“Is this world protected?”
Yes, Doctor, it is. But who protects it? Why, Rory Williams, of course, the Last Centurion.
Would you like him to repeat the question?
“Is this world protected?”
Yes, Doctor, it is. But who protects it? Why, Rory Williams, of course, the Last Centurion.
Would you like him to repeat the question?
Publisher: Bluewater Comics. Cover Price: $ 3.99. Written by Reed Lackey. Art by Russell Dauterman.
Actor Adam West has problems: his values and ideas are out of fashion, and because he refuses to compromise them he doesn’t get any more work. But then something amazing happens: a strange amulet that he gets in the mail not only makes him young again, it also transports him into a spy adventure — which he eventually recognizes as one of the scripts he had recently rejected.
Like most of my generation, I have a soft spot for Adam West. Which is why I broke my rule of not spending more than $3.00 on any one comic, and impulse-bought this one. I was rewarded with a charming little story of a man who feels his time has passed, and who (apparently) is about to get the chance to prove everyone wrong.
The writing is competent and rather nostalgic. It manages to evoke sentiment in the reader — if you’re like me, you’ll feel with Adam West because you agree with him; if not, you’ll probably scoff at his old-fashioned notions. But you will react in some way.
The bad thing about this comic is the art. Invoking the Shooter Test, it’s servicable. You can tell what happens in each panel even if there were no words. But it is no more than that. The art is a bit too simple, too bland to excite. And frankly — if your comic is officially licensed by Adam West, then you should draw him in a way that the readers will recognize him even if you don’t say, “This is supposed to be Adam West.”
All in all, The Mis-Adventures of Adam West is a charming comic, and the only reason I won’t get the next issue is the price tag. I’ll keep an eye out for the TPB, though.
Verdict: mildly recommended.
Within a short time, Doctor Who companion Rory Williams (otherwise known as Mr. Amy Pond) has shown himself to be the most badass character of the 21st century. Or any other century. I’m sure even the Doctor is at least a little bit afraid of him.
Peter Michael Falk, born September 16, 1927 in New York, died June 23, 2011 in Beverly Hills, at the age of 83.
The actor Peter Falk was famous for two things. One of them being his glass eye, which he got after losing his right eye at the age of three. Which didn’t stop him from participating in team sports as a youth. He was actually considered a star athlete in high school. While the glass eye kept him from enlisting in the US armed forces during WW2, he did serve as a cook and mess boy in the merchant marines for a year and a half. After that, he initially signed up for Israeli army’s war against Egypt, but that war was over before the proverbial ink had dried. So he went back to university. Upon graduating, he tried to join the CIA, who rejected him because he had been a union member while in the merchant marines.
While working as an efficiency analyst for the city of Hartfort, he joined the local community theater. At the same time, he studied with Eva Le Gallienne; a class he lied to get into: Miss Le Gallienne only taught professional actors. When he was found out, and she told him he should be a professional actor, he quit his day job. Moving to New York, he became a successful stage actor. From 1958 to 1960, he also played small roles in movies.
His cinema breakthrough was the role of Abe Reles in the movie Murder, Inc. in 1960, for which he got an Oscar nomination. He got another nomination the following year for his part in Frank Capra’s Pocketful of Miracles. During the same period, he also did some TV work, which also got him award nominations. He won the Emmy in 1962.
In 1968, he accepted a supporting role in the Gene Barry TV movie Prescription: Murder, a role that had been rejected by Bing Crosby. Prescription: Murder was something original at the time: a murder mystery from the murderer’s POV. Falk was cast as Barry’s foil, the police detective Lieutenant Columbo.
(Pause for effect.)
Now, if you haven’t heard of Columbo, you’re probably from another planet, and even then you’re likely to know of the character. Peter Falk played the unique, polite and much smarter than he appeared detective from 1968 until 1978. It wasn’t so much an ongoing TV series, but rather a series of TV movie specials. The longest seasons were 2 and 3, with 8 episodes each. It was revived in 1989, for more TV movies and specials until 2003. The people who worked on it were a real who-is-who of Hollywood. Steven Spielberg directed the first regular episode in 1971. Robert Culp, Patrick McGoohan, William Shatner, John Cassavetes, Mickey Spillane, Richard Kiley and George Hamilto are only a minor sampling of guest stars. Falk’s Columbo quickly became one of the most iconic sleuths in fiction, ranking with Sherlock Holmes, Hercule Poirot and Sam Spade. In parallel, he continued to make movies (preferring smaller, independent movies) and act on the stage.
After a series of dental operations in 2007, Peter Falk rapidly declined into dementia and Alzheimer’s.
This is the point where I usually explain what the person whose obit I wrote here meant to me. In this particular case, I don’t feel up to it.
I mean, this is Columbo we’re talking about, you know. If you didn’t love Columbo, that’s proof that you don’t have a soul.
Okay, if the right chain of unlikely coincidences should happen, this one has a very slim chance of not being completely impossible. If someone who knows Cassandra Peterson happens to see this and likes it and points it out to her and she likes it…
But, yeah: awesome idea that will never be.
I like Elvira (Cassandra Peterson). The character is funny, bizarre, over the top, sexy and, well, funny. I own her first movie, Elvira, Mistress of the Dark, on DVD. I’ve seen the second one, Elvira’s Haunted Hills, but I don’t like it nearly as much as the first. The reason is simple: Elvira is an over-the-top comedic character. But unlike the first movie, where Elvira began as the odd woman out and the situation became progressively more bizarre, the second movie had a scenario where everyone was so bizarre that Elvira fit right in.
A good Elvira movie needs to quote heavily from the horror genre, and it has to have Elvira as someone who stands out like the proverbial sore thumb. If everyone is as bizarre as she, then it’s overkill.
So what can we do to make a good and fun Elvira movie? It’s really quite simple:
Elvira Knows Why You Screamed on Friday the 13th.
A busload of teenagers, returning home from a sports event (or going to a sports event) finds themselves trapped on a small islet. They had only planned to pass through, but a flash flood tore down both bridges, effectively isolating them. There is only one house on the islet, a mansion actually, so the teenagers turn there for help.
The only person in there is Elvira, who, being her normal friendly and helpful self, offers the kids shelter. But something is weird about the entire set-up. Curious as teenagers are, they discover that Elvira is engaged in some strange magickal rituals that might involve the Necronomicon.
As soon as they discover that, they start dying. Since Elvira is the odd woman out, they of course immediately suspect her as the Slasher, and try to kill her in return. Which doesn’t work, but plays a part in establishing that Elvira is not the killer. As the outsider looking in, her help does turn out to be instrumental in uncovering the real killer. And about the magickal experiments she performs in her basement? Yes, it is the Necronomicon, but she’s not trying to call up demons. She’s trying to materialize Bruce Campbell.
At the end of the night, the bridges are being repaired, so the surivors can look forward to continuing on their trip. But what about Elvira? Will she get lucky? Will her summoning of Bruce Campbell succeed? Only his agent knows for sure…
We all know that the new Superman movie is going to be a trilogy, right? And a reboot. And it’s common knowledge that Zod will be the villain in the first movie. Now, nobody’s asked me, and they never will, but this is how I would do a Superman trilogy. I’m focusing on Luthor’s storyarc here, because I feel that after having been the villain/supporting character in 4 out of 5 movies, the animated series, and Smallville, justifying his presence requires a bit more effort in order to make him interesting.
The first movie opens with the destruction of Krypton: a distinctively-shaped spaceship approaches the planet and destroys it. Just before that happens, Jor-El sends of infant Kal-El. The next years are summarized during the opening credits: arrival on Earth, growing up on a farm, discovering the powers and joining the Daily Planet.
Enter Lex Luthor, the most brillant mind on Earth. And a total sociopath. His supergenius intellect has made him a giant in science and economy, and his lack of conscience (“I am the pinnacle of human evolution – to me, all of you are like ants”) has made him utterly ruthless and disregardful of human life. Literally the only thing that matters to Luthor is Luthor. The rest of us exist to worship him.
Then Zod arrives, and with his superpowers begins to take over the planet. Luthor sets out to stop him – and fails. The first and only failure in his life. Even worse, this is the moment when Superman shows himself, takes on Zod and wins! Superman succeeds where Luthor failed, and he now gets the accolades that Luthor considers his due. That leaves only one thing to do: in order to set things right, Superman must be destroyed!
But that will have to wait, because in the second movie, the distinctive spaceship that destroyed Krypton approaches Earth. Brainiac has come, to destroy our world. And this time, even Superman alone isn’t up to the task. While Luthor would love to see Superman fail and destroyed, this won’t do — the only one who gets to destroy Superman is Luthor. And since there won’t be anyone left to worship Luthor if Earth is destroyed, Luthor needs to save the Earth. During the final confrontation on Brainiac’s ship, Luthor steals Brainiac’s data and happens upon something that nobody on Earth has ever seen: Kryptonite. He discovers that because Brainiac uses it against Superman, and Luthor needs to save Superman from the effects. Needless to say he keeps the sample for future use. Together, they kick Brainiac’s ass.
The third movie brings up the confrontation that audiences have been waiting for: Luthor vs. Superman. Luthor has used the information he stole from Brainiac’s ship to build himself a battle suit that is powerful enough to take Superman on. So he does, confident that even if the suit fails, he still has the Kryptonite to back him up. Superman wins, of course. That is the one thing that Luthor can’t tolerate, so he activates Plan Omega: he overloads his armor, which would result in an explosion powerful enough to wipe Metropolis off the map. It is something that Superman can of course prevent. Worse, from Luthor’s POV, is the fact that Superman saves Luthor’s life. In prison, all Luthor can think of is revenge…
Born John Barry Pendergast, November 3, 1933, died January 30, 2011, of a sudden heart attack, at the age of 77.
John Barry’s father was a classical pianist who also onwed a chain of movie theaters.. Originally a classical pianist himself, he continued to learn the trumpet and developed an interest in composing and arranging. During his time in the British Army, he learned the how-to with the help of a corresponence course. In 1957, he abandoned his original career path of arranging music for big bands and formed the John Barry Seven. The band remained in business until 1965, and had several hits. During this time, he arranged music for several performers of the BBC show Drumbeat. Including Adam Faith. When Faith made his first movie, Beat Girl, in 1960, he hired John Barry to write the music. It became the first movie soundtrack to be released as an LP in the UK.
His work first for EMI records and then for Ember Records caught the attention of a movie producer who was in the process of producing “a little spy movie,” and who was unhappy with a theme delivered by the original composer, Monty Norman. They hired John Barry to revise the theme.
John Barry went on to contribute to altogether 12 of the James Bond movies. One thing led to another, John Barry kept getting more and more calls from movie producers, and he went on to become (one of) the greatest movie composers in the history of cinema. (The “one of” is to appease the fans of other film composers — for me, Barry was the greatest.) Barry’s distinctive style concentrated on strings and brass, but he was also an innovator. He was one of the first to use synthesizers in a film score, and he made extensive use of contemporary rock and pop music. He usually didn’t just provide the theme music, but wrote the entire soundtrack score, thereby very much improving and enhancing frequently already impressive movies.
You couldn’t go wrong with a John Barry score.
Some other examples of his work are the music to the movies Zulu (1964), Born Free (1966, two Oscars for the music), The Lion in Winter (1968, Oscar and BAFTA awarded), Midnight Cowboy (1969, Grammy Award winner), Star Crash (1978), Somewhere in Time (1980), Out of Africa (1985, Oscar winner), Dances With Wolves (1990, Oscar winner), Enigma (2001). His other work includes five musicals, the best known among them probably being Passion Flower Hotel (1965) and Billy (1974).
An illness suffered in 1988 rendered him unable to work for two years, and left him vulnerable to pneumonia.
He won five Oscars out of seven nominations. He was the proud owner of four Grammy Awards, two BAFTA Awards and several Golden Globe nominations.
You know the saying that “they don’t make them like this anymore?” That might as well refer to John Barry. Forget all the rest (although, yes, there are good movie composers working in the business now), John Barry was the best there was at what he did. Hands down.
Born Susannah Yolande Fletcher, January 9, 1939, died January 15, 2011, of cancer.
Nerd alert: if I think Susannah York, I think of Superman’s mom, Lara, in Superman 1, 2 and 4. She was, of course, much more than that.
Susannah York’s movie debut was 1960, in the movie Tunes of Glory, where she played alongside Sir Alec Guiness. She also performed in the award winning movies Tom Jones (1963), A Man for All Seasons (1966), The Killing of Sister George (1968) and Battle of Britain (1969).
While the Superman series might have been what imprinted her on a whole generation of nerds, her crowing moment in movies was probably the 1970 film They Shoot Horses, Don’t They?, a movie about couples who try to win a dance marathon in the depression era. Susannah York was nominated for the Best Supporting Actress Oscar for her role of Alice in this one, but stepped on the Academy’s toes when she declared that she felt offended that she was nominated without being asked first. The Oscar subsequently went to Goldie Hawn. One wonders… She did get the BAFTA for the same role, though.
Although she did a lot of work for movies and TV, York claimed she was happiest on a theater stage, where she felt she truly belonged.
She also wrote two children’s books, In Search of Unicorns and Lark’s Castle, and was politically active.
USA 2011. Directed by Michel Gondry. Starring Seth Rogen, Jay Chou, Christoph Waltz. Runtime: 110 minutes
When Britt Reid’s (Seth Rogen) father, newspaper mogul James Reid, dies from an allergic reaction to a bee sting, playboy and no-goodnick Britt has to take over. Britt befriends his father’s erstwhile mechanic Kato (Jay Chou), and talks him into joining him in becoming superheroes. Together (well, mostly Kato, with Britt in his new identity as Green Hornet taking credit) they mix up LA’s underworld. Since they pretend to be criminals, that doesn’t sit well with the city’ actual crime-lord-in-charge, Chudnofsky (Christoph Waltz). The situation escalates into what looks, to outsiders, like a major gang war for the control of Los Angeles’s criminal underworld.
I admit that I went into this movie expecting to totally and completely loathe it. To my surprise, it was better than I had expected. Granted, that’s easy, considering just how bad I had expected it to be. But even by that standard.
That said, I still didn’t like it all that much. Shall we begin the diagnosis?
Green Hornet is esthetically interesting. Gondry has a distinctive visual style, and his almost-surrealism makes this movie interesting to look at.
The action sequences, mostly car chases and martial arts stuff, are energetic and engaging and work very very well.
Christoph Waltz is not memorable as the bland, boring and not at all scary villain Chudnofsky. Why is that a good thing? Because it’s intentional. It’s what makes the character unique. He’s a crime lord who does not seem scary at all, but he desperately wants to be scary. Chudnofsky is easily the best character in this movie.
And at the end of the film, I realized that the heroes resolved a major dilemma in a way that a hero who has to be heroic never could. I don’t know if Rogen actually thought that through (judging by the rest of the film, I don’t think so), but it’s a chilling reminder of why being disguised as a villain can be effective.
Green Hornet would have been a terrific movie if they had played it straight. Unfortunately, they decided to make a comedy, and the jokes mostly don’t work.
At least not for me. Seth Rogen’s stlye of asshole-slacker-humor simply isn’t what I find funny, so most of the supposed jokes were facepalm-stuff for me. I mean, I don’t mind gay jokes and blonde jokes if they’re actually funny, but in this movie neither the gay jokes nor Cameron Diaz were.
Seth Rogen as the writer and the actor playing the role is also to blame for another reason why this movie didn’t work for me: his Britt Reid is an unlikable jerk and bully. His motivation for becoming a superhero? He is bored, and thanks to Kato he can feel like a hero without actually taking much risk. You could call Britt Reid “What if Kick-Ass were Batman?” This Britt Reid is irresponsible, stupid (yes, as in: not particularly intelligent), arrogant, offensive and generally juvenile. I couldn’t see a single redeeming quality in the character. Even at the movie’s end, he hasn’t learned anything from his adventure.
Kato’s motivation for joining Britt “in this adventure” is even more obscure. He’s an engineering savant (yes, I know what the word means, that’s why I use it) who doesn’t even like Britt. So why would he join him?
Regarding Jay Chou, I hope he uses the money he made for this movie to buy a second facial expression.
If you get to choose, see the movie in 3D. It’s a post-converted movie. If that doesn’t say it all already, let me explain some of the problems that this movie has with 3D.
Gondry uses quick music-video-style cuts. When you do that in 3D, the 3D can’t keep up. The eye can’t process the quick changes. I wasn’t affected, fortunately, but I heard several people complain of nausea and headaches after the movie. In addition to the physical problems, the visuals are frequently blurry and out of focus, which (I’m told) is also a problem of the post-conversion process. So if you want to see the movie with a sharp and in-focus picture, without headaches and the risk of spewing your popcorn on the guy in the seat before you (or being spewed on by the guy behind you), choose the 2D version. Luckily, 3D doesn’t really add anything to this movie, so you wouldn’t miss out.
Plus, the 3D glasses get in the way of the facepalm.
In general, what’s the verdict? Frankly, I’m not sure. As I said, the action scenes work, but as a comedy it fails. I suppose that if you like Seth Rogen’s style of comedy, the comedy will work for you, so you will probably enjoy it. Since I don’t like that type of humor, I didn’t. Therefore, since it was a comedy that I didn’t find funny, and since I found the main character irredeemably unlikable, I render the following
Verdict: mildly not recommended