By: Philip Sayblack

​Superhero movies are big business in today’s cinema world.  That was not always the case, though.  Going as far back as 1994 and Marvel’s then earliest Fantastic Four movie, the superhero genre was not a big draw until somewhere in the early 21st century, so when New Line Cinema released its cinematic adaptation of Image Comics’ hit title, Spawn in 1997, the movie was met with a mixed response from audiences.  In the nearly three decades since it made its theatrical debut, Spawn has actually gone on to achieve cult status and thanks to Arrow Video, will get new life next week on a new 2-disc 4K set and separate 2-disc Blu-ray set.  This in itself is important in its own important way and will be discussed shortly.  The movie’s sound and video quality – its production – also plays into the appeal.  This will be discussed a little later.  Rounding out the most important of the new re-issue’s most important elements is its bonus content.  Each item noted is key in its own way to the whole of the movie’s new re-issue.  All things considered they make the forthcoming re-issue of Spawn a welcome offering from Arrow for the most devoted fans of this now modern cult classic.
Arrow Video’s forthcoming re-issue of New Line Cinema’s 1997 superhero cinema flick Spawn is an example of a re-issue done completely right. In a year when so many movie re-issues have come up short and/or just outright failed, it makes that statement all the stronger and important.  Set for release Tuesday, the movie’s forthcoming re-issue succeeds in part through its general presentation.  As noted, it will be released separately on a 2-disc 4K and 2-disc Blu-ray platform.  The discs in each set are the movie’s separate theatrical and director’s cut, with the director’s cut being the “darker, more violent” cut than the theatrical cut that ended up being PG-13 instead of “R”.  On one hand, one could look at this and ask why Arrow Video did not just combine all four discs into one full, 4-disc collection.  That is a valid question.  The immediate response however, is that had the company gone that route, it would have made such a set quite expensive. 
In looking at prices listed through Amazon, Walmart, Target, and Barnes & Noble Booksellers (the movie was not listed through Best Buy and Books-A-Million), the 4K’s average price is $37.87 while the Blu-ray’s average list price is $30.24, with Barnes & Noble Booksellers having the most expensive listing for both releases.  Now, taking those prices into account, imagine having the Blu-ray and 4K sets all together in one set.  Odds are the average price of such a box set would be even more especially considering that Arrow Video is a British boutique label, making all of its re-issues imports.  To that end, the release of both sets separately is actually a good thing.  Sure, it would have been nice to have had both sets in one collection for audiences who are considering buying 4K tech but who still have Blu-ray players.  The thing is that 4K tech is still so price restrictive and Blu-rays honestly look and sound nearly as good as 4K releases (if not as good as those offerings).  Keeping that in mind, Arrow Video has gone the proper route in this case in regard to the general presentation.
The general presentation of Arrow Video’s Spawn re-issue is just one of its positives.  Another positive worth noting is its production (IE the video and audio quality).  The audio and video quality alike are impressive in their own right.  This applies in the 4K and Blu-ray presentation.  This is evidenced from the movie’s beginning to its end.  The soundtrack (composed of so much metal and nu-metal) expertly compliments the dialogue, the explosions and everything else while the video clearly has been touched up.  The grain of the original film is still evident.  That is obvious.  At the same time, it is not overpowering.  The result therein is a great sense of nostalgia among viewers while also giving a relatively clear picture along equally clear audio.  To that end, the production presented here builds on the general presentation to make for even more for audiences to applaud.
Rounding out the most important of the elements in Spawn’s 4K and Blu-ray re-issue is the bonus content.  The bonus content is the accent on top of the “structure” that is this re-issue.  That is because audiences get not just the bonus content featured in the original DVD and Blu-ray releases, but adds to that content with even more new material that adds so much to the viewing experience beginning with the new feature-length audio commentary from podcast host and comic book expert Dave Baxter.  At times Baxter’s commentary does feel a little bit scripted.  That cannot be denied but at the same time he also manages to make it feel fluid.  Audiences will be impressed as Baxter compares the original Spawn comic book to the cinematic adaptation, pointing out so many similarities and differences.  That he does this throughout the course of the movie is sure to lead to plenty of discussions on the pros and cons of those similarities and differences among certain circles.  That means that Baxter’s discussion on this matter alone makes for plenty of engagement and entertainment.
Baxter also takes on the special effects presented throughout the movie in his commentary.  The special effects are especially important because they are really a cornerstone of the movie’s visual presentation.  As Baxter points out, the visual effects used here were at the time a fledgling technology.  To that point, yes, the visual effects are questionable but keeping in mind their use in the cinema industry at the time, it makes their presentation ahead of their time.
Speaking of the visual effects, the VFX team of special makeup effects artists Howard Berger and Greg Nicotero discuss those effects at more length in their own lengthy discussion.  The duo points out the infancy of the tech that was used for the movie’s special effects, and even points out in the process that they actually did not want to use as much of the tech as was used.  There is note of how the pair went so far as to make a “prosthetic” cape for lead actor Micheal Jai White but because it was so bulky, ended up going the CGI route instead.  The same applied for the sequences involving the “devil.”  The duo discusses having actually made a model of the evil figure to use instead of a CG big bad. 
On yet another note, the duo’s discussion White’s prosthetic suit was so heavy and bulky that when they got him out of the costume, they had to actually dry it off because it caused him to sweat so much.  This is in line with White’s own comments in the new interview with him that sees him discussing exactly that topic.  In his new extra, White also talks about some other interesting aspects, beginning with the revelation that before joining the Spawn cast, he had actually been tapped to play the character Jax for yet another New Line movie, 1995’s adaptation of Sega’s Mortal Kombat game.  As White explains it, right around the time that he was tapped to become Spawn, the writers behind Mortal Kombat were reducing the role of Jax in that movie, so White still won out in the end, this even though he did not know anything about Spawn’s back story.  As White closes out his interview, he echoes the statement made by Spawn’s creator, Todd McFarlane in one of the original extras, that being the frustration of how  the MPAA handled the movie’s rating and that he thought an “R” rated cut should have been released regardless.
White is not the only one who discusses that treatment of the movie.  Bringing everything full circle, Baxter also addresses how the MPAA handled the movie’s treatment just because of its “darkness” since so few if any other movies at the time had been like Spawn.  It serves as a reminder of just how the MPAA (now MPA) uses what feels like bias in its rating system.  This is just one more of so many items that Baxter addresses and in turn adds so much to the viewing experience here.
On yet another note, Baxter also adds a lot of enlightenment to the movie as he explains Todd Mcfarlane’s time with Marvel comics and specifically his role in the creation of Venom in the company’s Spiderman series, and how that tied into the look of Spawn in the comics series.  Less seasoned comics fans will certainly appreciate this little six degrees of separation so to speak.  There is just so much more from here but not enough time or space to go into it all.  Putting things simply, Baxter’s feature length commentary adds so much appreciation to this modern cult classic alongside White’s interview.
As if everything noted is not enough, the movie’s nu-metal soundtrack also gets its own new in-depth examination and so does the editing.  Editor Michael Knue will entertain and engage audiences right from the outset of his interview as he discusses his dislike of having worked as an editor on the 1996 Alliance Films/Dimension Films sequel to The Crow, The Crow: City of Angels.  He said of that experience that it was so negative that he made him look for anything better, leading him to become part of the crew on Spawn.  It would be interesting to learn what made that experience so negative, working on The Crow: City of Angels.  His calm, matter of fact demeanor as he recalls his experience working on Spawn is enlightening.  It really brings the movie to audiences in a rarely addressed avenue so to speak.  This adds a whole new layer of appreciation for the final product.
Putting the final touch to the bonus content is its new companion booklet.  The notes, penned by John Torrani, coincide with everything discussed by Baxter.  From audiences’ dislike of the CG effects to the casting rumors (which will really surprise a lot of readers – thank goodness those rumors were just that) to the role of Spawn in rejuvenating the comics industry both on the printed page and on screen, and more, his insight completes the bonus content showing once more the importance that said content plays in the home presentation of any movie.
When all of Spawn’s expansive bonus content (the original and new collectively) is considered along with its production values and its general presentation, the whole therein makes the overall presentation that is this re-issue one of this year’s top new movie re-issues if not its best so far.
Arrow Video’s forthcoming re-issue of New Line Cinema’s Spawn is one of the most welcome surprises of this year’s movie re-issue field, along with its re-issue of Dark City earlier in the summer.  This re-issue shines in part because of its general presentation, which delivers the movie on two separate 2-disc sets, one being Blu-ray and the other 4K.  This is actually a money saving move by Arrow Video, believe it or not.  The production (the look and sound of the re-issue) adds to the appeal because of that presentation.  The expansive new bonus content that pairs with the original releases extras, puts such a rich finishing touch to the presentation.  Each item examined is important in its own way to the whole of the movie’s re-issue.  All things considered they make the forthcoming re-issue of Spawn one of the year’s best in the movie re-issue community and more proof of why Arrow Video is currently the leading company in home video releases.
Spawn is scheduled for release Tuesday.  More information on this and other titles from Arrow Video is available at:
Website: http://www.arrowfilms.com
Facebook: http://www.facebook.com/ArrowVideo
Twitter: http://twitter.com/ArrowFilmsVideo

By: Philip Sayblack

​October is going to be a busy month in regard to physical media releases.  Early on, Warner Brothers is going to release a brand-new Blu-ray box set featuring 40 classic Peanuts television specials.  Also early in the month, Arrow Video will re-issue New Line Cinema’s classic comic book adaptation of Image Comics’ flagship series, Spawn in a new 4K restoration.  Roughly two years after its then most recent 4K release, Clue will get another 4K release, the previous re-issue being delivered via Shout! Factory in 2023.  This latest re-issue will come via Alliance Entertainment in a new 40th anniversary presentation that boasts absolutely nothing new this time out in comparison to Shout! Factory’s 2023 release.  Later this month, one of the most exciting new releases will come (Oct. 28) in the form of the long-awaited home release of The Best Christmas Pageant Ever, which saw a very limited theatrical release in late 2024.  This critic was lucky enough to see this surprisingly enjoyable movie, too, and has been waiting ever since for its official home release. 
As if all of that is not enough, one more movie, Marvel Studios’ latest reboot of The Fantastic Four is set for release Oct. 7, in the form of The Fantastic Four; First Steps.  This latest iteration of “Marvel’s First Family” on the big screen is an interesting but imperfect presentation.  To the good (and bad) is its story.  This will be discussed shortly.  On a related note, the bonus content that accompanies the movie’s home release (including its current streaming presentation) is something of a negative as the lack of one key item as an extra definitely detracts from the viewing experience and the appreciation of the story.  This will be examined a little later.  Knowing that this issue is not enough to make Fantastic Four: First Steps unwatchable, there is one more positive to note, that being the collective work of the movie’s main cast.  Each item noted plays its own important part to the whole of the movie.  All things considered they make The Fantastic Four: First Steps a work that while enjoyable, is still far from the best of Marvel Studios’ MCU offerings to date.
The Fantastic Four: First Steps, the latest entry in Marvel Studios’ Marvel Cinematic Universe (MCU), is an interesting new presentation that even with its interest, is imperfect.  It is a presentation that proves worth watching at least once.  That is due in large part to its story.  The story clocks in at just under two hours (roughly one hour, 54 minutes to be exact – not counting end credits).  That is rare for a Marvel movie to say the very least.  It is a welcome change, considering the last time audiences saw a Marvel Studios offering that short a movie was in 2013 in Thor: The Dark World.  Actually, that movie is the shortest MCU movie to date at one hour, 52 minutes.  That is something to keep in mind especially considering the ability of that movie to keep audiences engaged versus this movie’s ability to do the same.  In just under two hours, The Fantastic Four: First Steps’ story accomplishes everything that it set out to do.  Kudos to the writing team of Josh Friedman, Eric Pearson and Jeff Kaplan as they succeed in doing what James Gunn honestly failed to do with his new Superman project for his DCU project.  The trio establishes the F4’s history solidly while managing just as easily to jump right into the group’s story, with Reed and Sue Richards celebrating the pending birth of their baby, who would later gain the name Franklin in the opening scene.  What is interesting in this moment is something that so many families will appreciate, the struggle of the couple to have children.  The subdued conversation puts that topic on the table without being preachy about the matter.  There are so many parents out there in this world, the real world, who face the same struggle.  They will appreciate how Friedman, Pearson, and Kaplan tackled the matter.  The trio also wastes little time getting to the heart of the story, that being the coming face off between the Fantastic Four and Galactus, the world eater.  The transition from all the happiness to this sudden sense of gloom and fear is handled so smoothly.  The fluidity of that transition is more proof of why the writing team is to be commended.
On another note, the way in which the trio ties Franklin’s pending introduction into the story at the center of the whole makes for its own share of interest.  It is also where some of the problems come into play.  For those less familiar with the Fantastic Four’s various story arcs, Franklin was in fact part of the family’s story early in the franchise’s history.  In doing research on Franklin, it turns out Franklin was indeed introduced into the Fantastic Four comics series way back in the 1960s, so that and the look of this film are a great pairing.  However, it was not until 2012 in Jonathan Hickman’s time on Fantastic Four, that Franklin and Galactus (this movie’s big bad, and a longtime foe of the F4), become entwined.  Franklin actually resurrected Galactus in Hickman’s time on the comic in order to get help battling a group of Celestials bent on world domination.  The pair ironically uses the exact same bridge tech used here that also stopped Galactus, in order to stop those Celestials.
This is where the story’s most glaring problem comes into play.  For those not so familiar with Franklin’s story, having this “chosen one” story at the center of the whole can be very problematic.  That especially considering Franklin’s rich history in the Fantastic Four comics history.  Franklin’s incredible power does not even come into play until the end of the story’s third act.  How this happens will be left for audiences to discover for themselves, but in reality, having that power not displayed until the story’s finale leaves audiences wondering the whole time what Galactus knows about Franklin and why he is so important.  The reasoning for withholding that information does make some sense in hindsight, but the writing team could have given audiences (especially those more casual audiences) at least a little something.
Staying on that same note, at no point in the bonus content is Franklin’s back story examined.  It is not even discussed in the bonus feature length audio commentary.  As a matter of fact, the majority of the discussion on that bonus audio track is about the movie’s production values (E.g. special effects, acting, etc.)  Sure, the deleted scenes’ standard inclusion helps make for some appreciation.  That is because each scene clearly was better left on the cutting room floor, but the other features, which focus on the cast and the special effects, is secondary to the importance of that one key bonus that was lacking here.  Having that extra retrospective would have done so much to make the viewing experience all the more enjoyable for audiences in general.
Staying somewhat on that same note, there is also no bonus content addressing the post credits scene involving the Fantastic Four’s appearance at the end of another recent Marvel movie, Thunderbolts*.  The scene in question finds the Thunderbolts relaxing in what used to be Avengers Tower when an alert comes up and the F4 shows up in its rocket on screen coming into their universe.  Nowhere in this movie does that come into play, though one Doctor Doom does come into play in this movie’s post credits scene.  That scene will not be spoiled here, but one can only hope that the two post credits scenes will meld together in the coming Avengers: Doomsday movie since it was revealed the Fantastic Four will be part of the forthcoming expansive multiverse movie.
Knowing that the lack of the Franklin’s history and how it was tied into this story is problematic but not enough to doom the movie (and the lack of anything explaining the family showing up at the very end of Thunderbolts*), there is at least one more positive to note, that being the work of the movie’s cast.  All four members of the superhero family – Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, and Joseph Quinn – is deserving of praise.  Pascal, as Reed Richards, is impressive as he presents on one side, a figure who on the surface is so calm and collected.  As a scientist, there is almost an obsessive quality that Pascal brings to Reed’s persona.  As things progress, Pascal does just as well to bring out Reed’s vulnerability, his less confident side.  Audiences see a man who is in essence, like so many men out there, someone who tries to be strong for everyone but deep down is likely fighting to keep it all together.  This is something that so many people need to appreciate and take into note.  The duality that he brings to Reed is to be commended because it would have been so easy for him to just ham it up but instead, he gave an outstanding performance throughout.
Kirby meanwhile is just as impressive as she displays a woman who is both vulnerable and confident in her own right.  At the same time, her motherly actions are to be lauded by every female viewer.  She shows the lengths to which a mother will go to protect her family.  This especially, as she battles Galactus in the story’s final act.  The look of anger, determination, etc. in her eyes as she uses her powers to push Galactus toward the bridge says more than any words could ever speak. 
Ebon Moss-Bachrach deserves his own kudos as he brings Ben to life.  What audiences get from him is a guy who just wants to live his life but also knows that when it’s time to go to work, it is time.  Whether it is interacting with a group of young children to entertain them, working to help the family escape from the gravitational forces of a black hole, or being that “fun uncle” to Franklin at points, Moss-Bachrach brings the best of Ben to the screen.  He shows such great versatility in his own right and is just as deserving of praise.
In regard to everyone’s favorite “hot head” (yes that horrible pun was intended), Johnny Storm, Joseph Quinn so wonderfully channels Chris Evans’ time in the role while also bringing his own touch to the whole.  That sense of bravado is there, but when he gets serious, such as when he finally confronts the Silver Surfer (Julia Garner) with the voices of those whose worlds were destroyed, his serious nature is just as impressive.  Again, his ability to so expertly show both sides of his character is impressive in its own right.
While the noted performances are memorable in their own right, they are not the only stars of this movie.  Herbie, the family’s robot friend, is the real star of this movie.  Voiced by Matthew Wood and controlled by a team behind the scenes, kids will absolutely love Herbie.  There is something about his presence that is so innocent.  It conjures thoughts of another famous little robot, none other than R2D2 (of Star Wars fame).  All involved in bringing him to life on screen deserve their own praise, too.
Whether it be the performance of all noted on screen, the work of those who crafted this movie’s story or even those who gave the movie its impressive look, there is a lot to applaud here.  At the same time, there are some concerns herein, too.  In hindsight they do detract considerably from the viewing experience, and in turn appreciation for the movie.  Even with those concerns noted, the movie still proves itself a mostly positive addition to Marvel’s MCU that is worth watching at least once.
The Fantastic Four: First Steps is scheduled for home release Oct. 7. More information on this and other titles from Marvel Studios is available at:
Website: https://www.marvel.com
Facebook: https://www.facebook.com/marvelstudios
Twitter: https://twitter.com/marvel

By: Philip Sayblack

More than 40 years ago, Walt Disney Studios took a chance on a little movie titled Tron and since then, that movie has essentially created a whole cottage industry.  From cult status to major mainstream franchise, Tron has since gone on to spawn a sequel, a short-lived animated series and a whole following of audiences the world over.  Now today as those audiences and a whole new generation of audiences await the release of that movie’s second sequel, Tron: Ares (which is scheduled to make its theatrical debut Oct. 10), the movie that started it all and its sequel, Tron: Legacy have gotten new life in brand-new 4K steelbook re-issues.  As anticipated as these two re-issues have been among the franchise’s most devoted audiences, they are in reality largely disappointing.  That is because other than the story in the original 1982 movie, there is only one other positive to these presentations, that being their general production, and even that is a minimal positive.  This will be discussed later.  The bonus content featured in each movie greatly detracts from the appeal of either set, too.  This will be discussed a little later.  When it and the sets’ packaging are considered collectively, the result is two movie re-issues that are just as disappointing as those from the studios owned by Walt Disney Studios.
Walt Disney Studios’ brand-new 4K UHD steelbook re-issues of Tron and Tron: Legacy are sadly nothing for audiences to get excited about.  That includes the most devoted of the franchise’s fans.  The reason being is that the re-issues give audiences next to nothing to praise despite the years-long anticipation of the re-issues.  If any one thing can be noted of either movie, it is the story behind the original 1982 movie.  The story in question is a political commentary about autocratic rule and stopping it.  That commentary is set against the backdrop of a hacker who gets pulled into a cyber world that matches said commentary what with its clear militaristic look and feel.  Along the way, our main protagonist, Flynn, works with the computer program, Tron, to defeat the big bad cyber dictator, Sark and return freedom to the cyber world.  It is an allegorical tale that is just as pertinent today as it was more than four decades ago when this movie first premiered in theaters nationwide.
As if that is not enough, the movie’s look at that time was just as important to its presentation.  That is because no other movie at the time was using computer graphics at all.  For this movie’s heads to go that direction was a huge risk.  This is discussed at more length in the movie’s bonus content, which has been carried over to the new re-issue.  Speaking of which, the bonus content featured in the new 4K re-issue of Tron: Legacy has also been carried over, offering audiences nothing new there, either.  This will all be discussed later.
Getting back to the subject at hand, Tron remains in important part of Walt Disney Studios’ history and that of modern cinema.  Its dual-pronged story, which is one part science fiction epic and one part political allegory that is still as relevant to day as then and its first of its kind special effects make that clear.  By comparison, the story featured in Tron: Legacy is the exact opposite.  Much in the vein of Blues Brothers 2000, it is a virtual rehashing of its predecessor.  In this case, Kevin Flynn’s son, Sam, goes in search of his father, who has been missing since Sam was a boy.  Not to give away too much for audiences who have yet to see the movie, it turns out that Kevin essentially got trapped in the grid.  This is where the problems begin.  Throughout it all, this movie becomes more about its visuals than its story.  That is because the story is so basic. It finds one of Kevin’s original Clu programs having turned evil dictator (sound familiar?) and leading a massive army to try and come into the human world in order to take over.  Yes, this has been done before.  To that end, the story here is essentially a retelling of the first movie, with the protagonist intentionally going into the grid this time instead of accidentally, as in the first movie.  All the while, the light cycle sequences are there but this time are accented by new vehicles that take center stage but little other reason to watch.
The matter of Clu turning bad becomes even more of a concerning plot device.  That is because those who have watched the original Tron will recall, again, that Kevin Flynn created a number of Clu programs, so which Clu program is this?  What happened with all of the other Clu programs that he wrote between the ending of Tron and this movie?  Where are they?  Are they all part of this Clu’s army?  For that matter, how did the movie’s titular character turn bad along with Clu?  This is never explained, either.  Keeping all of this in mind, Tron: Legacy offers becomes just another special effects extravaganza than anything memorable.
Moving on from here, there are plenty of concerns, not the least of which being that the bonus content featured in the movie’s most recent Blu-ray releases – both of which released in 2011 – were carried over to these 4K steelbook re-issues.  There is no new bonus content included in either movie’s new presentation.  The special effects extra, “The Speed of Light” is the anchor for those extras as it focuses on each of the noted vehicles and special effects sequences that are the real center of attention in this movie.  On a related note, the “Digital Imagery” extras and the “Making of” featurette included in Tron’s new 4K re-issue are the most notable of that movie’s extras.  Keeping that in mind, audiences who already own the movies’ previously released Blu-rays would be well-served to stick with those copies.  The same applies to audiences who do not own one or the other.  All involved will be saving roughly the roughly $40 price tag on each; $40 that could and should go to something else.
While the issues raised by the bonus content is hugely problematic for each re-issue, there is at least one more positive to note, that being the sound and video quality.  Each movie’s sound and video quality has been improved in its presentation.  Now, on the surface this may seem like a good thing.  However, even in this case it is not necessarily a winning item.  That is because even Blu-ray discs upscaled through a 4K player and played back on a 4K television look and sound quite impressive in their own right.  They honestly look and sound almost theater quality, especially when a sound bar or nice sound system is part of a viewer’s home entertainment system.  Even without the extra audio equipment the viewing experience for the Blu-ray presentation on the 4K television is still reason enough for audiences to hold off on these 4Ks.  To that end, neither set really gives audiences any motivation to own them.  They become, like so many other 4K steelbook re-issues released by Disney and the studios owned by the company, forgettable.
Walt Disney Studios’ brand new 4K steelbook re-issues of Tron and Tron: Legacy are presentations that audiences have anticipated for years.  However, in examining both movies’ new re-issues, audiences will agree that they do not live up to expectations.  The story in the sequel still does not hold up to that featured in the original movie.  The bonus content featured in each re-issue is the same presented in the previously released Blu-ray presentations, each of which was released in 2011.  The movies’ production is positive but only to a point when one considers the sound and video quality in Blu-ray presentations upscaled on 4K players and televisions.  Keeping all of this in mind, these re-issues do not live up to expectations and end up being as forgettable as other 4K re-issues released this year by Walt Disney Studios and the studios that it owns.
Tron and Tron legacy are available now on their own 4K steelbook presentations.  More information on these and other titles from Walt Disney Studios is available at:
Website: https://waltdisneystudios.com
Facebook: https://www.facebook.com/WaltDisneyStudios
Twitter: https://twitter.com/disneystudios