Mimoco Star Trek™ X MIMOBOT® Flash Drive Collection Giveaway [ENDED]

THIS GIVEAWAY HAS ENDED AND WINNERS HAVE BEEN CHOSEN BUT SINCE THE ITEMS ARE ON BACK-ORDER THEY WILL BE NOTIFIED ONCE THEY COME IN STOCK. PLEASE CHECK BACK EACH WEEK FOR NEW GIVEAWAYS!

Star Trek was and always will be ahead of its time. This beloved franchises has broken-ground in TV, Film, Animation, Comic, and now Flash Drives with the release of Star Trek X MIMOBOT® Series 1.

To celebrate Mimoco’s latest release with it’s Star Trek™ X MIMOBOT® Flash Drive Collection, Media Mikes is proud to giveaway one complete collection including Captain Kirk, Spock, Captain Piccard, and Data. If you would like to enter for your chance to win this great prize, please leave us a comment below or send us an email indicating your favorite Star Trek character. This giveaway will remain open until December 16th at Noon, Eastern Time. One entry per person, per household. All other entries will be considered invalid. Media Mikes will randomly select winners. Winners will be alerted via email.

This first collection of Mimobots features four Star Trek favorites (Captain Kirk, Spock, Captain Piccard, and Data) in classic MIMOBOT style and is available with up to 64GB of data storage. The entire line also comes pre-loaded with exclusive Star Trek Mimory™ content including never-before-seen material from the Star Trek: The Next Generation™ Blu-ray release, classic toy commercials, and vintage comic books.

The line also comes with the MimoDesk™ personalization suite, which includes Star Trek-themed wallpapers, icons and avatars. Last, but not least, each Star Trek MIMOBOT comes equipped with MimoByte™ sound software powered with a huge offering of iconic sounds and character dialogue that play each time a Star Trek MIMOBOT is inserted or ejected from one’s computer.

The Star Trek X MIMOBOT® Series is now available online at www.mimoco.com and at select specialty outposts on planet Earth.

Say what you will about it’s original sets and attitudes, but Star Trek has always been an enduring beacon of humanity’s future potential. Roddenberry’s original goal can be achieved by working together irregardless of Gender, ethnicity, and even Species…we’re looking at you Worf…

3D Blu-ray Review “Ice Age: Continental Drift 3D”

Actors: Ray Romano, Denis Leary, John Leguizamo, Aziz Ansari, Joy Behar
Directors: Mike Thurmeier, Steve Martino
Rated: PG (Parental Guidance Suggested)
Studio: 20th Century Fox
Release Date: December 11, 2012
Run Time: 88 minutes

Film: 3.5 out of 5 stars
Extras: 4 out of 5 stars

When I the last chapter in this “Ice Age” franchise, which was also the first in 3D”, “Age of the Dinosaurs”, I thought the series had jumped the shark.  After a few viewings though, I that film has grown on me.  I was excited right off to see “Continental Drift”.  I thought the story looked cute, the 3D looks sharp and the new characters were fun.  I was right on all-three aspects.  This isn’t anything ground breaking in the story department but perfect for kids.  There are a bunch of great new characters, voiced by Jennifer Lopez, Aziz Ansari and Peter Dinklage.  This installment also introduces music into the film, with original songs and I think it works very well. Overall, I am very satisfied with this film and is perfectly timed for release to make a perfect Christmas gift this holiday season for every kid. Can’t wait to see what they come up with for the fifth installment in the “Ice Age” franchise.

Official Premise: This all-new chapter in the beloved Ice Age franchise reconnects families with herd favourites Manny, Sid, and Diego. Joining familiar friends of the Ice Age world on their latest journey is Sid’s long-lost and side-splittingly funny Granny plus a band of pirates led by the fearsome orangutan Captain Gutt. And no Ice Age film would be complete without celebrated icon Scrat, whose existence revolves around the elusive acorn. Scrat once again returns with his very own exploits; however this time his pursuits result in world-changing consequences.

One of the best aspects of the “Ice Age” franchise has always been its amazing voice cast. Ray Romano is always fun to listen to playing Manny.  Denis Leary plays the tough guy with the big heart, very well as  Diego.  John Leguizamo was born to play Sid with that lovable slur. Queen Latifah joined the cast last year voicing Ellie and is a nice match for Manny. Also Seann William Scott returns voicing Crash and  Simon Pegg as Buck.  Newcomers to the cast include Nicki Minaj voicing Steffie and parents will enjoy the “Shaun of the Dead” reunion as Nick Frost joins the cast with Simon Pegg voicing Flynn.

Fox delivers this release with a wonderful combo pack included the 3D Blu-ray, the standard Blu-ray, DVD, Digital Copy and also Ultraviolet digital streaming copy. You can literally want this film whenever and wherever you are. The 3D presentation really suits this franchise well and looks even better at home in a sharp 1080p transfer with an aspect ratio of 2.40:1. I think that the depth added in the 3D and really makes the action scenes feel like your on a rollercoaster ride. Besides the 3D, the film is also backs but an incredible DTS-HD Master Audio 7.1. There is no aspect of this Blu-ray release that isn’t amped up and ready to blow you away.

The special features are exploding out here with over four hours of extras.  Kids are going to eat up watching the film with the interactive “Party with a Pirate!” mode, very fun.  There is also a sing-along mode as well. I actually really enjoyed the original songs included here! There are many exclusive featurettes included, which gives some fantastic background into the production.  “Through a Pirate’s Spyglass: Voices Ahoy and Capturing the Crew” look into the recording sessions with the cast. “Granny and the Stink of the Sloths”, “Scrat Got Your Tongue?” and “Whale of a Tale: Drifts, Rifts, Beasties and Myths” focus on each of the respective characters and their aspects in the film.   There are two music video for the songs “We Are” and “Chasing the Sun”.  There are also some decent deleted Scenes included. “The Scratist” is an all-new animated short spoof with the lovable Scrat. “Ice Age: The Story So Far” is a seires overview for those who need a refresh on the first three films.  Lastly there are the original theatrical trailers included.

Book Review “The Three Stooges: Hollywood Filming Locations”

Author: Jim Pauley
Hardcover: 336 pages
Publisher: Santa Monica Press
Release Date: December 15, 2012

Our Score: 3.5 out of 5 stars

When I think about The Three Stooges, I think about the classic days of Hollywood.  I think about real sets and classic film production.  If you are a fan of The Three Stooges, like myself and have the same questions, then “Hollywood Filming Locations” is for you. It exploring the original locations that were the sites of the Stooges’ most famous Columbia Pictures short films made in and around Hollywood between 1934 and 1958.  The book is really well done and beautifully delivered, thanks to Santa Monica Press.

The details of the book are jam-packed with numerous archival photographs, some of which are rare and never-been-seen before or published. They also range from some really neat candid shots to classically vintage publicity stills.  Then there are simple screen captures from films and other contemporary photographs.  This isn’t just photos of The Stooges though, there is a focus on the location themselves within aerial views and maps detailing this locations. This book isn’t just photos though, there are quotes throughout from the Three Stooges’ directors, supporting actors, and family members.

Jim Pauley is definitely the author for this book.  He is a noted expert on the Three Stooges filming locations.  He has written articles on this subject since 2001 published in “Three Stooges Journal”, which is released by the Three Stooges Fan Club. He really gets a chance to show his love for this trio of comedic legends.  There is also a very sharp foreword from film critic Leonard Maltin. If you are a Stooges fan , then this book is a must have to show Hollywood’s cinematic history and the legacy of these comedic geniuses.

 

Christopher Bessette talks about his film “Trade of Innocents”

Christopher Bessette is the writer and director of the film “Trade of Innocents”. The film recently played in the Toronto Cornerstone International Film Festival and we were awarded “Best Feature”. The film was released limited in theaters early this Fall and will be released on DVD on December 11, 2012. Media Mikes had a chance to chat with Christopher about the film, what people can do to help in real life about human trafficking and also what he had plans next.

Mike Gencarelli: You have not has a simple career as filmmaker ranging from places like Amazon and the jungles of Central America, Russia, South East Asia, throughout Europe, across Canada and most of the United States; what do you enjoy most about working in so many different situations?
Christopher Bessette: I am really grateful for the places my career has taken me. You learn to be sensitive to cultural differences and become the observer in the nuance of communication… primarily because you don’t speak the language, so you learn to watch their physical mannerism and reactions.  This has been invaluable for me as a director.

MG: Tell us about how you were inspired to write and direct “Trade of Innocents”?
CB: Interesting how coffee shop conversations can ultimately lead you to the other side of the world. In 2008 I was in a coffee shop with a friend and she shared with me her missions work with orphans in Cambodia.  She told me about the plight of the people and the intense suffering they’ve endured.  My heart was broken and I immediately thought of two of my characters that are in Trade of Innocents. Two months later I get a surprise phone call from a broadcaster that I had worked with 17 years earlier and they asked me to help them tell a story about an organization that rescues children from the sex trade in CAMBODIA! I already had a story that I wanted to tell, so the trip would be dual purpose, I’d do the work for the broadcaster and I’d location scout and research for my movie.  So now I’m in country and I am seeing things happen all around me.  When your readers see the movie and the “Puppy Love” scene in the bar of the hotel; that really happened.  I chased down a perpetrator, following an investigators lead, exactly like the scene in the movie.  People might say, “come on” but if they could feel an ounce of pain my soul suffered when the pedophile was getting away with the little girl, they’d understand why I wept when we recreated that scene for Trade of Innocents… even as gut wrenching as that was, still it wasn’t the impetus.  On that same trip I found myself in the village of Svay Pok, 11 KM outside of Phnom Penh in a building called Rahab’s House. If you’ve seen the Dateline report, this is the building that was a notorious brothel. It is now used used as a community center, day care, medical clinic, church etc.  I went upstairs to the second floor, the room was sterilized freshly painted and void of furniture. Rahab’s House administrator told me that the room upstairs, “The Virgin Room or the Pink Room” was the room brothel owners held children as young as 5, 6 years old for the pedophiles.  I looked out of the bared window of that room to the dirt streets below and saw children playing. I wondered if a little girl looked through this same window wondering why she couldn’t be out there with her friends. I found myself whispering the words, “Oh God, help me tell her story, I have to do something, help me tell her story.”  Needless to say I came home with the story burning in my heart.

MG: How was it working with such an amazing cast like Dermot Mulroney, Mira Sorvino, John Billingsley and Trieu Tran
CB: Absolutely brilliant. Each actor has a different approach. My job is to serve each one so we communicate effectively and in-turn they serve the story, and the story serves the audience.  Here’s where the multi-culture experience comes in handy, I watch their unspoken communication actions and reactions and that gives me clues on how to effectively communicate with each of them.  Trieu Tran and I were in-sync from the beginning, I would say “a couple of words” to Trieu and he’d be like, “gotcha” and boom it would be outta the park!  All of these people are incredible professionals and my level of work with them is very subtle, whereas with other actors in the same piece, it is a lot more intense.  The end result is you’re looking for balance.

MG: Where you aware of Mira’s position on the topic of human trafficking before casting?
CB: She was a goldmine find.  I wasn’t personally aware of it but when her name came to the table, everybody on the producing team started buzzing about her passion with the  issue.  To have an actress that is extremely skilled and passionate about the issue is such a huge blessing.

MG: How does “Trade of Innocents” compare from your previous films?
CB: It is ambitious,  it carries poetic imagery of subtext, that for the viewer looking for it, will find.  I won’t spoil all of it by telling you, but the theme of redemption runs throughout… in each of the characters, even in colors.  The color red for example is typically associated with the red light district or a lady of the night, but in our film you’ll find it played in all of the positive ways, the red krama (scarf) the red drapes in Princess Willow Leafs palace, the Crimson Sun Bird that leads Amy into shanty town etc.

MG: Do you think that this film will create awareness for this “epidemic” of a situation?
CB: One film won’t be the answer, people will. The film will entertain but I hope that somewhere along the journey the viewers realize, “This is really going on!”  There is a collective voice that is silent for the most part crying  – that little girl looking through the bars of a window, hoping that a modern day abolitionist will stand up and say, “Enough, this is wrong.”  I hope it stirs those people that will make a difference.

MG: What do you have planned to follow-up this film?
CB: From real life drama / thriller in “Trade of Innocents” to real life drama in a supernatural thriller: imagine if I told you “The 6th Sense” was real.  True Story –  A 12 year old boy wakes from a coma and he is unable to speak but he can write.  He writes two letters, to two families, street addresses it to their house and everything… but he’s never met them before.  The contents of the letters contain exact details and names of their deceased children he’s met on the ‘other side.‘ They have a message for their parents and the world.

Blu-ray Review “The Doobie Brothers: Let the Music Play -The Story of the Doobie Brothers”

Starring: The Doobie Brothers
Distributed by: Eagle Vision
MPAA Rating: Not Rated
Release Date: November 13, 2012
Total Running Time: 148 minutes (including extras)

Our Rating: 2 out of 5 stars

With a career spanning over 40 years, over 40 million albums sold, and 25 band member line-up changes, the Doobie Brothers are a band that’s a ripe subject for an amazing documentary that chronicles their highs and lows and downs and outs. Unfortunately, “Let the Music Play” isn’t that documentary. While it does satisfy the prerequisites through band member interviews and archival footage and stills, it doesn’t really grab hold of the reigns and become something that is completely engaging or memorable.

The film establishes its pattern from frame one: talking head > concert footage/stills > repeat. While the stories each of the Doobies tell are fairly interesting, there are constant and tedious refrains of self-praise (“This is a band that could play anything!”) and stories of how a relentless recording and touring schedule burnt out so many members of the group. It’s pretty cut-and-dry stuff and, as a result, “Let the Music Play” never ascends above the level of a “Rockumentary 101” student’s final project.

How could the documentary have been a better one? For starters, the interview questions could have been a lot more probing and elicited more personal responses that shine a light on the band’s soul. We don’t get to hear any anecdotes or specific “There was this ONE time on the road…” stories that often make band bio films fascinating. It would be one thing if the Doobies were fairly droll individuals who weren’t articulate and interesting to listen to, but that’s far from the case. Throughout the entirety of “Let the Music Play”, we keep waiting for those stories that probably could and want to tell – the ones that we’ll remember after the end credits have rolled – but they’re never delivered.

The filmmakers would have done well to borrow some well-established motifs – and dare I say clichés – that are constantly used in the myriad of “making of classic rock albums” docs that have been released over the past decade. Legendary producer Ted Templeman factors into “Let the Music Play” quite frequently, shedding light as to what working with the Doobies was like, and accurately describes them as “Crosby, Stills, Nash and Young with leather jackets”.Given this, why not put him behind a mixing console so he can play some of the individual tracks from the multi-track studio mixes to highlight some of the three-part harmonies that made songs like “Black Water” unique and classic? It’s a huge missed opportunity that could have added the type of depth that the film as a whole lacks. And what about all of those guitars we see behind each of the guitarists while they are being interviewed?  Why not let them play them from time to time to demonstrate how some of the classic licks that the Doobies are famous for were created? Pat Simmons has a guitar in his lap whenever he’s talking to the camera!  Alas…another missed opportunity.

Perhaps the biggest shortcoming of “Let the Music Play” is that it really doesn’t let the music play much at all. It would be one thing if footage of great performances were scarce but that’s clearly not the case given that the disc’s sole extra is 48 minute worth of live performances. The nine tracks that comprise this bonus feature are presented chronologically and span a wide range of the years from longhair to mullet to grey. The opener, “Rainy Day Crossroad Blues”, shows lead vocalist and guitarist Tom Johnston and a handful of his band mates gathered in a circle around a hotel’s outdoor pool area. A single camera on a tripod captures Johnston chunka-chunking away at his acoustic guitar and singing the lyrical sections that he’s already come up with for the song and humming the rest. It’s a stop-and-start affair full of trial and error, but the net result is that we get front-and-center seats to see the miracle of life as a new song is born. Even though this home movie clip runs a mere four minutes, it’s more fascinating that the entirety of the 100-minute documentary that it’s been tacked on to. Adding it and a couple of the other live footage clips to the film would have allowed “Let the Music Play” become something special and worthwhile.

It’s a shame that the film falls so short of being the definitive documentary about a band that is so proficient and significant and whose music is often timeless. “Let the Music Play” should, when inhaled, provide a great high but, instead, only delivers a disappointingly weak buzz.

Film Review “The Hobbit: An Unexpected Journey”

Starring: Martin Freeman, Richard Armitage and Ian McKellen
Directed by: Peter Jackson
Rated: PG 13
Running time: 2 hours 49 mins
New Line Cinema

Our Score: 4.5 out of 5 stars

Sometimes we build up our expectations, often to the point that we can never be satisfied. Francis Ford Coppola has made some film masterpieces but they are often compared, unfairly, to “The Godfather.” Michael Jackson’s “BAD” is a great album. But it’s no “Thriller.” After “The Lord of the Rings” trilogy Peter Jackson could have said “sorry, no more Tolkien stories for me.” But he’s back with the first of three films based on J.R.R. Tolkien’s “The Hobbit.” Is it “The Lord of the Rings?” No. But you already knew that.

Taking place about 60 years before the adventures chronicled in “The Lord of the Rings” films, the story begins with an elderly Bilbo Baggins (Ian Holm) writing in a notebook. He is recounting his younger days for other Hobbits to learn from. The story is one of adventure, dwarves and a certain creature who goes by the name Gollum. What follows is a jaw-dropping visual carnival courtesy of Peter Jackson and company!

Full of everything from giant spiders to goblins, from Orcs to a giant dragon, “The Hobbit: An Unexpected Journey” is a two hour-plus adventure into a world never seen before. The tale finds young Bilbo (Freeman) being visited by the great Wizard, Gandalf (McKellen) and thirteen Dwarves, led by the great warrior, Thorin (Armitage). Along the way they come across virtually every creature that Jackson and the people at WETA could devise. And this is the drawback of the film. It is almost TOO crowded with strange and exotic creatures. Like “King Kong” before it, it seems like Jackson decided if it can be made let’s put it on film.

The film is also shot in a process that’s is explained as such: normally film goes through a projector at the rate of 24 frames through the gate per second. Jackson has filmed “The Hobbit” at the rate of 48 frames per second, which gives the film an incredible clarity that is actually off putting for the first 20 minutes or so. However, once you get used to it the images are quite breathtaking, especially during the battle sequences.

There are two more films planned to tell the story of “The Hobbit.” Will they be better than “The Lord of the Rings?” Probably not. But if they’re anything like “The Hobbit: An Unexpected Journey,” that should be just fine.

 

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Blu-ray Review “Osombie”

Actors: Corey Sevier, Jasen Wade
Directors: John Lyde
Rated: Unrated
Studio: Entertainment One
Release Date: December 11, 2012
Run Time: 94 minutes

Film: 3 out of 5 stars
Extras: N/A

Zombie Osama Bin Laden? What will they think of next? If that doesn’t draw you into “Osombie”, nothing will. Obviously, you know that this film needs to be taken with a very large grain of salt. But believe it or not, this film works.  It is a nice mix of action and horror. There are swords, guns, zombies and exploding heads.  How can you say no to all that? I mean the terror isn’t really there but the special effects are decent for a low-budget film.  Did I mention again this has a Zombie Osama Bin Laden? Shake you head if you want but this is worth checking out for a good laugh.

Officie Premise: Dusty (Eve Mauro) is on a desperate mission to rescue her brother, a conspiracy theorist who is convinced Osama Bin Laden is still alive. In Afghanistan, she falls in with a team of Special Forces soldiers on a secret assignment. When the group crashes headlong into a zombie apocalypse, Dusty and the troops realize they must find and destroy the root of this evil before it s too late.

Believe it or not the Blu-ray presentation on this low-budget action/horror flick looks impressive.  The 1080p transfer also compliments the effect work quite well. The audio track included, DTS-HD Master Audio track, doesn’t break any new ground but works with the action scenes.  Though on the downside of this release, there are zero special features includes, as this is completely bare bones.  I was hoping for a make-up effects featurette or at least a commentary track from the director explaining himself for bringing back Bin Laden and then killing him again.  This release is still worth checking out for a decent laugh.

DVD Review “Futurama: Volume 7”

Creator: Matt Groening
Cast: Billy West, Katey Sagal, John DiMaggio
Rated: NR (Not Rated)
Studio: 20th Century Fox
DVD Release Date: December 11, 2012
Run Time: 286 minutes

Film: 3.5 out of 5 stars
Extras: 4 out of 5 stars

When this show got canceled back in 2003, I was dying for more “Futurama”. Between me and you, I like this show far better than “The Simpsons”, post-90’s. This volume contains the first 13 episodes of the seventh season of the show. This season has some really good episodes. This season touches base on everything happening in pop-culture this year from the Maya Calender to the election to even Bender having a baby. Some of the best episodes of the series here and a real improvement from season six. These episodes also have a great replay value and only get funnier. If you want more “Futurama”, the second half of season seven begins in June 2013.

Official Premise: Crank up the gravity and put your head safely in a jar! It’s Volume Seven of FUTURAMA – the animated sci-fi comedy from The Simpsons creator Matt Groening. Crammed with a whole new dimension of extras not shown on TV, this cosmic collection includes 13 bizarre and brilliant episodes involving ancient prophecies, Presidents’ heads, robot gangsters, angry butterflies, and of course, sausage-making. It’s a shipload of futuristic fun!

The episodes includes in this volume are: The Bots And The Bees; A Farewell To Arms; Decision 3012 ; The Thief Of Baghead; Zapp Dingbat; The Butterjunk Effect; The Six Million Dollar Mon; Fun On A Bun; Free Will Hunting; Near-death Wish; 31st Century Fox; Viva Mars Vegas and Naturama.

The special features are A-MAZING! There are commentary tracks on all of the 13 episodes from this season.  There is even a bonus commentary on the second episode “A Farewell To Arms” from the Animators of Rough Draft Studios.  These are worth the price of the release alone! There is an alternate ending for the fifth episode “Zapp Dingbat”. I am a big fan of the score from “Futurama” and there is a nice feature on the composer “Christopher Tyng’s Big Score”, read our interview with Christopher here. There is a funny sing-along with the character in “Futurama Karaoke”.  Lastly there is a funny infinite loop for “Möbius Trip” and some really great collection of deleted scenes in “Too Good For TV”.

Jessica Lange chats about her role in “American Horror Story: Asylum”

Jessica Lange played the role of Constance in “American Horror Story” last year and ended up winning both a Emmy and a Golden Globe for her role in the show. In “American Horror Story: Asylum”, Lange is back and is playing the role of Sister Jude, with an even darker past. Media Mikes had a chance to chat with Jessica Lange about the role in the show and her feelings on this season.

Mike Gencarelli: I think in the first season the scares were certainly slightly more supernatural and this one it’s more real, serial killers, and far more bloody.  What effect do you think that has on the audience for “American Horror Story: Asylum”?
Jessica Lange: I think it’s darker.  I think the whole story is darker this time.  It deals, I think, on a much darker psychological level.  You’ve got human experiments.   I think in some way last season was a ghost story, and this season it really is the darker parts of the human psyche that Ryan is exploring.  I think the affect is that it’s hard to watch, I hear that from people a lot.  “I can’t watch it, it’s too horrifying,” or whatever.  I don’t know, I think you have to strike a balance.  I think this season became darker than anybody anticipated, just because of the subject areas that they laid out in the beginning, I mean, the thing with the ex-Nazi SS doctor and human experiments, and the serial killer based on this character Ed Gein.  Yes, the warehousing of human beings in these institutions, madness, I mean, yes, there’s a lot of subjects that they’re covering, the Catholic Church, that lend themselves to great horror stories.

MG: Can you reflect on the difference between your characters from the first season, Constance very much seemed to be the puppet master, but in the second season Jude is fast becoming our very complex hero as the season develops.  How different are Jude’s intentions to Constance’s, and what did you really want to bring to Jude that you may not have been able to do with Constance?
JL: I think “puppet master” is a very good description of Constance.  The thing that I found, kind of the spine of the character of Constance, was that this was a woman who had basically lost everything and had nothing left to lose and also was extremely, what can I say, unafraid, so she just manipulated her way and put herself in situations that probably other people would not have.  With Jude she has a lot to lose because she’s holding on to something that she feels has saved her life and redeemed her, and then when it all becomes clear that everything was false, from the idea that she did not run over and kill this child, which is what sent her on this whole path, trying to find some kind of life, some redemption, some spiritual life, that when she discovers everything is false from the beginning, there’s a descent into madness that is completely different and for me much more interesting to play. I thought Constance was a wonderful character, she was kind of a throwback to the ’40s, kind of tough dame, sweet talking but with a real edge, she did not suffer fools, nothing went past her, she had a way of moving through everything and getting what she wanted.  This woman is much more vulnerable and I think in some way tragic.  She’s destroyed her life.  She’s an addict.  She’s an alcoholic.  She’s had bad luck with men, a lot of bad men in her life.  And she’s come to the end of the road with the hopes that this church, that this man, the Monsignor, is going to save her, that she’ll become something else, that she’ll make her life worth living.  And of course that all comes down, crashing, and she’s left absolutely alone, completely and totally alone, and those are two things I love playing because you also find them in Williams’ characters, the thing of aloneness, the idea of being completely alone in the world and couple that with madness, and it’s a really potent combination to play.

MG: Do you want more challenges in your “American Horror Story” tenure? Is there ever times you feel it goes to far?
JL: Well, there are times when I’ve said, “I think this is too much,” but that’s not been too often because they tend to write for me less action and I don’t know, maybe more kind of psychological.  But that’s been better.  I wouldn’t really know how to do a lot of the really intense action scenes, so I have a few of those but not many.  I think there was a leap of faith on my part just thinking, well, if I’m going to do this I’m going to do this.  And I think as an actor you have to have trust, you have to believe that somebody is taking care of you or watching your back, because with a part like this especially and where we’re going with it, I can’t pull any punches, I can’t do it halfway, especially when you’re dealing with madness and this descent into madness, and I really felt like, okay, I’m going to embrace this 100% and hopefully somebody will look out for me and not let me completely humiliate myself. Yes, it’s combined. I’ve never worked this way before where it’s so fluid between the creators, the writers, and me.  Usually you get a script and it’s there and it’s start to finish, and this kind of evolves and morphs as we go along.  I do have more input, but then there are of course limitations within the structure of the whole story and the trajectory of where it’s going.  But it’s been interesting.  It’s been an interesting challenge.

MG: Since you have a background in photography, have you ever collaborated with the DP or ask questions or have an opinion about the visual layout of the show?
JL: Well, I’m very curious about the way it looks, yes.  I always watch cinematographers on the set because in some way I think having spent 30 years making movies, maybe it’s 35 now, I think I’ve been informed in my photography by filmmakers, by the cinematographer, so that I’m drawn always, when I take a photograph what prompts me to lift my camera and click the shutter usually has a great deal to do with setting, with lighting, with the choreography, the grouping. So I think that, in fact I’m just looking now at the wall, I’ve got all these little 8x10s of Day of the Dead, I was there in Oaxaca just a month ago, and yes, it has a very cinematic feel to it.  And I think because I’ve been doing movies as long as I have, that one lends itself to the other.  I understand, and I’m very curious, about how you light specifically for dramatic emphasis.  And I think Michael Goy in this series that we’re doing is a master at that.  He really does an amazing job lighting this show.  Yes, it’s amazing to watch him do it and to create the emotions.  And through the ambience, through the lighting, right away you have an instantaneous emotional reaction before the scene even plays out.

MG: Which actor have you enjoyed working with most this season?
JL: One of my favorite actors that I worked with in these episodes last year and this year is Frances Conroy.  There’s just something in her, I don’t know there’s something, when we’re on screen together something happens.  I think one of my favorite scenes that I’ve played this year is the scene from, I guess it was Episode 7 in the diner when she’s come for me as the Angel of Death, and I don’t know, there’s almost a connection that you can’t really describe.  But certain actors I think just find something when they’re working together, and that’s how I felt in these scenes with Frannie.  But every actor that I’ve worked with on this, I mean, James, Sarah, and Lily and Ian, it’s just a pleasure to work with them.  And even actors who come in for just a day’s work have been amazing and have really brought something and make your work better.

MG: Tell us about your plans to return for a third season?
JL: Well, we haven’t really talked about it too much, and all that stuff is still under discussion.  I think I will try it again, depending on what the story is and who the character is and all of that, so we’ll see what happens. I’m just exhausted from this whole experience.  And this season, it seems like it’s gone on forever and I really don’t have a thought about next season yet.  There’s a lot of stuff that will come up, but as of now I hate to say I haven’t given it any thought whatsoever.

Complimentary Passes to the Kansas City Advance Screening of “Jack Reacher” [ENDED]

ALL TICKETS HAVE BEEN DISTRIBUTED AND ALL WINNERS HAVE BEEN EMAILED!

ALL TICKETS HAVE BEEN DISTRIBUTED AND ALL WINNERS HAVE BEEN EMAILED!

If you would like to enter for a chance to win tickets to the following advance screening, please leave a comment below with your FAVORITE MOVIE “JACK”. Is it creepy Jack Torrance from “The Shining?”  How about Jack Dawson in “Titanic?”  The first (50) people to comment will be given a code to obtain a pass for (2) via the GOFOBO site. Winners will be notified on or before Sunday, December 16th. ONLY ONE ENTRY PER PERSON PLEASE! OTHERWISE ALL ENTRIES WILL BE DISREGARDED. The winners will be will notified via email and will be instructed how to register for their passes. Good luck and hope to see if you at the screening! Screening information is as follows:

Date: Monday, December 17, 2012
Time: 7:00 p.m.
Place: Cinemark Merriam, Merriam, Kansas

Official Site: JackReachermovie.com
Opening Date: Friday, December 21, 2012

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Otep Shamaya talks about new album “Sounds Like Armageddon”

Otep Shamaya is the lead vocalist for the heavy metal band Otep. The group has just released a live CD titled “Sounds Like Armageddon” and has an album of new material set for release in the coming year. Media Mikes had a chance recently to ask Otep a few questions about the groups new live CD.

Adam Lawton: What made you decide to release a live album?
Otep Shamaya: I started this band to summon my soul into existence through the power of live performance. This album brings the raw, organic intensity of our live shows to a private performance inside the intimate universe of your mind.

AL: Was there any nervousness knowing that you would not only be performing but also recording?
OS: No, we prepare diligently for our live shows. People are always recording them in some fashion, smart phones, etc so we are accustomed to it in some way. But the truth is we give everything we have to every show, no matter where it is, how many people show up, or how we feel on that night. Every show counts. Play it like it’s your last.

AL: What made you start covering the Nirvana song “Breed” during your sets?
OS: Nirvana is one of my biggest influences. We were asked to cover a song on The Ascension, I chose BREED because I thought it was the one Nirvana song (at the time) that we could honor and do tribute to without veering too far from our sound or theirs.  It is now one of the staples of our live shows and fans go insane when they hear it.

AL: Can you tell us about your upcoming studio album?
OS: It’s a concept album based on a graphic novel I’ve been writing for two years. The book is about a girl corrupted by the world, corrugated by evil, ripped away from the golden, molten elixir of creativity, and abandoned on the placid, jagged rocks of a cruel and barbaric island where the rats poison themselves. This is a story of her personal revenge and righteousness. Her rise from the smoldering ash as a bruise that never heals transmuting, to the infinite, still-born messiah, a vigilante serial assassin, codename: HYDRA.

AL: Will there be plans to tour in support of the new album?
OS: Of course.

Howie Mandel talks about his new game show “Take It All”

From his early stand up days to his years as Dr. Fiscus on the Emmy award winning “St. Elsewhere” to his role as host of “Deal or No Deal” Howie Mandel has always found a way to let his good natured, fun loving side show through.  This week he begins a new chapter as host of the new show “Take It All.”

Based on the popular “White Elephant” prize swaps that usually occur this time of year, the show will run starting Monday, December 10, through Friday, December 14 at 9:00 p.m. EST on NBC, with the show’s finale running at the same time on Monday, December 17.  While promoting the show Mr. Mandel sat down with Media Mikes to talk about his new show, his mostly hidden enthusiasm for contestants and the latest “Gremlins” rumors.

Mike Smith: Thanks for taking the time to talk today.
Howie Mandel: Oh, you’re welcome.

MS: How is this game different from what people play in their homes each year?
HM: Well, if you play this in your home, I’m coming to your home, because I don’t know that people give away cars and anything from hovercrafts to exotic vacations. This is beyond any gift that Secret Santa would have. And then, what we did was, you know obviously that was the theme of the idea, and I had gone to a few parties and had seen this, and watched the type of the gamesmanship and people play against each other. So, the simplicity of it is everybody comes out, we start with five, everybody comes out with a different prize. So, if you pick a car and the next person picks a hovercraft, whoever ends up with the least expensive prizes gives it back and goes home. And eventually we end with two people that have a veritable cornucopia of extravagant prizes. And then, they can pick cash, you know, a 1/4 of a million dollars, hundreds of thousands of dollars, and then they have a choice. And I don’t think they do this in the house, but their two choices are keep it, so they can keep everything that they have, or take it all. If one of them decides to take it all, they get everything that they’ve accumulated throughout the hour, plus what their opponent has accumulated and they end up with tons of money and prizes and cash. But here’s the catch. If they both decide to take it all, they both end up with nothing. And neither of them knows what the other is going to do, so it’s like – it’s great gamesmanship, because it’s like poker. They get a chance to face-off each other and against each other what they’re going to do and it’s the most surprising social experiment I’ve ever been part of. I thought “Let’s Make a Deal” was an incredible social experience, this takes it to the next level.

MS: Part of the fun of a Yankee Swap in homes is that people tend to bring kind of dud gifts, so somebody ends with a dud. Is that an element of the show?
HM: No, absolutely not. There are no duds. Well, the only dud, if you want to call it a dud, is you end up out – and I say that a couple times on the show, you know in one of the beginning rounds when the amounts are lower, you know you could end up with – you know where there’s a range from $15,000 to $100,000 in one round, and end (the game) if you end up holding the $15,000 prize, you know which for all intents and purposes is a really nice valuable gift, that could end up being the dud because that could send you home. You have to give that back. You give back everything you’ve accumulated up to that point. So, there aren’t any – you know in that way there are no duds. That being said, prizes are like characters in themselves. I mean, you will see things that you haven’t seen on any other show. And I’m talking things like hovercrafts and submarines and jet packs, and things like you’ve never seen before, so they’re all amazing. I mean, I’m just as blown away as the contestants when the gifts are revealed and I go, “Oh my, God, this is amazing. I want one,” you know?

MS: Is there chance that this show will go on beyond the holidays?
HM: That’s a question for NBC. It’s not a question for me, you know? But, the fact that I have this opportunity to do an event, you know? And the last time I was involved with an event of this magnitude in this way was “Deal or No Deal.” When I was presented with “Deal or No Deal” they said, “You know, we’re going to give you five nights in a row on a network and we truly believe in this. We think it’s a fun holiday event.” And that fun holiday event turned into 500 episodes. So I would love that, but I take each take as it comes. And, you know when we played the game in the room with NBC I said, “If you ever decide to do this, this is the one time I want the host.” I’ve been asked since “Deal or No Deal” to host everything that’s come along in the way of games and been told “This is fun.” Because this is about people, it’s about gamesmanship. You know, can you play – can you bluff somebody, can you create a story from that has the other players believe in what you’re saying? You play it like poker.

MS: This is the second game show you’ve hosted. What have you learned about people’s natures from doing this?
HM: I’ve learned that I know nothing. I’ve learned that you cannot judge a book by its cover. I learned that I’m fascinated with the human condition. I’ve learned that if you put people in different environments they probably don’t even know what they’re going to do. What happens is they get up there and there’s hundreds of thousands of dollars cash in front of them: diamonds, boats, gifts, and real estate, and you watch their eyes glaze over and you see them become a different person. The same thing is true when you get into a casino. I’m fascinated by what happens, you know? All I try to do as the host is just direct the traffic and hope that I keep them as clear as possible and as focused as possible, so that they can manipulate whatever plan they have of attack in the clearest possible way.

MS: And what kind of game player are you? Are you good at games?
HM: No, not at all. I’m not really a player of games. I’m fascinated by watching somebody play games…trivia, for the most part, and physical things that people have to do. I’m fascinated by that. And I watched, right in front of my eyes, somebody’s life changed forever. Somebody shows up and they just graduated college and then 40 minutes later they’re standing there with hundreds of thousands of dollars, millions of dollars, just their value, their worth monetarily has gone up. And with that, you know their life is not the same as it was when they walked in. So I find it fascinating. I don’t have the guts. If I showed up some place and somebody handed me 5 bucks, I would leave with my $5 and be thrilled that I got my $5. So it’s amazing to me the guts that people have to play a game, to keep going on, and to push it to the limits.

MS: As a host of game shows and talent shows, are you able to maintain a professional distance from the contestants, or do you find yourself getting emotionally involved in what they’re going through and sort of secretly root for them?
HM: Well, yes. You know, first and foremost I’m a human being and I’m a father and I’m a husband. So yes, the professionalism lies in you You can tell that I root for people and you can tell that I care, and it’s really hard. The hardest thing is to maintain, and I guess that’s what they pay you for, to maintain my professionalism when I see, in my mind, just like you the viewer, you know I can go, “Oh, no, no, no, no, this is bad move. This is a bad move,” but I’m not allowed to say that. And I can think it, but I can’t tell you I’m thinking it because that may sway you. And then again, I could be wrong. So yes, I am very involved. I can’t totally remove myself from it. But I hope that I maintain a professional stance as the host of the show. I’ve seen some parts of it and I think I do a fantastic job. (laughs)

MS: You had such a great run on St. Elsewhere. Do you ever see yourself open to the option to return to episodic television again?
HM: I would love to, so if you hear anything, please let me know. You know, I’ve always – everything I’ve done in my life has been because I said “yes” to these opportunities, and they’re nothing that I planned, you know? And I didn’t plan to do “St. Elsewhere.” I was a standup comic, and then I did that. And I certainly didn’t plan to be a game show host. You know, I fell into “Deal or No Deal” and it was such a great experience.

MS: This last one is a little off topic but I was asked to ask you if you know anything about the possibility of a “Gremlins” reunion or perhaps a remake of the original movie? And would you be interested in participating in that?
HM: I know nothing about it, but if they do I hope they give me a call. I would love to be part of it.

Christopher Tyng talks about scoring the TV series “Futurama”

Christopher Tyng is a composer that has worked on various television series including “Futurama”, “Suits” and “Rescue Me”. With Volume 7 of “Futurama” hits Blu-ray and DVD this month, he is releasing a brand new remix version of the “Futurama” theme on iTunes. Media Mikes had a chance to chat with Christopher about working on the show and his influences over the years.

Mike Gencarelli: How did you originally get involved composing for “Futurama”?
Christopher Tyng: It all started with Matt Groening when he was searching for the style of music for the show. He has heard some of the stuff that I had done prior. He called and asked for a meeting. He was getting a lot of demos from other musicians but I guess they liked what they heard on mine. The rest is history, as I have been with this show for the last 10 years. Matt is a great person to work with.

MG: What is some of your inspiration that you pull from for this show?
CT: The visual aesthetics of the show goes back to the 50’s/60’s idea of what the future will be like. So we really wanted the music to reflect the same thing. We were looking at the hey-day of bachelor pad space age music. That was the music version of what they thought the future would be. The synthesizers were just started to get popular. There was this whole new pallid of sounds. People were also trying to stretch the boundaries of what music was then. We looked at what was happening with music at that time, so some of the influences were Les Baxter and Martin Denny. Of course then the show also takes place in the year 3000, so even though it has that visual aesthetic of that 50’s/60’s era, it takes place way in the future. We wanted to take those influences and modernize them a bit. Matt has always been a bit component of having a orchestra and doing it live. I was able to go back and do some remixing with electronica music, so we brought in that element as well. It is really a nice hodge-podge of elements in our influence.

MG: How do you do to differentiate the score season to season?
CT: That is a really good question! What is really great about “Futurama” – and different from any other show that I have worked on – is that in each episode, the story is set in the future where anything in possible. The show gets its story lines from pop culture reference over the years. Every episode is like a different journey. That has actually made the music different from episode to episode. We have this big orchestral sound with this bachelor pad space-age sound. They go back to ancient Egypt and the music takes on that tone. What is really fun for me is that when I go in to record, I really don’t know what I am writing for the next week. Due to that aspect, my job has never gotten stale since it is always changing.

MG: Tell us about the new extended remix for the “Futurama” theme available on iTunes?
CT: We wanted something that was going to play at a longer length for the iTunes release. We are excited that all the fans of “Futurama” are finally going to be able to own this piece of music in their collection. The TV scenes always tend to be a little shorter and don’t play the full single track. Some parts of the remix actually go back to the original premiere of the show at Griffith Observatory, which is this circular dome at the top of Hollywood. They had a DJ there and I decided to come up with some music for the DJ to spin. So there is actually some stuff on this single that I did way back then that was never able to been released. We were able to take all those elements and made it into a really great single length release.

MG: How composing for a cartoon compare to your other TV work?
CT: For shows like “The Simpsons” and “Futurama”, it isn’t the traditional cartoon music like the old-school Warner Bros. In the show there might be an epic space battle with deep comedic irony involved. But the music will always stay like it is an epic space battle. I thought originally that getting involved with a cartoon would be a totally different mindset. In truth though, the shows aims to play the aspects of the music like they are completely legitimate. If they are doing an emotionally intense moment, then the orchestra swells in a “Braveheart” sort of way. We are treating the show like we are scoring an epic movie even though the characters are doing something so ridiculous. That is what makes “Futurama” such an interesting project to work on due to the fact that it has such a wide set of influences.

DVD Review “Korg: 70,000 B.C. – The Complete Series”

Created by: Fred Freiberger
Starring, Jim Malinda, Bill Ewing, Naomi Pollack, Christopher Man
Narrated by: Burgess Meredith
Distributed by: Warner Archive
MPAA Rating: Not Rated
Running Time: 344 minutes

Our Score: 3.5 out of 5 stars

“Korg: 70,000 B.C.” is a short-lived live-action Saturday morning TV series from 1974 that was executive produced by Hanna-Barbera. The show only lasted one season of 16 episodes but has developed quite the following over the years. I can’t say that I was able to watch this show during its original run, but I was aware of this series, despite its short-life and I enjoyed it quite a bit. The series also spawned a board game and comic series tie-in back in the day. Warner Archive is behind this complete collection of this show. It is the first time it has every been released on DVD.

Official Synopsis: A plaintive hunting horn, heard over a ruddy sunrise, signaled the start of something different on Saturday mornings in the mid-seventies. Clan Korg had arrived to take kids and kids at heart on a series of live-action anthropological adventures across the dangerous terrain of prehistory. Aided by consultants from both New York’s American Museum of Natural History and the Natural History Museum of Los Angeles County, Korg ditched battling dinos and discovering fire for a more mature focus on the dawn of cooperation and compassion amongst our Neanderthal brethren as personified by it’s pre-nuclear family. Korg is the patriarch of the clan, which includes Mara, his mate; Bok, Korg’s younger brother; and Korg’s three offspring: Tana, 15; Ree, 12; and Tar, 11. Together, they brave opposing tribes, cave bears and fire while discovering the roots of art, diplomacy and commerce in the world of 70,000 BC. Burgess Meredith narrates.

The quality of the episodes are decent for a 35+ year old show.  This release hasn’t been remastered or restored but it has been taken from the best-quality video master currently available.  So it looks good but could look much better, I am sure.  But I think that fans of the series will just be happy to finally have this series available on DVD.  They are presented in 4 X 3 Full Frame with it’s original aspect ration of 1.37:1.  The audio track included is a Dolby Mono track, which is in line with all the Warner Archive release.  There are no other extras included besides the episodes.

Film Review “California Solo”

Directed by: Marshall Lewy
Starring: Robert Carlyle, Alexia Rasmussen, Kathleen Wilhoite, A Martinez, Michael Des Barres, Danny Masterson
Distributed by Strand Releasing
MPAA Rating: Not Rated
Running time: 94 minutes

Our Score: 4 out of 5 stars

I came across this film since I was asked to interview Robert Carlyle. Read our interview here! I have been a fan of his work dating back to “Trainspotting”. He is one of the best character actors in the business, as he completely transforms himself throughout each role. Currently he is playing Rumpelstiltskin in the TV series “Once Upon a Time” and that just backs up my comment if you have seen the show. Carlyle completely emerges himself in the role of  Lachlan MacAldonich and easily delivers his best performance to date. If you are looking for a great character drama to sum up the year, then look no further than “California Solo”.

The film follows Lachlan (Robert Carlyle), who is a ex-Britpop rocker that is now working in a farm in Los Angeles. After he gets into a run-in with the law for driving drunk, he faces the treat of deportation. Lachlan has to not only fight to stay in the US but also confront his inner demons that he has been avoiding. We get to see many different aspects of Lachlan as his enters this journey and battles his biggest fears.

What does get me a little upset about this film is that all the hard work will probably not get the respect it deserves. With the theaters crowded with possible award deserving films, the indie gem “California Solo” might get lost in the shuffle. Out of all the performance, I have seen this year, I believe that Carlyle deserves to be recognized for this performance. The man even sing a tune in the song, which only adds to the honesty and rawness of the film.  Director Marshall Lewy also delivers a side of California that you never usually see.  I really enjoyed watching this film through his vision and I will be following to see what he does next very closing. “California Solo” is in theaters now, so if you can track this down be sure not to miss it and spread the word!