Renner signs as Hawkeye for AVENGERS
Studio coffee house: Zombies, scripts, hobbitses, black Spidey, etc.
Scary Azaria Gargamel
Second SCOTT PILGRIM trailer debuts
The Alcott Analysis: Batman Returns
Like Batman, Batman Returns presents three protagonists, almost the same protagonists as 1989‘s Batman — a deformed freak of a gangster (this time the Penguin instead of The Joker), a blonde who’s crazy about bats (Catwoman subbing for Vicki Vale), and Batman himself. In addition to its three protagonists, it offers an antagonist from outside the traditional Batman world — a ringer, if you will, in the form of businessman Max Shreck.
It would be great to report that Batman Returns takes all of these worthwhile, interesting characters and weaves them into a single, unified story, but it does not. Instead, it presents two separate stories, each compelling in its own right, and kind of sutures them together like the irregular chunks of vinyl of Catwoman’s bodysuit. As this is an unusually complicated narrative with three separate, competing plot strands which actually take place in utterly different genres, let’s separate out each character’s storyline and examine them one at a time.
The summer’s fogotten comics movie…MARMADUKE
ICM signs Platinum Studios
With Cowboys and Alien on the way to becoming areal live movie starring move stars like Harrison Ford and Daniel Craig and directed by Jon Favreau, Platinum Studios is on its way to being a real live content provider, and so ICM has signed up to rep them, Deadline reports.
Nerd pantheon to make Comic-Con doc
Is Marvel secretly turning Captain America into Captain BRITAIN?
EMPIRE STRIKES BACK: The movie that made being a nerd cool
Today is the 30th anniversary of the release of THE EMPIRE STRIKES BACK, probably the single greatest event in the history of nerddom. STAR WARS might have been new and cool and funny and fresh, but EMPIRE was all that AND sad and tragic and shocking and filled with the kind of terror and awe that the greatest storytelling inspires. From the frozen beauty of an icy horizon studded with AT-ATs, to the steaming green swamp where Luke Skywalker begins his archetypal but unique hero's journey, to the crimson horror of the carbon freezing chamber, to the primal red and blue of the final battle between Luke and Vader, no SF blockbuster has ever captured the imagination so cleanly and completely. It was grown up in an unself-conscious way that nothing to do with Star Wars would ever be again. (Almost certainly because it was the last one that producer Gary Kurtz would in involved with; after EMPIRE it was George Lucas all the way.)
Alcott’s Analysis: Batman (1989)
The young people of today can hardly be expected to understand the impact that Tim Burton’s Batman had on movie-goers in the summer of 1989. The general audience of 1989 knew Batman only as the campy, self-conscious, broad-daylight superhero of the Adam West TV show. Nothing in movies prepared viewers for this radical re-thinking of the character, the weird darkness of the themes, the dense, oppressive production design or Jack Nicholson’s performance as The Joker. All of it was alarming, electrifying stuff back then. (Of course, it was all familiar territory for people who had read The Dark Knight Returns and The Killing Joke, but that’s another story.)













