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Company's chief creative officer creates new character using his own background

DETROIT (AP) -- When DC Comics decided to blow up its fabled universe and create a brave, diverse future, Geoff Johns drew from the past for a new character: his own background as an Arab-American.
The company's chief creative officer and writer of the re-launched "Green Lantern" series dreamed up Simon Baz, DC's most prominent Arab-American superhero and the first to wear a Green Lantern ring. The character and creator share Lebanese ancestry and hail from the Detroit area, which boasts one of the largest and oldest Arab communities in the United States.
"I thought a lot about it -- I thought back to what was familiar to me," Johns, 39, told The Associated Press by phone last week from Los Angeles, where he now lives. "This is such a personal story."
Bing: More about 'The Green Lantern' | More about DC Comics
The Green Lantern mantle in DC Comics is no stranger to diversity, with its ranks made up of men, women, aliens -- animal, vegetable and mineral -- from across the universe.
Earlier this year an alternate universe after being laid off from his automotive engineering job. He steals the wrong car, which inadvertently steers him into a terrorism probe and, eventually, an unexpected call to join the universe's galactic police force.
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The olive-skinned, burly Baz hails from Dearborn, the hometown of Henry Ford and the capital of Arab America. His story begins at 10 years old, when he and the rest of his Muslim family watch their television in horror as airplanes fly into the World Trade Center on Sept. 11, 2001. Events unfold from there as U.S. Arabs and Muslims find themselves falling under intense suspicion and ostracism in the days, months and years following the attacks.
"Obviously, it's affecting everybody," said Johns, who grew up in nearby suburbs in a Lebanese Christian household and got into comics when he discovered his uncle's old collection in his Arab grandmother's attic. "One of the things I really wanted to show was its effect on Simon and his family in a very negative way."
Baz is not the first Arab or Muslim character to grace -- or menace, as has historically been the case -- the comic world. Marvel Comics has Dust, a young Afghan woman whose mutant ability to manipulate sand and dust has been part of the popular X-Men books. DC Comics in late 2010 introduced Nightrunner, a young Muslim hero of Algerian descent reared in Paris. He is part of the global network of crime fighters set up by Batman alter-ego Bruce Wayne.
Frank Miller, whose dark and moody take on Batman in "The Dark Knight Returns" in 1986 energized the character, took a different tack in his recent book, "Holy Terror," which tells the story of The Fixer and his efforts to stamp out Islamic terrorists. The graphic novel initially took root as a look at Batman's efforts to fight terrorism, which grew out of Miller's experiences of being in New York on 9/11.
A broader mission to bring Islamic heroes and principles to the comic world comes from Naif Al-Mutawa, creator of "The 99." The U.S.-educated psychologist from Kuwait has been gaining followers across the globe since the 2006 debut of the comic book that spawned a TV series. "The 99" is named after the number of qualities the Quran attributes to God: strength, courage, wisdom and mercy among them.
The series gained a wide audience in 2010, when it worked with DC on a six-issue crossover that teamed the "The 99" with The Justice League of America.
Johns, who also has written stories starring Superman, The Flash and Teen Titans, said going diverse only works if there's a good story, and he believes he found that with Baz. But don't mistake him for a hero in the beginning: Baz disappoints both devout Muslims--his forearm tattoo that reads "courage" in Arabic is considered "haram," or religiously forbidden--and broader society by turning to a life of crime.
"He's not a perfect character. He's obviously made some mistakes in his life, but that makes him more compelling and relatable," he said. "Hopefully (it's) a compelling character regardless of culture or ethnic background. ... But I think it's great to have an Arab-American superhero. This was opportunity and a chance to really go for it."
Of course, Johns hopes Green Lantern fans accept Baz, who joins other humans who have been "chosen," including Hal Jordan, John Stewart, Guy Gardner and Kyle Rayner. The overall relaunch has been good for DC, which has seen a solid gain in sales and critical reception -- as well as some expected grumbling -- since coming out with the "New 52" last year.
Johns also sees the debut of Baz as a chance to reconnect with people in his home state: He's scheduled to visit Dearborn this weekend for events related to the release that include a signing Saturday at a comic book store and a free presentation Sunday on his career and characters at the Arab American National Museum. He worked with museum staff to make sure he got certain details right about his character and the Arab-Muslim community.
"It doesn't completely define the character but it shapes the character," he said. "My biggest hope is that people embrace it and understand what we're trying to do."
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Follow Don Kaye on Twitter @donkaye.
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In honor of 'Fast & Furious 6,' horror/sci-fi on the road

"Duel" (1971): This early Steven Spielberg thriller was made for television but was later expanded for theatrical release in Europe. Dennis Weaver plays a traveling salesman who is caught in a deadly cat-and-mouse game with a massive tanker and its unseen driver, who seems intent on running Weaver to his death. Based on a story by Richard Matheson, this gripping and lean shocker will keep you watching the rear view mirror the next time you're on a lonely road.
"Horror Express" (1972): We're going to jump briefly from cars and trucks to trains for this Spanish-British production that put Christopher Lee, Peter Cushing and Telly Savalas on the Trans-Siberian Express with an ancient frozen ape creature that is actually the hiding place of an alien entity from another galaxy. By the time it starts turning everyone on the speeding locomotive into zombies, you'll be hooked by this wild, over-the-top horror/sci-fi/runaway train mashup.
"Death Race 2000" (1975): Roger Corman produced this now-classic sci-fi satire, set in a future fascist America where the annual Transcontinental Road Race provides the ultimate in violent reality TV to keep the masses distracted. The more pedestrians you kill, the more points you acquire. Crashes and chases ensue -- and all of it seems eerily plausible these days.
"Race With the Devil" (1975): Two couples accidentally stumble upon a satanic ritual and are pursued in their RV across Texas by the cult. Peter Fonda and Warren Oates are the menfolk, Loretta Swit and Lara Parker are the ladies, and the movie builds a decent amount of tension while also delivering some knockout chase scenes.
"The Car" (1977): Notice how a lot of these movies are from the '70s, when films based around autos were very popular? "The Car" is as simple as it gets: A black Lincoln Continental begins laying waste to the citizens of a small Utah town. Why? It's possessed by a demon, silly. James Brolin plays the lawman tasked with stopping the infernal machine. Look for future "Real Housewives of Beverly Hills" sisters Kyle and Kim Richards as his daughters.
"Damnation Alley" (1977): This cheesy post-apocalyptic film was based loosely on a novel by sci-fi great Roger Zelazny and follows four men as they travel in 12-wheeled Landmasters across "Damnation Alley," the devastated heartland of what was once America that is now populated by freakish weather and giant mutated insects. The Landmasters almost outshine the actors -- Jan-Michael Vincent, George Peppard, Paul Winfield and others -- in one of two sci-fi films released in 1977 by 20th Century Fox. This one was supposed to be the hit. The other? "Star Wars."
"Mad Max" (1979) and "The Road Warrior" (1981): Australian director George Miller delivered some of the finest action sequences of their time in these brilliant first two entries in the "Mad Max" trilogy, starring a young Mel Gibson as a cop who lives through the collapse of society to become a near-mythic hero. The slamming automobile action in "Mad Max" paved the way for the climactic extended chase in the second film, surely one of the greatest in modern cinema.
"Maximum Overdrive" (1986): When the director -- who happened to be Stephen King -- calls his own picture a "moron movie," you know you're in for either a painful sit or an enjoyably bad time. Sadly, "Maximum Overdrive," which first-time (and only-time) director King based on his short story "Trucks," leans closer to the former. The idea of trucks, cars and other vehicles and machines coming to life and coming for us is a fun one, but King just sends it all into the ditch.
"Drive Angry" (2011): Car-chase movies with a supernatural or sci-fi slant dropped off the pop culture radar for a long time, but director Patrick Lussier and star Nicolas Cage tried to bring them back with this 3-D exercise, which does feature some well-staged automobile action but an ultimately dull story. Cage does the same loony schtick he's been doing for the past decade, while William Fichtner races off with the picture as the demonic Accountant.
Be prepared for moments between Plutarch and President Snow

During a Stella Artois-sponsored media event at the 2013 Cannes Film Festival, "Catching Fire" director Francis Lawrence revealed that the film, while keeping very faithful to the book, will also feature some entirely new scenes:
"Lots of new stuff—new cast members, new action, a new arena and a fantastic story. There's very little that's been taken out—there's some additional scenes with some of the characters," says Lawrence, who specifically mentions new moments between Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman) and President Snow (Donald Sutherland).Could the still image shown above be from one of the scenes?
Bing: More about 'Catching Fire' | More about Francis Lawrence
Jennifer Lawrence has revealed, when asked about how "Catching Fire" compares to "The Hunger Games," that, "Visually, it's a lot bigger this time. We get a little deeper into The Capitol as Katniss is trying to get her life back together."
As the book is written from Katniss' perspective, we only see The Capitol as she does. We'd definitely be fascinated to see more of what goes on behind President Snow's closed doors.
"Catching Fire" is out in theaters Friday, November 22.
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Follow Don Kaye on Twitter @donkaye.
Odds favor 'Doctor Strange' and 'Hulk' movies

We already know what lies ahead for the rest of Phase Two: "Thor: The Dark World" arrives in November, followed next April by "Captain America: The Winter Soldier" and in August 2014 by the weirdest, most cosmic new addition, "Guardians of the Galaxy." Those, of course, will all lead up to "The Avengers 2" in May 2015, for which writer-director Joss Whedon has already confirmed the addition of mutant brother-sister act Quicksilver and the Scarlet Witch to the roster. But what happens after that presumably takes in its billion-plus box-office earnings?
Next comes Phase Three, and plans for that have been, until now, mostly murky. But Marvel president Kevin Feige, the public face of the studio, just gave an extensive interview to EW.com in which he discussed a number of potential candidates for Phase Three movies and gave some better chances of making the schedule than others. So let's take a look at the possibilities and lay our own odds on which heroes, villains and otherworldly beings could be blasting onto movie screens in 2015, 2016 and 2017:






And then there are the wayward children who have recently come home: the rights to "Daredevil," "Ghost Rider," "Punisher" and "Blade" have all reverted to Marvel from the studios that owned them previously. But don't expect to see any of them -- even Blade, the vampire hunter whose hit 1997 movie arguably launched the current wave of comic book movies -- back on the big screen in the near future.
Why? Because with the exception of Blade, none of these characters have truly caught on with the public. The first "Ghost Rider" and "Daredevil" were modest hits despite being widely regarded as lousy movies, while the second "Ghost Rider" and the "Punisher" films have been almost complete write-offs in both quality and commercial success. No one's asking for a new movie about Ghost Rider, and we suspect it will be a long time before anyone is.
Plus, there's only so much room in Phase Three, unless Marvel expands beyond its current pace of two films a year. With "Ant-Man" locked in and, say, "Doctor Strange" or "The Inhumans" making their debut, Feige and company still have to figure out where to put a "Thor 3" or a "Captain America 3" or, depending on how current negotiations go with Robert Downey Jr., an "Iron Man 4." This is a quality problem, one that will keep the Marvel brain trust up nights and the rest of us speculating madly until Phase Three is officially unveiled at Comic-Con 2015.
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