‘World War Z’ trailer: Not the story I know

I’m on the record with my concern about the big-screen movie version of Max Brooks’ “World War Z,” one of my favorite end-of-the-world novels of recent years.

So seing the trailer for the movie starring Brad Pitt, which opens next summer, filled me with even more dread.

The trailer, with Pitt as some sort of … zombie expert? … with his family in New York when the zombie apocalypse begins plays more like the flashback scenes in Will Smith’s “I Am Legend” than anything in Brooks’ ingenious novel, which tells, in episodic scenes that rarely return to the same characters twice, the tale of the fall and rise of civilization.

I’m not sure I can bring myself to see this.

Lehane’s ‘Live By Night’ a good gangster tale

I’ve long declared my love for author Dennis Lehane’s hard-boiled, heart-on-his-sleeve Boston crime novels, especially his series based on private investigators Patrick Kenzie and Angie Gennaro.

I was less fond of Lehane’s “The Given Day,” a look at the troubled Coughlin family of Boston in the 1910s. Father Tom was a crooked cop whose sons got into no end of cops-and-robbers misadventures.

So I didn’t know what to expect from “Live by Night,” Lehane’s follow-up that takes up the story of Joe Coughlin, the son who decided to pursue a career as an outlaw – in reality, gangster – in 1920s Boston.

Joe Coughlin is an appealing protagonist, despite his life of crime and because of his moral code. He steals, sure, but there are lines he won’t cross.

Unfortunately for Joe, one line he will cross is the common sense barrier that might have kept him from hitting on the girlfriend of a prominent Boston gangster.

Just when it looks like “Live by Night” will be a standard tale of cops and crooks on the streets of Boston, Lehane gives the plot a twist. Joe ends up in prison, his father ends up a piteous figure and, before we’re done, the action takes us to rough-and-tumble Tampa and Havana.

“Live By Night” has some good characters and a slightly episodic plot. Antagonists slide in and out of the story in a manner that ultimately really does make sense, even if it doesn’t seem to at the time.

Lehane has a great ear for cops and bad guys, even those from generations ago.

“Live By Night” is good crime fiction, good drama and a bittersweet look at family, love and damn bad luck.

Lots at stake: Google’s ‘Dracula’ doodle

You don’t need me to tell you that Google comes up with some pretty fun and cool doodles.

Today’s doodle, marking the 165th birthday of “Dracula” creator Bram Stoker, is one of those.

And it’s inspired me to quickly try to re-read one of my favorite books.

Stoker’s “Dracula,” published in 1897, not only inspired a century (and counting) of adaptations, sequels, imitators and knock-offs, but sparked as many lurid daydreams and sweaty nightmares as any story ever.

I’ve got a nice stack of books on my night table right now. But the doodle reminded me of how much I loved Stoker’s book, how action-filled and suspenseful it is.

At least it’s that way in my memory from having read it last a few years ago.

So I’ll be dipping back into the book sooner rather than later and hoping to find the same gripping story I remember. I’ll share those thoughts with you when I do.

 

‘Arrow’ offers good take on comics hero

Yes, I rolled my eyes a bit when I heard that CW’s new series about the DC Comics character Green Arrow was called “Arrow.” It’s another instance of the “we’re ashamed this is based on a comic book” mentality, I thought.

“Smallville” instead of “Superboy,” “Mercy Reef” instead of “Aquaman,” and, frankly, the preponderance of “dark” in modern-day Batman movie titles. And yes, I know Batman’s called “The Dark Knight.” And Superman is “The Man of Steel.” I’m not going to be convinced that there isn’t some embarrassment at work there.

The producers constantly emphasizing that “Arrow” was a gritty, realistic world without superpowered heroes was another red flag, it seemed.

So I didn’t watch the first few weeks of “Arrow.”

But after catching up with it, I’m actually finding myself enjoying the series.

If you’re not familiar with Green Arrow the comic book character, he’s a mix of Batman and Robin Hood and he’s been a staple of the DC universe for decades. Oliver Queen is a billionaire orphan, like Bruce Wayne, who turns his thirst for revenge into nighttime vigilante work. He’s got a quiver of trick arrows that’s not unlike Batman’s utility belt and he prowls the dark alleys of Star City, protecting the innocent.

There have been two high-profile depictions of old Ollie in recent years. One was the sarcastic, liberal-leaning conscience of the “Justice League Unlimited” animated series.

The other was in live action. Justin Hartley played a good Oliver Queen/Green Arrow in “Smallville.” He was that show’s Batman substitute when Bruce Wayne couldn’t be deployed by the producers and Oliver became virtually the second lead of the show.

When the CW decided to follow “Smallville” with a Green Arrow series, a lot of people assumed the role would be filled by Hartley. But the network cast Stephen Arnell in the role and while he’s apparently become famous for his abs – he could bounce an arrow off his stomach for a three-corner trick shot – he’s actually pretty good in the role of a rich playboy/obsessed crimefighter.

The series follows Oliver Queen, back in Star (for some reason here called Starling) City after being shipwrecked for five years. In flashbacks – one of which intriguingly included a glimpse of the two-tone mask of DC villain Deathstroke – we see Oliver’s time on the island after his father, rich industrialist Robert Queen, killed another shipwreck survivor and himself so that callow young Oliver might live.

In modern-day scenes, Oliver has a list of bad guys who are taking a bite out of the city. In each episode, he confronts them, threatens them if they don’t change their ways and contribute to society, and then clashes with them when they ignore his warning.

Oliver, unlike Bruce Wayne, isn’t opposed to killing when forced to. It makes the edgy hero even edgier.

The show’s supporting cast does a good job of backing Arnell. Characters are a mix of those created for the show and others like Black Canary herself, Dinah Laurel Lance, GA’s longtime main squeeze. This Dinah is pretty quick with her fists and feet, but we’ve yet to see if she becomes the fishnets-wearing superhero.

They’re sprinkling the show with mystery and mythology and, best of all, other DC characters, including Deadshot the assassin and, in an upcoming episode, Huntress, the superhero previously seen in the “Birds of Prey” series. In that series she was the version of the character who was the daughter of Batman and Catwoman. The character here won’t have that genealogy, however.

I’ve watched the first three episodes of “Arrow” so far and I’m enjoying the show’s dark, gritty tone. Arnell is good, the other characters are at least not too annoying and the action scenes are fine.

I’ll stick with “Arrow,” even though he’s lost the colorful part of his name.

 

 

Thoughts on Disney becoming the master of jedis

So you might have heard this a few days ago, but Disney – home in recent years to Pixar and Marvel – bought Luscasfilm. For a cool $4.05 billion.

Setting aside that staggering figure for a moment – hella big even though the price tag was probably a bargain – the announcement made the Internet freak out and produced wonderful memes like the one above by Geek Girl Diva.

It also left us wondering what happens next. Well, some of that we already know. Disney immediately announced it would make three more “Star Wars” films, with the first coming out in 2015 (the summer of the “Avengers” sequel). The films would be episodes 7, 8 and 9, the long-rumored continuation of the story that left off with “Return of the Jedi.” Will we see aging Han Solo? Luke leading a rebuilding of the Jedi order?

There was some degree of fanboy moaning about the news, but probably less than there might have been if “Star Wars” creator George Lucas hadn’t made so many mis-steps with the prequel trilogy beginning in 1999.

A lot of people – and I think I count myself in this crowd – think that it’s perfectly fine for somebody other than Lucas to oversee the fate of his creations, for a couple of reasons:

Lucas has been pretty tone-deaf about what’s wrong with the (particularly later) movies.

A billionaire many times over, he’s shown little inclination to make new “Star Wars” movies (maybe that’s not a bad thing considering the prequels).

I will say, however, that Lucas and his people made a very good decision regarding the “Clone Wars” animated series on Cartoon Network. The series has been far more adult, far more diverse and far more interesting than the prequel movies.

Most importantly, although 30- and 40- and 50-something fans don’t like to admit it, the “Clone Wars” series reached a whole new generation of fans.

I just asked my son if, when he thought of “Star Wars,” he thought of the movies or “Clone Wars.” He answered, “Clone Wars.” He’s seen the live-action movies on DVD but that didn’t have the impact on him that seeing the original trilogy had on me, as a teenager and young adult.

“Clone Wars” has kept “Star Wars” alive and relevant for a new generation.

Although a lot of people have complained about changes Lucas made to the original movies – the Han Solo/Greedo shootout comes to mind, of course – for subsequent re-releases, he has, at least, kept them in the public eye and at the top of fanboy discussions. When was the last time somebody had an Internet meltdown about “The Last Starfighter?”

Beyond the new trilogy, what are we likely to see?

More merchandising, of course. Not that there wasn’t plenty of that anyway.

Regular theatrical movies and new TV series and releases of original content on disc.

Someday, in the future, dramatic mashups and re-imaginings of the existing movies and characters. Disney based “Pirates of the Caribbean” on a Disney park ride, after all, so there’s a willingness to try new things if audiences will respond. Who’s to say we won’t see feature films or series based on minor characters and events from the familiar stories, ala “Rosencrantz and Guildenstern are Dead?”

And that’s a good thing. There’s always been debate about whether “Star Wars” was for kids or for the general moviegoing audience or for the fans who’ve kept it alive and relevant and in the public eye for decades, even during some pretty lean times.

I think the answer is that “Star Wars” has been for all of those audiences. And Disney has the power to reach all them.

Movie classic: ‘Beverly Hills Cop’

If you weren’t around and old enough to get into an R-rated movie in 1984, I’m not sure it’s possible for me to describe to you what a game-changer “Beverly Hills Cop” was.

Eddie Murphy, then all of 23 years old, seemed to be on the brink of the hottest career in Hollywood. He’d made a name for himself as a “Saturday Night Live” cast member and appeared, to great effect, opposite Nick Nolte in the funny and violent cops-and-robbers movie “48 Hours” in 1982. “48 Hours” was profane and explosive and filled with brutal action and Murphy burst, fully-formed, on the big-screen.

“Beverly Hills Cop,” as most remember, starred Murphy as Axel Foley, a young Detroit cop – probably way too young to be believable – who goes to LA – specifically Beverly Hills – to investigate when a childhood friend is killed. He antagonizes killers and cops, although the later eventually cooperate with his unorthodox methods.

The movie’s script had been kicking around in Hollywood for years and the movie was almost made with Sylvester Stallone and, online sources now say, the role was even offered to people like Mickey Rourke and Richard Pryor. it’s hard to imagine the film with anyone else but Murphy in the lead.

If Murphy had followed this, his live in concert film, “48 Hours” and “Trading Places” with work of the same quality, he would still be among the biggest stars in the world. Instead, he ended up making substandard sequels and odd outings – “Metro?” “Holy Man?” – and is best known today for voice over work in the “Shrek” movies.

Random observations:

The movie’s $230 million-plus box office hall made it the top movie of 1984 – ahead of “Ghostbusters.”

Damon Wayans looks shockingly young as the fey young buffet line worker who gives Murphy’s character some bananas to use as sabotage tools on Judge Reinhold and John Ashton’s car.

The movie doesn’t seem as fast, funny and hard-hitting today as it did 28 years ago. Maybe that’s a consequence of the hyper filmmaking that’s become the norm since that time.

I lost track of the times characters said Murphy’s character’s name in the movie. “Axel,” “Foley,” “Axel Foley.” It’s a mark of how important a character is – and the impact that character can carry – when their name is mentioned over and over in a screenplay.

The movie’s soundtrack, including “The Heat is On” by Glenn Frey and “Axel F” by Harold Faltermeyer, was as big a hit as the movie.

Today in Halloween: Before we go …

One last vintage trick-or-treating shot before we go.

The kids above looked to be wrapping – or unwrapping – all things up for another year.

Hope you had a happy, spooky, fun Halloween!

Today in Halloween: ‘It’s the Great Pumpkin, Charlie Brown’

My lifelong love of all things Halloween is no doubt based, to a great extent, on the Charlie Brown Halloween experience.

I’m not sure I saw “It’s the Great Pumpkin, Charlie Brown” when it first aired in 1966. Even if I saw it the following year, it quickly became part of my Halloween ritual, skipped only when – gasp – it conflicted with actual trick-or-treating.

But what a sublime show.

The TV take on Halloween (and fall) storylines from Charles M. Schulz’ classic “Peanuts” comic strip, written by Schulz, directed by Bill Melendez and featuring another classic “Peanuts” score by Vince Guaraldi, “Great Pumpkin” became the embodiment of Halloween for many of us:

The opening sequence, as Lucy and Linus pick out a pumpkin to carve, much to Linus’ horror.

Linus’ letter to the Great Pumpkin and the seduction of the innocent, Sally.

Trick-or-treating after Charlie Brown has some trouble with the scissors and gets more than his share of rocks.

The Halloween party.

Snoopy – or the World War I flying ace – making his way across a scarred landscape, in a series of shots so moody and somber they would never see air in a new special today.

The disappointment in the pumpkin patch.

ABC is showing “It’s the Great Pumpkin, Charlie Brown” at 8 on Halloween night. Beware half-hour TV timeslots, because the show has been edited over the years. Better to enjoy the full special on disc.

 

 

Today in Halloween: ‘Chilling, Thrilling Sounds …’

If you grew up in the 1960s, the Disney record “Chilling, Thrilling Sounds of the Haunted House” was the soundtrack to every Halloween party ever.

Released in 1964 on the Disneyland label, the vinyl LP featured a mix of spooky sounds and narration, but the Disney sound effects – whistling wind, driving rain, ghostly moans and horrible screams, not to mention creaking doors – was perfect for mood-setting background “music” for Halloween parties.

Bits and pieces of the album are all over the Internet. Here’s a taste.

Happy Halloween party!

Clark Kent quits? Give me a break

The comic book world – heck, the world in general – noticed something interesting in 1992. That was the year that DC Comics decided to kill off Superman, who died in an epic fight with the bizarre creature Doomsday in the streets of Metropolis.

Now, Superman had died before. Just a few short years earlier, in 1986, the Superman that fans had known since his debut in Action Comics in June 1938 died – in a manner of speaking – when DC decided to reboot the character and jettison a lot of Superman history.

Over the decades, Superman and his alter ego, Daily Planet reporter Clark Kent, had gone through a lot of changes. Kryptonite had come and gone and come again. Clark and Lois married. Heck, Clark even – in the early 1970s – had gone to work in TV, for a Metropolis station owned by the conglomerate that owned the Planet.

But the death of Superman in 1992 drew attention from the world’s news media. I was sitting in a journalism awards ceremony a few months later and heard a clever real life newspaper headline – “Superman rests in crypt tonight” – recognized.

So the world at large paid attention to that development and many others since, including the more recent death of Captain America, the “coming out” of the original Green Lantern and other happenings.

Of course, these comic book developments are common and are frequently undone. Captain America’s sidekick Bucky stayed dead only for so many decades.

So when news broke the other day that Clark Kent had quit his job at the Daily Planet, I rolled my eyes.

Not just because it was another case of the media paying attention to the latest deviation in the quickly-approaching-a-century history of comic books.

But because it seemed like just another cheap stunt to shake things up in comics, an entertainment that does pretty well at movie theaters but struggles in its original print medium sometimes.

But I was also shaking my head because this wasn’t the Clark who had covered every major event since the dawn of World War II, the guy who wore a fedora and raced to the scene of a catastrophe – with a layover to quickly change into red-and-blue tights and take care of the problem.

This wasn’t even the “groovy” Clark who reported on the air for TV in the 1970s.

No, this was the recently rebooted Clark, just 27 years old and a veteran of five whole years in journalism.

This Clark was frustrated by the focus of the Planet and girlfriend-no-more Lois Lane on the trivial: Entertainment and celebrities and fringe players looking to be famous for no good reason.

So that Clark decided, rather than write stories so meaningful that Perry White couldn’t NOT put them on 1-A, to call it quits.

It’ll be interesting to see how long this change lasts – I predict a year, tops – before he goes back to the Planet.

Or maybe DC will do something truly surprising and truly reboot Superman, totally reinventing the character.

I somehow doubt that’ll happen, though.

After all, there’s a reason Superman adopted the identity of Clark Kent. It’s because Clark and other reporters are where the action is. They quickly recognize problems that need to be addressed – particularly in Superman’s early career as a social crusader – and define them as a job for Superman or fodder for a well-written news article.

Want to surprise us, truly surprise us, DC? Either kill Clark Kent – more effectively than you killed Superman two decades ago – and truly shake up the Super status quo or get Clark the hell back to work.

And get off my lawn while you’re at it.