Monday, October 03, 2016

"I am Torgo. I take care of the place while the Master is away."

So yes, Manos: The Hands of Fate is an infamous little movie from 1966 that is often mentioned in conversations about the "Worst Movie Ever Made." While I don't think its the actual worst movie ever made (that's a matter of personal taste), it is a colossal turkey that earns its reputation.

Written, produced, directed and starring Harold P. Warren, an insurance and fertilizer salesman from El Paso, Texas, the movie was famously made on a bet with a Hollywood location scout named Stirling Silliphant, who would himself go on to great acclaim as the screenwriter of such classics as In the Heat of the Night, The Towering Inferno, The Poseidon Adventure, and, uh, Over the Top. The bet was that Warren could complete a low budget horror film on his own.

After a tumultuous production and failing miserably in the Southwest, the film languished in obscurity until the famous MST3K episode aired in 1993. After that, it turned into a Z-movie icon, eventually spawning a mobile game, a blu ray digital remaster, and a successful crowdfunded project for Manos Returns, which is due some time this year if IMDB is correct. Much like Troll 2, its not exactly obscure anymore, but that doesn't change the fact that its still awful.

What's it about? 

After eight minutes of driving around the El Paso countryside, a family on vacation get lost looking for Valley Lodge. The father, Mike, is played by Hal P. Warren himself. The mom is Margaret, played by Diane Mahree, who would later find success in fashion modeling, and their daughter, Debbie, played by Jackey Neyman, but dubbed into incomprehensibility. They stop at a house that “wasn't there before” first to ask for directions, then for lodging as night approaches. The caretaker is a twitchy and awkward man with strange knees (whether he was supposed to be a satyr or “like a hunchback, only hunchknees” seems a bit ambiguous, since I've seen both reported. Doesn't really matter, anyway.) He's named Torgo, and played by John Reynolds, a troubled young man who was apparently on LSD during filming and committed suicide at the age of 25 a month before the movie was released to theaters. 

So that's depressing.

Torgo's weird as hell, speaking in halting sentences and stumbling around with his own theme song. He takes care of the place while the Master is away, and while reluctant to allow the family to stay, he lusts for Margaret.

The Master is played by Tom Neyman, and is the leader of a mysterious and vague cult of possibly immortal, possibly undead people. He worships an abyssal being of primordial darkness named Manos that has a hand motif, and his cult centers their worship around a macabre bonfire where they sit, talk, argue, and eventually get into a catfight around. Essentially the Dark Souls of movies.

I'm only half joking. The similarities might be purely coincidental, but they are striking.

Tom Neyman is essentially the unsung hero of this movie. In addition to being the villain, his daughter played Debbie, his dog played the devil dog, he helped make Torgo's knees, built some of the props and his wife designed most of the costumes. He also gives the best performance of the movie, for what its worth.

I've noticed that in the best worst movies made, there's always some person with talent that is applying genuine effort to elevate the movie above its massive failings. Here, its clearly Neyman who gave it his best effort.

So what doesn't work? Saying “Everything” is a cop out, and also untrue. The editing is bad, with long and short cuts jumping around the place and long stretches of boredom that help drag its run time over 60 minutes. The cinematography is bad, with mostly dull scene composition, flat interior lighting and absolutely horrible exterior night lighting. There's the occasional flash of an interesting shot, but it passes just as quickly as it arrived. The acting is bad, with flat deliveries of dull dialogue. The female characters have it worse, with weird delays in their reactions and awkward expressions and just generally weird timing issues with their delivery. The audio itself was bad, and every sound, including dialogue, was added in post production, with voice recording occasionally being drowned out by sound effects. The smooth jazz soundtrack also doesn't fit the tone of a legitimate horror movie at all, with its flutes and saxophones and pianos.

So what's good about it? Or at least “good” with air quotes?

Torgo has become such an iconic character because he's so damn weird. He's a filthy creepy pervert that peeps through windows, yet he's the most sympathetic character because its obvious he's an unwilling servant of the Master who's fed up with being treated like dirt for a very long time.

The Master himself chews the scenery and glowers like a madman. There's even a kernel of a moody, mysterious horror film buried at the core (brigadoon house, strange cult, creepy caretaker, supernatural goings-on, etc), but the execution is so un-salvageable that it adds to the boredom and, oddly, its bizarro charm.

Like so many of its Z-level kin, Manos: The Hands of Fate ends up being a trainwreck that is simultaneously boring and utterly surreal.

Do I recommend it? As a movie that fulfills the basic requirements of entertainment, no, HELL NO. For the certain masochistic subset that has conditioned itself to find joy in weird cinematic failures this is absolutely essential, like a rite of passage. 

Tuesday, August 23, 2016

"Talk about a workplace romance gone wrong."

Warner Brothers and DC continue to chase the dragon that is the Marvel Cinematic Universe with Suicide Squad, and they continue to make weird creative and tonal decisions that continuously hamstring that effort.

It made me think a lot of thoughts, so buckle up, this is going to be a long one.

Task Force X, more commonly referred to as the Suicide Squad, dates back to a couple issues of The Brave and the Bold in 1959 where it was a government agency formed when the Justice Society disappeared for a while. They were mostly military people and disappeared into retirement/obscurity after a while. 

The second, more popular, critically acclaimed version that this movie is largely based on, dates back to 1987, where a government official rounds up a bunch of hardened criminals with super powers or advanced technology, and sends them across the world to do government wetwork where they either succeed or get themselves killed. Either way, its a win-win for Uncle Sam. But not THE Uncle Sam, who actually is a character in the DC Universe. 

Told you so.

 There's also a modern version of the team similar to the 80s-90s version, but this time with a little less inter-team backstabbing and with Harley Quinn attached because its a new continuity and they needed a popular character to add to it because that's what temporarily sells comic books.

What this means is that in one form or another, the Suicide Squad has existed in three different major DC comics continuities (Pre-Crisis, New Earth, and New 52). This is also why explaining comic books to normies is both frustrating and time consuming.

So before we get into it, here's the Spoiler-free Review: Suicide Squad is the most entertaining movie of the DC Cinematic Universe, but its still not very good and continues to be frustrating in how close it can get to getting it right and how painfully often it misses the mark. 5/10.

Anyway, the movie version is assembled much like the 80s team. Amanda Waller (Viola Davis) proposes a disposable black ops team made up of hardened super criminals in the wake of Superman's bland death in Batman v Superman: Dawn of Justice so that the government has some way to check the next Superman who shows up and isn't interested in Truth, Justice, and the culturally sensitive way.

Oh yeah. Spoilers for Batman v Superman.

Waller is pretty spot on for what the comic version is all about and is herself a bad, bad lady when she needs to be. She recruits decorated war hero golden boy Rick Flag (Joel Kinnaman) to serve as field commander and babysitter for her team. She does this by setting him up with an archeologist named June Moon (Cara Delevingne) who is possessed by an ancient entity called the Enchantress who is obviously magical but they persist in calling it extradimensional. Waller has the Enchantress' heart in a suitcase that she can stab voodoo-doll style if the freaky witch lady starts getting out of line.

The rest of the team consists of Deadshot (Will Smith), a world-class assassin and marksman; Harley Quinn (Margot Robbie), the Joker's girlfriend and equal in lunacy; Captain Boomerang (Jai Courtney), an Australian crook who uses trick boomerangs and fought the Flash; Diablo (Jay Hernandez), a former gangbanger with deadly pyrokinetic abilities and a desire for redemption; Killer Croc (Adewale Akinnuoye-Agbaje) the Batman villain who looks like a crocodile; Slipknot (Adam Beach), a jobber from Firestorm's old series who's good at climbing things. Oh, and they're also joined by Katana (Karen Fukuhara) who isn't a villain at all, but she does have a magical sword that captures the souls of the people killed with it. To their credit, they don't even bother trying to explain that one away as being extradimensional vaguely advanced science. She's a left field pick, but its fine, and it has me crossing my fingers that they actually go and make a Batman and the Outsiders movie. Because I'm the lunatic who wants to see them pull off live action Metamorpho and Geo-Force.



We're introduced to most of the team through flashbacks as to how they got arrested, usually through Batman and in Boomer's case, the Flash in a brief cameo.

While the team is being assembled, Enchantress goes off the reservation and frees her brother, Incubus, only instead of meeting him in outer space, they meet up in a subway. She goes rogue, Waller tries and fails to kill her, Incubus powers her up and gives her a cleaner costume, and the two proceed to build a gigantic glowing bomb that may or may not be a light grenade for vaguely defined reasons. But its definitely a threat. Because Waller says so.

The squad mounts up and chafes under Flag's gung-ho leadership and they fight their way through a city crawling with relatively easily killed minions and yadda yadda yadda, the villains end up bonding with each other and who's the real monster blah blah blah and it literally ends like Ghostbusters.

No, not this year's biggest movie trainwreck. I mean the original Ghostbusters.

The plot is derivative as hell and the only reason it isn't linear is because its broken up by numerous flashbacks. The editing is also really weird and reeks of executive meddling, since there are introductions, then introductions again, then recaps of things that happened half an hour ago, and other messes like that.

The meat of the movie is a ensemble character piece as these weirdos are thrust into an increasingly bizarre adventure. A lot happens, but the actual plot is surprisingly simple. Curiously for a character piece, the three top billed characters are the ones I had the most problems with.

Deadshot. So Floyd Lawton comes from a well-to-do but messed up family and his killing days started early. He tried to challenge Batman with a tuxedo and mask, got arrested, developed a nihilistic “death wish” which was him mostly not caring about whether he lived or died and eventually found out he had a daughter which gave him some semblance of something to live for. Death wish, sleazy white trash moustache, selfish prick, sarcasm, eventual discovery of a daughter that gave him something to live for. These are Deadshot's biggest character traits, and the movie only bothers with the last two. He only ever wears his iconic mask twice, which I understand. You pay for Will Smith, you damn well better use all of Will Smith. Its the lack of a death wish that really makes him generic anti-hero here. The whole appeal of Deadshot is to see him be enormously casual about the deaths of his teammates and about the danger around him, which ironically enough, makes him the perfect member of the Squad because all he cares about is himself and shooting people that annoy him.

Harley Quinn. Personal taste is personal taste, but I prefer the harlequin version from the Animated Series to the modern Suicide Girls camwhore version, mostly because I prefer minimalist designs. Character-wise, this Harley is cheerful, bubbly, and thoroughly psychotic, which is in keeping with the character, but she also lacks an innocence that detracts subtlety from the character. This isn't a knock on her performance, that's fine. My beef is with the writing. 

Part of the bizarre appeal of Harley is her innocence. When she's happy, its a childlike joy. When she's angry, its a tantrum, albeit a deadly one that usually involves hyenas tearing someone apart. She taps into a trickster archetype, a prankster. Making her a sexpot doesn't work for me because it means the Joker regressed her to a teenager instead of a pre-adolescent, which is less horrifying. And let's not bandy about here, the Joker taking an intelligent psychologist and manipulating her into loving him and then fracturing her personality into a thousand broken pieces is HORRIFYING. That's the point.

Joker. I haven't mentioned Jared Leto's Joker for a couple of reasons. First, he has absolutely no bearing on the plot. Whatsoever. You could cut every one of his scenes and it would work out exactly the same. Second, its the arguably the worst on-screen portrayal of the Joker, and definitely the worst live-action one. The Joker's entire existence serves as a mockery. A mockery of sanity, good taste, morality, style, taste, whatever you can think of, the Joker exists to deliberately subvert it. The argument can be made that this version's a mockery of modern day gangsters and their aspirations of opulence. My counter-argument is that its simply not funny in its execution. They get the off-putting weirdness of the Joker down on screen, but they miss the point that he's the Clown Prince of Crime. 

Much of Joker's atrocities are committed because he thinks they're funny. He's even go so far as to let people live because killing them wouldn't be funny. Its also why his history is littered with outlandish gag weapons and deathtraps. Its because he finds his brand of nihilistic absurdity hilarious, and when the writers are good, we too find it hilarious, which is the greatest element of the horror that is the Joker. We can identify with the Joker's sense of humor, which in turn repulses us, because there's that little bit of the Joker inside us all. Much like Lex Luthor in Batman V Superman, the misinterpretation of such an archetypal character as the Joker is downright tragic.

Now, as to the portrayal of Joker & Harley's relationship. The Joker is the primary mover and his erratic, often dangerous treatment of Harley is also part of his villainy. He created her on a whim, and just as often, casts her aside for those same reasons. HOWEVER, on the flipside, Harley is a monster of his creation and is psychotically devoted to him, in a “if I can't have him, no one can” sort of way, which is also comical because its a kind of karmic retribution for ol' Puddin'. Its a relationship built out of two horrible people who are always on the verge of killing each other. Its anything but healthy, but the abuse runs both ways.

Enchantress. Oddly enough, June Moon is fairly close to her comic counterpart, where she is wildly powerful but wildly dangerous. The problem is that she's also the primary antagonist so she has nothing to do with the rest of the team and does little besides sneer, move around creepily, and give Rick Flag something to angst about. Also, I do miss the green witch's hat.

Rick Flag. He starts out as a standard military action movie guy, then he gets involved with Enchantress, then he turns into the team's wet blanket, and then he gets a little more interesting, but not much. He has to play the straight shooter compared to all the villains, but he mostly gets lost in the crowd, and even his “rivalry” with Deadshot feels hollow.

So with all the legitimate complaints about the movie, there are some real bright spots that stand out, even if they're underutilized.

Killer Croc's a lot of fun as dumb muscle comic relief. He buddies up with Diablo, but aside from a few moments where he rips and tears or tosses off an occasional one-liner, he doesn't really do anything. Which is a shame, since the makeup work on him is fantastic.

Captain Boomerang steals every scene he's in because, like the comics, he's a complete and total shitbag. Drunk, filthy, womanizing, cowardly, backstabbing, and yet a survivor who, in the comics at least, is capable of giving the Flash a legitimate fight because he's such a tricky bastard. The scene where he dupes Slipknot into making a break for it only for the bomb to go off is lifted from the comics (except in the books, Slipknot lost an arm, not his head, so he could come back later and job some more). 

The part where Flag smashes the detonator and sets the Squad free because he's mopey about Enchantress is perfectly punctuated by Boomer grabbing his beer and bolting from the bar they're in. Of course its ruined by him showing up again outside when they all march off to the final action sequence for no reason that makes any sense outside of a shoehorned attempt to make these villains into “A FAMILY.” It would've been more in character if Boomer actually did run off only to get dragged back after the final battle's over. But whatever, I'm a big Flash fan, and seeing them otherwise get Captain Freakin' Boomerang done right on the big screen gives me some hope for the Flash movie. Not a lot, but some.

The real standout of the movie, and the character who legitimately gives it heart and soul is Diablo. He's soulful, mournful, and his self-imposed pacifism and hopeless quest for redemption is the actual beating heart of this movie. Sure, his arc's predictable like most of the rest of the movie, but its also the best executed and genuinely more compelling than Deadshot learning how to be an antihero or Harley being an awful person and getting away with it because “WE'RE A FAMILY NOW!”

Top-to-bottom, this is a deeply flawed movie with a lot of bad narrative decisions, but there's also some flashes of gold in there that make it the best entry in the DC Cinematic Universe. Its just a shame that “The best entry” in this case is a mediocre 5/10. Not recommended, unless you like C- and D-listers like I do. 

Monday, July 18, 2016

“Do not compare me to the Jaws mayor!”

Full disclosure: I was deeply skeptical of the new Ghostbusters movie. The controversy, the trailers, the leaked plot rumors (that turned out to be true), the previous failed attempts to get Ghostbusters 3 off the ground where Bill Murray allegedly shredded up a script and mailed it back to Dan Aykroyd. So for at least ten years, the story behind making a new Ghostbusters has been a shitshow, and before that, a pipe dream. The last time I actually wanted to see a new real, live Ghostbusters movie was in high school computer class back in 2001. I went into this skeptical but hopeful that it would surprise me.

So why am I writing a review of a movie I didn't really want to see for 15 years?

I had to know.

Not for the controversy, not because somebody else recommended it. I had to know for myself.

Now I know.

Its a giant piece of dogshit that has nothing to do with who has what kind of chromosomes.

First the setup. Have you ever seen Ghostbusters? It follows the major story beats without taking much time to set things up because this isn't a reboot of Ghostbusters. It's a remake. For the uninitiated: some academics have crazy ideas about researching the paranormal. They get kicked out by the faculty for being crackpots. They go into business for themselves, hire a secretary, investigate paranormal occurrences, have some rocky starts, build technology to catch ghosts, hire a new employee, successfully capture a ghost, attract the attention of a cranky mayor, then find themselves the only thing that can stop a giant supernatural threat that could destroy the city of New York.

All that's missing is the humor, the scares, the buildup of a credible supernatural threat, chemistry between the leads, character development that sticks, humor, any kind of made-up rules for how you could use technology to capture ghosts, any kind of a love interest plot that goes anywhere, quotable lines, and humor.

But it does have poop jokes. And fart jokes. And it steals a gag from Young Frankenstein. Oh, and there's a queef joke. And a pointless cameo from Ozzy Osbourne. And its got Bill Murray in a cameo where he looks dead inside.

And it devolves into a 20 minute action sequence at the end with fight choreography and goofy weapons and shooting the physical manifestation of their logo in the dick.

Our four leads are Erin Gilbert played by Kristen Wiig, who was once big into paranormal investigation but left it behind to become a real scientist and then loses her tenure track when she reunites with her old collaborator/friend and flips out after almost catching a ghost and her supervisor fires her. You would think that would lead to conflict between the two, and in a good script it would. Anyway, aside from playing the straight face of the group, she just fades into the background in most scenes. Except when she accidentally kills a man by releasing the only ghost they've managed to catch and it throws him out a window to prove to him that ghosts exist. See, its funny because its Bill Murray's cameo.

Yeah, that was a spoiler. I'm not sorry.

Next is Abbey Yates, played by Melissa McCarthy, who babbles incessantly. That's it. No realizing she accidentally ruined her friend's academic career, no self-awareness, no character development at all.

Abby has partnered up with Jillian Holtzmann, played by Kate McKinnon. Her only purpose in the plot is to be a mad scientist type who creates anti-ghost weaponry and rattles off techno-jargon. So to fill time, she mugs for the camera because there's nothing else to work with. She's one “Freunlaven” away from turning into Mr. Director from Animaniacs.

And last is Patty Tolan, played by Leslie Jones. She's an MTA employee with an encyclopedic knowledge of the weird side of New York and the connections to get a vehicle for the team. She's useful, resourceful, tough, and, remarkably enough, the most believable, fleshed out and likable character in the entire movie and actually has a character arc where she grows from when she's introduced. The movie might even have been better if it was just Patty and Holtz getting into crazy shenanigans. 

They hire Kevin Beckman, played by Chris Hemsworth. Kevin's a narcissistic, airheaded idiot who is miraculously still alive, but he's pretty and Erin has an immediate crush on him, so he's hired. He gets close to some genuine comedy because the character's such an oddball.

There's Rowan North played by Neil Casey, who's the villain. He's creepy and wants to usher in the Fourth Cataclysm (whatever that is) because he's...been bullied all his life? Its stupid and then he kills himself and turns into a ghost that can possess people and then he turns into a terrible CGI version of the Ghostbusters Logo and gets shot in the ghost crotch before being sucked into a portal.

Oh, and there's Andy Garcia as the mayor of New York who knows about ghosts and the supernatural, but helps the Feds clamp down on it to prevent panic. I only mention him because its Andy Garcia and he gets the only line that got a chuckle out of me (which is the quote I used above).

So to sum up what's good about this remake? Leslie Jones and some of the ghost effects. Annie Potts and Ernie Hudson both had good cameos. I had hoped that the controversy surrounding this movie would have at least been a lot of noise about an average movie with a few yuks. The script is terrible, the chemistry between the leads is absent, and there's absolutely zero weight to anything going on in this movie.

Instead, it commits the two biggest sins of comedy: Its boring, and its not funny.

The Star Wars Holiday Special of Ghostbusters.  

Avoid it if you can.

Monday, March 28, 2016

Tell me, do you bleed? You will.

So I recorded something off-the-cuff for this, but it ended up being an incoherent, rambling, overly-long thing that would have been unpleasant for an audience to sit through.

Much like Batman V Superman: Dawn of Justice. ZING!

I'm partially kidding. Batman V Superman is Warner Brothers and DC's attempt at jump-starting a Justice League Movie Universe so that they can chase that Avengers movie cash cow, which is something that's been tried before with Green Lantern (and failed).

Actually, I saw the almost universal panning of the film by the media as a curious thing, especially when a couple people I respect on film/story opinions recommended it. This made me curious enough to see it myself to form my own opinion. Well, I have, and its complicated, and that's why I spent my Sunday night hammering this out.

Short and spoiler-free take? Its a disjointed mess with flashes of goodness but loaded with bloat and inconsistencies that ultimately frustrate the viewer with wasted potential.

From here on out, we're going into spoiler territory.


Bats V Supes is a direct sequel to 2013's Man of Steel, which was directed by Zach Snyder and starred Henry Cavill as Superman. That was a deeply divisive movie that garnered tremendous amounts of criticism, but did well enough to warrant a sequel, and with Christopher Nolan's Batman trilogy wrapping up, meant that the time was ripe to open up the DC vaults and get a good ol' fashioned crossover going. Two superheroes are led by misunderstanding to fight each other, resolve that conflict, and team up to take down the REAL villain. Tale as old as time, song as old as rhyme.

Except Bats V Supes is something of a bloated mess of a movie that has multiple ideas, plotlines, and even tones jockeying for the limelight.

The plot of the movie, such as it is, follows Superman trying to find his place in a world that is now in awe of his godlike power, and sometimes fears him. Rightfully so, as the opening sequence features Bruce Wayne rushing to Metropolis during the climactic battle of the last movie and trying to save people's lives while building an understandable resentment for the carnage caused in Superman's wake.

We skip ahead to where Bruce Wayne's hatred of Superman festers into a two-year obsession with finding a way to stop or even kill the Kryptonian while Superman struggles with trying to do Superman stuff like saving Lois Lane from bad guys and being inspirational in a movie that wants to punish him for doing Superman stuff. Meanwhile, Lex Luthor is trying to get the U.S. Government to fund his attempts to experiment on Kryptonian technology so that he can find a way to kill Superman. And Wonder Woman shows up occasionally to justify her being in the climactic fight scene with Doomsday.

Is it a total mess worth 29% on Rotten Tomatoes? No. Zach Snyder continues to have a flair for shot composition, and that's something I think people miss. Hell, during Man of Steel, the movie goes from a washed out and gray color palette that increases in colorfulness as Superman begins doing more and more Hero stuff, so that by the end of the movie, its bright and colorful. Which is not something I ever saw mentioned in Man of Steel reviews.

Action sequences are generally well put together. When Batman fights goons, there's a visceral speed to how he takes people down. When you get to the Main Event between Batman and Superman, its a brutal slugging match as Batman has to keep finding ways to hamstring Superman in order to be able to hurt him.

Ben Affleck is great as an older, more jaded Bruce Wayne who's been doing the Batman thing for two decades. There are hints at the cost of being Batman, such as the dead Robin costume with Joker graffitti and the burned out husk of Stately Wayne Manor. This is an older, wiser, but deeply flawed Batman who, refreshingly, makes mistakes and gets outwitted occasionally. No Batgod here.

Instead of Batgod, we get Bat of Murder. This is terrible, because in just about every Batman story out there that isn't a movie version (*cough* Tim Burton *cough*), Batman has two simple rules: No killing. No guns. What does he do here? Kill people with guns. Quite a lot. Even in his dream sequences. Which makes him a hypocrite when he criticizes the destruction that follows Superman. It makes them both hypocrites. Its a horrible mis-characterization that mars an otherwise fantastic Batman.

Wonder Woman is played by the Fast & Furious' Gal Gadot. The whole “she's too skinny to play Wonder Woman” thing before the movie came out was dumb. She looks fine enough and there are worse problems with the movie anyway. Acting-wise, there's not much to evaluate her on. She shows up to be mysterious in the first half, and then shows up for the big team up. The biggest problem with Wonder Woman in this is that she's unnecessary. The movie could've happened without her with minimal changes. “Wonder Woman: International Woman of Mystery” isn't a bad hook for the character, but I doubt the movie in the works will take that direction.

I maintain that Henry Cavill is a good Superman. He's got the face and can sell the earnestness of the character, but both Man of Steel and this seem hell bent on not letting Superman feel good about helping people. Yes he saves people, but its in a slow motion montage that shoots for profundity and misses. Part of the appeal of Superman is that he is always going out of his way to help people, even if its for fairly mundane stuff, like stopping car accidents, foiling amateur bank robberies, or talking a suicidal person off a ledge. Showing Superman fix a spare tire or save a cat from a tree would have gone miles to helping his character in this. They mention this this kind of behavior, when Bruce Wayne accuses Clark Kent of writing puff pieces for Superman, but this is a direct reversal of the SHOW, DON'T TELL rule of storytelling.

Instead we get a sort of dream sequence where the ghost of Pa Kent tells a depressing story about how he helped his farm in a flood but in doing so caused the neighbors' horses to drown and some offhand lines about how he's trying fly Doomsday away from a populated area to minimize damage. Instead of Superman going to Congress and giving an inspiring speech about the infinite potential for human goodness, we have an explosion go off before he can say anything at all in his defense. Hell, the speech he gives to the UN in Superman IV: The Quest for Peace is a more effective moment, and that movie is all kinds of dumb.

Its enormously frustrating because the movie is hell-bent on turning Superman into a Christ-figure instead of turning him into Superman.

Amy Adams' Lois Lane is fine. She snoops around doing reporter stuff, gets in trouble, Superman rescues her. Classic Lois stuff. I still feel that she would make a better Lana Lang, but oh well.

Jeremy Irons is amazing as Alfred. He's got the right mix of paternal admonishment and encouragement for Batman. Its great. More Alfred, please.

Holly Hunter plays Senator Finch, a character who doesn't really bring much to the table outside of being part of a SHOCKING PLOT TWIST that lands with a thud. It involves a jar of piss labeled peach juice because of a comment made to Lex Luthor. Because scatological humor, am I right folks? 

Speaking of Lex, Jesse Eisenberg's version is just...bizarre. He's very young, very clearly Lex Luthor Jr., and has a mop of unruly hair and twitchy mannerisms that jump all over the place. Sort of like those insufferable millennial hipsters that infest San Francisco. An SJW hipster is a neat concept for a villain, except at that point he's no longer Lex Luthor. Part of Lex's character through his various incarnations has been the projection of strength and control, even when its just a front. This Lex can't even make a speech to a charity event without losing track of what he's saying. He's a creepy weirdo, but unlike Gene Hackman's clownish sociopath or Kevin Spacy's charismatic megalomaniac, this Lex doesn't have that edge of brilliance lurking underneath that justifies his arrogance. Instead, he's pretty much the Joker without the greasepaint.

“But its a false front! He's a master manipulator and he's just fooling everyone into thinking he's a wuss!”

Again, that's not Lex Luthor. Part of the reason he hates Superman is because Lex wants to be strong while Clark Kent IS strong. Lex will never be that kind of strong because Superman's strength comes from his selflessness and Luthor is deeply selfish.

Its a pity, because Eisenberg gives flashes of the real Lex here and there, but again, the movie doesn't let the character be the character.

Adding to the bloat of the film are all the teases for the Justice League. Batman has a dream sequence where he's in a post-Apocalyptic world with a giant Omega symbol and he gets attacked by evil army people, and he starts murdering the hell out of them until he gets overwhelmed by goons and full-blown Parademons. As a tease for Darkseid, its kind of interesting, but it grinds the movie to a halt and doesn't add anything other than a blatant “WE'LL GIVE YOU DARKSEID PLEASE KEEP WATCHING THESE MOVIES.” In that same vein, we get a "thrilling" scene as Wonder Woman receives an email from Batman with data on other metahumans and she opens up video clips of the Flash, Aquaman and Cyborg. Its hokey, especially Aquaman spending thirty seconds going Grrrrrr at the camera before destroying it, and it could have worked if the movie would have let itself be hokey. 

Which comes down to the fundamental problem running throughout this movie. It feels like there is a constant struggle between the whether or not the characters should act like themselves. When they do, the movie is better. More often than not, they don't for the sake of fitting into the plot's demands.

A strong character can completely derail a scene or plotline simply by acting in character, spoiling the writer's outline and taking it in a different direction. This movie feels like the characters are trying to do that, but editorial/studio intervention is constantly trying to clamp down on them so that the officially mandated plot can assert itself. Because we have to force nods to The Death and Return of Superman as well as The Dark Knight Returns regardless of them making sense.

Much like that jar of peach juice, the label on Batman V Superman: Dawn of Justice tries to tell you its a fun superhero movie about how Superman and Batman met and planted the seeds of the Justice League, when its actually just a bloated mess of conflicting plotlines, characterizations, themes that reminds me more of X-Men III than either the Justice League or even The Avengers.

Its a huge letdown, made more so by the flashes of quality gasping for air. If it was a smaller movie simply about Lex Luthor manipulating the media into getting Batman and Superman to fight each other for his own amusement/ambitions, it could have been fantastic. The climax of the film was and should have remained the fight between the title characters and the realization that they're both good men who've been played. Instead we got a pointless fight with Doomsday for the sake of a fight and Superman's death for the sake of an obvious resurrection down the road to save the Justice League at a critical moment. 

If we're lucky he'll have that 90s era mullet.

Not recommended.

Wednesday, April 01, 2015

“And if you were a man, baby, I’d knock your teeth out.”

So movies have taught me that your average 1950s teenagers were all in their 30s and as a course of habit always getting into every kind of convoluted predicament imaginable. Case in point: Daddy-O from 1958.

It starts with Phil (Dick Contino) driving a truck and being cut off by a curvy blonde in a Thunderbird, and he runs her off the road. Her name’s Jana “Jan” Ryan (Sandra Giles), and they argue so much that its obvious they end up together. They meet again at a restaurant/bar where Phil, “Daddy-O” to his friends, sings to the crowd on occasion. One of Phil’s friends, Sonny, is in a sullen and rather creepy mood (see, its ironic because his disposition doesn’t match his name,, you get the idea). Sonny’s in bad with a fat man named Sidney Chillis, sort of a cross between Orson Wells wand Sidney Greenstreet (played by Bruno VeSota). Chillis is obviously evil, and even has a slack-jawed henchman wearing coke bottle glasses. His name’s Bruce Green (Jack McClure) and he runs a gym and he’s incredibly unintimidating.

Whoo, things are getting complicated. Jan meets Phil again at the restaurant and challenges him to a race. Loser has to buy pizza. They get separated during the race and independently, Sonny was run off the road by Chillis and Bruce and died. The police think Phil did it through reckless driving, but his car doesn’t show any damage from a hit & run. Still, Phil’s license is revoked for other traffic violations because reasons. Phil suspects Jan, but she didn’t do it. Together they go into junior detective mode and track Sonny’s trail to Chillis and Bruce. Chillis offers Phil a job as a singer and errand-boy for his new club the Hi-Note, and Phil accepts, getting a fake ID and a new car. Phil also takes a codename (which is just his performing nickname) for his shady deliveries. Complicated story simplified, Chillis is using Phil to run dope for him while Phil tries to figure out the cause of Sonny’s death. Basically it leads to a goofy climactic fight scene in a basement filled with wine racks.

Contino is affable enough as Phil, though in a somewhat bland way. Phil gives the impression of being a decent guy who doesn’t think things through before acting. His song, “Rock Candy Baby” is kind of bad, but also just catchy enough for the refrain to worm its way into your head and remind you how bad it is every now and then.

Jan is spunky and shoots her mouth off a lot in the beginning. She’s also a reckless driver. Then she morphs into a love interest/sidekick for Phil and the two have a brief falling out when Phil starts palling around with Chillis’s secretary for a little bit.

Bruce Green is, again, not an imposing henchman. The absurdly thick glasses lead to that perpetual squinty-look. You know, the kind where the nose scrunches up and the mouth hangs open a bit. Bruce’s face is like that the ENTIRE MOVIE.

Sidney Chillis is, oddly enough, the most interesting character. He’s smug and clearly crooked, but he’s also a really classy and erudite guy. He gives Phil two jobs doing what he likes (singing and driving), provides him a car, sets him up with a fake ID, and even gets him some nicer clothes. If it wasn’t for the whole “dope smuggling racket” he had going, he’d be a fantastic boss.

Wait, before the end, I have to note that a young John Williams did the musical score for this movie. Its jazzy and better than a lot of contemporary music, but also not quite the level of awesomeness that Williams would eventually reach. Still, the music’s pleasant.

Daddy-O is ultimately another inoffensive, forgettable teensploitation movie from the 50s. A few interesting elements/characters and a listenable soundtrack don’t do anything to lift it above its contemporaries. But I can’t say that its downright terrible. Its merely forgettable.  

No trailer for this, but here's Rock Candy Baby from the movie, because if I had to listen to it, you can too.

Saturday, September 13, 2014

10 Things You Probably Didn't Know About Doctor Who: You'll Be AMAZED!


1.     It is a science fiction show about a time traveling alien called the Doctor and his human companions.

2.     It is produced by the BBC

3.    The Doctor's greatest foes are the Daleks, a militant race of genocidal aliens bent on extermination.

4.     The Doctor's time machine is the Tardis, which is permanently stuck disguised as British police box.

5.     The Tardis is larger on the inside than the outside.

6.     The Doctor's greatest foes are the Cybermen, a race of coldly analytical cybernetic monsters that assimilate victims into their collective.

7.     The current Doctor is played by Peter Capaldi

8.     The Doctor's greatest foe is the Master, an evil and insane Time Lord.

9.     The Doctor dislikes killing and weapons, so his preferred tool is the sonic screwdriver, which can do whatever the writers want it to.

10.    “Who” is not the Doctor's name. He refers to himself simply as the Doctor.

Friday, August 08, 2014

“Quivering Venusian blubber cups!”

Star Wars immediately exploded into a big cultural phenomenon, yielding an actual slew of space opera imitators, mostly lower budget imitations that tend toward cheese or ineptness or both. Something like Space Mutiny is an example of lazy ineptness leading to a really funny trainwreck. Then there's low budget sci-fi comedy, where the ineptness leads to something stale and unfunny, like 1980's Galaxina.

So after an opening title crawl (Star Wars reference) explaining that its the year 3008, and the police cruiser Infinity of the United Intergalactic Federation is finishing up a patrol mission and en route to a new assignment. On the way they get into an argument and then firefight with a ship that looks like an actual bird of prey (Star Trek reference). The Infinity is damaged, the captain eats an egg and coughs up an alien (Alien reference) and almost halfway through the movie the actual plot kicks in: The crew are assigned to recover an item called the Blue Star (Ahhhhhhhh) from prison planet Altair One on a journey that will take 27 years to complete, so before jumping into cryosleep, the crew jump into a space whorehouse for some shore leave.

They finally reach the planet, the sexy robot volunteers to look for the macguffin, gets captured by a cult of bikers, gets rescued, and then an anticlimactic fight with the metal-faced guy from the bird ship, and it kind of ends.

Galaxina: Dorothy R. Stratten was a beautiful woman with a depressing story of rising to fame as a Playboy Playmate and then being murdered-suicided by her insane, jealous husband shortly before this movie was released. That's the 800lb gorilla in the room for this movie. That said, she was very attractive and filled out a slinky jumpsuit very well. With regards to acting? Well, she was a model, and playing a robot, and her character doesn't speak for most of the movie, so...not that great.

Sgt. Thor: Stephen Macht (the dad from Monster Squad) plays the grizzled, stogie smoking 2nd in command of the ship. He gets metal fever falls in love with Galaxina and tries to touch and kiss her, leading to painful electric shocks. She eventually reciprocates, reprogramming herself to be able to speak and to not electrify everyone that touches her.

Buzz: James David Hinton play who I think is the communications guy. Its not very clear what his role is. What is clear is his southern drawl, cowboy hat, and Dodgers jersey with the sleeves cut off. Ha ha. Isn't it funny that Dodgers jerseys still exist a thousand years in the future? Comedy!

Captain Cornelius Butt: Funnyman Avery Schreiber plays the blustering, bumbling captain of the Infinity, occasionally narrating some captain's logs. The schtick is at times funny and at times grating, and he's arguably the funniest member of the cast. Though he does take an sadistic glee in “feeding” a prisoner called Rock Biter by throwing styrofoam rocks at him through his prison bars in a painfully unfunny scene. Also, his last name is Butt. Comedy!

Maurice: Lionel Mark Smith plays the winged, ambiguously alien black mechanic who's fake ears don't match the rest of his skin tone.

Sam Wo: Tad Horino plays the weed smoking, Confuscian-esque nonsense spewing guy who hangs out with Maurice in the engine room. Doesn't actually do anything else.

Ordric from Morderick: Played by Ronald Knight and voiced by Percy Rodrigues, this is our villain. A metal faced guy in a robe reminiscent of Darth Vader, but with a silly reverb effect on his voice and a rude attitude.

Chopper: The leader of a cult of bikers that worship Harley David-Son. I’m really only mentioning him because the actor’s name Aesop Aquarian (or Stephen Morrell), which is kind of awesome.

Directed by William Sachs, who's done a number of low budget movies. The movie looks fine. The sets and lighting are serviceable to good, the costumes aren't too terrible (except for Maurice's ears), and the model ships look all right. Hell, even the laser effects of the “space battle” look pretty good with the rotoscoping effect of lasers dissipating against shields. The fight is boring since its two ships sitting still and going pew pew pew, but it looks okay. One thing that doesn't look great is the orange filter...thing employed for exterior daylight scenes on Altair One. It hurts the eyes after a while watching Galaxina walking around a Wild West set populated by fair-to-middling alien costumes. Yes there's a wild west town set. Probably because it was cheap to film on.

Pacing though? That's rough. There are long stretches where not a lot happens.

Oh yes, and at one point Ordric is watching First Spaceship onVenus.

Written by William Sachs, the script is where the movie falls. So much of the movie is filled with 5th grade jokes (Cornelius Butt), cheap references to other movies (there's an alien bartender named Mr. Spot who looks almost exactly like someone else, oh, who is it? Oh. Right. Barbarella), Avery Schreiber (probably) improving with mixed results, and a few actual good comedic bits. Captain Butt's narration is in turns exasperated and pompous.

Whenever someone says “Blue Star” an angelic chorus plays, causing everyone in the scene to look around in confusion for the source of the sound. That's actually the best bit in the movie, since it starts out random, gets annoying, and then comes back around to being actually kind of funny since they commit to the joke as hard as possible, even going so far as to change it to an almost Doo-wop version when Chopper says it. The god the bikers worship is an actual Harley Davidson, which isn't that funny, but the heroes escape the bikers on it, which leads to a chase scene where a bunch of bikers on horses are chasing after a spaceman and robot lady on a motorcycle. That's a moment of zen right there.

The rest of the jokes don't really work, either because of timing, editing, or delivery. They just feel randomly thrown together.

The music seems like a bunch of stock audio mixed with public domain classical music, like Rossini, Tchaikovsky, Wagner, Strauss, and Liszt. It works. I guess.


Galaxina would probably have been funnier if it had an actual plotline instead of throwing a bunch of jokes at the wall only for most of them to fall short. Or if it had been a serious space opera. Or if the jokes were better. In the end, it feels like people went “Star Wars! That's popular, but everyone's making Star Wars imitations. I know! A parody movie!” It's a shame because the end result is below average and plodding. Watch Spaceballs instead.