Category Archives: movies
I am so pumped about Star Wars, Episode VIII: The Last Jedi. I’m doing my best to steer clear of spoilers, and I plan to go “radio silence” mode next Thursday night since I can’t see the movie until Friday morning. But there is so much awesome Star Wars-related merchandise out, from the classic trilogy to the awful prequels to the exciting new releases. Here are a few ideas for those Force-sensitive beings you love…
- Episodes I-VI on DVD or Blu-Ray
- Episode VII: The Force Awakens on DVD or Blu-Ray
- Rogue One (or Episode 3.95, if you prefer) on DVD or Blu-Ray
- Topps “Journey to Star Wars: The Last Jedi” Trading Cards
- Topps trading card books for Star Wars, Empire Strikes Back, or Return of the Jedi
- Hasbro action figures
- Funko Pop
- William Shakespeare’s Star Wars Trilogy (parody books of Episodes IV-VI in Victorian English)
- William Shakespeare’s The Force Doth Awaken: Star Wars Part the Seventh
The Shakespeare books are perhaps the most unique items on this list. I have the books for Episodes I-VI and absolutely love them. The only reason I don’t already have “Part the Seventh” is because I didn’t realize it was out! It has been added to my Christmas list, and if I don’t get it from someone else, I’ll buy it myself!
(January 25, 1943 – August 26, 2017)
Iconic horror film director Tobe Hooper passed away yesterday at the age of 74 from natural causes. He is best known for the classics Texas Chain Saw Massacre and Poltergeist and the television adaptation of Stephen King’s Salem’s Lot. A highly respected director, Hooper also worked in television, directing episodes of Freddy’s Nightmares, Tales from the Crypt, and Masters of Horror, as well as the music video for Billy Idol’s “Dancing With Myself.”
The horror community took to Twitter to remember the genius that was Tobe Hooper…
So sad to say goodbye to TOBE Hooper, the man who took a chance on me and gave me my career in film’s greatest genre.
— Bill Moseley (@choptopmoseley) August 27, 2017
The chainsaw is now quiet, but it will forever be heard.
RIP Tobe Hooper.
— Clive Barker (@RealCliveBarker) August 27, 2017
Sorry to hear Tobe Hooper passed. He did a terrific job directing the ‘SALEM’S LOT miniseries, back in the day. He will be missed.
— Stephen King (@StephenKing) August 27, 2017
One of the kindest souls I’ve ever known and a wicked sense of humor pic.twitter.com/wr60mfo0np
— Tom Holland (@RealTomHolland) August 27, 2017
Tobe Hooper directed THE TEXAS CHAINSAW MASSACRE, a seminal work in horror cinema. He was a kind, decent man and my friend. A sad day.
— John Carpenter (@TheHorrorMaster) August 27, 2017
Tobe Hooper was a maverick a rebel and gentle, kind soul. An unlikely combination and a great loss. He changed genre films forever.
— Guillermo del Toro (@RealGDT) August 27, 2017
Just woken up to news that my friend Tobe Hooper has passed away. A great director, yes, but also the kindest, sweetest man. I am so sad.
— James Gunn (@JamesGunn) August 27, 2017
Very few people were as generous, kind and encouraging as Tobe Hooper. I will miss him deeply and feel lucky for the time I had with him. pic.twitter.com/8dOGHGvdK4
— Eli Roth (@eliroth) August 27, 2017
Tobe Hooper, architect of the original ‘Texas Chainsaw Massacre,’ is dead
TCM was SO impactful. Safe travels, Tobe. https://t.co/NRgVBjM1QG
— Bruce Campbell (@GroovyBruce) August 27, 2017
Tobe Hooper, a kind, warm-hearted man
Who made the most terrifying film ever.
A good friend I will never forget
— William Friedkin (@WilliamFriedkin) August 27, 2017
— Tom Savini (@THETomSavini) August 27, 2017
Had the pleasure of breaking bread with #TobeHooper and discussing his unique vision and horror process. Important film legend
— Tony Todd (@TonyTodd54) August 27, 2017
— Mark Hamill (@HamillHimself) August 27, 2017
I just heard about the death of Tobe Hooper. This is really sad. I first met Tobe at the… https://t.co/z73xYnjgLe
— Rob Zombie (@RobZombie) August 27, 2017
Very sad to hear of the passing of Tobe Hooper, another master of horror. He conjured some truly shattering, unforgettable moments in film. pic.twitter.com/6Kxw0gURzF
— edgarwright (@edgarwright) August 27, 2017
Another hero gone. So sad to wake up to the news about Tobe. Farewell, maestro. pic.twitter.com/3EtDo04hZz
— Adam Green (@Adam_Fn_Green) August 27, 2017
Thank you, Tobe Hooper. (1943-2017) pic.twitter.com/0Tcxlf9zMt
— Aesthetic Horror (@AestheticHorror) August 27, 2017
Sad to learn that we’ve lost another horror icon this year. Rest easy, Tobe Hooper. pic.twitter.com/wBI3TQjOXv
— Fangoria (@FANGORIA) August 27, 2017
— MONDO (@MondoNews) August 27, 2017
We mustn’t ever lose this image. pic.twitter.com/HFD1Y69e9T
— BBB Miska (@bradmiska) August 27, 2017
Both ComingSoon.net and EW reported yesterday that Sony has set an official release date for a new live-action He-Man and the Masters of the Universe film: DECEMBER 18, 2019. The movie has been in development for quite some time, and is currently without a director since McG exited stage left (despite ComingSoon.net’s outdated information). The screenplay is in the hands of David S. Goyer (Batman Begins, Man of Steel) and “many actors, including A-list talent, are vying for key roles,” according to EW.
What would really make a new He-Man movie phenomenal? Here are some thoughts:
- Build a universe for the Masters. There are so many awesome characters that if the studio and screenwriters handle them correctly, Masters of the Universe could become a franchise as big as Marvel and DC.
- No new characters. To me, one of the biggest flubs of the 1987 film was the addition of Gwildor, Julie, and Kevin. Where was Orko? Randor? They had so much to work with, but using these new characters just caused unnecessary confusion.
- Keep the action on Eternia. There is no need to visit earth, unless in a brief flashback sequence with Queen Marlena. Eternia is a perfect setting; don’t waste it.
- Cameos are great. Who doesn’t love Stan Lee‘s cameos in all the Marvel movies? I think it would be wonderful to see Dolph Lundgren and Frank Langella again, perhaps not in major roles, but cameos would be fantastic. In fact, Lundgren mentioned several years ago that he might be interested in portraying He-Man’s dad.
My oldest son Josh also came up with some great points:
- Avoid the dark Batman-esque atmosphere that everyone tries to replicate.
- If the origin is addressed, it needs to be consice, clear and to the point.
- He-Man should be someone kids look up to. Kids should wish they could be He-Man when they grow up…like I did.
- The villain needs to be Skeletor, and he needs to be scary and well written. One of Marvel fans’ biggest complaints is that the villains are weak or underdeveloped.
- Don’t kill Skeletor or any of the Masters without a compelling reason.
- Set up a universe, but don’t make world-building the point of the movie. Calling out Batman v. Superman here, look at how unsuccessful they were at cramming all of the setup for their universe into one movie, as opposed to Marvel’s much more successful slow build.
- Make sure the story is strong, and faithful to the source material. There is so much rich background and engaging stories to pull from. It should be something longtime fans are happy with. Satisfy the people who will see the movie because they love the character, not the people who watch it for the studio or the actor or the director.
- Make people like us, the fans, happy. That’s more important than anything else. That’s what will keep the movie alive and open up the possibility of everything that could come after.
The story of He-Man is well-known to children of the eighties, but author Brian C. Baer is able to dig even deeper into the beloved franchise in his recent book, How He-Man Mastered the Universe. Baer examines every aspect of the Masters of the Universe, from the toys to the cartoon to the movie to the reboots and more recent collectible action figure releases. The author looks at the groundwork laid for the success of He-Man by the marketing behind Star Wars, and the influence He-Man had on many subsequent pop culture franchises such as Transformers, G.I. Joe, and the modern Marvel Cinematic Universe.
What impressed me most about Baer’s book is the attention paid to the big screen adaption of the Eternian hero in 1987. The toys and original cartoon have been widely covered over the years, with little more than a passing mention to the live-action film. A good bulk of Baer’s book, however, is devoted to how He-Man was brought to life by Dolph Lundgren. He breaks down the movie with an in-depth review, discusses the financial woes that hamstrung the ending, and even includes conceptual drawings for He-Man, Man-at-Arms, Teela, Skeletor, and She-Ra, who unfortunately was written out of the script.
Baer also discusses the New Adventures of He-Man cartoon that aired in the early 1990s, the 21st century reboot by Mike Young Productions, and the new line of toys that came with that. Baer wraps up How He-Man Mastered the Universe with a look at what many of the film’s actors are doing today, as well as others who were involved with He-Man through the years.
How He-Man Mastered the Universe is a highly enjoyable book; children of the eighties and He-Fans in particular will love it.
Purchase How He-Man Mastered the Universe by Brian C. Baer on Amazon or directly from the publisher at www.mcfarlandpub.com or via the order line at 800-253-2187.
After reviewing the series of Star Wars: The Original Topps Trading Cards, it seems only natural to move on to the Star Wars: Topps Classic Sticker Book, also published by Abrams. While the Original series displayed all of the cards and stickers from the trading card sets for the original trilogy, Star Wars: Topps Classic Sticker Book is more than a display. These are actually stickers.
More than 250 stickers spanning the original trilogy and a handful from The Force Awakens, the book also contains five pull-out posters that can be used as backgrounds for the stickers. But on the flip-side of each poster is a reproduction of some of the original puzzles that could be created using the original sticker card backs.
Several of the stickers retain their original size, though some are shrunk down. In addition to several character stickers, featuring the main stars as well as fan favorites like Max Rebo, Grand Moff Tarkin, and Nein Nunb, the alphabet stickers from the 1980 Empire Strikes Back series are included.
Return of the Jedi: The Original Topps Trading Card Series (Volume Three) edited by Gary Gerani (2016)
The third installment of Abrams’ Star Wars trading card books focuses on the third (now sixth) movie in the franchise, Return of the Jedi. As with the first two books, product designer Gary Gerani recounts the process of reading the screenplay and selecting photos from LucasFilm’s library for use on the cards. It is clear from his writing that by the time they were readying this product for release, he had become quite a fan of George Lucas’ space opera.
Each Return of the Jedi Topps card is reproduced in this volume, with the front and back of each receiving its own page. This is a change from the Empire Strikes Back book, in which the horizontal cards were shown with the front and back on a single page. Gerani occasionally writes a sentence or two about specific cards, but for the most part they are allowed to stand on their own. As with the previous two volumes, bonus cards are again included with this third volume.
I was not even ten years old when Return of the Jedi was originally released, and while I have a handful of the vintage cards from this series, I never came close to completing the entire set. To have all of the cards presented here in one volume, in a much more affordable format than tracking down the originals, is a fantastic way to relive my formative collecting years without breaking the bank.
This book sat on my desk for over a month before I decided to finally open it. I purchased it after the author’s passing, and avoided any reviews or even descriptions of what was contained within these pages, other than that it contained the late Carrie Fisher’s found diaries, her “recollection of what happened behind the scenes on one of the most famous film sets of all time, the first Star Wars movie.” If you are not aware of the contents of The Princess Diarist, be warned: there are spoilers ahead. Go back now if you plan to read this book and don’t want to know anything about it (assuming you have not already read other reviews).
Want to continue? Read on… Read the rest of this entry
Hammer is the legendary British film company that dominated the horror genre for decades. In The Hammer Vault, author Marcus Hearn recaps many of the films produced by Hammer with scant notes about the release, controversies, and images of promotional posters, stills, and props from the movies. He begins in 1954 with The Quartermass Xperiment, and concludes with 2014’s The Woman in Black: Angel of Death.
Most films are covered in two pages, while a handful only receive one page. It is certainly interesting to see the various images, such as annotated script pages, newsletters, and press passes to advance screenings, but two or three paragraphs about the films leave the reader wanting more.
The Hammer Vault is 12.9 inches by 10.1 inches and 184 pages long. It is an enjoyable overview of the company’s history, but is by no means exhaustive. The real value of this books is in the images rather than the text.
Originally published in 2010, The Art of Hammer is a visual guide to the history of Hammer Films’ releases dating back to the 1950s. The artwork is stunning, at times risqué, and along with the films, often caused controversy upon release. The artwork on the front (pictured above) comes from Frankenstein and the Monster From Hell, the 1972 movie starring Peter Cushing as Baron Victor Frankenstein/Dr. Carl Victor and David Prowse as the Creature/Herr Schneider. The book also comes with a jacket featuring artwork from Dracula A.D. 1972 starring Christopher Lee. The 200-page book is large at 10.3 by 13.1 inches, heavy and sturdy.
Except for a couple of introductory pages written by Marcus Hearn, the book is largely made up of images of promotional posters from around the world with brief captions identifying the film, as well as the dimensions of the original piece and the illustrator (if known). The author cautions in the introduction that The Art of Hammer is not intended to be a complete catalogue of Hammer posters, but a general overview of “examples from some of the most inventive and controversial marketing campaigns in post-war film history.”
As many of the original pieces were destroyed by theaters after they were used, a book like this serves as an inexpensive way to look into the past and see how far the art of movie posters has come, or how far it has fallen.