Awhile back, I talked briefly about Shout Factory's release of Ultra Seven, and how I embraced it with open arms despite what few reservations I had about the set. I had jokingly said that if they continued, we might see a Region 1 release of other series like "Return of Ultraman," "Ultraman Taro," and "Ultraman Leo" by 2016.
I have just learned that Shout Factory is releasing "Ultra Q" in August, prompting me to think that more Ultraman releases may be more likely than I had previously hoped for. "Ultra Q" is the series made before "Ultraman" and without its success, there would be no Ultraman series. Think "X-Files" meets "Godzilla".
Fingers crossed, people. Fingers crossed.
Saturday, July 20, 2013
Thursday, July 04, 2013
Review: The Lone Ranger
Disney's version of "The Lone Ranger" has had a long journey on its way to the big screen. Before the film was even finished, there was a lot of debate over Johnny Depp's odd choice of design for Tonto and that bird on his head. Thankfully, the film incorporated the bird within its stable of running gags that help give the film its own personality.
Johnny Depp and Armie Hammer make a good team, with Depp's deadpan playing off Hammer's almost manic energy. Hammer, a relative newcomer, stands his ground against Depp and plays up John Reid's young naivete. The two aren't too happy being partners from the start, but gradually become their own version of the dynamic duo of the Wild West. While remaining true to the Lone Ranger's origins, Tonto is given his own tragic origin, where he wears his own mask of makeup and that infamous stuffed bird hat.
The movie begins with an aged Tonto retelling the story to a young boy in the 1930s. While interesting, nothing much becomes of this. The boy does not turn out to be Danny Reid's son, or, in my desperate hopes, a nod to the Green Hornet. (The Green Hornet's Britt Reid is related to The Lone Ranger's John Reid. They were both created by the same person, Fran Striker.) With even this simple framing device, the film strives for its own quirky style.
Unfortunately, that quirky humor is what bogs down the middle section of the film. Some trimming in general wouldn't have hurt this 149 minute film aimed at children. While there are some missteps, for the most part, the humor works, and there are some genuinely enjoyable parts to the film. The film picks up again where we meet Tonto's tribe and learn what's wrong with him to begin with. After the true villains of the piece are revealed, John Reid learns that his precious Law has been corrupted, and he puts back on the mask, this time as, finally, the Masked Rider for Justice.
This leads us to the epic climax, one of the most satisfying of recent years, involving two trains. This mirrors the beginning of the movie, where Reid and Tonto barely survive their first encounter on a train. Only now, with the Finale to the William Tell Overture in full force, the Lone Ranger and Tonto work as a team to bring the two men who ruined their lives to justice. The whole sequence has a dizzying synergy where all of the characters' idiosyncrasies meld into a solid thrill ride.
Speaking of the William Tell Overture, I was very surprise to hear it in the movie, because the composer Hans Zimmer is well known who deriding previous themes written or used in a franchise, even if said themes were written by the likes of John Williams or Danny Elfman. Supposedly, the only reason it made into the film was because the director focused him to use it, and Zimmer had his assistant Geoff Zanelli write the heart-pumping ten minute finale that includes the Overture.
Some critics say that the film apes the beautifully scenery of John Ford's films or the train shenanigans of Buster Keaton's "The General," but I feel the movie acquits itself by being loyal to its own personality. While we live in a time when something like "The Lone Ranger" can only be made as a comedy, it is still entertaining to watch.
Johnny Depp and Armie Hammer make a good team, with Depp's deadpan playing off Hammer's almost manic energy. Hammer, a relative newcomer, stands his ground against Depp and plays up John Reid's young naivete. The two aren't too happy being partners from the start, but gradually become their own version of the dynamic duo of the Wild West. While remaining true to the Lone Ranger's origins, Tonto is given his own tragic origin, where he wears his own mask of makeup and that infamous stuffed bird hat.
The movie begins with an aged Tonto retelling the story to a young boy in the 1930s. While interesting, nothing much becomes of this. The boy does not turn out to be Danny Reid's son, or, in my desperate hopes, a nod to the Green Hornet. (The Green Hornet's Britt Reid is related to The Lone Ranger's John Reid. They were both created by the same person, Fran Striker.) With even this simple framing device, the film strives for its own quirky style.
Unfortunately, that quirky humor is what bogs down the middle section of the film. Some trimming in general wouldn't have hurt this 149 minute film aimed at children. While there are some missteps, for the most part, the humor works, and there are some genuinely enjoyable parts to the film. The film picks up again where we meet Tonto's tribe and learn what's wrong with him to begin with. After the true villains of the piece are revealed, John Reid learns that his precious Law has been corrupted, and he puts back on the mask, this time as, finally, the Masked Rider for Justice.
This leads us to the epic climax, one of the most satisfying of recent years, involving two trains. This mirrors the beginning of the movie, where Reid and Tonto barely survive their first encounter on a train. Only now, with the Finale to the William Tell Overture in full force, the Lone Ranger and Tonto work as a team to bring the two men who ruined their lives to justice. The whole sequence has a dizzying synergy where all of the characters' idiosyncrasies meld into a solid thrill ride.
Speaking of the William Tell Overture, I was very surprise to hear it in the movie, because the composer Hans Zimmer is well known who deriding previous themes written or used in a franchise, even if said themes were written by the likes of John Williams or Danny Elfman. Supposedly, the only reason it made into the film was because the director focused him to use it, and Zimmer had his assistant Geoff Zanelli write the heart-pumping ten minute finale that includes the Overture.
Some critics say that the film apes the beautifully scenery of John Ford's films or the train shenanigans of Buster Keaton's "The General," but I feel the movie acquits itself by being loyal to its own personality. While we live in a time when something like "The Lone Ranger" can only be made as a comedy, it is still entertaining to watch.
Sunday, June 02, 2013
Goodbye, Number 11
Figures, the day I'm out of town, and there's a big announcement.
Matt Smith, Doctor Number Eleven, will be leaving "Doctor Who" following the Christmas Special later this year.
It's a real shame, because things have really seemed to pick up for the new series. I liked the Doctor's new outfit, new companion, new TARDIS interior, and even the new opening with the first floating Doctor-head-thingy since 1989.
Matt Smith was the star of the Series 7.2. He brought all of the scripts, good and bad, to life. He was especially delightful when he talked to himself in "Nightmare in Silver." He and new co-star Jenna Louise Coleman have great chemistry, and it's sad that they won't be able to build on it.
I don't know if it's the scripts or the new companion, but Matt's Doctor came off really effortlessly, and there was little to no usage of the catchphrases forced upon him in his first stories. I will miss the bow ties, of course, and the new Doctor will probably stay far from it to distinguish himself from Matt.
That leaves only the 50th Anniversary Special in November and the Christmas Special in December. I assume that both are written by Moffat whose two scripts in Series 7.2 were not the best for Matt.
Sigh, now on with the endless speculation on who will be Doctor # 12. (Please don't be some twenty-something skinny, white kid. Oops, sorry, Matt.)
Matt Smith, Doctor Number Eleven, will be leaving "Doctor Who" following the Christmas Special later this year.
It's a real shame, because things have really seemed to pick up for the new series. I liked the Doctor's new outfit, new companion, new TARDIS interior, and even the new opening with the first floating Doctor-head-thingy since 1989.
Matt Smith was the star of the Series 7.2. He brought all of the scripts, good and bad, to life. He was especially delightful when he talked to himself in "Nightmare in Silver." He and new co-star Jenna Louise Coleman have great chemistry, and it's sad that they won't be able to build on it.
I don't know if it's the scripts or the new companion, but Matt's Doctor came off really effortlessly, and there was little to no usage of the catchphrases forced upon him in his first stories. I will miss the bow ties, of course, and the new Doctor will probably stay far from it to distinguish himself from Matt.
That leaves only the 50th Anniversary Special in November and the Christmas Special in December. I assume that both are written by Moffat whose two scripts in Series 7.2 were not the best for Matt.
Sigh, now on with the endless speculation on who will be Doctor # 12. (Please don't be some twenty-something skinny, white kid. Oops, sorry, Matt.)
Thursday, May 02, 2013
For Those of You Just Joining Us
Welcome, one and all. It's hard to believe that this is the 400th post on my blog. I've been writing off and one for almost ten years now. There's a plethora of musings, reviews, and even a dash of photography thrown in.
The one thing I'm most proud of is my fiction. A mix of old fashion pulp fiction and cutting edge science fiction, there's a little bit for everyone. These are the stories I have written so far.
Rick Daring and The Brilliant 5: Part Doc Savage and part Buckaroo Banzai, this story was a straight homage to the pulps and serial chapter plays of the 1930s. Rick Daring and his associates face off against the masked Spectre who plans his revenge against a group of scientists who wronged him.
The Forbidden Temple of Khyber Gorah: A loose sequel to the first story, the mysterious woman known as Sara must rescue her friend Zoey from the clutches of Doctor Zeitgeist and discover the strange treasure lurking in the Temple of Khyber Gorah.
Only Human: Picking off after the previous story, Zoey Walker returns home to see family, but finds out about a rash of disappearance. She follows the trail until it leads to her final confrontation with Doctor Zeitgeist.
I'm currently working on a new story so check back soon.
The one thing I'm most proud of is my fiction. A mix of old fashion pulp fiction and cutting edge science fiction, there's a little bit for everyone. These are the stories I have written so far.
Rick Daring and The Brilliant 5: Part Doc Savage and part Buckaroo Banzai, this story was a straight homage to the pulps and serial chapter plays of the 1930s. Rick Daring and his associates face off against the masked Spectre who plans his revenge against a group of scientists who wronged him.
The Forbidden Temple of Khyber Gorah: A loose sequel to the first story, the mysterious woman known as Sara must rescue her friend Zoey from the clutches of Doctor Zeitgeist and discover the strange treasure lurking in the Temple of Khyber Gorah.
Only Human: Picking off after the previous story, Zoey Walker returns home to see family, but finds out about a rash of disappearance. She follows the trail until it leads to her final confrontation with Doctor Zeitgeist.
I'm currently working on a new story so check back soon.
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