ebertfan92

this isn't a list of worst scores so much as disappointing ones. scores like 27 Dresses sucked dick, but i didn't really expect much from them, so i'm ommitting them here. and in fact, some of these scores i quite like - but i was nevertheless expecting much more. what're your picks? here's mine: The Eye - Marco Beltrami can make great horror scores or mediocre horror scores; this is definitely more of the latter. Get Smart - i liked the movie and i love Trevor Rabin, but this score was like listening to the wind. when it was playing, unless it burst out in it's signature theme, i hardly even noticed it was on. Hancock - it was better the second time i listened to it, but i still was hoping for some more old fashioned bombast from Powell. The Happening - again, this is one i've liked more after listening to it a couple times, but it's still one of the weakest Howard/Shamalyan collaborations. aside from the last few tracks, the score rarely picks up much. Hellboy 2 - yeah, it's a darn good score, but was i the only one foolish enough to expect practically another Batman level of greatness with this return-to-orchestra Elfman score? Indiana Jones 4 - pretty dull music, really. aside from the times when Williams pulls the old themes out of the hat and we get excited, there's not much of interest here. Journey to the Center of the Earth - i'd never heard of the composer, but the movie looked like it could produce a fun score...but it didn't, really. Leatherheads - this one was just terrible, all the way around. it was like listening to the same 3 minute big band song over and over for 45 minutes. The Mummy 3 - i seemed to have enjoyed this score more than most, but it doesn't change the fact that it's cheap and outdated sounding, and Edelman was just the wrong composer for the job. The Other Boleyn Girl - boring, boring, boring. Prom Night - also boring, boring, boring. Shutter - this, too, was boring, boring, boring. Spiderwick Chronicles - don't get me wrong - this is a very good score, 3.5/5. but i was really hoping for some great thematic material, and Horner pretty much ignored us in the way of beautiful themes. Stop-Loss - it was Ok, but not Powell's best. WALL-E - ha ha people won't agree with this too much, but it really wasn't all that great a score - good, but not grand. had some very pleasant moments, but i was expecting a more harmonious/thematic/beautiful score from Newman. to be honest, Peter Gabriel's song was the best part of the album. X-Files 2 - tedious and pretty tepid. and where was the awesome X-Files theme in this score? i think they played it, like, twice.

allright, koray! that's the spirit! i can't stand all this Desplat adoration. i've yet to go on any film score website where reviewers didn't treat him like the next Bernard Herrmann. glad to see someone backing me up. his music is just so boring, so dull, so...aggressively average. i've yet to hear a score of his i hate, but i've yet to hear one i really like too...and i've listened to LOTS. i even have CD's of some of his french films. and it STILL all sounds the same!

well, after listening to Golden Compass and once again being disappointed by that big douchebag Desplat (i'll save it all for another post ), i figured we should all list what we found to be the most disappointing scores of '07. in ranging order from most crappy to least crappy: Zodiac (good in film, still one of the most boring albums i've ever listened to) Right At Your Door Harry Potter 5 (don't care for any of the Potter scores, but still didn't expect this dull a score) We Own The Night I Know Who Killed Me (from here on things are a weak 3 out of 5 stars) Meet the Robinsons American Gangster (there's a 25 minute promo out there....but it ain't really worth hunting it down) Mr. Magorium's Wonder Emporium (Desplat even managed to make the wonderfully thematic Aaron Zigman pedestrian) Shooter The Brave One Hostel Part 2 Lust, Caution (stupid Desplat) Eastern Promises Lions for Lambs The Seeker - The Dark Is Rising Bug Rendition Reservation Road Perfect Stranger Jane Austen Book Club (i blame his associations with Desplat for this being a weak Zigman score ) The Golden Compass (gawddammit Desplat!) Premonition phew, well, i feel exhaustively cranky. what're your guys' pics? (i already can see many "The Kingdom"'s being thrown out there).

Pee Wee's Scissorhands - HE'D BE SO DANGEROUS! Charlotte's Bride - A LESBIAN SPIDER? Spider-Man Attacks! - A NICE SUPERHERO TWIST! The Corpse Simpsons - FOR THEIR TREEHOUSE HORROR SPECIAL! Proof of Flubber - A DARK INVESTIGATION ON GREEN GOO! Batman Hunting - A MOB ANGRY AT FLYING MAMMAL MEN! Desperate Apes - A SUBURBIAN JUNGLE WITH DEATH IN EVERY ATTIC! That was the Danny Elfman edition naturally... Imagine a Grindhouse trailer voice over saying the words in capital letters.

I made these phrases up in response to a post on scorereviews. I guess it's sort of fun to do- if you are bored out of your mind. Take 2 or more titles and combine them to make sentences. Choose a certain composer. I will choose James Horner "Honey, I Shrunk the Grinch" "The Perfect Radio" "House Sand And Troy" "Legends Of The Missing" "An American Cocoon" "The Spitfire Glory" "Enemy At A Far Off Place" "Casper Under Fire" "Another 48 Sneakers" -damn, that's a lot of shoes! "Humanoids From The Field Of Dreams" "Searching For A Beautiful Mind" "How The Grinch Stole The Mask of Zorro" -what's Don Diego doing in Whoville anyway? "Star Trek II: The Wrath Of Iris" "Humanoids From The Deep Impact" The Man Without A (Beautiful) Mind Honey, I Shrunk The Rocketeer Field Of Aliens My Heroes Always Have Been Sneakers Troy Under Fire An American Ransom: Dad Goes Where The River Runs Black The Mask Of Balto Legends Of The Spitfire Grill The Devil's Apollo 13 The Wrath Of Jack The Bear The Pursuit Of Bobby Fischer THE LAND BEFORE GATES CLEAR AND PRESENT VIBES TO GILLIAN ON HER 37TH IMPACT THE MAN WITHOUT A BRIEF BATTLE BEYOND THE PARK HOW THE GRINCH SPIT FIRE THE PELICAN COMMANDO SWING UPON A FOREST THE DEVILS KIDS SEARCHING FOR SNEAKERS THE MAN WITHOUT A 37TH BIRTHDAY Star Trek 3: The Search For Sneakers Star Trek 2: The Wrath Of Commando "The Man Without a Pelican Brief" "How the Grinch Stole the Perfect Storm" "Battle Beyond Borders" "The Mask of the Man Without a Face" "The Forgotten Heroes Have Always Been Cowboys" "Honey, I Shrunk the Titanic" Cowboys Battle Sneakers Titanic: *Batteries Not Included (wish I came up with that one!) The Forgotten Man Without A Face East of the New World The Forgotten Chumshrubber The Forgotten Sneakers Troy, Stroke of Genius: Forgotten The Missing Sneakers Beyond Forgotten Genius Deep Impact Zorro (Must be 21 or older) Gillian Under Fire How the Enemy At the Gates Courage Jade Bobby Fischer Forgotten I Love You Honey, Norman the Killer Die Hard Bobby Fischer (Cue from Aliens used) Beat Off Aliens Help Us Beat Off Bobby Fischer Lets Go Fire Captain EO The Lady In Red: Barbarian Queen A Few Friends Extreme Death Another Dad (Not allowed in schools) "Humanoids From The Deep Impact" "Bobby Fischer, Stroke Of Genius" "Searching For Bobby Jones Sneakers (in) A Far Off Place" "An Aliens' Tail" "Honey, I Shrunk The Rocketeer on Her 37th Testament" "WolfenTalkers" "Legends Of The Forgotten" Up From the Depths: The Wrath of Humanoids from the Deep. Gillian Gann: The Lady In Red All The King's Swing Kids Casper Under Fire The Pursuit of Mighty Joe Young Once upon a Field of Dreams. House of Sand and Aliens. Heaven help Bobby Fischer. Krull: The Commando The Forgotten Chumscrubber. The Legend of a Far Off Place. The Pagemaster: Stroke of Genius. Another 48 Aliens. The Missing Feathers. Uncommon Vibes How Fievel, The Grinch, Goes West

Where I found the list: http://digitaldreamdoor.com/pages/movie-pa..._filmscore.html

1. Star Wars Episode V: The Empire Strikes Back (1980) - John Williams 2. Gone With The Wind (1939) - Max Steiner 3. Lawrence of Arabia (1962) - Maurice Jarre 4. To Kill A Mockingbird (1962) - Elmer Bernstein 5. The Good, The Bad and the Ugly (1966) - Ennio Morricone 6. Psycho (1960) - Bernard Herrmann 7. The Godfather (1972) - Nino Rota 8. Jaws (1975) - John Williams 9. The Magnificent Seven (1960) - Elmer Bernstein 10. E.T. The Extra Terrestrial (1982) - John Williams 11. Batman (1989) - Danny Elfman 12. The Lord of the Rings: The Fellowship of the Ring (2001) - Howard Shore 13. The Omen (1976) - Jerry Goldsmith 14. The Adventures of Robin Hood (1938) - Erich Wolfgang Korngold 15. Raiders of the Lost Ark (1981) - John Williams 16. The Pink Panther (1963) - Henry Mancini 17. Vertigo (1958) - Bernard Herrmann 18. Doctor Zhivago (1965) - Maurice Jarre 19. King Kong (1933) - Max Steiner 20. Star Trek: The Motion Picture (1979) - Jerry Goldsmith 21. Superman (1978) - John Williams 22. Dances With Wolves (1990) - John Barry 23. How The West Was Won (1962) - Alfred Newman 24. Sunset Boulevard (1950) - Franz Waxman 25. Braveheart (1995) - James Horner 26. Schindler's List (1993) - John Williams 27. Ben-Hur (1959) - Miklos Rozsa 28. The Lion In Winter (1968) - John Barry 29. The Mission (1986) - Ennio Morricone 30. Close Encounters of the Third Kind (1977) - John Williams 31. Ivan The Terrible (1944) - Sergei Prokofiev 32. Modern Times (1936) - Charles Chaplin 33. Rocky (1976) - Bill Conti 34. Kings Row (1942) - Erich Wolfgang Korngold 35. The Bride of Frankenstein (1935) - Franz Waxman 36. Laura (1944) - David Raksin 37. Conan the Barbarian (1982) - Basil Poledouris 38. Goldfinger (1964) - John Barry 39. High Noon (1952) - Dimitri Tiomkin 40. Alexander Nevsky (1938) - Sergei Prokofiev 41. A Place In The Sun (1951) - Franz Waxman 42. Glory (1989) - James Horner 43. Now, Voyager (1942) - Max Steiner 44. Chariots of Fire (1981) - Vangelis 45. Cinema Paradiso (1988) - Ennio Morricone 46. The Red Pony (1949) - Aaron Copland 47. Breakfast At Tiffany s (1961) - Henry Mancini 48. Out of Africa (1985) - John Barry 49. Scott of the Antarctic (1948) - Ralph Vaughan-Williams 50. The Wizard of Oz (1939) - Herbert Stothart 51. The Ghost and Mrs Muir (1947) - Bernard Herrmann 52. The Bridge On The River Kwai (1957) - Malcolm Arnold 53. Chinatown (1974) - Jerry Goldsmith 54. The Great Escape (1963) - Elmer Bernstein 55. Once Upon A Time In The West (1968) - Ennio Morricone 56. Exodus (1960) - Ernest Gold 57. Spellbound (1945) - Miklos Rozsa 58. The Red Violin (1999) - John Corigliano 59. The Sea Hawk (1940) - Erich Wolfgang Korngold 60. On The Waterfront (1954) - Leonard Bernstein 61. Adventures of Don Juan (1948) - Max Steiner 62. A Streetcar Named Desire (1951) - Alex North 63. Edward Scissorhands (1990) - Danny Elfman 64. Citizen Kane (1941) - Bernard Herrmann 65. Planet of the Apes (1968) - Jerry Goldsmith 66. Krull (1983) - James Horner 67. The Third Man (1949) - Anton Karas 68. Around The World In 80 Days (1956) - Victor Young 69. Henry V (1989) - Patrick Doyle 70. A Summer Place (1959) - Max Steiner 71. Love Story (1970) - Francis Lai 72. Robin Hood: Prince of Thieves (1991) - Michael Kamen 73. Alien (1979) - Jerry Goldsmith 74. Romeo and Juliet (1968) - Nino Rota 75. North By Northwest (1959) - Bernard Herrmann 76. The Big Country (1958) - Jerome Moross 77. On Golden Pond (1981) - Dave Grusin 78. Godzilla (1954) - Akira Ifukube 79. The Best Years Of Our Lives (1946) - Hugo Friedhofer 80. Harry Potter and the Prisoner of Azkaban (2004) - John Williams 81. Forrest Gump (1994) - Alan Silvestri 82. Captain From Castile (1947) - Alfred Newman 83. King of Kings (1961) - Miklos Rozsa 84. Gladiator (2000) - Hans Zimmer 85. The Ten Commandments (1956) - Elmer Bernstein 86. Spartacus (1960) - Alex North 87. Taxi Driver (1976) - Bernard Herrmann 88. Hatari! (1962) - Henry Mancini 89. Taras Bulba (1962) - Franz Waxman 90. Patton (1970) - Jerry Goldsmith 91. Legends of the Fall (1994) - James Horner 92. The Shawshank Redemption (1994) - Thomas Newman 93. The Day The Earth Stood Still (1951) - Bernard Herrmann 94. The Natural (1984) - Randy Newman 95. Born Free (1966) - John Barry 96. Once Upon A Time In America (1984) - Ennio Morricone 97. Jurassic Park (1993) - John Williams 98. Love Is A Many-Splendored Thing (1955) - Alfred Newman 99. Zorba the Greek (1964) - Mikis Theodorakis 100. Titanic (1997) - James Horner

Is there anyway to get a promotional score? I'm trying to find Bruce Broughton's The Lighter Side, Sounds Exciting, Musical Drama, and Double Feature on eBay, and came up with nothing. Anyone know where I can get these albums?

every composer has done a score you love while everyone else seems to either dislike it or know nothing about it. i'll list as many composers as i can think of and some of my most fav underrated scores of theirs, and you respond with either your fav's of the same composers or different composers i neglected. James Horner - House of Sand and Fog Hans Zimmer - The Rock (popular, yes, but critically reviled) Thomas Newman - How To Make An American Quilt Danny Elfman - Big Fish John Williams - Minority Report Jerry Goldsmith - Ennio Morricone - John Powell - Gigli Klaus Badelt - Ned Kelly Harry Gregson-Williams - John Debney - Dragonfly John Ottman - Fantastic Four (hardly a great score, but better than people said) Clint Mansell - Doom Mark Mancina - Twister Trevor Rabin - Exorcist: The Beginning Peter Gabriel - Rabbit Proof Fence Howard Shore - The Cell Edward Shearmur - K-PAX Michael Nyman - (would Ravenous count as being underrated?) Marco Beltrami - xXx: State of the Union Mychael Danna - Shattered Glass Elmer Bernstein - Alan Silvestri - Polar Express John Barry - Lion in Winter Bernard Herrmann - Marnie James Newton Howard - Signs Rachel Portman - The Human Stain Jon Brion - Magnolia Deborah Lurie - An Unfinished Life Vangelis - Alexander Brian Tyler - The Greatest Game Ever Played David Arnold - Changing Lanes Craig Armstrong - Steve Jablonsky - Steamboy Clint Eastwood - Mystic River Anne Dudley - American History X Philip Glass - Undertow Henry Mancini - The Great Mouse Detective Don Davis - Ballistic: Ecks Vs. Sever Gustavo Santaolalla - Brokeback Mountain (i know it won an Oscar, but everyone's been up in arms lately about how much they hate it) Jan A.P Kazcmarek - Unfaithful Dario Marianelli - V For Vendetta Cliff Martinez - Narc John Frizzell - Gods and Generals BT - Monster Stephen Warbeck - Proof Mark Isham - Crash Carter Burwell - Kinsey Angelo Badalamenti - A Very Long Engagement Terence Blanchard - 25th Hour Basil Poledouris - Starship Troopers David Julyan - Insomnia Christopher Young - An Unfinished Life (rejected)

RIP Pretty ironic that she and Basil Poledouris died, yet they were both 61.

His scores don't move me like the work of Williams, Goldsmith and Horner (no matter what you think of him). Ifind all his work to be dull to listen to. He was totally wrong for LEMONY SNICKET'S A SERIES OF UNFORTUNATE EVENTS, despite getting an Oscar nomination. I would've picked James Horner (again, no matter what you think of him) or Danny Elfman for that film.

Closing Thoughts: After looking through the show, episode by episode, the two biggest mistakes that Michael Chang, Ben Jones, Ciro Nieli, Alex Soto, and Matt Youngberg made are definitely evident. Biggest Mistake #One: They tried to do it for too little budget, $8 million. What they were able to do with that little amount is impressive, though, I will admit, but being impressive of such a small amount of money, and actually making something that actually is impressive, in and of itself, are two different things. They definitely need about twice the budget that they had just to get the show fully animated, and even more than that if they wanted to add a little style to the animation. Biggest Mistake #Two: They tried to fit the entirety of the first two comics (about 30 pages total, and in small print) into one half hour show. This forced drastic cuts all throughout it, especially in the "Second Generation" section, also at which point they'd run out of budget for animation for the most part (filming at high contrast does not make animation). They were also forced to sacrifice personality and development for most of the characters. All this led up to the sudden end mentioned before, in which the narrator announced "to be continued". The show was not officially titled "Teen Titans-Part One", and nothing even hinted that this was merely a part of the story. It is merely titled "Teen Titans", which directly implies that the entire story should have been told in this show. They advertised it that way, and they've kept it that way. In another review, the reviewer who wrote up "Michael Chang, Ben Jones, Ciro Nieli, Alex Soto, and Matt Youngberg's Teen Titans, Part One: A Critique" on the "DC Comics Sarcasm Page" said, "I'm surprised there weren't any lawsuits." Final Rating: 2.7/10

Production Values, Continuity, and Budget of Chang, Jones, Nieli, Soto, and Youngberg’s Adaptation: 1/10 Production Values: The Opening Sequence: At the beginning of the show, the viewers are introduced to what I like to call “Behind-the-Curtain Theater”. Directors Michael Chang, Ben Jones, Ciro Nieli, Alex Soto, and Matt Youngberg used a curtain, a spotlight, a minimal number of extras and possibly, actors, and some props and costumes one might expect to find onstage at a school or church play, and a camera to film the rise and fall of Slade, and everything after. It is not until after the prologue has ended and the film reaches the first shot of the cuty that the audience ever sees any actual animation. The Hotel of the Prancing Pony: The Titans, Bart Butterbur, and Marco are the only animated characters in this scene. Every other character is a live-action actor or actress wearing a costume filmed at high contrast. The animators didn’t even feel the need to match the shadows or the tone of the Titans or the two human characters to the atmosphere of the Hotel of the Prancing Pony. Instead, the sounds of heavy footsteps were added when Beast Boy, Starfire, and Cyborg went to look for Raven when he accidentally opened the envelope. The Dell’s True Forms: Live-action actors, wearing white robes, without having the original photo negatives corrected. The shepherds, the goblins, the trolls, and the Bonleaf: They are also live-action extras and actors in costumes, sometimes with glow-in-the-dark hangs and eyes. The Entire Last Fifteen Minutes of the Episodes: Most of them were filmed live-action for the show, or was stock footage. Only the Raven, Beast Boy, and Terra sequences received much attention from remainder of the budget. Continuity: Now, I’m not going to go through every scene over and over, just to catch everyone continuity error, I’m not masochistic. The Envelopes’s Inscription: In the scene when Raven hands the envelope over to Robin in the city, the superhero asks the Titan if he sees any words on the envelope. Raven sees none, so Robin tosses the envelope into the pool and has Raven retrieve it. Raven remarks that it’s still dry, even after being in the pool. Then Robin concurs that it has his powers…without asking Raven if he sees anything yet, then the whole bit concerning the words on the envelope is completely forgotten. Beast Boy’s Telepathy: In the scene when Beast Boy is caught spying on Robin and Raven, he becomes very excited about going to seeing the aliens…when Robin had said absolutely nothing about aliens at all. Madod’s Name: In this show, they apparently decided that the names “Slade” and “Madod” were just too similar, and that everyone who hadn’t read the comics would be confused (sure, now they try to cater to people who hadn’t read the comics). So, they changed Madod’s name to Adod. Then, as if that wasn’t bad enough in itself…they would forget to call him that and went back to calling him Madod part of the time. The Robin vs. the Bonleaf Flashback: The sequence of events that took place between Robin and the Bonleaf after the rest of the Titans fled is told in a series of paintings…where Robin and Bonleaf look nothing like they do in the rest of this sjow. This is also an unintentional blessing in itself, though, if you ask for this critic’s opinion. Budget: This show had the funding of $8 million dollars, total. Even in 2003, that wasn’t much to make a fully animated show with, one with a similar running time to most others at that. It actually wasn’t enough, as a matter of fact. For the first half hour and a half, the episodes are mostly animated, with the exception of the opening narration sequence and a few rotoscoped live-action characters mixed-up in. It is after the breaking of the Titans that things really began to fall apart, not just for the characters, but for this entire show. Suddenly, the environment, most of the characters, and the scenes, were just filmed live-action at high contrast, or were stock footage added in because Chang, Jones, Nieli, Soto, and Youngberg were too lazy to actually film certain scenes. As stated before, if Chang, Jones, Nieli, Soto, and Youngberg lacked the budget to make their animated show animated, they shouldn’t have bothered.

Story Telling and Pacing: Rating: 2/10 The story telling and pacing of this show is a double-edged sword. The first half hour and a half of episodes' storytelling and pacing are manageable, as they followed the plot pretty well and clearly. They were almost like an hour and a half show adaptation of the comics in itself. Unfortunately, this is the first generation of “Teen Titans”, a half hour and a half is not suitable. Even more unfortunate is that this is the show at its best. Even then, drastic cuts of entire scenes and sequences were made, important characters were sacrificed, character development for many of the characters they left in was nonexistent, and vast amounts of information concerning the plot and characters was omitted. In fact, the only character who underwent any real development was Raven. All the others were mostly just paper cutout shadows of their book counterparts. Concerning the last fifteen minutes of episodes. It is the entirety of the comics, told in forty-five minutes. The viewers are given minimal information concerning the happenings in the Gap of Summer, David might as well be nonexistent, for all the screentime he’s given, Rabbitstache and Lisa are seen once, King Schwarzbaum only has a few scenes, and Hugh is cut out completely. At the climax of the Battle of Goldstone the narrator suddenly begins telling the viewers that the season has ended and there will be another season. In summery, this is very poor story telling and pacing. Each of the volume of “Teen Titans” is very long, and in order to go even a single one of them justice, you would need a three hour-to-three and a half movie. Trying to tell the story of “Teen Titans” in a show was just a very stupid decision right from the beginning. It forced most of the story in both to be cut. Not only that, but they focused on the “1st Generation” part of the show three-fourths of the seasons, leaving a dry bones “2nd Generation” part. They didn’t even give one of the volumes they were trying to adapt its due attention in favor of another one of them. This makes one wonder if Chang, Jones, Nieli, Soto, and Youngberg should even have bothered at all. Disjointed, contrived, and cut-and-paste to the point where the “First” section and the “Second” section are almost two complete different shows.

The Casting and Voice Acting of Chang, Jones, Nieli, Soto, and Youngberg’s Adaptation: Rating: 3/10 Out of the very short list of things not terrible in this show, the acting in on the top of that list. One could listen to the voice acting of the show and write it all off as flat and boring, and ask ‘why did they hire that actor’? Well, if you actually stop and take a look at the casting, they really didn’t hire any bad actors for this show. The Casting Directors are apparently the only people who did their jobs competently. The problem in the voice acting, itself, was the horrible writing and the lazy nature of the show, itself that they had to try to add their voices to. It is likely that the filmmakers probably just went with the very first take where the actors got all their lines right. So, the flat, wooden performances that most of the actors gave out probably are not even their fault. I will use the voice actors for Raven, Robin, Marco, Beast Boy, and Jake for the examples. Although, Brucce Helmick as the voice of Raven was actually quite good. His voice and voice mannerisms matched the character. He was able to portray the innocence and the strength of Raven very well. Barry Privett as Robin was decent, at best, flat at worse, but I don’t think it was his fault. The way the writers were portraying Robin was working against him. They had very little time to let us get to know Robin, and he carried most of the important dialogue in the early parts of the story. In most of the show, he was either explaining something or yelling at someone. None of the personality, humor, or charm of Robin showed through in the script. So yes, Barry Privett made for a very boring Robin, but then, the writers made a very bad Robin for him to try to provide a voice for. Greg Cipes as Beast Boy would be I what I like to call “sleep talking”. Some live-action actors have been accused of sleepwalking their way through a movie. Well, Greg Cipes sleep talked his way through the role of Beast Boy. None of the life, the strong will, or the indomitable spirit of our favorite shapeshifter ever showed in his performance. He pretty much just spoke the role, occasionally crying out some illegible gibberish, and called that a performance. Val Kilmer as Marco was surprisingly bad. He suffered from the exact same problems as all the rest. He gave a boring, wooden performance, and this Val Kilmer we’re talking about here, a much celebrated American actor. Not some Ashton Kutcher teeny bopper funny man. Last and but most certainly, least, Mark Hamill as Jake. Just like his animation and character portrayal…oh, Mary, mother of God, what were they thinking? Mark Hamill is most famous for playing Luke Skywalker in the “Star Wars” films. Not only did the filmmakers reduce Jake to being a mere peasant servant of Basil, but they also gave him a voice that makes him sound like a butler, to add insult to injury. Hamill’s performance of Jake was snooty, pompous, and stuck up. Not only that, but he actually managed to be more bland than Greg Cipes’ Beast Boy.