Top 5 Movies Based on TV Shows

There are moments when a television show becomes so successful, a greedy Hollywood producer decides to cash in on its popularity. While the final result of some may be a tad lackluster, there are others that are genuinely fun to watch (at least in my opinion). Matter of fact, many of the films on this list are cult classics (in addition to being my personal favorites). In this edition of Top Five, I will be discussing my favorite movies based on TV shows and explaining how they appeal to me. At one point or another, I've owned physical copies of four of these films.

5. The Simpsons Movie (2007)

The Simpsons as a whole did not become a favorite series of mine until fairly recently. However as I got older, I gave the show a chance and became hooked from the moment I saw the iconic opening; matter of fact, I binge watched the entire series in the summer of 2015. As a result, I did not see the movie based on the series for the first time until around 2013-2014. This movie is not only one of my favorites based on a television show, but one of my favorite comedies of all time. All of the jokes throughout the film are on point and never fall flat, there is a strong environmental message, and it shows how Homer's idiocy affects the entirety of Springfield. It dares to push the envelope and experiment with scenarios that the hit sitcom would never dream of doing, such as further exploring Marge's feelings on her continuously strained relationship with Homer. In this film, we see her pushed beyond her breaking point as Homer continues to act like a manchild. This film is where the series peaked, as The Simpsons after this began to fall into a steep decline and become a shell of what it formerly was. This film would have made a perfect finale for the series had they chosen to end it here; however, the show decides to act as if this movie never happened and continue as normal. Homer is still the idiot he was before, acting as if he has learned nothing from the experience he inadvertently caused. Matter of fact, he is actually worse. This is a movie I would recommend if you are looking for a good laugh at night, or to get you through the day; it is also something to watch if you ever wanted Green Day to sing The Simpsons theme song.

4. Mr. Bean's Holiday (2007)

Fairly recently, my former roommate exposed me to the world of Rowan Atkinson's Mr. Bean and British comedy as a whole. Needless to say, I could not stop laughing as Bean would constantly fumble through everyday situations. Of course with anything that is massively popular, a film adaptation had to be made; Bean was actually one of the few to have multiple movies. However, if I can be completely honest, the 1994 Bean movie did not do the character justice. For starters, Bean is supposed to be a mostly silent protagonist, letting his actions do the talking. Adding actual dialogue to the equation takes away from the slapstick humor the character is known for, and causes a massive disconnect. However, the 2007 film Mr. Bean's Holiday rectifies this problem; Bean is once again mostly silent and his childish personality is conveyed through his actions. For a good adaptation of a character, you have to stay true to it; this is why many movies based on television shows fail, they drastically change the characters to the point of them being such in name only. Like The Simpsons Movie, this is a movie perfect for a night of laughs as it delivers on the slapstick humor Mr. Bean is known for. I would definitely choose this over the original Mr. Bean film.

3. Dragon Ball: The Path to Power (1994)

Choosing a Dragon Ball entry for this list was tough, considering there are literally twenty movies spread across the original series, Z, and Super. However, I've always had a soft spot for the tenth anniversary movie, The Path to Power. It is an adaptation of my favorite era of Dragon Ball, Son Goku's childhood, and it adapts two of my favorite arcs in the series (the original quest for the titular Dragon Balls and the Red Ribbon Army conflict). Additionally, the art style of the film is a combination of Akira Toriyama's original character designs along with that of the infamous Dragon Ball GT (which was airing at the time of this film's release). This explains why Bulma's hair is purple instead of blue like in the anime, because the former was her hair color in the original manga. In terms of GT elements, towards the beginning of the film, Goku changes into his outfit from the aforementioned series and is designed with the darker skin tone as well. Thankfully, this film does not try to do what other adaptations of Goku's childhood after Z do, hinting at his Saiyan origins. Instead, it acts like it would fit in with the other films from the original Dragon Ball era, with Goku seeming like he is a regular human with a monkey tail. The english dub also holds the distinction of being the only film from the original era where Goku is voiced by Stephanie Nadolny in the english dub, as opposed to being voiced by Saffron Henderson, Ceyli Delgadillo, or Colleen Clinkenbeard (if either of you three are reading this and I misspelled your names, I deeply apologize). If you are looking for a film that best represents the Dragon Ball franchise as a whole, this is one I would highly recommend; it contains elements from all three series that came before it at the time, the adventure of the original, the action of Z, and the art style of GT.

2. The Rugrats Movie (1998)

This film not only holds a special place in my heart for not only being one of my favorite television adaptations, but also one of my earliest movie memories as well. This is one of the first films I saw in theaters, which is what makes it special to me. I believe it may have been my first exposure to one of my favorite voice actresses (Tara Strong) as well (she voiced Tommy's newborn brother, Dil). Like The Simpsons Movie, it dares to push the envelope with the babies being taken out of the comfort of their suburban home and places them as being lost in the forest. We see them facing obstacles such as waterfalls and feral monkeys as they continue to find their way back home, pushing their bonds (along with their lives) to the limit. This movie also marks a significant turning point in young Tommy's life, as he now has someone younger than him to look out for in the form of his newborn brother, Dil. Becoming an older sibling takes some getting used to, and can be a pretty daunting development in one's life, and this film definitely shows the struggles that come with it. If you are a Rugrats, Nickelodeon, or animation fan, this is a movie I would highly recommend. It may not be an Aladdin or Beauty and the Beast, but it has a charm that makes it stand out on its own through its characters and plot.

Honorable Mention 1: Kamen Rider The First (2005)

I admit, I am a massive fan of Japanese television (especially since I have an app that allows me to livestream it to my computer) and of action movies, so something based on Ishinomori's original Kamen Rider should have been on this list. However, the reason this did not get a numbered entry is because it is based more on Ishinomori's original manga (Japanese comic) of Kamen Rider, rather than the 1971 television series. The plot is closer to the tone of the illustrated source material, and contains more plot elements from such. Additionally, I feel as if the tone is too dark, which further distances itself from all other versions of the character. It feels more like Zack Snyder's take on Kamen Rider (don't get any ideas though, Snyder; we don't want you ruining another beloved superhero), which can be either a good or bad thing depending on how you feel about his work.

Honorable Mention 2: Monty Python and the Holy Grail (1975)

While technically, this is based on the British sitcom Monty Python's Flying Circus and uses the cast from it, this movie is actually one that can stand alone. Matter of fact, I saw this before I knew what Monty Python even was. It can be seen as part of the Flying Circus franchise, or it can be seen as a hilarious satire of the King Arthur legend. I consider it more in the latter camp, which is why I did not put this as a numbered entry on the list; however, I am tempted to do a full review of it since a remake based on its stage musical was recently announced.

1. The Flintstones (1994)

Aside from being based on one of my favorite animated series, this movie introduced me to two of my favorite actors, John Goodman and Rick Moranis (whom you may remember as Dan Conner and Louis Tulley from Roseanne and the original Ghostbusters, respectively); the two actors played the iconic duo of Fred Flintstone and Barney Rubble. Like three out of the five movies on this list, this one pushes the envelope and dares to depict situations that would otherwise be unimaginable in the television series. It takes a somewhat darker approach than the lighthearted Hanna-Barbera cartoon, and places itself in a world that is more serious and the actions have massive consequences. However, the crew behind this film managed to recreate the world very accurately to the source material; unfortunately as a result, the sets look like (as Nostalgia Critic would say) "rejected Happy Meal toys". A vast majority of the actors manage to accurately play the roles as well, with Goodman and Moranis nailing the Fred and Barney voices that come with their characters. If you are a fan of The Flintstones, I would highly suggest this film over its prequel released in 2000. (The more we forget about Viva Rock Vegas, the better...)

What are some of your favorite movies based on television shows? Is there one that should have been on this list? Feel free to give your thoughts in the comments below, and be sure to follow the blog as well!

Henry Cavill Calls it Quits? Advice to DC

According to an article from Comicbook.com, it seems DC may have to recast Superman in addition to possibly recasting Batman. Due to his obligation in Netflix's adaptation of The Witcher and negotiations for a cameo in Shazam falling through, Henry Cavill could be hanging up his cape and leaving the role of Superman in the DC Extended Universe. In my personal opinion, I would not blame him for wanting to leave the role; however, I do see potential as Justice League was a step in the right direction for the character. There is so much Cavill could do with this version of Superman that has not been previously explored, such as teaming up with their own version of Supergirl and a significant amount of lore pertaining to Krypton. Perhaps this will cause DC to realize their Cinematic Universe is an absolute mess due to the decisions they made, such as rushing into the team ups without establishing the major players first (cameos in the team ups to not count, by the way). If their previous actions had not ended in absolute disaster, then maybe Cavill would have stayed and we would have seen more of his Superman. Their best course of action is to simply keep the remaining DCEU cast and do a full reboot with Wonder Woman 1984 and Matt Reeves' The Batman. Additionally, DC needs to make their film franchises more standalone instead of interconnected like Marvel.

UPDATE (09/12/18 11:38 AM CST): According to another article from Comicbook.com, Ben Affleck is also on his way out as Superman. Maybe it is time to completely reboot, DC.

UPDATE (09/13/18 11:03 AM CST): It seems the source's report is merely speculation at this point, as nothing has been made completely official. However, they have not confirmed or denied Cavill's departure from the Superman role, stating that Cavill "still keeps the cape in his closet".

Disney's Christopher Robin (2018)

As I mentioned in my previous review of 2017's Goodbye Christopher Robin, A.A. Milne's series of children's novels were a substantial part of my childhood. However, I grew up more with Disney's version of the stories and came across the source material later on. While I admired Goodbye Christopher Robin for being relatable on a personal level, I liked Disney's Christopher Robin on a conceptual level in addition to being somewhat relatable. I found the concept of an adult Christopher being a bit jarring at first, since the first image that usually pops into mind is the character as a child. The film's overall premise is unprecedented, as this is something that has never been attempted in the history of Winnie the Pooh. (Yes, in Goodbye, we saw an adult Christopher, but that was only for a brief moment) It was a take on the concept that was fresh and new, and it was beautifully accomplished. Despite the tone being darker than one is used to with this franchise, it manages to take many of the right steps in achieving a solid result. For starters, it has the prolific Jim Cummings reprising his role of Pooh and Tigger. Additionally, it is littered with references to Christopher Robin's source material. Pooh, Tigger, Eeyore, Kanga, Roo, and Piglet are designed as stuffed animals, with an appearance hybridizing Disney's version and that of Christopher Robin's original stuffed animals. However, Rabbit and Owl were designed with a more realistic aesthetic, probably as a nod to the fact that A. A. Milne himself created them rather than his son.
 As a minor spoiler, the title sequence also contains some events in Christopher Robin's life that mirrored his actual counterpart, such as being sent to boarding school and serving in World War II afterwards, in addition to distancing himself from his plush animal friends. However, instead of resenting his father like what actually happened, the film takes an approach similar to the Robin Williams movie, Hook. Christopher Robin simply grows up, leaving the remnants of his childhood behind. Surprisingly, the beginning of the film portrays him similar to that of A. A. Milne himself, albeit to a lesser extent (this is a Disney film, after all). However, when Pooh and the gang re-enter his life, he slowly begins to rediscover his inner child and slowly begins to share his former life with his wife and daughter. Ewan McGregor once again nails his role as the title character, just as he did as he did with Obi-Wan Kenobi and Lumiere (has there ever been a bad role of his?). As mentioned previously, I found myself relating to this version of the character like I did in Goodbye; I am a total workaholic, and at times I have made decisions that involved choosing work over family and friends. After seeing this film, I have decided that when I am back in my hometown after graduating from college, I am going to spend more time with them and make up for any time that was lost. While it is alright to have a stable career and a dream to work for, one must never forget their loved ones, because the person could almost push them away in the process. I believe that if Christopher Robin never reunited with Pooh, he would have slowly lost everything that he held dear to him.
Overall, I would highly implore each and every one of you reading this post to see this movie! It is heartfelt, it brings on so many feelings, and its message is absolutely fantastic! You do not need to be a fan of Winnie the Pooh to enjoy it, it is a movie that is definitely for everyone; it will definitely resonate with you.

Goodbye Christopher Robin

Throughout my life, I have been intrigued by the works of Alan Alexander Milne, such as his famous stories of Winnie the Pooh and his son, Christopher Robin Milne (moreso the latter than the former). As a result, I was excited to learn from my friend Kyle that Fox Searchlight was in production of a film about A.A. Milne and the real Christopher Robin. However, before diving into the review I must give this disclaimer; if you grew up with the Disney adaptation of Milne's characters and their fictionalized version of Christopher Robin, then this movie may ruin your childhood. This film dives into topics such as A.A. Milne's PTSD from serving in World War I, along with the struggles Christopher Robin faced when his father essentially used him to propel his own success. After viewing this movie, I had a lesser amount of sympathy for one of my favorite childhood authors; however, I had more sympathy for his son and could relate to him on some levels. Like Christopher, I was put into the limelight with a short modeling career (which I admit was a tad overwhelming at times, while also being fun), and I was constantly bullied throughout my elementary and middle school years.
The story primarily focuses on its title character, and his role in the creation of his father's Winnie the Pooh. Us viewers are treated to Christopher's imaginative childhood, as he spends his days playing in the forest that served as the inspiration for Pooh's Hundred Acre Wood. We are shown the creation of the characters inspired by the child's stuffed animals given to him by his mother, how they received their names, along with A.A. Milne being inspired to write stories about his son (which sparks the main conflict of the story). Milne is portrayed as a struggling playwright returning from the horrors of war, struggling with multiple bouts of Post-Traumatic Stress Disorder. In staying true to his actual counterpart, he is a somewhat cold-hearted and distant individual due to his previous experiences. He seemed to care primarily about his work and little about his family, unless the situation was of some benefit to him. There was a reason I lost some respect for him (considering he is one of my favorite childhood authors), and that was his treatment of his son. Alan Milne and his wife essentially used poor Christopher Robin as a means of elevating their status, since the latter was also used as the protagonist of Winnie the Pooh (much to poor Christopher's later dismay).
The only thing young Christopher desired was to live like a normal child with a loving family, but unfortunately he was unwillingly thrust into the spotlight and consequently traumatized for the remainder of his life.
While I was viewing this film, my heart shattered seeing the poor child going through this at such a young age. Since he technically created these characters, he definitely deserved to express his opinions on his newfound stardom, and I applauded when he attempted to do so. He had every right to say no to his parents or refuse people prying into his personal life; under no circumstances should a child not be given a choice in being famous. If he was given that right when Winnie the Pooh rose in popularity, then he would not be bullied at boarding school and he would not try to distance himself from his parents in his later years. As much as I admittedly have a soft spot for the bear him and his father created, I can definitely say it was the bear that ruined his life. Christopher Robin was not in the wrong, but his parents definitely were.
While this film may not be a 100% accurate adaptation of the story of Winnie the Pooh, it captures the essence of the tale and nails it. Every member of this cast was on point with their roles, and managed to accurately portray their characters. I can definitely say the filmmakers did their research on the characters' historical counterparts, and made a beautiful film as a result. I would highly recommend this film if you are looking for a good biographical drama or curious about the life of A.A. Milne. For those that have experienced situations to Milne or Christopher Robin, you may find it as relatable as I did along with sympathizing with the characters. Now it begs the question as to how it stacks up with Disney's Christopher Robin film...

Channel Awesome Controversy Opinions/#ChangeTheChannel

As many of you may know, this blog was inspired by Doug Walker and his character, the Nostalgia Critic. When I created Reviews and Retrospectives, I took a page out of Walker's book with the intention of paying tribute and showing my respect to him. However, in light of the recent controversy surrounding him and Channel Awesome, I am slowly losing respect for him. I understand many of the grievances were caused by CEO Mike Michaud, but I can tell Walker and his brother were also part of the problem. They mistreated many of their fellow producers, such as Kaylyn Dickson (Marzgurl), Lewis Lovhaug (Linkara), and especially Allison Pregler (Obscurus Lupa). It sickens me that a man I looked up to, a man I idolized and saw as a source of inspiration was allowing these problems to happen. He had many opportunities to stand up and say something; despite being an advocate for freedom of speech, he did nothing to quell the fears and he still has yet to address them. I understand he may be afraid of Michaud, but because him and Rob have yet to say anything at this moment, Channel Awesome is going into the red; it is losing subscribers by the day and producers on the site are leaving at an alarming rate. Mr. Walker, I doubt you are reading this. However, if you are, you have to say something and somehow address this situation. One can not ignore a problem forever, and if it is left untouched for too long, it could kill the site. I have always dreamed of working for Channel Awesome, but after hearing of this controversy, I am not sure if I still want to. Until further notice, I think I will be limiting my viewing of Nostalgia Critic; knowing he was aware of these problems and did nothing to change them shows the truth behind his character. I idolized Walker for his advocacy toward the first amendment and equality for content creators; seeing he was partially behind the problems with his company, it makes him seem a tad hypocritical. All I can say is that my heart goes out to those affected over the years, and I pray Channel Awesome  can somehow make a change.

If you would like to learn more about the controversy, feel free to look at the google doc known as Not So Awesome: https://docs.google.com/document/d/1WZFkR__B3Mk9EYQglvislMUx9HWvWhOaBP820UBa4dA/preview#heading=h.v89be0jiemu0

Is The Nostalgia Critic going "Nostalgia-Blind"?

(Disclaimer: This is by no means an attack on the Nostalgia Critic; it is simply to express my opinions on his recent "Disney Remake"-themed month, as well as my opinions of his recent reviews.)

Many of my longtime readers will know that I have always been a massive fan of Doug Walker's webshow, The Nostalgia Critic; matter of fact, it was one of the inspirations for this blog. However, I have began to notice a trend with his recent reviews, particularly those surrounding Disney's live action remakes. While I agreed with his opinions on Maleficent and Alice: Through the Looking Glass, I did not agree with his thoughts on The Jungle Book and Beauty and the Beast. I felt while he did a great job pointing out the latter two's flaws (and yes, there are some that are prevalent), he neglected to point out the positives of both. Essentially, he "tore the two films a new one" while putting the originals on a high pedestal and seemingly insinuating they are flawless.
The original Jungle Book and Beauty and the Beast are amazing films, but they are certainly not as flawless as Walker implies. The Jungle Book (while it has great animation and storytelling) is somewhat lacking in character development, and has some instances rushed pacing. Beauty and the Beast; while it nailed the story and characters, it had various plot-holes and left viewers with so many questions such as "why is Agathe (the enchantress) cursing an eleven year old boy"? Walker seems to sidestep over these facts in his reviews, continuing to imply they have no flaws. However, when discussing their remakes, he seems to imply any of the changes made did more harm than good. I can agree with this on only two instances, the ending of The Jungle Book and Belle's developing relationship with the Beast.
Keeping Mowgli in the jungle essentially negates any development the character gained, making it seem like nothing has changed at all. As for Beauty and the Beast, it seemed like someone was pressing the fast-forward button on Belle and Beast's relationship. It was rushed, flawed, and it was not given the necessary amount of depth. We see them interacting, but we fail to see the spark until Something There; maybe afterward when Belle revisits her childhood home. As for the other changes that were made, I feel they improved the story.
The characters in The Jungle Book were depicted in a way that was a hybrid of their original Disney and Kipling counterparts. I feel the new version of Shere Khan was more intimidating than the original, hearkening back to how he was written by Kipling; as for Mowgli, I am glad they decided to make him a stronger character. In the original Disney film, I felt he acted more like a spoiled child. However (in all fairness), I did not like how Bill Murray's version of Baloo was manipulative toward Mowgli. In regard to Beauty and the Beast, while the changes could have been executed better, I feel they strengthened the story as a whole. Taking elements from the stage musical such as the castle staff slowly becoming inanimate raised the stakes of the curse, and added a stronger sense of urgency to the film's "race against the clock" aspect. Additionally, giving the characters a stronger backstory (such as that surrounding Belle's mother) allowed for a greater amount of depth and character development; it also gave her the ability to relate to Beast, who also lost his mother as a child. I feel Walker may be watching these films with "rose-colored" glasses. He holds the originals in such high regard, that he automatically dismisses new interpretations of these stories; completely ignoring the flaws of the source material.

Fullmetal February: Fullmetal Alchemist (2017 Film)

At last, we conclude Fullmetal February with a look at the most recent adaptation of Arakawa's beloved manga; the live action Fullmetal Alchemist movie! While I praise the two animated versions and the original manga, I have some mixed opinions about its transition into live action.

Like many other adaptations of Japanese anime and manga, the story is a highly condensed version of the source material's events. However, it corrects many of the mistakes Brotherhood made with its story; such as starting at the most logical point, Edward and Alphonse's first attempt at human transmutation. Comparatively, this film is the most faithful version of the Elric brothers' tale; albeit with some events receiving slight changes, switched around, or omitted entirely. As a result of the latter, major characters were also surprisingly omitted. I am not worried, since I believe some will make an appearance in the inevitable sequel. While I did not like their choice for the main antagonist, they managed to expand upon a minor character from the source material, and somehow connect them to the Homunculi.

My largest gripe with this film was the story and pacing; similar to Shyamalan's The Last Airbender, the film's director decided to severely truncate the plot in order to cram as much as possible into a two and a half hour timeframe. Consequently, this makes it difficult to connect with the characters and become engrossed with the story. I was hoping for a strong amount of character development and seeing my favorite plot points unfolding in live action. While I was treated to both to some degree, it ultimately left me wanting more and feeling disappointed as a result. The pacing was the film's biggest flaw, simply because so much is coming at you in such a short amount of time. Maybe to alleviate this, they could have split the movie into two and dedicated each film to a specific story arc from the manga.

In terms of characters, the actors portrayed each one as faithfully as possible; Edward was short-tempered and high strung, Winry was loving and always worried about the Elrics, and Alphonse was the group's voice of reason. I love how Maes Hughes was also given a larger amount of development and was upgraded to a major character in the film. He stole the show, and I was always excited to see him onscreen. While I despised Shou Tucker in the previous versions, I found him more tolerable in this one and I am thankful they left Nina's fate as ambiguous. It does beg the question, will she survive in the sequel, be killed offscreen, or be killed by a potential live action Scar?

Overall, I would say this film is a solid attempt at adapting Fullmetal Alchemist. It was not as bad as others have said, it is in desperate need of improvement. The framework for a good story is there, but the directors need to iron out the bugs in the pacing for the sequel. I am looking forward to the next installment of this series, and I am hopeful for a stronger film and the inclusion of omitted characters.

That concludes Fullmetal February, if you have suggestions for next February's anime month, feel free to email me at austinmmyers18@gmail.com and also please follow if you like my content!

Fullmetal February: Fullmetal Alchemist Brotherhood

(Blogger's Note: Sorry it is super late, something came up that I had to take care of before I could tend to the blog. The review of the FMA live action movie is still in the works, though.)

In the twenty-fifth volume of the Fullmetal Alchemist manga, an announcement for a new anime adaptation was made. Unlike the previous version, this one would stay as faithful to the source material as possible; adapting storylines and characters that were previously unseen in the 2003 series. It would also receive high-definition visuals and brand new animation, unlike Dragon Ball Kai which simply used remastered footage of Dragonball Z. While it did deliver upon its promise, it had quite a few shortcomings.

For starters, the events that were previously seen in the 2003 series were highly condensed. As a result, it feels like this is a version of the story purely for the fans of Fullmetal Alchemist and for fans of the previous anime. It is not as "newcomer friendly" as one would expect. While there are some moments both series share, it takes viewing the original series and Brotherhood to truly understand what is going on. One moment in particular that definitely needed some expanding is the origin of the Elric Brothers. Unfortunately, it is severely truncated into a single episode. As a result, there are moments that the 2003 version proved to be more faithful than the series that is purportedly "manga-accurate". The first episode is also one created exclusively for this series, with the manga's true start not happening until episode three. If you are debating between the two series, then I would recommend watching both; watch the original up to its equivalent point in Brotherhood, then simply watch the latter until the end (or switching back and forth between the two). Despite its shortcomings in terms of story, it is a massive improvement over both the manga and the original. For starters, the viewer is finally treated to Arakawa's original ending and villain!

The characters' personalities and designs remain faithful to the manga, capturing the look of Arakawa's original illustrations. Consequently, it makes the viewer feel like they are watching the manga being played out before them as it was originally intended. Additionally, the characters' clothes have been restored to their original colorations, such as the darker shades of red for Edward's cloak and Winry's bandanna being green (unlike the original series in which it was red). We are also introduced to characters not seen in the original, such as those hailing from the country of Xing.

Overall, while I do enjoy this version of Fullmetal Alchemist as opposed to its 2003 counterpart, it is wrought with many flaws. However, if you are looking for a condensed version of the story, (maybe to prepare for the live action movie) then this series would be perfect for you. If you are looking for something that goes into a greater amount of detail, then I would suggest going with the original anime or the manga. Brotherhood is severely abridged, but it thankfully tells the story without giving any unnecessary details.

Fullmetal February: Fullmetal Alchemist (2003 Anime Series)

(Source: Wikipedia.org)

The journey to Fullmetal Alchemist's live action movie continues! In this post, we will be analyzing the first of the two anime adaptations of Hiromu Arakawa's classic manga. This version, simply titled Fullmetal Alchemist, aired in Japan from October 4, 2003 to October 2, 2004. Like the manga it is based on, the story centers around two brothers named Edward and Alphonse Elric; after a failed attempt to resurrect their mother using human transmutation, the two set off on a journey to find the fabled philosopher's stone so they can restore their original bodies.

This series remains mostly faithful to the original manga, to a certain point in the story; afterwards, it follows a mostly original plotline since Arakawa was not finished with the manga at the time. Coincidentally, some elements of this plot would be re-used in the closing chapters of the canon story and in the next anime adaptation. However, while it heavily deviated from the source material, the plots they did adapt from the manga were handled pretty faithfully. Ironically enough, some parts of the story were handled more faithfully than Brotherhood; an anime meant to be based more on the source material. Unfortunately, the anime-exclusive material is wrought with various problems.

For starters, the rules of the universe in this version are painfully inconsistent with both the manga and in this continuity. In many episodes, the rules seem to change to suit the current storyline; such as those surrounding the seal bonding Alphonse's soul to the suit of armor. In the manga (and some parts of the anime), if he were to get wet, the seal would wash off and Al's soul would be lost. Despite that, Al is thrown into bodies of water multiple times and still manages to keep the seal intact. Additionally, alchemists seem to use their abilities however they please; if they were to do so in the manga (Edward and Al's taboo aside), they would be court marshaled immediately! The second problem with this series concerns a certain character created exclusively for it; the homunculus known as "Wrath". In my opinion, he is one annoying child; he whines so much, it makes the infamous Caillou seem grateful (and we all know he is far from it).

Despite the grating negatives of this series, there are also a slew of positives it created by telling its own story. While the artificial philosopher's stones and the gate of truth were merely glossed over in Arakawa's version of the story, this anime expands upon them and creates their own lore surrounding these aspects of the world. It also reveals their true purpose for the gate and later expands upon it in the movie, Conqueror of Shamballa. 

Overall, this version of Fullmetal Alchemist is definitely worth watching. It expands upon Arakawa's source material and does it beautifully, while also providing a story of its own after a certain point. However, if you are a purist and prefer something much closer to the manga, then I would recommend either reading said manga or simply watching 2009's adaptation, Fullmetal Alchemist: Brotherhood.

How to Make a Michael Bay Movie (Satirical)

Step 1- Hire Megan Fox, and cast her as the main lead. The average audience will follow her more than the true main characters, anyway. 

Step 2- Have explosions every five seconds; explosions are awesome so let's put a ton of them in!

Step 3- Make it as edgy as possible. Lighthearted is so overrated! 

Step 4- Make the title characters the side characters; make Megan Fox the main focus of the film.

Step 5- Make the same film over and over again, nobody will notice... (oh wait, we do!) 

Fullmetal February: Fullmetal Alchemist Manga

(Source: Wikipedia)

In celebration of the live action movie's Netflix release on February 19, 2018, I thought I would dedicate the month of February to reviewing other adaptations of the manga Fullmetal Alchemist. If this theme month is positively received, I may make February a theme month for other anime series such as Dragonball, Naruto, and My Hero Academia. To begin Fullmetal February, let's take a look at the source material; Hiromu Arakawa's manga, Fullmetal Alchemist.

The manga ran from July 12, 2001 to June 12, 2010 in Square Enix's Monthly Shonen Gangan, and follows the adventures of young brothers Edward and Alphonse Elric. The series takes place in a world where the concept of alchemy is as prevalent (if not more) than regular science. After a botched attempt to resurrect their mother through the forbidden use of human transmutation, Edward is left without an arm and leg and Alphonse is merely a soul fused to a suit of armor. To reverse the repercussions of their misdeed, the two brothers join the military in an attempt to seek out the mythological Philosopher's Stone. However, trouble stalks them from every turn; during their journey they are pursued by a scarred man from the nation of Ishval, as well as a group of artifical humans known as "Homunculi". As a whole, the series explores themes such as Alchemy vs. Science, the concept of human mortality, religion, and the consequences of defying nature for personal gain. Initially, this was not a series I could get invested in; and I would usually turn away after a certain point; matter of fact, the first attempts at going through this series would put me to sleep (then again, I was reading/watching this series late at night after school). However, after my concept art teacher started talking about it, I became curious and began digging into this gem once again. The manga, like its anime adaptations, is relatively short at a length of only 108 chapters across 27 volumes. Essentially, it is a pretty quick read as opposed to series such as One Piece and Naruto. The series has multiple twists, ending every chapter with the viewer desperately wanting to know what will happen next to the Elric Brothers. Will they ever get their bodies back? Will they find the Philosopher's Stone? Will they defeat the Homunculi? You will just have to read to find out; however, if you are illiterate or are too lazy to read, there are two anime adaptations as well. The first being released in 2003 and the second being released in 2009. I will not go into much detail about them since I plan to dedicate blog posts to these two versions, but they are both accurate representations of the source material! Give any of the three a look, you will definitely not regret it. My only warning is that this series is a violent one, considering one element is war. 

The History of Beauty and the Beast Chapter 3

After Purdum’s bitter resignation from the project, Katzenberg sought after a new director to lead the production team toward the film’s new vision. Initially, the studio asked Ron Clements and John Musker; who recently completed production on The Little Mermaid. Unfortunately, they both declined since they were both exhausted from working on the previous project. Instead, Disney asked rookie directors Kirk Wise and Gary Trousdale (who would later become the directors of The Hunchback of Notre Dame). Before Beauty and the Beast, the duo directed sections of EPCOT’s Cranium Command attraction. To create a “Broadway Musical” feel similar to Mermaid, Alan Menken and Howard Ashman were hired once again. The latter also served as an unofficial director on the project, despite experiencing severe health problems and working on a project of his own; an adaptation of Aladdin. To accommodate Ashman’s health, the production team moved from their original location in London to Fishkill, New York. It was at this point which Ashman, Menken, Trousdale, and Wise worked to retool the original script with Don Hahn and Linda Woolverton.

              To give the film a lighter tone than Cox and Purdum’s earlier drafts, the once-mute enchanted objects were given distinct identities and personalities, to serve as “guides” for the audience and as comic relief. Gaston returned from Purdum’s version, albeit in a drastically altered form; instead of being a foppish marquis, he was changed into a narcissistic hunter and “town-hero”-type of character. To quote Belle in the final film, this new version of the character was “boarish” and “brainless”. He was also given a sidekick in the form of LeFou, whose name fittingly translates to “the fool”. Belle and Beast’s personalities were also given a drastic overhaul, adding more development to their characters. In addition to being a simple peasant, Belle was also made a bookworm; she was fascinated by the worlds that books could show her, such as those that included “daring swordfights, magic spells, a prince in disguise”. Unfortunately, she and her father (who was once again an inventor) would be ostracized by their fellow villagers because of their lifestyles. Belle became an outcast amongst her peers, since she now preferred to read rather than what is typically expected of a woman in the village. One could say her intelligence made her stand out from the crowd. The Beast’s overall development as a character can be attributed to the ideas of Howard Ashman, such as reducing the character’s age and starting the film with a prologue that explains the cause of his grotesque transformation. In this new version, an arrogant prince refuses to let an old beggar woman seek shelter, purely based on her appearance and her small gift of a red rose. As a result, the old woman transforms into a beautiful enchantress; cursing the inhabitants of the prince’s castle. To raise the overall stakes, the same rose given by the enchantress served as a timer; “If he could learn to love another and earn her love in return by the time the last petal fell, then the spell would be broken. If not, he would be doomed to remain a beast for all time.” Essentially, this added a “race against time” element to the love story. The Beast has to learn how to love and be loved by the time the rose completely wilts. According to a 1990 draft, the team initially decided on a fully-animated prologue, which also included a chase sequence of the Enchantress trying to cast her spell on the prince; accidentally hitting the servants along the way. The animated prologue was (of course), abandoned in favor of the one seen in the final film. The same beggar was also planned to appear at the end of the initial draft, with the young royal and Belle meeting her as they leave the castle on a stagecoach. Comparing this draft to the final one, the story was nearly identical aside from some minor scenes being cut (such as Gaston and Lefou travelling to the Maison des Lunes) along with some musical numbers being added, one being shifted, and one being cut entirely.

              The first song Menken and Ashman wrote for the film served the purpose of introducing the female lead, as she goes about her day in the small village near her home. The late Ashman once said in an interview, “In almost every musical ever written, there’s a place, it’s usually the third song of the evening. Sometimes it’s the second, sometimes it’s the fourth, but it’s quite early. The leading lady usually sits down on something, sometimes it’s a tree stump in Brigadoon, sometimes it’s under the pillars of Covent Garden in My Fair Lady, or it’s a trash can in Little Shop of Horrors, but the leading lady sits down on something and sings about what she wants in life…” (Howard Ashman, Waking Sleeping Beauty) Belle was no exception, and introduces the audience to the “Beauty” of the story. The song was later reprised, further developing the character and revealing how trapped she felt in the village. Personally, these two numbers are my favorites in the film. To further develop the castle staff, the duo wrote a showstopper known as Be Our Guest, which would be performed when Belle’s father initially enters the castle. However, the team felt the sequence would have a greater impact if shifted to the point when Belle is in the castle instead of her father. Their development would be further expanded using the song “Human Again”, to be performed after Belle and Beast rescue each other from the wolves. As production progressed, Human Again would be cut in favor of a song that developed Belle and Beast’s relationship instead, titled Something There. Of course, these two needed a song that served as a culmination of both characters’ arcs, which is where the title song Beauty and the Beast comes in.   However, Human Again would later be added to the stage musical and reworked into the film’s 2001 IMAX release. They also needed a song or two for their villain, Gaston; the circumstances surrounding him being an interesting case.

Typically, Disney villains would be given a single song (and sometimes a reprise of that number) to develop their character. However, Gaston is a unique exception; he was given two villain songs during production. The first is his self-titled sequence (which fits his egotistical nature) and its accompanying reprise afterward, and the second is during the angry mob sequence when Belle returns home; this would later be titled The Mob Song. The latter scene served as a prelude to the climactic battle and to show Gaston’s psyche coming apart at the seams; his growing lust for Belle being the only aspect that remained.

Unfortunately, while it seemed production was moving smoothly as the release date quickly approached; a larger problem was brewing. Ashman’s health was drastically worsening with each day that passed; and the team was unsure if he would live to see the end of production. According to Peter Schneider and John Musker, after a successful press event to promote the movie, the entire crew “jumped into a cab and we raced downtown to St. Vincent’s… we were high from it when we came into the cold shock of Howard dying in a hospital room. His mother pulled back the sheets to show us the Beauty and the Beast sweatshirt he was wearing. He was eighty pounds, had lost his sight, and barely had a whisper of a voice. We shared with him what happened that day and how amazing it was, and how he was there in every way. Then, when it was time to leave, we said our goodbyes; before I left, I bent over and whispered ‘Beauty and the Beast was gonna be a great success. Who’d have thought it’, I said. Howard lit up and whispered, ‘I would have’.” Ashman passed away on March 14, 1991 and would never see the completed film. Thankfully, the film was dedicated to him in the end credits. Sadly, things would have to move on without this idea powerhouse. While Ashman’s passing was a massive blow to the team’s morale, higher powers blessed them with amazing opportunities such as presenting a rough cut at the New York film festival on September 22, 1991. Despite being unfinished, it garnered a massive standing ovation and hyped the public for the premiere on November 13^th of that same year and the public release nine days later.  

From the moment it was released, it was a critical and box office success, garnering universal critical acclaim and a total box office gross of 425 million (not including re-releases in 2001 and 2012). In addition to the aforementioned success came various accolades such as Oscar nominations for Best Original Song, Best Original Score, and Best Picture. The latter nomination came as a shock to everybody, as an animated film has never been nominated for that category and would not be again until the releases of Pixar’s Up and Toy Story 3. While it did not walk away with an academy award for best picture, it did snag awards for Best Original Song and Best Original Score. This was far from the end of Beauty and the Beast’s story; on the contrary, it was only beginning. The film was re-released again in 2001, with the deleted Human Again sequence reintegrated into the story. However,  this version of the song was based on that which was seen in the 1994 Broadway Musical adaptation of the film (the latter of which we will be covering in the next chapter of our tale).