FRED Entertainment

November 17, 2006

Weekend Shopping Guide 11/17/06: Black Books

Filed under: Shopping Guides — UncaScroogeMcD @ 12:05 am

weekendshopping.jpg

The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

It’s been a long wait, but I’m thrilled that the second season of Black Books (BBC, Not Rated, $24.98 SRP) is finally hitting the US. Giddy, in fact, since it’s one of the finest comedies – British or American – ever produced. Created, co-written by, and starring Shaun of the Dead co-star Dylan Moran, it centers around the twisted world of customer-hating bookshop owner Bernard Black, a man fond of drink, swearing, antipathy, anger, but definitely not customers… Imagine if Basil Fawlty’s antisocial tendencies were given full reign and a bottle of vodka. Paired with Black is new-hire Manny (Bill Bailey), a good-natured man clearly out of his element and an easy target for Bernard’s ire and ridicule – which is only mitigated somewhat by the presence of daffy friend Fran (Tamsin Greig). Crikey, how I love this series. The complete second series features all 6 episodes, plus commentaries and outtakes. Here’s hoping they hurry up and release the already-available-in-the-UK third series post-haste.

3rd Rock From The Sun was one of those shows that, despite a decent run, was cancelled before the steam had run out of the series. In some ways, I suppose I should be thankful that I was spared the often sad decline of many a once funny sitcom, but after watching the 20 episodes comprising the 6th and final season (Anchor Bay, Not Rated, DVD-$39.98 SRP), I found myself wanting more of the Solomon family’s tenure on Earth. The final 4-disc set features the alternate ending to the finale (the one that was shot in case the show somehow got a seventh season), introductions to the alternate ending, and a retrospective featurette.

It’s one thing to lovingly restore “classics” like Citizen Kane or Casablanca, but I really get excited when a seminal piece of science fiction cinema gets treated with equal respect, as Warners has done with Forbidden Planet (Warner Bros., Rated G, DVD-$26.98 SRP). The print is positively pristine, for one thing – it probably didn’t even look this speaking in theaters, and it certainly didn’t feature the 5.1 mix found here. A beautiful presentation of the film would be enough, but the 2-disc special edition also features deleted scenes, a complete follow-up vehicles starring the iconic Robby the Robot (The Invisible Boy & an episode of The Thin Man TV series), a trio of documentaries, an excerpt from the MGM Parade TV series, and trailers. If only Universal had given half this level of attention to This Island Earth, I’d be a happy man.

The real highlight of the second volumes of both DuckTales and Chip ‘n’ Dale’s Rescue Rangers (Walt Disney, Not Rated, DVD-$34.99 SRP) – besides the fact that they’ve come out at all – is that Disney managed to listen to the fan outcry over their lunk-headed negligence in including both series’ 5-part pilot storylines in their respective Volume 1 sets. Unlike the excellent TV animation sets coming out of BCI, Disney still doesn’t even take the time to put a single bonus feature on these discs, which is a damn shame considering what seminal shows these were.

“Gummi Bears – Bouncing here and there and everywhere…” If you’re of a certain ages, chances are you know every one of the lines that follow… and are probably singing them right now. There once was a time when Disney crafted some remarkable TV animation that could be enjoyed by all ages, and it all started with Gummi Bears (Walt Disney, Not Rated, DVD-$34.99 SRP). You can now own the first three seasons, but as with all Disney TV animation releases, there are absolutely zero bonus features. Disney – ring up BCI. They know how to do it right.

In what has turned into an incredibly supermonth, not only do we get the fifth and sixth seasons set of George Reeves’s Adventures of Superman (Warner Bros., Not Rated, DVD-$39.98 SRP) – wrapping up the show’s run – but we also get the fourth and final season of Lois & Clark: The New Adventures of Superman (Warner Bros., Not Rated, DVD-$59.98 SRP). The Reeves set features a featurette on Jack Larson (Jimmy Olsen), while Lois & Clark features an interactive Superman timeline hosted by Dean Cain.

Although initially put off by The Fellowship of the Ring, I was eventually won over by Peter Jackson’s epic, almost-Wagnerianly operatic filmmaking, with its immense running time and larger-than-life cinematic bombast. I had high hopes for Peter Jackson’s King Kong, hoping that its over 3-hour running time would fly by with the energy, exuberance, and obvious love for the original that Jackson has professed over the years. Unfortunately, that was not the case – instead, I found Jackson’s Kong to be overly long and self-indulgent, plodding along from effect to effect, with leaden drama (and the worst case of Stockholm Syndrome ever). It was surprising, then, to learn that an even longer extended cut would be coming down the pike (Universal, Not Rated, DVD-$34.98 SRP), adding 13 minutes of what mainly amounts to even more time on Skull Island. Despite my disappointment with the film, I will say that no one puts together bonus features as well as Jackson & company, and this 3-disc set is no exception. In addition to a wonderful commentary with Jackson and co-writer/producer Philippa Boyens (it’s more enjoyable than the film, for me), an additional 38 minutes of deleted scenes, a short film made by the cast, outtakes, brand-new making-of featurettes, a spotlight on the creation of Skull Island, video conceptual art galleries, both the 1996 and 2005 scripts (Jackson had been wanting to make Kong for years), and more. Even if you’re no fan of PJ’s giant ape, this is a nice set with some very spiffy behind-the-scenes materials.

Johnny Cash’s concert behind the prison walls of San Quentin on February 24th, 1969 is the stuff of legend second only to his gig at Folsom, and for the first time since that performance, the 3-disc special edition of Johnny Cash At San Quentin (Sony Legacy, $39.98 SRP) features 31 tracks, most of which were previously unreleased, in addition to a DVD featuring the original Granada TV documentary of the concert.

Peter Bracke’s Crystal Lake Memories: The Complete History of Friday The 13th (Titan Books, $39.95 SRP) is a comprehensive volume chronicling the history of the seminal slasher franchise, from Jason’s very first musical sting stalking of horny teenagers in an isolated summer camp to the latest efforts to revive the hockey-masked terror. For any fan of the series, it’s a must-have tome.

As environmental consciousness has been moving increasingly towards the mainstream in recent months, we’ll probably be seeing more films like Chris Paine’s Who Killed The Electric Car? (Sony, Rated PG, DVD-$26.96 SRP), which tries to uncover what exactly happened to GM’s once-promising line of electric vehicles that made a splashy debut in the mid-90’s only to me mysteriously recalled a short time later. Was it business? Was it politics? Was it something far more insidious? Bonus features include deleted scenes, a behind-the-scenes featurette, and a music video.

There’s been quite a few concert DVDs from Paul McCartney in recent years, but I think my favorite is the just-released Paul McCartney: The Space Within (A&E, Not Rated, DVD-$24.95 SRP). Maybe that’s because it’s in support of an album I really dug (Chaos & Creation In The Backyard), and it’s always a thrill to hear what good voice the 64-year-old former Beatle is in. The disc features interviews with Macca and the band, plus sound checks, the US Tour pre-show film, and a behind-the-scenes tour featurette.

Marlo Thomas is back in the complete second season of That Girl (Shout! Factory, Not Rated, DVD-$39.98 SRP), as Ann Marie’s career begins to take off (with commercials, magazine covers, and a Broadway show opposite Ethel Merman) and her relationship with Donald (Ted Bessell) becomes strong… But not so strong that the fiercely independent Ann Marie is ready to sideline her burgeoning career for marriage. The 4-disc set features all 30 episodes, plus audio commentaries, a featurette, and a never-before seen 1965 pilot for “Two’s Company” (starring Thomas).

Crikey, has it really been almost a decade since The Green Mile (Warner Bros., Rated R, DVD-$20.98 SRP) was released? Due to its massive length, the original DVD release was practically featureless – which is a shame, because it was one of the best adaptations of Stephen King’s work, and featured a clutch of amazing performances. Well, all is rectified with a new 2-disc special edition, featuring an audio commentary with writer/director Frank Darabont, a making-of documentary, Tom Hanks makeup texts, Michael Clarke Duncan’s screen test, a 6-part documentary gallery, a spotlight on the teaser trailer, and the theatrical trailers.

Alex Borstein is best known for her characters MADtv‘s “Ms. Swan” and Family Guy‘s “Lois Griffin”, but in Alex Borstein Is Drop Dead Gorgeous In a Down-to-Earth Bombshell Sort of Way (Fox, Not Rated, DVD-$19.98 SRP), she sets out to answer the question “What the hell happened to all the cool chicks on TV and in the movies?” in a live stage show that explores why the Mary Tyler Moore’s of the TV world have been replaced with the likes of Paris Hilton (What the f*** happened?) . In this hilarious show, Alex moves seamlessly and conversationally through stories, characterizations, impressions and yes, even a bit of song. From Scooby Doo’s Velma to Renee Zelwegger to Tina Turner, no one is safe from her keen eye and often bizarre take on the world. The disc also features a trip behind-the-scenes of Family Guy.

When it first premiered, I was immediately hooked on Little Britain, which played like the bastard child of The League of Gentlemen and Benny Hill. Unfortunately, by the time the third series rolled around (BBC, Not Rated, DVD-$29.98 SRP), creators Matt Lucas and David Walliams had become over-reliant on recurring one-note characters, cheap laughs, and catch phrases. Unlike The League of Gentlemen, which radically rejiggered its formula for each consecutive season while still retaining the comedic essence, Little Britain wound down with a tired thud – which is unfortunate, because Lucas & Walliams are appealing performers. I hope they can reinvent and reinvigorate themselves in the near future. The 2-disc set features highlights from the BBC’s Little Britain night, audio commentaries on all the episodes, deleted scenes, a Richard & Judy interview with Matt & David, a Heresy radio episode, and David on Top Gear.

While not the seasonal sets most fans were hoping for, there’s no mistaking that – much like their Sgt. Bilko set earlier this year – Paramount has attempted to put together a rather nice package for their 3-disc Gunsmoke: The Directors Collection (Paramount, Not Rated, DVD-$36.99 SRP). In addition to the 15 remastered episodes (directed by the likes of Arthur Hiller, Robert Stevenson, Dennis Weaver, Peter Graves, William Conrad, and Victor French), there’s also audio commentaries from a selection of the directors in question, an Amanda Blake interview from The Mike Douglas Show, CBS radio broadcasts, a soundtrack scoring session, and more.

Babylon By Bus (Penguin Press, $24.95 SRP) is one of those stories that is just unbelievable enough to be absolutely – and amazingly – true. Bus‘s true story focuses on a pair of Boston schlubs named Jeff Neumann & Ray Lemoine who, on the spur of the moment, decide that high adventure is the order of the day, and its to be found in post-liberation Iraq. Arriving shortly after the fall of Baghdad when reconstruction was still a seemingly workable thing, they found an often lawless, surreal ball of confusion torn between the American military presence, the citizens of Iraq, the insurgents, and the increasingly unstable relationship amongst them all. Their memoir (written with Donovan Webster) is at times funny, at times disturbing portrait of the region from a pair of modern, everyday observers who find themselves caught in the mess.

After five years and dozens of leaps, Dr. Sam Beckett faced hi final batch of televised adventures in the final season of Quantum Leap (Universal, Not Rated, DVD-$49.98 SRP). The show had its ups and downs, but the ending is a sucker punch that I still feel, all these years later, that ranks right up there with the brutal slap across the face that wrapped up The Wonder Years. Sadly, there’s not a single bonus feature in sight, but at least another TV series has managed to eke out its full run on DVD.

As I eagerly await this year’s Doctor Who Christmas special, I can bide my time with another pair of classic adventures on DVD – The Mark of Rani (BBC, Not Rated, DVD-$24.98 SRP) from the Colin Baker years, and Tom Baker’s Doctor in The Hand of Fear (Warner Bros., Not Rated, DVD-$24.98 SRP). Bonus features include audio commentaries, behind-the-scenes documentaries, continuity announcements, vintage featurettes & interviews, and more.

Jumping on the bandwagon begun by companies like Warner and Fox, Universal has begun to mine their incredible film archives and issue some very nice collections of more obscure catalogue titles grouped under a given film icon. Their latest in what they’ve labeled the Screen Legend Collection (Universal, Not Rated, DVD-$29.98 SRP each) spotlight 5 films apiece from Bing Crosby (Waikiki Wedding, Double or Nothing, East Side of Heaven, If I Had My Way, Here Comes The Waves, Cary Grant (Thirty Day Princess, Kiss and Make Up, Wings In The Dark, Big Brown Eyes, Wedding Present), and Rock Hudson (Has Anybody Seen My Gal, A Very Special Favor, The Golden Blade, The Last Sunset, The Spiral Road) in 3-disc sets.

I think I’m falling out of love with Family Guy. I used to be a big fan, and would laugh at its often absurd left-field stream-of-consciousness writing style, but with the episodes featured in the fourth volume (Fox, Not Rated, DVD-$39.98 SRP), I’ve become weary of the often senseless storytelling and paper-thin characters. It reminds me of a bad season of SNL, when the writers throw anything at the screen – overused catchphrases, included – and hope that something sticks. It’s just lazy, and it’s unfortunate – because I did like the show. A lot. Come back to me, Family Guy. The 3-disc set features audio commentaries on all 14 episodes, deleted scenes, featurettes, an optional censored audio track on 5 episodes, and multi-angle scene studies.

I still, for the life of me, can’t understand the appeal of The Da Vinci Code (Sony, Rated PG-13, DVD-$29.96 SRP). It’s a turgid, uninvolving, hack-pulp novel that seemed to have latched onto airport-zeitgeist and made a multi-millionaire out of its author, Dan Brown, and stirred biblical controversies that leave me completely uninterested. The same can be said of Ron Howard’s equally turgid adaptation, starring a shaggy Tom Hanks as symbologist Robert Langdon, hot on the trail of something or another having to do with a church conspiracy to cover up the concept that Jesus knocked up Mary Magdalane. Okey dokey. The 2-disc special edition features behind-the scenes featurettes, a first-day diary with Ron Howard, and conversations with Hanks and Brown, and more.

Like most shows that take the awkward plunge into the abyss of romantic tension dispersment by hooking up their opposites attract couple, by the 5th season of Northern Exposure (Universal, Not Rated, DVD-$59.98 SRP), Dr. Joel Fleischman (Rob Morrow) and Maggie (Janine Turner) were a seemingly permanent fixture around Cicely, Alaska – with all of the dramatic confusion that usually entails. Of course, this also turned out to be the penultimate season, and by the following year, Morrow (and Fleischman) would leave the show mid-season, and things would limp to an awkward close for the eccentrics of Cicely. The 5-disc set features all 24 episodes, plus almost 40 minutes of deleted scenes.

Dig into the sitcom stacks this weekend with the complete sixth season of The Golden Girls and the fifth season of Home Improvement (Buena Vista, Not Rated, DVD-$39.99 SRP each). Golden Girls features conversations with the cast from the Museum of Television & Radio, while Home Improvement sports a blooper reel.

While not up to the level of a college classic like Animal House, Accepted (Universal, Rated PG-13, DVD-$29.98 SRP) is an affable comedy that – while no work of genius – is genuinely enjoyable if taken as a throw-away laugher. When a schlubby high school student gets turned down by every college on his list, he decides to do what any aspiring academic would – start his own school. The South Harmon Institute of Technology is a bizarro reflection of college life, with the students in charge. Bonus features include a making-of featurette, deleted scenes, and a gag reel.

Yeah, yeah, yeah – the second season of NCIS (Paramount, Not Rated, DVD-$64.99 SRP) still features the same kind of pulse-pounding anti-espionage, anti-terrorism stories, but the real reason for watching the show is to support the continued career of Mark Harmon. I do it for the man who gave us Summer School. The 6-disc set features a quartet of featurettes (“Investigating Season 2,” “What’s New In Season 2,” “The Real NCIS,” and “Lab Tour with Pauley Perrette”).

Anyone expecting a frothy romantic comedy out of The Break-Up (Universal, Rated PG-13, DVD-$29.98 SRP) will be in for quite a shock, as the bubbly laugh-fest of the trailers is actually a rather dramatic tale of a disintegrating relationship – that of Gary & Brooke (Vince Vaughn & Jennifer Aniston) whose break-up eventually manifests itself as a bitter struggle for their shared apartment. Think of it as a take off on The War of the Roses, but without the humor. Bonus materials include an alternate ending, deleted scenes, audio commentaries, and more.

As train wreck television goes, the second seasons of Flavor Flav’s search for a mate, Flavor of Love (Paramount, Not Rated, DVD-$38.99 SRP) has got to be near the top of the list. When one of your prospective paramours has to be excused to use the bathroom, you know you’re on a roll. The 3-disc set features all 11 uncensored episodes, plus bonus scenes and interviews, plus a bevy of behind-the-scenes featurettes.

So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

##

Quick Stop Thingamabobs: 11/17/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:00 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Sucks Less, episode 4. Go. You watch now. (Thingamabob)
  • Legendary Disney animator Ward Kimball – on a game show. (Thingamabob)
  • Kaspar Huaser Comedy Podcast – solving the problem of white literacy, one joke at a time… (Thingamabob)
  • Treadmill stupidity – Darwin would be proud… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

November 16, 2006

The Fred Hembeck Show: Episode 81 – Best Episode Ever!

Filed under: The Fred Hembeck Show — UncaScroogeMcD @ 12:10 am

fredhembeckheader.jpg

A couple of weeks back, I got an excited call from Ken Plume. Ken, y’see, is the fellow who is – among his many other duties here at Quick Stop – responsible for overseeing The Fred Hembeck Show (as well as keeping my daughter supplied with Billy Joel mp3s…). And beyond that, it seems he also conducts in-depth interviews – a truly multi-faceted individual!

Well, the news he had for me that evening concerned just WHO he had been happily chatting over the phone lines earlier that week – none other than Tom Kenny!

While Tom Kenny may not be a household name in YOUR household, he sure is in mine! Tom, in case you didn’t know, is the voice of SpongeBob SquarePants, and people, THAT’S a name I KNOW you’re all familiar with!

fredhembeck2006-11-16-01.jpg

But Ken wasn’t just alerting me to his latest celebrity conversation because he knew me to be a major SpongeBob fan. Oh no – he was calling to report that, besides delving into the making of the recently released SpongeBob CD, The Best Day Ever, he and Tom had even spent a few minutes discussing (of all things) ME!

Wow!

The thing is, though, I sorta figured maybe my name just came up briefly, y’know, as the call wound down? I never actually expected it to turn up in the published piece! But last week, when Ken finally posted the interview on-line at Quick Stop (you can read it by going here), much to my surprise, there I am, all over the fourth page of the discussion!

Allow me to reprise a few pertinent excerpts of what the oh-so-kind Mr. Kenny had to say about yers truly…

Even as a kid, a younger teenager, I always liked his Dateline @#$% and stuff that he did. I love that stuff. I thought it was so great. Then when The SpongeBob Movie came out and they put out the soundtrack, they needed a couple extra filler tracks and Andy and I had just begun work on what would become the Best Day Ever album, but Hillenburg heard our songs, they needed a couple of songs to pad out the soundtrack album, and he said how about “Best Day Ever” and Patrick’s “Under My Rock.” So they kind of cherry picked those songs and put them on the movie soundtrack. And then “Best Day Ever” wound up on the closing credits of The SpongeBob Movie. Which was never intended. They were kind of works-in-progress at the time, but they just needed filler for the soundtrack album. Hembeck, on his column – and somebody steered me to it – just raved about those two songs. Just said, “Wow, these are great,” and he’s a Beach Boys freak, and he said, “I pulled over the car and I looked at the CD booklet. And I’m like, ‘Who is responsible for these songs? Why is this so perfect?’ And I saw Tom Kenny, the voice of SpongeBob, wrote the songs, and Andy Paley who’s done Brian Wilson’s best post-Beach Boys work,” and it was just amazing to read somebody that connected all the dots in a way that nobody ever had. Nobody at Nickelodeon gave a shit. Nobody at Paramount gave a crap about those two songs, or probably never even listened to them. And Hembeck just got everything and really listened and connected the dots and knew what we were trying to pay homage to.

He was the first and only person who gave a shit about our two songs on that. Everybody talked about The Flaming Lips and Wilco, and no reviewers even mentioned our songs when they’d review the album and then…

Then Hembeck did a review that only talked about our songs, and again it was like that Earth-2, Comic-Con universe where it’s like, “Great!” And he was so perceptive about where we were stealing our shit from, that it was great. But so positive.

I’ve been wanting to call him for two years. I’ve been wanting to e-mail him or write him a letter or something for two years because he was the first person who was enthusiastic about what we were doing. It was one of the things that got our mental ball rolling for, “Wow, maybe it’d be cool to do a whole album of this shit.”

His review to me means more than USA Today.

Well, as you could probably imagine, I was totally floored by the above comments! Especially the part where Tom credits MY review of his work on the movie soundtrack CD as at least some small impetus for his latest musical endeavor!

I know I said it earlier, but I truly believe it bears repeating: Wow!

fredhembeck2006-11-16-02.jpg

Hey, it may not be quite the same as inspiring the likes of Revolver, Born To Run, Dark Side of the Moon or Get Away From Me, but friends, I’ll gladly take it! (And just as an aside, I must confess that, in the course of their chat, Ken gives me far too much credit in relation to my knowledge of musical minutia. The truth is, beyond the likes of James Burton, Carol Kaye, and Hal Blaine, I really don’t know my sixties era session players by name as the overly-enthusiastic Mr. Plume implied! Sorry – though I CAN name pretty much all of Jack Kirby’s inkers, and that’s gotta count for SOMETHING, right?…)

Anyway, full review of the new CD to follow (sans the annoying USA Today pie chart, of course…), but first I thought, as a public service to the cyber-shy Tom K, I’d offer up a trio of entries from the back pages of my unorganized “Fred Sez” blog, all dealing with (no surprise here, Einstein) his lemon-hued absorbent alter ego. Another time for the Kirby embellishers, okay?…

fredhembeck2006-11-16-03.gif

First up, we hearken way, way back to March 19th, 2003, when I first attempted to explain to a largely disinterested world the origin of my ongoing fixation with the yella fella…

———————————————————————

It’s a SpongeBob SquarePants world – we all just live in it! You, me, and Jim Starlin alike!

That’s right – I’ve linked the names of Stephen Hillenburg’s lovable nautical Nick sensation with that of comics legendary leveler of multiverses. Why? Well, it all goes back several years now…

I’ve mentioned Julie from time to time. My kid. Like any other kid, she watches her share of TV – though being a pretty active one, usually only as a last resort. But when she does plop down in front of the tube, odds are that the dial is switched to Nickelodeon. Over the years, she’s tuned into just about every program they’ve aired, including all the cartoons – CatDog, The Wild Thornberrys, As Told By Ginger, The Angry Beavers, Hey Arnold!, Rocket Power, and, of course, the always popular Rugrats. None of ’em ever did a thing for me. Of course, I generally didn’t sit down and actually watch a full episode all the way through with Julie – y’see, having her attention focused on the tube usually gave me a rare couple of minutes to myself!! Especially when she was younger, she kept me hopping, so I took my breaks when and where I could get them. Usually, I was located nearby, so I HEARD more than my share of the aforementioned animated series, and frankly, I was never felt motivated to investigate any of them much further. I relished my downtime instead. Ah, the peace and the partial quiet…

Then one day Julie came up to me and said Nickelodeon had a brand new cartoon, one I just HAD to see!! I was skeptical, but just to keep the conversation moving along, I casually asked, only half caring, what the name of this new masterpiece was.

“SpongeBob SquarePants“, she said.

…? What? WHAT was that? Well, she repeated the name, a name that combined four separate words in a configuration that, given all the time in the world to consider, I NEVER would’ve expected to hear in the same phrase!! Needless, to say, she now had my full attention. I was so stunned by what I’d heard, I initially accused Julie of making it all up (if only…), but once I was assured by a quick glimpse at the program listings in the TV Guide that this SpongeBob SquarePants did indeed exist, it was just a matter of time, waiting for the next scheduled broadcast to begin. My curiosity had been piqued.

All this time later, I’m not sure what I expected from my first exposure, but I certainly didn’t expect to be so totally entranced, I can guarantee you that!! I do recall that upon seeing the little guy for the first time, I pegged him as a rip-off of one of Robert Crumb’s Snoids, a notion I’ve never been totally able to shake (in fact, there’s an actual episode – the one in which our star vainly attempts to write an essay – that offers a knowing wink at this accusation. Crossing the screen to get a pencil, SnoidBob looks directly at the viewer, smiles, and carries himself to his destination in an exaggerated “Keep On Truckin'” fashion!!)

Getting past that initial impression, I found myself continuously surprised by what I saw. Frankly, I’d never cared for the other animated Nick fare largely because of the generally unattractive designs utilized for the characters. It limited my enjoyment. But here in Bikini Bottom, all the denizens seemed to posses the fluidity of classic cartoon characters – and the animators weren’t at all shy about putting their malleability to good use in the pursuit of surrealistic silliness!! The stories, over time, came to remind me of the simple, direct sitcoms of my youth: The Honeymooners, I Love Lucy and most especially, the antics of those two classic comedy teams, Laurel & Hardy and Abbott & Costello. A small plot point would quietly unfold, and then slowly be elaborated upon exponentially, the laughs amassing as the situation increases sky high in absurdity!! And all done without the sort of rude or mean-spirited gags all too typical of today’s entertainment! Wow! In this day and age – who’da thought it possible?

And then there was that voice! Do they dole out Emmys to voice actors?? If they do, Tom Kenny should get a passel! His expressive yet distinctive tones run the gamut of emotions, inducing a smile with each and every one!! As do the talented folks who portray Patrick, Mr. Krab – purveyor of the Krabby Pattie – Sandy, and, omigosh, Squidward!!! Culture lovers, I have to admit it – I was won over, and I was won over big-time!!

Remember how I said this was a couple of years back? How the show had just hit the airwaves? Well, I felt as if I’d discovered buried treasure, and I wanted to share my find with all my friends and colleagues! Towards that end, I started proselytizing the virtues of SpongeBob at the ongoing volleyball game I gamely participate in. Confronted with the absorbent actor’s jaw-dropping nomenclature, most of my buddies thought I was making up the ridiculous name (and to reiterate my earlier comment, I wish…), so to prove my veracity, I had to go home, tape an episode, put the tape on pause, and quickly whip up a black and white sketch of the squeezable star to bring with me the following week to appease all my doubters!! Whew!! Can you imagine? A time when the image of SpongeBob wasn’t all-pervasive in our culture? When, if you wanted a picture of Senor SquarePants, you had no alternative but to draw it yourself?!? Man, were those ever the dark days…

fredhembeck2006-11-16-04.gif

I brought along the picture to our next gathering. Having previously played up this new character as perhaps the greatest breakthrough in animation since Winsor McCay embarked on a traveling show with Gertie the Dinosaur, it didn’t do very much for my credibility. Frankly, the group began to look at me funny. Okay, I mean, even MORE so than usual. I think they thought I was nuts. They’d never heard of this character, and if not for me, I’m sure they figured, they probably never ever would have. So, I just shut up and played the game…

A little bit of time passes in our tableau. Several of the more adventurous amongst the regulars deign to dial over to Nickelodeon to see what all my fuss was about. The initial results were underwhelming. Consequently, I’m receiving more odd looks than usual. Then, a rift breaks out between factions of cartoon connoisseurs – a friend I really thought might like SpongeBob didn’t. Found it not at all to his tastes, I was made to understand. He instead much preferred the Cartoon Network’s Power Puff Girls, a series I, as it turns out, have never managed to work up very much enthusiasm for. This led to a very peculiar – some might say “pathetic” – sight: two grown men heatedly debating the merits of SpongeBob SquarePants versus the Power Puff Girls!?! Truthfully – are there ANY winners in THAT argument?!?…

And then, the breakthrough. One fine game day, Jocular Jim Starlin – yes, the man who killed Captain Marvel, re-invented Warlock, and gave the comics world it’s first bald super-heroine, the folically challenged Moondragon – came up to me with a piece of paper he’d clipped out of the latest edition of Newsweek. It was from their Newsmakers page, and it heralded the arrival of a new star, my old friend SpongeBob SquarePants. Jim smiled as he handed it to me, and while I don’t recall exactly what he might’ve said, I’d like to believe this was his way of showing me that he didn’t consider me nearly as crazy as he once might have!! Or if he did, here was legitimate proof that I wasn’t alone in my madness!! It was a moment of great satisfaction, and that little clipping would henceforth spend the next several years taped to the front of our refrigerator, coming down only when time and errant squibs of Tropicana orange juice demanded it’s removal. (…but no, Jim never became an acolyte. I’m gonna argue with the man who decimated Jason Todd?? I may be crazy, but I ain’t NUTS!?!…)

Now he’s EVERYWHERE!! No, not Starlin – SpongeBob!! And for once, I can proudly say I didn’t follow a trend – fact is, I may well have STARTED it!! Um, well, okay, sure – AFTER Julie told me about it, of course, but heck – she’s got her own section here at the site; if she wants to grab credit, let her do it over there!! Meanwhile, let me pleasantly revel in my prescience. The biggest cartoon sensation since The Simpsons, and I knew it before anybody!! (…Is it time to use the word “pathetic” again?…) All kidding aside, I’m happy for the folks behind the scenes, and both my daughter and I continue to enjoy the undersea antics of the submerged superstar and his friends!! (Which, at this point in her young and potentially rebellious development, is an increasingly rare instance of the two of us digging the same thing! Thank you, SpongeBob, for giving me a welcome conduit to my growing child!!…)

Y’know, we spent a week at the Jersey shore last summer, and up and down the boardwalk, all one could see hanging from the multitude of gaming booths was a veritable sea of stuffed SpongeBobs, with a few Spider-Mans thrown in mostly to break up the monotony! (…Didn’t spy any Power Puff Girls merchandise, I might well point out! Hah!…) In addition to all the toys, band-aids, party goods, and even food bearing our boy’s likeness, word is, the hottest new variation on America’s most popular doll is the SpongeBob SquarePants Barbie!! (No, she’s not square and absorbent, merely wearing a dress festooned with the yellow fellow’s image, accompanied by her very own SpongeBob throw toy!! Can a Squidward Ken be all that far off?…)

And howabout the show-stopping guest-shot Mr. Pants made on last weeks “X-Presidents” entry over at Saturday Night Live?? For those who missed it, X-president Reagan proposed the manufacture of propaganda cartoons not unlike the anti-Japanese ones Bugs Bunny starred in back during WWII to help sway positive public opinion towards engaging Iraq in armed conflict. To that end, he brings out Spongy – voiced and most likely animated by all his regular crew – who, true to character, balks at his new role, protesting that their depiction of Arabs is, well, racist! (It was. That was part of the joke…) Immediately put under lock and key by the no-nonsense Ronnie, a rescue is attempted by… The Power Puff Girls? Hm. Things don’t go all that well for our cartoon friends, but in the end, it makes for a sharp and satisfying piece of political satire!! Again, who woulda thought??

Can you believe I’ve written all this because, at the outset, I merely wanted to alert the comics fans in the audience to a publication they may not be aware of – but well should be?? Haunt the newsstands, Silver Agers, because you don’t want to miss the third in what appears to be one of Nick Mag’s semi-annual SpongeBob SquarePants Specials!!

fredhembeck2006-11-16-05.jpg

Chock full of cutting-edge comics creators – Roger Langridge, Sam Henderson, Mark Marek, and James Kolchalka, amongst others – the REAL treat comes when you get to the three page “Mermaid Man and Barnacle Boy” adventure. You might recall this pair as SpongeBob and Patrick’s favorite heroes, and were drawn in outfits EXACTLY like Aquaman and Aqualad’s, save for a starfish covering Mermaid Man’s nose, a few shells on his chest, and a hat and domino mask for his younger partner!! Well, for this thrilling installment, the fine folks at Nick have lured the Great Ramona Fradon out of retirement to contribute the artwork – and lemme tell ya, it looks just as good as the stuff DC Comics recently issued in their premiere Aquaman Archives Volume One!! I know I’ve been a little…harsh on the Sea King over the years, but even I can appreciate the sentimental if slightly skewed reunion taking place betwixt creator and character!! Heck, even my Power Puff Pal bought a copy!! I wholeheartedly advise the rest of you to run out and do so as well!

fredhembeck2006-11-16-06.jpg

Or look for a copy on eBay, I guess…

——————————————————————–

Fast forward with me now to November 21st, 2004, and my reaction to the spongy one’s big screen debut…

——————————————————————–

Yeah, yeah, I know – The Incredibles.

Don’t worry, I’ll get around to seeing what’s shaping up to be the best reviewed animated film EVER eventually, honest. But in the meantime, I’m here to report that yesterday I transported a contingent of rabid fans – in whose number I proudly count myself – to a matinee showing of The SpongeBob SquarePants Movie, and I’m happy to say, NO ONE was disappointed.

Long time readers of “Fred Sez” might recall me recounting the tale of being turned on to the Nick Toon in its virtual infancy by my daughter Julie, and immediately falling under the spell of the energetic, good-natured silliness that’s at the heart of its now broad appeal. Understand that this was SO early on that, in order to explain to my friends at our weekly volleyball game what I was ranting about, I needed to actually tape an episode, freeze frame just the right pose, and then draw a copy of what was up on the screen myself, all merely in order to show the uninitiated just WHAT a SpongeBob SquarePants was!!

Stop and consider that notion for a moment: there was once indeed a time when you literally could not find a visual image of the little guy anywhere, save for the earliest, intermittent broadcasts of his nascent program!

And NOW, well…

Now he’s everywhere, including the big screen. Oh, there’s been a certain amount of backlash due to his overwhelming presence on the current cultural landscape – I’ve heard more than one parent bemoan his very existence, much the way the ever pervasive Barney got slammed similarly a decade earlier. I contend that these folks either haven’t actually sat down and absorbed (if you’ll excuse the pun – or even if you won’t…) an episode, or they’re likely the kind of people who automatically turn their noses up at most anything that could be conceived to be of a childish nature. But perhaps this movie will finally convince enough of those unbelievers – the film appears to be getting generally good, if not Incredibles reviews – of the character’s innate worthiness, see?

Lynn and I took Julie and two of her pals (all aged fourteen, for those of you keeping score at home) to see the Saturday afternoon showing (we would’ve gone opening night, save for a conflict the girls had with a dance). Me and the missus went in and got our seats while the kids waited out in the lobby for another buddy to join them, and by the time she showed, the only good seats left were the ones directly behind us. This allowed me the unique ability to gauge their reaction to the movie. But first we all had to sit through something new, or at least something I’d never encountered before: a loosely connected series of commercials for upcoming DVDs, video games, TV shows on NBC, the Sci Fi Channel, and the Cartoon Network, a creepy car ad that sprung the long-dead Steve McQueen on us unexpectedly, and of course, plugs for the lobby’s candy and soda, all under the umbrella title of “The Twenty” (which was either it’s length in minutes, the number of ads it inflicted upon us, or most likely, both…)

Then, finally, the lights went down and we STILL had to sit through the requisite half-dozen trailers of future presentations (the concept for the upcoming live action Fat Albert movie looked mighty peculiar – and it was hard to tell if that was a good thing or a bad thing. But it was definitely an ODD thing…) The main event hadn’t even started yet, and already I was worn out from all the visual stimuli that we’d been bombarded with. Was this going to affect my potential enjoyment of our little yellow friend’s cinematic debut, I fretted?

I needn’t have worried. Commencing with a cleverly off-kilter opening live-action sequence set on a pirate ship, once the laughs started, they never truly stopped! While the plot was little more than your standard quest chestnut – SpongeBob and pal Patrick must find King Neptune’s missing crown in order to save the life of the unfairly condemned Mr. Krabs – it served as the perfect template for any number of hilarious set pieces.

(One favorite: while attempting to retrieve the key to their hijacked Patty Wagon – long story – in a bar full of thugs, the pair inadvertently break the dive’s one cardinal rule, allowing a bubble to float out of the soap dispenser in the washroom. The head hard case proceeds to line up everybody in the bar, and begins playing the “Goofy Goober” theme song on a turntable, knowing full well that no “babies” – as he likes to call them – can resist joining in for long, and once they do, he’ll have his bubble blowing culprits dead to rights! Well, just watching the animated agony of our two stars as they try mightily to resist the siren song of the Goofy Goobers had me laughing uproariously! Silly, yes – but exquisitely executed as well….)

fredhembeck2006-11-16-07.jpg

Patrick, in fact, has some of the funniest moments in the entire film. As someone who makes SpongeBob look like a prime candidate for the Bikini Bottom chapter of Mensa, his dumber than thou reactions to most any mundane situation can easily evoke a guffaw. Watch for his deliciously ridiculous encounter with Neptune’s daughter, as he finds himself immediately and totally smitten with the young mermaid. Believe me, love never looked so stupid. And in a moment towards the end of the film that had children and adults in the audience alike howling, our pink pal receives an… unexpected wardrobe modification, one I won’t otherwise spoil for you.

When the end credits began to roll, I heard Julie’s friend Lisa say, over and over again, almost in a reverential tone, “That was the BEST movie I’ve ever seen…” I’m not willing to go QUITE that far – in fact, I’d even be willing to admit that, sight unseen, The Incredibles is probably a better piece of cinema – but this was anything but a quickly churned out, simply elongated episode of a kid’s cartoon show. Thanks to the efforts of creator Stephen Hillenburg and all the talented writers, animators, and voice artists – with Tom Kenny and Bill Fagerbakke leading the pack in their roles of SpongeBob and Patrick – The SpongeBob SquarePants Movie should spawn an entire series of wildly inventive and gloriously fun-filled sequels!!

So, I guess my advice to you is simple: go see it!

And maybe – just maybe – I’ll get the whole group together again to take in a showing of The Incredibles sometime real soon, okay?…

————————————————————-

Eventually I did see it, and y’know, maybe it was just a case of having to wade through the overwhelming amount of praise heaped upon it, somehow making me involuntarily react contrary to the masses, but I wasn’t as impressed by The Incredibles as the vast majority seemed to be. However, I’m here to praise SpongeBob, not bury The Incredibles, so let’s put aside THAT controversy and complete our visit to the past with the toon’s tune review from November 28th, 2004 that caught the eye of music-minded Tom Kenny in the first place…

————————————————————-

There’s probably nothing more delightful – or satisfying – than when two of my many seemingly disparate obsessions unexpectedly collide and combine to make for one near transcendent – if oft times silly – sensation.

Just such a magical moment occurred earlier this week, shortly after I eagerly purchased a copy of the brightly colored CD you see below.

fredhembeck2006-11-16-08.jpg

By now, you’re all at least peripherally aware of my allegiance to friend SpongeBob, of whose big screen debut I raved about not long ago. And you might recall the glowing review I gave Brian Wilson’s SMiLE last month. Well, no, this soundtrack collection ISN’T the next SMiLE, but it does include any number of gems in its 15 selections. Fine, fresh tracks from the likes of The Shins, The Flaming Lips, Wilco, Avril Lavigne, and (gulp) Motorhead are judiciously mixed in with cuts either utilizing dialog clips from the cartoon, or the actual voice artists themselves, singing happily in character. And, gang, THAT’S where the fun begins!…

We initially listened to this CD while driving over to Grandma’s for Thanksgiving dinner, and I was immediately taken by “The Best Day Ever” (sung by Tom Kenny as SpongeBob), and “Under My Rock” (performed by Bill Fagerbakke as Patrick). The two tunes – aside from the unavoidably goofy vocals – sounded exactly like something piping out of a hand-held transistor radio, circa 1965/1966!! The SpongeBob solo was especially reminiscent of the “Help Me Rhonda”/ “Wouldn’t It Be Nice” era Beach Boys, replete with echoes of Boss Boy Brian’s trademark Spector-like wall of sound, exotic percussion included. Throw in a few hints of the organ flourish from the Monkees’ “I’m A Believer”, wed them to some gloriously sunny lyrics, sung with undeniable enthusiasm by the faux sponge, and you have yourself a perfect piece of pastiche, one whose enjoyment upon repeated listenings admittedly hinges on your own personal tolerance of Kenny’s high-pitched (yet tuneful) voice characterization. Me, I could just listen to him all day, but I’ve been told that not EVERYONE feels the same way. Huh – hard to figure…

Patrick’s “Under My Rock” is far broader lyrically, and not nearly as ambitious musically. Still, an authentic British blues rock feel is nicely achieved with the aid of some harmonica and a concise guitar rave-up. Why, you might even think this number was the Yardbirds, the Animals, maybe even the Stones themselves – if it weren’t for THAT voice. While Brian Wilson could himself conceivably croon “The Best Day Ever”, there’s NO way Mick – or anyone else for that matter – could attempt a go at “Under My Rock”, since the words are laser specific to Patrick (who, for those not in the know, is a starfish who lives under a rock and has nearly the same I.Q. as one). Fagerbakke talk-sings the comedic couplets as the back-up band blisters in the background, easily eliciting laughter and furious toe-tapping simultaneously.

Midway to our holiday destination, I couldn’t help but wonder: just WHERE’D these things come from anyway? So, to satisfy my curiosity once and for all, I asked Julie to hand me the CD case from the back seat so that I could check out the credits in the little booklet that came with it.

Imagine my surprise when I discovered that both tunes were the work of the freshly-minted songwriting team of Tom Kenny and Andy Paley, with the latter responsible for the production on this pair of retro tracks. Paley, you see, is a long-time music biz veteran and is perhaps most celebrated for his collaborations with – uh huh – Brian Wilson on two of the ex-Beach Boy’s highly regarded solo albums (one of which was never officially released, but that’s a whole ‘nother story…). No wonder these two cuts so precisely – and lovingly – aped an era. Paley – who’s also worked with acts ranging from NRBQ to Madonna – invested each piece of fresh nostalgia with his considerable expertise – and while that doesn’t make Music From The SpongeBob SquarePants Movie and More the next SMiLE, it should make it of at least passing interest to those of you out there who thrive on the sounds of deliciously replicated sixties era surf pop – even when it IS sung by a squeaky voiced cartoon character!!

(This isn’t the first time the SpongeBob braintrust has wandered off into such celebrated waters, by the way. A memorable first season cartoon episode featured a brilliant, non-Paley Beach Boy send-up called “I Ripped My Pants” (..don’t ask…). From its ersatz “Be True To Your School” melody right on down to its tell-tale reverbed tambourine intro that spot-on duplicates the wistful opening to the unforgettable “Caroline, No”, its long been evident to this viewer that the folks who mastermind Bikini Bottom’s inhabitants have a deep and heartfelt appreciation for the music of their land-based surfing counterparts.)

(One warning, though: the CD also features “The Goofy Goober Song”, the very number whose key plot-turning sequence in the film I spotlighted in my recent review. Just as the thugs challenged their terrified listeners not to sing along with the tune’s inane melody – snatches of the very self-same dialog are in fact included on the CD track – you’ll most certainly find yourself unable to resist, and you’ll soon be helplessly wandering about your house, musically muttering, “I’m a Goofy Goober” under your breath, over and over. Hey, there’s no shame in it, folks – it happens to even the, ahem, strongest of us…)

———————————————————-

Okay, folks – that brings our little swim down memory lane up to shore and to a close. Now it’s time to take a closer look at some NEW product – namely, the Best Day Ever CD.

Simply put, it more than delivers on the promise the title tune and “Under My Rock” hinted at when those pair of tracks snuck their way onto the movie soundtrack a few years back. Clocking in at little over fifty minutes, the aural experience is structured to ape the broadcast of a sixties Top Forty DJ, as disc-master Al Bacore (Jerry “The Geator” Blavat) introduces tunes from each member of the water-logged cast – The High Seas, don’tcha know – with the lion’s share of the mirthful melodies crooned by SpongeBob himself. In between each number, jingles, weather forecasts, ads, contests, and other AM radio staples are satirized in short and snappy comedy bits.

This tact recalls The Who Sell Out, which dropped mock-British radio ads in between the long-player’s hard rocking numbers. Funny thing was, when I was younger I always avoided buying that particular album for that very specific reason! I just figured it’d become tedious after two or three spins, and contented myself instead with my copies of Tommy, Live at Leeds, and Who’s Next. It wasn’t until the LP was re-released on CD – in expanded form, natch – in the mid-nineties that I decided to take a chance and pick it up.

The result? It sparked a massive revival in my interest in the group, an appreciation that hasn’t dimmed in the intervening years, and now The Who Sell Out ranks right up there with the other three aforementioned Who classics. If anything, The Best Day Ever takes its conceit even further than the Who did way back when, and even without the aid of funny voices supplied by Keith Moon, I can attest to the fact that the humor stands up well to repeated listenings. As you might suspect, it’s filled with a boatload of marine based puns, character-derived comedy, and just plain inspired silliness. Without blowing any punchlines, I’d point to the “Caller Number Five” interlude, as well as the disclaimer on the Krusty Krab Radio Spot, as my favorite laff-getters – and I’ll even shamefacedly admit that it took me half a dozen listens to appreciate DJ Al’s intro to Patrick’s “Under My Rock” as a bolder (boulder – get it?) new direction for the starfish! Who knows (which might make a fine title for your NEXT recording, Pete…) – maybe there are STILL some gags I haven’t gotten yet! Something to keep bringing me back, no doubt…

That, and the songs, of course!

fredhembeck2006-11-16-09.jpg

Each and every one a collaboration of Tom Kenny and producer Andy Paley, the numbers generally succeed at serving twin mistresses: cleverly amusing lyrics specific to each character, simultaneously wedded to tuneful music echoing a warmly recalled but bygone era, expertly performed by an ace group of musicians (of which, as I admitted earlier, I was only familiar with a few – sorry, Ken…).

When the microphone is turned over to such non-crooner’s as Squidward (Roger Bumpass) for “Superior” and to Mr. Krabs’ (Clancy Brown) “Fishin For Money”, Tom and Andy wisely approach their numbers much the way a Broadway composer might knowing he had to cobble together a showpiece for a vocally-challenged thespian. While probably as far away from the sunny charm of the title track as anything on the disc, I challenge you NOT to soon begin muttering the title chorus of Mr. Krab’s show stopper to yourself after a mere couple of spins! And on a similar note, Sandy’s (Carolyn Lawrence) “Who Wants To Race Me” is a fast and furious country and western ditty, delivered with the girl squirrel’s nasally down home Texan charm, all the while ably aided by Jeremy Wakefield’s snappy steel guitar!

You’d think Plankton (Mr. Lawrence) might fall in this selfsame category, but somehow his bark-singing the commanding couplets to “You Will Obey!” mirror the best of the aggressive rockin’ blues vocalists of the past, all the while barreling along over a killer “96 Tears”-like organ riff! Okay Plankton, whatever you say – I WILL obey!

“Barnacles” is a particularly catchy number that utilizes the varied personalities of the entire, rich cast, as each member contributes a personally-tailored stanza extolling the virtues of the title word, which for the folks of Bikini Bottom, is “the way we say what they we say we can’t say” – got that?. Provided a little South of the Border, Jay and the Americans-like flavor by the tasteful accordion fills of Flaco Jimenez, this is the one you’ll most want your little ones singing! Because, believe me, I’ve heard the alternative, and it AIN’T pretty! (Guess this track is the Bizarro World version of “The Fish Cheer”, huh?…)

SpongeBob, being the big star here, naturally takes the lead on “Barnacles”, then again shares the spotlight with the rest of the gang on the finale, “Bikini Bottom/Rock Bottom”. He trades lines with Patrick on both “Ridin’ the Hook” and “Doin’ the Krabby Patty”, and then solos on “Employee of the Month”, “My Tighty Whiteys”, and “Where’s Gary?”, as well as gloriously setting the tone with the title track.

Oh, and there’s one OTHER undersea denizen I’ve neglected to mention this far: honorary Bikini Bottomer – and Beach Boy founder – Brian Wilson!

On the rare occasion you find the name of as legendary a musical luminary as Brian Wilson listed in the production credits of a CD, you just might as likely have to strain your ears to the breaking point in hopes of actually HEARING their contribution, buried way deep in the mix as it usually is.

That’s not the case here, not by a long shot!

While stopping short of stepping up to the mic for any lead vocals, two tracks in particular – “Doin the Krabby Patty” and “My Tighty Whiteys” – glisten with Wilson’s gorgeously layered back-up harmonies. The former number effortlessly conjures up the sense of good-time fun found in The Beach Boys early up-tempo surfing hits, while the latter ballad – save for its decidedly off kilter lyrical content – would otherwise musically sound perfectly at home on Pet Sounds (or at least Friends…)! And even on songs where Wilson clearly isn’t on hand, well, even THEY just drip with his inspiration – there’s a short musical interlude towards the end of the CD’s finale, “Bikini Bottom/Rock Bottom”, that sounds, with its ukulele flourish, like it was lifted directly from a Smiley Smile out-take – and believe me, friends, that’s a GOOD thing! Hey, I sincerely doubt any theremin players ever attended recording sessions for any “Barney” discs, dig?..

I could go on – hey, isn’t that a little of Sam Cooke’s “Chain Gang” I’m hearing on “Employee of the Month”? – but I won’t. Suffice it to say, this CD works on so many levels, and I’m thinking, if you’re a SpongeBob fan, or someone who just appreciates classic Top Forty radio AND music of a certain era , or maybe someone who flat out worships Brian Wilson, or even just loves a skillfully concocted novelty record (me, I’m all four!), then you, sir or madam, NEED to buy this record!

fredhembeck2006-11-16-10.jpg

(And lemme tell ya, just the very notion of a Phil Spector-like collection of original Christmas carols crooned by SpongeBob and the High Seas is almost enough to make my head explode in sheer delight! Santa Hillenburg, I sure know what I want for Christmas, even if has to be NEXT Christmas!…) .

So, Tom – there’s your review! Great job – and that goes for Andy, the entire cast, and all the musicians, too – Brian most definitely included!

But as you might also recall, you told Ken – it’s on the record; just take a peek up above – you fully intended to ring me up and, y’know – heh – say nice things to me! Remember? Ken even called first to give me a head’s up regarding your intentions – I guess he wanted to prepare me. I promised Ken to be on my best behavior and try my level best to call you “Tom” and NOT “SpongeBob”, and that I wouldn’t badger you to use THAT voice for our entire conversation.

Unless, of course, you wanted to!…

Well, as of yet, I have as yet to hear from the multi-talented Tom, but there’s probably any number of good reasons for that. Mr. K does, after all, cop to being shy about calling up perfect strangers during the course of his conversation with Ken (though I’d never claim to be perfect…), so perhaps that’s the source of his reluctance.

Or maybe Ken passed along certain nuggets of information he subsequently garnered from me during that pre-call alert he gave me. Such as my semi-exhaustive collection of SpongeBob ephemera:

The SpongeBob SquarePants Movie DVD
Four seasons of SpongeBob on DVD.
Four SpongeBob music CDs
Three Nickelodeon SpongeBob magazines
A SpongeBob puzzle book
A SpongeBob jigsaw puzzle
A SpongeBob metal trash can
A SpongeBob Bulletin Board
A Talking SpongeBob Cookie Jar
A SpongeBob kitchen magnet
A SpongeBob Uno card game

fredhembeck2006-11-16-11.jpg

A Plankton watch
Plastic figures with the recorded voices of SpongeBob, Patrick, and Squidward included within
A SpongeBob bobbling statue
A SpongeBob cushy toy
Several years worth of SpongeBob calendars
A SpongeBob embroidery sew on
A SpongeBob sticker
A SpongeBob pinata (broken)
Paper SpongeBob birthday cups and plates
Various SpongeBob Holiday cards
SpongeBob Cheese snacks
SpongeBob Krabby Patty candies
An electric SpongeBob toothbrush
SpongeBob toothpaste
SpongeBob shampoo
A SpongeBob soap dish
A SpongeBob pillow case
Two SpongeBob blankets

…And somewhere around this point during our discussion, Ken interrupted my seemingly endless litany of product with a question that had suddenly become very, very important to him to:

“Fred, ” he asked incredulously, “you – you don’t own any SpongeBob UNDERWEAR, do you?”

“Well…”, I began to stammer…

The pregnant pause gave me away.

“NO!”, he exclaimed, beginning to laugh uproariously! “You DON’T?”

“Um, yeah – I DO. Two pairs, in fact, Boxers, though – NOT thongs. But you gotta understand – a lot of the stuff I’ve ticked off, including the undies, were given to me over the past several years as either Christmas or birthday gifts. My family knows how much I like SpongeBob, so for them, it was just an easy out when present purchasing time rolled around again. Just load up on SpongeBob goodies, of which there is, like, no limit, y’know? Honest!…”

“Suuure”, Ken replied, obviously not fully convinced.

I don’t know how to quash his doubts, but if nothing else, Tom, this should convince YOU of my unwavering devotion to that cute li’l fellow you so ably help bring to life.

Look – just like everyone else, you’ve heard of Cheesecake, right? Uh huh. Of course.

Beefcake – you’re familiar with that too, righto? You betcha by golly YOW!!.

Okay, but I sure hope you’re sitting down cuz it’s time for me to introduce the NEXT doughy delight – :

SPONGECAKE!

fredhembeck2006-11-16-12.jpg

Sigh..

I suppose Tom’s NEVER gonna call now, is he?…

Visit Hembeck.com – that is, if your eyes haven’t already been burned completely out of their sockets….

-Copyright 2006 Fred Hembeck

Quick Stop Thingamabobs: 11/16/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:05 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Is there any sex in the champagne room? (Thingamabob)
  • The Hayden Christensen School of Acting… (Thingamabob)
  • “Torn” on The Secret Policeman’s Ball. (Thingamabob)

Have a THINGAMABOB? Send it in!

##

November 15, 2006

Nocturnal Admissions: DVD Review and giveaway, Boston Legal: Season Two

Filed under: Columns,Contests,Nocturnal Admissions — UncaScroogeMcD @ 12:29 pm
nocturnalheader5.gif

I have an extra copy of the second season of Boston Legal to give away, but more about that later. [Update, Thursday, 16 November, 2006: the box has been won. Congrats to Canada’s Jeff Winkworth!]

BL title

Boston Legal is about reunions. That has become extremely clear by the start of the show’s second season. The first big trial arc of S2 features Heather Locklear as Kelly Nolan, accused of killing her much older husband. Locklear, of course, starred with William Shatner in T. J. Hooker (one of the greatest shows ever put on television). At the end of the season (and it’s a long season, 26 episodes, four more than typical) Jeri Ryan appears, introducing a third Star Trek veteran into a stew that also includes Shatner and Rene Auberjonois, all from different generations of Treks.

This seems to be a conscious strategy because though David Kelley’s BL is ostensibly a legal dramedy, it’s really a “postmodern” show about television itself. Hence all the guests performances by old time TV people, from Betty White to Tom Selleck. At the end of one episode in S2 James Spader’s Alan Shore walks into the traditional episode ending chat on the balcony with Shatner’s Denny Crain and says, “Denny, I’ve hardly seen you the whole episode.”

Boston Legal really began, as most of us recall, at the tail end of The Practice, though few knew that that show was coming to an end. It had begun in 1997, with movie stars Dylan McDermott and Lara Flynn Boyle spicing up the tiny tube with their big screen allure. It was a serious, heart-rending program, but by the end of its seventh season it had worn out its welcome. With season eight, Alan Shore joined the firm and his acerbic wit and ruthless practices rejuvenated “¦ Spader’s career. The show began a must-watch, just for its Spaderisms, but the fact that no one any longer cared about anyone else still left on the series seemed to justify ABC’s decision to finally cancel the show. Fortunately, by the start of the next season, Spader was back as Shore, in this new show, now in its third year.

The sole reason to watch Boston Legal is for Spader and his witticisms. The show’s makers seem to know this. It has had more cast turn then almost any other show in television history. Lake Bell and Julia-Roberts-sound-alike Monica Potter didn’t survive long or at all into the second season, and the exotic Rhona Mitra, the other carry-over from The Practice, vanished soon into S2. Early S2 cast members Ryan Michelle Bathe and Justin Mentell soon vanished, and there was a flurry of additions across the end of S2 and the start of S3, including the great Parker Posey and the great Craig Bierko, who looks to serve as a fine nemesis to Shore.

In its first season, Boston Legal began toning down Shore’s cutting remarks, the best part of the last legs of The Practice. There are even fewer wisecracks in S2. But what is emphasized are Shore’s various closing statements, which are clever, intricate, heartfelt, and in many cases politically daring. One of the best occurs at the end of episode S2E10, called “Legal Deficits.” In it Shore defends his new assistant, who suffers from onerous and punitive credit card debt, a situation that many viewers can related to. The speech is worth quoting in full.

First, credit card company shill Attorney Melvin Palmer (Christopher Rich, of Murphy Brown, another TV connection) leads into the speech by saying, “Given that we [credit card companies] are bigger than Walmart or McDonalds or Microsoft we enjoy some security. And potential lawsuits like this? We have an expression in Texas, Mr Shore. You’re all hat, and no cattle.”

BL talk

Shore chuckles and begins, “Here’s the thing about me. I am a hoot. But I insist on putting adversary back into the system. And I do it openly and notoriously for all to hear. While a swell guy like you doesn’t want the public to know that of the thousands of industries tracked by the Better Business Bureau the credit card racket is number one in customer complaints. You don’t want them to know that you deliberately target those who won’t be able to pay off their debts. People you call, “˜Revolvers’. People who see “˜zero percent interest’ in big blue print and don’t know that with just one late payment you skyrocket their interest to thirty percent. That if they so much as inquire about leasing a car you raise their rates. You don’t want the public to know that while over seven million families have filed for bankruptcy in the last five years you got Congress to change the bankruptcy code to make it next to impossible for people to discharge credit card debt. You don’t want people to know that the credit card industry is essentially a pack of hyenas crunching on the bones of the poor. Do you? I smell something awful. He leans in to smell Jerry’s body. I think it’s you. Yes, this case has the stench of big tobacco and asbestos all over it. Luckily our firm has nine offices around the US, London and Hong Kong, strategically positioned for massive class action suits. And once the company you represent smells it too they’ll find you’re not nearly smart or powerful enough and they’ll drop you for a firm that employs expertise and intimidation rather than down home hokum and smiley handshakes. And this is my favorite part, when your firm fires your obsequiese ass for losing their client… Oh my God! The stress! Your tan will fade, you’ll gain a few pounds, drink a bit more, scream at the kids, and maybe your wife will finally leave you. For the realtor who sells your house because after all he’ll still be able to afford Christmas in Aruba and next year’s convertible. Hey, fella. Don’t worry about it. It’ll be a hoot.”

Shore, of course, wins the case.

BL hands

Boston Legal is a show that you watch for the words, rather than the visuals. It’s like radio. All the important stuff is verbal. Julie Bowen is a fine contribution to the War of the Network Blondes, but what we’re really here for is Shore’s dicta. I’ve even grown very attached to the show’s credits lead in, which end with a punch line punctuated by the show’s jaunty theme music. Thus it becomes a doubly annoying tic of the show that they often tilt down to or up from moving hands, as if the only other part of the human body that communicates, besides the voice, is one’s paws.

BL box

As mentioned at the top, I have a giveaway set of Boston Legal season two, thanks to Fox Home Video. The first person to write me at dkholmcontests@mac.com gets it. Obviously I won’t be able to answer all respondents, so if you don’t hear from me anywhere from an hour from now to a week, you didn’t get it.

Interview: Chop Shop Entertainment

Filed under: Interviews — UncaScroogeMcD @ 3:19 am
chopshop2006-11-15-01.jpg

-by Ken Plume

chopshop2006-11-15-02.jpgIn anticipation of the DVD release of Clerks 2, we took some time to go in-depth with Zak Knutson and Joey Figueroa of Chop Shop Entertainment, the two cats responsible for the online behind-the-scenes featurettes (affectionately known as “Train Wrecks”) that documented the making of Clerks 2.

For the DVD release of Clerks 2, however, they’ve crafted a brand-new, feature-length documentary about the journey from the original Clerks to Clerks 2 titled Back To The Well. We chat about their work with Kevin Smith’s View Askewniverse, the ethos behind the “Train Wrecks” and Chop Shop Entertainment, and what it was like to document the journey back to the well…

Before we get things started, though, how about a look at the trailer for Back To The Well (there are additional clips at the end of the interview):

  • Large (560 x 420 – QuickTime – 32.4 MB)
  • Small (320 x 240 – QuickTime – 14.2 MB)
—————————————————————

KEN PLUME: When did you both first get involved with Kevin?

JOEY FIGUEROA: Well, there was talk of doing it long, long before we even got that on the budget to do it. That’s basically our holdout was the budget, and the okay from the studio, and Kevin and Scott (Mosier) really pushed for it. They’re really into it. More so Kevin, with the online stuff. For us, the documentary was the most important thing we really wanted to get off the ground.

ZAK KNUTSON: Ken, are you talking about when we first got the idea to do the documentary?

KEN PLUME: Even going further back than that. Respectively, when did you two first start working with Kevin?

ZAK: Ah, okay. I was a production secretary and the visual effects assistant on Jay & Silent Bob Strike Back. And I stuck around. They were kind enough to keep me employed on Jersey Girl, and I kept in touch with Kevin & Scott through emails and whatnot, and then when Jersey Girl came up I was the post-production coordinator.

JOEY: And me I came on during post-production on Jersey Girl as an office assistant. What led us to this point, I guess, was our work with (the Clerks 10th anniversary documentary) Snowball Effect at first, because we did the work with Phil Benson. Kevin was really happy about it.

KEN PLUME: Speaking of that, when did Snowball Effect begin to come together? Because obviously you two both had worked on Jersey Girl…

JOEY: Well, Phil Benson – the one that directed and produced it – he had pitched it to Kevin, Kevin was all for it, and then he basically brought on Zak and myself to help out.

ZAK: Phil had told me about it one day at the office. He said, “I got this idea for this documentary,” because they’re planning on doing this Clerks 10th anniversary DVD. He told me it was originally going to be called From Jersey to Sundance. And I told him, “If you don’t do it you’re a fool, because that’s a really great story.” Because I was a fan before I even actually started to work with these guys. And I used to beat Phil over the head so hard about it that when he finally got the balls enough to actually do the documentary, he asked me to do it and he asked Joey to do it. That was towards the end of Jersey Girl, because we were in post production hell on that movie, like everybody knows. And then I went off to produce a movie with Dave Klein, and when I came back Joey and Phil had already done a lot of prep work on the documentary, and we basically did the entire thing from start to finish in about four months.

KEN PLUME: Which, considering how many things needed to be pulled together for that documentary, is quite an accomplishment.

ZAK: It was a huge process, ’cause that documentary was basically done by four guys. It was done by Phil Benson, Rich Fox – the guy who actually cut the documentary – and then Joey and myself.

JOEY: All the photography we did was in a span of only three weeks.

ZAK: Yeah. We interviewed everybody in three weeks, and we went from L.A. to Washington to New Jersey to New York and then back to L.A. to finish up interviews.

chopshop2006-11-15-03.jpg

KEN PLUME: So, for each of you respectively, what was the biggest learning curve in diving in and doing something like that?

JOEY: Just the whole process of putting something together from nothing, you know? You’ve got your basic story, and you just get the gist of what it takes to create something when it’s not always right there in your face… Without fabricating shit, is what I’m saying.

ZAK: Myself, I basically fell in love with the documentary format. I’d never been a documentary guy, and that one really taught me what goes into it and how it’s filmmaking, but it’s kind of the exact opposite of when you go to a movie. When you’re doing a documentary you kind of have an idea of what the story’s gonna be, but you kind of create it on the fly in post-production, because that’s when you find your stories in the little things that people tell. It’s not written down in a script. But since then I’ve become a huge, huge documentary fan. I can’t get enough. That’s all I have on my NetFlix.

KEN PLUME: When you talk about finding the story in editing, how different was the found story than what you originally set out to tell, and the original concept of Snowball was?

JOEY: That would be more of a question for Phil. I don’t want to speak for him, but I think what he had in mind was basically telling the story of Kevin making his movie on a shoestring budget, and it selling to Mirimax at Sundance. That was his basic idea, and the whole journey from… remember, it was originally going to be titled From Jersey to Sundance. And through that, and interviewing all the people, you got a chance to get the insight into all these little characters that were in that movie and what their original characters were supposed to be, and what not. And you get all these little stories. One that was really interesting with us was the Ernie O’Donnell was originally supposed to play Dante, and basically couldn’t learn his lines, so he essentially got demoted to playing Rick Derris. You know, so little things like that just come up through all the interviews, and you get a chance to put them all out there, which was kind of cool.

ZAK: Plus the black and white of the had already been out there for 10 years, and Kevin had told the story so much. But there were these other little stories that we kinda found out along the way, like how important the Ernie aspect was to how the film came out. And Ed Hapstack. Without Ed Hapstack, they wouldn’t have had things like lights, because he built them – and how he built them… all that kinda stuff. And then just the things with Jay (Mewes). Like, I didn’t know Jay was a roofer. And I didn’t know that when the movie came out, Jay was a roofer. Just these little things, and how the relationships were and how instrumental Bryan Johnson was in the actual story of Clerks.

JOEY: Little things like Kevin not even liking Jay when they used to hang out. He was somebody that he didn’t want around, and he just kinda grew on him – to the point where, obviously, today they’re family. They’re like brothers. More like son and father, in a way. It’s kinda cool.

ZAK: It’s almost kinda like a Batman: Year One story, where you get to learn where all the different characters came from… How Gordon and Batman and Alfred and al these guys just tied together. That was kinda what doing Snowball Effect was like for us.

JOEY: And also in the process, for me anyways, I got the experience of kinda knowing Kevin even more, his whole life, and his whole story. His whole background and his home town, and talking to his mother and his friends, and just everybody back home. You got a sense of who he was as a kid, and it was almost like he was destined to be who he was today. I mean, the guy was writing as a child, and he had people listening. It was kinda cool. It made me feel like I got to know him better as a person.

chopshop2006-11-15-04.jpgKEN PLUME: And you also were much closer to when there were still some raw nerves about Clerks in evidence, particularly with Jeff, and you got a much clearer picture of clarifying exactly what went down post-Clerks release…

ZAK: Well, there was a point when we were doing the DVDs that Jeff didn’t want to have anything to do with it. Jeff wanted to get away from Clerks. He wanted to get away from being Randal, and when we called him up to actually do the documentary, he kinda expressed that he wasn’t that interested in doing it. And Kevin had to call him up and say, “Look, doing this thing is kinda pointless if we don’t have you. It’s like doing Indiana Jones without Indy.

JOEY: Actually, Jeff was one of our last interviews on Snowball Effect. I mean, he really held out to the end. We interviewed him here at the office toward the tail end of the shoot, and it turned out that he kinda made a turnaround. Almost like on Clerks 2. It just took him a little while to get greased up, then he was all for it.

KEN PLUME: So you actually had to grease him then.

JOEY: Oh sure.

ZAK: Oh yeah. In a very sexy way.

KEN PLUME: Now I know what all the drums were that I saw at the office.

ZAK: (laughing) Exactly.

JOEY: There’s lubricant here just on standby, dude, like in a big fucking Crisco jar.

KEN PLUME: Well, I believe you can buy it through the Stash, can’t you?

ZAK: Yes, and it’s called “Frisco” because Crisco would sue us for copyright.

KEN PLUME: I thought it was like Mooby’s sauce or something…

ZAK: There you go.

KEN PLUME: Coming off of Snowball Effect, were things kind of nebulous as to what your roles would be after that documentary and Jersey Girl were wrapped?

ZAK: Well, one thing that Snowball did for us was that when we were wrapping up Snowball Effect, Kevin was big on Green Hornet, and he felt that we did such a good job on Snowball and Jersey Girl that he put us in the budget to make sure that we would be able to go over to Prague to film Green Hornet. Joe and I were kinda under the thing of, when we’re going over… we’re basically going over to Prague for a year. Let’s do something else besides what our jobs are – let’s try to forward ourselves somewhat, career-wise. So we had come up with the idea of doing these things for the internet, and kinda showing people – because Kevin was really big on the internet, and always has been, but we wanted to film some stuff and put it up on the web to kinda keep the fans informed and entertained and give us something to do besides either paperwork or running around Prague, or something like that. We wanted to do something as filmmakers ourselves, so we had the idea of doing kinda what we did on Clerks 2 on Green Hornet. And then Green Hornet fell out, and then Fletch came up. Fletch fell out, and then when Clerks 2 came around, we kinda looked at each other and went, “This is almost too perfect to do it. We gotta pitch this to Scott & Kevin, and they’re gonna have to go for it.”

JOEY: Well, pretty much it’s that whatever project was going to get greenlit next, we were gonna make the same pitch. We wanted these internet diaries, we want to shoot a documentary, and basically just roll footage from beginning to end. That was our pitch for any of the movies. It turned out to be Clerks 2, which was fucking awesome because the experience was pretty amazing. It was like hanging out and goofing off with your friends. That’s basically what it turned out to be in the end.

ZAK: But the internet diaries were gonna be nothing like they ended up being in Clerks 2. I was thinking, like, once every couple weeks putting something up with Kevin and Scott, and actually showing some stuff like the “Black Beauty” and all that kinda stuff. We had no idea the internet stuff was gonna explode and become as big as it actually did on Clerks 2.

chopshop2006-11-15-05.jpg

KEN PLUME: So when you take that pitch in for what you two wanted to do with the internet featurettes, what were Kevin & Scott’s reactions?

JOEY: Well, you know, Kevin and Scott were all for it. They were all for it. The problem was more so the studio giving us the budget. Kevin was just like – at first he told us, “That sounds great, you guys do whatever you want.” We were just basically waiting on the budget. We actually started shooting and rolling footage prior to us even getting greenlit, just so we could have stuff in the can already, just in case. And it turned out that we did get the budget, and once we started doing the internet stuff, Kevin basically said “You guys can do whatever you want”… but, of course, later on he’s like, “Well, we don’t want to give away certain spoilers,” so he had to basically clear every Train Wreck that went up. They went through him first to make sure that “This is gonna be a spoiler, this is okay….” But other than that, he let us basically do whatever the hell we wanted, which was cool.

ZAK: Yeah, Kevin & Scott were for it in a big, bad way. We first brought it up to Scott, and Scott was like, “That’s a great idea. Follow up on it. Write some stuff up, do a pitch, do a budget, do all that kinda stuff.” And then when we took it to Kevin. Kevin, I think, got halfway through the pitch, and he was just like, “This is it, this is great. Let’s do it, pitch it, pitch it, pitch it.” So at that point we took it to the studio, which was basically Shannon McIntosh. And the weird thing was that, at the time – at the time, this was gonna be a Miramax thing, when we were going through this, and the Weinstein’s were splitting from Miramax, and they were forming The Weinstein Company. So we got caught into this limbo of The Weinstein Company basically not having any money to do it. And we wanted to do it, The Weinstein Company wanted to do it, but they didn’t have the cash flow at the time. So we basically had to wait until about two weeks before the actual movie started to know we could do it. Shannon McIntosh loved the idea, and she approved it and she ran with it, and she was kinda the one person at the studio who really, really kinda had our back through the entire thing.

KEN PLUME: Was there any real concern that it might all fall apart and you might not get the approval?

JOEY: Every day.

ZAK: Oh, we went to Vegas… (laughing) We went to Vegas as kind of a “feel bad for ourselves” trip, “Let’s go make ourselves feel better, let’s go get drunk and gamble.”

JOEY: Actually, that weekend, Scott had told us it’s about 99% dead in the water. Then he called…

ZAK: Five hours later.

JOEY: … five hours later, while we were in Vegas, he goes, “Well, hold on, it’s not dead yet.” And then that’s all he said. And then he calls back and says, “You guys got it.”

ZAK: That was all… in the period of five hours it went from “It’s dead” to “Harvey’s looking at it” to “Shannon pushed it through Harvey and it’s good, you’re gold, you got it.”

KEN PLUME: So how well did you do in Vegas during that trip?

JOEY: It didn’t really matter at that point.

ZAK: I think we won, didn’t we?

JOEY: I won some money the first night, and then I figured, “Fuck it, we’re gonna get paid now,” so I went and blew it all.

KEN PLUME: Boy, that’s a common story in Hollywood…

JOEY: We did pretty good in Vegas except for the last day. As usual. Vegas always wins. But we had a good time. It made the trip that much better knowing that when we got home, we basically had a job.

KEN PLUME: Going in, was there anything besides spoilers that was off limits?

JOEY: Um, yes. For a while, in the very beginning, Kevin wanted to hold out the fact that it was taking place at Mooby’s. So if you notice on some of the photos we put up, we turned them black & white just because the obvious purple & yellow colors would give that away. And being that it was at a location, not in a studio, he wanted to put it out that, “Okay, it’s gonna be taking place at a Mooby’s,” but then holding on to anything like the Quick Stop being on fire. We held onto that forever. Besides that, basically nothing was off limits as far as shooting, but everything had to be cleared with Kevin as far as what was going to be thrown out there on the internet.

ZAK: Kevin watched every single Train Wreck before it went up, and every once in a while would have an issue with, “You know what, there’s some purple & yellow in the background,” or “We don’t want to show this,” or something like that he would pop up, but that happened very rarely.

KEN PLUME: Once you were on the set – because the initial Train Wrecks were basically pre-production material…

ZAK: Yep.

KEN PLUME: When you were actually on the set and dealing then with talent and crew… I mean, it’s well known that Dave Klein wasn’t exactly happy to be on camera.

ZAK: Which, by the way, is a total, total act. We had this planned out. We were talking to Dave about it. I mean, Dave doesn’t like being interviewed on camera to start off with, but he doesn’t really mind it because he knows… I’ve worked with Dave doing three different movies, but Dave was like, “What if I’m just the angry guy? That’ll be my character. I’ll just be the pissed off guy. The guy who doesn’t want to be…” and it turns… as soon as that camera turned off or as soon as I cut it, we were laughing our asses off.

KEN PLUME: He did it so well.

JOEY: It was all fun and games, man, he was just fuckin’ around and fuckin’ around. Half the time he’d slap the cameras because we were asking him to.

KEN PLUME: What’s great is he was like this brilliant, angry combination of Moby, Charlie Brown & Phil Collins…

ZAK: Totally!

JOEY: More like Charlie Brown.

KEN PLUME: You can tell him I said that, too.

chopshop2006-11-15-06.jpg

ZAK: Dave was always my cutaway guy. If I needed to cut away out of something, if I needed to cut away, “I need footage of Dave.” “Dave, I need footage. You’ve got to hit the camera. You’ve got to do something. Come on Dave, do something.” And he’d usually act pissed off or whatever, and I always had a cut away point to get into something or to get out of it.

JOEY: You know, at first a few people were a little standoffish about the cameras being there the whole time, but during the preproduction meeting, all the heads were there and they’re like, “Look, these two guys are gonna be on set every single day with cameras filming all the behind-the-scenes stuff, so you’re basically going to have to get used to it.” And there were a few people that were kinda standoffish, but pretty much, like, after the first week on set, everybody warmed up to it, and everybody wanted to be on camera as opposed to not being on camera.

KEN PLUME: So you had to start fending people off…

ZAK: Pretty much.

JOEY: And everybody was like, “Well, how come you haven’t talked to me yet, and bla blah blah blah.” It became one of those things where everybody wanted to have a little piece of their internet fame, I guess.

ZAK: Yeah, because really the only person to have done this kind of thing before this was (Peter) Jackson on King Kong, and no one really knew what to expect. They were afraid we were going to make them to look like assholes, or that they didn’t know what their jobs were, or something like that, or we were gonna make fun of them. Kinda like what Project Greenlight did. Because Project Greenlight has got this thing ingrained in people’s heads to where movies are always a huge pain in the ass and no one has fun and everybody’s fighting with each other. But that’s their TV show. They create that for the TV show. But with Kevin’s movies, that was one of our goals with the Train Wrecks, mainly, was to show people what it was like to work on a View Askew movie. Because after every movie that Kevin and Scott do, everyone comes up to them afterwards and says, “This was the best experience I’ve ever had. And if you guys ever do anything, give me a call. I’ll leave what I’m doing just to come work with you guys.” And I only know of maybe one or two other directors, like Clint Eastwood, who actually have that kind of relationship with their crew. Where they can be working on a series, and all of a sudden Clint calls and they go, “I gotta leave ’cause Clint called.” Because it’s such a great experience, and that’s what working on a View Askew movie is like. I’d say there was probably three days on set that maybe people… and it was usually with Kevin, and it was basically when Kevin was up all night editing – and when Kevin’s up all night, and he hasn’t had any food, he gets kinda cranky. But even when he’s cranky it’s still pretty goddamn good. So out of two months of shooting, it was probably one of the best experiences I’ve had, of being on a set. Just seeing everybody work, it was probably one of the best experiences I’ve ever seen.

KEN PLUME: Obviously, when you have the camera there and you’re shooting people doing their jobs, or people having moments, is there anything that you felt was an awkward moment?

ZAK: There was probably three or four times where Kevin said to turn off the camera. But it was never out of like “He’s talking to an actor.” It was never anything like that. It was usually because we had the camera in his face all day long and he was beat tired and he’s like, “Can we just turn this thing off now? Aren’t we done?” Like I said, out of 12 months of shooting, he only did that that a few times, and that’s pretty great. But there was never… it’s kinda the surprising thing when people watch stuff, there was never any high tension point. I mean, I was surprised at how great the actors were. Because usually actors are a little stand-offish when they stick that camera in, because the lines aren’t written for them or anything like that.

JOEY: But Rosario (Dawson)…

chopshop2006-11-15-07.jpg

ZAK: Rosario had no problems whatsoever. Rosario was like, “Oh, you guys are doing that?” And she jumps right in front of the camera. And Jay was kind of the saving grace. Jay loved that camera. Without Jay we wouldn’t have half the Train Wrecks we did. And you know, Brian and Jeff, and just everybody, was just outstanding.

KEN PLUME: So who was the biggest surprise and turned into the biggest camera whore?

JOEY: I would say Jay was one of them, and Rosario was another. Them two, they were pretty neck-and-neck as far as really loving the camera and giving you little gold nuggets to paste together.

ZAK: Panasonic provided us with all the cameras, and they gave us two hand held cameras because we wanted some for the actors. ‘Cause our original thing was we were gonna give Kevin and Scott these little handheld cameras so that they could record their thoughts throughout the entire day. But when they’re making a movie, they don’t exactly have time to sit there and go, “Okay, I’m gonna turn on my camera and talk for five minutes now.” So what we did was we started passing the cameras around. Actually, it was one of the cameras, because Jay grabbed one camera and he didn’t let it go for the entire shoot. As a matter of fact, I think he still has the fucker. And Jay would just go around and shoot shit. And at the end of the day he’s like, “You got another tape? You got another battery? You got another tape? You got another battery?”

JOEY: I mean, we’ve got footage of Jay waking up in the morning, and recording himself taking a piss for no reason at all but he’s recording stuff.

KEN PLUME: For posterity.

JOEY: Yeah, sure.

ZAK: And like I say, about 80% of it was useless. But that 20% that he gave us, that you ended up seeing, that was totally worth it.

JOEY: Trevor (Fehrman) also loved that camera. He kinda got attached to it, also. He didn’t want to give it away. And that guy would shoot everything and anything that would get in front of that camera. I mean, he loved it.

ZAK: He’s a natural ham.

JOEY: Totally.

chopshop2006-11-15-08.jpg

KEN PLUME: The biggest misconception people might have about the documentary, compared to the Train Wrecks, is that the documentary is just a duplicate of what they saw in the Wrecks…

JOEY: Well, yeah. Everybody, just from reading stuff online and on the message boards and stuff, had the inclination that it was gonna be just a bunch of Train Wrecks pasted together. And we kinda let that fly. We’re like, “That’s cool that they’re gonna think that, because hopefully it’s gonna be a nice surprise when they see it’s something totally different.” We wanted to do something a little more in depth. Because if it was just gonna be pasted together Train Wrecks, why not just watch all the Train Wrecks back-to-back?

ZAK: We really wanted to give them… Joe and I were kinda there to see all this stuff that we put in the documentary. Even when we weren’t doing the documentary. Like, we start out basically with the end of Jay and Silent Bob Strike Back. We go into Jersey Girl. We go into Green Hornet. Because Clerks 2 was kinda being bounced around throughout that entire time. So we kinda wanted to say, “Look, this is when it really started to roll.” Because at one point Kevin closed the book on the View Askewniverse. Now he’s going back into it. And after working with these guys for the last five years, there was a lot of story there to be told, that we just didn’t want to deal with Train Wrecks. We wanted to actually get in there and do some stuff. Like the fact that Scott left. Scott was really having issues with being a producer, and there were other things in his life that he wanted to do, and it’s the exact opposite of Kevin. You know Kevin – that’s all he wanted to do, is make movies and write. So there was all this stuff in there that we really wanted to get into and show, and kinda show the relationship between Kevin & Scott, because Kevin takes a lot of the spotlight, but Scott’s really the one who helps push Kevin, and when Kevin is on the fence about a joke or on the fence about a story or something like that, Scott’s the one that he goes to. Scott is kinda the unsung creative partner in the entire thing.

JOEY: And it’s also just trying to answer some questions that people kept asking, and it’s like, “Look, let’s just put it out there, these questions are gonna get answered, and leave it at that.” The whole Green Hornet thing, everybody had their own answer to why didn’t Kevin do this movie. And they probably still will doubt him, but like he says in the documentary, “This is why I did not make this movie,” and there’s a couple reasons that led up to him deciding not to do Green Hornet. The so-called lack of success of Jersey Girl – how much of that influenced making something on a smaller level? It had a lot to do with it. And we try to touch on all those bases. All these people asking these questions on the internet. We figure, like, “Fuck it, man, let’s try to answer these, and then we can basically just put it to rest.” Or we can try.

ZAK: Yeah, and one of our big things was, during the interview process, we didn’t want Kevin to give his standard interview answers – kinda like he does at cons – about Green Hornet, where he “would just have guys standing around the ‘Black Beauty’ talking about blow jobs.” We wanted the actual, real answers, the ones that we knew. And if we could get those out there to people who don’t know those answers. They know the ones that he gives at Comic-Con or the ones that he gives during his Q&As. If we could get the real answers… that’s one of the things that actually surprised Kevin when he watched the doc for the first time – he wasn’t used to watching himself not making jokes, and being totally serious. Because you’re used to seeing the stuff with the Evening with Kevin Smith, and stuff like that. Whereas on this one, he’s like, “I’m not used to watching myself being so goddamn serious.” And it kinda took him back a bit because he really gave us some great answers. He was totally open.

JOEY: There were a few times where it actually took us a few interviews to get the one answer that we really wanted, because he’d give us an answer and we’re like, “Well, that’s kinda like a pretty generic answer,” and I don’t think he really wanted to talk about it, because there was a couple of times where he’d tell us, “What does that have to do with anything?” And we’re like, “Well, we’re just trying to get to this point of why – why you actually came to the point of finally wanting to do Clerks 2,” because that’s ultimately the whole first reel of the story. And it took him a little while to warm up to that, because I think he didn’t want to rehash ant Jersey Girl shit with J-Lo and Ben (Affleck). And that whole Green Hornet thing he really didn’t want to talk about it. But then after the series of interviews, he finally decided, or finally figured out, like, “Wow, this is part of the story.” So he was real honest with his answers and it took a little while, a few interviews, before he finally warmed up to the fact that, “Hey, fuck it. Let me just put it out there, and this is what it is.”

ZAK: The lack of box office with Jersey Girl, and pulling out of Green Hornet, those things had to do with making Clerks 2. Those were reasons why he made Clerks 2, and that’s one of the things we wanted to answer with the doc, and we finally got around to it. And I think he’s real pleased that he actually can put out those answers and people can know.

KEN PLUME: Was there anything that was completely off limits, that people just didn’t really want to talk about, period?

JOEY: I think there was only one thing that he didn’t really care to talk about – and it wasn’t really big on our storytelling, anyway – and that was the Fletch thing. I think because it was such a short time where they actually considered getting it off the ground. So he’s like, “Meh, I don’t really want to get into that because I’ve told that a million times and it’s gonna be the same thing.” And we agreed. We’re like, “Meh, it’s not really something we really cared about covering anyway.” We were more interested in the whole Jersey Girl/Green Hornet connection, because it was like, everybody was up his ass about turning down an 80 million dollar budget movie. You know, it’s like, “Why, why, why?” And really, Fletch didn’t have anything to do with it. That’s the only time he really said, “I don’t want to talk about this,” was when we brought up Fletch.

ZAK: And plus Fletch, in the grand scheme of things – out of the five years that we basically cover, Fletch was about a month.

JOEY: Yeah.

ZAK: Fletch was about a month. It was towards the end of Jersey Girl. It showed up. It got really hot. And then he just went, “Nah, I don’t want to do it.” It was basically that quick. So when you’re going through the grand scheme of things it’s like, “Do we really want to take this much time out of 90 minutes to focus on something that really only lasted a month, and didn’t have that much to do with Clerks 2?”

JOEY: But for the most part, nobody gave us an off-limits – “That’s off-limits to talk about.” They pretty much answered everything that we asked. Every question that we asked pretty much got answered throughout the interview.

KEN PLUME: I thought that in Jeff’s answers, that he seemed like he really enjoyed the ability to be fully candid.

JOEY: You know, the guy was so honest and didn’t hold back at all. It actually surprised us. He put shit out there and said shit that surprised us. The big thing was that, “Hey, I had no interest in making this movie. I didn’t want to do it for these reasons.” And along with him just being honest about how he felt about the first Clerks, as opposed to this one – even when it got into production, and not wanting to be there on set, and it taking a few moments of him seeing that it’s gonna possibly be a pretty fuckin’ good movie. Or it was just looking good. He was pleased with what he saw, that he kinda, like, became that springboard, that cheerleader, for the rest of the way. But throughout the whole process, Jeff was one of the guys that I think we thank a lot for being so honest and fucking just open, and he made himself available to whatever when we needed him for an interview. He was fucking cool, man. Cool guy.

ZAK: Yeah, Jeff… there are two interviews that people gave that we would not have been able to get as good a documentary as without those interviews. One was Jeff Anderson, for the reasons that Joe said, and the other one was Jen Smith, Kevin’s wife. She was our last interview, and we got that interview about two days before it was zero hour for me actually putting her in the documentary. Because the documentary was pretty much cut, but I needed Jen to put in there to hit a few certain things. And with that little amount of time, it was gonna be real iffy on how the interview went. And Jen came in, and she gave a personal perspective to Kevin, and making the movie, and what it was kinda like at home versus being a filmmaker and doing all that kinda stuff. Kevin gives that, but then to do that, you have to spend all this time away from home, and away from your family, and Jen gave really, really good insight into what it’s like to be married to a guy who all of a sudden, a year of his life is going to be given up to this movie. And she gave just an outstanding interview, and it was one of those things where, after the interview’s done, Joe and I looked at each other and went, “This is amazing.” Like, “This is really, really, really great stuff.”

chopshop2006-11-15-09.jpg

JOEY: I think if it wasn’t for her interview, that whole Cannes section… who knows how it could have ended up. But she really set it off, man. The way she narrated that story, it made it so much easier to cut. She’s telling a story as we’re watching it, and if it wasn’t for that interview, I really don’t know how that would have turned out, that last section. Because she said it so perfectly. It was so, like…

ZAK: It was awesome. And the Cannes portion of the documentary is something that I don’t think anybody really knows about. I don’t think anybody knows as far as the fans or anybody who kinda caught onto the fact that Clerks got an eight minute standing ovation at Cannes. When Cannes got accepted, we almost didn’t get in. We got in at the last, last, last moment. And then when it got in, everybody felt like it was just a political move… Harvey did some wrangling, got it in there, and the festival didn’t even want it there. It was more like, “Alright, we’ll put you in it as a favor to Harvey Weinstein.” And those guys had been over there with Dogma and Clerks before then, and they had really good experiences. So when they got over there, and we’re sitting there with them, it was kinda like, “Whatever, let’s just get this thing over with. You know, this is gonna be bad. They’re gonna hate the movie. The festival doesn’t want us here, the people don’t want us here.” And then all of a sudden it got this amazing reaction. Like, to be in that theater for the eight minute standing ovation, and to film these guys, and to catch it and know everything that they’ve gone up to… the fact that six hours before then, they all just wanted to get on a plane and go home because they thought it was gonna go terribly bad…

JOEY: It was kinda fun for us, because we were stoked. We had never been there. We’re like, “Fuck yeah, this is hot, we’re in fucking Cannes,” you know, and having a good time, and Kevin’s like, “Meh, whatever.”

ZAK: I think Scott got more enjoyment out of watching Joey and I. Because we were like two kids going to…

JOEY: Chuck E Cheese or some shit.

ZAK: Yeah, like, for the very first time. And Scott’s like, “I’ve been here before, but to watch you guys, and you guys are making a movie, and you guys are here for the first time in the south of France during the world’s more prestigious film festival and all that shit…” Scott kind of enjoyed watching us throughout the entire thing.

KEN PLUME: So, in other words, Scott could have made a documentary about the two of you at Cannes.

JOEY: The publicist that was assigned to us basically gave us a VIP pass type all access thing, but they only agreed to let us on the carpet with the rest of the photographers – the cameras on the carpet and whatnot – but we really wanted to film inside the theater, and she’s like, “They’re not allowing anybody inside the theater. They never do allow video cameras inside the theater. But go ahead and do it until they tell you not to. Just do whatever you want, and if they give you a problem, they’ll come see me, and they’ll just ask you to leave.”

ZAK: She was totally on our side. It was like a guerilla filmmaker. It was fuckin’ outstanding.

JOEY: Which made it really cool because when the movie was over, and they started clapping, Kevin didn’t even realize we were in there filming. I jumped on the stage and was shooting from one angle, and Zak was shooting from the back angle, and we’re covering this whole moment, and then Jen looks over the stage and sees me and they start waving, and then Kevin looks over and he’s like, “Holy shit! They’re filming this!” And it was like, “They caught this moment on tape,” which was awesome, and he didn’t even expect this… we didn’t expect to be in there. Which made it like… hey, you can go back home and tell everybody you got an eight minute standing, and they’ll be like, “yeah yeah yeah.” But now we got the fuckin’ proof to back it up. You know what I mean? It was a really cool moment.

chopshop2006-11-15-10.jpg

KEN PLUME: What I found equally as fascinating – and I could tell you did as well, while filming it – was the look on Harvey Weinstein’s face.

JOEY: That look on Harvey’s face said it all. It just looked like… he was just kinda like, “wow.” You know?

ZAK: I didn’t even know he was there until I started to cut the footage together, ’cause Joey told me. I actually cut some footage while we were in Cannes. We would shoot all day then at night we’d go back to the hotel room and I would edit. And Joe was like, “Did you get the footage of Harvey?” I’m like, “What the hell are you talking about?” “Dude, fuckin’ Harvey was sitting right there with the biggest smile on his face, and he was a cheerleader in the whole thing and I got it.” All of a sudden I start going through the footage and fuckin’ A, there’s Harvey right behind Rosario. It so fuckin’ great to get that son of a bitch there.

JOEY: Kevin actually said that he wanted to go outside and smoke. You can see him reach for his smokes and wanting to go out, and Harvey was like, “Don’t move.”

ZAK: “Enjoy this. Don’t move. Enjoy this.”

JOEY: It was a pretty surreal moment and it was cool and we’re glad we got it. And that moment right there was worth the whole trip. Everything else was just kinda like gravy on top of the fucking potatoes, you know?

ZAK: Totally.

JOEY: That moment right there was the whole trip.

KEN PLUME: The two of you having been there… five years of history, from Jersey Girl through Fletch and Green Hornet and Clerks 2… Was there any moment in doing the shooting for the documentary that completely caught you off guard? That was a complete surprise to you? Something you learned that you had no idea actually happened during that period when you were pretty much front seat to most of this stuff…

JOEY: I don’t know, give me a moment to think…

ZAK: I don’t know if there was a moment that totally caught me off guard. I had kind of a moment of realization of how special this moment is, but it’s not on tape. It was a total personal moment between all of us. It was directly after the movie screened at Cannes. We had the eight minute standing ovation. Anything else we shot was kinda pointless. We all went back to the Hotel Martinez. The cast, everybody, and there was champagne. Kevin’s not a drinker. Kevin doesn’t drink. And Kevin was a bit tipsy from the champagne. Everybody was hugging each other and all that kinda stuff. There was one moment I wish I’d got on tape, which we kinda cover in Snowball Effect – in Snowball Effect, when Kevin and Scott were at Cannes for Clerks, they were on a boat with Simon Le Bon and they said they kinda had this moment where, “Hey, we’re on a boat in the middle of the South of France with the lead singer of Duran Duran. How fuckin’ surreal is this shit?” Well, when we got back to the Hotel Martinez, everybody’s drinking champagne, we got this eight minute standing ovation, it’s been this long thing, it’s fuckin’ amazing. All of a sudden somebody goes, “Hey, look who’s over there. Look who’s sitting down.” And they go, “Who?” “It’s fuckin’ Simon Le Bon.” We’re like, “Fuck! Somebody get a goddamn camera! Where’s the fuckin’ camera?” We wanted to get a still camera, but by the time we got a still camera, he left. So it was like, “Ah, fuck.” That was the one thing we missed.

KEN PLUME: Maybe there’s not a real Simon Le Bon?

JOEY: There’s a series of clones running around Europe!

ZAK: Like, “There’s Kevin & Scott. Get the Simon clone.”

KEN PLUME: Maybe Simon’s like The Mothman.

ZAK: Totally. Totally! But that was one of those moments where it was just like… it was almost kinda like this… I mean, for Joe & I, after going through Snowball Effect, and then going through that, it was kinda like this thing had come full circle at that point.

JOEY: What I think you were trying to ask is have we learned anything or found anything new storywise that we didn’t know about Kevin, Scott, or any of View Askew, the company… anything. To answer that question, I would say just the fact that you just… it’s not like you learn something new, it’s like you just kinda bring it home that these guys are fucking… cool. You know what I mean? It’s hard to explain. It’s like hanging out with your friends. And you just kinda, like… every moment, it’s almost like… you feel like it’s thievery. It’s like, “We’re getting paid to fucking do this? Are you kiddin’ me?” You know? It almost makes you wonder like, “What does a person with a real job do?”

ZAK: And plus it’s almost like you get to document your friends on this journey. Basically we pick up with Scott, a documentary of him basically wanting to leave, like I said before. And then now, after going through Clerks 2, Scott’s got this thing to where he’s ready to make another movie. Scott kinda found…

JOEY: He said it recharged his batteries. He got back to that moment of the original Clerks where there’s it’s just a few guys, some buddies making a fuckin’ movie for not that much money. And that’s kinda like the feeling that everybody got after making this movie.

chopshop2006-11-15-11.jpg

ZAK: And it seems that for Scott & Kevin, Clerks 2 helped them find the place where they are most comfortable and can be the most creative. With smaller budgets, with smaller crews. It’s more personal. They can tell more personal stories and they don’t have to worry about shit they had to worry about on Jersey Girl, or were going to worry about on Green Hornet. They know it’s like, “Look, this is what we like to do, this is what we want to do, this is what we’re fuckin’ good at. We can still take chances. And it’s fun again.” Which is what it wasn’t since Jersey Girl. They know what they want to do, and they know how to do it, and they can have fun with it. And for them, and them being our friends, it’s kinda like – they’re at a place… and us as friends looking at them, it’s like we’re extremely happy, number one, for them, but number two that we were actually able to capture that for some of the fans.

KEN PLUME: Tell me a little bit about Chop Shop Entertainment…

JOEY: Chop Shop basically was a company that we started just recently, and it was specifically started for this project. That’s because when we got our budget, it was easier for The Weinstein Company just to cut us a check and not deal with us until we’re done, basically.

ZAK: As actual employees.

JOEY: As actual employees instead of like, you know, us having to ask them “we need to buy this, we need to rent this.” And usually it’s like, okay, then we gotta do the invoices and they gotta go through this chain of paperwork, and then we get the money, and then blah blah blah. It’s really easy for them just to say, “Look, set up a company, we’ll cut you a check, do your fuckin’ documentary.” That’s how we got started, as far as like Chop Shop goes. Now, Chop Shop is something we’re trying to build into something a little larger, doing the same shit.

ZAK: Yeah. Basically what our things was, like Joe said, Chop Shop started off… we didn’t have a five year business plan. We didn’t have an idea. Joe and I just want to make movies and do our own thing and all that kinda stuff, and it presented itself to where it’s like, well, do it now, because now is when you have everything. And the great thing about The Weinstein Company, like Joe said, they basically wrote us a check and said go make your movie. There was nothing from the studio that said, “You know, we have to watch footage every couple weeks, we have to see what you guys are doing.” Now, granted, because of the Train Wrecks they knew what we were doing and they knew we weren’t just throwing the money away on coke and whores.

JOEY: Just some of it.

ZAK: Yeah, just a little bit. But the best thing about it was is that through this process, Joe and I have formed Chop Shop now, and what we want to do is what we did for Kevin and Scott – we want to talk to other filmmakers and to other studios. Because not only can we do these things for the internet, to get things out for fans – not necessarily just like Train Wrecks – but we’d like to do more informational ones and more technical ones and shit like that. But also to do the documentaries, so they chopshop2006-11-15-12.jpghave things to put on the internet as promotion to get fans excited about, but also to get new fans to come to the sites and go, “I wanna go see that movie.” And then when the DVDs come out, they then can have a feature length documentary, or a series of documentary shorts, that are more in-depth, that fans haven’t seen before, so that buying that DVD – which is now the studio’s number one priority money maker… studios make more money on DVDs than they do with the feature film release. So it’s the number one cash cow for those guys. They always want to try to make ’em better – or at least most studios do. So if we can do that; do what we want to do, help out the filmmaker, help out the studio, and then make some money at the same time, it would be outstanding. King Kong with Peter Jackson, those guys did an outstanding job. Those are the ones that I look to as being outstanding. They’re entertaining, they’re informative – it got people, in my opinion, to want to see that movie. It kept fans entertained and it brought more people over. Bryan Singer started to do it with Superman and then bailed out, which I heard his crew basically… they were falling out of fuckin’ windows and all kinds of crazy shit. I really feel bad for those guys. Now at the same time, it’s Joe and me. Joe and I did pretty much everything on the Train Wrecks and on the documentary except for the music on the documentary. Danny Sternbaum did that and he did an amazing job. So if we can keep our overhead low, bring the creative, bring the business, and do all that kinda stuff, I would love to see Chop Shop do things for other studios and other filmmakers. Like, if we can get to the Jerry Bruckheimers of the world, the Steven Spielbergs, get involved in their projects – because a lot of times, especially now with the internet, which is what helped Kevin out with the Train Wrecks, you can avoid spoilers just by having your own stuff out there. Kevin was able to fend off people ruining the beginning and end of Clerks through the Train Wrecks. We had fire trucks out there. The Quick Stop was burning. Then the Quick Stop was rebuilt. But because we had the Train Wrecks we were kinda able to throw people off the path. Now, I don’t want to say I’m lying to people…

KEN PLUME: No. But you’re satiating that natural curiosity that people have about a project that’s interesting to them.

ZAK: Totally. And other studios are starting to catch on. James Bond has done a few things. But I think what people are sick and tired of seeing is the standard EPK. The stuff you see on Entertainment Tonight, and, “Oh, it’s so great working with,” you know, “Tom Cruise. It’s so outstanding.”

KEN PLUME: Where everyone’s obviously asked the exact same question and coached in the answer.

ZAK: It’s the exact same questions, it’s the exact same B-roll. Now, if you can do that same thing but have Tom Cruise talking to the camera – have Tom Cruise talk to the fans directly and say, “This is our set.” Like, if it was on War of the Worlds and you have Tom Cruise standing in front of the 747 that’s on fire that just crashed into a fuckin’ house, that’s something right there. Now, if you want to hold onto that footage, you can totally do something else with it. There’s a million things you can do with it for promotion, for DVD, to keep the fans happy. ‘Cause that’s the one thing I think a lot of studios forget, they just put out the EPK to do everything. You want to keep the fans happy. Filmmaking has changed because of the internet. Now, whether you want to call it piracy or whatever, I don’t think you want to look at piracy as the unsung enemy. I think you want to look at that as the competition. And how you’re going to beat that, as the competition, is to load it up what you got with everything else… The internet webisodes, the documentaries… anything like that. Anything that you can do on there that’s creative, informative, and entertaining…

KEN PLUME: Well, you’re creating an experience…

ZAK: That’s what Chop Shop wants to do for everybody else, including Kevin.

KEN PLUME: Right. And you’re creating an experience instead of what a lot of these guys are trying to do now, which is do it after the fact. You’re doing it in real time as the film is being put together, instead of having – after the fact – people going, “Did anyone catch anything?”

ZAK: Totally.

JOEY: And also real quick, once the studios figure out that for the price of a fucking Sunday ad in a Sunday newspaper you can get hours of what is basically commercials with the video blog, that are gonna live on the internet forever…

ZAK: Now, for Clerks 2, Chop Shop put together four-and-a-half hours of Train Wrecks. We also did an hour-and-a-half documentary. We shot the EPK. We basically did everything for that. Now, when you put out an ad in the Sunday Times, it would have been more expensive than everything that we did for a year. I don’t want to run the numbers for everybody, because we’ve still got rent to pay. It makes more sense, though, and you can reach more people and get more people, than you can for just the stuff that everyone else is doing. I think the studios are afraid of the internet because they don’t know what’s there. And they don’t know how to control it.

chopshop2006-11-15-13.jpg

KEN PLUME: One of the biggest keys, though – when you talk about four-and-a-half hours of Train Wrecks, that was, what, 40 weeks?

JOEY: It was 48, almost 50 weeks.

KEN PLUME: That’s the big comparison I see as well, is that it’s not just a Sunday newspaper in a specific location, let’s say in New York or LA, that runs on one day and you’re hoping to capture the audience in that one shot… this is stuff that not only exists in perpetuity, but also will run over the course of a huge span of time, providing constant promotion for the project.

JOEY: Exactly.

ZAK: Totally. And in some realms it will live longer than that. Like the Clerks 2 DVD comes out in three weeks. All those Train Wrecks clips are still on the Clerks 2 site for people to go see. They’re still available on iTunes. They’re on YouTube. Those Inaction figure shorts, they’re still on Quick Stop Entertainment, they’re still on YouTube. That promotion is still there, still keeping awareness out for people when the DVD comes out.

JOEY: We’ve had over 10 million downloads of the Train Wrecks. It’s like, compare that to a newspaper ad. A newspaper ad, whatever the circulation may be, let’s say for instance 10 million people do see that ad. Well, the next day, some puppy dog is taking a shit, being potty trained on the Sunday ad. You know what I mean? The commercials on the internet are still rolling – but for the same, or less, amount of money.

ZAK: Plus, you can’t take that newspaper ad and put it on your iPod. You can’t put it on your computer. You can’t put it on your favorites on your computer.

KEN PLUME: You could but the glue would probably ruin it.

ZAK: It’s something that lives and it breathes and it keeps going and it keeps doing exactly what it’s supposed to do.

JOEY: And at the end of the day, the studio’s going to get a kick ass DVD, you know?

ZAK: That’s the key for us, is you can take all this shit, and you can put it on the DVD. You can put it on a separate DVD.

JOEY: Yeah, it serves two purposes. It serves as promotion for the movie, the whole run of the pre-production, production and post-production. Get the people involved and happy and looking forward to this flick if they’re interested or whatnot. And at the end of the day, you can load up the DVD with all these extras.

ZAK: It’s not the standard “making of” you see on HBO. You’re getting something more. You’re getting more into the insight of the filmmaker. The making of a movie. The personalization of it. And when you spend your 20 bucks on it, you don’t feel ripped off.

KEN PLUME: Not just that; you also have something that – going back to the sort of emergence of DVD and everyone scrambling to find stuff – you have an entire production documented with footage that can be mined for decades to come.

ZAK: Out of the footage we shot, Joe and I figured we can probably do three more documentaries. Out of the stories, out of everything else, we could do three more documentaries. Like, we’ve already made jokes about, but one day it might be true, on the Clerks 2 10th anniversary DVD, doing an entirely new documentary out of the footage. Like, it’s totally possible. And it wouldn’t be a crappy documentary, either. It’d be really good. We just had to pick the stories that we felt were relevant at the time to telling the story. We’ve got so many others that we can go into. We can totally do another DVD just out of the footage that we have, as a supplemental, or as the one that stands alone five years from now. It’s a wellspring that I don’t think anybody has really thought about. And the other cool thing about the internet that I didn’t bring up, is you’re able to address stuff as it happens. If something happens at 11:00 that morning… this happened once or twice, where we wanted to get something on the net immediately. Kevin would say, “I want to put something on the net right now.” We would shoot his intro at 11:00, and by 4:00 I was uploading it to the server so that it could be up for 5:00 when people got home from work. That’s something that you don’t have with the newspaper. Something you don’t have with a regular article. It’s something that you can go all-out, boom, and it’s automatic. You can address something as it happens.

chopshop2006-11-15-14.jpg

KEN PLUME: So I guess the big question would be to ask, what’s next?

JOEY: Well, we had some stuff going on where Kevin threw us this idea of shooting an in-depth documentary for the Chasing Amy 10th anniversary release. That’s kind of in a holding pattern right now for reasons we really shouldn’t even be talking about.

ZAK: We’ve got two projects with Kevin. This is the official one. We have two projects with Kevin that we would… actually more like three… that we’re talking about doing right now, but we’ve got to wait for things like money and contracts and all that kinda stuff, and then there’s a couple other people that we just started talking to, because they’re really pleased at the way the documentary’s turned out, and the Train Wrecks. So we’re trying to get it out there, and we’re trying to get it together. We just got our website up, that Ming from View Askew is helping us out with, and we’re trying to get that up and get that running.

JOEY: It’s a temporary site right now but Ming’s kinda diving into it pretty soon. He’s been real busy with all these screenings and whatnot.

ZAK: And then it’s basically putting together packages and trying to get in touch with filmmakers to say, “You got movies coming up – we can help you. And it’s not gonna cost you an arm and a leg, and you’re gonna be extremely pleased and happy with it at the end of it, and your movie will make more money because of it.”

KEN PLUME: What’s the URL again?

ZAK: Oh, it’s chopshopentertainment.com

KEN PLUME: So at what point are you two going to kill each other in some kind of Thunderdome battle?

ZAK: (laughing) It’s almost happened a couple times.

JOEY: Yeah, it’s almost happened a few times.

ZAK: Joe has a tendency to stand over my shoulder when I edit. And I can’t stand it. It drives me insane. But out of the….

KEN PLUME: Does he poke you and say, “Are we there yet?”

ZAK: Well, that’s the thing – out of the 10 things that he’ll tell me, five of them in my opinion will be completely bullshit, but then the other five I totally reluctantly have to agree to.

KEN PLUME: I’ll bet Paul Simon said the exact same thing to Art Garfunkel.

ZAK: Joe and I have worked with each other for the last 10 years, pretty much, and we’ve been friends, and we’ve always hung out, and we always had a thing with film. And I think we’re one of the few partners in town who can actually work together and get along and have a friendship at the same time. Some people have said, “You know, it’s a very Scott & Kevin kinda thing,” but we spend more time with each other than Scott & Kevin do. Which shows when the booze comes out…

JOEY: Not in a gay way.

ZAK: Yeah, it’s totally…

KEN PLUME: It’s good that you had to clarify that.

ZAK: Once or twice we’ve gone at each other’s throats but I think that’s totally expected…

JOEY: We chalk that up to alcohol sometimes.

ZAK: Booze is a big help in going at each other’s throats, because your nuts grow really big.

JOEY: Yeah.

KEN PLUME: So who would win in a fight?

ZAK: Joe.

JOEY: No, I think Zak would.

ZAK: I’m bigger. I’m like 6’4, 290. But Joe wears a lot of rings. So it’s kinda like wearing brass knuckles.

JOEY: I’m closer to the nuts. I can get there faster.

KEN PLUME: So, in other words, Joe would use the Jack Sparrow technique.

ZAK: Yeah, we always say if there’s gonna be a fight, I’m not gonna do John Wayne – I’m gonna pull hair, bite, scratch… I’d hit you over the head with a fuckin’ chair… but the thing is he’s faster…

KEN PLUME: I somehow get this vision of Mongo from Blazing Saddles…

ZAK: Dude, you have no idea. (laughing) That’s why I like to sit in front of the Final Cut Pro system. I just sit there and plunk away at keys.

———————————————–

Download Clip #1 – “Rehearsals”:

  • Large (560 x 420 – QuickTime – 19.22 MB)
  • Small (320 x 240 – QuickTime – 8.51 MB)

Download Clip #2 – “Make Or Break”:

  • Large (560 x 420 – QuickTime – 17.73 MB)
  • Small (320 x 240 – QuickTime – 7.86 MB)

Download Clip #3 – “First Reactions”:

  • Large (560 x 420 – QuickTime – 19.06 MB)
  • Small (320 x 240 – QuickTime – 8.63 MB)
chopshop2006-11-15-15.jpg

Quick Stop Thingamabobs: 11/15/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 1:24 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Hopefully, Tom Kenny will never see this… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

November 14, 2006

DVD Late Show: I Scream, You Scream…

Filed under: DVD Late Show — UncaScroogeMcD @ 11:31 am

dvdlateshow.jpg

November 14, 2006

Here’s the first half of my ever-timely Halloween horror DVD reviews. (Okay, I know it’s mid-November, but have mercy ““ I’m pedalling as fast as I can!)

frankenhooker.jpg

A few years ago, my pal Jim and I were hanging out one boring evening when we decided ““ as we often did ““ to rent a movie. On the way to the video store, I asked him what kind of movie he was in the mood for. “Something funny,” he said. “And scary. With naked girls. And explosions.”

I said, “Have I got the movie for you.”

Now, that film, Frank Henenlotter’s delightfully twisted horror comedy, FRANKENHOOKER (1990), has finally received a decent DVD release with a new special edition from Unearthed Films.

When the fiancée of suburban New Jersey native Jeffrey Franken (James Lorinz) is dismembered and killed in a freak lawn mower accident, the aspiring mad scientist saves her head and conceives a bizarre plan to bring his beloved Elizabeth (pretty Patty Mullen) back to life. After a visit to New York City and a pre-Guliani Times Square, he decides to use the body parts of prostitutes to build a new body for Elizabeth. Securing the necessary raw materials (in a hilariously grotesque manner), he successfully resurrects his girlfriend, only to have her head straight for 42nd Street to turn some (deadly) tricks!

Cult fave director Henenlotter’s (BASKET CASE) last film to date is a deliriously funny flick that pays respectful homage to the Frankenstein movies of the past while simultaneously wallowing in crude, lowbrow humor and unabashedly exploitative sex and gore. The special effects are decidedly rubbery and cartoonish, but that doesn’t make them any less fun; in fact, the unreality of the effects adds to the overall loony tunes feel of the film. Hell, what other movie offers the visual spectacle of exploding prostitutes?

Previously released by budget label Simitar in a full-frame, slightly edited version, FRANKENHOOKER has now been given the full fledged special edition treatment by Unearthed Films, beginning with a flawless, uncut, 1.85:1 anamorphic widescreen transfer. In addition, the unrated disc includes a great audio commentary track from director Henenlotter and Gabe Bartalos, and on-screen interviews with Patty Mullen (who looks even more beautiful today than she did in ’90) and actress Jennifer Delora, who played one of the hookers in the film. Delora also contributes her scrapbook photos to the package. Rounding it off, there’s also a behind-the-scenes featurette on the film’s special effects, the theatrical trailer, and a production still gallery.

FRANKENHOOKER is one of the best horror comedies, and well worth your time and money. Highly recommended.

slither.jpg

Here’s what I liked about James Gunn’s directorial debut, SLITHER (2006):

It wasn’t a remake of a 70’s horror film. The majority of the cast members were over 21 years old. It was rated R. It was fast-paced, funny, gory, and even grossed me out a few times.

When a meteor crashes to Earth near a small, rural community, releasing a swarm of fast-moving slug-like creatures which can enter and take over human hosts, Sheriff Bill Pardy (Nathan Fillion, SERENITY) and his Barney Fife-esque deputies must stop the alien parasites from taking over the world.

Borrowing heavily from such films as THE THING, INVASION OF THE BODY SNATCHERS, and especially, the underrated 80’s gem, NIGHT OF THE CREEPS, writer-director James Gunn (screenwriter of the DAWN OF THE DEAD remake and the SCOOBY DOO movies), has managed to pull together a fright flick that works extremely well, despite it’s lack of originality. The cast is top-notch, with great, darkly humorous performances by Fillion, Elizabeth Banks, and especially, genre vet Michael Rooker (HENRY-PORTRAIT OF A SERIAL KILLER) in a particularly challenging role. Worth mentioning are the special effects, which are particularly well done, nicely combining on-set animatronics and prosthetic make-ups with deftly executed CGI.

Gunn manages to keep the pace brisk, wringing some genuine suspense out of the escalating alien slug invasion, and mining some choice black comedy nuggets from his characters and situations. And if the jokes are occasionally a bit too broad or lowbrow, we must remember that Mr. Gunn got his start at Troma, working with Lloyd Kaufman on such cinematic wonders as TROMEO AND JULIET. (A clip from Troma’s TOXIC AVENGER is briefly glimpsed on a TV screen in one scene. It’s a nice touch.)

Universal has done a fine job on the DVD, too. The film is given a startlingly sharp 1.85:1 anamorphic widescreen transfer and a booming Dolby Digital 5.1 sound mix. The plentiful extras include several deleted scenes (including Lloyd Kaufman’s cut cameo), some extended scenes, a hilarious gag reel, the “Who’s Bill Pardy” featurette, a video set tour with Nathan Fillion, a “Making Of” documentary, a high-spirited audio commentary with Gunn and Fillion”¦ and a few surprises.

It may not be a great flick, but even with its faults, it’s probably the best new horror film I’ve seen this year. Check it out.

thewoods.jpg

Back in 2002, director Lucky McKee’s first feature, MAY, generated some good reviews and strong word of mouth, and even got him invited into Showtime’s MASTERS OF HORROR directorial talent pool. Unfortunately, his second feature film, THE WOODS (2005), became embroiled in arcane studio politics and was shelved for over a year before finally making it’s belated debut on DVD.

And that’s a real shame, because while the movie isn’t a classic, it’s a lot better than most of the direct-to-disc horror movies out there, and probably would have been very well received if it had gotten a theatrical release.

Set in 1965 New England, a troubled girl, Heather Fasulo (Agnes Bruckner, VENOM), experiences mysterious occurrences in the forest surrounding the prestigious but isolated Falburn Academy, an exclusive girl’s school run by the somewhat sinister headmistress, Ms. Traverse (Patricia Clarkson, THE DEAD POOL). First she seems to hear voices in the trees, then her classmates begin disappearing in the night, leaving only dry, dead leaves in their beds, and Heather suspects that she may be the next to go missing. Unfortunately, it looks like escaping that terrifying fate may be impossible, even when her estranged parents (Bruce Campbell, THE EVIL DEAD, and Emma Campbell, FEARDOTCOM) come to take her home”¦

Beautifully shot by John R. Leonetti, and sensitively directed by McKee, THE WOODS is an atmospheric, low key horror film that eschews gory shocks in favor of strong performances and a steadily building sense of dread. The cast is uniformly excellent, with Bruckner’s shining performance as Heather giving the weird events a solid anchor. Bruce Campbell atypically and effectively underplays his role as her concerned father, and Clarkson projects both authority and menace in equal measure.

Sony has unceremoniously tossed the movie onto the marketplace with no support or extra effort whatsoever. The bare-bones disc features a gorgeous 2.35:1 anamorphic widescreen transfer (along with a disgraceful full-frame pan-and-scan option), and a robust Dolby Digital 5.1 audio mix. That’s it.

While Sony may not recognize it, THE WOODS is a superior supernatural chiller and deserves to be seen. Recommended.

lastbroadcast.jpg

For several years now, I’ve been hearing how the makers of the no-budget indie hit, THE BLAIR WITCH PROJECT “ripped off” THE LAST BROADCAST (1998). Well, now Heretic Films has re-released the film as a special edition, and I’ve finally been able to check it out for myself.

According to the film, on December 15th, 1995, a four-man team from a cable access program called “Fact or Fiction” headed out into the New Jersey Pine Barrens to shoot a live broadcast about the legendary Jersey Devil. Only one returned. State police later found the bodies of two of the missing three and the lone survivor was convicted of their murders and sentenced to life in prison. But is he truly guilty?

Presented as a documentary investigation of the case, comprised of interviews with “experts and “found video footage” supposedly shot by the victims, the movie does bear a superficial resemblance to THE BLAIR WITCH PROJECT, which came out a year later. But the devil’s in the details, as they say, and ultimately the two movies are quite different. While THE LAST BROADCAST starts out promisingly, the premise doesn’t really pay off in any satisfactory manner. The “surprise” ending makes no sense at all, and thus, has little impact.

Heretic’s new special edition is quite nice, though, presenting the movie in its original full-frame format, with Dolby Digital 2.0 sound. The supplemental features include two commentary tracks with co-directors Stefan Avalos and Lance Weiler, behind-the-scenes documentaries on the production, post production and distribution of the film, and several video interviews with the makers of THE LAST BROADCAST. Heretic has also included an extensive still gallery and trailers for some of their other releases.

It’s not a bad film, and it does deliver a few chills and surprises, but overall, I didn’t think it quite matched its reputation. You might disagree. I can say, though, that if you’re a fan of the film or just curious, Heretic Films’ DVD is a superior package.

silenthill.jpg

Based on a popular video game, Christopher Gans’ SILENT HILL (2006) is an atmospheric, visually striking film, that nonetheless feels a bit hollow.

In fact, it feels very much like watching someone else play a video game.

The story (secreenplay by Roger Avery), which I’m told is quite faithful to the game, goes something like this: Rose (Radha Mitchell, MAN ON FIRE) is a mother who takes her adopted daughter to the ghost town of Silent Hill, in a desperate attempt to cure the young girl’s strange emotional and mental problems. But Silent Hill is not like any other town on Earth. Seemingly abandoned and constantly shrouded in smoke and drifting ash from underground fires, the town may or may not exist in another reality altogether. When Rose and her child are separated, she must search the eerie town and attempt to unravel its secrets.

In the course of the film, Rose must solve riddles, decipher clues and avoid terrifying creatures ““ creatures which never seem to have any plot purpose but to be avoided. There’s fiery baby demons, disfigured wanderers, an armored stalking knightmare, and scary nurses (yeah, I said nurses) ““ all well rendered with state-of-the-art CGI, but rarely relevant to the story. Of course, the town’s dark secrets are eventually revealed, but the backstory is so elaborate and convoluted that while I think I understand it, I’m not entirely sure.

On the plus side, the performances are quite good, and the movie does succeed in creating an unearthly “reality” that is genuinely unsettling. On every technical level, the film shines, with astounding visuals and a decidedly effective use of sound effects and music. But it still feels empty.

Sony/TriStar’s DVD presents the movie in a perfect 2.35:1 anamorphic widescreen transfer, accompanied by a haunting Dolby 5.1 sound mix. It’s not overloaded with supplements, but there’s an informative and engaging 6-part “making of” documentary and trailers for other Sony releases.

If you’re a fan of the game, you’re probably going to enjoy the film more than I did, but I can still recommend the film to horror fans for its overall creepiness and memorable visuals. Check it out.

Next time, we’ll be looking at some recent “classic horror” releases: THE INNER SANCTUM MYSTERIES starring Lon Chaney Jr., two BORIS KARLOFF collections, FRANKENSTEIN: THE TRUE STORY, and THE GROOVIE GOOLIES: SATURDAY MOURNING COLLECTION. In the weeks ahead, I’ve got some great drive-in action fare on tap, as well as a whole slew of dirty movies. Stay tuned.

Comments about this column or DVD-related questions? Feel free to contact me at dvdlateshow@atomicpulp.com.

Toy Box: Stuff To Do…

Filed under: Columns,Toy Box — admin @ 12:10 am

toybox.jpg

This week there’s no review, so if that’s all your interested in me for, you can hit my own site. If you’re here for my witty writing and snazzy dialog, you’ve clearly clicked on the wrong link. But if you’d like a few suggestions – toy related – of things to do when you’re not doing much else, then read on.

I get a lot of links from folks to check out, so many in fact that I’m quite a bit behind in the checkin’. But there’s some online and print (yes, it’s not dead) goodies out there that I thought I’d share. Let’s start with the obvious…

Toy Related News Sites:

Looking for the latest info on a wide range of action figures, statues or collectibles? Then do yourself a favor and give these guys a gander.

Figures.com – one of the oldest general news sites out there, and one that covers a huge range of collectibles through the Action-Online network of sites. They’re coverage of large events – like Toy Fair or SDCC – tends to be solid as well.

Raving Toy Maniac – THE grandaddy of news websites, which set the bar for all others back in the hey day. They’re focus isn’t as much on news these days, but they have a very active message board community.

Toy News International – I’ll be honest, I don’t use TNI on a daily basis. But they tend to get scoops and early photos in advance of other sites, and do a great job reporting the news.

Those are the three I used most often for general news, but there’s lots of sites that cater to the more specific fetis…uh, tastes of the collector:

RebelScum – if you’re looking for a Star Wars site, then look no further. Rebelscum has it all, and it’s the only Star Wars specific site I regularly check. They also have a very dedicated and active community over on the message boards, and they have THE visual guide to action figures and other collectibles based on the Star Wars license.

Sideshow Freaks – If you love anything from Sideshow – sixth scale figures, mini-busts, Premium Format, statues, etc. – then this is the website for you. It’s predominately a series of message boards, but the info and news is excellent. You’ll also get to mingle with folks from the company that stop by, and you’ll get to take part in some excellent discussions within this active community.

One Sixth Scale Warriors – another group that’s merely a series of message boards, but what an excellent group of boards if you’re a sixth scale collector. While most of the conversation does tend to be about military figures, there’s plenty of talk on other lines as well. Another part of the Action Online group, they’re also a tremendously valuable resource for the sixth scale customizer.

Simpsons Collector Sector – founded back in the days of the Playmates World of Springfield line, this website and message boards are still the place for all the latest info on Simpsons merchandise of all kinds. Be sure to check out the boards to mingle with a terrific group of collectors!

Fwoosh – okay, it’s an odd name, but if you’re into superhero collectibles, it’s definitely one you should know. Covering DC and Marvel largely, the boards are extremely popular and very active, often getting photos and scoops on all your favorite caped crusader toys very early.

Action Figure Insider – a relatively new site, but one with tremendous pedigree. Founded by Julius Marx and Jason Geyer, both having been involed with the toy website world for years, AFI has some great columns, an excellent community in their forums, and terrific inside contacts with folks at Mattel, DC Direct and Toybiz. While they focus on superhero toys, you’ll also find conversations on other lines as well.

Azog’s Collection – if higher end items are more your cup of tea, whether they are Sideshow, Bowen, Gentle Giant or another manufacturer, then check out Azog’s. Azog keeps the news regularly updated, and you can commiserate with your fellow collectors over on the boards.

BTVSFigs – if you’re thing is Buffy (or Angel, or Spike), then check out the BTVSFigs message boards. Here you’ll find a very active group of folks who love collecting all things Buffyverse.

Voldemort’s Vault – VV is a very young, very new set of message boards, relatively speaking, but they have a great start on covering all the Harry Potter collectibles, including those from Gentle Giant.

Gentle Giant Collector’s – and speaking of Gentle Giant, here’s another new website and set of forums dedicated to collecting all things GG, from the mini-busts to the statues to the bust ups. They have some terrific visual guides to the releases so far.

Amusing Diversions:

Okay, so much for the websites. What about other amusing diversions, you ask? Well, here’s a few suggestions to make that rainy Saturday afternoon pass a little faster.

I recently received a copy of a couple self published books that I think are well worth recommending. The first is My Artwork and Designs at Hasbro, 1983 – 1989. This book is written by Robert Marcej, who worked at Hasbro as a graphic artist during the 80’s. He did package and control art for many of your favorite nostalgic lines, like G.I. Joe, Transformers and Inhumanoids. He was also the man completely responsible for Army Ants, remember those cute little buggers? You will once you see his art. This book is pretty short at just 48 pages long, but it contains some great artwork for the fans of old Hasbro toy lines.

Robert has also started a comic book loosely based on his life as an artist at both Hasbro and Hallmark call “Action Figure – from the journals of Richard Marzelak”. I’ve read the first issue, and while the artwork isn’t my comic book preference (it reminds me a lot of the old Cracked or Mad style for ‘real’ people), I did find myself really getting into the life of the main character. I’m betting there’s a lot of potential to be mined out of a life inside the industry, in the hands of a solid writer, and I’m looking forward to issue number 2.

You can find both these books, along with some of his other self published work, at Baboon Books.

If you’re a toy collector, action figure fan, or just anybody with a nostalgia for the last 30 years, then you must be reading Shortpacked. This tremendously funny cartoon strip, written and drawn by David Willis, is an often sharply satirical look at the world of comic books, action figures and the movies and television shows they’re tied to. Every geek who ever bought a comic book has tried his or her hand at writing a comic strip, but none have ever managed to do it with as much style and ability as David Willis. Start out by checking some of my favorites – fave 1, fave 2, fave 3, fave 4…damn, there’s a whole lot more!

Finally, this last recommendation has absolutely nothing to do with toys, but if you’re not reading it, you definitely should be. Scott Adams, creator of Dilbert, is one of the brightest and funniest guys around, and he does a regular blog at The Dilbert Blog. All other blogs should bow down at the majesty of humor that is this blog. Don’t believe me? Give it a read. I guarantee you’ll laugh regularly, and on more than one occasion be offended. But challenging your mind is a good thing, right?

Quick Stop Thingamabobs: 11/14/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:05 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • When the world is getting you down, nothing’s better than a baby panda. (Thingamabob)
  • Why do the Germans get all the great animators on their talk shows? (Thingamabob)
  • Jerry Seinfeld in a bee costume. ‘Nuff said. (Thingamabob)

Have a THINGAMABOB? Send it in!

##

November 13, 2006

Quick Stop Thingamabobs: 11/13/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:27 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Comedian Phill Jupitus blogs touring with the reformed Bonzo Dog Band. (Thingamabob)
  • The end of an era, courtest of Keith Olbermann… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

Spook’d #103: Extreme Lair Makeover – That Secret Room

Filed under: Comic Strips,Spook'd — UncaScroogeMcD @ 12:10 am

by Jeffery Stevenson and Seth Damoose with colors by Anthony Lee

Larger sized comic | ARCHIVES | OLDER ARCHIVES

Spook'd #103: That Secret Room

To see Spook’d host Alastor’s blogging silliness and more fun Spook’d stuff,visit the Spook’d Web site!

Check out the preview to…

E-MAIL WRITER | ABOUT JEFF | ABOUT SETH | SPOOK’D BLOG | SPOOK’D FORUM | ARCHIVES | OLDER ARCHIVES

Disclaimer: All material in Spook’d is fictitious and intended solely for the purpose of entertainment. Names are fabricated and any similarity to real people or places is purely coincidental except in those cases where public figures are being satirized.

November 11, 2006

Comics in Context #154: Master Class

Filed under: Columns,Comics in Context — admin @ 10:17 pm
comicsincontext4.jpg

On my first visit to the half of the “Masters of American Comics” exhibition that is at the Jewish Museum in Manhattan, I was accompanied by Ken Wong, the president of the Museum of Comic and Cartoon Art. At one point while we were there we encountered a lecturer giving a group a guided tour of the exhibit. Listening in, it soon became evident to Ken and myself that this woman was in over her head: she may have been knowledgeable about the usual sorts of drawing and painting that one finds in a museum, but not about the sequential art of comics. As they entered the section devoted to Robert Crumb’s work, she told her group. “I haven’t read up on Crumb.” Well, why not? Isn’t that the proper preparation for lecturing about him?

But more importantly, she was describing the artwork on display as single images, missing the point that the essence of comics is visual storytelling through a succession of images. (Of course, Ken and I were animatedly discussing the works on display, and afterwards Ken told me that he noticed that some of the other visitors to the exhibition were listening to us! Well, after all, we know what we’re talking about with regard to comics.)

“Masters of American Comics” undertakes the formidable task of persuading the world of art museum professionals and visitors that comics should be taken seriously as art. This exhibition therefore is meant to teach people a new way to see, to open their eyes to understanding and moire deeply appreciating an artform which they may well have previously underestimated. But the show offers little guidance to visitors, who run the risk of missing the point just as that tour guide did.

There is no audio guide tour for “Masters” at either the Jewish Museum or at the Newark Museum, where the first half of the exhibit is currently housed. At each museum there is a lengthy introductory wall text to the show as a whole, and wall texts that introduce each artist. Labels for the individual works restrict themselves to listing the artist, the means by which the work was created (pencil, or pen and ink, and the like), the source (where the work was originally printed), and the name of the lender. The labels do not identify the characters portrayed, not do they explain the storyline, of which the individual page or strip is an excerpt. More importantly, the labels do not direct the viewer’s attention to any particular aspect of the works; hence, the labels do not inform the viewer why the curators chose to include these particular examples of the artists’ work. And sometimes, as we shall see, the labels are wrong about what they do say.

Picking up where I left off last time in my travel through the Newark Museum’s half of “Masters,” proceeding chronologically through the history of the comic strip, I now come to the first of the Masters whom I have seen in person, the late Milton Caniff (1907-1988), creator of Terry and the Pirates and Steve Canyon. His introductory wall text correctly declares Caniff to be “one of the greatest storytellers ever to work in the comics medium.”

The wall text continues, “Caniff’s characters, in contrast to the predictable behavior of most adventure heroes, had multifaceted personalities. . . .” (This line comes from page 84 of co-curator John Carlin’s text for the Masters of American Comics catalogue, published by Yale University Press.) I think it was comics writer Don McGregor who once observed that Stan Lee did for superhero comic books what Caniff had done three decades earlier for the adventure comic strip. Each man wreaked a revolution through endowing the cardboard character types of adventure melodrama with multidimensional characterization.

But who are Caniff’s characters? Caniff did Terry and the Pirates from 1934 to 1946, and Steve Canyon‘s prime was in the late 1940s and 1950s. How many visitors to “Masters” who are under the age of sixty will know what the premise of Terry and the Pirates is, or will even know who Caniff’s most famous creation, the Dragon Lady, who appears in this show, is? Surely museum visitors could better appreciate the Terry and Canyon strips on display if they were given some background information about the series and their characters. There is a reason for the title of my column: comics should be placed in context. But the wall text provides no help in this regard, and Carlin’s text in the catalogue does little better.

On the other hand, journalist Pete Hamill’s essay about Caniff in the catalogue not only clearly explains who Canyon and Terry‘s main characters are, but also vividly conjures up the atmosphere of Terry at its height, with mystery, exoticism, danger, and romance. Hamill points to Caniff’s own comparison of his comic strips to the picaresque novels of past centuries: a series of adventures in which supporting characters appear, disappear, and then return, just as people we know may do in our own lives. (Cervantes’ Don Quixote and Henry Fielding’s Tom Jones are classic examples.) I especially like Hamill’s observation that Caniff’s “women were his finest creations, each distinct, all with sophisticated emotional lives, all exuding erotic possibilities” (p. 232). This is a matter that Carlin himself does not even address.

One of the Terry Sunday strips in the show (November 27, 1940, on pages 82 and 83 in the book), depicts Terry and another character, Dude Hennick, just after they have buried the latter’s girlfriend. This is an impressive work even if one does not know anything about the characters except what this particular Sunday reveals. Later in the book (p. 114) Carlin asserts that “Caniff’s art is compromised by his sentimental themes.” This is unfair. Similarly to the Dick Tracy funeral sequence I described last week, Caniff uses subtlety, indirection, and understatement to evade the traps of superficial, sentimental excess and to simultaneously convey deeper, dramatic emotion. Caniff distances the reader from potential bathos by repeatedly portraying Terry and Dude in long shot, and once even from far overhead. Caniff also repeatedly casts them into deep shadow. This particular Sunday strip is a prime example of what Hamill calls the “dense, impressionistic brushstrokes” (p. 232) to create what Carlin terms the use of “chiaroscuro” (p. 78), meaning the contrast between light and deep shadow. (Though this style, which Caniff’s friend Noel Sickles devised and Caniff perfected, is often called impressionistic, I prefer Carlin’s term, since Impressionism in painting signifies a bright color palette, and not the ominous black areas of Caniff’s artwork.) Even when Dude and Terry are depicted in closeup, Dude shows a stone-faced stoicism, while the younger Terry only subtly betrays his sorrow in his eyes and mouth. Significantly, Dude is in long shot when he looks at the grave for the last time, his emotions unreadable from the panel’s foreground.

In the catalogue Hamill explains that when Dude’s girlfriend, Raven Sherman, was “suddenly, brutally killed,” “her death was unprecedented in comic strips and set off an outbreak of grief among millions of readers.” To continue the analogy with Marvel, Raven’s death was comparable in dramatic impact to the death of Gwen Stacy in Amazing Spider-Man in 1973. Each woman’s death marked a revolution in adventure melodrama in its particular comics format. Readers expected that the romantic heroine, however much she was endangered, would always be rescued; the deaths of Raven in an adventure comic strip and of Gwen in a superhero comic book dashed those expectations. These stories put readers on notice that happy endings were no longer mandatory. They thus signaled a new level of realism and even demonstrated that adventure comics melodrama could achieve the level of tragedy. But someone previously unfamiliar with Caniff’s Terry would learn none of this from the “Masters” show.

Carlin called his section of his catalogue text about Caniff, “Milton Caniff–Master of Suspense,” giving the cartoonist the same title associated with Alfred Hitchcock. Indeed, in both a wall text in the show and in the catalogue (pgs. 84-85), Carlin writes that “Similar to filmmaker Alfred Hitchcock, Caniff took an already established medium and broadened its palette in a manner that significantly changed the way subsequent artists have worked. They both introduced depth of field, atmospheric lighting, and novel perspectives or camera angles to suggest dramatic points of view.” The second sentence overstates the case for Hitchcock: it’s true about Hitchcock’s camera angles, but he borrowed his “atmospheric lighting” from the German Expressionist films of the 1920s and 1930s, and the true cinematic innovators regarding depth of field were Orson Welles and Gregg Toland in Citizen Kane (1941). But Carlin’s basic point is correct: as he wrote earlier in the book (p. 78), Caniff “developed the vocabulary of realistic suspense to its classic form.”

Carlin also asserts that, like Hitchcock’s films in their influence on the French New Wave directors of the late 1950s and 1960s, Caniff’s work had a “delayed impact” on what Carlin calls “new wave” comics artists of the 1960s. Carlin claims that “Caniff inspired Harvey Kurtzman and Jack Kirby to create the comic books produced by EC and Marvel, which highlighted the new wave of comics art” (p. 85). This is misleading in numerous ways.

First, Carlin is linking Kurtzman and Kirby to the 1960s. But Kirby started in comics in the late 1930s, and co-created Captain America in 1941, when Caniff’s Terry was in its heyday, and Kurtzman did his innovative EC work in the 1950s, when Steve Canyon was still surging along. I agree that Kurtzman’s war comics and Kirby’s adventure comics show the influence of Caniff’s visual storytelling. Indeed, two daily Canyon strips in the show (August 21 and September 9, 1947, Masters p. 237) feature dynamically staged fight scenes that put me in mind of Kirby action scenes. But was Kurtzman consciously motivated to write his anti-war EC stories in response to Caniff’s gung-ho war sagas? How could Caniff’s work possibly bring about Kurtzman’s creation of MAD? Just how did the comparatively realistic Terry and Canyon inspire Kirby to create Marvel superhero comics? And didn’t Stan Lee have something to do with creating the Marvel superhero comics of the 1960s? In fact, didn’t Lee hire Kirby to collaborate with him on these books?

Another example in the show of the need for context is Caniff’s great Sunday Terry strip for December 29, 1946 (Masters p. 85), which The New York Times ran in its online “slideshow” accompanying art critic Michael Kimmelman’s rave review of “Masters”. Here Terry, the boy hero of the 1930s who has grown up into a military pilot, bids farewell to a woman named Jane, who is leaving for Australia. Except for its first panel, the last two tiers of the strip are free from dialogue. Jane walks away from Terry through the snows of winter (the season of endings), stops, rushes towards him, they embrace and kiss, and then, overwhelmed by emotion, she leaves once more. Caniff’s simple but powerful staging provides a superb lesson in visual storytelling that any viewer, whatever the extent of his or her background in comics, can easily comprehend. The sequence also demonstrates Caniff’s masterful dramatization of emotion. When Jane runs towards Terry, it is in an overhead long shot, distancing the viewer from the characters’ feelings. This makes the impact of the panel showing their passionate embrace, in medium close-up, more powerful. Then Caniff pulls back to a long shot: we can see that Jane has her hand to her face in a gesture of anguish, but we are too far away to see her facial expression. Thus Caniff dramatically evokes emotion, but lets it subside before he runs the risk of falling into sentimental excess. Terry is even further away in the long shot, so his emotions are unreadable. Though literally speaking the reader’s viewpoint is in front of Jane, and Terry is behind her, Caniff has figuratively placed us in Terry’s psychological position: she is leaving both Terry and the reader behind. Jane’s plane takes off, and Terry trudges off through the snow towards the sunset (or sunrise?), in a variation on a standard final shot for ending a film (notably in Chaplin’s work), as he passes a poster for a New Year’s Eve party reading “Ring Out the Old, Ring In the New.” But the mood cast by the farewell scene and by the shadows in the final panel is one of melancholy.

This Sunday strip is powerful just on the level of its literal meaning. But wouldn’t it deepen the museum viewer’s appreciation if he or she were informed by the label that this is also Caniff’s final Terry strip? Terry would be continued by other hands while Caniff went on to create Steve Canyon, a strip he would own. Hence this final Terry is as close as Caniff came to doing metafiction in this realistic strip: the emotion of Terry and Jane’s farewell also represents that of Caniff parting from the Terry strip.

Had the label for this 1946 Sunday strip stated that it was Caniff’s last Terry, perhaps the curators would not have mislabeled two 1947 Canyon dailies in the show as Terry strips. In one of them, Canyon is even called by name! (All Terry and Canyon strips are properly identified in the book.)

Museum visitors are on their own in studying Caniff’s more complex visual storytelling methods in a car chase sequence from the Terry dailies from November 25-30, 1940 (p. 80). But Carlin does a superb job of analyzing the sequence, panel by panel, in the catalogue. I found it rewarding to see what Caniff himself would probably have considered techniques of his craft now being described as the visual strategies of museum-worthy art.

My approach to this sequence is to analyze it in cinematic terms, studying Caniff’s “camera angles,” composition, and “editing” as he shifts from one “shot” to the next. It has been claimed that the “decompressed” storytelling in contemporary comic books is an attempt to make them cinematic. But what is more truly cinematic: the interminable talking heads sequences of current comic books, or Caniff’s mastery of dynamic action, shifts of visual perspective, and his equivalent of rapid editing?

Carlin describes Caniff’s “cinematic” methods, but he also points out design elements in the sequence. Carlin can go too far: he asserts that “The entire sequence is held together obliquely by a thread that runs through it in the form of the serpentine line” (p. 79). But he locates only four examples of this serpentine line in three strips out of the entire six. Moreover, how could the original readers perceive a continuing design element like this running through the sequence when they saw each strip printed a day apart from the next? The technique of a recurring design element makes more sense within the confines of a single installment. For example, in the November 28 strip Carlin points out a white stripe which appears along the bottom of each panel, and finally turns into a road in the final panel. Carlin contends that “The abstract diagonals of car forms, roads, rivers and streams give the strip a strong sense of design that created the suspenseful impact of the story’ (p. 79). I am not persuaded that such design elements created the suspense, rather than the aforementioned more cinematic methods, but they certainly contribute to the beauty of the sequence, and I’m grateful that Carlin points them out. By showing me how to see in as new way, the Masters book is doing its work.

Hamill states in his essay that Caniff’s work was “widely imitated by two generations of cartoonists” (p. 229), in other words, from the 1930s into the 1960s. Yet despite the fact that Caniff, as Carlin says, established the visual vocabulary for action-adventure comics, how aware of Caniff’s work have subsequent artists doing adventure comic books been? I rarely see comic book artists of the last thirty-five years listing Caniff as an influence. My impression is that the work of Alex Toth and Frank Robbins, artists who were unmistakably influenced by Caniff, are more appreciated by comics professionals than by the comics readership at large. (When Bruce Timm mentioned Toth as an influence on stage at this year’s San Diego Con, there was not one clap of recognition from the audience.) If post-1960s comic book artists are influenced by Caniff, it is usually indirectly, through his influence on Kirby, and even Kirby’s influence, once ubiquitous in superhero comics, has drastically diminished in recent years under the growing domination of “decompressed” storytelling and manga.

The saga of the American comic strip comes to a close at the Newark Museum with Charles M. Schulz (1922-2000), the creator of Peanuts. Of all the classic comic strips at the Newark Museum, many of which were quite famous in their heyday, Peanuts is the only one that maintains that level of popularity in the 21st century, thanks to continuing reprints in newspapers, reruns of the classic TV specials, and licensing ranging from greeting cards to Met Life commercials. (I expect that even Popeye is less well known to today’s kids than he was to Baby Boomers; like Looney Tunes, his animated cartoons have been exiled to appearing on Boomerang.)

Schulz’s introductory wall text at the Newark Museum proclaims him to be “the most influential cartoonist of the post-war era.” This is an overstatement, but if the Museum had limited the accolade to the world of American newspaper comic strips, it would unquestionably be true. (In the world of postwar American comic books, Jack Kirby would likely be “the most influential cartoonist.” And somehow I doubt that Schulz was “the most influential cartoonist” for manga; wouldn’t that honor go to Osamu Tezuka?)

In the Masters book Carlin asserts that “By the late 1940s the size and printing quality of newspaper comics diminished dramatically. . . “ (p. 86). This may be somewhat misleading: I can recall that in my early childhood Prince Valiant still took up a full page of a Sunday broadsheet newspaper. But it appears that from the beginning, Schulz labored under sharp restrictions on the size of Peanuts, and usually each daily consisted of four small panels. Carlin states that Schulz utilized the limitation to his advantage, becoming a “master of minimalism.” In his superb essay in the catalogue, Patrick O’Donnell, creator of the comic strip Mutts and a friend of Schulz, perceptively describes each four-panel Peanuts strip as a “graphic haiku” (p. 244).

An example of Peanuts in the show (Sunday, October 13, 1968), the catalogue (p. 245) and the online slideshow may even be Schulz’s joke about people who dislike a minimalist approach to art, including his comics. Linus is drawing a simple picture of a row of trees, but his sister Lucy declares, “That’s not art.” She insists on his adding more and more–a lake, a waterfall, a deer, and a multicolored sunset, making it sound like a vast Hudson River School canvas of the mid-19th century–and then shouts, “That’s art!” with such force that it literally turns Linus the Artist upside down.

In the book Carlin states that Schulz’s “visual minimalism was perfectly in keeping with the style of its times–shoebox skyscrapers, color-field painting, black-and-white TV, early rock “˜n’ roll, and frozen dinners” (p. 88). This seems to me a one-sided view of the 1950s and 1960s, when Peanuts originated and rose to its creative peak. These were also the time of Cinemascope movie epics and unprecedented postwar prosperity for the middle class, permitting them to buy big houses and cars in the suburbs: how does this relate to minimalism? In animation the 1950s were the heyday of the UPA Studio, which pioneered limited animation and preferred strong, stylized, often minimal visual design to attempts at detailed naturalism. In both regards UPA was reacting against the Disney studio. Wouldn’t it make more sense to compare Schulz’s minimalism (in both visual design and characters’ “movement”) to UPA’s? In his essay O’Donnell points out the influence that Segar and Herriman had on Schulz. Is it more likely that Schulz was part of a generational rebellion against the illustrative realism of comic strips by Hal Foster and Alex Raymond (who aren’t in the “Masters” show) and was attempting to recapture the “cartooniness” and simplicity of Krazy Kat and Popeye?

Carlin explains that “the minimalism that defines Peanuts forces its readers to focus on subtle nuances rather than broad actions or sharp transitions. . . . Everything is kept in the same minor key so that the simplest turn of a line can transform a character’s expression. . . “ (p. 88). O’Donnell compares Schulz’s work to Japanese poetry; through the use of the term “minor key,” Carlin likens it to music. Carlin goes on to observe that “by 1960 Schulz went even further by routinely drawing strips that repeated the same image in every panel, with subtle variations. . . .By maintaining the image from frame to frame, Schulz shifts our focus from action to the subtle inner psychology of his characters” (p. 88). (I wish that Carlin did not sometimes substitute the word “frame” for the correct term of “panel.”)

A Sunday strip from August 14, 1960, illustrates Carlin’s points. It presents Lucy, Charlie Brown, and Linus lying atop a small hill, looking upward at the clouds. (It’s a classic triangular composition.) As Linus describes how some clouds “look to me like the map of the British Honduras,” Charlie Brown raises his head with a deadpan expression, with two dots representing his eyes, that nonetheless subtly indicates his surprise and perhaps puzzlement at what Linus said. (This also may represent a subtle breaking of the fourth wall, since Charlie Brown is effectively looking out at the viewer, perhaps inviting our sympathy for his reaction, as Oliver Hardy used to do after Stan Laurel instigated yet another fine mess.) Charlie Brown puts his head back down in the succeeding panel, But in the next panel, when Linus claims he sees clouds resembling the stoning of St. Stephen and the Apostle Paul, Charlie Brown raises his head again, and this time Schulz drew curved lines next to his eyes, indicating that his surprise and bewilderment have sharply increased. But as Carlin said, this is “inner psychology”: Charlie Brown does not manifest these emotions in action or in dialogue. He turns his head when Lucy asks him what he sees in the clouds. Then, in the last panel, as if returning to the dominant key, Charlie Brown again places his head down, as he calmly delivers the punch line: “Well, I was going to say I saw a ducky and a horsie, but I changed my mind.”

This Sunday strip makes an interesting pairing with the previous Sunday strip I described, in which Lucy rejects the simplicity of Linus’s original drawing. But in the second Sunday I don’t get the sense that Schulz is ridiculing Linus’s imaginative interpretation of what he sees in the clouds. Rather, Schulz seems to me to be acknowledging that there can be more to something than a surface interpretation might indicate. Here Linus is again portrayed as an imaginative artist, who sees more and further than the everyman Charlie Brown.

Carlin states that Schulz’s repetition of the same image, with slight variations, “shifts our focus from action” to the characters; “inner psychology.” But one could see how, in less talented hands than Schulz’s, this stratagem could shift the readers’ attention from the visual aspect of the strip to the dialogue, and hence a strip could become a visually inert sequence of talking heads. It seems to me that in this Sunday strip about clouds, Schulz skillfully choreographs the “slight variations” in the image so that the reader focuses on them–on Charlie Brown’s changing head movements and subtly changing facial expression, and the psychological reactions they express–equally as much as on the dialogue. Looking around the room with Peanuts art at the Newark Museum, I was struck by how much Schulz actually has his characters move from panel to panel, in contrast with the conventional wisdom that he basically repeats the same image over and over.

I take issue with the book’s contention that Peanuts always remains in the same “minor key.” Look again at the Sunday in which Lucy critiques Linus’s drawing, in which Schulz quietly builds to the next to last panel, in which Lucy shouts “That’s art!” and Linus suddenly flips head over heels, as if hit by the force of an explosion. Now there’s an abrupt shift into a major key, before Schulz returns in the final panel to calm, as Lucy quietly delivers the anticlimactic punch line: “Sometimes it takes a layman to set these people straight.” Now that I’m writing this, it also reminds me of Caniff’s minimalist treatment of Terry and Jane’s intense emotions in the panels on either side of the panel in which their passions “explode” in their tight embrace.

Then there is a sequence in the Masters book from June 9-13, 1958 (p. 90), set during a baseball game, in which Charlie Brown ends up standing immobile, panel after panel, looking upward, waiting to catch a fly ball. Schulz moves to a close-up as Charlie Brown, with only a dot for an eye and no visible mouth, thinks to himself that if he catches the ball, his team will “win the championship, and I’ll be a hero!” Then in the next panel, he thinks, “If I miss it, I’ll be the goat!” and that curved line appears around his eye, indicating inner stress. In the following panel Charlie Brown tells himself, “I can hear it now. . . “˜Charlie, the goat, Brown!'” Here Schulz moves back to the medium close-up with which he began the daily, showing Violet and Lucy, the two women most likely to call Charlie Brown “the Goat,” and Schulz adds a line to Charlie Brown’s face that indicates a tightly clenched mouth, indicating his growing inner sense of impending disaster.

After this long build-up, the explosion has to take place: the emotions must be released. Inevitably, Charlie Brown, in keeping with his role as the archetypal loser, drops the ball. Lucy immediately bursts into wailing, Schroeder and a visibly upset Patty shout their dismay (in large, bold letters), and in panel three the entire team, their mouths wide open, joins Lucy in a chorus of wailing. There’s nothing minimal about this. Even when Schulz returns to relative calm in the last panel, in which he typically had team manager Charlie Brown understate his reaction in dialogue (“It depresses a manager to see his team cry. . . .”), Schulz drew Charlie Brown looking far more emotional than he did previously in this four strip sequence.

Speaking of E. C. Segar’s influence on Schulz in his essay, O’Donnell says that “Knowing that Popeye could meet Eugene the Jeep and Alice the Goon gave Schulz the freedom to make Snoopy a WWI flying ace” (p. 243). Looking at the Sunday, Feb. 13, 1966 strip in the catalogue (p. 241), in which World War I aerial ace Snoopy makes his way through the French countryside, I thought instead of two other Masters in the show: Winsor McCay and Frank King.

Supposedly, on a literal level, Snoopy is merely fantasizing his adventures as a World War I pilot. But his imagined world is visualized as real: Schulz shows us one of the abandoned trenches, complete with barbed wire, and a sign to Pont-a-Mousson. At one point Schulz shows us Snoopy’s familiar doghouse, which Snoopy, in the midst of his fantasy, calls “a small French farm house.” But once Snoopy goes inside, it really does seem to be a French farm house, with a table, lighted candle, and even a window! In other words, like Nemo entering Slumberland, or Skeezix entering the world of his daydreams, Snoopy is depicted as entering a fantasy world. This obviously is the forerunner of Calvin’s fantasy worlds in Bill Watterson’s Calvin and Hobbes. And the final panel of this Peanuts Sunday shows Snoopy asleep in bed, as if to make the connection with Little Nemo clear.

An even more explicit representative of the artist than Linus in Peanuts is Schroeder, Schulz’s boy virtuoso pianist. Schroeder might even be Schulz’s metaphor, conscious or unconscious, for the cartoonist as artist: Schroeder plays a child’s toy piano, but somehow he can get it to produce Beethoven’s masterworks.

Two strips that pair Schroeder and Snoopy, one from April 27, 1990 in the Newark Museum, and another from September 14, 1986 in the book (p. 93), show Schulz venturing into metacomics territory. In the 1990 strip Schroeder plays his piano, and, as usual, Schulz represents the music by means of upper and lower musical staffs bearing notes. We see the staffs again at Snoopy’s doghouse, where bones replace the notes. Just what is going on here? Does Schulz mean to suggest that Snoopy is imagining his own musical staffs, but that Snoopy is interested not in music but in his own appetite? Hence, Snoopy’s “art” is all about food. Or have the musical staffs somehow become physical objects, on which Snoopy can hang bones as if they were ornaments on a Christmas tree?

In the 1986 strip Snoopy is asleep atop Schroeder’s piano, as Schroeder plays his music, which again is represented by notes on musical staffs. Snoopy awakens and inadvertently places his head between the upper and lower staffs as he yawns. Snoopy then walks off, taking the staffs with him. Schroeder grabs the upper staff, and the lines connecting it to the lower staff stretch like rubber bands. Then Schroeder lets go, and the upper staff snaps back, knocking Snoopy down as the notes fly into the air. Snoopy hangs the notes (some of which are now bent) back on the staffs, which are now quite crooked, places it above the piano, and falls asleep once more, as Schroeder looks at it with a minimalist expression. perhaps denoting a placid sort of wonderment.

In this case the staffs and the notes seem not only to have become solid objects, but have also seemingly lost their original purpose of denoting music. (What would the severely dented notes and staff sound like? Yet Schroeder has stopped playing the piano, so presumably these “signs” have ceased denoting musical sounds.) Schroeder and Snoopy inhabit a world in which one of the visual signs of comics language–musical notes and staffs–are as “real” as they are. Presumably, then, at least in strip installments like these, Snoopy ands Schroeder know they themselves exist in a comic strip. This is a gag that could only be done in the comics medium. It’s as if the word balloons over their heads had physical reality for the comic strip characters, as, actually, sometimes happened in Walt Kelly’s Pogo. (Once Kelly’s turtle, Churchy La Femme, even went around shooting the balloons.)

With Peanuts the Newark Museum’s portion of “Masters” and the show’s history of comic strips come to an end. (Will Eisner’s Sunday Spirit sections not only started before the 1950 debut of Peanuts, but are really more like comic books than newspaper strips.) The implication is that Schulz was the last true “Master of American Comics” who worked in newspaper comic strips. “Masters” co-curator Brian Walker is aware of this implication and expressed his concern in an interview: “I think one of the biggest differences I have from the Spiegelman/Carlin canon is that I don’t really believe that newspaper comics died at some point or that they were completely eclipsed by what is going on now, beginning with underground comics. I still think there are cartoonists doing incredibly creative work in newspapers these days.”

But has there been anyone who started in newspaper comics after Schulz who matched him and many of the other Masters as an innovator in visual storytelling and design? I don’t know that there has been. Still, is it right to give museumgoers the impression that comic strips stopped being a creatively vital artform after the creation of Peanuts?

So, as you shall see next week, the Masters show moves on to the Jewish Museum, the history of American comic books, and even more questionable assumptions about the evolution of the comics medium.

ADVERTISEMENTS FOR MYSELF

Becker and Mayer has recently published Marvel Classic Heroes, a book written by myself, recounting the history of Captain America, the Hulk, Spider-Man, and Wolverine, which comes in a box including statuettes of the aforementioned heroes. Looks to me like the sort of thing that would make a good Christmas present!

My lecture series “1986: The Year That Changed Comics,” finally reaches the high point of that fateful year on Monday, November 13. That’s when I tackle the first six issues of Alan Moore and Dave Gibbons’ Watchmen, starting at 6:30 PM at New York City’s Museum of Comic and Cartoon Art.

–Copyright 2006 Peter Sanderson

Game On! 11-11-2006

Filed under: Game On! — admin @ 10:11 pm

gameon.jpg

Well, it’s that time of year once again. Time for the game companies to trot out their biggest and brightest titles for the holiday spending benders. This year is no different from any other, with some top quality A list games hitting store shelves. This week, we’re looking at the hottest of the hot, just in time for you to throw down that holiday cash. These are the games that the hardcore have been waiting for, and for many, it’s about time. And it’s the most wonderful time of the year”¦

DOUBLE YOUR PLEASURE, DOUBLE YOUR FUN”¦

scda.jpgFirst up is the Xbox 360 version of the newest Tom Clancy title SPLINTER CELL: DOUBLE AGENT. Here, Sam Fisher is just about at the end of his rope; the heir to his title as “sneakiest spy around” has just fouled up in a mission and bit it, and Sam’s daughter has just died in a car crash. With nothing left to lose, Sam takes on some seriously dangerous escapades as he moonlights as a thug in prison and attempts to join the John Brown’s Army, a terrorist faction, all the while still keeping tabs with his associates at the NSA. As you progress through that game’s missions, you’ll have to keep and eye one which company holds you with the most trust. Lose it from either and it’s game over.

This plays out with some very interesting mission types. From escaping from prison to daylight missions where sneaking (for once) just isn’t an easy option, Sam really doesn’t have his work cut out for him. Capping off many of these missions are directed actions, where the decisions you make during crucial cinematics will play out into how the NSA or JBA view you as a trusted member. Shooting an innocent, making a quick decision while parachuting”¦it’s all there and it all counts.

The AI in this newest installment of the series seems a bit on the edgy side. While in previous efforts I’ve been able to sneak by nearly everyone with a minimal amount of trouble, here, even the slightest hair out of place and the baddies come a runnin’. Still, you’ve got a variety of new tricks up your sleeve, such as a small EMP devise attached to your pistol (to save on bullets for shooting out lights) and Sam now can swim too, pulling foes underwater for a murky wet death. Yeah, that sounds weird, but it’s cool to watch.

scda2.jpg

And while each decision plays on which particular faction you’re trying to impress, you can generally keep in the sweet spot between good and bad based on your actions. Doing too many neck snappings and you’ll lose face with the NSA, so just play it nice for a bit”¦until the JSA gets suspicious and you’ll have to work the other angles. Depending on how much you play one side or the other affects the games three endings. This opens up a great deal of replayability, and should keep fans happy.

The multiplayer options, however, are a bit of a split deal. The two-player co-op is not as great as previous offerings, and doesn’t offer nearly as many cool gadgets or options for simultaneous play. The versus game, however, has been balanced a great deal from previous games, making it so that even newbies can have a fighting chance against folks familiar with the series, or even the newest title’s Spy Vs Mercenaries modes.

From what I understand, the regular Xbox version of the game is drastically different from the Xbox 360 version. Still, the 360 version is no slouch. While it isn’t my favorite in the series, it doesn’t suffer from “been there done that” as many sequels tend to do. It may be thin on story, but the multiple playing options and direct action sequences are a new kick to the familiar license.

One Gamer’s Opinion:
righton.jpg

FANTAS(Y)TIC

ffxii.jpgSo, after all these years, I finally get to play a FINAL FANTASY game. And sure, some fans may argue that XII may not be the one to start with, but it’s the newest, and seems to be the most hyped and most awaited, so here we go.

Taking a cue (so I’m told) from the worlds and battles of the online XI, this newest title starts out slow, but reveals an intricate slew of creative characters and plot developments, usually akin to series television. Just when you think you know who the main character is, 8 hours in to the game, it switches off to another. Hell, this game takes a good three hours just to get REALLY started, and while that may turn most RPG fans away, it’s something that all FF fans know to stick through. So I plodded on, and I’m thankful that I did.

Throughout the game’s enveloping storyline, you’ll learn of assassination plots, invasions, intrigue and more ups, downs and twists than a single season of 24. It begins with a young Prince perishing in battle on the eve of his wedding. The King of Dalmasca, wishing for peace against the militaristic Archadians, has agreed to sign a treaty allowing Archadia entrance and stay in Dalmasca so long as the war ends. Just as he’s about to sign, however, The King is double-crossed and assassinated and his daughter, the princess, kills herself as a result. Now, years later, Archadia occupies Dalmasca, after an apparent conquering. The cities inhabitants don’t take so kindly to this, including a young thief/shopworker named Vaan. The actions he sets in motion throughout the game will trigger events that make the gamer feel as though you’re merely one cog working the wheels of an entirely bigger story.

The game’s story is so expert presented, thanks to its expertly crafted CG cutscenes and impeccable voicework. Every character you meet along the way you’ll think you begin to understand, only to have a new and unusual change to then as the story progresses. It’s engaging, it’s fun, and it’s hard to stop. Thankfully, the game’s time moves along quite well thanks to its innovative battle system.

ffxii2.jpg

While most reviewers have described it as a real-time fighting style, that’s not entirely true. What FFXII employs is more of a hybrid between real-time and turn-based battles, which allow the player to freely roam around the character and the environment, moving the camera in any way possible to get just about any angle on the combat. Through timed attacks, you r character can plot out their modes of aggression or retaliation. With the introduction of “Gambits”, you can even script how battles can take place by allowing for just about any variable. For example, you can have one character heal another automatically once their health reaches a certain level, then immediately attack the foe, or even have a series of magick and attack combinations. There are literally endless equations of possibilities for how your characters can act (and react) in battle.

What’s more, equipment, skills and magicks can be bought at any time. What motivates how you use them is a license system. As you battle, you gain license points which you spend, ironically enough, on license which allow you to use what you’ve gained. You can have the license, or you can have the item, but you must have BOTH to equip and use them. It sounds more complex that it really is (and the screen where the licenses are is quite daunting to look at) but it’s all fairly simple. Buy one license, and other possible ones appear, and you can plan out how you spend your points based on what opens up.

I don’t feel I’m doing a good job of describing the game, but I also don’t think that anyone truly can. The game is just a fantastic example of intricate storytelling, epic scope and scale, and innovative and intuitive battle and combat styles. The game looks great, sounds great, plays great, and, guess what, IS great. It’ll take up your time, it’ll take a while to get going, and just when you think you know where it’s leading, it takes you the other way, and every second is fantastic.

One Gamer’s Opinion:
kickass.jpg

LET SLIP THE COGS OF WAR

gow.jpgWhen the Xbox 360 was announced, one title had gamers salivating in a most Pavlovian way, and they have continued to do so up until this title’s release. Thankfully, all that drool hasn’t been wasted, as this is a game truly deserving of a tubs worth of saliva. GEARS OF WAR has lived up to the hype, cut it up with a chainsaw, and stomped its skull into the curb, and walked away laughing at the non-believers.

First, let’s get the simple stuff out of the way: the game is jaw-droppingly gorgeous. Everything you’ve seen should have prepared you for this, but actually playing the game you’ll be taken aback by the stunning architecture, the realistic facial models and the amazing look and tone of the atmosphere. Between the frenetic action of the gameplay, you’ll catch yourself taking moments just to spin the camera around and observe your surrounding before jumping back into the fray and coating the landscape with a fresh touch of crimson.

As far as how the game plays, that’s where the hype truly lives. As has been stated by many, this is no run and gun” adventure a la HALO. This is “stop and pop”, a game where you actively seek cover and most of the time end up firing blindly from safety, all the while working with your team to flank the enemy. It’s almost RAINBOW SIX meets HALO, but with a deeper sense of using the surroundings as much as possible to save your ass. Doing so is simple enough, just run up to cover and tap A and you’ll slam your broad back into whichever you come against; beat up car, downed pillar, etc. From there you use the A button to SWAT roll to another place of cover, dive to more shielding, jump over small cover and more, all on your way to advancing on the enemy and taking them down.

gow2.jpg

The enemy is no slouch either. The Locust Horde has sprung up from the center of the planet Sera and laid waste to the entire world. As a COG (Coalition of Ordered Governments) Solider it’s up to you to send them back. These foes are wily, crazy, scary and smart. THEY will actively seek cover too. THEY will flank you, and THEY will do just about everything you do. And they are larger in mass and numbers, so you’ll feel a bit overwhelmed in almost every situation. This is why it’s important to bring a friend. GOW offers quite possibly the best two player co-op game around, be it on split screen, system link or Xbox Live, this game can’t be beat as far as team ups go. You’ll be constantly chatting away with your teammate as you flank the enemy, help each other out of low health situations, and come up against horror after subterranean horror. And in some cases you may split up and see each other across various paths, but you’ll always be working together against the same goal. Hell, if you’re playing the single player mission and you see a friend sign on, you can invite them to your game and they’ll appear automatically as your squadmate already in the game without any need to restart.

The weapons in GOW are plentiful and diverse, and while not many are exceptional, there are a few with some interesting features. Your main weapon has a killer bayonet”¦a chainsaw. Sneaking up behind the enemy and letting it rip into them is gory, horrific and satisfying. Likewise, the Hammer of Dawn is exacting in its killing style, but a difficult use. It puts a beacon on your targets and strikes down from the heavens with a searing beam of power”¦all you need is a clear shot and an open sky, and you can even direct the beam across multiple enemies as they flee for cover.

Versus games are variations of Deathmatch, but are never ending amounts of fun. And while the maximum number of players is 8 (four on four team setups) you won’t mind as different factions wage war against each other. There’s nothing more frightening than setting up a headshot with a sniper rifle, only to hear the rip of a chainsaw and turn around to have it buzzing into and your head slopping to the ground in a sickening thud.

The game is tough, and each difficulty only gets tougher. Hardcore is really HARDcore, and the enemy will be unrelenting in it’s desire to see you in a body bag. Insane is even worse, and only the strongest will survive this setting, so going in with a friend is strongly advised for that one. The game has truly lived up to and beyond all expectations, and while some areas aren’t wholly perfect (the overuse of the A button for many features will have you flipping around the stages and running into unnecessary shit as you get used to the controls) you’ll have a blast anyway. And frankly, it’s about time.

One Gamer’s Opinion:
kickass.jpg

QUICKSHOT OF THE WEEK

fear.jpgI reviewed F.E.A.R. when it was released for the PC a year ago, and as it has now hit the Xbox 360, my opinion still stands: this is a frightening, well-paced game that just about any FPS fan should play. The plot (such as it is) of a Hannibal Lechter wannabe crossed with the supernatural and your “heightened senses” allowing for slow motion and super charged kung fu work exceptionally well here as before, though the repetitive backgrounds, though detailed, may bring some shooter nuts down a bit. Still, the 360 version boasts a new mode in “Instant Action” where players are dumped into a setting with a huge onslaught of enemies and must fight their way to the end. Scores are built on how many enemies killed and how quickly, how many health packs are used and stocked and more, and scores are uploaded to Xbox Live leaderboards, While most will argue about innovation in the title, one can’t deny it’s visceral appeal, and just about any fan of survival horror and first person shooters should give this jump-fest a shot. Its scares may be different than GOW’s, but are none the less worthwhile.

fear2.jpg

One Gamer’s Opinion:
kickass.jpg

And this brings us to the end of yet another week. Before I go, though, I just want to let you all know about a kick ass show out in New York. Now, this is not something I’d normally talk about in my column, but damnit, I love Evil Dead, and I can’t resist this:

edtm.gif

Also, in some online gaming news, Gametap will feature an exclusive version of MYST: URU in December. MYST ONLINE: URU LIVE is being prepped and ready for the holiday, and for $9.99 a month you can play it and around 700 other gaming classics, all streaming right from your computer. Also, for Xbox Live gamers who dug the single player demo of LOST PLANET from Capcom, they just announced that the multiplayer demo will be availble right around Thanksgiving. A tasty treat indeed.

Next week, I have a literal crapton of handheld titles to review for the holidays, including the newest GRAND THEFT AUTO, DEATH JR 2, the new TONY HAWK handheld game, CAPCOM CLASSICS RELOADED, POWERSTONE COLLECTION, SCARFACE on PSP and more. “˜Til then, friends”¦

THE GAME ON! RATING SYSTEM

 

gameonratingscomplete.jpg

Kick-Ass, Right On, Okay, Eh, and Stinker (or Craptacular)

November 10, 2006

Melonpool Quickcast #20: Bloopers!

Filed under: Melonpool Quickcast — admin @ 12:41 pm
melonpool2.gif

-By Steve Troop

Based on Steve Troop’s classic webcomic of the same name, the Melonpool Quickcast features puppet versions of Troop’s alien cast, who are desperately trying to make heads or tails out of Earth culture.

20

It’s amazing that the Melonpool Quickcasts ever get done, what with all the flubbed lines, broken puppets, missed cues and uncooperative props… good thing video tapes are cheap!

Don’t forget to comment on this and other Melonpool Quickcasts over at the official Melonpool Quickcast Forum!

Mayberry Avatar Ralph Avatar Sam Avatar Sammy Avatar Roberta Avatar

Melonpool Quickcast #20: Bloopers!:

  • Large (560 x 420 – QuickTime – 23.1 MB)
  • Small (320 x 240 – QuickTime – 10 MB)
##

Trailer Park: A Tale of Two Movies or: What a Textbook Definition of Disparate Is.

Filed under: Columns,Trailer Park — admin @ 12:25 am

By Christopher Stipp

Archives? Right Here…

“Hey,” Joe said, an unusual call coming from my wife’s cousin who lives and studies here in Arizona, “There were some people handing out passes for a movie tonight. Have you ever heard of THE FOUNTAIN?”

Usually, when there are Sneak Previews that are promoted and pimped in the local paper, these free pass features are free for a reason; the movie obviously needs some word-of-mouth for it to come close to being profitable or it’s a crap film that needs someone, anyone, to go see it. It was odd, really odd, to hear Joe tell me that THE FOUNTAIN was about to be screened for a collegiate audience. This wasn’t a flick for the frat boys, I thought, and everything I’ve understood about this film, reading the graphic novel months ago, it just didn’t add up as to why Darren Aronofsky would debut a film of this caliber in the middle of the desert.

It’s not like I don’t have a little state pride, I do, kinda, sorta, not really, but when I saw RAISING ARIZONA as a child that’s what I thought Arizona was like: desolate, sparce and teeming with dudes who wear panty hose on their heads and stick up Circle Ks. I’ll have you know that I wasn’t too far off when I came here over a decade ago. The point here is that, yes, this city is like Las Vegas in that this town shouldn’t be here. It’s a dust bowl and nothing ever happens here that’s of note to anyone outside of this enclosed metropolis that’s damn near claustrophobic inducing with the mountains that are threatening to squeeze everyone like a STAR WARS dumpster set on “Crush.”

“It also says that,” Joe continued, “That there’s going to be a Q&A with the director following the movie.”

I don’t know if you’re a fan or not of Darren’s but when you hear this kind of information from someone the first impulse should be to tell the messenger to maim and/or run a blade through anyone who stands in the way of getting those passes.

I asked Joe to get one for me.

The events that follow between hanging up the phone and meeting Darren poolside at a local hotel for an-honest-to-goodness 10 exact minutes will be recounted later but this introduction today is aimed at doing only one thing: To help get the word out about a movie that not only deserves Oscar attention next year but to let you know that Darren honestly needs help in making this film resonate through the throngs of moviegoers that pay to see movies.

I don’t want to write a review for this movie because I really think that my interview will kind of touch here and there about what I felt after seeing the efforts of six years worth of dedication to a singular story but, suffice to say, I have to say that I already know how you should approach this film. I figured it out after leaving the theater.

You’ve got to allow yourself to be open.

This movie’s specific gravity is going to weigh you down. It needs you to be available, emotionally and spiritually, but even if you’re not it’s going to affect you in some way. I learned by watching this film that there is a reaction everyone has after seeing it. Darren mentions that there is a lot that’s left open to interpretation but there is a story here. There is nothing that can’t be explained after you see it. I was worried, initially, that there is three, different, stories happening at once but to quell those who have seen the wicked trailer I can tell you that there is only one story you need to know before going into the film: a wife is on the verge of death and she wants to try and put into words what her husband cannot emote and will not express. This film is more about Hugh and the wretchedness that is caused by fighting inevitability; what happens, as well, when the tympany is too loud in your head to just be quiet, sit still and find peace.

That’s all the film is but you can see how that might be a little hard to squeeze in the trailer.

This film is the best there is for 2006 and, dare I say it, the real benchmark for every film to follow with regard to what it means to lose a loved one. The movie is sad and it breaks your heart in two, it made me cry just a little, but, by the end, you are allowed to finally breathe in the comfort knowing our protagonist has found what he was searching for.

The movie shakes you, again, if you let it, and challenges basic notions of the heart and what it means to die in 21st century America where we believe that death is challengable, defeatable. There is so much present that in the film that it would be larcenous to point out a few moments that really show how Darren’s style has evolved since REQUIEM FOR A DREAM, it’s a misnomer if you see any review that says Darren’s style has “matured” instead of recognizing that these movies are just different from one another in every sense, but those elements that you come to expect from him are still present. The music is woven and wrapped around every moment perfectly, the performances are just solid and the way you are brought into a world you’ve never been to before but by the end you understand it completely is sheer craftsmanship. Hugh Jackman and Rachel Weisz give performances that feel completely devoid of any hubris and are nothing short of emotional believability.

Make no mistake, it’s a fool’s errand to think you can live forever but Darren has made a masterpiece out of a thought that tries to show you, really, what kind of an existence that would be for one person who can’t let go.

I’ve got the exceptionally short interview here for you next week but also know that I have another suprise up the sleeve inside this column and, hopefully, for some lucky readers of this site but like everything else worth waiting for you’ll have to come back next week and check it out.

THE FOUNTAIN opens in a week and a half on Wednesday, November 22nd.

And what would this column be worth if I didn’t mention BORAT? After trying to spread the good word of Borat Sagdiyev I am pleased, quite pleased, that Sacha Baron Cohen has shown the might of this movie’s power by absolutely destroying the competition with raking in nearly 30 million dollars. Not only that but something to keep in mind when looking at the raw totals is to also consider how many screens BORAT was playing on: 837. The 2nd place film? 3,458. Over 4 times fewer screens yet the film showed what I hoped would happen when it was released unto the world. No one could be more happier than Sacha who managed to score a huge payday for this outing and, I have to confess, I am happy too that I managed to interview Borat before the film’s opening; you can read all about that one-of-a-kind experience here. I could write on and on about this movie being able to live up to the hype, unlike many other filmic turds that have landed in the proverbial box office punch bowl but I just feel a certain amount of satisfaction of knowing that my comedic radar is still just as sharp as ever and that I didn’t run my mouth in supporting a film that completely sucked for nothing.

JONESTOWN: THE LIFE AND DEATH OF PEOPLES TEMPLE (2006)

Director: Stanley Nelson
Cast:
No one
Release: October 20, 2006 (Limited)
Synopsis:
On November 18, 1978, over 900 members of Peoples Temple died in the largest mass suicide/murder in history. What drew so many people across racial and class lines to the People’s Temple? How could a diverse group of 900 people be convinced to drink the poisoned Flavor Aid that caused their deaths?

View Trailer:
* Large (QuickTime)

Prognosis: Positive. I’m not one to draw much inspiration from song lyrics.

One tune, though, “Dogma” from KMFDM, has lingered with me for a long, long time. It goes, “The only reason you’re still alive is because someone has decided to let you live.”

The thing that I learned after watching the deplorable things our government exacted on the residents of the Branch Davidians in a movie called WACO: THE RULES OF ENGAGEMENT is that the government not only are the storytellers when it comes to explaining to the writers of history their own version what’s happened but that there isn’t a concerted effort to teach this kind of social studies inside the public educational system. I have never been exposed to a true explanation of what happened in Jamestown but it’s this kind of documentary filmmaking, exposing these tales to a little air and public scrutiny, that gets me all sorts of excited to finally feel I have a handle on all those “drink the Kool-Aid” jokes we’ve all heard in one context or another.

And this trailer begins, spooky as all fuck, with the sounds of distant church bells and a black scene with all the background information we need: “On November 18th, 1978 in Jonestown, Guyana, 909 members of the Peoples Temple died in what has been called the largest mass suicide in modern history.”

You’ve got my undivided attention.

We see slow-motion file footage of the people who ostensibly made up the rank and file of this “cult,” the voice-over of someone who we don’t see explaining that no one joins a cult, that they are people who are joining a movement and are trying to be with other individuals who they enjoy being around, and it’s disconcerting. You realize that all these vibrant people are going to be dead quite soon.

Next up is a brief look into what these people were subscribing to when they all decided Jim Jones was on the level: they felt he was someone who could bring positive change. It doesn’t feel religious as it does social. Society was rocking and rolling in a tumultuous cement mixer of polar issues and people looked to Jim for stability. Too bad that when we first see Jim you can immediately see those crazy eyes of his; I mean, they look bat shit crazy.

It breaks your heart when you listen to one of the interview subjects talk about what these people were escaping in modern America, racism being one, but when you see a pack of kids just happy to be kids in this hippie playground you can’t turn away from what’s coming.

This is when you see a photo of Jim Jones with his fingers on a stack of clear plastic cups.

The narration of our interview subject, on the verge of tears as he tells of the pain that still swirls around his heart, telling us that those who were followers of Jim were just “fucking slaughtered,” the beep being the one thing that’s added to his twice echoed sentiment, all you can do is stare at the photos of the dozens of dead people on the ground. Entire families just face first in the dirt. Dead.

Gripping stuff and this trailer just begs to be seen for no other reason than to try and see what it was that moved these people into complete obedience and acceptance of their collective fates.

BOBBY (2006)

Director: Emilio Estevez
Cast: Harry Belafonte, Joy Bryant, Nick Cannon, Emilio Estevez, Laurence Fishburne
Release: November 17, 2006
Synopsis: Revisits the night Robert F. Kennedy was gunned down at the Ambassador Hotel in 1968. With an incredible ensemble cast portraying fictionalized characters from a cross-section of America, the film follows 22 individuals who are all at the hotel for different purposes but share the common thread of anticipating Kennedy’s arrival at the primary election night party.

View Trailer:
* Large (QuickTime)

Prognosis: Positive-ish. Now, memory escapes me on this one.

I think it was either Greg Speetzen or Doug Saam who I saw MEN AT WORK with when it was at the dollar theater in Barrington, IL. What I can remember, though, was that this movie was really a lot better than it has been credit for being. I still love to watch it for its golf clapping, for Keith David’s insane performance and, without spilling a single drop of irony when I say this, the man-on-man action on the children’s carousel was way hot.

I believe Emilio has learned a lot in the 16 years since his last major feature, discounting THE WAR AT HOME, and his experience really shines through in this trailer for a movie that I hadn’t really followed until now.

We start this trailer stoically with a really nice suite of music playing beneath a slow introduction of what is going on when we meet Sir Anthony Hopkins, explaining what it was like to be a doorman at the Ambassador hotel. It’s odd that this trailer doesn’t show its hand about the crux of what we’re all tuning in for, the assassination of Robert F. Kennedy, but we gingerly jump like checker pieces around a whole lot of players in this movie.

“June 4, 1968″

Seeing Emilio in that latter-day porno moustache, engaged in a game of bocce ball, makes me wonder about who he’s portraying, some kind of wag, some kind of stuffy playboy, but I forget about Mr. St. James when I see that Estevez splices in file footage of Bobby Kennedy into the mix of it all. It’s a bold, FORREST GUMP-ian move, but it’s so brief that it doesn’t feel disingenuous.

I hate to essentially say that this movie starts to delve into PULP FICTION territory with all the players in this thing, 22 people in total, and beside Hopkins, Estevez, Belafonte, Rodriguez, Slater and others spilling into the scenes it’s hard to get a firm grip on how this story is going to be told. 22 people is a LOT of storylines to keep in the air like a juggler’s balls, the film could live or die based on how well each person is allowed to be developed without giving short shrift to the film’s overall impact, but when I see Sharon Stone I briefly wonder if this could be a “re-imagining” of sorts with Sharon being the recipient of some bullets. It’s all for naught, however, as the tension slowly creeps its way into this thing.

The issues of Vietnam, civil rights, racial inequality and the sense that the world was at the precipice of something huge all get swirled nicely into the overall vibe but what’s really noteworthy here, and something that I can’t help but comment on, is the actual use of Bobby Kennedy’s speech as a way to define all the chaos of the moment that we’re watching.

Maybe that’s the point. Maybe having all these storylines and all these different motivations is the way Emilio is tying to illustrate what this assassination meant in a larger context; that it maybe wasn’t all about Bobby, perhaps. It was about the people living within the reality of what he represented.

FACTOTUM (2006)

Director: Bent Hamer
Cast:
Matt Dillon, Lili Taylor, Marisa Tomei, Fisher Stevens, Didier Flamand
Release: August 18, 2006 (Limited)
Synopsis: Henry Chinaski (Dillon) considers himself a writer, and on occasion writes. Mostly he quests for the booze and women that sidetrack and seduce, rather than inspire greatness. When he falls for Jan (Taylor), the soulful connection fails to save either from their self-destructive ways, and the relationship totters between earnest connection and loathing.

View Trailer:
* Large (QuickTime)

Prognosis: Sure. MY BODYGUARD.

You watch a film like that and it encapsulates everything there is to know about Matt Dillon: he’s greasy, charismatic, threatening and possesses the kind of emotional tractor beam that prevents your gaze from pulling away. I’ve seen this flick more times across so many different periods in my life yet it still holds up thanks in large part to Dillon’s timelessness as a bully that we all have known at one time in our youth. Sure, the dingy city life that’s depicted in the movie has since been replaced with squeaky clean gentrification and a concerted effort to make suburban life, with all these white kids shooting up their high schools, seem a little bit more risqué than inner city existence but Matt Dillon keeps going on.

This movie looks like one of those parts that, while not as thrilling as him getting his ass kicked by Adam Baldwin, makes you cheer for a dude who has persevered as long as he has in an industry that has shorter shelf-life for their talent than a bowl of fruit salad.

To be honest I didn’t know what to expect from this movie but while I don’t think the trailer aspires to be anything greater than the sum of its parts I have to give praise here because this advertisement really feels like a small film all unto itself. The opening sequence is completely absurd. An apartment building is on fire, Matt steps into the hallway to find out what all the commotion is, gets barked at that it’s a blaze by a fireman and then proceeds to close the door and slips back in bed. How can you not like a guy like that as a protagonist? I’m not one to really suffer long sequences in a trailer but this works.

Quickly, we rip through the images of Dillon’s drinking problem. He drinks. A lot. We establish that this is all coming to us via the scribblings of Charles Bukowski, a man who had his own chemical issues as well, and then whip through a series of moments where it is implied that he is incapable of holding gainful employment and, surprise surprise, has a gambling problem.

Normally these things just add up to hackneyed storytelling but as I watch Matt I am transfixed by his innate ability to at once seem right at place sitting still at a bar, flushing his life away, and completely believable as someone who feels the motion in his fingers to write but just suffers from synaptic retardation; he just can’t get it together.

The accompanying quotes from the Post succinctly punctuate what we see on screen as Dillon just drifts back and forth on the screen with those who he is interacting with as it doesn’t seem like he’s acting, he appears to be occupying a person.

While this film looks like it has already come and gone the trailer is still a great example of what the sublime can be for those who want to be engaging, persuasive but not completely pushy.

FOR YOUR CONSIDERATION (2006)


Director: Christopher Guest
Cast:
Ricky Gervais, Catherine O’Hara, Parker Posey, Harry Shearer, Eugene Levy, Bob Balaban, Jennifer Coolidge, Michael McKean, Fred Willard
Release: November 17, 2006 (Limited)
Synopsis: Christopher Guest turns the camera on Hollywood for his next film, “For Your Consideration.” The film focuses on the making of an independent movie and its cast who become victims of the dreaded awards buzz.

View Trailer:
* Large (QuickTime)

Prognosis: The Film Just HAS To Be Better, Right? I’ll reveal a little sliver of my psychoses that not many of you know.

Ahem, well, whenever I see Fred Willard in anything, be it television or film, I cannot get past that moment in my life when I first came upon this wickedly sharp master of the sly. It was in a little movie called SALEM’S LOT and he was getting his swerve on with the wife of a crazy bumpkin who suspected the woman was stepping out on him and nearly blew Fred’s head clean off before showing his hand, revealing the shotgun he had stuffed in Fred’s mouth was not loaded. It wasn’t the tension of that scene, how perfectly it was captured, no. It was that floozy and Fred’s matching silk tennis short ensemble that I think a) freaked me out a bit and b) made me question why a dude would let himself dress up in silky underwear like that. Since that moment in the 80’s when I saw that film I have never been able to see Fred without first seeing him in those silky ball huggers. Thank Lord Jebus that Fred has shown he is much better at comedy than he was with getting smoked by a 10 foot tall vampire and this film, FOR YOUR CONSIDERATION, looks like comes correct in ways that A MIGHTY WIND slightly fell short of being able to accomplish.

“And you know what they say about blind prostitutes”¦You really have to hand it to them.”

Catherine O’Hara shows her ability to assimilate any character she’s asked to inhabit as we’re introduced to her in all of her dumpy glory in this rather subdued opening for a movie that eschews flash and pomp with regard to how they’re selling this film; they completely depend on the actors to make the moments and, ah yes, Mr. silky short Willard knocks what looks like his first pitch straight into left field and over the fence. He’s just perfect as a dolt who doesn’t have a mean bone in his body and not a synapse that hasn’t been fried by a bad sense of humor.

I, unfortunately, can’t say the same about Eugene Levy who really does need to atone for his miserable turns in films, checks that he obviously needed in a bad way, since his precise wit sliced straight through his character’s malaise as a cuckolded husband in BEST IN SHOW. The joke we’re pitched from him is flat but the smiles pick up as Harry Shearer more than makes up for the lost moment in his portrayal as a wiener who is looking to make a serious comeback.

And, oh my, how far has Parker Posey come since her turn as ho-hum actress before landing in BEST IN SHOW, giving what I believe was a stand-out performance, and just coming correct as we see her overacting here in a film where she reveals to her mother that she’s a lesbian.

I am also buoyed here by Ricky Gervais, a man who deserves a turn to participate in this absurdness, who quite matter-of-factly suggests to a pack of filmmakers that they should tone down the level of “Jewish-ness” in their movie so “everyone can enjoy it.” He is so smooth when he delivers these lines that you damn well believe he means it with a straight face and without a drip of insincerity.

I can’t say that I am all that giggly when O’Hara tells John Michael Higgins about there being a rumor on the Internet which says she might be an Oscar contender and John responds blankly about what the Internet is. Personally, and I hate to be old school on this, but I have to say that I liked the moment in JAY AND SILENT BOB STRIKE BACK more when Ben Affleck has to explain what the Internet is to Jay. It’s an easy joke here and I’m not sure it really hit me the right way.

“In every actor there lives a tiger, a pig, an ass and a nightingale. You never know which one is going to show up.”

I like the ending to a degree in this trailer but I have to say that it’s really the riffing that’s inherent in the scenes themselves that will determine whether Guest has done it again. If there is enough Willard, Gervais and Higgins in this movie as the trailer suggests there might be then I think he has. While I think I set my expectations for this trailer awfully high, and to some degree I have to admit that it does disappoint a bit, what is funny is enough to get me out of the house to buy a ticket.

Weekend Shopping Guide 11/10/06: The West Wing

Filed under: Movie News — UncaScroogeMcD @ 12:10 am

The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

 

During its initial run, I always heard great things about Aaron Sorkin’s The West Wing (Warner Bros., Not Rated, DVD-$299.98 SRP) – whose snappy patter chronicled the trials and tribulations of the fictional Bartlett administration of the United states. As portrayed by Martin Sheen, imagine a cross between Kennedy and Clinton and you have a pretty good idea of the liberal ethos on display. Despite avoiding getting swept up during its seven season run, it wasn’t until the complete collection box set arrived that I decided to take the plunge – mainlining the entire run. No small feat, I assure you. As with Sorkin’s work in the past, it teeters between sublimely brilliant and pompously self-important, but I found myself riveted overall, and eagerly anticipating who would succeed Bartlett at the end of the seventh – and final – season (and actually wishing for a different outcome than the one we got). The 45 discs comprising the set are exactly the same as those found in the individual season releases – featuring audio commentaries, deleted scenes, featurettes, and gag reels – but new to the set (besides the handsome, sturdy case emblazoned with the presidential insignia) is the pilot script, with an introduction from Sorkin, as well as an episode guide. If you haven’t begun picking up the series on DVD yet, this is definitely the way to go.

 

 

In the annals of short-lived comedies, I would put good money on none being funnier than the six gems comprising the entire run of Police Squad! (Paramount, Not Rated, DVD-$19.99 SRP). Following up on their massive success with Airplane!, David Zucker, Jerry Zucker, Jim Abrahams, and Robert K. Weiss ventured on to the small screen with a parody of the overly-serious Quinn Martin/Jack Webb crime dramas of the 50’s and 60’s, starring the often clueless but somehow competent Lt. Frank Drebin (Leslie Nielsen). What they produced is a gag and visual pun-a-palooza that equals their finest work (see the aforementioned Airplane!) and would eventually be brought back to life on the big screen. Bonus features include audio commentaries on 3 episodes, a Leslie Nielsen interview, a gag reel, audition tapes, and a “Behind the Freeze Frames” featurette. Unfortunately, the celebrity death cameo John Belushi filmed for the series shortly before his death is nowhere to be found – it would have been nice to have that one last piece to remember him by, but I can understand their reluctance to include it.

 

 

I remember hearing that my friends Eric and Jerry were heading to the movie theater, and once I heard what they were going to see, I immediately weaseled my way into going along with them. For us, seeing this film was the must-see ticket of our young lives, as it was the big screen adventure of one of our absolute favorite TV shows. That flick was Transformers: The Movie (Sony Wonder, Rated PG, DVD-$21.98 SRP), and as much crap as people want to give it, it still holds a very special place in my heart. To see Optimus duke it out with Megatron on the big screen, it was young geek heaven – even if they botched things by killing off Optimus (a mistake soon rectified on the afternoon cartoon, once they realized that we fans were not happy with their marketing decision). Did I know, as a kid, that I was basically watching a slick way to eliminate old toys and introduce a whole new product line? Vaguely, sure, but who cares? It’s not like they ever made the Unicron I really wanted when I was still young enough to want to play with it instead of it being a “collectible” (and regardless, I made my own massive Unicron out of Legos). This is all to say that I’m really jazzed by the remastered 2-disc 20th anniversary edition, packed with bonus features including deleted scenes, commentaries, promos, and more. Finally! Now where’s my GI Joe: The Movie special edition…

 

 

Although it’s great to have all 5 films featured in the new Marlon Brando Collection (Warner Bros., Not Rated, DVD-$59.98 SRP) – including Reflections In A Golden Eye, The Teahouse Of The August Moon, The Formula, and Julius Caesar – the standout is the 2-disc special edition of Mutiny on the Bounty, whose stunning new transfer is complemented by 4 vintage featurettes (“Story of the HMS Bounty,” “Voyage of the Bounty to St. Petersburg,” “Tour of the Bounty,” & “1964 New York’s World Fair Promo”), an alternate prologue and epilogue, and a newly-produced featurette “After the Cameras Stopped Rolling: The Journey of the Bounty.” The set also includes commentary on The Formula, a new intro & featurette on Julius Caesar, vintage behind-the-scenes footage on Reflections In A Golden Eye, and a vintage featurette on The Teahouse of the August Moon.

 

 

I remember distinctly, years ago, being underwhelmed with the trailer for Monsters, Inc.. After enjoying both Toy Story and A Bug’s Life, and Toy Story 2, I felt Pixar could do no wrong – but the Monsters trailer gave me pause. The film, it turned out, was not the let-down the trailer led me to expect, but it was nowhere near as endearing ads the previous flicks. Then came Finding Nemo and The Incredibles, and my esteem for the folks up in Emoryville was fully restored – until the trailer for Cars (Walt Disney, Not Rated, DVD-$29.99 SRP) gave me the same queasy feeling of yore. Besides the fact that automobiles have never held an interest for me – and, by extension, racing – I couldn’t shake the feeling that I had seen this movie before… When it was called Doc Hollywood and starred Michael J. Fox. Swap out the flashy big city doctor with a flashy race car, and you’ve still got the story of a fish out of water forced to spend time in a small burg in the middle of nowhere who eventually falls in love not only with a local girl, but also with said small town. That’s both flicks to a “t”. Was I disappointed with Cars? Technically, it was a beautiful film extremely well-animated – Pixar can do that in their sleep – but I found that director John Lasseter too often fell in love with the geeky aspects of the cars and Route 66 environs on the screen, and lost touch with telling a tight story. Is it a disaster? Not by any means, but it’s definitely not in my top 3. Disney has opted to give us a measly single-disc edition instead of the usual 2-disc (I guess Lasseter’s new position at Disney gives him no clout over home video), with deleted scenes, a behind-the-scenes featurette, and the shorts “One Man Band” and “Mater and the Ghostlight.”

 

 

Even 6 months later, I’m not entirely sure how I feel about the first “half” of The Sopranos‘ sixth and final season (HBO, Not Rated, DVD-$99.98 SRP). While it was certainly high on familial intrigue (both meanings of “family,” naturally), there didn’t seem to be much of a spark motivating the season. It didn’t help matters that a large part of the initial episodes were stuck in Tony’s post-shooting coma dream state – which is all well and good, but one can take only so much philosophy and psychology before the desire for meat & potatoes storytelling becomes insistent. I certainly have no idea where the final 9 episodes airing next spring are going to take us, that’s for sure. The 4-disc set features all 12 episodes, plus a quartet of audio commentaries.

 

 

While I still find the mo-cap “animation” technique as jarring as I did on Polar Express, I think Monster House (Sony, Rated PG, DVD-$28.95 SRP) manages to transcend my misgiving by featuring an incredibly entertaining script – about a trio of neighborhood kids who band together to try and battle the suddenly sentient, monstrous, and evil house on their block – and stylized character design that didn’t try for the photo-realism that made Polar Express‘s cast so zombie-like. It’s a glorious mash-up of Goonies, The ‘Burbs, and Monster Squad. Bonus features include an audio commentary, 7 behind-the-scenes featurettes, a scene-breakdown, and an art gallery.

 

 

With he recent spate of vintage talk shows getting DVD releases (including Shout! Factory’s Dick Cavett sets), it’s good to know that we can add another batch of classics from the original king of late night. The 3-disc The Best of Johnny Carson: Volume 1 (R2, Not Rated, DVD-$39.99 SRP) features dozens of memorable moments from Carson’s 30 years on the air, plus bonus materials including the famous episode when Bob Hope & Dean Martin made an unexpected visit, rare photos, and a compilation of additional moments from the Ultimate Carson Collection. Also available is the single-disc Carson Country (R2, Not Rated, DVD-$14.99 SRP), featuring a collection of country & western appearances – everyone from Johnny Cash to John Wayne.

 

 

The 3-disc The Wonderful World Of Louis Armstrong (Time Life, $39.98 SRP) features 40 remastered tracks spanning over 4 decades of the great Satchmo’s career – everything from “Mack the Knife” and “Hello, Dolly!” to “When the Saints Go Marching In” and “What a Wonderful World.” The 3rd disc is a DVD compilation of rare film and video performances that give a small taste of what a fantastic live performer he must have been. My only regret? Where’s “Skokian”?

 

 

It was only a matter of time before the films of Gary Cooper fell under the spotlight of Warners’ amazing “Signature Collection” series, and the 5-films featured in Gary Cooper: The Signature Collection (Warner Bros., Not Rated, DVD-$49.98 SRP) are absolute essentials for any self-respecting cineastes film library. The centerpiece is the 2-disc special edition of Cooper’s turn as the real-life WWI hero Sergeant York, which features an audio commentary from historian Jeanine Basinger, a pair of documentaries (“Sergeant York: Of God and Country” and “Gary Cooper: American Life, American Legend”), a vintage short, the Porky cartoon Porky’s Preview, and trailer. The other four films that round out the set are The Fountainhead (which also includes a new making-of featurette), Dallas, Springfield Rifle, and The Wreck of the Mary Deare.

 

 

The alchemy of creating music has long fascinated me, so it should come as no surprise that I’m a big fan of the Classic Albums series of documentaries (Eagle Vision, Not Rated, DVD-$11.98 SRP each) – each of which goes in-depth behind-the-scenes of a particular iconic album, with rare footage and interviews that flesh out the creative process. The latest in the series spotlight Meat Loaf’s Bat Out of Hell, U2’s The Joshua Tree, Steely Dan’s Aja, The Who’s Who’s Next, and Bob Marley & The Wailers’ Catch A Fire. I truly dig this series, and hope they keep rolling them out.

 

 

Although I believe Fox has royally screwed fans who have been supporting the season-by-season DVD releases of M*A*S*H by releasing a feature-laden comprehensive box set just as the 11th season (Fox, Not Rated, DVD-$39.98 SRP) comes out, it’s good to finally have that final run available, if only for the epic, feature-length finale that wrapped up the trials and tribulations of the doctors, nurses, and soldiers of the 4077.

 

 

 

Even though I tend to find host James Lipton a comically over-the-top presenter, I still watch Inside The Actors Studio whenever I get the chance, often finding the conversation fascinating and the occasional insight into the person in the hot seat well worth the sometimes softball banter. The show is getting its time in the DVD spotlight with a 3-disc Inside The Actors Studio: Icons collection (Shout! Factory, Not Rated, DVD-$39.98 SRP), featuring the programs with guests Paul Newman, Robert Redford, Barbra Streisand, and Clint Eastwood, which also feature bonus footage and retrospective pieces with Lipton. Sold separately is the incredible Inside The Actors Studio: Dave Chappelle (Shout! Factory, Not Rated, DVD-$14.98 SRP), which is a very insightful piece done with the actor/comedian after his famed abandonment of his show’s third season.

 

 

While Edward R. Murrrow may be best remembered as a hard-hitting newsman and the very epitome of what journalism should be, he was also the host of what some may call a “puff” series called Person to Person, in which this tough-as-nails journalist would do one-on-one interviews with celebrities like Marlon Brando, Bette Davis, Sid Caesar, Jerry Lewis, Frank Sinatra, and up-and-coming politicians like John F. Kennedy. The 3-disc The Best of Person To Person (Koch, Not Rated, DVD-$39.98 SRP) features over 2-dozen of those now-legendary interviews, in which Murrow reveals that his skills extended beyond just hard news.

 

 

Not only does Roseanne have the “Barr” back, but in her stand-up special Roseanne Barr: Blonde and Bitchin’ (HBO, Not Rated, DVD-$19.98 SRP), she’s back on stage and performing again after a long spell away from the mic. Even better, she’s back in form and funnier than ever – which, considering what a groundbreaker she was in the 80’s, makes me no end of happy. In addition to the full special, the disc also features an interview with Roseanne, footage of her pre-show pep talk, a post-show featurette, and Roseanne going head-to-head with her new makeup artist.

 

 

Just in time or all of those difficult holiday shopping lists, The Rodgers & Hammerstein Collection (Fox, Not Rated, DVD-$99.98 SRP) contains the full 2-disc special editions of The Sound of Music, South Pacific, State Fair, Oklahoma!, Carousel, and The King and I. Bonus features include audio commentaries, behind-the-scenes featurettes, bonus films, vintage shorts, deleted scenes, photo galleries, and much, much more.

 

 

As many releases as they’ve gotten in the past – some acceptable, some embarrassing – the “Toho Master Collection” of the Godzilla film series has been more than living up to its name, with the initial release a few months back of the giant lizard’s first film foray a stunningly great overall package. The next two releases – currently available only as an online exclusive at http://www.godzillaondvd.com – are Mothra Vs. Godzilla and Godzilla Raids Again (Classic Media, Not Rated, DVD-$19.98 SRP). Not only do they have both the Japanese and English versions of the films, but also audio commentaries, featurettes, and more.

 

 

There’s no denying that She-Ra was a rather blatant attempt to capture young girls with what amounted to a warmed-ver redress of He-Man (ala Superman’s Supergirl). Featuring He-Man’s twin sister She-Ra, the princess of power fought the good fight against the monstrous Hordak and his evil Horde with control of the kingdom of Etheria in the balance. She-Ra: Season One Volume One (BCI, Not Rated, DVD-$49.98 SRP) features the first 32 episodes of the first season, plus the usual exceptional line-up of bonus materials we’ve come to expect from the good people at BCI. Those bonus features include part 1 of the feature-length documentary “The Stories of She-Ra“, a pair of commentaries, an animated storyboard, character profiles, trivia, and more.

 

 

They’ve trickled out over the past few years, but you can finally get the entire 6 season run of the UK’s original – and very, very funny – Men Behaving Badly (BBC, Not Rated, DVD-$99.98 SRP), plus the Last Call disc featuring the trio of feature-length episodes that wrapped up the series, as well as the 1997 Christmas special and outtakes.

 

 

You know, if you were to look in the dictionary under the word “cheese,” you’d find a still taken from Donny & Marie Osmond’s 70’s variety show. If you want proof of just what a cheesefest it was, look no further than the 2-disc The Best of Donny & Marie: Volume 1 (R2, Not Rated, DVD-$29.99 SRP), which collects hours of hand-picked “classic” moments from the show’s multi-year run. Also available is the Donny & Marie: 1978 Christmas Show (R2, Not Rated, DVD-$12.99 SRP), which has not been seen since its original airing.

 

 

In an era when every single memory from my Saturday morning cartoon childhood is getting is eventually getting its own DVD release, it was only a matter of time before a complete collection of the Groovy Goolies (BCI, Not Rated, DVD-$29.98 SRP) hit shelves. The 3-disc set features all 16 episodes, plus a pair of commentaries, a brand-new documentary, a featurette on the founding of Filmation studios, a sing-along, and image galleries.

 

 

And if that isn’t enough ghoulish delight for you, how about the complete fifth season of Tales From The Crypt (Warner Bros., Not Rated, DVD-$39.98 SRP). The 3-disc set features 13 more devilishly ironic tales hosted by everyone’s favorite ghoul, the Crypt Keeper.

 

 

 

 

Ultraman: Series One Volume Two (BCI, Not Rated, DVD-$39.98 SRP) wraps up the inaugural season of the bullet-headed Japanese superhero, featuring 19 remastered, uncut episodes. Bonus features include a monster encyclopedia, while the set also contains a pair of collectible cards and an 8-page booklet.

 

 

 

Any show that has the chutzpah to not only be set in the future, but also believe it was a future that would retain 70’s hairstyles and sport super-intelligent chimps, is a show that cries out “cult classic.” So it goes with the Ark II (BCI, Not Rated, DVD-$29.98 SRP), where Earth is a post-apocalyptic wasteland traversed by our heroes in the titular mechanized vehicle (which look like a giant white crayon). You can now own the complete 15 episode run, with bonus features including a newly-produced retrospective documentary, a pair of audio commentaries, and photo & art galleries.

 

 

Although the title Harveytoons: The Complete Collection (Classic Media, Not Rated, DVD-$39.98 SRP) is inaccurate – the set is missing dozens of entries in the series – the 4-disc set does feature tons of classic Harveytoons starring Casper, Baby Huey, Little Audrey, Herman, and Katnip. Here’s hoping a second “Complete Collection” is in the offing in the near future.

 

 

I wasn’t overly enthused with the soundtrack to Ridley Scott’s A Good Year (Sony Legacy, $18.98 SRP) except for its inclusion of a trio of Harry Nilsson tracks, including his fun demo of “Gotta Get Up.” For their inclusion alone, I’d recommend giving this a spin… and then suggest you go get more Nilsson albums.

 

 

It’s hard to believe that, compared to what a backstage drama and cultural juggernaut it eventually evolved into, the first season of Beverly Hills 90210 (Paramount, Not Rated, DVD-$54.99 SRP) was a relatively pedestrian affair, focusing more on the fish-out-of-water aspects of the transplanted Walsh twins (Jason Priestley & Shannen Doherty) as they adjusted their Midwest upbringing to their posh Beverly Hills surroundings. This first season has been eagerly anticipated by fans, who won’t be disappointed with commentary by Darren Starr on 2 episodes, and a quartet of retrospective featurettes (“Beginnings With Darren Starr,” “Meet The Class Of West Beverly High,” “90210 Behind-the-Scenes,” and “Looking Back: Season One – The Recap”).

 

 

As if you weren’t feeling soapy enough, how about the complete first season of Melrose Place (Paramount, Not Rated, DVD-$54.99 SRP)? Granted, this is before the inhabitants of TV’s most dysfunctional apartment complex really hit their stride, but the infinitely appealing Heather Locklear is on the scenes, so all is well. Not only do you get all 32 episodes, but there’s a series of mini-featurettes, plus a pair of more in-depth behind-the-scenes and retrospective featurettes.

 

So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this coming weekend. See ya next week…

##

Quick Stop Thingamabobs: 11/10/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:05 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

Have a THINGAMABOB? Send it in!

##

November 9, 2006

Music For The Masses: November 9th, 2006

Filed under: Columns,Music for the Masses — UncaScroogeMcD @ 2:40 am
musicmasses2.jpg

Hola, mi amigos!! Que pasa¿! Me? Why I’m happier than Reverend Ted Haggard with a mouthful of male prostitute. Seriously. And just like Rev. Haggard, I feel it safe to warn you that I’m about to come. . .to a realization that I have an addiction. No, not to cock. . .not that there’s anything wrong with that. You see, it’s just that I gave that up after leaving the Sig Eps (yeah, “brothers,” I got your “Elephant Walk” right here) and during the last couple of weeks, I’ve come to the realization that I absolutely LOVE. . .umm, political attack ads. I’m shooting straight with you here, people. With all of those half-baked accusations, exaggerations and out-right lies. . .shit, those commercials are like little, verbal, 30-second, no-holds-barred UFC cage matches. Light on substance, heavy on the slams. Or, for you EXTRA!! fans out there. . .30-second, commercial equivalents of Paul McCartney’s and “Hop-a-Long” Heather Mills’ divorce. Televised crack, I tell ya’!

m4m-macca-nov9

Wait a minute. . .after looking at this picture, I, too, now have one, “wooden leg.” Yes. . .I’m going to hell. If you laughed at that, I’ll save you a seat.

I love these little bits of nasty sooo much, I want to see more of “˜em. In fact, I want to see them so much, (and because I already miss them), I’ve actually decided to put Double A’s position as a “Rap Reviewer” up for vote just so you fine folks (oh, all right. . .myself included) can see a couple more of these attack ads. That’s right, Double A. . .guess you shouldn’t have made fun of my Afghan blanket collection. My Nanna knitted those, you fucker. Mmm hmmm. . .a pink, yellow and blue “binky” ain’t so funny now, is it?

m4m-bink-nov9

So anyway, as I was saying, the position of Rap Reviewer here at Music for the Masses is now, officially, up for grabs. That’s right, friends, I’m leaving the decision up to you. Here are your candidates. . .in one corner, weighing in at a bouncy 360 lbs., you have the incumbent, the man who finds the “rap” in “crap”, Double-“Wide” A. In the other corner. . .the challenger, weighing in at a meaty 98 lbs. and hailing from the “un-official” home of rap, Council Bluffs, IA; a candidate hand-picked by yours truly after I spotted him buying a 50 Cent CD at a local Tower “Gowing Out of Business Sale,” dressed in baggy, skater shorts, an Allen Iverson jersey and an all-white, NY Yankees hat with a straight brim. . .the “Crusher”. . .Jimmy “Hat” Rathmore. What do you say? Let’s get to know our candidates. How you ask? Why, the same way you most likely got to know YOUR local, political candidates. . .through good, old-fashioned, attack ads. Up first, Jimmy Rathmore. . .

FADE IN TO PICTURE OF A PARADE IN PROGRESS

m4m-parade-nov9

VOICE OVER (ISAAC HAYES): “Double A wants to rain on yo’ parade.”

CUT TO PICTURE OF WHEATIESâ„¢

m4m-dork-nov9

VOICE OVER (ISAAC HAYES): “Double A wants to shit in yo’ Wheatiesâ„¢”

CUT TO PICTURE OF A BIRTHDAY CAKE

m4m-cake-nov9

VOICE OVER (ISAAC HAYES): “Double A wants to take away yo’ Birf’day. . .

CUT TO A PICTURE OF A PUPPY AS SCREEN TURNS RED

m4m-puppies-nov9

VOICE OVER (ISAAC HAYES): “Double A likes to kick puppies.”

FADE TO A PICTURE OF JIMMY AND HOLD

m4m-jim-nov9

FADE IN MUSIC: “GANGSTA’S PARADISE”

VOICE OVER (ISAAC HAYES): “But NOT Jimmy Rathmore. . .he ain’t frontin’, playa’, like Double A. Double A don’t know shit about rap and you know what else? His momma’s a ho’. That’s right, Double A’s momma is such a ho’, they made her the dock in Dick Town. But not Jimmy’s. His momma is a real sweet piece o’ ass. In fact, I’m gonna hit that right after I finish readin’ his commercial here. Mmm hmm. . .Where was I? Oh yeah. . .Jimmy’s the real deal. He owns all 48 of Tu-Pac’s discs, you know, the ones released after his death? Yeah, that’s what I’m talkin’ about. 3 of his shirts are RocaWear®, his Adidas® are old school and he’s just workin’ at McDonald’s® until he can save up enough money to buy those turn-tables. Oh yeah. . .and his bling? Pure sterling silver, baby. That’s how Jimmy rolls. One more thing, children, unlike that punk-ass bitch Double A, Jimmy’s all about education. He’ll teach your kids how to flash a gang sign, hold a spray paint can when taggin’ and how to draw a sweet-ass pair of scissors. . .

FADE IN PICTURE

m4m-scissors-nov9

Fo’ keepin’ it bizzy up in the hizzy, the choice is clear. Tell Double A you don’t want none of that and vote Jimmy “Hat.”

CUT TO PICTURE OF JIMMY

m4m-jim2-nov9

VOICE OVER (JIMMY RATHMORE): “I’m Jimmy “Hat” Rathmore and I approved this message, bitch.”

And now, Double A’s ad. . .

FADE IN TO A SERENE IMAGE OF A MAJESTIC MOUNTAIN

m4m-mount-nov9

VOICE OVER (JAMES EARL JONES): In this climate of insecurity, it is nice to know that some things will never change. The sky will always be blue, Rosie O’Donnell will never be funny and Double A will continue to stand up for the little guys. Music for the Masses needs a consistent voice, one that has been down in the trenches, buying the shit that you shouldn’t. James Rathmore says that he knows rap. That he’s a “fan” of rap.

FADE TO BLACK

VOICE OVER (JAMES EARL JONES): Jimmy Rathmore says he knows rap?

CUT TO PICTURE OF MC HAMMER

m4m-hammer-nov9

VOICE OVER (JAMES EARL JONES): Fact! Rathmore owns all 6 of MC Hammer’s albums, including the rare, un-released album “Oh Hell, I’m Broke.” He also has the entire album “To the Extreme” by Vanilla Ice. . .memorized.

CUT TO PICTURE OF LOTION

m4m-lotion-nov9

VOICE OVER (JAMES EARL JONES): Fact! Rathmore thinks that N.W.A. stands for “Now With Aloe,” just like his favorite brand of lotion. Lotion that he uses to masturbate with because he’s too much of a punk bitch to get a girlfriend.

CUT TO PICTURE OF PUPPIES TINTED RED

m4m-puppies2-nov9

VOICE OVER (JAMES EARL JONES): Fact! While Double A has kicked his fair share of puppies in the past, at least he has never thought about having sex with one. Rathmore has. A lot.

CUT TO VIDEO OF THE FLAG WAVING IN THE WIND

m4m-flag-nov9

VOICE OVER (JAMES EARL JONES): If you elect James Rathmore to write your rap reviews, all you will ever get are reviews of the latest Eminem mixtape that he made for his friend “Smokey.” Also, if you elect Rathmore, he will come have sex with your dog. Double A wont. You can count on it.

CUT TO PICTURE OF DOUBLE A

m4m-fatty-nov9

VOICE OVER (DOUBLE A): What it is, bitches? This is Double A and I approved this ad.

There you have it, folks. Now, it’s up to you so. . .ROCK THE VOTE!!!! Just drop me an email, at the link below, and help support democracy by casting your vote for your favorite candidate.

But enough about all of that. It’s time now to check out some new music. In this edition of Music for the Masses, we take a look at the new one from the Who, Endless Wire, the music of Warren Miller’s new movie, Off the Grid, and we provide another chance for you aspiring artists out there to “Pimp Your Band.” Should be fun. So, what do you say? Let’s get to it, shall we??!!

m4m-who-nov9 Artist: The Who
Album:Endless Wire
Bastard Love Child of: The Who when all 4 members were alive and The Who now where only 2 of them are.
Best for: Realizing how much I miss John Entwhislte.

You know, I’m only half joking when I tell you that I fully expect to tune in to Dateline’s “To Catch a Predator” some night and see Chris Hansen asking Pete Townsend “So tell me, Pete. . .what are you doing here? What were you planning on doing with this 13-year old girl?” And, if this ever happens, I fully expect Pete to answer “I wanted to teach her how to work me whammy bar.” Then he’ll make a break for the front door and get tackled in the lawn by a couple of D.C.’s “fattest and finest.”

m4m-pred-nov9

For those of you scratching your head out there going “WTF, M.C.?” because you’re not “in the know,” a few years back, Townsend was charged with having kiddie-porn, “worm-burpin'” material on his personal computer. No. . .I’m not making that up. Granted, these charges were later dropped, but that shit sticks with you and I’ll be damned if every fucking (yes, fucking) time I hear the Who’s “Pinball Wizard,” I don’t change the lyrics to. . .”Ever since I was a young boy, I liked to play with balls. From Soho down to Brighton, I must have played them all.” And good lord, I haven’t even told you about one of the lyrics on this new disc. But we’ll get to that in a minute.

m4m-who2-nov9

Now, regardless of the validity of Townsend’s sexual appetites, I consider myself a pretty big fan of the Who’s music and I was really looking forward to getting my hands on this new one, Endless Wire. Their first disc of new material since 1982’s It’s Hard? Easy money, my friends. Easy money. Of course, as many of you know, with great anticipation can come great disappointment and after listening to this disc, I’m disappointed. Allow me to explain. If you are a hard core fan of the Who, you are going to love this album, even if it is, more or less, a glorified Pete Townsend solo disc along the lines of 1993’s Pyschoderelict, simply because it is a new disc. The fact that Daltry adds his gracefully aging voice to the proceedings makes it easier to swallow as a “Who disc,” but let’s not kid ourselves. This is not the same Who, deaths aside, that created enough quality material to prompt Syrius Satelite to give them their own channel and this is not the album that we’ve been waiting for. It’s not complete shit, and, again, it IS new Who for crying out loud, but this is Pete. . .pushing the envelope and experimenting. . .again. To paraphrase Michael’s line from The Godfather II, “You broke my heart, Pete. . .you broke my heart. Hey. . .wanna go fishing?”

And that brings us to the “casual” Who fan. They’re going to absolutely hate this disc. Know why? Because they’re going to grab this disc wanting to hear something familiar from this iconic band and aside from a tricked-up nod to the opening of “Baba O’Riley,” they ain’t gonna get it. What they ARE going to get is a hook-less song about religion, “Man in the Purple Dress,” a disjointed mini-opera (“Wire & Glass”) that is more unevenly spaced than the eyes of a Special Olympian and, due to the kiddie-porn allegations, one of the creepiest lyrical lines you’ll ever here. . .”Why can’t they see that life excites me/This boy ignites me” (“Trilby’s Piano”). *SHUDDER* Put it back in your pants, Pete. . .for fuck’s sake.

m4m-ent-nov9

I’m still holding out hope that, even without Entwhistle, we’ll get another classic Who disc, but sadly, this isn’t it. Unless you are a hard core, and I mean hard core, fan, save your money.

Rating: 2.5 out of 5

WARREN MILLER’S OFF THE GRID

There are a ton of reasons why it’s cool to live in Colorado but chief among them are that all of the women here look exactly like this. . .

m4m-cindy-nov9

. . .on your 21st birthday, the government sends you a giant block of cheese. . .

m4m-cheese-nov9

. . .and, most importantly, you learn to ski at a young age. . .

m4m-baby-nov9

I realize that for some of you out there, skiing is that thing that Sonny Bono was doing just prior to head-butting that tree, but for me and a shit-load of others here in Colorado, it’s a religion. . .sans all the alter boy “mouth hugging” and “butt-fiddling.” And if skiing is the religion, then without a doubt, Warren Miller is our favorite preacher. “Why’s that?” you ask. Well, you see, Warren Miller has been preaching the gospel of skiing and cranking out amazing ski films for the past 57 years and for those same 57 years, the faithful have gathered, just prior to the start of the ski season, to watch Warren’s latest opus and to get psyched up for hitting the slopes. For some, it’s the best part of the whole season and for good reason.

You see, aside from all of the amazing and breath-taking shots of people launching off of all kinds of crazy shit, Warren’s films feature, arguably, some of the coolest music you’ve never heard. Okay, maybe you’ve heard a couple of the tracks and some of the artists, but seriously, the guy has a knack for finding some obscure talent. And I mean, obscure. In fact, I couldn’t find squat on one of the main artists featured in Warren’s new film, Off The Grid, Boots Wallace. Too bad. . .good shit, Boots. But, that’s exactly why were here today. I realize that if you’re not a skier, your chances of checking out one of these films is slim to none and slim just left town, but there were some artists in this year’s film that are deserving of your attention. Some you’ve heard of, like Gomez and Imogen Heap, but others you more than likely have not. I highly recommend checking out the actual films, but, at the very least, check these tunes out and help out some under-appreciated artists. Who knows, maybe you’ll find some new favorites like I did with Big City Rock, Zero 7 and Gomez.

m4m-grid-nov9

In no particular order:

-Sweatshop Union’s “Baho Ang Titi Mo,” “Union Dues” and “Garbage Love Scenes/Cheesy Jingles” (www.myspace.com/sweatshopunion7)

-Scratch Track’s “Come One Come All” (www.myspace.com/scratchtrack)

-Tomorrow and Everyday After’s “Grudge” (www.teaarmy.com)

-Living Things’ “Bom Bom Bom” (www.myspace.com/livingthings)

-Simon Dawes’ “Have a Heart” (www.myspace.com/simondawes)

-Gomez’s “How We Operate” (www.myspace.com/gomez)

-Primal Scream’s “Country Girl” (www.myspace.com/primalscream)

-Wired All Wrong’s “Let Me Go,” “Medicate,” “Elevatin'”and “Fifteen Minutes” (www.myspace.com/wiredallwrong)

-Zero 7’s “The Pageant of the Bizarre” (www.myspace.com/zero7official)

– Bullets And Octane’s “Save Me Sorrow” (www.myspace.com/bulletsandoctane)

-Imogen Heap’s “Hide and Seek” (www.myspace.com/imogenheap)

-Big City Rock’s “Human” (www.myspace.com/bigcityrock)

m4m-cow-nov9

“Yippee ki aye, mother fucker!”

BAND OF THE WEEK!!!!

You know? In addition to MySpace being a GREAT place to meet a Dateline reporter. . .

m4m-chirs-nov9

it’s also a great place to check out some new and/or unsigned artists. To honor these individuals and their art, I thought it would be cool to feature a band here each time out, sans any remarks or comments from yours truly. Consider this your place to shine. If you want you or your band featured here, just drop me a line. Up this week. . .

m4m-pepper-nov9

Pepper Sands

Vancouver, BC

www.myspace.com/peppersands or www.peppersands.com

Band Members:

Citizen A: Bass and vocals

Adam: Drums and Percussion

Jay Slye: Guitar and Percussion

Derek MacDonald: Keyboards

Has Toured With: Concrete Blonde, 30 Seconds To Mars, I Mother Earth, Billy Talent, Sleater-Kinney and Swollen Members. . .amongst others.

Sounds Like: “Your wildest, wettest dreams”

CD Available? New Disc Available. . .”Forrest Strays”

Label: Universal Music Canada/Independent

What Others Are Saying: “For a major label debut, Pepper Sands self-titled record shines with the polish of the numerous veteran alternative rock acts that so obviously influence it. Seems like this Vancouver quartet has been carefully listening to most of modern rocks finest from the last decade. Lead-off track, “Win Big Lose More (Cherries Jubilee),” shows you what a Shirley Manson-fronted Foo Fighters would sound like, with its heavy riffs, poppy melodies and singer Citizen As girlie-but-ballsy vocals (think Avril Lavigne’s older sister!). Hints of Brit-pop will warm the hearts of still-grieving Lush fans on “Speak Too Soon,” while the shoe-gaze-y indie pop of “Myth” references everything that was cool about mid-90s alt-darlings, Velocity Girl. You’ve got to like a band that knows how to swap girl/boy vocals with ease and use them oh-so-sweetly when harmonizing. And get ready to dance on the super bop-y “Forever Wonder” that sounds like Neko Case singing lead for One Chord-era Sloan. Nice. Pepper Sands seem to have taken all the best parts of their favorite bands and put together a radio-friendly, catchy debut that surprises you and sticks in your head all day.” — Brian Pascual, Chartattack

m4m-pepper2-nov9

Message from the band: Looks are deceiving. And first impressions don’t always hold true. With their spunky black-white-and-red comic book cover art and short, tight, hyperactive tunes, Pepper Sands might give you the impression they’re a modern-day new wave group, updating the carefree magic of the Go-Go’s. The Vancouver quartet certainly come charging out of the gate with plenty of amped-up frustration and good time kicks. But somewhere in the middle of their debut album, the band that has opened for 54-40, Sleater-Kinney and Matthew Good slow down ever so slightly and begin opening up. The staccato pop bursts of “WIN BIG LOSE MORE (cherries jubilee)” or “Speak Too Soon” give way to the moodier introspection of “Myth,” “Touch Apart” and “Make No Mistake.” Singer Citizen A layers her vocals in lush echoes and even shuts down to a whisper. Guitarist Jay Slye rolls off the aggressive opening riffs and begins painting the night sky with ringing tones reminiscent of U2’s the Edge. Atmosphere adds depth and the lined images on the cover transform into full portraits. The acres of lyrics on the album’s insert, taking up literally every panel except the cover, express the views of a band hooked on love and forever trying to figure out a way past the inevitable pain. Except where a less literal band might stick with a few cloying phrases — and drill an obnoxious, overdone hook into your head — Pepper Sands opt to tell the story like an interior monologue where the brain must decide what thoughts to keep and which to discard. The effect is sometimes maddening, sometimes endearing, like that late night radio DJ who has had too much caffeine and proceeds to speak in circles through the endless night. You keep thinking you should turn it off and get your own head straight, but you keep wondering where it’s all going to end up. In Pepper Sands’ case, it adds up to a spirited pop debut that suggests the band is going to get much weirder as time goes on.

m4m-pepper3-nov9

Be sure to check them out!!!

Well, folks, that’s going to do it for me and the gang this week, so. . .until next time. . .keep wearing it proud and playing it loud.

Send your votes for a new rap reviewer, review copies, presents and assorted hate mail to:


M.C. Bell
P.O. Box 1222
Arvada, CO 80001

E-MAIL THE AUTHOR

The Fred Hembeck Show: Episode 80 – Trading Cards

Filed under: The Fred Hembeck Show — UncaScroogeMcD @ 12:10 am

fredhembeckheader.jpg

Back around the turn of the century – y’know, 1999? – I was financially engaged by several collectors to decorate a small pile of baseball card-sized pieces of cardboard with my quirky little drawings, the subjects of which were totally up to my discretion.

Since other projects have demanded the majority of my attention this past week, I’ve decided to share a smattering of these quasi-charming illos with you. Y’know – in lieu of real content?

So without further adieu…

fredhembeck2006-11-09 01.gif

The World’s Finest team – have they ever looked that peculiar? Sure hope not…

fredhembeck2006-11-09 02.gif

Hey Jay, is that a bowl on your head, or are you just hoping to run across Naomi Campbell packing soup?…

fredhembeck2006-11-09 03.gif

The “eyes” have it! (As do the ice!…)

fredhembeck2006-11-09 04.gif

Dragon, I’m a little short on cash – could you loan me a fin?…

fredhembeck2006-11-09 05.gif

Muffle that feminine charm, Princess D – I think you’re making Daredevil horny!

fredhembeck2006-11-09 06.gif

Typical teenagers? The way I’ve got these two dressed, Miss Grundy looks hip by comparison! (Or is that “hep”?…)

And now, a very special holiday greeting from a very special individual…

fredhembeck2006-11-09 07.gif

HAPPY VETERAN’S DAY!!

(What? You didn’t think Santa served? Hey, he didn’t like Hitler any more than your grandfather did – trust me, Ol’ Saint Nick ain’t THAT jolly!…)

Even though there are plenty more cartoons to haul out of that particular well, that’s it for now! Gotta save some for the NEXT time I need to crank out a quickie, after all!

See ya next episode!

(Unless of course you choose to visit Hembeck.com in the intervening period – and hey, don’t let ME stop you!…)

-Copyright 2006 Fred Hembeck

Quick Stop Thingamabobs: 11/9/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:05 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • What does a person’s face look like when they find out they’ve been pushed off the gravy train? (Thingamabob)

Have a THINGAMABOB? Send it in!

##

November 8, 2006

Quick Stop Thingamabobs: 11/8/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:05 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • Faith Hill – “World’s Most Theatrically Obvious Sore Loser”… (Thingamabob)
  • Speaking of which, here’s the latest Kasper-Hauser comedy podcast… (Thingamabob)
  • Jim Henson & Kermit on What’s My Line?… (Thingamabob)

Have a THINGAMABOB? Send it in!

##

DVD Late Show: Super-Heroes, Sci-Fi… and Dick Tracy?

Filed under: DVD Late Show — UncaScroogeMcD @ 12:02 am

dvdlateshow.jpg

November 7, 2006

Yeah, I know. I’m still running behind, so let’s get right to the reviews.

defendersearth.jpg

In 1986, Hearst Entertainment (parent company of King Features) and TV animation house Marvel Productions, teamed up to produce 65 episodes of a new syndicated animated adventure series featuring three of Hearst’s longest-running and best-known newspaper comic strip heroes: Flash Gordon, Mandrake the Magician, and The Phantom. The series also promoted Mandrake’s African manservant/bodyguard, Lothar, to full-hero status, and gave each of the four leads a teenaged child (in bachelor Mandrake’s case, an adopted one). Together, they battled Gordon’s arch-nemesis, Ming the Merciless, as he attempted to conquer the Earth.

That series makes its DVD debut with BCI Eclipse’s DEFENDERS OF THE EARTH: THE COMPLETE SERIES, VOL. 1, which includes the first 33 episodes on five discs.

Unfortunately, despite a very talented crew and a great premise (and a nifty theme song penned by Stan Lee), the show suffers from uninspired or illogical scripts and extremely crude animation. In the style of other 80’s syndicated adventure cartoons, violence is limited to ray blasts against robots (Ming’s Ice Robots, in this case), and each episode must deliver a moral. Two story points in particular that annoyed me: in the first episode, Flash Gordon’s unnamed wife (presumably Dale Arden) is killed by Ming, and her brain patterns somehow imbedded in a crystal, which son Rick Gordon uses as the core personality for the team’s super computer. Aside from wondering what would make her mind suitable for such a purpose, it seemed odd to me that neither Flash nor Rick seem at all disturbed by this. Secondly, the Phantom, who is repeatedly referred to as being an African hero, has the mystical ability to call upon the “strength of ten tigers,” and does so at least once in each episode. Now, it’s been years since junior high, but as I recall, there are no tigers in Africa!

Regardless of the quality of the show itself, BCI’s DVD set, from their Ink and Paint label, is great. The first half of the series (33 episodes) is presented on 5 discs. Presented in the original full-screen TV aspect ratio, the picture quality is generally good, although the source material itself is occasionally littered with dirt and debris inherent in pre-digital era animation. As with BCI’s other recent animation releases like HE-MAN and SHE-RA, the set includes extensive bonus material, as well.

There are video interviews with several of the creators of the show, commentary tracks on two episodes, a short presentation “pilot” created to sell the series, numerous image galleries and bio/trivia text features, and 2 collectible art cards with illustrations by Mike Allred and Rafael Kayanan. There’s supposed to be the first episode of the 70’s FLASH GORDON cartoon on there, too, but I couldn’t seem to find it.

While I can’t really recommend the show to anyone, if you’re a fan of the show from the 80’s or a diehard collector of Flash Gordon, Phantom or Mandrake material, you may want to pick it up. The set is a first-class production all the way.

dicktracytoon.jpg

Another animated series based on a long-running comic strip comes to DVD courtesy of Classic Media, with THE DICK TRACY SHOW: THE COMPLETE ANIMATED SERIES (1961). The four-disc set includes all 130 5-minute episodes. Unfortunately, as bad as DEFENDERS OF THE EARTH may be, THE DICK TRACY SHOW is far worse.

Designed to be run as segments of locally produced kiddie shows, each episode begins with Dick Tracy at his desk, getting an assignment from his superiors. But, instead of rushing out to apprehend the perpetrators, he uses his two-way wrist radio to assign one of his operatives to the case, instead. That’s right ““ Dick Tracy almost never leaves his desk. And who are the operatives he sends out to do his job for him? Well, there’s Japanese agent Joe Jitsu, Mexican op Go-Go Gomez and Irish beat cop, Heap O’ Callory”¦ some of the most offensive racial stereotypes ever seen in TV animation.

The animation itself is about as static and stilted as it can be, and the five-minute stories don’t have much time to get complicated. Aside from Tracy’s cameos, the only other link to the famous comic strip is the use of some of its more colorful criminals ““ Flattop, Mumbles, Pruneface ““ reduced here to bumbling idiots. It’s not pretty.

And neither are the discs. While Classic Media has gone all out with the packaging ““ a beautiful hardback case with four single-sided discs and free comic book ““ the cartoons themselves really show their age, with severely faded colors and minor damage throughout.

For Dick Tracy completists only.

witchmountaindouble.jpg

Two previously released Disney live-action sci-fi favorites from the Seventies have just been paired up in the ESCAPE TO WITCH MOUNTAIN/RETURN FROM WITCH MOUNTAIN ““ 2 MOVIE COLLECTION (1975/1978).

If you never saw these perennial Disney favorites before, here’s the basics: two blond pre-teen orphans with mysterious mental abilities (including telepathy and telekinesis), Tony (Ike Eisenmann) and Tia (Kim Richards), search for the truth about their origins while trying to elude various criminals intent on exploiting the kids’ powers. In the first film, millionaire Ray Milland (X- THE MAN WITH THE X-RAY EYES) is after the kids, while in the second, Christopher Lee (HORROR OF DRACULA) and Bette Davis (BURNT OFFERINGS) have their greedy hearts set on controlling Tony’s TK talents.

Directed by John Hough (THE LEGEND OF HELL HOUSE), both films feature primitive 70’s special effects and a certain flat, TV look, yet the stories and characters are still quite engaging, both for nostalgic adults and young children. My niece and nephew, despite being raised on today’s flashy FX-heavy fantasy flicks and video games, loved the movies, watching them so many times my sister begged me to take the disc back.

Disney’s double feature disc is pretty bare-bones, but does offer both films in crystal sharp widescreen (1.78:1 and 1:75:1) anamorphic transfers. The original soundtracks have been remixed in Dolby 5.1 Surround.

Good stuff.

ark2.jpg

BCI Eclipse, having had some success with Filmation’s animated offerings, is starting to dip into the studio’s live action Saturday morning fare, beginning with the only-in-the-Seventies post-Apocalyptic actioner, ARK II ““ THE COMPLETE SERIES (1976).

Set in the 25th Century, after the world has been devastated by pollution and war, three multi-cultural young scientists (Terry Lester, Jean Marie Hon, and Jose Flores) and their talking chimp, Adam, roam the post-Apocalyptic wasteland in a super-advanced RV, bringing the benefits of science and good morals to the primitive remnants of humanity. That’s right ““ it’s DAMNATION ALLEY for adolescents!

Surprisingly, the show holds up pretty well. Despite the low budget, the production values are quite good, and the Ark and its accessories are pretty impressive gadgets, even today. The earnest young cast manages to play their underwritten roles with conviction, and, thankfully, the chimpanzee is never all that annoying. Scripts range from quite good to insultingly bad, but are usually somewhere in the middle, and despite the grim setting, the stories all offer hope and a solid moral lesson. Fortunately, these “lessons” are not as heavy handed as in later Filmation shows, and are delivered without the usual sledgehammer tactics. Guest stars include Jonathan Harris, Malachi Throne, Geoffrey Lewis, Jim Backus and a teenaged Helen Hunt.

BCI has placed all 15 episodes on 4 discs. Unfortunately, the transfers are not very impressive. Presented in their original full-screen TV aspect ratio, the source material is faded and grainy, although relatively free of damage or debris. Still, considering that the show is nearly 30 years old, and was probably shot on a budget of $100 bucks an episode, we’re probably lucky the episodes look as good as they do.

As with their animated Filmation releases, ARK II ““ THE COMPLETE SERIES, comes with an bunch of bonus features, including audio commentaries on two episodes, a full-length “Making Of” documentary, several photo and art galleries, and all 15 scripts, plus the series bible, on DVD-ROM.

Ultimately, ARK II is good kid’s show and a relatively decent example of 70’s TV sci-fi, and I really enjoyed watching these episodes again. If it’s a fond memory from your childhood, you may want to pick it up, despite the less-than-reference-quality transfers.

galactica2.5.jpg

Universal’s excellent science fiction series continues along with BATTLESTAR GALACTICA SEASON 2.5 (2006), as our rag-tag fleet of human survivors discover a second surviving Battlestar, the Pegasus, which offers the desperate Colonials hope that they can finally turn the tables on their Cylon pursuers.

Of course, in the grim GALACTICA universe, that just isn’t the way things work.

The commander of the Pegasus (Michelle Forbes) just might be a homicidal psycho, there’s continuing political unrest in the fleet, the Cylon prisoner is about to give birth, the President (Mary McDonnell) is dying of cancer, the black market is out of control, there are Cylon moles in the fleet”¦ and the Colonials may have just found a planet they can call home. Maybe.

Ronald E. Moore’s “re-imagining” of the Seventies space adventure series remains one of television’s top dramas, with a powerful cast and challenging, grown-up scripts that take the show to a dramatic level far above pretty much anything else in the genre. Loaded with political and social allegory (as the best sci-fi always is), BATTLESTAR GALACTICA should be required viewing for anyone who enjoys good television.

SEASON 2.5 presents the second half of the second season on DVD, with stunning 1.78:1 anamorphic widescreen transfers and pounding Dolby Digital 5.1 Surround sound. Each episode is accompanied by an audio commentary (podcast) by producer Moore, deleted scenes and more. The set also includes Moore’s video blogs, several featurettes, and an extended version of the midseason episode, “Pegasus.”

If, like me, you don’t get Sci-Fi Channel, you owe it to yourself to follow BATTLESTAR GALACTICA on DVD. Hell, it’s even better than watching it on TV ““ no commercials!

galaxina.jpg

BCI Eclipse has recently unleashed upon an unsuspecting and unprepared public the science fiction spoof GALAXINA (1980) in a special “25th & 1/2 Anniversary Edition.”

I first read about this film ““ as with many others ““ in Starlog magazine when I was a teen, and ended up waiting 26 years to actually see it. The movie is known (by those who know of it at all) as being one of the very few film vehicles for actress Dorothy R. Stratten, the lovely Playboy Playmate and Bogdanovich protégé who was murdered by her husband shortly before the movie was released.

Unfortunately, GALAXINA is terrible; a remarkably unfunny comedy from William Sachs, the director of THE INCREDIBLE MELTING MAN (another movie I only know about from old Starlogs) and good old Crown International Pictures.

Strratten portrays the title character, the shapely android pilot of the intergalactic police cruiser Infinity. While she’s both beautiful and competent at her job, the rest of the crew are neither. Captain Cornelius Butt (Avery Schreiber, CAVEMAN) is an idiot, and his officers Thor (Stephan Macht, THE MONSTER SQUAD) and Buzz (J.D. Hinton) are almost as bad. But Galaxina and Thor nonetheless have feelings for one another, feelings they cannot act upon, because physical contact causes the android to short circuit. After a visit to an alien brothel, the crew of the Infinity is assigned to find a magical artifact, the Blue Star, and keep it out of the hands of the resident Darth Vader clone.

While there’s some potential in here, it’s almost completely squandered by director Sachs, who has no apparent sense of comedy timing whatsoever. The characters and humor are crude, the gags are cliché, and while Stratten is undeniably beautiful to look at, her role as a robot seems to stretch her limited emoting abilities. There are a couple of decent alien designs by Chris Walas (in particular, the “Rock Biter”), and a few jokes that almost work, but overall, the film remains notable only for its association with its tragic leading lady.

BCI’s classy 25th Anniversary Special Edition treats the film like a comedy masterpiece, however, with a sharp, clean 2.35:1 anamorphic widescreen transfer. There’s also a boatload of bonus features. There’s a commentary track by director Sachs and actor Stephen Macht (God love “˜em, they still think this movie is funny!), another audio interview with Sachs, additional footage from the international version, the theatrical trailer, and four still galleries. DVD ROM features include the original script and shooting script, as well as reprints of the above-mentioned Starlog articles. Finally, there’s a 6-page booklet with stills and a biography of Stratten.

Once again, we’ve got a bad movie in a fantastic DVD package. Recommended only for people interested in the late Dorothy Stratten”¦ or fans of Avery Schreiber. If there are any.

kingdino.jpg

New from VCI is the 50’S SCI-FI DOUBLE FEATURE: KING DINOSAUR/THE JUNGLE (1952/1955), which features two rare and offbeat flicks from the fab Fifties.

KING DINOSAUR is the simple tale of four astronauts (two male, two female) who journey to the planet Nova, which has recently wandered into our solar sytem and taken up residence. Via the magic of stock footage, our intrepid but bickering heroes arrive on Nova, which looks remarkably like L.A.’s Griffith park. There they encounter bears, lemurs, owls, snakes, and a transparent, optically enlarged insect. Soon, because the movie is called KING DINOSAUR, they travel to an island in the middle of a lake where they encounter giant gila monsters, baby crocodiles, monitor lizards, armadillos(!), and an iguana pretending to be a Tyrannosaurus Rex.

The movie is only an hour long, but I fell asleep twice. Director Bert I. Gordon went on to direct such other classics as THE AMAZING COLOSSAL MAN, ATTACK OF THE PUPPET PEOPLE and EMPIRE OF THE ANTS.

The companion feature on this digital double bill is William Berke’s THE JUNGLE, a 73 minute epic shot on location in the wilds of India. The American cast includes Marie Windsor (CAT WOMEN OF THE MOON), slick Ceasar Romero (TV’s Joker from the original BATMAN show) and beefy Rod Cameron. Together, they journey into the wilderness in search of prehistoric wooly mammoths (in India!). Slow and talky, with tons of travelogue-styled footage of natives and wild animals (including some gruesome shots of local fauna fighting to the death), THE JUNGLE is pretty much a snooze-fest, too.

KING DINOSAUR is presented in a sharp, B&W 1.85:1 anamorphic widescreen transfer culled from the original 35mm negative. Considering the shoestring budget, the movie looks great, with the exception of some of the older stock footage. THE JUNGLE is presented, for the first time on home video, in full-frame 1.33:1 format and color-tinted in sepia tone.

To make up for the tepid features, VCI has included a number of extras, including a text interview with THE JUNGLE star Marie Windsor, a bunch of still and poster galleries, trailers, and several text bios.

Again, another nice package of less-than-exciting films, but if you’re hooked on 50’s sci-fi, at least the disc is cheap.

inframan.jpg

I first recall hearing about SUPER INFRAMAN (JUNG-GWOK CHIU-YAN, 1975) on an episode of Siskel & Ebert’s SNEAK PREVIEWS when the flick was released to U.S. drive-ins (as INFRA-MAN) back in the mid-Seventies. I vividly remember a brief clip of the titular hero battling a bunch of bad guys in monster suits, and that Gene Siskel was sneering at this goofily giddy Hong Kong super-hero flick, while Roger Ebert sang its praises. I knew I had to see it.

Unfortunately, if it ever played theatrically in Central Maine, I missed seeing the ads in the newspaper. If I had seen such an advertisement, I know I would have begged my mom to take me to see it. Fortunately for her, I never did.

When the home video boom came along some years later, I saw the Prism VHS pre-record of INFRA-MAN in pretty much every video store I walked into. But, oddly, I never bothered to rent it. You see, I’d grown up a bit since the film’s U.S. run in 1975-76, and I thought I was above such things. (This was around the same time that I turned my back on cartoons, too.) But, by the early 90’s, I was once again happily indulging my inner child, and when I came across a used copy of the tape for sale in a South Florida video store for about $5, I bought it, took it home, and gave it a screening.

Man, what fun!

The story begins when the mysterious Princess Dragon Mom appears and threatens the world with her army of monsters and skeleton-men. (“Greetings to you, Earthlings, I am Princess Dragon Mom. I have taken over this planet. Now I own the Earth and you’ll be my slaves for all eternity.”) In response to this awesome threat, the governments of Earth cede all authority to the smartest man in the world, Professor Chang, and his Science Patrol ““ a group of athletic young Asian men dressed in Vegas-era Elvis-styled uniforms (one of whom would soon go on to gain exploitation film fame as “Bruce Le!”). Professor Chang persuades one of his blindly obedient operatives (future HK superstar Danny Lee of MIGHTY PEKING MAN and John Woo’s THE KILLER) to submit to extensive operations which turn him into the “bionic” super-hero, Infra-Man.

With his stylin’ new suit of red and silver, AM-FM equipped helmet, and newfound powers of flight, super kung fu, bionic backflips and “thunderball” fists (it is not revealed whether these include goldfingers ““ ha! Get it?), the invincible Infra-Man is unleashed upon the monstrous minions of Princess Dragon Mom, who are ““ let’s face it ““ simply overmatched.

Call it the ultimate lazy Saturday afternoon veg-out flick. Ninety minutes of kung fu fightin’, rubber monsters, mad science, cheesy special effects, and swingin’ Seventies sci-fi schtick… I mean, seriously ““ what more could anyone possibly want from a movie?

Produced by Hong Kong’s Shaw Brothers studio, home of hundreds of kung fu flicks, SUPER INFRAMAN was an attempt to duplicate the success of Japanese super-hero shows like ULTRAMAN and KAMEN RIDER, which all featured garishly-costumed heroes who battled rubber-suited monsters. Shaw Brothers even imported some Japanese talent to help whip up their creature costumes. Ultimately, though, it was the studio’s (and the country’s) only full-fledged attempt at the genre… and that’s a shame.

For, while it may have been an imitation of Japanese super-hero shows, the final film had a unique Hong Kong vibe and distinct identity of its own.

Image Entertainment (as part of their Shaw Brothers collection) has now released SUPER INFRAMAN on a really nice widescreen DVD. The print and transfer are virtually flawless, with bright colors and sharp details, and it’s even cooler looking in its proper “Shaw Scope” aspect ratio. The film is presented in its original Mandarin with subtitles… and in the wonderfully comic book-ish English dub, which, for once, is actually preferable, as the Mandarin dialogue ““ if the subtitles are accurate ““ is rather straight-forward and dry. The English track is much more fun, with over-the top dialogue and goofy voices for the monsters.

Extras include a bunch of trailers for other Shaw Brothers films (in Mandarin without subtitles), an image gallery, and informative liner notes by August Ragone and Damon Foster.

Highly recommended.

Next week, I’ll finally get to my Halloween horror suggestions, including FRANKENHOOKER, SLITHER, THE WOODS, THE LAST BROADCAST, two Boris Karloff collections, and THE GROOVIE GOOLIES. Better late than never, right?

Right?

C’mon… work with me here….

Comments about this column or DVD-related questions? Feel free to contact me at dvdlateshow@atomicpulp.com.

November 7, 2006

Quick Stop Thingamabobs: 11/7/2006

Filed under: Columns,Thingamabobs — UncaScroogeMcD @ 12:15 am
thingamabobs.jpg

The web. It’s a big place, full of plenty of distractions ““ some funny, some informative, some ludicrous, some disturbing, some inane, some profound. Each and every weekday, we present links to a few of our favorite finds”¦

————————————————

  • The great Buster Keaton, and Speedy, shill for Alka-Seltzer. (Thingamabob)

Have a THINGAMABOB? Send it in!

##

Toy Box: Gremlins – The Originals!

Filed under: Columns,Toy Box — admin @ 12:10 am
toybox.jpg

As a kid, one of my favorite authors was Roald Dahl. Oh yes, he did that little book called Charlie and the Chocolate Factory, and as a fan of the book and movie (uh, the good one with Gene Wilder, thank you very much), you might think that was it. But no, the book that really turned me on to Mr. Dahl was James and the Giant Peach. But long before either of those books, or Matilda or The Witches, or any other piece of fiction penned by Roald Dahl, there were Gremlins.

His first children’s story was written in 1943, specifically for Walt Disney. It told the story of Gremlins, the little bastards that got into military aircraft and snafued it all up. That’s actually the origin of the term ‘gremlins’, first seen in British Air Force writings in the early 1940’s. Dahl took that idea and whipped up a tale of little creatures that wreak havoc, which was turned into animated characters by Warner Brothers several years later, and even ended up in a Bugs Bunny cartoon.

Dark Horse is reprinting the original book (just released last month), and are also releasing several different items in conjunction. Today I’m checking out one of three different PVC sets, called “Jamface”.

Gremlins – not so fuzzy!

Dark Horse is producing three boxed sets of PVC figures. The one I’m reviewing is refered to as “Jamface”, while the other two are “Gus” and “Rufus“. There’s also a larger vinyl set of Gus and Fifinella (which was the name used by Dahl for any female gremlin. Males were called ‘widgets’). On top of all that, Dark Horse will be using the characters in new stories as well!

toybox_110706_1.jpg

Packaging – ***1/2
It’s a nice sized box, with bold colors reminiscent of the era and the book. It shows off the figures pretty well, and it’s completely collector friendly – pop out those PVC’s and pop them back in later if you’d like. No twisties. Thank God!

The box will also store easily for the MIBBers, but won’t take up much shelf space if you want to display it that way.

toybox_110706_2.jpg

Sculpting – ***1/2
Gentle Giant was involved in the sculpts on these, and they did a very nice job. Each Gremlin looks very much like his comic counterpart, and they are posed in mischievious ways. In this set, one is using a hand drill, one is using a pick axe, and the third is scarring a surface with a nail. Just the kind of behavior you’d like your own children to emulate around the house.

toybox_110706_4.jpg

The bases all show sculpted signs of their work. The drill is leaving shards in it’s wake, scattered on the base, the pick ax is aimed at a roughly scratched “X” on the base, and the nail has gouged a fairly deep line. The proportions on the little buggers and their tools is good, and while they aren’t quite small enough to really be in scale with the DC Direct Bugs Bunny figures, they’ll look okay together.

If I have one complaint, it’s that the mold lines are a little too obvious in some spots. Of course, they might appear quite obvious in the photos, but keep in mind that the scale here is fairly small (under 4″ and that’s standing on the base), so in person they aren’t quite that easy to see.

toybox_110706_5.jpg

Paint – ***1/2
These are PVC’s, and as such you might not expect perfect paint. But you might be surprised by the quality here, with very little bleed, and good cuts between colors. And speaking of colors, there’s plenty of bright ones, but even these feel very much like the 40’s.

toybox_110706_7.jpg

Don’t get me wrong, there’s a little slop here and there. Some of the brighter colors aren’t quite as consistent as they could be, and the eyes have a smudge here and there. But in general, these are well above average for PVC’s. They’ve also added a nice touch using different finishes for differen areas, something you don’t see much in this format. For example, the markings on the back of the gloves and the edges of their masks are done in a glossy black, providing a nice contrast against the more matte colors on the suits. This is something you see more often in high end collectible, but it’s fairly rare at this price point.

toybox_110706_6.jpg

Articulation – Bupkis
Nope, these are PVC’s, not figures. This category won’t go against them in the overall, but I wanted to be sure I pointed it out, to avoid confusion.

Accessories – Bupkis
See above. As you should expect, there’s no accessories, and none of the tools are removable, and they don’t come off their bases. Again, this won’t effect my overall score, but I wanted to be clear.

toybox_110706_3.jpg

Fun Factor – ***
Contrary to popular belief, kids can have fun with unarticulated figures. I know I sure did, and I’ve seen my own kids do it as well. Those little imaginations are pretty active. Still, without joints these aren’t as much fun as they could be, and unless you’re 7 year old is into ancient cartoon characters that were created before you were, it’s unlikely they’ll have any idea who they are. Of course, cute designs are cute designs, no matter what decade, and kids will be attracted to the style and color.

toybox_110706_8.jpg

Value – **
These are a little more expensive than the usual PVC, even by today’s standards. It’s gotten common to pay $4 for a basic PVC figure in this scale (about 4″), but here you’re paying around $5 each. Pick these up for around $12 – $13, and you can add another half star to this category.

Overall – ***1/2
The paint and sculpt on these are top notch, and for me this time around, those categories have the greatest weight. While they are a touch more expensive than I’d like, I also have to take into consideration that these are pretty much going to be it for Gremlins merchandise, so it’s unlikely that beggars can be choosers. Fans of Dahl’s work are likely to be quite pleased that these are hitting along with the reprint, and I for one will be watching for the 7″ vinyl figures as well.

Where to Buy –
Your local comic shop should be getting these in soon – this is a bit of an early review, but you should see them within the next couple weeks. Ask your fine LCS employee, and I’m sure he (or she) will be happy to let you know if they have them on order.

Related Links –
There are some interesting conspiracy theories out there about Dahl and his role between the U.S. and Britain during the end of the war. Check out some info here. And, if you have the need to kill someone, you can always use the technique in his classic short story, Lamb to the Slaughter.

And if you prefer your Gremlins more modern, check out the review of the NECA action figures based on the film.

« Newer Posts — Older Posts »

Powered by WordPress