So, I Watched All 74 Episodes of “Star Wars: Rebels”... My Thoughts...

I’ll basically watch anything “Star Wars”-related.

That said, I never really got into the “Star Wars: The Clone Wars” animated series that debuted in 2008. 

I had heard good things about Lucasfilm’s latest animated series — “Star Wars: Rebels.”

At the end of March I decided to give “Rebels” a try. I don’t have cable (the show aired on Disney XD), but all the episodes were unlocked and available to watch via the DisneyNOW app on my AppleTV. 

Since most of the episodes had an expiration date of 5/08/2018, I spent a number of late nights squeezing in episodes, trying to make it through the series. 

So...what did I think?

I was really surprised how much I enjoyed “Star Wars: Rebels.” For a show that is rated “TV-Y7,” it was pretty sophisticated. 

“Rebels” tells the story of an eclectic group of rebels who tool around the galaxy on a freighter called the "Ghost" as they conduct missions against the Galactic Empire. 

The plot centers around Ezra Bridger — an orphan teen who scrounges and steals for his survival on the planet Lothal. He is taken by a band of rebels led by Kanan Jarrus (a Jedi with a mysterious past), Hera Syndulla (a Twi’lek pilot), Sabine Wren (a Mandalorian with an artistic side), Zeb Orrelios (a Lasat warrior), and an astromech droid affectionately known as “Chopper.”

The series takes place a few years before “Star Wars: A New Hope,” and viewers get to experience the rise of the Rebel Alliance. 

It is fun. 

The cast of characters is surprisingly engaging — even with dialogue that is a bit corny at times. 

A number of well-known characters make appearances on “Star Wars: Rebels,” including Lando Calrissian, Princess Leia, Yoda, Obi-Wan Kenobi, Bail Organa, General Dodonna, Wedge Antilles, Grand Moff Tarkin, Darth Vader and Darth Maul. In addition, there are a number of characters from "Clone Wars" that show up along the way. 

One of the most enjoyable additions to the series was Grand Admiral Thrawn. The character was first introduced in Timothy Zahn’s novel “Heir to the Empire” in 1991. 

Bantam Spectra’s “Star Wars” novels in 1990s were important for fans of the franchise. They took an entertainment property — that for all intents and purposes seemed dead in popular culture — and gave it new life. 

It was great to see Thrawn come alive in the third season of “Rebels” (complete with sinister organ music). 

Ezra Bridger is strong with the Force, and is trained to be a Jedi by Kanan Jarrus. 

There are a number of adventures involving Ezra’s training — which give the show its emotional and philosophical core. 

As I made my way to the series finale of “Star Wars: Rebels” last weekend, I got a bit wistful. I’m disappointed the series won’t continue — the storyline concludes with an epilogue after the Battle of Endor, and finds the status of one of our heroes very much in limbo.

“Star Wars: Rebels” was created by Dave Filoni. Many fans believe he has a tremendous talent for telling stories in the “Star Wars” universe — with some suggesting he should be at the helm of Lucasfilm. 

The good news is that there is a new animated series coming this fall. “Star Wars: Resistance” will take place before “Star Wars: The Force Awakens,” and focus on a pilot named Kazuda Xiono.

According to the “Star Wars Explained” YouTube channel, the new series will have an artistic style that is inspired from anime:

I'm looking forward to it. In the meantime, I might just check out “The Clone Wars” animated series (which is currently available on Netflix)...

Previous post: About That New "Ant-Man and the Wasp" Trailer... 

About That New “Ant-Man and the Wasp” Trailer...

I never understood why people dogged on 2015’s “Ant-Man.”

While it might not have been the most layered film in the Marvel Cinematic Universe, it was fun — made possible by Paul Rudd’s self-effacing charm. 

In my mind, “Ant-Man” is the most underrated film in the MCU. 

On the heels of April’s terrific “Avengers: Infinity War” (read my review), Marvel Studios has dropped the new trailer for July’s “Ant-Man and the Wasp.”

It looks like petty thief Scott Lang (Rudd), scientist Hank Pym (Michael Douglas), and the snarky Hope van Dyne (Evangeline Lilly) haven’t missed a beat. 

A “crazy, trippy ghost who like walks through walls and stuff” has stolen Pym’s tech (described in rapid-fire fashion by Michael Peña’s character Luis).

You can’t tell from the trailer exactly where the plot is going in “Ant Man and the Wasp,” but fans will get to meet Dr. Bill Foster (Laurence Fishburne) who — according to comics lore —was a former Pym associate who assumed the Goliath and Giant Man identities. 

We saw Ant-Man get "giant" in "Captain America: Civil War," so it's possible he is taking on the mantle.

With so many things in limbo after “Avengers: Infinity War,” it will be interesting to see where Ant-Man fits into things (I’m going with the assumption that “Ant-Man and the Wasp” takes place before “Infinity War”). 

In fact, Ant-Man’s status was pondered by the cast of “Infinity War” in this video that appeared on Marvel’s social media channels this week:

Wherever the MCU road map takes us from here, it is nice to have the unassuming Ant-Man back. I think “Ant-Man and the Wasp” will benefit from the back-and-forth between Rudd and Evangeline Lilly (who was wonderful in the series “Lost”) as their alter-egos battle the bad guys. See you on July 6th:

Previous post: Movie Review: "Avengers: Infinity War" 

Movie Review: “Avengers: Infinity War”

I’ve spent the last 16 hours chewing over how I would write a review — with nary a spoiler — of Marvel Studio’s “Avengers: Infinity War.”

It is a tall task. From the earliest moments in the film, major characters find themselves in impossible situations. 

We all know the basic story... a genocidal evil-doer named Thanos is trying to collect six multi-colored gems knows as Infinity Stones. 

The Avengers — along with the Guardians of the Galaxy — are attempting to thwart those efforts and restore order to the Marvel Cinematic Universe. The story picks up where last fall’s “Thor: Ragnarok” left off (read my review of “Thor: Ragnarok”)...

Since the first “Iron Man” movie was released a decade a go, we’ve seen our heroes — either solo, or in various mix-and-match combinations — face antagonists hell bent on destruction in various forms.

In my mind, the big question going into “Avengers: Infinity War” was whether or not a battle against a purple alien (who has a gauntlet full of powerful gems that look like they were plucked from a Jostens class ring) could be any more compelling than any of the other scrapes our heroes have been in.

Marvel Studios (along with parent company Walt Disney) has been building to this movie for a decade. 

In that time, the Marvel Cinematic Universe has changed the box office in such a fundamental way that you’d be hard-pressed to imagine movie-going without these films. 

Let’s get down to brass tacks. 

The movie delivers. It is big and bold — a hearty helping of popcorn fun. 

Marvel Studios again shows its skill at weaving science fiction and fantasy in such a sensible manner that it all seems logical. 

“Avengers: Infinity War” strikes the right balance between those elements. At no moment does the film ever seem like an effort to slap a bunch of superheroes together to pander to ravenous fanboys (as was the case with DC/Warner Bros.' “Justice League” last November). 

Any movie that can turn Doctor Strange (Benedict Cumberbatch) into a badass, make you fear “Purple Josh Brolin,” and leave you stunned when the final credits roll is doing something right. 

The movie employs its own brand of “Star Trek II: The Wrath of Khan’s” Kobayashi Maru scenario — giving our heroes an impossible task to solve. 

Let’s face it, Marvel has spent a decade making the impossible possible. 

When “Avengers: Infinity War” wraps up in 2019 (with a fourth “Avengers” movie), it does make you wonder where things will go moving forward.  

To be sure, Disney’s cash cow won’t end in the foreseeable future. 

Like many movie-goers, there are certain films I make a point of seeing. Marvel movies are perpetually on my “must-see” list (along with the “Star Wars” films). 

The thing to ponder is whether Disney will ever see the “law of diminishing returns” come to fruition as it regards the Marvel Cinematic Universe...

Marvel Studios President Kevin Feige is the maestro conducting this symphony — keeping all the instruments playing in perfect unison. 

Marvel movies are more like episodes in a sprawling, serialized TV series — with each season being comprised of the movies released in each calendar year. 

These characters have become like old friends for fans. 

Because each movie builds on the next, there is added depth and dimension to the stories. 

For example, when we first see T’Challa (Chadwick Boseman) in Wakanda in “Avengers: Infinity War,” a smile came to my face. Not because anything particularly interesting was happening in that moment, but because we had learned how smart and tough he and his fellow Wakandans were in February’s “Black Panther” (read my review of “Black Panther”). 

Being that I am not familiar with every nugget of source material in the Marvel stable, I don’t know if there is a villain out there more powerful than Thanos for our heroes to face at some point down the road. 

While shocking things happen in the latest “Avengers” installment, I wouldn’t take things at face value. Anything is possible with a fertile imagination in this universe. 

Directors Anthony and Joe Russo should be commended for helming another terrific entry in the Marvel series. Their first outing in the MCU — 2014’s “Captain America: The Winter Soldier" — is one of my favorite action movies the past decade. 

At one point in “Avengers: Infinity War,” Peter Quill (Chris Pratt) is asked “What master do you serve?” and he replies, “Do you expect me to say Jesus?” (...or something to that effect). 

Quite honestly, the Son of God could show up in the MCU and he’d likely blend in seamlessly. 

That’s why these movies are such a pleasure to watch. In the hands of other studios, combining elements of science fiction, fantasy, and mythology with dozens of characters — over 19 films — would result in a hot mess. 

In Marvel’s hands, the result is a refreshing drink worth sampling time and again...

P.S. — Be sure to stay through the end credits (if you're a Marvel fan, you know the drill...)

Also... am I the only one who notices something wrong with this image from one of the trailers promoting "Avengers: Infinity War"...?

Previous post: Marvel's Feige Discusses "Star Wars"... PLUS: My New "Solo" T-Shirt

Marvel’s Feige Discusses “Star Wars”... PLUS: My New “Solo” T-Shirt

Something I look forward to each Wednesday is starwars.com’s news magazine series “The Star Wars Show.”

The series debuted May 11, 2016. It is hosted by Andi Gutierrez and Anthony Carboni, and offers behind-the-scenes tidbits, interviews, and features about “Star Wars” collectibles. 

This week Anthony Carboni interviewed Marvel Studios President Kevin Feige (in anticipation of this week’s release of “Avengers: Infinity War”). The MCU honcho is my age, and grew up loving the “Star Wars” franchise. 

Feige talked about the “dark times” as a collector of SW merch when JusToy’s Bend-Ems line of action figures was one of the few licensed properties available in the early 1990s (I have a couple storage totes full of those figures in individual packages and collector sets — which included a Topps “Star Wars” trading card). 

In addition to the interview with Kevin Feige, there is a feature on a Millennium Falcon made out of red Solo cups, and a blurb about “Solo: A ‘Star Wars’ Story.”

You can watch “The Star Wars Show” on starwars.com, or via the Star Wars YouTube channel. Here is this week’s episode:

Speaking of “Solo,” my brother-in-law Neil and his family rooted all around Walt Disney World week before last seeking one of the exclusive Star Wars: Force For Change t-shirts available at Disney Parks. 

The shirts are available through May 25 (the opening date for “Solo: A ‘Star Wars’ Story”) and I am very thankful they were able to find one for me...!

Previous post: Book Review: "The Freedom Broker" By K.J. Howe 

Book Review: "The Freedom Broker" By K.J. Howe

As readers of this blog know, I love mysteries and thrillers. I consider myself something of a connoisseur of the various subsets in the genre. 

As a reader, you’ll often see certain patterns develop. I read many books featuring espionage and international intrigue. In many instances, these thrillers feature male protagonists — often brawny, ex-military types who bulldoze their way through the story. 

As such, it is refreshing when a writer creates something different. 

That’s exactly what K.J. Howe has done with her debut thriller “The Freedom Broker.”

“The Freedom Broker” follows the exploits of kidnap-and-ransom expert Thea Paris.

Paris works for London-based Quantum International Security — a private firm specializing in hostage negotiation and rescue (K&R). 

Her full name is Athena Constanopolous Paris. The former DIA employee has a Master’s Degree in International Relations from Georgetown, and keeps a silver St. Barbara pendant with her for luck. 

Whether Thea is brandishing M4 carbines in the field — or teaching potential victims how to survive a hostage situation — she is a savvy operator. 

Like the best fictional protagonists, Paris also has her flaws. Namely, she has Type 1 diabetes, and has to keep a wary eye on her blood sugar levels — living a disciplined lifestyle that keeps her health in check.

When “The Freedom Broker” begins, we find Paris on a mission with her cohorts from QIS. They are tasked with rescuing a petroleum engineer. 

It is a good establishing moment to see our protagonist stalking through Nigeria — in command of a team — using tools of the trade. Paris is tough as nails, unwilling to let a chronic illness sideline her from a difficult job. 

The main storyline in “The Freedom Broker” involves the Christmas Day kidnapping of Thea’s father, Christos, from his yacht off the coast of Santorini. The patriarch of the Paris clan is the head of Paris Industries — one of the world’s largest oil companies. 

Thea discovers her father is missing after returning from a run with her dog (a Rhodesian Ridgeback named Aegis). In short order, she is on the case (along with her colleagues at QIS) trying to track down the missing oil tycoon. 

What follows is a harrowing adventure through exotic locales like Greece and Zimbabwe. The scant clues available include a series of mysterious text messages written in Latin. 

Paris Industries is one of the firms competing for lucrative drilling rights to the Kanzi oil field — a source of crude oil said to rival Saudi Arabia. 

The familial aspects of the drama help set Howe’s novel apart from other entries in the genre. As much as the story is an action thriller, it is also an intricate family saga. 

Thea’s older brother, Nikos, was kidnapped at age 12 from the family’s home in Kanzi, Africa. As a result, he had a troubled youth, and has had a difficult relationship with their father. That is part of the reason Thea works in K&R — a sense of duty to help others avoid similar situations. 

Quantum International Security is owned by Hakan Asker, a man who is a close family friend. Hakan’s son, Rifat, is Christos Paris’s godson — as much a brother to Thea as he is a potential love interest. 

Along for the ride is Maximillian Heros, an inspector general with the Hellenic Police and heir to an olive fortune, and Gabrielle Farrah, a feisty operator with the Hostage Recovery Fusion Cell in Washington, D.C. 

In addition, there is an arms dealer known as “Ares” factoring into the drama — a shadowy figure who supplies Chinese-made arms to dissidents fighting repressive regimes around the globe. 

Howe’s novel is well researched. Whether she is writing about the finer points of hostage negotiation, or delving into the geopolitics of Sub-Saharan Africa, the narrative is crafted with care.

I also love little details that authors toss into their stories to add authenticity. Whether Howe is describing muzzle flashes from an AK-47, or telling readers about rebels wearing British DPM fatigues, she creates an immersive tapestry in “The Freedom Broker.” 

These attributes bode well for future installments. 

The key to any successful thriller series is a compelling protagonist. In Thea Paris, K.J. Howe has created a smart, compassionate, and resilient character — with a unique biography sure to fuel future adventures. 

I already have Howe’s second novel “Skyjack” in my possession, and will be reviewing it soon.

In this 2017 interview, Howe sits down with author Lee Child to talk about “The Freedom Broker” at The Mysterious Bookshop in New York City:

If you’d like to learn more about Kimberly Howe and her novels, visit the author's website at www.kjhowe.com. 

Previous post: TV Review: Netflix's "Lost In Space" a Surprisingly Good Adventure 

TV Review: Netflix’s “Lost In Space” a Surprisingly Good Adventure

I guess I never should have doubted. 

I should have gone into Netflix’s new “Lost In Space” series brimming with confidence that the streaming giant could make a compelling, family-friendly drama (the 10-episode season is rated “TV-PG”).

When the first trailer for the series was released back in March, I did a blog post about it. The visuals looked handsome, but I was skeptical. 

Bridget and I spent the past few days charging through the first season of “Lost In Space.” 

Color me impressed. 

“Lost In Space” is an entertaining sci-fi adventure — a well-designed reboot of the 1960s series.

It feels like the writers drew inspiration from films like “The Martian” and “Interstellar” — then wrapped it all in a setting that would make Jules Verne proud. 

At its core, “Lost In Space” is a family drama. The story focuses on the Robinson family — 30 years in the future. They are part of the 24th Colonist Group. 

As fate would have it, a mysterious asteroid referred to as “The Christmas Star” hit Earth. The impact creates serious environmental implications.

Through a series of flashbacks strewn throughout the first season, we see the Robinson family as they are living modified life and dealing with our planet’s changed reality. People have to wear gas masks outdoors. Plant life is in danger. The future of mankind is bleak. 

The Robinsons apply — and are accepted — into the 24th mission to a planet called Alpha Centauri. Humans have begun colonizing that world as a future home for our species. 

The Robinsons are led by matriarch Maureen (Molly Parker). She is an aerospace engineer brimming with excitement about taking her family to a new world. 

She is married to John (Toby Stephens). The combat vet (a former Navy SEAL) has been estranged from the family — spending much of his time overseas on vague military missions. 

The couple has three children. The eldest child (daughter of Maureen, step-daughter of John) is Judy Robinson (Taylor Russell). The 18-year-old is a doctor on the mission — whip smart with a strong moral compass. 

The middle child is Penny (Mina Sundwall), a precocious book nerd who aspires to be a writer. 

The youngest member of the brood is 11-year-old Will (Maxwell Jenkins). He is a kid who likes to build models and has an affinity for geology. 

The first season begins with the Robinson family making a crash landing — on an unknown planet — in a space craft referred to as the “Jupiter.” 

Something has happened to the mother ship (the Resolute) carrying the colonists. As a result, the families have to evacuate in the “Jupiter” pods — and escape through a rip in space. 

The first season finds the Robinsons solving all sorts of scientific puzzles to save their ship, save the other colonists, and save themselves.

On the surface, the premise makes it sound like “Lost In Space” treads fairly predictable territory. 

However, the show’s writers have done a good job crafting cliffhanger moments (literally and figuratively) to amp up the drama. This isn’t a show where the action is built on brute force and fisticuffs.

Rather, this incarnation of “Lost In Space” seems operate by Mark Watney’s line in “The Martian” when the stranded astronaut quips, “In the face of overwhelming odds, I’m left with only one option. I’m going to have to science the sh!t out of this.”

While intellect and problem solving are at the show’s core, it never feels like it is pandering or heavy-handed. 

One of the best aspects of Netflix’s “Lost In Space” is the likable cast. In family dramas like this, it is easy to have a situation where the kids grate on your nerves. 

Thankfully, that doesn’t happen here. 

In addition to the familial aspects of the show, “Lost In Space” features a fairly solid supporting cast. 

Among the other survivors is a low-rent Han Solo-type named Don West (Ignacio Serricchio) — a rougish roughneck who refers to Judy Robinson as “princess” and cynically wants to be paid for his services. 

There has been quite a bit of debate on the web about Parker Posey’s portrayal of Dr. Smith. Her character uses “identity theft” to wiggle onto the mission to Alpha Centauri. She is mentally askew, and schemes her way into the Robinson’s world. 

I didn’t have a problem with the character. Posey does creepy quite well (as evidenced in a scene where she sings “This Little Light of Mine” to herself). 

But, like others on the Internet, I wondered why the Robinsons gave her second chance after second chance... 

One of the more interesting characters in the show is the robot Will discovers in the woods — an alien machine who befriends the boy in similar fashion to the way Scharwezenegger’s T-800 befriended John Connor in “Terminator 2: Judgment Day.”

As I mentioned earlier, the show has strong visuals — a top-notch production design. 

The Jupiter pods are a cross between a flying saucer and a spacious RV (the ships even have “pop outs” to extend the livable space). There is an all-terrain vehicle stored in each of the ships called a “Chariot” — allowing the survivors to move about the mystery planet. 

Also of note is the score by composer Christopher Lennertz. The music featured in “Lost In Space” weaves new orchestrations with John Williams’s original 1960s theme song. Lennertz has composed scores for a number of theatrical movies, and his compositions give heft to the story. 

While the show has its imperfections, “Lost In Space” is a fun adventure. It is a solid sci-fi drama that has a look, feel, and style rivaling many Hollywood blockbusters.

“Lost In Space” solidifies the notion that Netflix has range (and illustrates a willingness to pump money into compelling dramas with family appeal). 

As Don West says, “I don’t believe in looking back; that’s how you crash into things.”

If Netflix wants to win the content wars, it needs to stay on a forward trajectory. “Lost In Space” shows promise, and sets a course for the streaming giant’s future...

Previous post: TV Review: "Bosch" Season 4 is Taut Noir Cool 

TV Review: “Bosch” Season 4 is Taut Noir Cool

A couple of months ago I had a blog post titled “You Should Be Watching Amazon’s ‘Bosch’." Not only do I believe it is the finest show in Amazon’s Prime Video lineup, I think it is one of the best detective procedurals today. 

Season 4 of “Bosch” debuted on the streaming platform on Thursday, April 12 (earlier than the announced release date of April 13). Bridget and I stayed up until 1 a.m. last night finishing all 10 episodes. 

The latest season doesn’t dissuade my effusive feelings for the show. In fact, the fourth season of “Bosch” might be the best of the series. 

Detective Harry Bosch is back...and on the case. 

This season finds our protagonist investigating the murder of a lawyer named Howard Elias (Clark Johnson) who was prepping for a court case involving brutality claims against the LAPD. 

Elias has a reputation for taking on the department. As such, there is concern that a cop gunned down the unwary attorney on “Angels Flight” — a quaint tram located in the Bunker Hill district of Los Angeles. (This season is based on Michael Connelly’s novel “Angels Flight.”) 

Bosch is put in charge of a task force working to dig up clues and bring the murderer to justice. Their job is made all the more difficult by civil unrest in the community, politics within the police department, and issues in Harry’s personal life. 

What I find so refreshing about “Bosch” is the fact that the show works to “keep it real.” Authenticity is a hallmark of Connelly’s novels. 

In an era where police procedurals have become somewhat lazy as it regards “rapid forensic proof” and “super computers” that churn out ludicrous results, it is nice to have a detective show that deals authentically with the “analog realities” of police investigations. 

Like the previous seasons of “Bosch,” the fourth outing in the series features multiple threads twisting, turning, and ultimately converging into an intricately woven plot that requires thoughtful analysis from the viewer. 

It is wonderful to see a show so deftly work to hook viewers into the investigation. You feel like you’re right there alongside the terse and dogged Bosch as he questions suspects, slogs through boxes of evidence, analyzes security camera footage, and puts shoe leather to pavement in pursuit of the truth. 

At the show’s core is Titus Welliver — a perfectly cast actor who was hand-picked by the author to play the titular character Hieronymus “Harry” Bosch. 

Welliver brings a sensibility to the show that adds to the authenticity. 

Being reliable is the name of the game for each season of “Bosch.” The show is stylish because it is inherently unstylish. This isn’t a tome that relies on fancy transitions or extreme color grading in its execution. 

Instead, “Bosch” goes for the lived-in look, presents Los Angeles as it is, and chooses actors who look like regular people. 

Other standout performances this season include Madison Lintz (as Bosch’s daughter Maddie), Paul Calderon (as the feisty Det. Santiago Robertson), Lance Redick (as Deputy Chief Irvin Irving), and Jamie Hector (as Det. Jerry Edgar). 

But what makes the show such an interesting tapestry is the small roles and supporting players stitched into the various story arcs. 

For example, we gained more insight this season into the “Koreatown Killer” (a thread started in the third season). 

If you haven’t watched “Bosch,” I encourage you to check it out. It is available for Amazon Prime subscribers (for all you videophiles out there, all four seasons of the show are also available to stream in 4K). 

“Bosch” is taut noir cool. 

Previous post: Author Lee Child Reveals the Only Person Jack Reacher is Afraid Of...