From Karl Kerschl’s adaptation of “The Bremen Town Musicians” in the Fairy Tale Comics anthology.
From Graham Annable’s adaptation of “Goldilocks and the Three Bears” in the Fairy Tale Comics anthology.
Celebrating Tarzan’s 101st anniversary by walking through Scott Tracy Griffin’s Tarzan: The Centennial Celebration.
Burroughs gained quite a bit of experience working with Hollywood during the production of the earliest Tarzan films, so he put that to good use in Tarzan and the Lion Man. The title character is a movie character played by marathon champion Stanley Obroski, who’s come to Africa to shoot a movie with director Tom Orman, actress Naomi Madison, and Madison’s stunt double Rhonda Terry.
The film expedition is based on the events surrounding the production of real-life safari film Trader Horn, an ill-fated shoot in which actors (including the female lead) and crew contracted malaria and two crewmen were killed by wild animals. In Lion Man, Tarzan is mostly a passive observer to the crew’s plight until the two women are captured by English-speaking gorillas. He trails them to the gorillas’ home and uncovers a Moreau-like scientist who’s conducting genetic experiments on animals in order to prove Darwin right.
The novel ends with an epilogue in which Tarzan visits Hollywood and learns that – in its own way – it’s just as vicious as the jungle. This last part was suggested to Burroughs by an editor at Modern Screen who wanted to publish a humorous piece about Tarzan and the film industry. Burroughs wrote it, but never submitted it to the magazine.
Thanks partly to Tarzan’s being confused with actor Stanley Obroski in Lion Man, Griffin’s supplemental chapter is on “Tarzan’s Appearance.” There’s a thumbnail gallery of artists’ interpretations (by J. Allen St. John, Frank Frazetta, Robert Abbett, Thomas Yeates, Boris Vallejo, N.C. Wyeth, George Wilson, Robert Stanley, and Neal Adams) and Griffin discusses how Burroughs intentionally left Tarzan’s description vague. He also talks a little about Tarzan’s costume and reveals that the origin of the over-the-shoulder strap in some depictions of Tarzan was from the early films from a time when men could be arrested for being topless at the beach.
20. The Five-Year Engagement
I lost patience toward the middle when it took some really stupid decision-making to prolong the engagement to five years, but even when it stretched credibility, the movie never stopped being funny or having Jason Segel in it. It wins points for both of those things.
19. John Carter
Nowhere near the mess that lots of people claim it was; just not as spectacular as it should have been for the talent involved. It’s a fun, scifi escape with a couple of legitimately great moments; we just all hoped for so much more.
“Expectations” are a recurring theme on my honorable mentions list this year. I didn’t have high ones for The Amazing Spider-Man and like most people, I questioned the fundamental existence of the project. It was made for purely cynical, We Have to Do This or Lose the License reasons.
But though it contains some highly unnecessary rehashing of the Sam Raimi material, it also found some new things to do with its tone and the central relationships. It’s worthwhile for Peter and Gwen alone.
I love the theme in ParaNorman about being your own person and not letting other people define you. Also: the animation is amazing. I wasn’t totally in love with the character designs though, and since that’s what I was looking at for most of the film, that’s what keeps it out of my Top 10.
16. The Hunger Games
I’m disappointed that this isn’t in my Top 10 for the year, either. I totally thought it would be, but during the second viewing I found myself getting bored. I kept myself entertained by focusing on Jennifer Lawrence’s wonderful performance, which communicated very well the horror of Katniss’ situation. Without her internal monologue though, it was hard to get what I wanted from her moral struggle over how to act in the arena.
In a year that brought a disappointing entry in the Resident Evil movies, I’m thrilled that we got a worthy film in my other favorite horror/scifi adventure series starring a woman. Awakening pretty much punts and launches a Bold New Direction for Underworld, but it’s a good direction with some likable, new characters and I enjoyed it very much.
I want to say that this is so much better than a movie based on an all-but-forgotten TV show has the right to be, but even though that’s true, it’s not really fair to suggest that that’s all 21 Jump Street has going for it. It’s just a very funny movie, period. That it gets a small part of that humor from pointing out and making fun of its sordid roots is just frosting for the cake. I’d probably rate it higher if not for the skeevy romance between Jonah Hill’s character and a high school student.
Listen: After the horrible piece of derivative crap that Madagascar 2 was, I’m as surprised as anyone to find Madagascar 3 on this list. In fact, I didn’t want to see it at all when it was announced. It wasn’t until it got a 79% fresh rating on Rotten Tomatoes that I had to see what the heck was going on with this thing. To my surprise, it was hilarious and – more importantly – original. It also pretty much wrapped up the saga with a nice bow on top, so I don’t expect to be interested in a Madagascar 4, but never say never.
No, Gina Carano is not a great actress. And the plot of Haywire is nothing new. But the movie makes up for both of those things with heart and authenticity. I wrote a full review of it, so I’ll point you there for more thoughts, but it really was one of my favorite movie experiences of the year.
This was my first Wes Anderson film since Rushmore, which I never quite forgave for stealing Bill Murray away from movies like Groundhog Day and The Man Who Knew Too Little. Seeing Moonrise Kingdom makes me want to find out what I’ve been missing. It’s a small movie, but a lovely one, and makes great use of its setting and awesome cast.