Interview: Jonathan Maberry

interviewed by Carl Slaughter

Ghost-Road-Blues-by-Jonathan-Maberry-300-dpi1-621x1024EDITJONATHAN MABERRY is one of the most versatile and prolific writers in the speculative fiction.  His specialty is horror, but he also writes fantasy and science fiction, as well as mystery, thriller, western, and humor.  He has 5 wins and many nominations for the Bram Stoker Award, wins/nominations for other genres and encyclopedic nonfiction, and recognition from writer and librarian associations.  His first novel was in competition with one of Stephen King’s novels for the Bram Stoker Award.  Several of his projects are in development with Hollywood.  He has worked with Marvel and other major comic book companies.  He has consulted/hosted for Disney, ABC, and The History Channel.  He has written several series, most notably the Joe Ledger international thriller sci fi series and the Rot & Ruin young adult horror series.  His has edited several anthologies, most notably an X-Files series.  He has participated in a multitude of writer conferences and workshops, most notably Write Your Novel in Nine Months, Act Like a Writer, and Revise & Sell.  He writes/speaks as an expert on the cannonal background and cultural phenomenon of the horror genre.  He is a member of the Science Fiction and Fantasy Writers Association, Horror Writers Association, International Thriller Writers, Mystery Writers Association, International Association of Media Tie-In Writers, and Society of Children’s Writers and Illustrators .  He is a contributing editor of the ITW’s The Big Chill newsletter.  He is a cofounder of The Liars Club writer network.  His novelization of the Wolfman film  –  starring Anthony Hopkins, Hugo Weaving, Emily Blunt, and Benicio del Toro  –  reached #35 on the New York Times bestseller list.  Not surprisingly, Publishers Weekly featured him on the cover.

Jonathan Maberry’s full bio.  Jonathan Maberry on Amazon.  Jonathan Maberry on Good Reads.  Jonathan Maberry’s website.  Liars Club writer advice page.

 

CARL SLAUGHTER:  WHICH OF YOUR NOVELS IS BEING ADAPTED BY HOLLYWOOD?

JONATHAN MABERRY:  I’m fortunate to have several of my projects in development for film and television. My Joe Ledger thrillers are being developed by Lone Tree Entertainment and Vintage Picture Company as a possible series of movies, likely beginning with Extinction Machine, the 5th in the series. And my vampire apocalypse series, V-Wars, is headed to TV, with a brilliant script by former Dexter head writer, Tim Schlattmann. Several other properties, including Rot & Ruin, The Pine Deep Trilogy, and others, are being discussed.

 

CARL SLAUGHTER:  HOW LONG AND HOW HARD IS THE JOURNEY TO THE SCREEN?

JONATHAN MABERRY:  Like most writers I’ve coasted the edges of the Hollywood experience for years. There are some frustrations, of course, but that’s part of the game. For example, back on 2007 I co-created a show for ABC-Disney called On the Slab, which was a horror-sci fi-fantasy news program. Disney paid us to develop it and write a series bible and sample script; and then there was a change of management in the department that purchased it. Suddenly the project was orphaned and therefore dead in the water. Another time producer Michael DeLuca (Blade, Magnolia) optioned the first Joe Ledger novel, Patient Zero, on behalf of Sony, who in turn took it to ABC, who hired Emmy Award-winning TV writer Javier Grillo-Marxuach (Lost) to write a pilot. Then after we’d gone a long way toward seeing it launch they decided instead to focus on the reboot of Charlie’s Angels, which flubbed badly. That’s Hollywood. I don’t take this stuff personally, though. And I never lost my optimism.

 

CARL SLAUGHTER:  WHAT ARE THE ROUTES TO TAKE AND NOT TAKE?

JONATHAN MABERRY:  It’s important to focus on presenting a positive brand and to turn out quality products. Being a prima donna doesn’t help you get in through the door. Being someone people can and want to work with is a big plus. Patience is also very, very important.

 

CARL SLAUGHTER:  HOW MUCH CONTROL AND INVOLVEMENT DO YOU HAVE IN THE DEVELOPMENT PROCESS?

JONATHAN MABERRY:  For most Hollywood projects the author has little input. I have a lot of friends who have had books optioned and developed, like Charlaine Harris (True Blood), Isaac Marion (Warm Bodies), Mike Mignola (Hellboy), and others. And although they dig what’s been done with their work –at least for the most part—they are often observing from a distance. That said, I own half of the V-Wars property, sharing ownership with IDW Publishing, so I will probably have a little more input there. And I’ve become friends with the producers who optioned Joe Ledger, and as a result they’ve invited me to participate in creative discussions.

 

61IfsYshYuL._AA300_CARL SLAUGHTER:  WHO DO YOU SEE CAST IN WHICH ROLES?

JONATHAN MABERRY:  My dream casting for my characters changes on a daily basis.

 

CARL SLAUGHTER:  HOW INVOLVED HAVE YOU BEEN IN DEVELOPING THE CHARACTERS AND PLOTS OF WHICH MARVEL PROJECTS?

JONATHAN MABERRY:  With Marvel my creative involvement varies. On projects like Marvel Zombies Return, the world was already created and I was asked to join a writing team along with Seth Grahame-Smith (Pride and Prejudice and Zombies), Fred Van Lente (Cowboys and Aliens) and David Wellington (Monster Island). We each had one issue to write and could pitch our own story, but that story had to fit into the overall five-issue arc.

With Black Panther, I was asked by Marvel’s editor-in-chief Axel Alonso, to come in and take over the book from Reggie Hudlin (producer of Django Unchained) who was leaving. I had to finish a few of Reggie’s storylines and then tie them into my own story arc, which I further developed into the DoomWar limited series.

Everything else I did for Marvel was entirely based on original pitches, including Captain America: Hail Hydra, Klaws of the Panther, Punisher: Naked Kills, and my series, Marvel Universe vs The Punisher, vs Wolverine and vs The Avengers.

I moved on from Marvel because I wanted to write horror comics and focus entirely on my original characters.

 

CARL SLAUGHTER:  HOW BIG OF A FISH ARE DARK HORSE AND IDW IN HOW BIG OF A POND?

JONATHAN MABERRY:  Dark Horse and IDW are blowing up. If Marvel and DC are the top tier, then Dark Horse, IDW, and Image are the next level. They also deal with a lot of licensed products. Dark Horse has Aliens and others. IDW has Transformers, X-Files, GI Joe and many more. And, of course, Image has The Walking Dead.

 

CARL SLAUGHTER:  WHAT TYPE OF RELATIONSHIP DO YOU HAVE WITH THEM?

JONATHAN MABERRY:  I had a lot of fun working with Dark Horse, but I only really pitched that one idea to them.

My relationship with IDW is much bigger and covers several product and formats. I did the Rot & Ruin: Warrior Smart graphic novel, which was a one-off; but my deepest involvement is with V-Wars and The X-Files. The V-Wars project began as a series of shared-world prose anthologies. I’d write a large framing story and then invite other writers in to do individual stories. The third volume, V-Wars: Night Terrors, just debuted. I also did a run of comics which have been collected into graphic novels as V-Wars: Crimson Queen and V-Wars: All of Us Monsters. The V-Wars TV series is in development and on Feb 15 we launch a board game, V-Wars: A Game of Blood and Betrayal, with insane rules written by legendary award-winning game designer Rob Daviau.

I did Bad Blood for Dark Horse, with brilliant art by Tyler Crook, and two books so far for IDW –both of which are based on my novels, Rot & Ruin and V-Wars. However these are not straight adaptations of my novels but instead new stories set in those worlds.

 

CARL SLAUGHTER:  X-FILES MADE A COMEBACK WITH A MINISERIES THAT STARTED AIRING IN JANUARY 2016.  FOX MADE AN ANNOUNCEMENT IN MARCH 2015.  YOU EDITED AN X-FILES ANTHOLOGY THAT CAME OUT IN JULY 2015.  DID FOX COMMISSION THAT PROJECT?

JONATHAN MABERRY:  I’m editing a series of X-Files anthologies. The first, The X-Files: Trust No One sold out its initial print run in record time. The second, The X-Files: The Truth is Out There, debuts February 16, and The X-Files: Conspiracy Theories is in development. The idea was cooked up by Ted Adams, CEO of IDW Publishing, and he asked me to come aboard as editor. Initially it was planned as a single anthology, but I talked him –and FOX, who holds the license—to let me do at least three. This was something we started working on before Chris Carter announced that he was doing a new series of the show.

 

CARL SLAUGHTER:  JOE LEDGER SEEMS TO BE SHERLOCK HOLMES, JAMES BOND, RAMBO, INDIANA JONES, AND VAN HELSING ALL ROLLED INTO ONE.  IS THERE ANYTHING HE CAN’T DO, ISN’T CUT OUT TO DO, DESPISES DOING, REFUSES TO DO?

JONATHAN MABERRY:  Joe is actually based on several real-life Special Ops guys I’ve had the pleasure of knowing. They are a remarkable breed, and they need to be capable of extraordinary things in order to do what they do. They aren’t like other people. They have high intelligence, good language skills, amazing coordination, and they are deeply trained in a variety of skills. There’s nothing Joe Ledger does that these elite special operators can’t –or don’t—do.

 

CARL SLAUGHTER:  WHAT ARE HIS WEAKNESSES?

JONATHAN MABERRY:  If Joe has a weakness, it’s the same thing as his strength: he is not motivated by politics but is instead a humanist. That means he gets hurt a lot, but it also means that he is damned hard to stop when he is doing what he feels is right.

 

CARL SLAUGHTER:  HOW IMPORTANT ARE HIS TEAMMATES / PARTNERS AND HIS INTERACTION WITH THEM?  OR IS HE PRETTY MUCH THE STAR OF THE SHOW?

JONATHAN MABERRY:  The team dynamic is what makes the Ledger series work. Although Joe Ledger is often alone for large sections of each book, his team always matters in getting the job done. That team includes the administrative genius of Mr. Church and Aunt Sallie, the tech skills of Bug and Dr. Hu, and the men and women of Joe’s field teams, notably Top and Bunny –his right and left hands. Without them, Joe would have died a long time ago; and with them he is a far more interesting character to write and, I’m told, to read.

 

CARL SLAUGHTER:  YOUR 8TH JOE LEDGER NOVEL IS COMING OUT IN APRIL 2016.  HOW LONG WILL THE JOE LEDGER SERIES CONTINUE?

JONATHAN MABERRY:  I have no plans to stop the Ledger series anytime soon. In fact I just sat down today to begin writing the 9th Ledger book, Dogs of War, and we have two cool projects coming up that support the series. The first is The Joe Ledger Companion, which is a nonfiction book that takes readers behind the scenes of Ledger and his world. It’s being written by Mari Adkins and Preston Halcomb, and I’ll be contributing to it as well. And then there’s Joe Ledger: Unstoppable, an anthology of all-original short stories about Ledger being written by wonderful A-list writers including Scott Sigler, Sherrilyn Kenyon, Steve Alten, Weston Ochse, Mira Grant, Jon McGoran, Javier Grillo-Marxuach, Joe McKinney, Jeremy Robinson, Christopher Golden and Tim Lebbon, Dana Fredsti, James A. Moore, James Ray Tuck, Larry Correia and others. That will be out in 2017.

 

CARL SLAUGHTER:  WHAT’S THE EXPLANATION FOR THE VAMPIRE / ZOMBIE WAVE?  WHY NOT GHOSTS, OR WEREWOLVES OR MERMAIDS OR UNICORNS OR DRAGONS?

JONATHAN MABERRY:  People will always love monsters, but zombies and vampires have a very special appeal to writers and readers. Zombies are a blank canvas; they represent a massive shared catastrophe which impacts the lives of every character in equal measures. The characters have their lives, their hopes and dreams, their protections and resources, all stripped away and must struggle for survival while at the same time trying to discover who they truly are. One introduced, the zombies become immediately less important that their effect on the lives of the human characters, and therefore the true focus on these stories is about people in crisis. That is an endlessly renewable creative canvas.

Vampires, on the other hand, represent a variety of other metaphorical problems: rape, abuse in all its forms, jealousy, fears of sickness, dreams of immortality, forbidden love, and so on. The vampire stories were once straight horror but now they’ve either become romances or they are a kind of super hero tale, much like the myths and legends of gods and demigods. Again, there are a lot of stories you can tell with that model.

 

CARL SLAUGHTER:  WHAT ARE THE VARIOUS HORROR SUBGENRES?

JONATHAN MABERRY:  Horror is a genre of fiction that has dozens and dozens of variations, including Gothic, body horror, suspense, psychological horror, ghost stories, religious horror, existential horror, monster stories, zombies, vampires, folkloric horror, extreme horror, paranormal romance, urban fantasy, dark fantasy, science fiction horror, and so on.

 

CARL SLAUGHTER:  WHICH ARE THE MOST POPULAR?

JONATHAN MABERRY:  Groups like the Horror Writers Association has awarded its coveted Bram Stoker Award to books as diverse as Thomas Harris’ crime thriller Silence of the Lambs to Stephen King’s subtle Lisey’s Story to J.K. Rowling’s Harry Potter and the Order of the Phoenix, to Joe McKinney’s brutal zombie thriller Flesh Eaters.

 

CARL SLAUGHTER:  WHICH ARE YOUR SPECIALTIES?

JONATHAN MABERRY:  Most of what I write tends to be hug on the scaffolding of the thriller, which is a model applicable to virtually any genre. I love the race against time to prevent something dreadful from happening. But I’ve also written in a variety of sub-genres in both long and short fiction and often go cross-genre.

Among the categories in which I’ve written we have vampires/American Gothic (Ghost Road Blues and its sequels), ghost stories (the short story “Property Condemned”), paranormal mystery (“Sherlock Holmes and the Adventure of the Greenbrier Ghost”), psychological horror (“Doctor Nine”), serial killer (“Saint John”), horror movie adaptations (The Wolfman), zombie apocalypse (Dead of Night andFall of Night), urban fantasy (“Mystic”), paranormal mystery (“Like Part of the Family”), dark fantasy (“We All Make Sacrifices”), weird western (“Son of the Devil”), historical ghost story (“Red Tears”), epic fantasy (“The Damned One Hundred”), Lovecraftian horror (“Dream a Little Dream of Me”), science fiction horror (Patient Zero andAssassin’s Code), weird science thriller (The Dragon Factory, Code Zero), post-apocalyptic existential horror (“The Wind Through the Fence”), Alt-History Steampunk horror (Ghostwalkers: A Deadlands Novel), post-apocalyptic zombie horror for teens (Rot &Ruin), folkloric horror (“Cooked”), historical horror comedy (“Pegleg and Paddy Save the World”), and so on.

Do I have a favorite? No, not really. I’m most in love with whatever genre or sub-genre I’m writing at the moment.

 

CARL SLAUGHTER:  HOW MANY TIMES HAVE YOU TAKEN HOME THE BRAM STOKER AWARDS?  HOW MANY TIMES HAVE YOU BEEN NOMINATED?  HOW MANY TIMES HAVE YOU NOT BEEN NOMINATED?

JONATHAN MABERRY: I’ve been fortunate to win five Bram Stoker Awards. I won Best First Novel for Ghost Road Blues, then shared a win for nonfiction with David Kramer for a book on the paranormal we wrote called The Cryptopedia; after that I won two back-to-back Stokers for Young Adult novels for books two and three of the Rot & Ruin series (Dust & Decay and Flesh & Bone); and more recently picked up on for Graphic Novel for Bad Blood.  As for how many times I’ve been nominated…I’m not really sure. Maybe ten or twelve times.

 

Black Panther Power_editedCARL SLAUGHTER:  WHERE’S THE STIFFEST COMPETITION?

JONATHAN MABERRY:  Every year there is such amazing horror writing being published, and often by close friends. It’s odd –but also fun—to be nominated alongside people you like and whose work you respect. That way, no matter who wins…it’s a party.

My first time out, however, I was up against Stephen King. Ghost Road Blues had been nominated for both Best First Novel and Novel of the Year. I won the Best First but King took Novel of the Year for his wonderful book, Lisey’s Story. If you have to lose…there is zero shame in losing to Stephen King.

 

CARL SLAUGHTER:  YOU’VE BEEN CRANKING OUT 2 OR 3 NOVELS A YEAR FOR THE LAST 6 YEARS.  PLUS COMICS, SHORT STORIES, ANTHOLOGIES, NONFICTION BOOKS AND ARTICLES, WORKSHOPS, BLOGS, BROADCASTS AND WEBCASTS, DOCUMENTARIES, PROFESSIONAL ASSOCIATION LEADERSHIP.  WHAT’S YOUR SECRET?  DO YOU HAVE A DOZEN CLONES?  AN ARMY OF ANDROIDS?  A GENE THAT OPTS YOUR BODY OUT OF SLEEP?

JONATHAN MABERRY: I was trained as a journalist and that doesn’t encourage one to be a slowpoke. Some of my professors were very aggressive and had us cranking out a couple of thousand words in the space of a few hours. After college I was a magazine feature writer part time, but even though I was working day jobs (variously –bodyguard, bouncer, jujutsu instructor, college teacher, graphic artist), I wrote over twelve hundred articles and at least three thousand reviews and columns. And I wrote more than a dozen textbooks and nonfiction books on subjects ranging from a history of competitive sparring to the folklore of supernatural predators.

When I switched to fiction a little over ten years ago I brought that same work ethic with me. I like the fast lane. Not everyone does. I have friends who prefer to write a book every couple of years. That’s not for me. I put it in high gear and keep my foot on the gas. And I write my best stuff under tight deadlines.

The last two years I’ve written four to six books per year, plus comics and a slew of short stories. I just signed an agreement last week to add a fourth book to this year’s slate, and there’s a possibility I’ll do a fifth.

Nowadays writing is my full time job. I write, on average, eight hours a day, and usually log about four thousand words. Between novels, comics, short stories and novellas I write about a million and a quarter words for publication per year.

That wasn’t how fast I started, of course. My first novel took years to write and revise. I got faster as I studied my own process and worked to improve my habits and deepen my understanding of the writing craft. It’s fun, though. And writing so many projects means that I’m always exploring new creative areas. I write for adults and teens, and I write in a variety of genre including thrillers, science fiction, fantasy, horror, Steampunk, alt-history, weird science, action, westerns, mysteries and more. I am never bored.

 

CARL SLAUGHTER:  WHAT WORKSHOPS, ADVICE COLUMNS, BLOGS, WEBSITES, AND BOOKS DO YOU RECOMMEND FOR WRITERS?

JONATHAN MABERRY:  I always advise new writers to attend writers conferences. The classes are useful and the networking is golden. The only writing book I ever recommend, however, is Writing the Breakout Novel Workbook by Donald Maass. It’s brilliant and incredibly useful, either for helping you feel your way through the plot or revising a draft.

 

CARL SLAUGHTER:  ANY ADVICE TO ASPIRING SPECULATIVE WRITERS?

JONATHAN MABERRY: There are several important things to know about becoming successful as a writer. Things I wish I’d known earlier in my career.

First –be very good at what you do. Having a natural gift for storytelling is great, but you need to learn the elements of craft. That includes figurative and descriptive language, pace, voice, tense, plot and structure, good dialogue, and many other skills. Good writers are always learning, always improving.

Second –learn the difference between ‘writing’ and ‘publishing’. Writing is an art, it’s a conversation between the writer and the reader. Publishing is a business whose sole concern is to sell copies of art. Publishing looks for those books that are likely to sell well. There is absolutely no obligation for anyone in publishing to buy and publish a book totally on the basis of it being well written. It has to be something they can sell. A smart writer learns how to take their best writing and find the best way to present it to the publishing world, and then to support it via social media once it’s out.

Third –you are more important than what you write. A writer is a ‘brand’. That brand will, ideally, generate many works –books, short stories, etc. Each work should be written with as much passion, skill, love, and intelligence as possible, but when it’s done, the writer moves on to the next project. And the next.

Fourth –finish everything you start. Most writers fail because they don’t finish things.  Be different.

Fifth –don’t try to be perfect. First drafts, in particular, are often terrible. Clunky, badly-written, awkward, filled with plot holes and wooden dialogue. Who cares? All a first draft needs to have in order to be perfect is completeness. It is revision that makes it better, and makes it good enough to sell. So, don’t beat up on yourself if your early drafts are bad. Everyone’s early drafts are bad. Everyone.

 

Carl_eagle

Carl Slaughter is a man of the world. For the last decade, he has traveled the globe as an ESL teacher in 17 countries on 3 continents, collecting souvenir paintings from China, Korea, Thailand, Vietnam, and Egypt, as well as dresses from Egypt, and masks from Kenya, along the way. He spends a ridiculous amount of time and an alarming amount of money in bookstores. He has a large ESL book review website, an exhaustive FAQ about teaching English in China, and a collection of 75 English language newspapers from 15 countries.

 

 

Review of Hugo Best Dramatic Presentation Long Form 2015

written by David Steffen

All of the nominees for this Hugo category this year were also nominees for the Ray Bradbury Award that goes with the Nebulas, which I reviewed over here.  At the time, Interstellar wasn’t available to rent yet, so I didn’t review that.  So, these are all repeats of that previous set of reviews, except Interstellar which I’ve watched since then.

1.  Edge of Tomorrow, Screenplay by Christopher McQuarrie and Jez Butterworth and John-Henry Butterworth (Warner Bros. Pictures)

Earth is under attack from an alien force known only as mimics, viciously deadly enemies that humans have only one battle against.  Major William Cage (Tom Cruise) works in PR for the US military and has been ordered to the frontier of the war in France.  The general in charge of the war effort orders Cage to go to the front lines to cover the war.  When Cage attempts to blackmail his way out of the mission, he is taken under arrest and dropped at the front with the claim that he had tried to go AWOL and so is quickly forced into service, given only the most passing training in the mechsuits that are standard issue, and dropped into battle with everyone else.  This area was supposed to be fairly quiet, but the battle here is intense.  Cage manages to kill one of the mimics, but dies in the act, only to wake up earlier in the day when he’d woken on the base in handcuffs after the general had him arrested. He dies again, and again, and again.  No one else has any memory of reliving the day except for Rita Vrataski (Emily Blunt), the super-soldier nicknamed “Full Metal Bitch” after she wreaked havoc against the mimics in the only battle against the mimics that the humans have won.  She confides that she had won that battle because she had gone through the same thing he had–as long as he dies he will always restart at the same time and place.

I avoided this movie in theaters, because I haven’t really gone to any Tom Cruise movies since he kindof went publicly nuts.  But I rented this one since it was nominated.  I thought Tom Cruise was back to old form in it, and even if you don’t like it, well you get to see him die literally dozens of times.  I thought Emily Blunt was especially good in her role as Rita, powerful but still affected by the PTSD of dying over and over and seeing so many die around her over.  The looping-after-death element makes for a cool dynamic when well-plotted and when placed against large enough obstacles, which was well done here.  Good spec FX, good casting all around, solidly entertaining.

2.  Interstellar, screenplay by Jonathan Nolan and Christopher Nolan, directed by Christopher Nolan (Paramount Pictures, Warner Bros. Pictures, Legendary Pictures, Lynda Obst Productions, Syncopy)

Widespread crop blight has put the world’s food supply in jeopardy, and the sustainability of life on earth is in serious question.  Much of the population is focused on farming efforts, pushing back against the inevitable as the Midwest turns back into a dust bowl.  Cooper (Matthew McConaghey) is a widowed farmer living with his father-in-law, son, and daughter.  His daughter Murphy believes she has a poltergeist in her room that knocks her books from her shelf, and though Cooper doesn’t believe in ghosts, he encourages her to measure and record the things she sees.  They find that there are binary coordinates coded into waves of gravity–they follow those coordinates and find a top secret research facility led by Dr. John Brand (Michael Caine).  A wormhole has opened up near Saturn that opens to an unknown location in another galaxy, and they have been working in secret to colonize any inhabitable planets they may find on the other end of the wormhole.  Some people have already been sent through to scout, and some information has been relayed which suggests some of the planets might be inhabitable.  They recruit Cooper to pilot the mission.  He reluctantly agrees, for the sake of saving his family, even though he will miss his children growing up while he is gone.  He goes on the mission with two others, Dr. Amelia Brand (Anne Hathaway) and two other scientists, as well as two repurposed military robots, TARS and CASE.  While Cooper and the others continue on their mission, Dr. Brand and the other scientists on Earth try to solve the remaining problems necessary for the colonization effort to be successful if Cooper and the others can find a habitable planet.

I was skeptical of Matthew McConaghey, because I haven’t seen him in a lot of things that I thought he was particularly good in, but this was probably the best acting I’ve seen from him–I thought he was very convincing.  The casting all around was very good, no complaints there.  I thought as the movie progressed that the convenient reveal of the wormhole was kind of a deus ex machina in terms of this universe, not in terms of the movie, since it appears early in the movie.  It’s clear that the people in the movie in general are of no better preparation for the end of humanity than we are in our world, but in their world a convenient solution shows up right when it’s needed.  This ends up making some sense later on, but it kind of had me skeptical as well.

The robots were kind of weird.  I like robots, don’t get me wrong, but they were rectangular prisms that usually seemed to be too awkward to be threatening military units, though they did show their mobility and abilities better later in the movie.  I was often distracted by the weird design, though, when I was supposed to be paying attention to other things.

There are a lot of good, convincing special effects, tense moments, a lot of good emotional tension with family’s split by the tension and especially with Cooper fighting so hard to succeed at his mission–even if he can never see his family again he is fighting for their survival.  This is a major theme in the movie, used to good effect, the discussion of of how family love like that, while we generally think of it as positive, can make you consider only your personal relationships over the fate of humanity, choosing personal connections over the survival of the species.

3.  The Lego Movie, Screenplay by Phil Lord & Christopher Miller  (Warner Bros. Pictures)

Emmett Brickowski is just a regular guy, pretty much the poster child for averageness in a world of Legos.  He does everything exactly the way he’s supposed to do, but no one pays much attention to him.  He meets a strange woman name WyldStyle who tells him he is the subject of a prophecy, the most interesting person in the world and the one who will save everyone from President Business who rules over all of Brickburg.  WyldStyle is a master builder, a rare class of lego person who can take random Lego parts and turn them into a variety of imaginative things.  She is part of an organized rebellion of master builders, and Emmett joins them in their fight.

I enjoyed this story thoroughly from beginning to end.  The voice acting is great all around (particularly that of Chris Pratt as Emmett, Nick Offerson as Metal Beard, Will Arnett as Batman, and Liam Neeson as Good Cop/Bad Cop).  Lots of fun, weird imagination, and as they see out of the worlds they travel and into the real world there’s actually a relatable real life story tied into it.  Great stuff all around.

 4.  Guardians of the Galaxy, Written by James Gunn and Nicole Perlman (Walt Disney Studios Motion Pictures)

I hadn’t heard of this Marvel franchise until this movie came out, one of the more obscure ones.  In 1988 a young Peter Quill is abducted by aliens by a band of space pirates and is raised as one of them.  In the present day he has his own ship and has grown up to be a bounty hunter (Starlord by name), taking whatever odd jobs he can find for money.  After taking what seems to be a pretty straightforward job to find and deliver an orb, he’s suddenly the focus of attention from the assassin Gamora as well as the bounty hunters Groot (a tree person) and Rocket (a one-of-a-kind genetically modified raccoon) who are all after the orb.  In the scuffle for the orb, they are all arrested and locked in a prison. Gamora tells them of her adoptive father Thanos who wants the orb for nefarious plans. They decide their only chance of escape is to work together, with help from another prisoner Drax the Destroyer, and stop Thanos.

Solidly fun, another Chris Pratt work, probably my favorite role that I have seen him in.  Great casting all around, with Bradley Cooper memorably voicing Rocket.  Action-packed, solidly fun popcorn movie.  Lots of memorable lines, memorable fights, really no complaints all around. 

5.  Captain America: The Winter Soldier, Screenplay by Christopher Markus & Stephen McFeely (Walt Disney Studios Motion Pictures)

Two years after the Battle of New York (depicted in The Avengers), Captain Steve Rogers aka Captain America (Chris Evans) is working for Nick Fury at SHIELD, and trying to adjust to modern society.  SHIELD is on the brink of completing one of its most ambitious projects, a set of three helicarriers that fly in low orbit and link to a network of spy satellites that are meant to find and kill threats to society all over the globe.  Not long before the project comes to fruition, Nick Fury is hit with a large scale and no-holds-barred attack led by a mysterious assassin known only as the Winter Soldier.  Despite all of Fury’s security measures, he barely escapes with his life to warn Rogers that SHIELD is compromised.  Rogers works together with Natalia Romanoff aka the Black Widow (Scarlett Johansson) to get to the bottom of it.

This was one of my least favorite Marvel movies in the recent years of the franchise, which almost always produces movies I enjoy.  There was certainly a lot going on, but the movie was quite long and it seemed like the fight scenes were drawn out way way too long, as if the director thought the movie needed to be padded.  Neither the fight scenes nor the non-fight scenes did a lot to hold my attention.  It might just be because I’m more interested in the superheroes with more fun powers instead of just the shield.  For me the highlight of the movie was the platonic friendship between Rogers and Romanoff–a fun dynamic there.

Movie Review: The Avengers

written by David Steffen

I’ve been a fan of Marvel Comics and their various media productions for a long time. The most recent of their movie productions is “The Avengers.” As far as I know it’s unique in taking several other recent successful Marvel title superhero movies and combining them with the same actors into a single movie. Robert Downey Jr. as Ironman, Chris Evans as Captain America, and Chris Hemsworth as Thor, each of which had held the title role in a recent Marvel movie.

I’ve gotten behind on my Marvel movies in the last few years. I saw Iron Man, but not Thor or Captain America (I think it’s weird that Chris Evans plays both Captain America and Johnny Storm, but I digress), so even though I was aware of these other movies, I hadn’t seen these other characters in action until now.

The movie begins as Thor’s brother Loki crosses into our world with the intent to lead an army of warriors from another dimension to enslave the Earth. Nick Fury (Samuel L. Jackson) calls on the disparate group of superheroes codenamed the Avengers to battle this menace. The group has yet to be formed at that point, but the group put together is made up of Iron Man, Black Widow, The Incredible Hulk, Thor, and Captain America. The group has been chosen for their power, not for their teamwork, which becomes clear very early on as squabbles ensue regarding who is making the decisions. But as Loki’s war looms ever larger, they have to find a way to work together to stop this dire threat to Earth.

A fair warning: this is a long movie. 143 minutes long. But that’s to be expected for a movie based around a group of 5 title characters played by big budget actors. To really make a movie based around the whole group, each character has to have some time spent on their character arc, in a way that allows them all to combine into the major plot arc. This was a difficult balance to strike, but I think they did it admirably well. Never did I feel that one of the characters was hogging the screentime, and each character got his chance at scenes that revolved around them, as well as scenes that involved lots of quick fighting and/or dialogue between them and other members of the team.

The plot was reasonably good. Was it corny at times? Sure, I mean its based around a team that includes a Norse God and an over-patriotic 1940s superhero battling space aliens, so a bit of corniness is a given. But the makers of the movie took these strange and disparate, apparently clashing elements, and made them into a cohesive action-packed riproaring good time of a movie. The interactions between these different powerhouse superhumans are one of the best parts, especially Iron Man’s cynical self-reverence onscreen with Captain America’s “ask what you can do for your country” attitude. Tony Stark/Iron Man still gets the best clever lines, and Downey pulls them off wonderfully.

THE best part, though (and this surprised me) was watching the Incredible Hulk smash… well, pretty much whatever gets in his way. I’m surprised because I would’ve expected to prefer something less predictable and more intellectual. I mean, it’s no mystery that the Hulk can pretty much smash anything and is apparently impervious to everything, so where’s the tension? Maybe that’s a way in which movies can have a different kind of appeal that written work. I didn’t feel any tension about the Hulk because I knew he’d survive and I knew he’d wreck a lot of stuff in the process, but the sheer spectacle of his fighting was like watching a natural disaster, inevitable destruction after which all you can do is try to clean up. If they’d filled a whole movie with that I probably would’ve gotten bored (I haven’t seen the Eric Bana and Edward Norton Hulk movies of the last ten years) but it was paced very well so that the Hulk only came out a few times but he stole the stage every time he did.

I’d recommend this movie for any comic fan, action fan, anyone who just wants a good riproaring time.