Film Frontier Reviews

Elvis Sings Memphis, Tennessee CD set

noreply@blogger.com (Tygrrius) — Sat, 23 Aug 2008 14:20:00 +0000

I've written a review of the latest Follow That Dream Records release, Elvis Sings Memphis, Tennessee, for Elvis Australia. Check it out here.

Star Wars: The Clone Wars (2008)

noreply@blogger.com (Tygrrius) — Sat, 16 Aug 2008 00:24:00 +0000

Hold on tight, fellow geeks, I'm about to use a baseball analogy. Think of going to see the six live-action Star Wars movies as the equivalent of attending major league baseball games. And not just any major league games, but the World Series. Like the World Series teams, the live-action Star Wars movies represent the best of the best - in this case, the pinnacle of filmmaking.

Opening in theaters today, the animated Star Wars: The Clone Wars, on the other hand, is the equivalent of watching a really good minor league ballgame. It's a different experience than watching the World Series, but still a lot of fun in its own right.

To enjoy The Clone Wars, you will need to accept that this is a different league of Star Wars movie. If you are unable to get past that, if you are expecting the "standard" Star Wars movie experience, then you might as well stay home and watch your DVDs again. Much like those who turn their noses up at minor league baseball, though, you won't know what you're missing.

I wasn't exactly pumped up about The Clone Wars. While one of the previews looked great, many of the television spots bordered on terrible. Especially those featuring a new Jedi apprentice, Ahsoka (Bless you!). More on her later, though.

As a Star Wars fan, I sold my geek soul to George Lucas long ago. It may be minor league, but The Clone Wars is still a Star Wars movie so I was obliged to be there opening day. Keeping up a tradition we started back with Star Wars: Episode I-The Phantom Menace (almost ten years ago now, unbelievable), Caabbage joined me for the fun. Caabbage is my brother-in-law via my little sister, not to mention a friend. He's perhaps even more of a Star Wars fanatic than I am.

Breaking somewhat from tradition, though, our wives begged off from this one. It was just the guys this time. Well, and a theater full of fairly well-behaved children.

Anyway, I set my expectations bar fairly low for The Clone Wars. You know what? It wasn't horrible, not even close. The Clone Wars is often entertaining and always visually stunning. The animation, which was one of my major concerns going in, turns out to be fantastic. Many of the spacecraft and battle scenes look very close to the computer-rendered effects from the more recent live-action films. The Clone Wars looks like a Star Wars movie just often enough to deserve the name.

Most of the characters have new voice actors behind them. Since this movie is leading into a new TV series starting in October on Cartoon Network and TNT, this was probably due to economic considerations. I imagine it would be rather expensive, if not impossible, to sign Ewan McGregor to a long-term contract to voice Obi-Wan Kenobi in a cartoon series. James Arnold Taylor fills in the role nicely, though, just as he did on the 2003-2005 Clone Wars series.

Matt Lanter ably takes over as Anakin Skywalker, adding just the right edge to the character. Returning in their familiar roles are Christopher Lee (Count Dooku), Samuel L. Jackson (Mace Windu, in what amounts to a cameo), and Anthony Daniels (Threepio).

Soon after the battle of Geonosis (chronicled in Star Wars: Episode II-Attack of the Clones), the Separatist/Droid Army has cut off many of the Republic's shipping lines. When Jabba the Hutt's baby son, Rotta the Huttlet, is kidnapped, Chancellor Palpatine urges the Jedi to rescue him in order to forge an alliance with the Hutts and allow an alternate trade route through the Outer Rim Territories.

Sounds like a pretty bad setup for a movie, right? And it is, for writing is one of the two areas where The Clone Wars strikes out. Much like Star Wars fans really didn't need to meet Chewbacca's father Itchy or his son Lumpy in The Star Wars Holiday Special, adding to the Hutt family by including both a son and an uncle (Ziro the Hutt) brings The Clone Wars dangerously close to being a parody.

Since they are the only Jedi available (despite being in the midst of a battle), Obi-Wan and Anakin are dispatched to take care of the situation. Along the way, Anakin reluctantly takes on Ahsoka (Gesundheit!) as his Padawan learner. Voiced by Ashley Eckstein, she is a bratty teenager who resents being mistaken for a youngling.

The movie works really hard trying to make the audience see the irony of Anakin being forced to mentor a headstrong teen. Due to her affection for handing out nicknames (she calls Anakin "Sky Guy," Artoo becomes "Artooie," while Rotta becomes "Stinky"), Anakin calls her "Snips." Me, I'm going to refer to her hereafter as Spunky Brewster.

To call Spunky Brewster annoying would be an understatement. Keep in mind, I am one of the few known Star Wars fans in the galaxy who actually likes Jar Jar Binks to a certain degree. I don't even mind that the teddy bear Ewoks helped defeat the Empire. Yet Spunky even grates on my very patient nerves.

I can only imagine the thought process behind this character.

"Males love Star Wars. They will come see this movie no matter what we do. Take Tygrrius at The Film Frontier, he and Caabbage would see a movie featuring papier-mâché puppets as long as we stuck 'Star Wars' in the title. The question is, how do we target girls between the ages of 5 and 12 to expand upon our Star Wars empire?"

"Our marketing research shows that those girls love Hannah Montana. Too bad Star Wars doesn't have a character like that."

"Hey, what if Hannah Montana was a Jedi?"

And thus, Spunky Brewster was born. While the high-tech animation makes me look forward to the upcoming television series, the inclusion of Spunky as a main character does not.

The worst part of all of this, though, is that The Clone Wars absolutely wastes Padmé Amidala, an existing strong female character who is anything but annoying. Expertly voiced by Catherine Taber, Padmé's role in The Clone Wars amounts to a short but exciting bit part.

The male-driven 2003-2005 Clone Wars series also unfortunately left Padmé out of the mix most of the time, but filling the female void with Spunky Brewster is just a horrid idea. The Phantom Menace and Attack of the Clones both set up Padmé as an action hero, so her more subdued outings since those two movies have been disappointing.

Also more than likely due to the TV budget, Kevin Kiner provides the music for The Clone Wars rather than John Williams. Don't get all excited by hearing the classic John Williams recordings in the preview trailers, for not a second of it is to be heard in the actual film. Though Kiner makes use of some of Williams' themes, they are all inferior re-recordings and arrangements.

Kiner has a little more success with his original themes, most notably a rock-sounding song that plays during an intense battle, but even many of those fall flat. Without John Williams, The Clone Wars just doesn't sound like a Star Wars movie.

One technique that Lucas used in the prequel trilogy to anchor it to the originals was the echoing of familiar moments. The Clone Wars takes this technique to an absurd extreme, with echo after echo designed to remind you of specific moments or lines from the live-action movies. This serves mostly to make the audience wish they were watching those other movies on the big screen instead of this one.

As I said at the beginning, though, The Clone Wars is still an entertaining way to pass the time. So buy yourself a hotdog, peanuts, and Cracker Jacks, and take in a game or two of minor league Star Wars. You won't be disappointed. Much.

Story: 3 (out of 10)
Voice Acting: 8
Visual Style: 8
Animation: 10
Music: 3
Overall: 6

Fear Itself

noreply@blogger.com (Tygrrius) — Sun, 27 Jul 2008 16:30:00 +0000

Fear Itself
Airs Thursdays at 10 PM Eastern, NBC

I've lately been checking out NBC's summer series Fear Itself. As a longtime Twilight Zone and Alfred Hitchcock Presents fan, I'm always drawn to anthology series with a mysterious or supernatural edge. As the title suggests, Fear Itself is a horror series. So far, episodes have run the gamut between psychological horror and more commonplace blood & guts fare.

Brandon Routh (Clark Kent/Superman in Superman Returns) appeared on last week's installment, "Community." This thriller was about a homeowners' association gone wild, controlling every aspect of those who live within its gates. As someone who feels homeowners' associations are slowly taking away the freedom of American homeowners, this episode played on one of my personal fears.

Routh did a great job in his role as a husband trying to combat the association. Given Routh's undeniable resemblance to Christopher Reeve, however, I found the episode's final moment to be chilling and perhaps even unintentionally distasteful. Despite Routh's great work, this won't be an episode I'll watch again.

Though Fear Itself has been uneven so far, I think it's a great premise for a series and I hope NBC will keep this one around. Rating: 7 (out of 10).

Star Trek: The Motion Picture

noreply@blogger.com (Tygrrius) — Fri, 25 Jul 2008 11:17:00 +0000

Assignment: Trek
A Film Frontier special presentation

For our first Assignment: Trek journey, we set our Omni to December 7, 1979. This web site has gone back into time. . . .

REVIEW: Star Trek: The Motion Picture

Other than a short-lived cartoon series, Star Trek fans endured a ten-year drought between the airing of the final episode, "Turnabout Intruder," on June 3, 1969, and the release of Star Trek: The Motion Picture to theaters.

When a deadly probe of unknown origins threatens Earth, James Kirk (William Shatner) returns to command the newly refurbished Enterprise. While the movie indeed reunites the entire original cast, it unfortunately presents Star Trek as a lifeless shell of the original.

All of the adventure, excitement, and fun are gone. Instead, Star Trek: The Motion Picture is a sterile bore that feels more like a poor copy of 2001: A Space Odyssey than Star Trek.

The film's one bright spot is the refit design of the Enterprise. She is beautiful and glorious. As much as I love her, though, an over four-minute, dialogue-less tour of the Enterprise's exterior set against composer Jerry Goldsmith's sleepy score is too much even for me. Apparently intended as a set piece, the scene drags on mercilessly, much like the rest of this movie.

Though Vulcans are known for concealing their emotions, it is the humans of this film that seem to lack any feeling. Except for brief sparks, none of the characters ever seem alive. The crew spends most of their time gaping in near zombie-like fashion at the main viewer on the bridge.

Meanwhile, the audience is subjected to never-ending visual effects as the Enterprise slowly makes its way through the interior of the massive probe. The characters become incidental to the effects and whatever plot there is seems only an after thought.

While things finally begin to pick up a bit in the final act, where there are actually slight glimmers of the real Star Trek, it is not enough to save this disaster of a movie served up by producer Gene Roddenberry and director Robert Wise. This is bad Star Trek and horrible science fiction.

Star Trek: The Motion Picture ultimately fails on almost every level. Lacking the emotional heart of the television series, the movie is simply not entertaining. However, besides the debut of the refit Enterprise, the movie has one other redemption: the promise of more adventures to come.

Story: 1 (out of 10)
Performances: 2
Visual Style: 1
Effects: 7
Music: 2
Overall: 2

The Dark Knight

noreply@blogger.com (Tygrrius) — Sat, 19 Jul 2008 21:32:00 +0000

The last Batman movie I saw in the theater was 1995's Batman Forever, starring Val Kilmer. That was actually the first Batman movie I ever enjoyed (helped, no doubt, by the Superman-style opening credits, the mention of Metropolis, and Nicole Kidman, who has never looked better than she did as Dr. Chase Meridian).

I hated Michael Keaton's two turns as the character, in 1989's Batman and 1992's Batman Returns. While I found Kilmer convincing as the Caped Crusader, I wasn't thrilled with the casting of George Clooney in the role, so I skipped out on 1997's Batman & Robin (apparently a lot of other people skipped that one, too).

When a new Batman movie hit theaters in 2005, with then-unknown Christian Bale in the title role, I was only barely aware of it. A reboot with a younger guy playing Batman, where they tell his origins yet again? Boring, I thought, so I didn't bother to see Batman Begins in the theater.

Yes, I'm an idiot. I have admitted that many times in this space. I finally saw Batman Begins in 2006 on DVD, sometime after seeing Superman Returns in the theater. I needed a DC superhero fix and Superman Returns had not yet hit DVD.

Batman Begins blew me away. Finally, a Batman movie I could really get behind! I watched Batman Forever again after that, but my former favorite didn't hold a candle to Batman Begins. (Kidman still looked pretty good, though.)

Though Batman Begins and Superman Returns earned about the same figures at the box office, director Christopher Nolan's Batman Begins is often regarded as a "surprise hit" while some continue to call director Bryan Singer's Superman Returns a "box office disappointment."

For Nolan, this meant that he was able to proceed relatively quickly with a sequel, The Dark Knight, keeping most of his cast intact. I consider three years the perfect interval between entries in movie series, and The Dark Knight hits this advantage perfectly. The Superman Returns sequel, sadly, is still in development hell.

Conventional wisdom for superhero movies has it that the first sequel is always better than the original. Most think that 1980's Superman II is better than 1978's Superman. Many believe that 2004's Spider-Man 2 is better than 2002's Spider-man. (I actually disagree on both counts, but we're not talking about me here. My wisdom is anything but conventional.)

At the beginning of this year, I was definitely psyched to see The Dark Knight - especially after watching its early preview trailers. I must admit, though, that the death of Heath Ledger, who plays the Joker in the film, dampened a lot of my enthusiasm. It's hard to get excited about a movie that features the final completed performance of a talented actor who died before his time.

Besides, Batman Begins is a tough act to follow. Could The Dark Knight even match its predecessor in quality, much less improve upon it? Walking into The Dark Knight this morning, I realized that I was two for two in summer movies so far. Both Indiana Jones and Get Smart failed to let me down. Let's just say I was due for a disappointment.

In The Dark Knight, Batman continues his loose alliance with Gotham police Lieutenant Gordan (Gary Oldman). The duo also brings Gotham district attorney Harvey Dent (Aaron Eckhart) into the fold. As the trio seeks to rid Gotham of crime, the Joker similarly teams up with the city's organized crime bosses, ostensibly to rid Gotham of Batman.

Maggie Gyllenhaal is Katie Holmes as Rachel Dawes. Seriously, Gyllenhaal's channeling of Holmes, who declined to reprise her Batman Begins role for the sequel, is uncanny. In fact, the transition is even more seamless than Dick Sargent taking over Dick York's role of Darrin Stephens on Bewitched. If Holmes were not a former star, I would never have noticed the change.

So, how does The Dark Knight stack up against Batman Begins? Somehow, it's even better. Like Star Wars (1977), Star Trek II: The Wrath of Khan (1982), and The Empire Strikes Back (1980), The Dark Knight is one of those extremely rare movies where every single piece falls together just right.

The story is intricate and captivating, without being too convoluted. Nolan establishes a dark mood, yet makes room for occasional humor to keep audiences from falling too far into the dreariness. Editing is tight and extremely well-paced. There are no "slow" parts that should have been left on the cutting room floor. Every actor gives a convincing, top-notch performance. Ledger takes the Joker farther into insanity than any previous performer, yet manages not to seem over the top.

All of the visual effects are impeccable. There are no effect guffaws to pull you out of the movie. While I'm sure they made extensive use of CGI, there are none of those "Why did they use CGI here?" or "That looks really fake" moments that plague so many movies these days. Composers Hans Zimmer and James Newton Howard are right up there with John Williams and James Horner in my book, and their score here is as perfect as the rest of the movie.

The only fault I can find with the entire movie is that Batman's voice occasionally sounds like that of McGruff the Crime Dog. In at least two scenes, I thought for sure Batman was going to say, "Help me take a bite out of crime." This is an admittedly minor quibble. He also had a McGruff scene in Batman Begins, so at least he's consistent.

The best thing about both Batman Begins and The Dark Knight is that the two films are so grounded in reality. They do not repeat the critical mistakes of many comic book movies, that is making the entire world so unlike our own that we cannot relate. Batman Begins, The Dark Knight, and the best Superman movies all work because they place our heroes and villains within an otherwise "normal" world.

I need to see The Dark Knight a few more times to see how it holds up on repeat viewings. Superman remains my favorite superhero, but at this point I'm leaning towards The Dark Knight as the best superhero movie of all time - edging out Richard Donner's Superman (1978). Maybe a superhero movie this incredible can only come along once every thirty years. I'm glad I was there both times.

Story: 10 (out of 10)
Performances: 10
Visual Style: 10
Effects: 10
Music: 10
Overall: 10

"The Cloud Minders" (Star Trek: Remastered edition)

noreply@blogger.com (Tygrrius) — Sun, 13 Jul 2008 23:37:00 +0000

Star Trek (Remastered): "The Cloud Minders"
Remastered Episode #76 (7/12/2008)
Original Episode #74 (2/28/1969)

Though it didn't quite make my must-see list of Star Trek episodes, "The Cloud Minders" is one of the gems of the third season. Unfortunately, I don't have time to fully review this episode tonight. As I used to do when Star Trek: Remastered first hit the air back in 2006, I'm going to focus this short review only on the effects upgrades rather than the episode itself.

With a plot focused around a city in the clouds, "The Cloud Minders" is an episode I've looked forward to seeing since the original announcement of the Remastered series. The original 1969 version of the Stratos cloud city was actually fairly effective for the time. Stratos offers the chance for CBS Digital to showcase their fine work in a way that most other planet episodes do not.

For whatever reason, however, CBS Digital dropped the ball on this episode. Seen from a distance, as when Kirk and Spock are on the planet below, Stratos in the 2008 remastered version looks only slightly more convincing than the vintage version.

While close-up shots of the city details themselves look great, there were wasted opportunities here to really open the shots up, include some movement, and make Stratos seem like more than just a pretty matte painting. In the end, the whole affair comes off looking like another rush job.

I already found the 1969 effects satisfying, so I can't imagine ever watching the Star Trek: Remastered version of "The Cloud Minders" again.

Dramatic Content: 7 (out of 10)
Effects Upgrades: 5

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Get Smart (2008)

noreply@blogger.com (Tygrrius) — Sun, 22 Jun 2008 13:36:00 +0000

The Get Smart television series made its debut on NBC in 1965, about a year before the premiere of Star Trek on the same network. Perhaps it's appropriate, then, that the new movie version of Get Smart has made its debut about a year before the premiere of the new movie version of Star Trek.

Call me old-fashioned, but my three favorite TV series aired most of their new episodes in the 1960s. Get Smart fits snugly into that third spot for me, right after Star Trek and The Twilight Zone. I was born in the mid-1970s, so I have only known these shows in reruns. (My fourth favorite series, however, breaks that 1960s convention. It's Lois & Clark: The New Adventures of Superman from the 1990s.)

This year, I've started making my way through the Get Smart series on DVD. I'm in the middle of the second season right now, relishing each episode. It's great watching them in sequence, and hearing Barbara Feldon (Agent 99) introducing each one. With Star Trek bumped until next year, Get Smart was my most anticipated movie of the year. Would I be disappointed?

Much like 2009's Star Trek, 2008's Get Smart faces the obstacle of audience reluctance to accept new actors in iconic roles. Who else but Don Adams could play Agent 86, Maxwell Smart? Who else but Barbara Feldon could play Agent 99? Who else but Edward Platt could play the Chief?

Another potential strike against the film is the history of attempted Get Smart revivals. After the series was cancelled in 1970, Don Adams returned as Agent 86 in The Nude Bomb, which was released to theaters in 1980 but poorly received. Notably, Agent 99 never appeared or even received a mention in the movie.

A 1989 TV-movie, Get Smart, Again, fared better and reunited the surviving cast, including Adams and Feldon. In 1995, FOX aired a new sequel series, Get Smart, which also featured both Adams and Feldon, with Smart now the Chief of CONTROL. The series also featured Andy Dick in an uninspired performance as 86 and 99's son, Zachary. The low-rated series lasted only seven episodes.

Now it's 2008 and Get Smart is back in theaters again. Steve Carell, who generally I've found overrated in previous projects, stars as Maxwell Smart. Anne Hathaway, who generally I've found underrated in previous projects, co-stars as Agent 99.

There are really only three key questions to address in reviewing this movie.

1.) Does the re-casting work?

The re-casting works, absolutely. Steve Carell is Maxwell Smart. I believed it from the moment he first appeared on screen until the very end of the movie. Carell makes brilliant choices throughout the film in portraying the character. Most importantly, he is not imitating the legendary Don Adams. Had he made this mistake, the Get Smart movie would have merely been a spoof of itself, aping the TV series that supposedly inspired it. Think Starsky & Hutch, The Dukes of Hazzard, or most other recent film adaptations of classic TV series. Carell's performance is the main reason why Get Smart does not fall into this trap. If Carell had tried to imitate Adams, I would have hated this movie.

Meanwhile, Anne Hathaway proves that she can not only handle comedy, as expected, but that she is also a kick-ass action hero at heart. Hathaway's performance may in fact be the best of the entire movie, reminiscent of Rene Russo in Lethal Weapon 3.

Alan Arkin appears as the Chief and brings the same sort of effective counter-balance to Carell's antics that Platt brought to those of Adams. The father/son-like relationship between the two characters survives the transition to the big screen as well.

2.) Is the movie good?

Get Smart is not a good movie, it's a great one. From the instant it begins until the credits roll, it is non-stop action and comedy that rarely takes a breather. I was expecting a movie like this to drag at times, or, worse, to have revealed all of the best moments in the previews, but it turned out even better than I ever hoped.

When KAOS, the international organization of evil, takes out nearly all of the agents of CONTROL, the international organization for good, the Chief is forced to promote one of his favorite but bumbling analysts, Maxwell Smart, to agent status. The newly named Agent 86 teams up with veteran Agent 99 and together they must unravel KAOS' plan to strike the United States. Dwayne "The Rock" Johnson turns in an effective and typically charismatic performance as Agent 23, one of the few survivors.

Most of all, the movie is non-stop fun. That's what I'm looking for in a movie like Get Smart.

3.) Does it feel like Get Smart?

Most of the time, Get Smart indeed feels like an updated version of the TV series. Over forty years have passed and society has changed in many ways, though. Certain things are bound to feel different. One of the main changes is in the relationship between Agents 86 and 99.

On the TV series, the sexual chemistry between the two characters was instant but understated. In early seasons, Max even seems totally oblivious to 99's subtle affections. In the movie, there is an instant sexual tension between the two, but this time it is Max who quickly falls for the aloof 99. The turnabout works, but definitely feels different from the series.

Does the re-tooling of 99 as an action hero go too far? For me, it works and is one of the best updates of the movie. It feels like a natural progression of the barrier-breaking strides started by Feldon and her interpretation of the character in the 1960s.

There are also some great nods to the TV series in this film, none of which I will give away here. Some are subtle while others are obvious. All are in great taste and do not take away from the film at hand.

* * *

Nothing will ever replace the TV series, but the new Get Smart movie serves up two hours of entertainment that complement the show. My suggestion is to go in without pre-determined expectations of what a Get Smart movie "must" be. Just go in to watch a fun movie and you won't be disappointed.

Story: 8 (out of 10)
Performances: 10
Visual Style: 9
Effects: 8
Music: 9
Overall: 9

Guest Review: Bubba Ho-Tep DVD

noreply@blogger.com (Tygrrius) — Thu, 12 Jun 2008 01:59:00 +0000

Tonight, for the first time in the history of The Film Frontier, I am happy to present a guest blogger! I'm still taking a much-needed break from the site, but Phil Arnold over at ElvisBlog volunteered to pick up the slack on my behalf by contributing a review.

Sharing a mutual interest in Elvis Presley, Phil and I have been exchanging e-mails over the last several weeks. He's been a fan since 1956, when Elvis first rose to national fame. Phil is a frequent writer and a contributing editor for Elvis...The Magazine (formerly Elvis: International Forum).

Phil's ElvisBlog may well have been the first Elvis-related blog on the web. It certainly is one of the best, featuring well-written articles, a quirky sense of humor, and a unique approach. Phil never forgets to have fun, and what's the point of being a fan if you're not having fun? Top-notch bloggers like Phil are an inspiration to the rest of us out here. My thanks to him for loaning me this review. I promise to return it without a scratch.

--Tygrrius

* * *

Bubba Ho-Tep Is Alive And Well
by Phil Arnold

When Bubba Ho-Tep was released back in 2003, I did not watch it in a movie theater. As an independent film made on a shoestring budget, its run was mostly limited to the film festival circuit. However, it received much critical praise, and by the time Bubba Ho-Tep came out on VHS, there was enough buzz to make it a ‘must have’ for me. I loved it. Because it was about Elvis, I was predisposed to like it, but this film won me over on its merits.

For those of you not familiar with Bubba Ho-Tep, let me fill you in. This is the short version, so we will skip the involved set-up and back-story. Two men in their seventies discover that their retirement home is under siege – by an ancient Egyptian mummy. One man is Elvis, who the staff and residents think is a former Elvis impersonator named Sebastian Haff. The other is a black man who believes he is John F. Kennedy (and who the staff and residents think is nuts).

The mummy, nicknamed Bubba Ho-Tep by Elvis, has been on a killing spree at the rest home, sucking the souls of elderly men and women through various orifices. This doesn’t sit well with Elvis and JFK, and they decide to rid their retirement home of this menace. Their brave efforts provide Elvis with the opportunity to spout wonderful gritty lines like “Let’s take care of business. We’re gonna kill us a mummy.” and “Never, never f… with the King.”

The lead roles in the film were Bruce Campbell as Elvis and Ossie Davis as Jack Kennedy, and both gave touching, funny and eccentric performances. The director was Don Coscarelli, who is known primarily for his Phantasm and Beastmaster series. I have never watched a movie about Elvis where the actor truly convinced me he was the King, but this is different. At no point did I ever see Bruce Campbell as anything other than a geriatric Elvis.

Bubba Ho-Tep has gained even more popularity over the years, and now is thought by some to have achieved cult status. The DVD was re-released last year as a limited “Collector’s Edition” with a new cover and special packaging. The DVD now comes inside a cool mini-jumpsuit.

Of course, I had to have one of these. The other bonus was all the extra features on the DVD. If you ever buy or rent it, be sure to watch the version of the movie with the sound turned off and replaced by audio commentary by director Coscarelli and Elvis actor Campbell. They have such a fun time talking about the movie and telling stories about making it. There is also another audio commentary by Campbell alone in character as Elvis. This suffers a bit without the interplay with Coscarelli, but it is definitely worth a watch.

I had no doubt that Bubba Ho-Tep had achieved bona fide cult classic status when I discovered there are collectible action figures based on the movie. For $14 each you can purchase Bubba Ho-Tep and Elvis. The manufacturer was clever to call the figurine Sebastian Haff, not Elvis, and thus avoid any hassle with Graceland. I’m pretty sure EPE can’t be too happy seeing an old Elvis with a walker out there in the market place. However, if they did embrace the concept, they could promote it as the first collectible Elvis Inaction Figure. They’ve licensed stranger things.

You may be wondering what type of movie Bubba Ho-Tep is. There are certain elements of horror in it, but they are rather limited. You won’t have to cover your eyes to be spared watching a lot of blood and gore. Comedy is an unexpected bonus in this film, but at its heart, this is a buddy movie. Elvis and Jack are languishing in death’s waiting room until Bubba arrives. He gives them something to care about, something with a purpose. It is wonderful to see these two old geezers come alive and embark on their mission. Unlike the Elvis movies of the 60s, this time Elvis is a genuine hero. Elvis fans will swell with pride at his display of courage. He may be 70-something and using a walker, but you know Bubba Ho-Tep is in for big trouble when Elvis declares, “Come on and get it, you undead sack of shit.”

Copyright ©2008, Philip R Arnold. All rights reserved. Used with permission.
Visit www.ElvisBlog.net.

Indiana Jones and the Kingdom of the Crystal Skull

noreply@blogger.com (Tygrrius) — Thu, 29 May 2008 11:50:00 +0000

It's been an extremely busy seven days for me, but I finally had a chance to see Indiana Jones and the Kingdom of the Crystal Skull yesterday afternoon. Though I was certainly looking forward to it, I was not exactly hyped about this movie. I think it was mostly the preview trailers. I found them to be ineffective and uninspired. I was worried the movie would play the same way.

Fortunately, the movie itself turns out to be a totally different story. First of all, director Steven Spielberg banked some major points with me early on for opening the film with an Elvis Presley song. Kingdom of the Crystal Skull takes place in 1957, so Elvis' 1956 hit "Hound Dog" fits right in.

Russian KGB agents manage to infiltrate the infamous Area 51. Within a warehouse of US government secrets and treasures, including the Ark of the Covenant, they release the captured Indiana Jones (Harrison Ford) and order him to show them the location of a mummified body he assisted the US military with ten years earlier.

This is the first glimpse of the older Indy, for it's been 19 years since his last movie, Indiana Jones and the Last Crusade. I was in my early teens back then. I remember that Last Crusade was just a movie for my friends and I to see on a whim as the school year was winding down while waiting for Star Trek V: The Final Frontier to be released the following week.

In fact, the preview for Star Trek V that preceded Last Crusade made me so excited for that film that I had a hard time concentrating on the Indy movie at first. Eventually, of course, the film drew me into the world of Indiana Jones. By the end, I was a big fan.

And to think, Star Trek V would be even better! Well, I had chicken pox by the time Star Trek V came out and didn't even see it until the following weekend and it . . . was what it was. Last Crusade became my favorite movie of 1989. This was also the summer of Tim Burton's Batman, but I only thought that movie was so-so.

Back to the present. Harrison Ford is older now, but so am I. I'm in my early 30s. I'm married and own a home. And wouldn't you know it, I'm still anticipating the release of another Star Trek movie. Some things never change. As for Ford, he steps easily back into the role of Indiana Jones. It's as if he continued playing the character throughout that 19 year absence. That, for me, is the real triumph of Kingdom of the Crystal Skull. Ford proves that he still has it. He can still play Indy, just as effectively as ever.

At Indy's side through most of Kingdom of the Crystal Skull is "Mutt" Williams (Shia LaBeouf), a Marlon Brando/James Dean type. Ford and LaBeouf play well off each other and their chemistry represents the best part of this film.

Not so great is actress Cate Blanchett, who plays lead villain Irina Spalko. The Oscar winner was not up to the task of a fun, action-adventure movie like this one. Each time she was on screen delivering more than a line or two, I found myself wishing they had cast someone, anyone else.

Direction by Spielberg is top-notch as expected. Most of the look of this movie is close to the first three. There are not the shocking visual differences that exist between the original and prequel Star Wars trilogies, for instance.

Surprisingly, the special effects by Industrial Light & Magic are a mixed bag. I assume this was due to a time-crunch, as the production for this movie seemed compressed compared to, say, your average Star Wars movie. Many sequences are great, but some of the sequences in the finale are mediocre. I expect better from ILM.

The story by George Lucas and Jeff Nathanson, scripted by David Koepp, is fun and not overly complicated. You'll see each plot twist coming a mile away, including the worst-kept movie secret since that one in Superman Returns. That's okay, though. Indiana Jones movies have never been about the destination. They are about having as much fun as possible getting there.

Kingdom of the Crystal Skull has fun and adventure in abundance. It fits right in with the first three films, and is on par with them. Spielberg, Lucas, and Ford have done the impossible yet again.

Would I be tempting fate, or just plain greedy, to ask for another Indy movie or two? So be it. More, please. If this turns out to be the last Indiana Jones movie, though, then it was a great ride that ended on a high note. As a big fan of the main trio involved, I'd like to tell them thank you.

Story: 8 (out of 10)
Performances: 9
Visual Style: 10
Effects: 8
Music: 9
Overall: 9

Elvis: That's The Way It Is CD set (2008 FTD edition)

noreply@blogger.com (Tygrrius) — Wed, 21 May 2008 20:20:00 +0000

Elvis: That's The Way It Is CD set (Follow That Dream Records, 2008 edition)

Welcome, Elvis fans! You are probably wondering why a science fiction site is reviewing an Elvis CD. In fact, the Star Trek, Star Wars, and Superman fans who visit here may be wondering the exact same thing. The answer is, The Film Frontier is much more than just a science fiction site these days. I've slowly started branching it out to cover anything in pop culture that interests me. And one of my biggest interests is Elvis Presley, who was kind enough to provide the soundtrack for my life.

Background: Every dream comes true a hundred times
For Elvis fans, choosing a favorite Elvis era is almost like being asked to choose a favorite child. However, I have put a lot of thought into this very question over the years. While I also love his many achievements before and after, my favorite time period in Elvis' career has to be June 17, 1968, through January 16, 1971.

Why those specific dates at each end of the range? June 17, 1968, was the first day Elvis reported to work for his 1968 television special, ELVIS (now known as Elvis: '68 Comeback Special). January 16, 1971, was the day Elvis accepted what most say he considered the highest honor of his life, the National Jaycees Award for being one of 1970's Ten Outstanding Young Men of America. Despite the fact that Elvis rarely accepted awards in person and was not used to giving speeches, he delivered an incredible acceptance speech. To this day, I find his words inspiring:

"Thank you very much, ladies and gentlemen. I'd like to thank the Jaycees for electing me as one of the Outstanding Young Men.

When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream that I ever dreamed has come true a hundred times.

These gentlemen over here, it is these type people who care, who are dedicated. You realize that it is possible that they might be building the Kingdom of Heaven. It's not too far-fetched from reality.

I'd like to say that I learned very early in life that:

'Without a song, the day would never end,
Without a song, a man ain't got a friend,
Without a song, the road would never bend,
Without a song.'

So I keep singing a song. Goodbye. Thank you."

I see this moment as the perfect finale to the best part of Elvis' career that began with the '68 special. He had literally re-conquered the music world, when most had counted him out. He had never been quite this incredible before, and would never be again. Among Elvis' work during this 31-month period are:

• ELVIS (TV special and album)
• Final three movies as an actor: Charro!, The Trouble With Girls, and Change of Habit, all of which are notable for breaking from the typical Elvis movie formula in some way
• American Studios sessions in Memphis (including #1 hit single "Suspicious Minds" and From Elvis In Memphis album)
• Return to live performances: 1969 and 1970 Las Vegas concert engagements
• RCA Studio B sessions in Nashville (including Elvis: That's The Way It Is and Elvis Country albums)
• First documentary movie, Elvis: That's The Way It Is, which captures rehearsals and performances from his third Vegas engagement, Summer 1970
• First concert tour since 1957

My favorite album released during Elvis' lifetime is Elvis: That's The Way It Is - which featured adult contemporary material from his June 1970 Nashville recordings, as well as four live cuts from his August 1970 Vegas engagement. It served as a soundtrack of sorts for the excellent documentary of the same name.

The original 1970 album
Though That's The Way It Is eventually became my favorite album, it had to grow on me over the years. Though often overlooked, That's The Way It Is contains some of the best songs and performances of his entire career. Though it's my favorite, it's not perfect.

Some criticize this album for not living up to one of its more rock-driven predecessors, From Elvis In Memphis. Unfortunately, rock 'n' roll fans sometimes dismiss That's The Way It Is as an easy-listening bore. One of the causes of that issue, I believe, is the sequencing of songs on the album, meaning many of the songs should have been presented in a different order. That's The Way It Is unfortunately starts with a live cover of the sleepy B.J. Thomas hit "I Just Can't Help Believin'," which immediately allows listeners to brand the album as easy-listening.

Proper sequencing of songs is very important (though perhaps less so these days in the more random iPod Age), and I believe it's one of the areas where RCA/BMG often fails in their Elvis albums, going all the way back to the beginning.

Adding to the trouble, a couple of the live performances included on the album, "Patch It Up" and "I've Lost You," are not as powerful as their studio counterparts, which should have been used instead. The studio versions had been released as singles prior to the album, so the live versions were likely considered as "bonus" items for fans that already bought the singles. The artistry of the album itself should have taken priority, though.

Apparently to complete the "feel" of a live recording, RCA overdubbed applause on the end of the studio version of "Bridge Over Troubled Water," which closed out the album. Elvis' vocals on the first verse of the song are also hard to hear, either on purpose or due to a technical glitch. You can better hear Elvis' beautiful performance of this song, with his voice louder on the first verse and without the annoying applause overdubs, on Heart & Soul and the Elvis: Walk A Mile In My Shoes-The Essential 70s Masters boxed set.

The original That's The Way It Is would have been greatly improved, and certainly better received by critics and fans, if a couple of different song versions had been used and the album had been sequenced as below. Call it "Elvis: That's The Way It Should Have Been" - my "fantasy version" of Elvis: That's The Way It Is.

Side 1
• "Stranger In The Crowd" (studio, as on original)
• "I've Lost You" (use studio version instead)
• "How The Web Was Woven" (studio, as on original)
• "You Don't Have To Say You Love Me" (studio, as on original)
• "Bridge Over Troubled Water" (use studio version without applause overdub instead)
• "I Just Can't Help Believin'" (live, as on original)

Side 2
• "Patch It Up" (use studio version instead)
• "Twenty Days And Twenty Nights" (studio, as on original)
• "Just Pretend" (studio, as on original)
• "The Next Step Is Love" (studio, as on original)
• "Mary In The Morning" (studio, as on original)
• "You've Lost That Lovin' Feelin'" (live, as on original)

No matter the order you listen, though, the That's The Way It Is material represents a true Elvis masterpiece.

FTD's 2008 edition
Follow That Dream (FTD) Records is RCA/BMG's Elvis Presley collectors label, aimed mostly at fanatics like me. FTD releases are kind of like "official" versions of bootlegs. The Elvis bootleg industry is huge, but FTD provides a legal alternative with releases focusing on alternate takes and live performances. While the mainstream is listening to yet another greatest hits compilation, the hardcore fans are listening to FTD releases. When I heard FTD was re-releasing Elvis: That's The Way It Is on 2 CDs as part of its "Classic Album Series," I at first wasn't too excited, believe it or not.

Why? Well, I bought the original That's The Way It Is on CD back in 1993 and was thrilled with it. In 1995, I bought the 5-CD set Walk A Mile In My Shoes, which included all of the songs from That's The Way It Is (except the live versions of "Patch It Up" and "I've Lost You," for which the studio versions were included).

In 1996, I bought A Hundred Years From Now: Essential Elvis, Volume 4, which included outtakes from the June 1970 sessions that produced That's The Way It Is.

In 2000, I bought That's The Way It Is again when RCA/BMG released a 3-disc "Special Edition" version to stores to celebrate the 30th anniversary of the album and documentary.

In 2002, I bought even more outtakes from the June 1970 sessions, on FTD's excellent The Nashville Marathon CD. Plus, I have bought three or four other That's The Way It Is related CDs, with rehearsals and live performances.

When it comes to That's The Way It Is, you could say I'm pretty well covered. Did I mention it's my favorite album? Much like Agent K in Men In Black ("This is gonna replace CDs soon; guess I'll have to buy the White Album again"), I have learned to accept my fate. I will be buying Elvis: That's The Way It Is at least once a decade for the rest of my life. Hey, that's not such a bad deal!

Anyway, I wasn't too interested in this FTD release, which compiles the original album with the relevant alternate takes from A Hundred Years From Now and The Nashville Marathon, as well as few other alternates and tracks. However, fan reviews by people I respect over at ElvisNews.com and Elvis Today changed my mind. The new version of That's The Way It Is started shipping to US addresses on Friday. On Monday, it arrived here, and I was up until after midnight playing the two discs. Was it worth it?

The review
It's been a long time since I reviewed an Elvis CD. Before I created The Film Frontier, I used to write and edit a small-time Elvis fan newsletter back in the 1990s. This was a real newsletter on actual paper. Remember those? None of this online stuff. On a good year, I had fifty concurrent subscribers - which was about the most I could support with no budget anyway.

The funny thing is, despite the newsletter's miniscule circulation and the fact that it was never published online, an Elvis bootlegger actually somehow obtained and then plagiarized one of my articles and used part of it in an online "press release" promoting a new bootleg DVD several years ago. Imagine my surprise when I came across my own words when browsing through a random Elvis site! I wasn't sure if I should be angry or flattered. It still turns up every now and then on different Elvis sites, whenever the bootleg DVD gets a new release or is mentioned. I can't help but laugh when I see it.

I suppose if a bootlegger is going to rip off a company like RCA/BMG, ripping off a forgotten article from a defunct Elvis newsletter is no big deal. It certainly made me look at the bootleg industry in a whole new light, though. Anyway, it's probably been over ten years since I wrote a review of an Elvis CD. These days, I have this small-time pop culture website, so it's nice to get the chance to do it again.

So, I already have the 3-disc That's The Way It Is: Special Edition from 2000, what do I need with this new 2-disc version? Though it included the original album, the focus of the 2000 version was really on the rehearsals and live performances as captured for the film. The focus of this new 2-disc version is on the June 1970 studio work for the album and its singles, so the releases are actually quite different. However, there is a lot of overlap with A Hundred Years From Now and The Nashville Marathon.

For the real verdict, let's go through it song-by-song.

"I Just Can't Help Believin'"
• Disc 1, Track 01, Live Master--8/11/1970 Dinner Show (DS) [4:40]: This original album version sounds good, but, surprisingly, the quality is slightly lower than the 2000 That's The Way It Is: Special Edition set. When listening with headphones, there is noticeable hiss on the quiet portions of the 2008 track that is not present in the 2000 track. As I noted above, the song does not serve well as an album opener. No other versions are included on this release. Elvis never formally recorded this song in the studio, but there are rehearsals and other live versions available. FTD was wise to focus on the Nashville session work here rather than taking up space with additional versions of "I Just Can't Help Believin'." The performance on the 8/11/1970 Midnight Show (MS), on RCA/BMG's Live In Las Vegas boxed set, is the best live version of this song released so far--much less sleepy than this album track.

"Twenty Days And Twenty Nights"
• Disc 1, Track 02, Master--Take 9 [3:18]: This is the original album version, one of my favorites. The sound quality here is also a notch lower than the 2000 set. The 2008 track again has a noticeable hiss in softer parts of the song, such as the beginning. For me, this song represents the adult Elvis, the recording artist Elvis that the mainstream so often overlooks in favor of songs like "Hound Dog" or, even worse, lousy imitators with fake sideburns, bad jumpsuits, and horrid voices.

• Disc 1, Track 15, Take 8 [3:17]: This complete take is a previously unreleased track. While nice to add to the collection, it is mostly unremarkable. It is interesting to note, though, that Elvis nailed the master version on the very next take after this one.

• Disc 2, Track 02, Rehearsal, Takes 1-3 [4:33]: Blink and you'll miss the unreleased rehearsal (Elvis sings off-microphone) and instrumental takes 1 & 2, which take about a minute total. Take 3, the bulk of this track, was previously released on The Nashville Marathon. Sound quality is slightly better here, though.

• Disc 2, Track 16, Take 5, Take 6 [2:18]: Elvis sings a brief snippet of one of his 50s classics before "Take 5" here - a nice surprise. These performances are left out of the "In And Outtakes" list in the liner notes. Both of these are blown, incomplete takes and are previously unreleased.

• Disc 2, Track 17, Master--Take 9--Rough Mix [3:35]: This previously unreleased "rough mix" is notable mostly for being about 20 seconds longer than the released version. Some of the mixing is slightly different as well, though the released mix is better.

"How The Web Was Woven"
• Disc 1, Track 03, Master--Take 3 [3:26]: Another tough choice, but this is probably my favorite song of the original album. This is a great love song, which I rank right up there in the same league as the more well-known "Can't Help Falling In Love." Sound quality here is again a disappointment compared to the 2000 edition. There is more noticeable hiss at the beginning of this 2008 track than there is on the 2000 track. Otherwise, sound quality is about the same.

• Disc 2, Track 07, Rehearsal, Take 1 [4:55]: This rehearsal and take were previously released on The Nashville Marathon. The rehearsal is about a minute longer here, though, which is quite welcome. Take 1 is as good as, possibly even better than, the master. Sound quality is the same as The Nashville Marathon. I wonder what happened to Take 2? I'd like to hear it, assuming it wasn't just a blown opening or something else extremely short.

"Patch It Up"
• Disc 1, Track 04, Live Master--8/12/1970 DS [4:02]: Compared to the excellent studio version, this live version from the original album just feels like a throwaway (though you won't think that if watching Elvis perform it in the film). Oddly, my main CD player cuts off the first split-second of this track when playing straight through from track 3 to track 4. If moving directly to track 4, it works fine. It played okay on another CD player, so no points off for this. Sound quality is slightly crisper on the 2000 release, though.

• Disc 1, Track 13, Studio Master--Take 8 [3:24]: This is a great performance and the sound quality here is significantly better than on Walk A Mile In My Shoes. The mix is slightly different as well (I don't have the 1970 45 RPM of this song, unfortunately, so no way for me to determine which, if either, mix is "correct"). The song also goes about 15 seconds longer than the 1995 release before fading. Crank this one up!

• Disc 1, Track 19, Take 1 [2:43]: This is a previously unreleased take. The "Patch It Up" song itself is actually rather insignificant, yet you hear through this and subsequent takes that Elvis could take a mediocre song like this one and turn it into something special.

• Disc 1, Track 20, Takes 2-7 [5:17]: More previously unreleased takes, all of which are blown or cut short. This is that "fly-on-the-wall" aspect that makes this kind of release so appealing. You can hear Elvis putting this song together, improving it little-by-little until he gets an acceptable master take. Elvis literally curses out the song on the seventh take. The very next take would be the master.

• Disc 1, Track 21, Take 9 [3:16]: This is one take after the master, previously released on A Hundred Years From Now. Sound quality here is slightly better, though. Not a bad performance, but the master was appropriately chosen.

"Mary In The Morning"
• Disc 1, Track 05, Master--Take 5 [4:11]: This is a pretty, if forgettable, love song from the original album. As noted for previous master tracks, sound quality was better on the 2000 release, particularly at the beginning of the track. Are the master recordings aging poorly? That's a scary thought. I'm hoping the problem is a technical glitch or even a (strange) mixing choice.

• Disc 2, Track 10, Takes 1-4 [7:45]: Two previously unreleased blown takes, followed by takes 3 and 4, which were first released on The Nashville Marathon. Like "Patch It Up," the appeal is the illusion of being in the studio while Elvis and gang work through the song. "Mary In The Morning" is harder to listen to repeatedly, though. It just keeps going and going. Tygrrius in the morning would fall back asleep if he had to listen to this song. Sound quality on takes 3 and 4 is slightly better than The Nashville Marathon.

"You Don't Have To Say You Love Me"
• Disc 1, Track 06, Master--Take 3 [2:32]: I hate to sound like a broken record, but once again the 2000 edition of this song from the original album beats the 2008 edition. Play them back to back, as I did, and you will hear more power in the 2000 edition. The 2000 edition knocks you back in your seat with, "When I said . . . I needed you. . . ." while the 2008 edition just ruffles your hair a little.

• Disc 2, Track 05, Rehearsal Composite [2:44]: This previously unreleased track is presumably edited together from a number of rehearsals. The editing here is nearly seamless, a fine job. Great to hear Elvis' producer Felton Jarvis say enthusiastically at the end, "Bravo! That's a gas, man!"

• Disc 2, Track 11, Take 1, Take 2 [3:12]: Take 1 is a short, previously unreleased flub. Take 2 first appeared on A Hundred Years From Now. Sound quality on this 2008 version is much improved.

"You've Lost That Lovin' Feelin'"
• Disc 1, Track 07, Live Master--8/12/1970 MS [4:25]: This live performance from the original version of the album is the definitive version of this song, by Elvis or anyone else. This is Elvis at his best, on stage doing what he loved the most. Sadly, this 2008 edition of the track also features the mysterious hiss issue. The 2000 version is superior. Incidentally, also released on that 2000 CD set as a separate track was an even longer version of the same performance of this song. Elvis does a fantastic reprise and the track time runs about two minutes longer. The 8/12/1970 MS is one of the best Elvis concerts I've ever heard, and it alone is worth picking up the 2000 edition (it comprises disc 2).

"I've Lost You"
• Disc 1, Track 08, Live Master--8/11/1970 DS [3:42]: While I love this live version of "I've Lost You," one of the original album tracks and certainly a highlight, I prefer the studio version because the lyrics and the arrangement are more complicated. That being said, this is still a great version. I used to play the heck out of it for years until I first heard the studio version on Heart & Soul. This 2008 track suffers from the hiss issue, compared to the 2000 edition.

• Disc 1, Track 14, Studio Master--Take 7 [3:31]: This is another absolute favorite for me. Sure, this wasn't on the original album, but this single did serve to promote that album. An extraordinary performance. The sound quality for this track is on par with its 1995 release on Walk A Mile In My Shoes. Just close your eyes and listen. This is Elvis.

• Disc 2, Track 03, Rehearsal, Take 1 [5:25]: During the previously unreleased rehearsal, Elvis complains about the number of words in the song. This is likely why it was simplified for the live version. Take 1 originally appeared on The Nashville Marathon, with similar sound quality. It's a quiet take, with more deliberate phrasing - probably because he's reading the lyric sheet.

• Disc 2, Track 14, Takes 4-6 [5:22]: The previously unreleased takes 4 and 5 are cancelled before Elvis even sings a note. Take 6, which is an improvement over Take 1 but not as good as the master on Take 7, was previously released on A Hundred Years From Now. Sound quality here is slightly better.

"Just Pretend"
• Disc 1, Track 09, Master--Take 3 [4:04]: How much Elvis greatness can one man take? This is another favorite, an impressive performance from the original album that only Elvis could deliver. Once again, though, you'll want the 2000 edition over this track, for this 2008 version contains annoying hiss.

• Disc 2, Track 12, Take 1, Take 2 [4:46]: Take 1 is previously unreleased. You guessed it, though, it's just a false start. It barely starts at all, actually. Take 2 was previously released on A Hundred Years From Now. Sound quality is better on this 2008 release, though.

"Stranger In The Crowd"
• Disc 1, Track 10, Master--Take 9 [3:48]: This is yet another great song, one of the best on the original album. Now do you see why I love this album so much? Once again, the 2000 release sounds better than this one, though.

• Disc 2, Track 08, Rehearsal, Take 1, Takes 3-5 [4:52]: Finally, some outtakes of this song! All of these are previously unreleased. Take 5 is nearly complete, but Elvis blows it near the end. "I'm sorry about that, man," he says.

• Disc 2, Track 09, Master--Take 9--Rough Mix [4:33]: This previously unreleased rough mix runs about 45 seconds longer than the final version. This has a slightly different mix, with horns a bit lower. Nice to have as an alternate listening experience.

"The Next Step Is Love"
• Disc 1, Track 11, Master--Take 11 [3:33]: Here's one studio song, from the original album, where I actually prefer the live version. The song is a little hokey either way, but the studio arrangement, complete with xylophone(?), doesn't help matters. Stick to the 2000 version on this song, too, by the way.

• Disc 2, Track 06, Rehearsal, Take 2, Take 3, Take 6 [5:11]: The interesting thing about this previously unreleased rehearsal is that you can hear the song's demo record playing in the background. The previously unreleased Take 2 and Take 3 are quick flubs. Take 6 was previously released on the Elvis: Today, Tomorrow & Forever boxed set. Sound quality is slightly better here, though. (Funny, this set wins on most of the outtakes and loses on most of the master takes.)

• Disc 2, Track 13, Takes 7-10 [6:06]: Well, you know the pattern by now. Three previously unreleased blown takes, followed by one previously released, complete take. The Nashville Marathon included Take 10, with similar sound quality. This is actually a nice take of the song. No xylophone!

"Bridge Over Trouble Water"
• Disc 1, Track 12, Master--Studio Take 8 (with overdubbed applause) [4:38]: Unfortunately, the Heart & Soul version of this track, with Elvis' vocal raised in the first verse and without the overdubbed applause, was not included on this release. I would have given up "Tiger Man" or one of the other unrelated songs to have this. As for this original version from the album, it's really not one I ever listen to, once the studio version proper was released. It doesn't do justice to his performance. The Heart & Soul version, though, I would contend as the best version of this song by anyone. Just for fun, though, I checked this 2008 version against the 2000 version. Yes, there's extra hiss here.

• Disc 1, Track 16, Live--8/11/1970 DS [4:14]: As noted by Thomas in his review at Elvis Today, if RCA wanted to close out That's The Way It Is with a live version of this song, why not use an actual live version? The 8/12/1970 MS performance, for instance, is nearly as good as the studio version. This track from the 8/11/1970 DS was originally released on the Platinum boxed set, with similar sound. My question is, why didn't FTD place an unreleased live version here instead? They could have used a performance from the 8/12/1970 DS or the 8/13/1970 DS.

• Disc 2, Track 04, Take 1 [5:01]: Just when I thought I was tired of hearing this song, this take came on. Beautiful. This was also on The Nashville Marathon with similar sound.

• Disc 2, Track 15, Rehearsal, Take 2, Take 5 [5:40]: The previously unreleased rehearsal is interesting, for it features a much faster take on the song. "I don't know, we'd better not," Elvis says with a laugh. Too bad they apparently didn't try a whole take like this! Take 2 is previously unreleased and really stops before it even starts. Take 5 was previously released on A Hundred Years From Now. The sound on this 2008 version is far superior.

Other Songs (not on original album)
• Disc 1, Track 17, "Little Sister/Get Back" (Live--8/12/1970 MS) [3:10]: This great live track first appeared on the Elvis Aron Presley boxed set and was also on the That's The Way It Is: Special Edition (2000) set. This features Elvis on electric guitar, not to be missed.

• Disc 1, Track 18, "Something" (Live Master--8/11/1970 MS) [3:37]: Another great live track. This one first surfaced on Walk A Mile In My Shoes. It appeared again on Live In Las Vegas, this time without the censoring of a mild curse by Elvis. Strangely, this FTD track is the censored version. In any event, this is Elvis' best version of this Beatles classic released thus far.

• Disc 2, Track 01, "Tiger Man" (Studio Jam--6/4/1970) [2:49]: This instrumental jam first appeared on The Nashville Marathon, though, curiously, that CD labels the track as "Mystery Train/Tiger Man" while this release of the same track only acknowledges "Tiger Man." Elvis can be heard off-microphone singing "Tiger Man" but not "Mystery Train," as far as I can tell, so perhaps that's the reason. However, the guitar opening of the jam itself sounds suspiciously like "Mystery Train." In concert, Elvis normally performed these two songs together, as a medley. His 1969 and 1970 live versions of this coupling are fantastic.

So, there you have it, kind of a mixed bag as far as sound quality. Most of the alternate takes have as good or better sound quality than previous releases. I'm not sure why most of the master takes have the extra hiss, which does not seem to add to or otherwise improve the sound but, rather, has the opposite result. Without headphones, though, you will not likely notice the difference. Most people who will buy this kind of album likely already have the 2000 edition anyway, though. Due to the content on Discs 2 and 3 of the 2000 edition, it's not like you would toss that one out in favor of this one anyway.

Like other releases in FTD's "Classic Albums" series, That's The Way It Is comes in an oversized CD case, the size of a 45 RPM sleeve. All of the FTD releases are packaged on cardstock rather than within an actual jewel case, so I guess I've grown used to that over the years. I would prefer a more standard plastic jewel case presentation. I'll probably end up making my own. Check out some of the fantastic alternate covers for various releases over on TCB-World.com. My alternate covers, which I don't post online, are not nearly as good as most of the ones posted there. It's a fun little hobby, though. (Like most of my hobbies, such as this website, it is very time-consuming.)

Anyway, the FTD cover replicates the cover from the original 1970 album. The oversized aspect does at least offer the advantage of allowing the art to look that much closer to the original record album - something hard to accomplish on a standard-sized jewel case. Inside, the CD labels are meant to resemble the Side 1 and Side 2 labels from the original LP. This is a nice touch, but just remember not to use the song list on them, as they are representative of the 1970 release and not this 2008 edition.

Unfortunately, on my copy, the CD holders are incorrectly glued off center for both discs. This means that they do not fully cover the artwork underneath them (which appear to be photos of the real labels from the 1970 album). A little more quality control was needed here. This is made up for by a great picture of Elvis playing the acoustic guitar from one of his July 1970 rehearsals for the Vegas show, just a month after the studio session in Nashville that produced most of this release.

The enclosed 20-page booklet starts off with another spectacular picture of Elvis from Summer 1970, wearing a black leather jacket and his trademark aviator glasses. The booklet contains over 30 other photos, most of which are well chosen and really add to the release.

Though a bit scattered (you will find yourself thumbing back and forth a lot), the booklet contains a ton of information - something that standard FTD releases, outside of the Classic Album Series, sorely lack. There is a complete track-listing with songwriter and musician credits. There is a useful listing of "In And Outtakes" which gives more information about each performance on the release, including its previously released status and previous album (if applicable).

"Masters" gives the master take number for each song in the June 1970 Nashville session. Don't look for all of these tracks on this album, though, as the session also produced the Elvis Country and Love Letters From Elvis albums. A nice "Behind The Scenes" timeline follows the progress of both the original album and the documentary movie, from April 1970 when the movie deal is signed, until November 1970 when both the album and movie are released. On top of all of that, there are vintage newspaper clippings, memos, and other items of interest to round out the booklet.

The 2008 album producers (Ernst Jorgensen and Roger Semon) dedicate the release to Todd Morgan, a longtime Elvis Presley Enterprises staffer who passed away suddenly in March. "(He) worked tirelessly to maintain the legacy of Elvis Presley through his great work (and) will be sadly missed by all who knew him," the tribute reads in part. For me, Morgan's greatest contribution to Elvis' legacy was his spearheading of 2004's Elvis: '68 Comeback Special-Deluxe Edition 3-DVD set and Elvis: Aloha From Hawaii-Deluxe Edition 2-DVD set, which released all of the available footage from these television specials.

There is over 40 minutes of new material on this 2008 version of That's The Way It Is. Most of the performances not previously released on earlier editions of That's The Way It Is, A Hundred Years From Now, and The Nashville Marathon are incomplete rehearsals and blown takes, though. However, there are some real gems on this release, including the multiple "Patch It Up" takes.

Plus, this edition pulls everything together in one nice package. It has improved sound quality on a number of the previously released alternate tracks. However, the slight degrading of sound quality on most of the master recordings compared to previous releases is disturbing. This is most noticeable with headphones and probably won't otherwise affect you.

Despite the potential strikes against it, this 2008 re-issue turns out to be a must-have for serious fans of Elvis: That's The Way It Is. This is the definitive look at the outtakes of the That's The Way It Is portions of the June 1970 Nashville sessions. Just hang on to your previous copies of the album, too.

If wishes where horses. . . .
I am an Elvis fan, though, which means that I always want more. My thirst for That's The Way It Is material is not yet satisfied. Here's my FTD wish-list for future That's The Way It Is-themed releases:

• Complete 8/12/1970 DS concert
• Complete 8/13/1970 DS concert
• Complete 8/11/1970 DS concert
• Remaining rehearsals from Summer 1970 (California & Nevada)

As long as I'm making wishes, from Warner Home Video/Turner Entertainment Company, which owns the rights to the documentary film, I wish for a definitive multi-disc DVD set containing as many That's The Way It Is outtakes as commercially possible. (And while you're looking at documentaries, Warner Brothers, hurry up already with that Elvis On Tour DVD release. The format's going to be dead before you get around to releasing this Golden Globe winning movie.)

Songs: 10 (out of 10)
Audio Quality: 8
Liner Notes: 9
Cover Art: 8
Packaging: 7
Overall Experience: 10

To obtain FTD CDs, visit ShopElvis.com.

"Assignment: Earth" (Star Trek: Remastered edition)

noreply@blogger.com (Tygrrius) — Wed, 07 May 2008 01:47:00 +0000

Star Trek (Remastered): "Assignment: Earth"
Remastered Episode #67 (5/3/2008)
Original Episode #55 (3/29/1968)

The Enterprise is dispatched back in time to determine how Earth survived "desperate problems" in the year 1968. Considering all of the trouble they almost caused last season when accidentally going back in time to 1969, Starfleet should really think twice before ordering such a mission.

The Enterprise then intercepts the transporter beam of Gary Seven (Robert Lansing), a man who claims to be a twentieth century human sent by aliens on a secret mission to save humanity from itself. Huh? While a confused Kirk tries to validate his story, he throws Seven in the brig though it doesn't hold him long.

The plot, such as it is, serves mostly to introduce creator Gene Roddenberry's proposed and subsequently rejected Star Trek spinoff series, Assignment: Earth. As episodes go, this one is overly long (actually helped, for a change, by the syndication edits) and really not all that interesting. With a flat performance by Robert Lansing, who seems as bored as the viewers, the episode is somewhat saved by an enthusiastic performance by Teri Garr as Seven's quirky secretary, Roberta Lincoln.

The proposed Assignment: Earth series seems like it would have been a sort of Wild Wild West set in the 20th century using Star Trek style technology, with Lansing as a James Bond type character. On paper, not a bad concept. On screen in this episode, it just never takes off.

Though this episode preceded many of them, the real 1968 indeed turned out to be a year with desperate problems. "Assignment: Earth" is notable for containing another chilling prediction. Spock notes that an important assassination will take place on the day they arrive. The episode originally aired on March 29 - six days before the assassination of Martin Luther King, Jr., on April 4, and just over two months before the assassination of Robert F. Kennedy on June 5.

There seemed to be signal problems in our local broadcast of the episode, resulting in audio problems. The video upgrades did not look as crisp as normal, including a lot of flashing brightness issues. However, I'm going to chalk that up to the local problems, as all previous Star Trek: Remastered episodes have looked much better.

The biggest disappointment on the Star Trek: Remastered version of "Assignment: Earth" is the lack of creativity on the newly replaced visual effects. Most notably, stock NASA footage of the Saturn V rocket, filling in as the launcher of a US nuclear warhead platform, unfortunately remains. I suppose one could question why bother to replace actual footage with computer generated effects, but if that is the case, you could extend that reasoning to all of the Star Trek effects.

If the point is not to improve the episodes, then why bother? I can still watch the original episodes with the original effects. The similarly-themed "Tomorrow Is Yesterday" proves that CBS Digital could have done better than this in the creativity department. The effects upgrades they bothered to make look great, though; these are the basic Enterprise in Earth orbit shots. They should have those down by now, anyway. I'm still docking three points for lack of creativity this time out.

Dramatic Content: 7 (out of 10)
Effects Upgrades: 6
Overall Experience: 7

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"The Enterprise Incident" (Star Trek: Remastered edition)

noreply@blogger.com (Tygrrius) — Mon, 07 Apr 2008 13:11:00 +0000

Star Trek (Remastered): "The Enterprise Incident"
Remastered Episode #64 (4/5/2008)
Original Episode #59 (9/27/1968)

Forget the Klingons, the Romulans have long been my favorite villains of the classic Star Trek universe, though they only appeared in three episodes. All three of the Romulan episodes are among Trek's best: "Balance of Terror" from the first season, "The Deadly Years" from the second, and, completing the informal trilogy, "The Enterprise Incident" from the third season.

"The Enterprise Incident," which made its Star Trek: Remastered debut over the weekend, starts with a foreboding medical log by Dr. McCoy. Captain Kirk seems to be buckling under the pressure of command, like so many others before him. An angry Kirk orders the Enterprise into the Romulan neutral zone and Romulans soon surround the vessel. To the astonishment of the crew, the Romulans are now using Klingon battle cruisers.

When Kirk berates Spock for not detecting Romulans in the area, the first officer notes that the Romulans have a new cloaking device capable of fooling their sensors. Though not specified in the episode, this is evidently an upgraded, more powerful version of the Romulan cloaking device previously featured on the show.

On the original version of this episode, three Klingon-style battle cruisers surrounded the Enterprise. In the first and second seasons, the original Trek team did not have the budget to create a Klingon spacecraft. They finally created the battle cruiser model for the third season. The first episode produced to make use of the Klingon battle cruiser was "Elaan of Troyius," in which the Federation has yet another planetary claim dispute with the Klingons. Ironically, "The Enterprise Incident" aired prior to "Elaan of Troyius," so 1968 audiences first saw the Romulans using the vessel rather than the Klingons.

While updating the special effects of the entire Star Trek series, the Star Trek: Remastered team has liberally sprinkled the Klingon battle cruiser into earlier Klingon episodes where its use makes sense. The battle cruiser is a fantastic design by Matt Jefferies, who designed the original USS Enterprise as well. The battle cruiser also appeared in three Star Trek movies and several TNG-era episodes, without significant design changes.

Here, the Remastered team's computer generated renderings of the battle cruisers look mostly realistic. As a nice finishing touch, they added a Romulan paint scheme to the vessels, distinguishing them from the Klingon versions. Since the original creators had to reuse the model and footage, this sort of episode-specific detail could not have been performed on the original model.

Another change is that only two battle cruisers appear in the Remastered version of "The Enterprise Incident." The team has replaced the third with a Romulan bird-of-prey, as seen on the previous episodes. This is another nice finishing touch and continuity nod, well worth the small canon ripple. Check out pictures of the new scene here.

The Romulans order the Enterprise to stand down and demand that Kirk and Spock beam aboard the flagship. They do so and meet the Romulan commander (Joanne Linville), a woman who seems to share an instant attraction with Spock. The increasingly erratic Kirk blames the encroachment of the Enterprise on equipment failure, while Spock tells the Romulan commander that Kirk and Kirk alone is responsible.

Picture and sound upgrades are superb. With vibrant colors throughout, the episode looks even better than it did on the 2004 DVD set. As noted, the new special effects are quite effective in most scenes. I would have preferred a bit more creativity when the Enterprise extracts itself from the Romulan vessels near the conclusion, though, rather than the simple maneuver shown.

"The Enterprise Incident" is one of Star Trek's very best and is always a must-see, in its original version or its newly remastered form.

Dramatic Content: 10 (out of 10)
Effects Upgrades: 9
Overall Experience: 10

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"That Which Survives" (Star Trek: Remastered edition)

noreply@blogger.com (Tygrrius) — Tue, 18 Mar 2008 00:34:00 +0000

Star Trek (Remastered): "That Which Survives"
Remastered Episode #61 (3/15/2008)
Original Episode #69 (1/24/1969)

While Kirk, McCoy, Sulu, and D'Amato are in the process of de-materializing to beam down to a deserted planet, a woman suddenly appears in the transporter room, tells them that they "must not go," and then kills the ensign manning the controls by simply touching him.

After they appear on the planet, the landing party immediately encounters a violent storm. CBS Digital's newly-created scenes of the Enterprise encountering that same disturbance in space are, unfortunately, laughable.

Standard shots of the ship in orbit and moving through space look great, as I've come to expect from the Star Trek: Remastered effort. The newly created planet also looks fantastic.

As it has since the beginning, though, Remastered still seems to suffer from a time and/or budget crunch that makes some of the new effects look shoddy while others look brilliant. I consider myself a huge fan of this project, but this is a very disappointing aspect.

The landing party soon discovers that the Enterprise is no longer in the area. Sulu even suggests that it may have blown up, prompting a quick reprimand from Kirk that he is not interested in Sulu's guesses. In fact, Kirk chides Sulu a couple of times in this episode - almost making me want to give it another point just to see the overrated helmsman finally get his due.

Meanwhile, Spock and the others aboard the Enterprise are trying to figure out what happened to the planet, which seems to have disappeared, before they discover that the starship has actually been transported across the galaxy.

Like Kirk, Spock is also more irritable than normal in this episode - resulting in another nice exchange where he points out the uselessness of Scotty's comment that transporting the Enterprise such a great distance in so short a time is "impossible." Since it happened, it is obviously possible.

On the planet, what appears to be the same woman appears and, not finding any red-shirted crewmembers, kills the blue-shirted Lieutenant D'Amato - to the delight of the audience, since it spares us having to hear more of his bland delivery.

The "folding" effect used to materialize the woman appears to be essentially the same as the one on the original version of this episode, as I recall anyway. I'm glad they left this alone, as it was a unique feature of this episode.

Sulu's inferiority complex must grow, as Kirk keeps up his beating. Maybe Sulu made a huge mistake between episodes and is still facing Kirk's wrath. When Sulu notes that D'Amato's death is a "terrible way to die," Kirk sharply replies, "There are no good ways, Sulu."

Later, after they bury D'Amato in a "tomb of rocks" (not unlike the fate that will befall Kirk in Star Trek Generations), Sulu notes, "It looks so lonely there."

"It would be worse if he had company," McCoy tells him.

As Kirk, McCoy, and Sulu try to resolve the mystery on the planet, Spock and Scotty have their own problems on the Enterprise. An identical woman is also appearing there and killing off crewmembers, and the Enterprise just doesn't "feel" right to Scotty.

There's some chilling music in this episode, some of the best of the series. As a mystery episode, "That Which Survives" has a lot of potential and delivers on some, if not all, of it.

By the time of "That Which Survives" in 1969, Star Trek was in the home stretch. Only ten episodes of the three-season series came after this one in production. Conventional Trekkie wisdom has it that Star Trek "jumped the shark" several episodes earlier with the infamous "Spock's Brain."

As I've said before here, I just don't buy that. Yes, "Spock's Brain" is a bad episode but it hardly destroys the entire third season for me. The third season features a new lighting approach to many scenes aboard the Enterprise, toning things down from the colorful and bright previous seasons. There are also noticeable improvements to the special effects in the original versions of these episodes, particularly early on in the season. Perhaps we see a small glimpse of what might have been, production-wise, had the series endured for the fourth and fifth seasons it deserved.

Sure, compared to previous years, there are fewer top-notch episodes in the third season. However, there are plenty of average-yet-solid, "meat and potatoes" episodes. "That Which Survives" is one such episode. While it may not be as memorable as "The Tholian Web" or "The Enterprise Incident," it still offers up what the original Star Trek nearly always delivers: a solid hour of entertainment and adventure.

Sports teams cannot survive on their star players alone. They must have solid players all around to support those stars, and they must have depth in key positions should a player go down. In a season with few "star" episodes, "That Which Survives" represents the depth of the series. Star Trek is great not only for its stand-out episodes, but also for its average episodes like this one.

Dramatic Content: 5 (out of 10)
Effects Upgrades: 7
Overall Experience: 5

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Action Comics #862

noreply@blogger.com (Tygrrius) — Sun, 16 Mar 2008 11:48:00 +0000

Action Comics #862 (DC Comics, April 2008 cover date)
Writer: Geoff Johns
Penciller: Gary Frank
Inker: John Sibal
Colorists: Dave McCaig and Hi-Fi
Letterer: Rob Leigh
Associate Editor: Nachie Castro
Editor: Matt Idelson
Cover: Gary Frank

After the whole "Escape from Bizarro World" dud, Action Comics writer Geoff Johns has gifted us with "Superman and the Legion of Super-Heroes" to redeem himself. Featuring an intricate, compelling storyline and art that is just as top-notch, this story arc has been a welcome reminder of the power of comic books when all of the elements come together.

This issue features part five of the six-part story. In the 31st century, the Justice League has been corrupted by Earth-Man, who has spread a concocted story that Superman was actually human rather than Kryptonian and that "aliens" have been the cause of all of Earth's woes.

On the other side of this fight is the Legion of Super-Heroes. Earth-Man is simply a jealous, Anakin-Skywalker-type who was unable to handle rejection when he applied to the Legion. Seeking revenge, he captures many of them and absorbs their powers to increase his own. Near defeat, the Legion has brought Superman into the future to help. Earth has a red sun in this time period, though, so Superman has none of his yellow-sun-derived powers.

Is Superman still super without those powers? Very much so, as his greatest power is his character—which is there with or without a yellow sun. Over the last few issues, though, the 31st century Justice League has continued to push the Legion to the brink of defeat.

At Superman's suggestion, they call in reinforcements—the Legion of Substitute-Heroes. Unlike Earth-Man, these Legion of Super-Heroes rejects have been constructive rather than destructive and made the most of their situations.

The action ratchets up as the Subs join the battle, and Earth-Man and Superman finally begin to square off. With Johns back in form, and Gary Frank's art just as incredible as the narrative, Action Comics is finally must-read again. I can't wait for the conclusion, next issue.

Story/Writing: 9 (out of 10)
Art: 9
Cover Art: 8
Overall Experience: 9

"By Any Other Name" (Star Trek: Remastered edition)

noreply@blogger.com (Tygrrius) — Sun, 09 Mar 2008 11:42:00 +0000

Star Trek (Remastered): "By Any Other Name"
Remastered Episode #60 (3/8/2008)
Original Episode #50 (2/23/1968)

"By Any Other Name" is the episode that started it all. For me, anyway. In the late 1970s, when I was two or three years old, I watched Star Trek in reruns all the time with my older brother. Though I'm sure there were others before it, this is the first specific episode that I can remember watching.

Of course, the Star Trek: Remastered version of "By Any Other Name" isn't exactly the same as the one I watched as a kid. CBS Digital has revamped all of the visual effects with CGI, added a new matte painting of an alien landscape, and thoroughly improved the overall picture quality. A member of the Star Trek: Remastered team sent me a couple of screenshots on Thursday. Since I didn't have a preview article in the works but was planning to review the episode, I decided to save them for today. Click on each picture to see larger versions.

The Enterprise responds to a distress signal that turns out to be bait. The technologically advanced Kelvans of the Andromeda galaxy want to use the ship to get back to their own galaxy to report that ours is ready to be conquered. Andromeda will be rendered uninhabitable over the next couple of thousand years and the Kelvan scout ship was damaged beyond repair breaking the barrier that surrounds the galaxy (the one the Enterprise managed to traverse in "Where No Man Has Gone Before"). Though the journey to Andromeda would take the Enterprise over a thousand years in normal circumstances, the Kelvans plan to modify her to allow her to arrive in only three hundred.

To assist them in the use of the Enterprise, the Kelvans - who normally are large beings with a hundred independent tentacles - have assumed human form. In fact, they appear to be "perfect human lifeforms" that exhibit textbook responses. Dating all the way back to "The Cage," this is always an indication of trouble to follow.

The new matte painting (above), which is beautiful yet not too distracting from the overall 1968 feel of the scene, appears only for a few seconds early on. It features a large moon reflected in a beautiful lake. It would have been a nice enhancement to show the Enterprise pass this moon from space while leaving orbit of the planet. CGI renderings of the Enterprise are extremely realistic throughout this episode, though, so I can easily forgive them. Perhaps the moon was on the other side of the planet from where they broke orbit.

Unless you're a Vulcan, hijacking the Enterprise is normally a difficult undertaking. It helps when, like the Kelvans, you have power belts that can temporarily paralyze humans or turn them into small, tetrahedral blocks. Yeoman Leslie Thompson (Julie Cobb) is one of the first turned into a block. A human can be restored from this state as long as the block remains intact. Fortunately, the Kelvans spare us any further bad acting from Cobb by crushing her block into dust. The transformation and crushing of the block is actually the reason I so vividly recall this episode from back then, as it truly scared the two-year old version of me.

Since it didn't happen often due to the episodic nature of the series, I always love when one Star Trek episode specifically references another. When the Kelvans tell Kirk about the barrier surrounding the galaxy, he remarks dryly, "Yes, I know. We've been there." The Kelvans apparently reinforce the Enterprise in some way, though, as the destructive and ESP enhancement properties of the barrier do not come into play this time. Kirk later references an escape ploy used by Spock on Eminiar VII in "A Taste of Armageddon" and Spock tries it again.

As the Enterprise embarks on the three hundred year journey, the Kelvans reduce all of the crew to blocks except Kirk, Spock, McCoy, and Scott, all considered essential personnel. The supposedly mentally superior Kelvans make the mistake of hijacking Kirk's ship but still allowing him free roam of it.

All-in-all, "By Any Other Name" is one of those average but enjoyable episodes of Star Trek. The remastered version looks incredible and is definitely worth checking out.

Dramatic Content: 5 (out of 10)
Effects Upgrades: 9
Overall Experience: 5

Star Trek: Academy—Collision Course

noreply@blogger.com (Tygrrius) — Sat, 08 Mar 2008 15:59:00 +0000

Star Trek: Academy—Collision Course novel
Pocket Books, hardcover edition, 2007
Authors: William Shatner with Judith & Garfield Reeves-Stevens

It has been said that all publicity is good publicity. When William Shatner and Judith & Garfield Reeves-Stevens released Collision Course at the end of last year, I had not read a Star Trek novel in years. While various Trek novels provided me with countless hours of enjoyment dating all the way back to 1986, I simply lost interest in them at some point. Though the fine work of this particular team is always on my radar, I also did not have any plans to read this installment in the adventures of James Kirk.

Then I read a crushingly negative review of Collision Course on another site, and I knew I had to buy this one. I had to find out for myself if three of my favorite authors had really so mishandled Star Trek's most important characters.

Collision Course is the first book of a new novel series from Shatner and the Reeves-Stevens, Star Trek: Academy. This marks their tenth collaboration. Academy will follow young Jim Kirk's adventures at Starfleet Academy. Collision Course starts things off well with the first meeting of Kirk and Spock.

"Star Trek is about moving forward," some whine as a protest against prequels like this one, or J.J. Abrams' forthcoming Star Trek XI. We already know everything about Kirk so it will be boring, right? Wrong.

As viewers of Star Trek, we actually know far less about Kirk and Spock than we think we do. Most of their history prior to the adventures seen on the television series has been revealed in one or two lines in a scattering of episodes. Though references like The Star Trek Encyclopedia do a great job of tying all of those loose threads together with strings of conjecture, a lot of the details are still missing.

For instance, what really happened on Tarsus IV when Kirk came face-to-face with Kodos the Executioner? What drove Spock to choose Starfleet over his father's more logical plan that he attend the Vulcan Science Academy? Collision Course offers some insight into these and other mysteries of our heroes' early years.

One criticism that can sometimes be leveled at Star Trek and other series fiction is that there is little room for character growth. Authors are often forced to leave main characters in essentially the same emotional state that they start. One of the reasons that the novels of Shatner and the Reeves-Stevens are usually among Star Trek's best is that they avoid this trap.

In Collision Course, we see the growth of Kirk, Spock, and even the Starfleet organization. Kirk and Spock may seem at first to be strangely different from the characters we know and love. If Kirk and Spock were exactly the same in early adulthood as they were on the original series, then what would be the point? While there is an interesting if occasionally predictable plot, Collision Course is primarily a journey of character. In that journey, Collision Course achieves tremendous success.

The authors know these characters well, too. During the Vulcan form of an argument with his son, Sarek states, "Spock, you are an alien on an alien world. What can you do?"

You can almost hear Leonard Nimoy (and, perhaps, someday Zachary Quinto) delivering Spock's reply, "You are mistaken, Father. On Earth, you are an alien. But like my mother, I am not."

Collision Course is definitely a worthy installment in the adventures of Kirk and Spock. For the first time in a long time, I am looking forward to reading a Trek novel - Star Trek: Academy—Trial Run, which will continue these adventures.

Overall Experience: 8 (out of 10)