Category Archives: movies

sw-rebels

Star Wars Rebels promises to fulfill Lucas’ original vision

Star Wars Rebels is the latest entry in the expanding Star Wars universe and is on track to be another Lucasfilm hit. The animated series was introduced on the Disney Channel this summer with a collection of shorts, leading up to a television movie pilot that aired October 3. Audiences got to preview an episode of the first 16-episode season October 11 at New York Comic Con.

The series, which began October 13 on Disney XD, is set five years before Luke Skywalker leaves Tattooine and documents the rise of the Rebellion while focusing on the ragtag crew of the spaceship The Ghost. Rebels is guaranteed to be another strong chapter in the overarching saga, and while the Star Wars universe has been greatly expanded in books and comics before, Rebels has the unique opportunity to fulfill George Lucas’ original vision for the Star Wars movies.

When Lucas first conceived of the Star Wars world, he had planned to create a series of movies that would pay homage to the adventure comic strips of his youth — namely, Flash Gordon and Buck Rogers. Lucas’ small group of heroes would face easily defined villains and take part in swashbuckling adventures across unknown worlds, full of alien species and languages incomprehensible to viewers. Each story, brought to life in either nine or 12 films, would be unique, with only a common threat binding the episodes together.

But as the films evolved, their premise did as well. As explained in The Secret History of Star Wars by Michael Kaminski, the movies changed from a collection of unique adventures into a larger epic about a single family, with only casual glimpses of the original, episodic nature Lucas had planned. Specifically, the movies became The Ballad of Anakin Skywalker, as he grew into a hero, fell to the Dark Side, and was redeemed in his final hours.

While the original Star Wars can still be viewed as a simple adventure movie, the release of Empire Strikes Back and the prequel trilogy changed the tone of the movies into one defined by moral ambiguities, political intrigue, and an interconnected world. Each installment had to have meaning in the larger story, rather than be like Lucas’ other creation, Indiana Jones, whose adventures are all distinct.

In order to create his grand epic, Lucas made the decision to abandon his strictly serial premise, and his original stories were left to history. Until recently.

With the recent acquisition of Lucasfilm by Disney, it was only a matter of time before the series’ publishing license for comic books was moved from Dark Horse to another Disney subsidiary, Marvel. Before losing the license, however, Dark Horse paid homage to the man who had built the galaxy far, far away with a new graphic novel.

The Star Wars is an adaptation of Lucas’ original 1970s screenplay — a story much more in line with the adventure serial Lucas originally hoped to film. The comic feels like what would happen if all six Star Wars movies so far were squashed into one, nearly incoherent, story. All of the signature traits of the movies are there, but it feels as though the entire story is just a single, complex mission, with many more to come later.

The Star Wars, however, is a one-off story, and the adventures won’t continue, despite the comic’s final page claiming otherwise. The exploits of Annikin Starkiller, General Luke Skywalker, and the six-foot-tall lizard, Han Solo, are finished.

Nonetheless, Star Wars comics have existed for decades and will continue next year at Marvel, with titles following Darth Vader and Rebels’ protagonist Kanan.

Comics did a lot to inspire Lucas to create the world he did, but he was a filmmaker above all else. It was always his dream to bring the excitement and intrigue he experienced on the pages of comics to the screen.

The Clone Wars cartoon series came closest to fulfilling Lucas’ vision. The successful show, which followed the heroes of the Galactic Republic as they faced the forces of the Separatists, utilized numerous characters and told as many stories. Some were complex, political thrillers, while others were classic, swashbuckling missions. Every story, however, felt like part of the larger whole; each entry mattered to the progression of the Clone Wars.

The new series, Rebels, however, follows Lucas’ original concept much more closely and delivers a satisfying, episodic ride that doesn’t always have to feed the larger story. Conceptually, Rebels is meant to bridge the gap between film Episodes III and IV by showing the strengthening of the Empire and the rise of the Rebellion. But the show is undoubtedly more in line with the spirit of the original trilogy. Rebels does not focus on politics like Clone Wars, but it revisits the philosophy of the Force, the nature of loneliness and teamwork, the tragedy of losing an entire culture, and the heroism of the unlikely. Whereas the prequels and Clone Wars brought to life villains whose motives could be seen as just, the original trilogy — and now Rebels — emphasizes flawed heroes whose actions are questionable but whose end goal is usually noble.

The spirit of Lucas’ original vision goes deeper than just antiheroism and the serial nature. The visuals and the individual characters or Rebels closely mirror early work on the Star Wars movies as well. The look of Rebels is based on the original concept art of Ralph McQuarrie. This includes protocol droids that more closely resemble the robots of Metropolis than C-3PO, and Zeb, the alien companion, whose species, the Lasat, is based on the original design for Wookiees.

Kanan leaps straight off of the pages of Lucas’ original screenplay. Halfway between Luke Skywalker and Han Solo, Kanan is identified as a cowboy Jedi, a man who was trained as a peacekeeper but finds himself on the other side of an open rebellion. His uncertainty in his abilities, coupled with his unconvincing brashness, makes him eerily similar to Annikin Starkiller and the movies’ Luke Skywalker.

Joining Kanan is the pilot of The Ghost, Hera, whose voice actress, Vanessa Marshall, said at NYCC that Hera is second only to Han Solo as the best pilot in the galaxy. Marshall sees Hera as the cross between Han and Princess Leia: she’s brash, powerful, and extremely dedicated to her crew and her mission.

Rounding out the cast are the younglings, Ezra Bridger and Sabine Wren. Ezra will fulfill the role that the Skywalkers held in the movies: the young student working to get past his arrogance and become something greater. Sabine, however, appears to be unique to Rebels. She is a Mandalorian artist who uses her skills to paint anti-Empire propaganda across the galaxy. Where Sabine goes in the future will be one of the show’s most intriguing questions.

Rebels has infinite potential to be something special in the Star Wars galaxy. It will be the first on-screen story not to focus on the Skywalker family but on the regular folks who have been impacted by the Empire’s tightening grip. It will feature swashbuckling excitement and flawed heroes, and it will examine what it takes to turn quiet dissent into open rebellion.

But, perhaps most importantly of all, the show will be a fun adventure that can stoke the imagination of child and adult alike — which is what Lucas has wanted out of his creation all along.

dc-marvel-cover

Marvel, DC showcase divergent strategies, old habits

New York Comic Con is an annual festival for fans of nerd and geek media. At its epicenter are the two giants of the comic book world: DC and Marvel. This year, both companies showed up to promote their brands, but one came prepared for the future while the other simply talked about the past.

Marvel has undertaken numerous changes in the past year. As CEO Axel Alonso said several times this weekend, Thor is a woman, Captain America is black, and a nonhuman, Rocket Raccoon, is arguably the most popular superhero in the world. Things are changing at Marvel.

But at DC, the company seems content to stay on its current track.

To be fair, DC is on the rise. Having fallen years behind Marvel in movie production, DC can now look to a long list of release dates dedicated exclusively to its superhero properties. Superman and Batman will return to the big screen and will be joined by Wonder Woman, The Flash, Green Lantern, Cyborg, Shazam, Aquaman, and the Suicide Squad. DC’s heroes also have live-action television series on three broadcast networks with all of them drawing strong ratings and showing infinite potential.

It’s a bit understandable that DC would use this convention to take a bit of a victory lap. After all, the company seems to be taking over broadcast television. The Constantine premiere was well-received, and simply acknowledging Arrow, The Flash, or Gotham caused rapturous applause. But the company’s focus on Gotham specifically seemed to represent a microcosm of the company’s overall philosophy: focus on Batman.

The complete reliance on the Dark Knight may actually be the company’s biggest problem. As an avid, noted fan of the Caped Crusader, I was certainly happy to enjoy the Batman 75th Anniversary panel — a long look back at the hero’s storied career with a star-studded guest list. But when attending the DC Essentials Panel, I at least expected to hear more about the company’s other plans — whether they be about the Justice League, Teen Titans, or anyone else — and less about my favorite hero.

In Marvel’s equivalent panels, Alonso and chief creative officer Joe Quesada announced several new comic titles, including Gamora, centered on the Guardians of the Galaxy character; a new Ant-Man, featuring Scott Lang; and Star Wars titles, such as Kanan, following the early adventures of the new Star Wars Rebels character. Marvel also announced a new creative team for Hawkeye, Jeff Lemire and Ramon Perez, and a new version of the classic comic book crossover Secret Wars. In addition, Marvel screened an episode of Agents of S.H.I.E.L.D., announced a new Guardians of the Galaxy cartoon, introduced the cast of Daredevil, and hosted a panel on the future of Marvel Comics following the death of Wolverine.

When asked why the company would kill off such a popular character, the answer, somewhat tongue-in-cheek, was, “So you would stop complaining that he’s overexposed.”

Perhaps DC should learn that lesson — though killing off either Batman or Wolverine is a ridiculous idea. The Dark Knight is an incredible character; the star power of his panel and the sheer number of people in the conference room proved that. But the emphasis on the Bat is hurting DC’s other franchises. During the DC Essentials panel, the company discussed Gotham, Batman issue #35, Batgirl, Batman Earth One, and its new comics, including Gotham Academy and Arkham Manor. No other franchise was given any time during a panel that promised to discuss the essential news about DC’s future.

On the flip side, Marvel’s entire panel focused on change. The biggest change? The Marvel women’s movement. Last year, a new Ms. Marvel was introduced, and she quickly became a sensation. The new hero, Kamala Khan, is a Pakistani Muslim girl from New Jersey who gains super powers. According to Alonso, she is the spiritual heir to Peter Parker as the most relatable superhero in their lineup. Gamora will be getting her own series, as will Angela, an Asgardian spy. They will be joining the new female Thor. In addition, Marvel will introduce its first young adult novel, starring Black Widow, soon.

An entire panel was dedicated to the women working at Marvel, who inspired a great deal of the young ladies in the room to fight for their dreams of working in the comic book industry. The room was enamored by the strong, intelligent women on stage and even managed to start a worldwide Twitter trend: #WomenofMarvel.

That’s not to say that Marvel is perfect, however. Though they were more accessible and progressive, the company has also proven to be set in its ways. Earth-shattering events and the death and inevitable rebirth of major characters have become regular occurrences in the Marvel world. Wolverine’s demise will lead to a spike in comic book sales, but as soon as they dip again, Logan will inevitably be revived. Fantastic Four’s comics will cease production, but only until they can feel “new” again. Cataclysmic events like Secret Wars are being pushed as the biggest in the company’s history, but it takes its name from a comic book event written in the 1980s. The Marvel world has seen so many resurrections, alien invasions, and time-altering battles that there is no longer any sense of scale to the company’s story lines.

But despite the criticism, the future of both companies looks bright. DC’s animated movies have hit an incredible stride, and their next release, Justice League: Throne of Atlantis, promises to be another strong work. Arrow has proven to be a remarkably strong show, and its good will has been passed on to The Flash, which saw impressive numbers in its debut. Critics are also excited for both Gotham and Constantine. In the comics world, Scott Snyder and Greg Capullo’s run with Batman has consistently spawned the highest-selling comic book in the country, and its stories going forward offer intriguing potential.

Marvel is on top of the world and can afford to take some bigger risks. The stage has been set for a major shakeup in the Marvel comic book continuity with Secret Wars and the recently announced relaunch of the Civil War. Agents of S.H.I.E.L.D. is doing well, but Netflix’s Daredevil promises to be a game changer. In the comics, Hawkeye is an award-winning piece of work, Ms. Marvel has showcased the company as a beacon of progressive characters, and the new Star Wars line is a guaranteed hit under Marvel creative, especially with Lucasfilm’s promise of a larger canon moving forward.

It has been said for some time now that nerd culture has taken over popular culture, but it was never more evident than at this weekend’s NYCC, which was even larger than this year’s San Diego International Comic Con. It’s an exciting time to be a fan of superheroes, comic books, and action-adventure, even if the Big Two’s quirks may sometimes be frustrating.

day-4-cover

Inconceivable pleasures of NYCC come to end on Sunday

Day 4. I can’t believe my very first Comic Con is nearly over already! It’s been a whirlwind of a weekend, but I have had so many great experiences and am taking away some really great memories.

I’m usually the kind of person who avoids crowds as much as possible, so one would think New York Comic Con is a place I shouldn’t go near, but it didn’t bother me to be surrounded by thousands of people all day. Sure, there were times when I really needed to just seek out the quieter atmosphere of the press area, but being in the crowd of NYCC was much easier than I anticipated. Maybe it’s because these people are all like me. In this crowd, a nerdy fangirl doesn’t have to worry about being judged; everyone is accepted here (except maybe Hydra — no one likes those guys).

I took my time getting to the Javits Center this morning, knowing the line wouldn’t be as crazy as it had been yesterday with The Walking Dead panel happening. I was right, as it was easy to walk in and get in line for this afternoon’s Sleepy Hollow panel. Then, my morning of waiting in lines began.

As soon as I had my wristband for Sleepy Hollow, I went over to the autograph hall and purchased a copy of Cary Elwes‘ new book, As You Wish, which chronicles the making of The Princess Bride. I then got in line to have Elwes sign the book.

The line seemed long but moved quickly and, before long, I was face-to-face with a man whose image I’ve known my entire life. I was young when The Princess Bride was released in 1987, and I honestly can’t remember a time before its existence. It has been my favorite movie my entire life. I still can’t believe I’ve now met Westley in person.

Following my brief encounter with Elwes, it was time to prepare for several great hours of Sleepy Hollow scoop. First up was interviews with several cast members and writers of the show, then the actual Sleepy Hollow panel. Everyone was tight-lipped on details of what to expect in the rest of season 2, but they promised they’re doing everything they can to build on the success of the first season. The panel included a screening of the first half of Monday’s episode, featuring a Sleepy Hollow version of the Pied Piper, which, from what we’ve seen so far, looks super creepy.

After the Sleepy Hollow panel, it was time to get in line for not only my last panel of the day, but the last panel of New York Comic Con 2014. I decided seeing Elwes was a good way for me to both start and end the day. The actor took the stage to enormous applause and regaled the audience for an hour with stories from the set of The Princess Bride, most involving Andre the Giant. Elwes was emotional discussing the professional-wrestler-turned-actor who died in 1993.

Elwes shared many humorous anecdotes and was a great storyteller, performing voices for each person he talked about: from the gruff voice of Andre, to the New York accent of Rob Reiner. Elwes had the audience roaring in laughter with a story of how Andre unexpectedly (and loudly) broke wind during their very first scene together, the scene where they give Westley the pill they procured from Miracle Max. Elwes was wonderful to listen to, and I can’t wait to sit down and read his book, which contains even more reminiscences from the filming of The Princess Bride.

And then, all too soon, it was over. The long weekend seems like it flew by too quickly. But I would say my first every Comic Con was definitely a success: I was able to see and do everything I had set out to, and to experience as many aspects of the Con as possible. I was able to meet people I’ve admired for years, and I even managed to control my fangirl urges while doing so.

I had no idea what to expect going into this weekend. I have friends who go to San Diego Comic Con every year, but I didn’t know how this would compare to their experiences. I still don’t, but the weekend was even more fun that I had hoped it would be. I already have my calendar marked for next year!

krh-jdf

Jason David Frank lives life like Power Ranger would

He’s the best one ever. He’s worn Green, White, Red, and Black. He’s Tommy Oliver, the original Green Ranger. His real name is Jason David Frank, and he’s as good of a person as his starring role would make you believe.

All of us who have seen Power Rangers have questioned the characterization of the Rangers. There’s no real conflict among them. They’re all perfect, wonderful human beings, who always do the right thing in the end, while still living an incredibly eventful, action-packed life even when they aren’t fighting evil space aliens. They are, in a word, unbelievable.

But this weekend at New York Comic Con, I was fortunate enough to meet Frank, who has been a personal hero of mine for most of my life. He proved himself to me and every other fan there that he is just as good as the character he made famous, albeit much funnier. The Tommy Oliver character could always be relied on to use his fighting prowess to save the day, even when the other Rangers were down. And Frank’s incredible martial arts skills were often on full display, inspiring me and many others to take lessons. My years in martial arts — learning not only how to defend myself, but how to live — shaped who I am today. Frank himself teaches martial arts at his Rising Sun Karate school and helps to shape hundreds of young martial artists.

But Frank understands he isn’t known for being a martial arts black belt. He gets that Power Rangers is what made him famous, and he counts it as a blessing.

There is no resentment from Frank about his career being defined by the Power Rangers. In fact, he embraces it, wearing a white tiger power coin as a necklace and often putting a green streak in his hair to symbolize his character’s most famous incarnation. Frank has even returned to the show several times, including an anniversary episode, “Forever Red,” on Power Rangers Wild Force, and in a regular turn as a mentor on Power Rangers Dino Thunder, where he gained new powers as the Black Dino Ranger. In fact, Frank is set to return to the show again in the finale of its current season, Super Megaforce, this time as the Green Ranger. The actor is well aware of his status as the face of the franchise, and he loves the responsibility. Frank has even been pushing to be more involved in Saban’s Golden Goose going forward.

Frank has hinted in the past that he and Saban were working together on a series exclusively following the Green Ranger. In his NYCC panel Friday, Frank announced that these talks were on hold until Lionsgate determines how to handle the cinematic reboot of the series. But Frank also admitted that discussions were ongoing about further involvement in Power Rangers projects. With the next season’s theme, Dino Charge, being a return to dinosaurs, could Tommy Oliver return as a series regular? Devoted fans will remember that Tommy received his doctorate in paleontology and has a history of working alongside dino-themed Ranger teams.

The man known as Tommy has even been utilizing his fame as a Power Ranger to run a show on YouTube, hosted by Bat in the Sun, that follows his everyday life. My Morphin Life takes fans into the day-to-day activities of everybody’s favorite Ranger as he teaches his martial arts classes, sets world records, and travels the world to attend conventions.

Like we would expect from Tommy Oliver, Frank lives his life fearlessly, fighting in mixed martial arts matches and skydiving regularly. In My Morphin Life, Frank admits he fears two things: clowns and, believe it or not, hot air balloons. And as if the episode were written by the good people at Saban, Frank confronted his fears in an incredible way: by diving out of a hot air balloon, dressed as a clown.

Everywhere he goes, Frank is greeted as a hero, and he treats his fans with complete respect. In his YouTube show, Frank travels to Brazil and attends a convention, where he is blown away by the love he receives. It’s not just an act for a show either; in New York last week, Tommy Oliver’s kind personality was hard to miss.

The Green Ranger’s autograph line appeared to be the longest in the room, despite hefty competition from William Shatner, Patrick Stewart, and the voice of Batman himself, Kevin Conroy. The wait was worth it. Meeting my hero for the first time, I was profusely thankful to the man and told him how much his simple role in a kids’ show influenced by life. He was incredibly respectful and thankful in return, which is to be expected, but he rose above and beyond soon after.

I was on my way out of the convention center when I heard my name being shouted. It was Frank, who followed me to give me the autographs I had forgotten on my way out. It was an incredible moment that felt like it came straight out of an episode of Mighty Morphin Power Rangers.

Frank explained during his panel the next day his philosophy on life. Simply put: treat everyone equally, and treat them all well. As a celebrity, he thinks every interview has value, whether it’s on CNN or with an upstart website. Frank doesn’t expect appearance fees and isn’t looking for a big studio to produce My Morphin Life. He simply wants to have fun and keep his fans updated.

Jason David Frank is a man who loves his fans, loves his craft, and enjoys sharing it all. His autograph lines were long and the audience for his panel was huge, but he made sure that everybody got his or her money’s worth. He is thankful for his fame and will continue to give his heart and soul in everything he does. I know this fan looks forward to seeing him on television again.

superman-lives

Superman Lives, abandoned in 90s, might have been great

Imagine Superman. Now imagine Superman portrayed by a long-haired Nicolas Cage in a role written by Kevin Smith and directed by Tim Burton. With Chris Rock co-starring as Jimmy Olsen.

What if I told you this movie was almost made? Now, to make things even crazier, what if I said it probably would have been good?

Well, according to Jon Schnepp, it probably would have been. And in his documentary The Death of ‘Superman Lives’: What Happened?, the director seeks the answer to his film’s title. Schnepp and producer Holly Payne discussed the documentary and the Superman movie that never was Thursday at New York Comic Con.

The unproduced film Superman Lives was an attempt in the late 1990s to revitalize the Man of Steel’s movie franchise that had been stuck in developmental hell. Superman was doing well on the small screen with the successful television series Lois & Clark: The New Adventures of Superman. And comic book sales had soared that decade due to the success of the “Death of Superman” story arc.

The media, unfamiliar with the classic comic-book trope of temporarily killing off popular characters — only to bring them back later — was shocked that DC would kill off its biggest franchise, and made the story into a bigger one than anyone could have expected. “The Death of Superman” comics sold incredibly well, largely due to the belief that Superman’s last story would one day be worth millions of dollars, just like Superman’s first story was. Warner Bros. saw dollar signs and hoped to adapt the story for the big screen.

The Superman movie franchise had been dormant since 1987’s awful Superman IV: The Quest for Peace. A new spin on the classic superhero was needed to rejuvenate the franchise. Producer Jon Peters looked to Kevin Smith, director of Clerks and noted comic book fan, to write the script. As Smith has explained in depth, the concept for the movie was already in Peters’ mind, and he was simply hired to flesh it out. Peters wanted Superman in an all-black suit, never taking flight, and fighting a giant spider in the film’s climax.

Despite the absurdity, Smith agreed to work within those terms, but he was handcuffed with more and more demands throughout the process. Peters wanted the supervillain Brainiac to have a marketable “space dog,” like Chewbacca, and demanded more action scenes, which would have led to a fight scene with polar bears.

Smith’s script, which has been posted online, is seen as the version that has the strongest basis in the source material despite Peters’ involvement. But the movie changed a bit with the addition of Burton as director. Burton wanted the film to contain his version of Superman. Smith left the project, but the new writers maintained much of what he wrote. Financial issues in the new drafts, however, prevented Warner Bros. from completing the film, and Burton left the project in 1998.

Since that time, the legend of Superman Lives has grown, especially after Smith’s hilarious comedy routines explaining the creative process behind the film. Most believe the film would have been an absolute disaster, but as Schnepp and Payne stated Thursday, that would not have necessarily been the case.

The movie would have offered a different take on the Man of Steel, emphasizing his alien nature and following Clark Kent in an existential journey. New villains would have been emphasized, including the perennial favorite, Brainiac, and the relative newcomer, Doomsday. The fight between the Kryptonian and his would-be killer would have been of an epic scale unseen in movies at the time. Cage was at the top of his game in the mid-90s and would give the character a different spin — unlike the line of pretty boys who continue to try and fill Christopher Reeve’s capable (and, admittedly, also pretty) shoes. A funeral scene would have brought into focus the importance of Superman to the world and would have included an inspiring cameo from Batman.

As can be seen in Schnepp’s documentary, the production design for the film was also impressive. Alien technology and a superhuman suit needed to be created from scratch. The results included a “resurrection suit,” utilizing LED lights, lasers, and fiber optics to create a multicolored outfit that could change its look depending on the situation. The iconic “S” shield would be usable as a weapon as well, which would come in handy when Supes had to take on the giant spider.

Speaking of that giant spider: Smith had written it as a “Thanagarian Snare Beast,” and it was Peters’ belief that it should be done as an homage to King Kong. The spider would have been an incredible challenge to the newly revitalized Superman, who was still struggling to regain his powers. The movie may not have been the conventional Superman film, but it would have been unique, philosophical, laced with strong science fiction, and with Smith’s script, likely pretty funny.

Schnepp’s new documentary seeks to further explore what the movie would have been and why it never came to be. The film includes interviews with those closest to the process, including Smith and Burton. Schnepp shared an extended 20-minute clip at NYCC, that will only be five minutes in the completed movie, about the creation of Superman’s suit, complete with concept art and video of the prototype in action.

See exclusive photos from the New York Comic Con panel, including concept art from Superman Lives.

Schnepp, who also directs Cartoon Network’s Metalocalypse, is crowdfunding the project and is still looking for some help finishing the film, which he hopes to release next year. Those who would like to contribute to the project can check out this site and add their name to the list of supporters who want to know, “What happened?”

View a trailer for the documentary here:

recap-day1-cover

Recapping day 1 of New York Comic Con 2014

Day 1 of New York Comic Con has been just about everything any nerd could dream it would be. From the moment I stepped off the train at Penn Station, I could tell who was in the city for NYCC. I walked from my hotel to the Javits Convention Center, essentially following the large crowd of people heading in the direction I was. We all had the same look about us, apparently — that, and most were wearing nerdy t-shirts or, in many cases, full-on cosplay costumes.

The line for NYCC stretched down an entire block and around the side of the building. I met the end of the line about 10 minutes before I found the press entrance to the building. And this was just Thursday, the first day of a four-day event. I can only imagine what Saturday is going to look like.

The creativity of the cosplayers astounds me. There are so many costumes that I wouldn’t have even thought of. Of course, there are the expected characters, but a lot of people have put a lot of effort into their dress. One family was costumed as a group of vikings from How to Train Your Dragon, with the child’s stroller decorated as Toothless. I also passed a woman who was dressed as Barbara Maitland from Beetlejuice — the monster-face version. The person dressed in Sheldon Cooper’s Doppler Effect costume made me laugh. There was also a rather authentic-looking knight from Monty Python and the Holy Grail, sans left arm.

First up for me Thursday morning was the joint panel for Walt Disney’s studios’ upcoming releases Big Hero 6 and Tomorrowland

It’s not going to be easy for Disney to follow up the success of last year’s Frozen, but if the clips they showed Thursday afternoon are any indication, they are certainly making a good effort. Big Hero 6 will definitely attract more of a young male audience than Frozen did, but there’s a lot for girls to love as well. I’ve already fallen in love with Baymax, the personal health robot. He is sweet, adorable, and very eager to help. From what I’ve seen so far, it looks like the story will have a lot of charm and a lot of heart.

I knew little about about Tomorrowland before going into this panel, but then, the rest of the world could say the same thing. Hugh Laurie, best known for his role as the cantankerous Dr. Gregory House, told of receiving a script on black paper to make it more difficult to read. The cast was very guarded and revealed little about the film or its plot.

A brief teaser debuted at NYCC in which we see Britt Robertson’s initial discovery of an alternate world that she is tasked with saving. Following vague descriptions of everyone’s characters, the audience was treated to an extra surprise: George Clooney walked onstage in his first-ever comic-con appearance. Clooney joked that he had been permanently disinvited to these gatherings after his turn as Batman.

Following Clooney’s arrival and a few more teases about the film, an entire scene from the movie was unveiled in which Robertson’s character seeks out Clooney’s character to answer some questions. The clip didn’t give too much away, other than that they are being hunted by some form of robotic creatures — and Clooney’s Frank Walker was really prepared for them.

Much of the middle part of my day was spent wandering the show floor, checking out some of the booths and vendors. Marvel announced its new Marvel Experience, which will tour the country, debuting in Phoenix in December, and allow guests to become a part of the Marvel Universe. The show will also be affordable to everyone, as the highest priced ticket will only be $35.

It was during these wanderings that I happened to run into none other than Chris Hardwick, the man who has become synonymous with nerdom. He was extremely friendly and charming to all the fans requesting photos, and I couldn’t resist asking for a selfie with him. This was definitely a highlight of my day.

Arthur Darvill’s Q&A at the “Doctor Who Comics Panel” was exactly what I would have expected. The man seems so sweet and friendly. Most people asked Doctor Who questions, but there were a few Broadchurch ones sprinkled in there as well. Darvill revealed that he just finished filming season 2 of Broadchurch, which I cannot wait to see.

The last part of my day was at the Warner Bros. Television screening event. It was advertised as a showing of the pilot of Constantine and the second season premiere of The 100, but just before the screenings began, they revealed that, due to the enthusiastic response to The Flash pilot that aired earlier this week on The CW, WB would also be screening episode 2 of that series.

If you enjoyed the pilot of The Flash, you won’t be disappointed with episode 2. It has the same tone and mix of humor and action. I’m really enjoying this show already, which makes me happy since it was the new series I was most excited to see. The second episode also lets you see more of the history and the relationship between Barry Allen and Detective Joe West, which was really well done. Aside from one super-cheesy line that should have been thrown out in the writers’ room (I’ll let you guess which one), it was another great episode.

I had never seen The 100 before, so I’m hesitant to comment too much about a screening of a second series episode.

I was satisfied with the Constantine pilot. Though I know the character, I’ve never read any of the comics, so I had very little in the way of expectations. The tone was dark and creepy, and I literally jumped more than once. It felt like I was watching a horror movie instead of a TV show. The series may have some kinks to work through — the effects during one scene in the psychiatric hospital were a little underwhelming — but, overall, I think they did a good job with it … but again, I have nothing to compare it to.

I would say my first day at my first-ever comic-con went pretty well. I’m looking forward to seeing what the rest of the weekend has in store for us!

gungan-army

Episode VII wouldn’t be Star Wars without VFX

The producers of Star Wars: Episode VII have declared they have learned from the supposed mistakes of the film franchise’s prequel trilogy: they will avoid extensive use of computer generated imagery in the sequel trilogy, now in production. Haters of the prequel trilogy jumped for joy knowing that CGI will not ruin their return to the galaxy far, far away. But this attitude toward visual effects, specifically toward Star Wars movies, is absurd.

Of the top 10 highest-grossing films of 2014, eight are live-action movies that are only possible thanks to visual effects, and the remaining two are computer-generated cartoons. Several more movies this year promise to break into that top 10 list, and all of them are visual-effects-driven. These VFX — the effects created in post-production and added to live-action scenes — have become essential to create the modern cinematic spectacles that people all over the world love. And in most cases, these high-grossing, VFX-driven movies do not get by on spectacle alone, but they also tell good, fun stories.

The Star Wars franchise, despite sparking the visual effects revolution, is no longer being allowed the freedom to utilize the CGI that the films’ own company, Industrial Light & Magic, made famous. Whether Episode VII director J.J. Abrams wanted to use VFX or not, so-called Star Wars fans really left him no choice. The decision to minimize CGI was forced upon Abrams by the visceral hatred some have for the Star Wars prequels and by their claim that one of the biggest problems with Episodes I, II, and III was their over-reliance on CGI, as opposed to the puppets and set pieces that helped define the original three films.

This criticism is silly. It focuses on only a few scenes out of hundreds and penalizes them for not achieving “realism” in a movie that is based on laser fighting in space. This narrow lens lets the critic ignore the massive leaps in filmmaking made by ILM and Lucasfilm. ILM’s work since the 1970s has been on the cutting edge of movie effects, bringing incredible, unbelievable, escapist stories to life.

Movies about escapism require imaginative production techniques. This is nothing new in filmmaking. In Hollywood’s Golden Age, films such as King Kong and Metropolis relied on stop motion and model building to create worlds we could never otherwise envision. Willis O’Brien and Ray Harryhausen set the standard for special effects in movie making, creating masterpieces still admired today for their innovation. But while their work certainly was groundbreaking for their time, those techniques could not be used on such a grand scale today to create the movies consumers have come to expect.

Nonetheless, O’Brien and Harryhausen did inspire generations of new filmmakers who sought to replicate the magic they felt upon first viewing the work of those men. Among these movie titans are Steven Spielberg, James Cameron, and George Lucas. Each of these filmmakers, who have a combined box office take higher than the annual gross national product of most countries, have always been on the cutting edge of moviemaking. And some of their most famous and successful movies rely largely on the visual effects made possible because of the technological leaps made by Lucasfilm and ILM.

The much-loved original Star Wars trilogy was put together using practical special effects. But at the time Lucas was working on the movie, the effects necessary to tell his story did not exist. Lucas assembled a team that would become ILM to work on the effects for the film. The result was one of the most stunning visual pieces in cinematic history. The practical effects were incredible, but their production was also daunting, tiring, and limited. Lucas wanted to create scenes as he imagined them, no matter how absurd or unworldly they seemed. ILM and computer generated imagery would be the only viable response to that desire.

Ironically, the first movie franchise to use a completely computer-generated sequence was not Star Wars, but Star Trek. The Genesis sequence in Star Trek II: The Wrath of Khan was created by ILM and set the stage for the next three decades of moviemaking. ILM followed up a few years later in Young Sherlock Holmes by presenting the first completely computer-generated character, then went on to produce effects for some of the most breathtaking films in history, including Who Framed Roger Rabbit, Terminator 2: Judgment Day, and Jurassic Park.

With each new movie came another new milestone, and ILM was making a habit out of changing cinema. Every new film was praised for its innovation and the way it was changing movies into an even greater medium for dreamers. It was around this time in the mid-1990s, with his company changing the film world, that Lucas realized he could create the long-hoped-for Star Wars prequel trilogy, complete with fantastical worlds straight from his imagination. Practicality was no longer a concern for effects in filmmaking.

What Lucas created was another revolutionary work, filled with cinematic firsts. Episode I — The Phantom Menace used visual effects in almost every scene, including the extensive pod race. It even included a major alien character, completely animated in 3D. Unfortunately, that alien character, Jar Jar Binks, angered a lot of old fans of the film series to the point that, to this day, they complain about the movie.

Jar Jar Binks and the entire Gungan society were huge visual breakthroughs. Unfortunately, they faced a backlash due to complaints about the writing. Critics bury the entire film because of the character’s personality traits, then they pile on complaints about the visual effects. What they forget is that many of the effects used in Phantom Menace led directly to the modern epic cinema we enjoy today. Without the fight on Naboo, the war scenes of The Lord of the Rings trilogy may not have been possible.

Such complaints continued throughout the prequel trilogy, with some criticisms holding more weight than others. Certainly, Lucas did go too far at times; almost none of the classic practical effects were used in Episode III — Revenge of the Sith. But each movie pushed the envelope of moviemaking with never-before-seen visual effects creating expansive worlds and realistic characters. Episode II — The Attack of the Clones was even the first movie shot in all-digital. These movies set the stage for the next decade of filmmaking, giving rise to Marvel Studios and the first truly realistic superhero movies. Without Harryhausen, there would be no Star Wars. Without Lucas, there would be no Avatar.

Unfortunately, the perpetual complaints about CGI in the Star Wars prequels have forced Abrams to insist he will be utilizing practical effects wherever possible, potentially robbing audiences of another game-changing moment in cinema. But all hope is not lost.

Where Lucas admittedly went wrong with the prequel trilogy was in finding balance. The new Star Wars trilogy should be the visual successor to all six of the previous movies. Using practical effects for set pieces and a few monsters is a great idea, and doing so can create some incredible movie magic that is absent from today’s big-budget blockbusters. But when it comes time to create vast new worlds and expansive battles in space, the producers should allow ILM to do what it does best. Lucas was notorious for letting the visuals speak first and writing the story around them. Abrams need not go that far, but he should certainly let ILM’s incredible talent shine through wherever possible.

Interestingly, Andy Serkis has been announced as a cast member for the new Star Wars movie. Serkis is famous for portraying some of the most incredible motion-captured characters in cinema, including LotR’s Gollum, King Kong, and Cesar from Rise and Dawn of the Planet of the Apes. It seems likely that Serkis will use his incredible talents to portray an alien character that will make everyone forget about Jar Jar Whatshisname.

In the end, Star Wars VII will probably turn out to be another filmmaking landmark, as it will integrate the best of visual and practical effects to create another world in which we can all get lost in excitement.

winter-soldier-br

Winter Soldier, set for home release, lives up to trailers

Nothing gets a fan excited for a new film like a movie trailer. The three-minute teasers of potential cinematic high points pump our adrenaline and prepare our wallets to lose a few dollars. But trailers are a double-edged sword. Many trailers expose too much of the plot, give away all of the big jokes, or showcase too much of the action.

The trailers for Captain America: The Winter Soldier made many fans reasonably fearful. The film looked too good to be true, with previews promising an action epic with a thrilling political spin and a critical look at the security state. Too many movies that have not lived up to their trailers have made audiences wary, leaving some filmgoers to cautiously anticipate nothing but a popcorn adventure flick. But with Captain America 2, Marvel Studios delivered, as they always do. Despite its runtime of two hours and 15 minutes, the second Cap never slows down, never bores, and never fails to deliver on all of the hype.

It’s easy to look at its trailers and assume that Winter Soldier is just a summer blockbuster — action porn for the short attention span. And if the movie was only about action, it would still be worth the price of admission or the cost of the Blu-ray, being released Tuesday. Winter Soldier is one of the best action movies ever made; the movie is one epic scene after another: Captain America fights a jet and wins. Nick Fury engages in an epic car chase scene that could have come from a Die Hard movie. Black Widow and Cap show their martial arts skills in creative and impressive ways, including one fight with Georges St-Pierre as Batroc. And you can’t forget the explosions. Oh my, the explosions.

But Winter Soldier is so much more. The first scene of the flick establishes that comedy will never be far from a Marvel Studios production. Cap and Black Widow have tremendous dialogue, playing off of the characters’ obvious differences. Both are shown to be so good at what they do that they continue to discuss seemingly petty topics during very dangerous situations. The jokes about Steve Rogers’ advanced age are priceless and show how good-natured the man can be about his life’s great tragedy.

And the Russo brothers direct the compelling narrative about that tragedy. Cap spends the movie adjusting to the changes that occurred in the 70 years since World War II, and while he can be light-hearted about it, he is also confounded by the shades of grey in which the world now operates. There are no mustache-twirling Nazis expounding on their villainous plans — the bad guys have been passing off as heroes for decades, and the real heroes lie to Cap constantly.

Rogers misses the life he lost. Throughout the movie, Cap remembers his fallen comrades and spends time with his former love, Peggy Carter — now in her 90s and seemingly on her deathbed. Captain America realizes, however, that he cannot be defined by his tragedy. Cap is a symbol and a tremendous man: relatable, despite his exceptionalism. Winter Soldier is the story of Rogers realizing his place in this new world, finding new friends and fighting new threats.

When Rogers first meets Sam Wilson, soon to be called The Falcon, they quickly bond. Wilson is a veteran of recent American conflicts, and Cap is able to relate to the man and the horrors he’s suffered. It’s a moment of tremendous symbolism that links America’s current struggles in the Middle East to its long martial history.

Cap and Falcon form a strong friendship, but Rogers finds himself questioning everyone else around him. S.H.I.E.L.D. has been infiltrated by an old enemy, and Cap is unable to tell whom he can trust. We see early on that Black Widow and Fury practice their spy tactics even with their supposed friends. Rogers, a military man who understands the value of trust and its necessity in situations of war, is unable to adapt to the world of spies and surveillance.

The Winter Soldier makes the viewer question the motives of everyone in the movie, especially those who follow the Marvel Cinematic Universe closely. Some S.H.I.E.L.D. agents who are in on the Hydra conspiracy appear in multiple episodes of Marvel’s Agents of S.H.I.E.L.D. television show, and the plot to the movie is directly linked to the show’s entire first season. This is an added bonus to the movie, as it stands alone as a great piece of cinema that is only enriched by knowledge of The First Avenger, The Avengers, and Agents of S.H.I.E.L.D.

Of course, while the Hydra conspiracy sets up a great plot, it is the mystery of Cap’s rival, the Winter Soldier himself, that intrigued viewers of Captain America 2’s trailers. The combat between the two warriors appeals to anyone who enjoys a good martial arts film. But added to the great fights is the element of mystery. Who is this skilled man?

The Winter Soldier is a mysterious assassin who was formerly associated with the Soviet Union. His history has taken the form of a legend, with sightings of the man dating back decades. Many agents of S.H.I.E.L.D. have dismissed the sightings as rumor, and Cap even calls the tales a ghost story. But the actions taken against Fury prove that the assassin is real. Cap and Black Widow seek the man out for a confrontation, which proves to be anything but disappointing.

The fight scenes are great, the big screen action is incomparable, and the conspiracy involved makes you question everything you know about the Marvel Cinematic Universe. But most importantly, Winter Soldier asks the difficult questions about American ideals and the role of security in the post-9/11 world. Captain America and Fury’s conflicting philosophies regarding national security set the stage for the debate that every American should have for himself.

Casual fans who have only seen a few of Marvel’s movies in the last six years need to check this one out. Winter Soldier is easily the biggest, best, and most important of Marvel’s Phase Two movies, all of which are great. It is Captain America 2, more than any of the other Phase Two works, that alters the world in which the heroes live and sets the stage for the next set of Marvel stories.

jumanji

Sometimes, celebrity deaths give rise to real-life mourning

A few weeks ago, Jumanji was airing on television. I didn’t watch the entire movie — I’ve seen it more times than I can count, and I had other things going on — but I tuned in long enough to see Robin Williams make his appearance. I remember thinking how incredible he was on screen, and how unique — how no one could ever replace him.

Three days ago, I was shocked to learn that this one-of-a-kind man, who had such a large presence on stage and screen and who made so many people laugh, was gone.

While the entire world was still reeling from the loss of Williams, media outlets reported Tuesday the death of another legend, Lauren Bacall. I confess to not being as familiar with her work — there are many classic films I still need to see — but her contribution to American film is so widely known that this was another extremely sad day in the entertainment industry.

I’ve always thought it interesting how emotional people can get when a celebrity dies: images of people crying so hysterically over the loss of a person they had never met, someone they couldn’t possibly have known. Even if we view our favorite artists or athletes as something more than a complete stranger, we can only know the public persona of these stars. Sure, in some cases a celebrity’s public image is very much like the real personality, but other times it’s not even close. When all you know about an actor or actress is the characters they’ve played, how can you really mourn the person?

It’s not that I’ve been entirely unaffected by celebrity deaths. I’ve felt a sadness at the loss of talent and, in cases such as Heath Ledger‘s, at the loss of potential. But until this past year, I’ve never truly mourned a celebrity death the way I would mourn the death of a friend or relative. It changed a little over a year ago, when I woke up one morning to a text from a friend telling me Cory Monteith from Glee had passed away. His was the first celebrity death that really hit me.

Perhaps it was the fact that Monteith was just a year older than me, or that I had followed his career sporadically since he appeared as an extra on Supernatural in 2005. Or perhaps it was that, unlike Ledger, whom I only kept up with occasionally in the media and whenever he had a new film out, Monteith was someone I was watching regularly on television. His Finn Hudson was a character I had adored from the moment I began watching Glee: I loved his awkwardness and good heart, I sympathized with his struggles to find his place in the world and figure out what he wanted to do with his life post-graduation. And like many Glee fans, I was looking forward to Finn’s and Rachel’s inevitable wedding. (I was also charmed by Monteith’s and Lea Michele‘s real-life romance.)

Whatever the reason, Monteith’s death hit me hard. With Monteith, I mourned for his friends and family and the loss of potential. But Monday night, Williams’ death hit me harder.

In the case of Williams, I think I finally understand how people can be so affected by the death of someone they’ve never known in person. For Williams, I mourned because I had grown up on his work and can’t imagine a world without him. There were so many Williams films my family watched over and over: Mrs. Doubtfire, Aladdin, Hook, Fern Gully, Robots. I think my brother and I wore out our VHS copy of Popeye. And then there was Dead Poets Society, which I had watched at a rather young age, and it became a favorite of mine before I was 13. I was a fan of his recent sitcom The Crazy Ones. And I even remember watching reruns of Mork and Mindy, which had its run before I was even born, whenever we could find them on TV.

Williams didn’t just make movies and television shows for us to enjoy, he created characters that touched all our lives in some form or another. He was Mork and Peter Pan and Genie and so many other characters I loved so much. There isn’t a time in my memory when I couldn’t quote some line of Williams’ from one of his many memorable performances. My childhood was shaped by his films, and now, suddenly, that man is gone. It truly does feel like something important has been lost from the world.

However, with both Williams and Monteith, I also mourn because there was a side to them that they kept hidden from the rest of the world. It was those private struggles that eventually consumed them, as they did for Philip Seymour Hoffman this year and so many others before them.

I won’t try to pretend I know anything about severe depression or addiction, but it really saddens me when people look at celebrities and all they see is the manner of their death. Monteith and Hoffman shouldn’t be defined by their addictions, nor Williams by his depression. In the episode “The Quarterback,” Glee’s Kurt Hummel responds to the death of Monteith’s character (and surely speaks for the cast about the actor) by asserting: “Everyone wants to talk about how he died … but who cares? One moment in his whole life. I care more about how he lived.”

I think this line rings very true: The celebrities that we love, who have had an impact on countless lives, deserve to be remembered for how they lived, not the manner in which they died.

The world lost two legends this week, and we’ve lost some great talent just in the past year alone. While it may feel like the world is a little less full without them, they will live on forever in the works they leave behind and in the people they have touched.

And hopefully the tragic deaths of people like Monteith, Hoffman, and Williams will help shine a light on the struggles people face — even those who seem to have it all. Remember: no matter what you’re going through, you are not alone.