work.

The five explorers become the new pilots of the legendary Voltron. When Sven is severely injured, Allura joins the team to replace him as pilot of Blue Lion. These early episodes feature various campaigns by Zarkon’s space fleet commander, Yurak, to conquer Arus.

By the end of the collection, Yurak has failed time and again. To make up for this, he agrees to be turned into the most powerful robeast ever in order to defeat Voltron. Zarkon’s son, Prince Lotor, takes over the fleet and begins a new campaign. As this collection draws to a close, Lotor’s obsession to destroy Voltron is outweighed only by his obsession to enslave Princess Allura.

Special features include two versions of the unaired Voltron pilot. Note, this is the pilot for the Americanized version, not the original Japanese episodes. The pilot features scenes from several of the early episodes. All of the music, some pieces of animation, and snippets of dialogue are different. I found the pilot hard to sit through, especially twice. The aired versions were much better.

There’s also a documentary about the making of the American version of Voltron. Though it is not an extremely well-made documentary, I still found it interesting mostly because I’ve never seen a behind-the-scenes look at Voltron before. It reveals that the Lion Force came about by accident.

World Events ordered two Japanese anime series for American adaptation, Armored Fleet Dairugger XV (what we know as the Vehicle Force) and Light Speed Electric God Albegas (what would have become the Gladiator Force). A third series, Hundred Beast King Golion (what we know as The Lion Force), was shipped accidentally. When World Events saw Golion's potential, they secured the rights to it as well and launched it first.

An amateurish documentary examines Voltron's restoration for DVD. If you can get past the horrible narration, it is worth watching to see how the episodes were "painstakingly restored." You hear that phrase a lot, but it seems to be true here.

The restorers went back to the original Japanese masters, rather than the Americanized ones, because they were in better condition. Once the masters were restored, each episode had to be individually re-edited to match the American versions—which are significantly different (on the visual side, for instance, religious references, violence, and sexuality were toned down or eliminated). This was a frame-by-frame process. I don’t envy the folks that had to do this.

The results are spectacular, though, and well worth a look by other old-time Voltron fans.

Episodes: 8 (out of 10)
Video Quality: 10
Audio Quality: 10
Bonus Features: 5
Overall Experience: 7
Recommended: To Voltron fans. You have to watch at least one set, and these are among the best episodes.
Related Film Frontier Articles

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January 09, 2007

"Superman: Special Edition" DVD

posted by Tygrrius @ 4:48 AM
Superman: Special Edition
The Christopher Reeve Superman Collection, Discs 1-4
Superman: The Ultimate Collector's Edition, Discs 1-4


Were it not for the DVD premieres of Superman Returns and Superman II: The Richard Donner Cut on the same day, a 4 DVD set for Superman would have been an event of its own.

The 2001 release of 1978's Superman is one of my favorite DVDs of all time. Is this 2006 edition worth the double-dip?

Disc 1 (replacement version)

On DVD for the first time, this disc presents the original, 1978 theatrical version of Superman. Since this disc was temporarily out of my hands due to Warner's replacement program, it was actually the last of the four Superman: Special Edition discs that I watched. I must admit, I was surprised.

Since the release of the 2001 DVD, I had thought that I much preferred the "Donner Cut/Expanded Edition" presented on that release over the original. However, I had not actually re-watched the 1978 version since that time to truly compare them.

Now, having watched them within days of each other, I am somewhat surprised to find that I actually prefer the 1978 version of Superman over the 2001 expanded edition. While both versions are long, the theatrical version benefits from better editing choices and being slightly shorter. The film just flows better.

The one scene I do miss from the expanded edition, though, is the complete version of the cameos by Kirk Alyn (Superman/Clark Kent in the 1948 and 1950 serials) and Noel Neil (Lois Lane in the serials and seasons 2-6 of The Adventures of Superman TV series). It features dialogue establishing the little girl on the train that Clark outruns in Smallville as a young Lois Lane and the pair as her parents. Was it absolutely necessary for the theatrical release? Probably not, but it was only a few seconds long and a nice nod to Superman's Golden Age.

Another surprise for me was the sound. In order to upgrade it to Dolby 5.1, audio for the 2001 DVD was altered. In many cases, brand new sound effects were added and the over all mix was changed. Generally, I'm not picky about this sort of stuff. I remember loving the sound on the 2001 DVD the first time I watched it. Just the opening credits shook the house.

The missing component of the initial version of Disc 1 prior to the replacement was the option to hear the original 1978 sound mix in Dolby 2.0. Honestly, I probably would have never bothered to send in Superman: Special Edition Disc 1 to Warner Brothers were it not for what I considered the more serious issue present on the Ultimate Collector's Edition version of Superman III: Deluxe Edition (accidental use of the 2001 bare-bones DVD version, without bonus features). I figured, since I was sending that disc in, I might as well send this one in, too.

I'm glad I did. Now, I can finally hear why so many other fans have been complaining about this since the 2001 DVD. The 1978 audio is better than the 2001 mix. I understand why Michael Thau had to overhaul the sound in 2001 to achieve Dolby 5.1, but it is nice to have the true 1978 theatrical experience by hearing the original audio. One of the main differences is that the 1978 version often has the John Williams music much higher in the mix. And I'm always in favor of that.

Note that the disc defaults to the 2001 Dolby 5.1 sound. From the menu, choose Languages and then English (not English 5.1) in order to get the 1978 sound. They don't exactly make it obvious, but at least it is there now.

Disc 1's bonus features are the original teaser and theatrical trailers, a 1978 TV spot, and movie commentary by executive producer Ilya Salkind and producer Pierre Spengler.

The trailers are fun, particularly the teaser which was made quite awhile before the movie was complete. It featured credits flying through clouds, set to Jerry Goldsmith music originally recorded for Capricorn One. Audience reaction was so positive to the flying credits of this trailer that a similar style was used for the opening credits of the actual film.

Incidentally, Goldsmith was originally to score Superman, but fate fortunately intervened and Williams ended up with the job instead. I don't think Williams' contribution to the success of Superman can be overestimated. Trying to imagine Superman without John Williams is like trying to imagine Star Wars without . . . John Williams.

Director Richard Donner and creative consultant Tom Mankiewicz came out swinging against the Salkinds on the 2001 DVD commentary track. Noticeably lacking back then was Salkind's side, and Ilya Salkind finally delivers that in the commentary.

I think I've made it pretty obvious elsewhere on this site that I'm a huge fan of Donner's films, as well as his story work so far in Action Comics. However, there are multiple angles to every dispute and I'm glad Salkind has the opportunity to tell his version.

Also present on the commentary track is producer Pierre Spengler. A member of the Salkind camp, his areas of responsibility included management, scheduling, and budgeting.

Though edited together, the Spengler and Salkind audio tracks were recorded separately. I generally find it more interesting when multiple commentaries are recorded at the same time, since it obviously allows for more interaction between the speakers. Spengler has little to say, though (unless it is simply edited out), for Salkind rarely stops talking throughout the film.

Salkind spends almost the entire length of the movie talking about all of the events leading up to the filming (securing financing, writers, Brando, Hackman, etc.). He spends little time on the filming itself, and the rest of the time on post-production and the actual release. This is balanced out by the Donner/Mankiewicz commentary on Disc 2, though, which understandably spends more time on the filming.

Salkind's comments are sometimes defensive. This is only natural given many of the comments, rightly or wrongly, made about him over the years. His running story doesn't often relate to what is happening on screen--which hits another of my commentary pet peeves. I like to feel as if I'm watching the movie with the person, not just hearing a long, rambling interview played in place of the film's normal audio.

He does occasionally reference the on-screen action, though. When Superman tells Lois, "I never lie," Salkind laughs and points out something that I've never really thought about when it comes to Superman. Despite standing for Truth, Superman lies all the time. The whole Clark Kent in Metropolis disguise is one big lie.

Though I wasn't sure what to expect, the Salkind commentary is usually entertaining. He comically seems to mark his life based upon which "ex-wife" he was with at the time. It was one of Salkind's ex-wives who recommended Donner to him, when Guy Hamilton, originally hired as director, left the picture. (Don't expect a Superman: The Guy Hamilton Cut at any point in the future, though, since he left prior to filming and before Christopher Reeve and Margot Kidder were even cast.)

Salkind notes that Donner had an "incredible passion" for the film and that the two were "close and in symbiosis" on the epic approach to the movie.

Salkind wanting the movie to be epic rather than campy, before Donner was even brought aboard, seems to be one of the points he most wants to drive home. Donner often points to some of the campier aspects of the Puzo and Newman scripts, prior to the Mankiewicz rewrite that he mandated.

Though I suspect he'll address this more on his Superman II: Special Edition commentary, Salkind actually doesn't get into his disputes with Donner very much. He notes that, by the end of the filming, he and Donner were no longer speaking. Instead, Salkind hired Richard Lester to act as a sort of go-between. What's missing is how they went from being in symbiosis to not speaking.

Donner continues to sound rather bitter towards Salkind, as evidenced more recently in his 2006 commentary track for Superman II: The Richard Donner Cut. Salkind, however, does not sound as if he harbors such ill-will towards Donner. For the most part, he talks respectfully of him.

I don't think ultimate "blame" or "fault" can really be assigned to one side or the other in the whole Donner vs. the Salkinds debate. The reality is that there's probably plenty of blame to go around.

For whatever reasons, their working relationship disintegrated. Their fallout and inability to work out their differences robbed Superman fans of a high-quality Superman III and who knows how many other Superman movies.

To anyone who thinks the Superman movies were destined to degrade over time simply because they were sequels, I point you to the Lethal Weapon series. All four entries are top-notch, quality movies. The third and fourth are as good as the first and second. And all four are made by Richard Donner.

As the film draws to a close, Salkind gets very emotional talking about the deaths of Christopher Reeve and Alexander Salkind, Ilya's father who produced and secured financing for Superman and passed away in 1997.

If nothing else, I believe the commentary helps to humanize Ilya Salkind and move him away from the demonized image some may have.

Discs 2 & 3

Discs 2 and 3 provide essentially the same content as the 2001 DVD release of Superman. The 2001 version was a double-sided DVD, while this content is better presented as two separate discs.

Disc 2 contains the 2001 "Donner Cut/Expanded Edition" of the movie. Though only eight minutes or so longer than the 1978 version, it feels so much longer. While I love having the option of watching this extended version, it is also a great example of what an important role editing plays. The 1978 version will now be my "go-to" version of this movie, rather than the 2001 cut.

Surprisingly, the transfer of the expanded edition presented on the 2006 DVD is not the same as presented on the 2001 DVD. Though I thought the 2001 edition looked great, the 2006 edition looks even better. At first, I thought my eyes were deceiving me, so I pulled out the 2001 DVD and verified by comparing the two. Nice extra effort on the part of Warner Home Video.

As for bonus features, Disc 2 includes an isolated music score and the 2001 commentary track by Donner and Mankiewicz.

Every single movie with a John Williams soundtrack should feature an isolated music score on the DVD, which is where only the music plays while you watch the movie--no dialogue, sound effects, or anything else.

Trust me, this is a beautiful way to watch Superman. His music is so perfect that it tells the story without needing the other sounds. Reminiscent of watching silent films from so long ago, the isolated score presents Superman as a series of musical emotions and is a testament to the true genius of Williams. What I wouldn't do this for option on Star Wars or The Empire Strikes Back DVDs.

The Donner/Mankiewicz commentary track is probably my favorite on any DVD I own (astronaut Jim Lovell's commentary on Apollo 13 would probably be the only other leading contender). Like Superman II: The Richard Donner Cut, the pair are obviously sitting in a room together watching the movie. Though I'm sure parts of it are, it sounds unscripted and as if you are just listening to two old friends remember how they made one of your favorite movies.

Disc 3 is bonus features, all of which are from the 2001 edition.

Taking Flight: The Development of "Superman": An excellent documentary, directed by Michael Thau. For whatever reason, this 2001 look at the pre-production aspects of Superman is far superior to the more recent documentary, You Will Believe.

Perhaps it's the presence of Christopher Reeve in the 2001 documentary that makes it feel more complete. At one point, the wheelchair-bound Reeve reflected on the role:

I felt a torch had been passed from previous generations of actors and readers, who had loved Superman. So, I felt that during the 70's and 80's, I was the temporary custodian of a part that is an essential piece of American mythology.
Marc McClure (Jimmy Olsen) hosts and narrates. Taking Flight examines finding a director, casting, and production design.

Making "Superman": Filming The Legend: This documentary, also hosted by McClure and directed by Thau, concentrates on the actual filming and is also stronger than You Will Believe. The documentary notes that at one time, 11 units were filming simultaneously over three continents with over one thousand crew members.

Regarding the Superman costume design, it is noted that the goal was to "stay as closely as possible to how he was drawn in the comic book." Note that there are no cutesy little S's on the soles of Superman's boots for instance.

The documentary also includes a nice piece on cinematographer Geoffrey Unsworth, who passed away prior to the release of Superman--which is dedicated to him. If you ever wondered who he was when watching the opening of the movie, this is the documentary to watch.

The Magic Behind The Cape: Directed by Thau, narrated by McClure, and hosted by Roy Field (Superman's "Creative supervisor of optical visual effects"), this documentary unfortunately is not quite as well assembled as the first two. It has a disjointed feel, but is interesting. It took a lot of work to make a man fly. Given how great the first two are, my guess is that there was a rush to complete this one in time.

"Superman" screen tests: Hosted by casting director Lynn Stalmaster, a couple of Christopher Reeve's screen tests are presented here. Some of this footage would later be used in Superman II: The Richard Donner Cut.

Lois Lane screen tests: Snippets of screen tests from various actresses trying out for Lois Lane are presented: Anne Archer, Lesley Ann Warren, Debra Raffin, Margot Kidder, Stockard Channing, and Susan Blakely. There is optional commentary by Stalmaster. I'll save you the trouble, though, and let you know that he pretty much felt every actress except Kidder was "too glamorous" for the role. Looking at these screen tests, I think they made the right choice in Kidder.

Ursa screen tests: A quick but entertaining series of screen tests, featuring Rohan McCullough, Carinthia West, Dana Gillespie, and Marilù Tolo trying out for the villainess Ursa. (Based on one of the audition scenes, I think they should have named this segment "Kneel Before Ursa.") No mention is made of Sarah Douglas' screen test, which, if it exists, is not shown. Douglas won the role.

But wait, there's more...

Deleted scenes: Collects the ten scenes restored back into the 2001 expanded cut, as well as two other deleted scenes (feeding time in Lex's Lair, shown in the ABC television version in the early 80's). I suppose it's nice to have the ten restored scenes separated out now that the set includes the theatrical cut. I thought this was kind of a dumb space-filler back in 2001, though, since the scenes are actually in the expanded cut.

Additional Music Cues: An audio-only feature, the following songs appear, 1) Main Titles, 2) Alternate Main Titles, 3) The Council's Decision, 4) The Krypton Quake, 5) More Mugger/Introducing Otis, 6) Air Force One, 7) Chasing Rockets, and 8) Can You Read My Mind (Pop Version). A nice feature, mostly for the alternate main titles. Not a different theme, really, but kind of an expanded version.

Present on the 2001 edition, but missing on this 2006 set, are enhanced features for PCs. Most of this stuff was fluff (access to "Web Events" and chat rooms), but one notable exception was Storyboard to Screen. It features about a half dozen scenes, including a "Lost Scene" -- Lois jumping out a window to prove that Clark was Superman (recently restored for Superman II: The Richard Donner Cut). If you want to have this feature you'll need to hang onto the 2001 edition.

Disc 4

If the first three discs haven't sold you on this release yet, there's another full disc of bonus features. Though not all relate directly to the 1978 Superman movie, all of them are part of Superman's cinematic legacy, which dates back to 1941.

The Making of Superman: The Movie (TV Special): This vintage 1978 special is a fun, if superficial, look at the making of the film. It's always nice to see things like this in their original context. Plus, I can remember watching this special as a child. Reeve's enthusiasm for the role here is not to be missed. There's also an interview with Neil and Alyn about the train scene.

Superman and the Mole Men: This 1951 movie, which played in theaters, later acted as a pilot of sorts for The Adventures of Superman TV series.

The first full-length, non-serialized Superman movie is also George Reeves' first outing as the Man of Steel. Here, he is made up to look a lot more like Kirk Alyn, the first man to play the role, than he would later on. For instance, his hair appears to be dyed black. The effect is that he actually looks more like Superman than he would on the TV series.

Though not the first man to portray Superman, Reeves is the first one to be shown actually flying. In the low-budget Alyn serials, Superman would abruptly change into a cartoon in order to fly.

Clark and Lois are sent to a mining town to cover the deepest hole ever dug into the Earth. When furry "mole men" emerge from that hole, Superman must defend them from the hysterical townspeople who want to kill them. The fact that the "alien invaders" here are not the enemy is interesting, considering the timeframe of this movie. Superman defending the Mole Men against the townspeople is certainly well within the character I know and love.

Unfortunately, I just didn't find the movie that engaging though. I would chalk it up to a generational thing, but there are plenty of movies from the 1940's and 1950's that I enjoy watching. It just kind of plods along to an abrupt ending.

Phyllis Coates makes her first appearance as Lois Lane. Her Lois is rather cold, lacking the appeal of Neil, Kidder, Hatcher, or Bosworth.

It makes for an interesting piece of Superman history and fans of the TV series will undoubtedly enjoy it more than I did. The film was later adapted into the two-parter, "The Unknown People." As a bonus feature, it's nice to have. I'll give it another try some day.

Fleischer Studios "Superman" Cartoons: The first nine Superman cartoons round out the set. These cartoons appeared in theaters, beginning in 1941 - only three years after the debut of Superman in Action Comics.

I first became interested in watching these after seeing clips on the Look Up In The Sky documentary on television last year. Once I found out that fully restored versions would be included on this set (and Superman II: Special Edition), I held off on buying any of the many DVD editions already available.

The animation is breathtaking. And most of the stories are actually pretty good, too, considering the time period. This is early Superman, back when he really was just leaping tall buildings rather than truly flying.

Surprising for 1941, Lois is revealed to be quite headstrong. And, as always, she's trouble-prone. Either incredibly brave or galactically stupid, she must be saved by Superman in every single episode. Still, she is shown wielding a machine gun at one point, as well as piloting an aircraft.

After the letdown of Superman and the Mole Men, the Fleischer Studios Superman cartoons turn out to be the real treat of Disc 4.

Verdict

Superman: Special Edition is a great set, chock full of bonus features. The "new" material on Discs 1 and 4, particularly the theatrical version of Superman, complete with original sound, and the Fleischer cartoons, makes it well worth the double dip. This is an essential DVD for all Superman fans.


Movie: 10 (out of 10)
Video Quality: 10
Audio Quality: 9
Bonus Features: 10
Overall Experience: 10
Recommended: To all Superman fans, regardless of whether or not you already own the 2001 edition
Related Film Frontier Articles

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January 08, 2007

"My Super Ex-Girlfriend" DVD

posted by Tygrrius @ 6:02 PM
My Super Ex-Girlfriend (DVD)
Starring Uma Thurman, Luke Wilson, and Anna Faris
Written by Don Payne
Original music by Teddy Castellucci
Directed by Ivan Reitman


I'm willing to bet that most male comic book fans have, at one time or another, wondered what it would be like to have a relationship with (an of-age) Supergirl, Wonder Woman, or various other superheroines. Few, however, have thought about the ramifications of angering this sort of girlfriend or, worse, trying to break up with her.

My Super Ex-Girlfriend is a fun examination of both sides of dating a superheroine: the fantasy indulgence and the nightmare breakup. Matt Saunders (Luke Wilson) takes time out from lusting after his unavailable co-worker Hannah (Anna Faris) to date the seemingly mild-mannered Jenny Johnson (Uma Thurman).

Jenny has a quirky habit of disappearing suddenly, and Matt begins to think she's actually borderline neurotic. When she confesses (and proves) to him that she is actually the superheroine G-Girl, he chalks it all up to her leading a dual life.

You won't find G-Girl in The DC Comics Encyclopedia, nor in whatever that other company calls its reference book, but she basically has the same powers as Supergirl. G-Girl saves people in burning buildings, crashing airplanes, and the like. All that typical superhero stuff.

Less of a parody and more of a superhero flick presented as a comedy rather than an action movie, My Super Ex-Girlfriend was surprisingly good, often funny, and sometimes even hilarious.

Matt finds that G-Girl's neurotic habits continue, including a strong jealous streak, so he decides to break the relationship off. When G-Girl says that he'll regret breaking up with her, she means it.

She breaks a hole through his roof and hurls his car into orbit. And that's just for starters.

At times, the movie lulls--seeming to have taken a great concept out for a spin without really knowing where to go with it. You'll see the ending coming a mile away, but it does at least offer a Superman II style superwoman vs. superwoman battle in the streets and skies of Metropolis, er, New York City.

Bonus features include several deleted scenes, most featuring flashbacks of G-Girl's origins, an extended scene, and a music video.

Movie: 8 (out of 10)
Video Quality: 10
Audio Quality: 10
Bonus Features: 7
Overall Experience: 8
Recommended: To fans of superhero films looking for lighter fare.

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January 07, 2007

Jan 4th Comic RoundUp

posted by JediSheltie @ 8:14 PM

It's a Superman trifecta for the New Year. Three different takes on the Man of Steel in one week. Only two of them are official, though.

All Star Superman #6

Man, everybody loves the hell out of this series. I like it, but I'm going to ask it to have my children or anything. For those who are just hopping on board, or have forgotten since the last issue came out, DC's “All Star” line is a combination of their most iconic characters with superstar creative teams. Granted, it probably wasn't all that hard to get Grant Morrison (JLA, Seven Soldiers), he was already in their Rolodex.

All Star lines are essentially Elseworlds, though they do not bare that familiar trademark. Morrison's take on the character is more Silver than Modern age, in terms of plots, powers, and overall storyline. The core story here is intriguing. Way back in issue one, Superman saves a solar probe from certain disaster. In doing so, he's doused with solar radiation which, while amping up his powers tremendously, also consigns him to a slow, withering fate as his cells deteriorate from the overexposure. The overall “theme” of the story flows through each issue, but is not the central focus past issue 1.

Issue 6 shows us the young Clark in this continuity in Smallville. We later discover this issue isn't exactly backtracking. It tells the story of how Johnathan Kent dies of heart attack while his son is fighting a “chronovore,” with the help of three newcomer “farm hands” that turn out to be Supermen from the far-flung future. The story itself is touching in dealing with Clark's relationship to his adoptive (only) father, demonstrating effectively how it was a farmer from Kansas who was responsible for creating the Man of Steel moreso than any disembodied floating holographic head.

The grinding confusion with all the time traveling straight out of the Silver Age is where the series loses it for me. The “5th dimensional” Superman / Myx combo is an example of one of the things DC has, I believe rightly, tried to get away from in the mainstream continuity. The claim that this series is “strip(ping) down the Man of Steel to his timeless, essential elements” might be true with Superman, but the world in which he exists seems stuffed with all the best examples of the excesses of the Silver Age.

Finally, my other disappointment here, and this is purely personal, is that I've never been a fan of Quitely's art. I just think everyone looks like fat, balloon creatures. This is simply an example of an art style I have personal issues with, and I will never say that's any reason for anyone else not to buy the book. I'm fairly easy-going as far as art goes, and you have to work hard to bug me. Quitely's “that guy” for me. Everyone else is probably fine with it.

Superman Confidential #3

The story of Kryptonite continues, slowly. Like All Star, Confidential is a set of stories under the same banner, though these are meant to fill in the “big early stories.” In this case, we have Clark's (eventual, presumably) first encounter with Kryptonite. The Kryptonite in question has only recently made it to Metropolis, and has, for a reason as yet unexplained, the ability to narrate its adventures in the first person.

The eventual confrontation will be memorable, I'm sure, but the story so far has provided quite a bit of juice beyond Kryptonite. Here is Superman in the first few weeks of his “debut”, presumably, the one captured in Birthright, and is still feeling out what it means to be who he is and do what he does. The element I find most intriguing is his uncertainty with his own mortality. The hero he grows into is a polished champion, aware of his limits (however few) and aware of the effects of his own powers. He wasn't always that self confident.

No matter what fantastic abilities you think you have, your notions of “invulnerability” might be put to the test when that first tanker truck starts flying at high speed in your general direction.

Confidential not only provides these insights into the character, but is also good for those who demand the classic “love triangle” action, and not the bonds of holy matrimony. Issue 3 deals with this, as Superman fesses up to Lois about having to stand her up because he was buried under an erupting volcano.

Dave Stewart's art is minimalist, heavy lines without much detail. In order to more fully appreciate my taste in art as it affects a story, I'll say I'm not a fan of Stewart's style, either, but it doesn't bug me the way Quitely's does on All Star. I wish the art was more detailed, but I don't think it aversely impacts the story. In order to not be all art negative, I'll go out on a limb and say I'm a big Jim Lee fan, for instance. Granted, that bandwagon's pretty crowded, but then again, there's a reason for that.

Superman #658

Yes, “the” Superman. Kurt Busiek is in a bit of a pickle, editorially. With all the big, earth shattering, and possibly continuity-altering events happening over in Action at the moment, what kind of compelling story do you tell? Why, one from the future. I'll say right form the start, this arc lost me pretty quickly, then won me back with this issue and the question posed to Superman at the end.

As duly pointed out last issue, the Earth, the very Universe, is just fresh from being saved, and in pops a dead guy named Arion to tell the story of how Superman is killed and the world is destroyed in the near future. In the most technical of sense, the action never leaves the top of the Daily Planet building, where the journals of Lois Lane (From the Future!) unfold, providing us a the blow by blow of the end of the world. Tip one seems to be that Superman's pretty easy to knock off, after all.

Well, not exactly as easy as the future baddie Khyber though. Superman #658 shows a Superman reborn to resume the never ending battle, liberate the earth, and... get killed... for “real” this time. Yep, after years rebuilding himself underneath the earth, he goes for Khyber full bore, and, in the last moment, is killed because he refuses to take Khyber's life. Kudos to Busiek for bringing me back right there. If there's any way for Clark to die, that's it.

Khyber is killed; weakened in the last fight, he's dispatched in perfect deus ex machina comic style. The ultimate editorial monkeywrench to keep the main character pure is rolled out, though it's primarily to mock this very device, I believe. Superman's still “dead”, and the world eventually tears itself apart anyway. After Khyber is killed the survivors don't get together and sing Kumbaya, they splinter and fight for the scraps until all life on earth is seemingly eradicated.

Which brings us to the end, as Arion charges Superman, and his like, are the ones who will ultimately be responsible for it. He's from the “life is cyclical” school of sorcery, and believes that by holding off the cataclysms that, though they may destroy, eventually result in rebirth, the heroes of the Earth only intensify them, to the point they will become so destructive that nothing will survive, thus ending the cycle.

Now, this could all be a way to spin a good yarn, or, as recent Newsarama interviews with Dan Dido have shown, a bit of epic foreshadowing:

NRAMA: Things are still moving forward - there are threads left from Crisis, there are elements in 52 that extend beyond the scope of that particular series, there are Monitors around…looking at the larger story in a three act structure, where would you say we are now?

DD: We're about to enter Act Three.”

Infinite Crisis was act two? Geeze.

Anyway, though I enjoy it when my BA in Philosophy is actually useful in reading comics, I'll refrain from delving too deeply into Arion's views on life, the Universe, and everything. Suffice to say, it's fun to think the big thoughts while looking at the “S” from time to time, and I shall enjoy seeing how Clark responds to the challenges ahead. I don't think he'll be sitting them out.

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January 03, 2007

"Superman Returns: The Complete Shooting Script" book

posted by Tygrrius @ 8:44 PM
Superman Returns: The Complete Shooting Script book (Titan Books, 2006)
Screenplay by:
Michael Dougherty & Dan Harris
Story by: Bryan Singer & Michael Dougherty & Dan Harris
Interviews by: David Hughes


While waiting for my Superman: Special Edition-Disc 1 and Superman III: Deluxe Edition replacement DVDs to arrive, I figured I would delve into my ever-increasing backlog of material to review.

I have definitely been in a Superman mood lately, so up today is Superman Returns: The Complete Shooting Script. This book compiles the Final Production Draft screenplay of Superman Returns (AKA Red Sun), interviews with writer/director Bryan Singer and writers Michael Dougherty and Dan Harris, and some storyboard selections.

Being a movie nut, I love these kinds of books. The fact that this one happens to be about my favorite movie of 2006 makes it all the better. Still, I must admit that I was skeptical of the non-script parts of the book. I assumed the interviews would be minor fluff pieces and that they would throw in 3 or 4 storyboard panels.

The interviews were actually a fairly decent length and, along with some of the more common stories, went into some things I have not read elsewhere. The Singer interview is first, about eight pages long.

The best parts deal with Singer's thoughts on Warner Brothers' many aborted attempts at Superman V prior to his landing the deal for Superman Returns. He admitted jealousy to his friend Kevin Spacey when he heard rumors the actor had been attached to Tim Burton's premise ("not confirmed," Spacey told him). Though the Burton movie never panned out, Singer later signed Spacey to play Luthor in his film.

Singer thinks a Batman vs. Superman movie, which was another of the abandoned concepts, would have posed problems. Which of them would have been the villain, he asks. He guesses Batman, but states the character would have been a weak villain because he would have to be redeemable by the end. If such a film flopped, Singer notes there would have been a real danger of killing both movie franchises.

Interviews with Dougherty and Harris round out the opening, about twelve pages between them. I have not read or seen nearly as many interviews with Dougherty and Harris, so both were quite interesting and held new information. Dougherty mentions that Superman For All Seasons by Jeph Loeb and Tim Sale was a huge comic book influence on the script, particularly for how it humanized Superman.

Peppered throughout all three interviews are comments about the influence of Richard Donner and his 1978 Superman film. I think the respect of the Superman Returns team for the previous generation of films really worked to their advantage. There was no air of superiority, as often turned me off to Star Trek's TNG-era team, for instance.

Even six months later, I still cannot believe how well Singer, Dougherty, and Harris managed to pull off Superman Returns - making it both new and familiar.

Oh yeah, the script! I get side-tracked so easily these days. The script was fun to read, including looking for changes and additional scenes compared to the released movie. As one of them pointed out in the interview section, even after a "final" script there are story changes during filming and the editing process.

For most of the script versus movie variations, I think what we saw on screen for Superman Returns was the right choice. An example is that in the script, when the shuttle is crashing and Clark leaves the bar to change into Superman, he rips open his shirt in classic style only to remember that it is just a plain, white t-shirt underneath. Oops!

He hurries back to the Planet to his suitcases (I knew the suit was in there, clearing up the question of why they made such a big deal of him bringing them in) and puts the suit on in a janitor's closet. He steps back out as Superman, but everyone at the Planet is too engrossed with the shuttle footage on TV to notice him. Which is fortunate, since he has accidentally left his Clark glasses on. Oops, again!

Though I can see what they were trying to do, this sort of scene would have ruined the introduction of Brandon Routh as Superman. The movie's take on it, just having him already wearing the suit when ripping open his shirt the first time is much more effective and allows Superman to get right to work.

One variation I side with the script on, though, is the opening -- which would have featured scenes from Donner's Superman, and then the modern Kal-El's return to Krypton. These deleted sequences did not make the recent Superman Returns: Special Edition DVD, either. Hey, they gotta save something for the inevitable re-release around the time of the sequel. Maybe we will get an alternate cut -- or at least a complete, alternate opening even if it is not placed onto the film proper.

Though people like me would have loved it, additional use of Donner footage would have only added more fuel to the fire of those misinformed souls who criticized Superman Returns for paying too much homage to Donner.

Anyway, do not take me wrong about the movie generally being better than the script in places where it varies. This is a great script, and the improvements are just a natural part of the process. The majority of the variations are not nearly as drastic as the ones I have highlighted above. Most are just subtle dialogue changes.

The storyboard selections are: "Lex gets funded," "The bank robbery," and "Catching the Daily Planet globe." About 65 pages in all. "The bank robbery," for obvious reasons, is probably the most interesting of the three.

As usual, the quick two or three paragraph review I planned to write has turned into . . . this. Anyway, great book, definitely worth checking out. I would love to see additional books like this one--maybe an "Elseworlds" of sorts for the movies, with scripts and storyboards/concept art for each of the key, abandoned Superman V plots. Not likely to happen anytime soon, though.
Overall Experience: 9 (out of 10)
Recommended: To all Superman Returns fans that are fellow movie buffs
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January 02, 2007

Dec. 29 Comic RoundUp

posted by JediSheltie @ 11:10 PM

Good lord, I got trampled last week. I thought I heard Marvel moved Civil War #5 in order to make sure it didn't hit last week. DC decided to drop damn near every title they publish in my box though. In any case, here are the usual suspects...

Justice League of America #5

Heh, remember when I said I kind of expected the action to pick up in this issue? Wow, I'm duly impressed that Meltzer again managed to play it out. I mean, there they were, mostly together, issue 4, heading off to kick some ass. Hasn't happened.

Now, I'm going to spoil you here. This issue ends with most of the team standing about five feet away from the Amazo/Red Tornado amalgam, virtually cracking their knuckles, vowing to bring him in.

Will there actually be a fight in issue 6?

Damned if I know. I can't say there will be. Without resorting to any kind of narrative escape clause like an extended flashback, I'm sure Meltzer could still pull it off. Standing face to face, five feet between the most powerful super beings on the planet and a schizophrenic super android that's endangering innocent lives. It seems much like a scenario that would end in a fight. Especially in a comic book. This isn't Masterpiece Theater, after all. If it was, my patience might not be running a bit thin. It's a comic book, I checked the cover a couple times to be sure.

Yet I can't be sure there'll be a fight.

Also covered this issue, Geo-Force shows up again, obviously ready to upset my “Flash is the unrevealed team member” apple-cart. I sure hope he is, at least, otherwise I'm quite unsure what the hell he's doing taking up an entire page. Also, Vixen is searching for the thing that “kind of” gives her her powers, by using her powers a lot. I'm pretty sure I don't care anymore about this subplot. The character simply hasn't caught my interest, and her spotlight is just tedious now.

All the kudos I've given to the story still apply, I can't complain about plot, overall. It's just the pacing is starting to catch up, or perhaps, lag behind is a more apt turn of phrase, the otherwise engaging story.

Superman/Batman #31

Were I the editor in charge in the Superman/Batman title, I would have only one rule. It's a simple rule, and it's designed to make sure lazy people don't take advantage of the biggest cliché the two characters have.


No "Superman goes bad" plots.

That's the rule, pure and simple. It's been done to death. Cough and your errant spittle will land on somebody's take on a Superman v. Batman story. Up and down through the ages, "Elseworlds" or not, it's simply been done. Stop. Take a break. Try to think up something that hasn't been reused at least 20 times before.

As you have probably surmised, the current arc leapt the rails for me at the end of the last issue. Oh, yeah, I saw it coming. I had my fingers crossed. I thought, surely... surely... they won't go there. They won't dig up the most tired convention the two characters have. Seemed like, just for a second, they were going to swerve at the last minute. But no, this issue seems pretty solid that the same “make me evil” pathogen that had infected most all of the DCU's aliens is also communicable to Kryptonians.

I'll float writer Mark Verheiden one tiny iota of credit, as there exists the tiniest possibility he's having Clark fake it. That was my hope for the swerve, but with the revelation that Kara Zor-El (and her costume) have been infected makes this hope quite, quite slim. Overall, I guess I should be happy it took them 30 issues to revisit this cliché. I only hope there will be at least 30 more before it's resurrected once again to parade, zombie-like, through my pullbox.

Art chores this issue fell to Matthew Clark, filling in for regular Van Sciver. Clark's style was a reasonable approximation of Van Sciver's work, so it doesn't pull you out of the continuity. The same inker helps, no doubt. With any luck this will all be put to bed soon enough and we can move onto the next arc, which, at least most likely, will not rehash Superman v. Batman again.

Justice #9

Alex Ross and Jim Kruger's epic remix of Modern Age, Silver Age, and Superfriends continues with an issue showcasing Captain Marvel. Having grown up with the Superfriends, I'm genetically predisposed to love this series, so don't expect ill words from me. Braithwaite and Ross's art is uniformly breathtaking, and it's obvious Ross is enjoying the opportunity to render damn near every character in the DC pantheon. With this issue, he even gets his chance to do some costume design.

This is the JLA writ large, featuring a wide pantheon of heroes fighting the Legion of Doom on a grand scale. The scope of the story would, in “regular continuity” would be perhaps a bit too big, but this remix of old, new, and Superfriends story style fits perfectly.

I have a personal affection for this issue because Superman puts Captain Marvel down after he's infected by the Legion's mind-controlling organo-nanites. For that reason alone I'd wish this was 'canon'. Sure, Marvel was about to come back, but Clark was obviously more than able to take him.

Why, no, I'm not a big Captain Marvel fan, why do you ask?

Ahem, anyway, this is just a really fun series. The art alone is worth the price of admission, but the story is great as well.

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