Showbits

In 1983, personal computers were in an exciting infancy. The Apple II, Commodore 64, TRS-80, and more made for a diverse digital landscape in which to explore, create — and hack. We didn't know what "security" meant other than simple passwords, and the necessity of direct connections in that pre-Internet era exposed many vulnerable machines.

A quarter-century later, networking and security have evolved barely beyond recognition of those early days. But this July 24th, you can journey back to a simpler time with the 25th anniversary of a seminal geek classic:

According to the Web site for the WarGames 25th anniversary event (which also gives a film synopsis — for all three of you who haven't seen WarGames yet), "The event will include never-before-seen interviews with cast and crew on how the movie was ahead of its time and its relevance today." Just as when Star Trek: TOS returned to theaters this past November, WarGames is a one-night, one-time-only engagement — one that happens to coincide with KansasFest, the only remaining Apple II convention. So I'll be seeing this film with folk who actually remember the days of the acoustic coupler and won't need to go far to research how accurate this film is!

But every silver lining has its cloud: this celebration will include a preview of the sequel, coming to DVD a week later.

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Bill Bixby's Hulk impressed on me the quintessential rendition of the monster, which made Eric Bana's take all the more monstrous. I have spent the last five years submerging memories of that 2003 Hulk film, and I worried that this summer's second attempt at the green giant would be more of the same. But with the reassurances of Marvel devotees, I paid my admission and steeled myself for the worst.

It's amazing what a difference is made when a film's star shares my opinion. As Ed Norton said on Jimmy Kimmel, "We're trying to rescue this franchise from the crapper!" He thus took a heavy hand in the scripting and editing of this outing, resulting in a much more engaging and fluid tale.

From the opening, it's clear this film is neither sequel nor remake. Dr. Banner's backstory is told primarily through brief vignettes that play out under the opening credit sequence. This encapsulation suffices for comic book buffs; others will pick up the details from ensuing dialogue. The story is clearly an homage to its television namesake: Within the first few minutes of the opening is a cameo by Bill Bixby, and later there's Lou Ferrigno in a much more noticeable and respectful appearance than in the last Hulk film. This is not a movie-length episode of the television series, but there are many common elements, such as a protagonist on the run, looking for a cure, which could not be present in an "origin" story such as Ang Lee's. The renewed focus on character development is a welcome change from the 2003 version that featured arena-type combat, a ridiculous villain, and a hero we could neither understand nor sympathize with.

The supporting cast here creates a valuable context for Banner to develop in. Like Jeff Bridges in Iron Man, William Hurt has aged into an excellent villain almost unrecognizable from his usual throwaway fare in films such as Michael and A.I. His brassy, hard-as-nails general is someone whose motivations we can almost understand, smartly keeping him from being the true villain. General Ross is also a more interesting father figure than the one Nick Nolte tried to play in the last Hulk film; Banner's relationships are sufficiently complex and painful without introducing unnecessary and villainous family.

As for the Hulk's actual adversary, I was hesitant by what the trailers suggested: essentially an evil Hulk, manufactured through the same means that brought us our original hero. Yet the smallest of details banished my concerns and instead subtly incorporated the Hulk into the rich Marvel mythos. It seems the gamma radiation which put Banner on the lam was a byproduct of research into creating the perfect "super-soldier" — a phrase that should hold meaning to any fan of the Marvel universe.

The Incredible Hulk has a good mix of action and dialogue. Banner is subjected to only three transformations, and in the style of Alien, his first appearance is kept almost entirely in the dark. Action fans may've expected more of the title character and less of his human counterpart, but I think the film's focus is exactly where its cinematic predecessor showed (by counterexample) it should be. (There could've been even more; I'm told there are over 70 minutes of deleted scenes, several of which are visible in the trailers.) Director Louis Leterrier deftly works the threat of the Hulk into even non-action sequences. There's a tense scene in which a metamorphosis begins and Betty climbs atop the thrashing figure to offer calming words, piercing Banner's confused haze to remind him who he is. Perhaps this act struck me for being so similar to my mother's own actions when my father had a seizure.

There are a few inconsistencies. When Banner is driving at night with "a person of interest", he ducks down in his car seat; but the next morning, he feels comfortable strolling through an open glade with her in broad daylight. When threatened, he pushes his love interest away for her own safety — but later, when he knows he's about to transform, he makes no such gestures. Is this guy a brilliant scientist or not??

More to the point: is The Incredible Hulk a brilliant film? I'd say yes, and it's almost enough to make me wonder if the 2003 film was Marvel Comics' attempt at New Coke to make us appreciate the reboot all the more. Iron Man is still the summer film to beat, but as superheroes go, Ed Norton has created an unexpectedly incredible movie.

It's proving a rather devastating year for Hollywood's roster. Yesterday, we lost the many talents of dancer and actress Cyd Charisse.

In an unexpected synchronicity, it's been in just these past six months that I became familiar with Ms. Charisse's work beyond her non-speaking role in Singin' in the Rain. When I was offered a part in a community theater production of Brigadoon, I quickly consumed the movie version to see what I was getting myself into. Though I now suspect the women's dance numbers did not showcase Ms. Charisse's full range of talent as the female lead, I was enamored of the film's colors and her chemistry with Singin' partner Gene Kelly.

A few months later, I finally saw them again reunited in It's Always Fair Weather, a musical I'd seen a clip of a decade past. Though a surprisingly unremarkable film for a performer of his caliber, the scene that drew me to it — a Gene Kelly dance number performed on roller skates — was worth the price of admission, while Ms. Charisse's sassy number in the boxing ring got her the screen time she deserved.

Though not all musicals translate well to film, the medium is infinitely capable of grand tales of song and dance. Hats off to Cyd Charisse for cementing the genre's place in Hollywood's history.

(Hat tip to Dear or Alive?)

I subscribe to quite a few podcasts, but I consider only two to be favorites. Though neither is showbiz-related, both often intersect from the topic, as evidenced by Showbits's previous references to both Major Nelson and Scientific American.

In a timely interview, yesterday's episode of the latter's podcast (iTunes) features M. Night Shyamalan, director of The Happening, which releases today:

M. Night Shyamalan's new film, The Happening, involves an environmental backlash, the limits of reason and the beauty of math. SciAm editor George Musser discusses the film with the director. Plus, we'll test your knowledge of some recent science in the news.

It's genius for Scientific American to capitalize on this current film by giving it a science angle. The general public can always benefit from more science education, as too many theatergoers accept science fiction as science fact. Such knowledge shouldn't stop us from appreciating the artistic license Hollywood takes, as long as we recognize it at such.

For more such analysis, be sure to check out movie and television reviews of Bad Astronomy by Phil Plait, who was recently interviewed on another excellent podcast, Point of Inquiry (iTunes).

Spring has sprung, summer looms, and Hollywood blockbusters abound — though you may not want to spend the season in a movie theater… so don't! Instead, take in your movies in the great outdoors by patronizing your local drive-in.

It's easy to forget this artifact of a bygone era. The first drive-in movie theater opened on June 6th, 1933, in Pennsauken, New Jersey. Though that theater no longer exists, the second-oldest drive-in opened in 1934 and is still in operation, as are 393 others in 48 of the United States (sorry, Alaska and Louisiana).

I was plotting my own upcoming trip to the drive-in when, coincidentally, Major Nelson pointed out the venue's recent 75th anniversary. I thought I too would do my part by again highlighting this oft-overlooked alternative. I've previously written about the draw of the drive-in, and those attractions are no less true now. Most such theaters are open on Friday and Saturdays only, and it's tempting to fill those few weekend nights with expensive outings — but the more affordable drive-in needs your support today. So enjoy the great weather and some big-budget films in what's sure to be a memorable night.

May is behind us, and though the year's fifth month often marks the commencement of the summer blockbuster season, this year it may have also been the industry's apex. I say this not to disregard what's still to come — for example, fans of the TV series see great promise in a new trailer for The Incredible Hulk — but more to highlight the succession of big-name, big-budget films that have already graced the silver screen: Iron Man, Speed Racer, Prince Caspian, and Indiana Jones.

It's a trend that looks likely to continue, as the schedules for future Mays are already filling with release dates. Here's what we can look forward to in 2009:

• 5/1: Wolverine (prequel to X-Men)
  
• 5/8: Star Trek XI
  
• 5/15: Angels and Demons (prequel to The Da Vinci Code)
  
• 5/22: Terminator Salvation: The Future Begins (aka T4)
  

Those are four powerful franchises in quick succession, giving geeks galore something to salivate over. (Transformers 2: Revenge of the Fallen, originally slated for May 2009, has been pushed back to 26-Jun-09.)

And according to ComingSoon.net, two of last month's films already have their sequels pencilled in: "The Chronicles of Narnia: The Voyage of the Dawn Treader is still scheduled for May 7, 2010, only a week after Iron Man 2."

Note that the movies listed for May 2008, 2009, and 2010 are all based on existing properties — the same comment I previously made on almost the entire summer 2008 lineup. Not that that's a bad thing, but is there nothing new under the sun?

For the third time this year, I bring you news of several talented artists who have passed on.

Composer and Emmy winner Alexander Courage passed away last month at age 88. His works include the theme to the original Star Trek television series. Yet he received little of his dues from that famous piece. To cut costs, Gene Roddenberry wrote lyrics to accompany Mr. Courage's music. Despite no intention of using the (awful) lyrics, Mr. Roddenberry was then able to claim half the royalties that would've otherwise gone to the song's rightful creator. Whether or not any reparations were ever made between the two, I am unsure. Snopes states that "After scoring a couple of first-season episodes, Courage declined to perform any further musical work for the series." But his influence on what eventually became the Star Trek franchise is noted in his filmography, which gives him attribution on practically every Star Trek movie, show, and game of the last half-century.

Shortly thereafter, the musical world also suffered the loss of Earle Hagen, also aged 88. Mr. Hagen was responsible for such memorable theme songs as those of The Dick Van Dyke Show and Andy Griffith. These are the shows I grew up on, and though these comedies played out in a different situation every week, we were always introduced to them with the familiar opening sequences and tunes. Thank you, Mr. Hagen, for leaving that mark.

I'd intended for these two passings to be the extent of this post, but I unfortunately recently learned of two others. Unlike the musicians above, Robert Justman's talent was in directing and producing for both TOS and TNG. Though he worked on only one season of TNG, his decision to cast Patrick Stewart over Gene Roddenberry's objections was a decision with an indelible mark on Trek lore. Mr. Justman died last month at age 82.

Also a directorial veteran of TOS was Joseph Pevney, who gave us such episodes as The City on the Edge of Forever and The Trouble with Tribbles. Possibly more than any episodes in TOS's short run, these two have spawned numerous plots, threads, and novels throughout the Trek timeline. Mr. Pevney was 96 when he passed.

How fortunate we are to have had the musical and directing talents of these men, both within Star Trek and without; how fortunate they were to have lived such long and notable lives.

(Hat tips to TrekToday and Dayton Ward)

I'd heard rumors of a fourth Indiana Jones film since before George Lucas set out to diminish the Star Wars universe with three prequels. Now that he's fulfilled that undertaking, I worried he may have set his sights on a similar fate for the other franchise that made Harrison Ford a household name two decades ago. Though nothing so severe has occurred with The Kingdom of the Crystal Skull, this latest Indiana Jones film is not the note I would've preferred the series to end on.

The twenty years since Harrison Ford last donned the whip and fedora translates to about the same time for Indiana Jones, as since 1989's The Last Crusade, the series' setting has leapfrogged from 1939 to 1957. We're reintroduced to professor-by-day, archaeologist-by-night Colonel Jones (WWII has come and gone) as he is forced to reveal to Russian spies a discovery the United States government would rather keep secret. The object of their desire seems an unlikely find for an Indiana Jones film; unfortunately, as with the movie's three predecessors, the opening sequence hints at elements that will play a larger role in the overall plot.

Scrapped ideas from the Lucas drawing board often find their way into the finished product; consider the haunted house that was rejected as the focus of the third film but nonetheless made an appearance. In the Kingdom of the Crystal Skull's case, the idea for Indiana Jones and the Saucer Men from Mars has worked its way more deeply into the final film's plot than I would've liked. Xenoarchaeology has always been the domain of Captain Picard, not Professor Jones. The series needn't necessarily be limited to its roots — with each new film, the franchise becomes something it was not. But I've historically expected Indiana Jones to contain elements of magic and mysticism, not science fiction.

Despite that departure, much of the film is consistent in appearance and style with its predecessors, there is some obvious CGI in effect. Most noticeable are when it's used to generally wholly fabricated animals, such as gophers and monkeys, which might be acceptable were they integral to the plot, but more often they prove unnecessary set decoration, distracting from the story. Raiders of the Lost Ark had a genuine monkey; why couldn't this one? The Tarzan-style action that followed, though true to the pulp of the era in which the film is set, was absurd. Again, I've always found that Indiana Jones action which is not mystical is realistic, but this film strains one's credulity.

What isn't strained by this film is Harrison Ford, as he handles the action sequences surprisingly well, his performance as an adventurous archaeologist appearing not to have suffered the ravages of time. Near the film's beginning is a fun motorcycle ride through the streets of New Haven, Connecticut, which was made more enjoyable to this actor by noticing the many extras and saying, "That could've been me!" A later exhilarating scene is a rain forest car chase with clever combat and constantly shifting terrain that involves the entire cast. It culminates in a pugilistic bout that's accentuated with the satisfyingly sound of many meaty connections, reminiscent of Indy's round with the bald German boxer in the first film, which was similarly set on the precipice of annihilation.

But it does seem that Harrison Ford needs more help from his friends than usual, as evidenced by his growing party. Though Indiana Jones has never ventured out alone — where would he have been without Marian, Willie, Sallah, and Short Round? — this time his entourage numbers five, which detracts from Ford's spotlight. But the return of Karen Allen as Marian Ravenwood is a nice bookend to the series, and even I must admit that Shia LaBeouf didn't ruin Indiana Jones nearly as much as he did Transformers. A similarly expansive, though better received, effort is made when the film references the Young Indiana Jones Chronicles, as pointed out to me by Showbits contributor GeneD. Though I've never seen that television series, I appreciated the official gesture to expand (or at least acknowledge) the canon of the expanded universe.

The Kingdom of the Crystal Skull is not the weakest of the four Indiana Jones film, but it is, with any luck, the last. As another review pointed out, The Last Crusade was a more fitting farewell to Henry Jones Jr. and Sr., and now feels a bit diminished by this continuing adventure. Yet Crystal Skull nonetheless gives us the thrill of seeing our hero back in the saddle, and the adventure he takes us on has enough surprises to make it worth the ride.