Friday the 13th Part VIII: Jason Takes Manhattan

Written by Fantasma el Rey

I haven’t seen Friday The 13th Part VIII: Jason Takes Manhattan in years and there is a reason. As a kid I used to fear these movies and their monster maniac killers but seen as a full-grown adult these things bring mostly laughs. Today the true horror they bring is in the fact that I spend so much time still watching them.

The plot goes thusly: a high-school senior class of late 1980s, cool kids hop on a ship christened, of all things, Lazarus and head for the glory that is New York City. Trouble starts soon as the unsuspecting ship picks up the recently resurrected from the grave Jason Voorhees, who resumes his eradication of stupid/naughty/horny teenagers and those who accompany them as they chance to pass the site of his childhood death. While on board he wastes no time in getting down to business and the hacking and slashing take on many new/fun forms.

Our two latest “good” kids are Rennie and her boyfriend Sean, a neat and clean couple who are pure of heart, which is always the key to success; I mean really, how else can they defeat an insane, superhuman killer, right? Oops, gave away the ending there. The hell with it, let’s continue. After picking off the majority of young hipsters aboard ship, the remainders decide to fight back and take the killing to the killer. Well, the kiddies get an “A” for effort but they fail for the fact that on board they can only manage to flee the now-burning ship with an angered Jason left behind and their numbers further dwindled down. Bad move, never piss off the dead ugly kid. As the last Lazarus survivors row their dingy on open water little do they know that big J has jumped in the water behind them.

After a good all-night row the beautiful Statue of Liberty is spotted and safety is presumably reached but it wouldn’t be Jason Takes Manhattan if they all lived happily ever after. Now the funny starts as we get to watch Jason run amuck on the vicious streets of the big city, killing some folks along the way who try to interfere with his sea-born hunt. Jason stalks the port docks, subway cars and tunnels, city streets, back alleys, and finally the toxic waste-soaked sewer of the city tracking down the remaining ship-goers.

But alas, poor Jason, it is not to be. As the city that houses so many sinful beings apparently feels bad for our heroes and as the sewer fills with toxic waste (as it does every night at midnight, who knew?) Jason is overwhelmed and meets his doom in a crashing, swirling rush of lethal, hazardous waste. Not only is his face melted away but his “body” is also stripped away leaving exposed the helpless child that drowned all those years ago at the bottom of Crystal Lake.

So there it is. Most of the movie and killing happen aboard ship and we get disappointingly little of New York and its native inhabitants. We do get some junkie thieves and a snap look at some “punker” kids that Jason scares off by lifting his mask and showing his face. Funny scene, perhaps the high point of this entire movie. The flick even tries to give us a bit of the beat culture N.Y. was known for; as the movie opens, we hear a DJ wax poetic in his best Allen Ginsberg about the mean streets he loves over some not-so-good ‘80s-movie pop/rock.

Taking Jason out of his element was a good idea that wasn’t fully capitalized upon but we do get some creative and laughable kills along the way. Highlights aboard ship include: fishing spear gun, hot sauna rock setting its victim on fire, harpoon, death by electric panel that also causes fire not only to victim but entire ship, and the second best kill in the movie is some stupid wannabe rocker chick getting whacked by her own guitar! Get it? Guitar = Axe. Huh, huh, clever, no? While in the city we have death by hypodermic needle, steam pipe, pipe wrench, and the best-ever Jason kill is a right hook that knocks a guy’s head clean off. Yeah, that last one is preceded by said dumb ass trying to box out Jason who has already been shot numerous times and will go on to be run over by a police car, electrified by the third rail on the subway, and gets a can of toxic waste in the face before being consumed by it.

Friday The 13th Part VIII: Jason Takes Manhattan is a true comedy of horror. Seen twice in a lifetime is really too much unless you’re plastered and need a good laugh.

Hammer Glamour by Marcus Hearn

Written by Fantasma el Rey

Based in the United Kingdom, Hammer Film Productions has long been known for their Gothic horror movies, often re-imagining the 1930s Universal Monsters to much success. Movie fans in general will be familiar with Hammer for some reason, be it through their brand of horror, film noir, sci-fi or Raquel Welch’s pre-historic bikini. Throughout their long history Hammer has been known for their lovely women stars and co-stars, affectionately known as the Hammer Glamour. Now author Marcus Hearn has put together one hell of an introduction to the hotties of the Hammer world and titled his book simply Hammer Glamour.

This hardcover coffee-table book is packed with 160 pages of gorgeous women in provocative poses on great movie sets as they invite fans from all over the world into the Hammer house of horrors. Hearn does a magnificent job in his brief introduction giving a quick history of Hammer Film Productions. The book provides good overviews of the ladies’ careers before and after their Hammer days. The stars are alphabetized and given a page, sometimes two, of info to go along with their awesome photos.

The beauties are given a full page of one of their best shots as well as two or three smaller pics that fill out the info page. The bright color and stunning black and white photos allow the ladies and their wonderful costumes to live again. Most photos were taken on location or on the wonderful sets Hammer created. Also included is a list of the Hammer films they appeared in, making for another great reference for Hammer films to see.

The beauties that Hammer Films used throughout the years are all here including the above-mentioned Raquel Welch along with Ursula Andress, Eva Bartok, Vera Day, Suzan Farmer, Barbara Payton, Stefanie Powers, Janette Scott, Barbara Shelly, and a very young Nastassja Kinski to name but a few of the over fifty profiles featured. Besides Welch’s steaming shot on hot rocks there are absolutely fabulous photos of Yutte Stensgaard in a very Marilyn Monroe-like pose on red satin sheets (here shot on a vampire’s bed), Caroline Munro in thigh-high black boots as a vampire vixen, and Valerie Leon in a black bikini/lingerie piece that’s just incredible. There’s a lot of that by the way: bikini, lingerie, low cut, cleavage shots, and tons of high boots and hemlines. Some of these starlet’s names are simply alluring as is the case with Olinka Berova, Carita, Ingrid Pitt, Catherine Von Schell, and Victoria Vetri; these names have flair and roll of the tongue.

Marcus Hearn delivers a fascinating look through his photo selections and interesting sketches of the women and people tangled in the Hammer web. Hammer Glamour is a must for Hammer film fans as well those interested in beauties of the silver screen, pin-up girls, and overall knock-out photos of hot women in timeless poses. Never mind the $29.95 price tag. Pick it up for the hotties and cherish it for the bits of movie history and gossip it provides.

THE WILLIAM CASTLE FILM COLLECTION

Written by Fantasma el Rey

William Castle, "the master of ballyhoo" knew what people wanted and how to hook them into buying a ticket. A wizard sideshow barker from the old school that filled seats and made a profit from his low budget horror films. He had a knack for finding the gimmick and pitching the hell out of it. This new five-DVD set offers eight gems, originally released by Columbia Pictures in the late '50s and early '60s, each running at a "fun" time of about 90 minutes. So join me, if you dare, as I take a peek at The William Castle Film Collection.

Castle's films didn't make a fortune but they made enough that the studio kept bringing him back to do more of what he did best: low-budget, gimmicky, spook movies. Hitting with Macabre and House On Haunted Hill in '58 and '59 Columbia brought him in to produce and direct. The films here aren't in chronological order but their placement does make sense in an odd way.

Disc one pairs 13 Frightened Girls (1963) and 13 Ghost (1960). Girls is a laughable look at the spy world as a young daughter of an international diplomat secretly, and unbeknown to daddy, gets involved with his intricate affairs. While getting chased by "Reds", she narrowly avoids death, capture, and becoming too entangled in the web of deceit that is being a secret agent. She also has 12 friends that attend the same Swiss boarding school to help her along the way, thus the title.

13 Ghost is a standard haunted house story, inherited by an unknowing family somehow related to the recently deceased that promised "13 times the thrills! 13 times the chills! 13 times the fun!" The gimmick here, 'cause Castle nearly always had one, was his use of "Illusion-O," a handheld piece of cardboard that had two transparent colored strips that would be used at the proper time. One was blue, to see the ghosts, the other red if you didn't want to see the ghosts, mostly pointless as the ghost would appear no matter what.

Disc two's Homicidal (1961) and Strait-Jacket (1964) are dominated by strong stories and the glue that is gore. Homicidal is an obvious "homage" to Hitchcock's Psycho with certain scenes filmed very much the same way. Our lead gal is a hot blond and our creepy male lead is an oddball with something not quite right about him. The twist at the end and the actual showing of stabbings put this one just over the Psycho edge. The gimmick is the "fright break" 45 seconds before the climax of the film which allowed folks to leave and get their money back but they had to hangout in the "coward's corner" for the remainder of the picture.

Apparently told to hold the gimmicks for Strait-Jacket, Castle went out and found something even better, Joan Crawford. After seeing What Ever Happened To Baby Jane? Castle had to create his own and hired Psycho author Robert Bloch to cook up a story that featured the aging Crawford. She plays an older women returning home to her daughter after being locked up for 20 years in an asylum for hacking up her husband and his lover with an axe. Upon her return, more folks begin to get whacked and who is to blame? That's right ol' Miss Crawford or is she? This one is enjoyable all the way to its twisted, axe-swinging end.

On disc three we venture into The Old Dark House (1963) and meet Mr. Sardonicus (1961). As the title implies, The Old Dark House is about just that and not much else. An American car salesman in England gets involved with a family of kooks in an old, rundown mansion and is almost killed as he investigates who is bumping off the others. Tom Poston (from TV's Newhart) makes this spooky comedy enjoyable but overall this one is passable.

Mr. Sardonicus takes us back to England, this time in a gothic tale set in 1880s London and is the story of a once decent fellow, Baron Sardonicus, forced to do ghoulish deeds. His face hideously frozen in a bizarre smile (very reminiscent of The Man Who Laughs), he attempts to pressure a talented doctor into restoring his good looks or suffer the consequences. Meanwhile, Sardonicus tortures young girls from the village with leeches and other devices as he gets his jollies and hides his true face behind a mask. A good film that finds Castle reaching back to the past and putting us in a setting much like the Universal monsters roamed. The gimmick here is The Punishment Poll, a card given to the crowd with thumbs up or down to decide the fate of Mr. Sardonicus. Castle appears and makes the tally himself.

Disc four is all comedy, intended or not, with The Tingler and Zotz! Tingler is a dumb movie with an outrageous plot that somehow Vincent Price gets to work. A lobster-like creature lives in the human spinal cord and is only active during fright but by screaming it's stopped and can no longer do harm. Price, a doctor, captures one. It gets lose in a theater and runs amuck leading to the gimmick of Percepto. Some seats where rigged to vibrate at a key moment in the film and gave the audience a "scream" or a giggle. Price and the really bad creature make this dumb flick fun.

Zotz! tells of an absentminded professor (Tom Poston) who comes across an ancient coin with magical powers. He tries to tell his fellow staff members, who laugh at him, and the government, who laugh as well. But they stop laughing when the "reds" show up and kidnap our hero who uses the power of the coin to thwart their efforts. He and the coin return safe and sound. It's an all-right comedy with some funny moments when watched at social gathering. Those who went to see this got a "magic" coin; tales tell it did nothing.

Finally there is a bonus disc with the documentary Spin Tingler! The William Castle Story featuring interviews from many people who knew or where influenced by Castle, including his daughter Terry, John Waters, Roger Corman, John Landis, and Joe Dante. We get a further look at Castle's adventures in life, movies, and what made him tick, his wife and family. The special feature on the documentary is a cool audio commentary by producer/director Jeffrey Schwarz and Terry. It's a great look at the life of a man who directed many films of all genres and could turn nothing into something.

The featurettes on the four other discs are pulled directly from this documentary and edited to focus on a specific film and/or gimmick. Along with those featurettes are other making-of pieces, vintage promo shorts, alternate opening sequences, and a bunch of original trailers. The set also includes two good episodes from the Castle-produced TV series Ghost Story (1972-73). So hurry, hurry, step on out and get your copy to enjoy and witness the ghoulish glory that is The William Castle Film Collection.

earth (2009)

Written by Fantasma el Rey

Disneynature is the United States distributor for the fascinating earth, a companion piece to the 2006 television series Planet Earth. Using state-of-the-art technology and a skilled staff, the shots of animals and landscapes appear flawless, timeless, and as if a camera and man were never around to follow them as they migrate from place to place while James Earl James narrates.

Earth features many animals in their native lands, but it is three families that the spotlight shines on the most. The first are polar bears, a mother and her playful cubs as well as a look at the father. The father is off on his own hunting a meal while the mother looks after her cubs and tries to provide for them as she ensures their survival. There are some wonderful shots as they emerge from their den and the young get their footing on a slippery slope. We watch as they hunt the fragile, frozen-over bays, looking for the first meal after the long winter. These hunting grounds on frozen water begin to dissolve faster each year which is the real danger to their survival. There is a tragic, yet beautifully shot scene of the father desperately swimming to find solid ground.

Next, a mother elephant and her calf face dust storms, exhaustion, and lions as they head to summer watering holes. It’s a harsh life and the cameras stay focused as the blinding dust swirls and the lions pounce. With some great aerial shots, we can watch as the mother and calf push on after they have become separated from the herd and take days to catch up. Also caught on film here are other hunters such as the cheetah, who uses its speed to run down a gazelle.

The last family portrait is that of a mother humpback whale and her calf as they head to warmer water and plentiful feeding areas to spend the season. We get a good look at the way the whale “traps” its food as they force shrimp up toward the surface in a circle allowing the whale to glide through, mouth open, and scoop up its meal. There is some nice underwater footage and a nice shot of a great white shark as it lunges up through the water to nab a seal in its massive jaws.

All along the way the cameras caught many others images, including some great planetary shots from space. Monkeys and exotic birds doing crazy dances are brought to us in all their unique glory. Flowers in bloom and changing landscapes are breathtaking and shown through time-lapse photography as they change from season to season. We watch as snow melts to provide massive waterfalls in a scope and fashion not seen this clearly before. Special cameras that move in all directions with the flick of a switch were mounted to helicopters to make this film even better. The latest in multi-image capturing cameras where also employed to snap shots of speedy land creatures as well as high-breeching, quick-diving, massive sea beasts.

The Blu-ray disc contains “exclusive filmmaker annotations” while both Blu-ray and DVD include the 45-minute making of documentary “Earth Diaries,” a good look at how the film was made but may give away a bit too much of its “Hollywood magic” tricks as at times its revealed that some scenes of animals may not be the same family that we are lead to believe we are following. The Blu-ray is presented in 1080p, with a 1.78:1 aspect ratio and 5.1 DTS HD sound.

Earth is good and entertaining with some humorous moments along with tragic ones. There are lots of scenes with youngsters being picked off by predators but that is the way life goes and we forget that some times being removed from those primitive dangers. The overall message is clear that we may never be able to see these creatures in this form again as their native lands are being lost for whatever reasons, be it man, man-made destruction, or simply our Earth going though another one of its own changes. A film easily enjoyed on an evening with family around to share it.

Mr. Rock 'n Roll: The Alan Freed Story

Written by Fantasma el Rey

Mr. Rock ‘n Roll is the story of legendary 1950s DJ Alan Freed, who coined the term “rock ‘n’ roll” and brought the sound of the city to the masses. This 1999 made-for-television movie stars Judd Nelson as Mr. Rock ‘n’ Roll himself and features Madchen Amick as his loving wife. The film also boasts an appearance by Paula Abdul. Not to mention a classic rock ‘n’ roll soundtrack that covers many hits of the 1950s.

So with all that working for it this should be an interesting look at the life of a radio pioneer. Not so much. Mr. Rock ‘n Roll isn’t a completely bad glance at the life of Freed but 88 minutes isn’t enough time to cover the ground which was broken by him, to get past the surface of his story, or to go into depth with the artists and music that was so important to him.

The movie follows Freed from his start as a small-time Cleveland disc jockey where his coattail was pulled to the happenings of the rhythm and blues sound of the underground, so to speak. Having been bitten by the R&B bug, Freed fought to change his bland radio show to the more exciting, pulsing fresh sounds that young Afro Americans where forging in clubs, pubs, dancing halls, and inner-city juke joints. We see Freed meet the young front man of an R&B group, Jackie Wilson, who would go on to score major hits on his own. Freed attempts to promote live shows featuring Wilson and many other hot acts of the day.

As his popularity soars the big time calls and Freed is off to the Big Apple to further spread the R&B gospel, soon to be known nationwide as “rock ‘n’ roll,” which legend says is the name Freed gave to this dangerous, edgy music that all American white kids were beginning to now and love.

As the craze hits the nation, Freed comes under fire for his large shows and even larger “unruly” crowds of teenagers. So large and out of hand is this rock ‘n’ roll problem that J. Edgar Crossdresser and his gang get involved and begin the shut down of Freed, many other DJs, and record men. Thus beginning the dark period in the first wave of rock ‘n’ roll brought on by the scandal know as Payola, which found DJs taking money from record companies to push and play their music. And so goes the rise and fall of Alan Freed, Mr. Rock ‘n Roll. Oh, and his marriage suffers as his fame grows and he has an affair with Abdul's character.

So that’s “Mr. Rock ‘n Roll” Alan Freed’s life in a nutshell, wrapped in early, over-played rock hits. The cast does an alright job but it isn’t enough to make one take an active interest in them; again, not enough time to get to know people. Leon turns in a fine performance as Jackie Wilson and gets to recreate Jackie’s fancy footwork and boxing background in early live gigs.

For the casual fan or for those totally unfamiliar with Freed and the early days of rock, this one could be of interest, but for those of us schooled in the music of that time, we can see all the holes that show from start to finish. The songs selected and presented as background and key to Freed’s story are out of synch as far as timelines go. Songs from the late ‘50s are played in the early ‘50s, which is fine for mood in certain movies but for something like this, selection should represent time and place better. And sure we get to see the likes of Buddy Holly, Bo Diddley, and too much Jerry Lee Lewis but what about the doo wop groups like the Moonglows that Freed dubbed after his own early radio show’s name, Moondog's Rock 'n' Roll Party. I guess the trade-off would be Frankie Lymon. I could go on and on about timelines and music, who played a bigger role in what, evolution of sounds, and why and how one group can’t be played before another, but that’s all snob stuff that takes pages and pages most don’t care about.

For the most part, this highly fictional account of the story of rock ‘n’ roll and Alan Freed is lacking overall. It’s no Walk The Line in its love story and no Cadillac Records in its tale of the founders of rock ‘n’ roll. Freed is presented as a slightly flawed saint but he had to be tough to deal with hardnosed businessmen and lords of the distribution rackets. Even though we do get to see him deal with some shady characters, there is no mention of his placing his name and receiving credit for composing songs he had nothing to do with. So with that can we believe he had absolutely nothing to do with the Payola mess and that his only sin was cheating on his wife? Maybe he wasn’t as bad as others in the business when it came to ripping off artists and by most accounts he treated the acts he promoted fairly well but sadly we only get the slightest glimpse of that in Mr. Rock ‘n Roll.

For those interested go check out American Hot Wax for another look at the life of Freed, its plays a bit better and was made years earlier.

El Dorado (1968) - Centennial Collection

Written by Fantasma el Rey

El Dorado was directed and produced by legendary director Howard Hawks and stars western great John Wayne and Robert Mitchum. It is one of a just a few oaters that Hawks would work on; three others starred Wayne as well: Red River, Rio Bravo, and Rio Lobo. The two together made some great westerns that rival the work that Wayne did for fellow directing legend John Ford. Now El Dorado has been released in a two-disc edition as part of the Centennial Collection from Paramount.

The story is a fairly simple one. A hired gun rides to town to assist in a war over water rights. While in town he is confronted and given the lowdown by the sheriff, who's an old friend, as to which ranch is “good” and which is “bad.” Now armed with the facts over said “war,” gunman decides to decline the offer made by bad rancher, rides on to leave the job to someone else. Little does he know that he will eventually be involved at a later date and fighting on the other side. That’s the plot in a nut shell. Not too complicated at all.

El Dorado is often seen as a remake of Hawks’ earlier work Rio Bravo, and for good reason. Wayne plays a fast-handed gunslinger of sorts in both films. Mitchum replaces Dean Martin as the drunk sheriff. The young James Caan is the new kid named after a state (Mississippi this time as opposed to Colorado), lending a helping hand. Arthur Hunnicutt is the old-timer along for support and some comic relief, aided in this version by the knife-throwing Caan character. There are also strong Hawksian women that can hold their own alongside such strong men. In El Dorado, we have the older, wise woman, played by Charlene Holt, who knows both sheriff and gunman, and the young, aggressive, slightly tomboy-ish, and highly attractive Michele Carey. Both add wonderfully to the film.

Similarities to Rio Bravo don’t end there as Leigh Brackett, who worked on both films, adapted the screenplay. A sheriff left devastated by a girl loses self in a bottle, an old friend and situation force him to sober up, and a young kid and old coot are aids. This time the band of four fights for the side that is right and wind up doing the majority of dirty work as the “good” rancher is out matched by his foe’s hired gun fighters. More plot matches include the capture and exchange of a man from both sides as the film comes to a climactic bullet-riddled conclusion. Hawks even stole scenes from himself: look at the saloon scene where a recently sober sheriff follows a fleeing suspect by blood trial.

The assemble cast do a fine job in the roles they are given. Watching them all work together make El Dorado a joy to watch, even if it is a rehash of a better film with a stronger cast. Also, Edward Asner gives a fine performance as the wealthy ranch boss trying to bully his neighbors. Not a likely western heavy, he gives his baddie a new spin by coming off as more of a New York brawler type, complete with hat and fist on hips stance.

As part of the Centennial Collection, the DVDs are filled with excellent extras. Disc one has two audio commentary tracks: one by filmmaker Peter Bogdanovich and the other by critic/ historian Richard Schickel along with Asner and author Todd McCarthy. Disc two contains two standout featurettes, one being the 40-minute “Ride, Boldly Ride: The Journey To El Dorado.” Broken into seven parts, it is detailed look at how El Dorado came to be. “The Artist And The American West” is a vintage short that explores the world of western painter Olaf Wieghorst (he has a small part as the gunsmith who provides Mississippi with his blunderbuss of a sawed-off shotgun) whose paintings are featured in the film’s opening sequence and which Hawks does a beautiful job in bringing to life on the silver screen in bright vivid color. The two-disc set also comes with a nifty little booklet that contains some good photos and a bit more info on how El Dorado came to life.

Seth MacFarlane’s Cavalcade Of Cartoon Comedy

Written by Fantasma el Rey

Seth MacFarlane’s Cavalcade Of Cartoon Comedy is 54 minutes of cartoon shorts where nothing is off limits as “Family Guy” creator MacFarlane and crew pop off and give their off-kilter look at the world. In 50 uncensored shorts nothing is safe from the flying poop attack these comic monkeys hurl. The animation is the same found on the hit television show except that his main characters are missing, replaced by all sorts of subjects from the cartoon world as well as the real one. It’s pretty much a Family Guy episode without the plot but that’s OK as most of the shorts are funny and hold their own.

Some of the better shorts are the twisted looks at the “Frog Prince;” “Super Mario Saves The Princess;” “Die, Roadrunner, Die;” and “Fred and Barney at the Club.” “Frog” is just a jerk who gets off on having stupid chicks fondle him, while “Super Mario” can’t even get a kiss from the prissy princess. “Roadrunner” is a look at what happens when the coyote actually catches that damn bird, not at all worth the catch. “Fred And Barney” is a glimpse of what hell it would be for those two to try and get into a modern hipster nightclub.

Other top offers are the funny “Sex With…” that takes a look at what sex would be like with various names in the news and pop culture such as Mr. Sulu, a folk singer, Dick Cheney, Gilbert Gottfried, and a midget. More hilarity ensues as a gay knight who refuses to fight the dragon, backstage with Bob Dylan, and two Persians try to pick up chicks. MacFarlane also gives us a further look into his atheism beliefs in “Monkeys Talk Religion.”

Some of this stuff is just really painful to watch. A short list includes “Flintstone Shit” which is just a stupid scene of Fred in a stall as he takes a dump. Some kid finding out he’s adopted is pretty bad to boot but the worst is sitting as AIDS Patient Zero meets and has sex with a monkey. It has its giggles when I think about it but the short is just wrong and at the moment simply seemed horrid.

Overall, Seth MacFarlane’s Cavalcade Of Cartoon Comedy is an entertaining hour to sit and watch even if you are stunned at times and have to pick up your jaw after shaking your head and saying, “Really?” Again, it is from the creator of Family Guy and follows the humor laid down by said show so everyone should know more or less what to expect. So if you’re truly offended, then it’s your own damn fault.

Max Fleischer's Superman: 1941-1942

Written by Fantasma el Rey

Max Fleischer and his brother Dave had the honor and challenge of bringing Superman to the silver screen for the very first time. Fleischer’s cartoon studio was known for Popeye and Gulliver’s Travels by the time Paramount came to them asking if they would take on the project. They did and in so doing put on film Superman as much of the world would come to know him. This two-disc DVD set contains all seventeen theatrical shorts from 1941 to 1942.

With a bit of hesitation the brothers accepted the project of animating the Superman comic books. Already a radio hit, the problem was how to make the cartoon move swiftly, remain action packed, and hold the audience’s attention for about nine minutes while making it all seem more realistic than other cartoons of the day. The Fleischer Studio had already perfected the use of rotoscoping (drawing over filmed live action) so making Superman realistic didn’t take long to figure out. Adding to the cartoon appeal were the radio voices of Joan Alexander and Bud Collyer, Lois Lane and Clark Kent/Superman, as the public had grown to know them. On radio and in the comics Superman was really only able to leap or hop from place to place, thus the line in the opening about being “able to leap tall buildings in a single bound.” Since jumping around would look a bit silly on film, the Fleischers got permission to make Superman fly.

The first short, “Superman” a.k.a. “Mad Scientist,” sets the pattern and flow of the episodes that follow. Daily Planet reporters Lois Lane is sent on a story along with or followed by fellow reporter Clark Kent and winds up in trouble. She will either be taken hostage/prisoner at first or she will “stumble” into the situation because she hides out or sneaks into the best place to get the story. But have no fear as Kent/Superman are nearby and can hear her scream. So in swoops Supes and gets beat around for a bit, saves Lois while trying to curb further destruction by the bad guy, and finally captures the villain, mostly through his super strength and sometimes outsmarting them.

The fun lays in watching the various villains Superman faces and takes on. Not only does he nab mad scientists (“Mad Scientist,” “The Magnetic Telescope”) but foreign threats such as the Japanese and Germans (“The Japoteurs,” “Jungle Drums”) along with crime lords, who impersonate Superman, and organized thieves (“Showdown,” “The Bulleteers”). It gets better as the Man of Steel does battle with giant/supernatural beasts like a thawed out T-Rex, a giant circus gorilla gone crazy, ancient Egyptian mummies brought back to life, and underground-dwelling birdmen (“Artic Giant,” “Terror On The Midway,” “The Mummy Strikes,” “Underground World”). Superman must also deal with the Earth itself, either manipulated by humans or on its own be it stopping an earthquake or redirecting the lava flow of a volcano (“Electric Earthquake,” “Volcano”).

The animation overall is great with vivid colors, and the humans, animals, and all things mechanical move very well and appear very realistic either in main focus or in the background; the landscapes and other scenery also look great. The kicker is the stereotypes of the ‘40s. It’s one thing to have robbers in classic mask and thick, five o’clock shadow but the Japanese are outrageous as they all have buckteeth and talk like Mr. Moto. I mean there’s not much to do about it or cry over; I simply think its funny the way that Hollywood saw these people in that day. I personally am not offended as it’s just a cartoon and the product of a different time, so laugh and get over it. The DVD packaging even states that this collection is intended for the adult collector and is “not” suitable for children. Go figure.

We don’t get to see too many of Superman’s skills other than his X-Ray vision, super strength and new ability to fly; he mostly uses his muscle to clear his way and win the day as he saves the girl, stops destruction, and puts an end to the villains short reign of terror. We do however get to witness Lois Lane fly a plane, drive a train, shoot machine guns, and still end up writing a hell of a story.

The two bonus features are a fascinating further look into the creation of not only the Fleischer shorts but also Superman as a myth throughout time. Both are filled with info on the effect that these cartoons had on the comic and recent cartoon versions. They are two good pieces even if they are a bit short at only about thirteen minutes each. Well worth the time for collectors and fans of all types from the average viewer to the diehard comic books guys to the movies buffs and just plain ol’ geeks.

GULLIVER’S TRAVELS (1939)

Written by Fantasma el Rey

Gulliver’s Travels was Max Fleischer’s and Paramount Pictures answers to Walt Disney’s Snow White And The Seven Dwarfs and is just as visually pleasing if not as overall entertaining. The Fleischer brothers, Dave and Max, with their studio were pioneers of many of the innovations used to further the art of animation and it shows in the work that they achieved with their 1939 masterpiece. Dotted with song and comedy, Part I of the classic Jonathan Swift tale is brought to life and delivers its still powerful message while providing seventy-seven minutes of cartoon entertainment.

The “giant” Gulliver loses his ship during a rough sea storm and is washed ashore in the land of Lilliput, which is inhabited by tiny little people that fit into Gulliver’s hand. Discovered while passed out on the beach by the fussy Gabby, Gulliver is finally set upon by the Lilliputians at the request of the king and brought to town. Once awake and after their initial fright the Lilliputians take to Gulliver very well, cleaning, shaving, clothing, and treating him to a feast and festivities of song and dance. Gulliver is also persuaded to aid the people against the attacking army of the king of Blefiscu. Now the whole feud between the two kingdoms started over what song was to be sung at the wedding of the prince of Blefiscu and the princess of Lilliput.

The kings could not decide, began to quarrel, and war was declared. Gulliver intervened only to stop any loss of life and not really to see one side win. After witnessing the young couples true love, Gulliver comes up with a plan to combine the two songs and bring the two warring kingdoms to peace again. Gulliver does help bring peace, but after the prince nearly loses his life while saving the giant’s, only then do the people of both kingdoms realize that fighting over a song is trivial and friendship is a better option. With all well again Gulliver and company build a small boat for him to sail off into the sunset on, back to the land of giants.

The film contains many great scenes and some good comic moments from the kings and mostly Gabby. Gulliver pulling ships together as they attempt to attack Lilliput is a sequence which has stuck in my mind since I saw the feature as a child on television as well the scene of the giant’s discovery. Gulliver himself is another aspect of the film that has always lived in my mind for the fact that he looks like a real human, through rotoscoping, and not a cartoon individual. The color is great and keeps the eye alive to the movements and scenery. The songs are okay, Gabby’s opening song and “It’s A Hap-Hap-Happy Day” are highlights. “Happy Day” is the centerpiece of the film and was used in numerous other Fleischer cartoons.

Entertaining even though the plot is, it’s a tad thin and the songs don’t pop the same way the Disney features do. Side by side with Snow White, Gulliver’s Travels does fall short. But with its antiwar message, goodhearted vibe and great animation, children should adore the film in the same way that generations before have.

As a DVD bonus there are two Gabby shorts (“Swing Cleaning” and “King For A Day”) that were pieced together from unused portions of the film and in that sense they are interesting but again lack the flair of other toon shorts of the time. A five-minute vintage documentary (“The Making Of A Cartoon”) on the Fleischer studios by the Fleischer studios is interesting to watch as we see the way animation studios used to work.

My one major problem with the disc is the menu. It’s hard to determine what chapter or feature you want to select or jump to; other than that the film and packaging are fine.

IGOR

Written by Fantasma el Rey

Igor is a fun little tale of a hunchback who yearns to be more than an evil scientist’s assistant and with his knack for invention he may well be the first. Along with two of his creations, he sets out to prove that even an Igor can be equal and more than just a “switch puller.” In 87 minutes we get the whole story told in a nightmarish Tim Burtonesque fashion, have a few laughs, and smile as Igor makes his mark in the dark world that he lives in.

Our hero Igor (John Cusack) is an Igor because he was who born hunchbacked in the land of Malaria, dooming him to serve evil scientists pulling switches, doing the manual labor, and being all around lackeys. Igors aren’t born with these “skills,” so they must learn them through longs hours of schooling. The art of switch pulling; slurred, accented speech; and a “yes, master” degree are just a few things an Igor must excel at. Our Igor is different and determined to change it all. He himself is a brilliant inventor and is the one who makes most of his evil scientist’s, Dr. Glickenstein (John Cleese), ideas work.

With the death of Glickenstein, Igor and his sidekicks Brain (Sean Hayes), a somewhat robotic brain in a glass jar, and Scamper (Steve Buscemi), a rabbit that is now immortal thanks to Igor, jump on the opportunity to enter the annual evil science fair under the guise of the deceased evil scientist’s last invention, which is really Igor’s. And Igor’s invention is…a giant female version of Frankenstein’s monster that he has brought to life to do evil and win the fair. The only problem is that his creation, who dubs herself Eva (Molly Shannon), has an evil bone that fails to activate, causing her to want to become an actress. She is also caring, loving, and not at all evil, to Igor’s horror.

From there we get the same old song and death dance of how the reigning science-fair champ, Dr. Schadenfreude (Eddie Izzard), steals Eva, claims her as his own invention, and attempts to do away with Igor. All the while the good guys chase the bad and race against the clock to save the lady monster that Igor is now quit fond of. By the end, all is well as Igor saves Eva and reveals the true story behind how the once happy, sunny land of Malaria became a “storm cloud filled,” dark evil place. Igor also achieves his grand goal of breaking the hunchback barriers and has become, along with all other Igors, accepted as equals among the people of Malaria.

Not a bad movie, a bit formulaic at times in its story which is a good one with its message to stand out, be yourself, and do what’s right, set perfectly in a dark land with monsters of all types. Placed well in the movie are some goods lines about that very subject. One from Igor himself is “I tried to be someone different but the world wouldn’t let me.” I love that line as well as Eva’s delivery of “Better to be a good nobody than an evil somebody.” Brilliant.

While some of the animated characters seemed recycled from Burton’s “Nightmare Before Christmas,” the cast does a fine job in their voice work. Cusack as Igor is great and Steve Buscemi’s voice is perfect for Scamper, whose attempts to do himself in are filled with sarcasm and wit. Izzard as the villain is also good as is Shannon, and through the film we get to hear from Christian Slater and Arsenio Hall as well as Jay Leno. DVD extras include audio commentary by director Tony Leondis, writer Chris McKenna, and producer Max Howard as well as an alternate opening sequence that doesn’t work as well as the chosen opener.

Igor may be too creepy for some children while other little creepy kids may come away with a spine-tingling good time with a message. As for the adult chill-dren and creepy sorts who find laughs and entertainment in the things that go bump in the night, it provides some evil laughs and a dark smile much along the lines of television classics The Addams Family or The Munsters.

It / The Shuttered Room

Written by Fantasma el Rey

It / The Shuttered Room now available from Warner Home Video on one DVD is a decent combination of movies, although one is a better than the other. One film is about a museum and a Golem while the other is a gothic tale of terror that involves a creepy family’s past. It is not to be confused with the Stephen King story, at all, and The Shuttered Room is the film to watch. Consider It as a bonus film and you’ll feel a bit better in the morning…if you can survive this “terror twofer.“

The DVD starts off with The Shuttered Room so let’s begin there. The film stars Gig Young as an older man who takes his younger wife, the stunning Carol Lynley, back to her shadowy roots on a New England island uncovering insanity, murder, and family secrets locked away in The Shuttered Room. Right from the start island folk warn of the curse of her family and that Gig should take his lovely wife off as soon as possible. The couple shrugs off all warnings and press on to the old millhouse where the lass was born. Along the way they get tormented, chased, and beaten by island “youth” who get their kicks by fondling the island hussy, converse with a doll of an old aunt, and unleash the terror of The Shuttered Room, which turns out to be a bit of a let-down in the horror department but that’s okay because we get to see a couple of hot chicks nearly naked and Gig gets to kick some ass, proving that old guys rock. The film is more a suspense/mystery than monster or murder horror and is fueled by the crazy Miles Davis-like jazz soundtrack that adds to the creepy atmosphere. There are also some good camera shots and angles, first-person dizziness and window reflections.

A couple of interesting side notes about Gig Young include the fact that after he played a part in the Bruce Lee film Game Of Death, he committed suicide after killing his young wife, the whole story is shrouded in mystery as well. James Dean fans will remember him as the guy who interviewed Dean for the last time, the interview in which Dean talks of safe driving because “the life you save may be mine” and was just a short time later killed in an auto wreck.

It on the other hand is a monster movie, starring Roddy McDowall and Jill Haworth as the young women of his dreams. It falls apart fairly quickly as the story is unbelievable and filled with holes. McDowall plays a museum curator’s assistant who comes into control of a golem and goes insane with his newfound power, but we know he’s a nut ball already after it’s revealed early in the picture that he talks to his rotting mother’s corpse a la Norman Bates. He commands the golem to kill people and destroy bridges, the cops get involved an American trying to purchase the golem for his museum becomes the hero, Haworth is half nude (hubba hubba) in a strange dream of McDowall’s, and then the army gets involved to destroy the golem. Destroying the golem is truly the hard part as not fire, nor water, nor force will do the trick and to the army’s dismay neither will heavy artillery nor a small nuclear bomb. Hokey as hell last minute rescue of Haworth on a motorcycle make this one even more laughable but fun as it seems to become an Ed Wood film (the miniatures and overall story concept) with slightly better production. The golem itself is pretty much a statue that moves like Frankenstein’s monster, not too big a deal.

It / The Shuttered Room is an all-right double feature for suspense on one end and unintentional laughs on the other, an interesting package for sure. It seems as though It was tacked on for the hot bare chick aspect. The other similarity is that both were made by English studios and the director of It wanted his movie to resemble the films being turned out by the folks over at Hammer Studios. So fright fans, I’d pick this up for the creepy aspect and atmosphere of The Shuttered Room and the laughs and questions that It provides. Like I say, if you’re entertained for a few hours, then the film has done its job.

Rawhide: The Third Season Volume Two

Written by Fantasma el Rey

“Head ‘em up! Move ‘em out! RAWHIDE!” That’s right, Season Three Volume Two is out and ready for market. Fans will certainly enjoy roping in this four-disc set, packed with fifteen of the thirty episodes from season three which aired from February to June of 1961. Begun in 1959, Rawhide would run until 1966 and span eight seasons before being pulled from the airwaves. Along the way many sagebrush tales were told, many “beeves” were driven through town to sell, and one of the shows stars would make a name as the man with no name.

Besides “trouble always saddlin’ up a fresh horse, preparing to ride with you,” Rawhide had a couple of things you could count on through the years: one was that it would open and close with its moving theme song of the same title belted out by Frankie Lane (yes, the same tune made popular again by The Blues Brothers stirring rendition) and the other was the episode titles would begin with the word “incident.” Aside from being dropped for a bit in later seasons, it was always there. Examples include “Incident Of The Running Iron,” “…Near Gloomy River,” “…In The Middle Of Nowhere” and “…Before Black Pass.” It seems a bit redundant, but it works for the stories being told and gives a feeling of adventures that happened along the last trail.

Stories range far and wide, covering many classic topics and some with a bit of a twist, disabled cattlemen and a ballet troupe performing in the desert. There are yarns about Indian chiefs, cattle rustling (of course), army outposts, bank thieves, and bounty hunters mixed in with the average cowboy romance. Y’know, ladies and “domestic triangles.” And there are always some good shots to open and close the show of wide-open spaces that fire up the imagination. The camera captures the herd and cowpokes from different angels as they drive cattle through streams, dry landscapes, and mountain passes.

These campfire entertainments involve many of the supporting cast in the lead role for the episode, which is good as we get to see more stories and how the different characters would handle such situations. Although most do focus around the young, tough ramrod Rowdy Yates (Clint Eastwood) and the strong, straight-arrow man of justice, trail boss Gil Favor (Eric Fleming), a few do involve top hand Pete Nolan (Sheb Wooley) and the cook “Wishbone” (Paul Brinegar). Also along the trail many guest stars would appear and some would go on to star in other varied television shows. Jack Lord (Hawaii Five-0) stops by for an episode as does Leonard Nimoy (Star Trek) and lets not forget the numerous beautiful women who look lovely in period dress.

All in all, my little look at a television classic was a good romp through the mind of some well-versed and imaginative western writers. The stories are played well as the entire cast does a fine job in keeping the show interesting. Strong leading men surrounded by solid supporting characters with a good western yarn to tell will always wrangle my attention. I had seen an episode here and there along the way but never really paid much thought to Rawhide, thinking it was simply the vehicle that almost launched Eastwood’s career. Now I can appreciate what fans would wide have known for years, and I liked Rawhide - Season Three Volume Two well enough that I will search out the first two seasons along with the first half of season three. There’s only one thing left to say and it’s that “My hearts calculating/ my true love will be waitin’/ waitin’ at the end of my ride. Head ‘em up! Move ‘em out! RAWHIDE! YA!”

Shock Festival by Stephen Romano

Written by Fantasma el Rey

B-movie nut/screenwriter Stephen Romano has put together a nifty 356-page color book salute to “101 of the strangest, sleaziest, most outrageous movies you’ve never seen” of the late 1960s, ‘70s and ‘80s from an alternative universe. He along with comic artist/film designer Tim Bradstreet (Hellblazer) and film actor/director Thomas Jane provide good back stories, interviews, and excellent poster art. Drawing it all together to bring forth and create interest in films possibly lost to the sands of time or known only to cult fanatics and monster-tattooed freaks. And that’s only one story contained within these horror-filled pages of wonder and dread.

Romano writing is easy to read and makes the subject appealing for those that may not have a big interest in such movies. For those of us that dig this whacked-out, creepy, over-the-top, oddball “art,” the book is fascinating and reads at a quick pace. The pages are filled with photos and reprints of the posters that Romano has plastered all over his office walls, desk, ceiling, and, I believe, floor. He includes pictures of the office and his living room to verify that it is indeed plushed out so. The photos interject perfectly while not blocking or disrupting the text. The subject matter is kept at a digestible length as said photos spur you on to the next page. I would call it a page-turner but as I received an electronic copy the “book” kept me scrolling down to the next page.

The book covers too much material and way too many people to mention them all but a few names that stuck out and are repeated time and again include a particular Roc Benson (who starred in many of his own films as well as wrote, directed, and produced them) while a bunch of others where produced by Jayne Juanita Chance. Many of the chosen flicks star a dashing young man named Scott “Jetskie” Michelle along with the super-hot Natalya “Natalie” Ustinov. Some of these films I want to watch for her alone, well along with the fact that these films have interesting names that span many genres.

Popular genres range from space epics a la Star Wars to slashers and zombies pics right alongside cops, gangsters, monsters, mutants, barbarians (think Conan), bad girls exposed, and of course blaxploitation. I won’t even mention the titles of the last category but from some of the others we have great ones like Starfire and Raygun, Shark Hunters, The Wrong Idea, and for westerns with a twist we have Judge Blackheart and my personal favorite Nunslinger. That’s right, they did her wrong and she’s after an eye for an eye. I must find these films, I must, I must. Seriously. Wait, wait! I left out Lone Star Living Dead Axe Maniac Showdown. How could I forget that one? It’s like the father of them all. Zombies and axes; crazy shit I tell ya.

Anyway, ghoulies and creepy sorts, if gory, racy, kick-ass monster art is what you’re wanting to see and read about then go out and hunt up Stephen Romano’s Shock Festival. You won’t be disappointed with its “over 600 exclusive images including still photos and other rare memorabilia.”

JOHNNY CASH'S AMERICA

Written by Fantasma el Rey

Johnny Cash’s America is a great look at how the country shaped his songwriting and how Johnny Cash shaped America. The DVD is a documentary that takes you on the trip through some of these places and presents the thoughts of those that Cash had a major effect on, be it in their lives or on the music that some of them went on to create. From senators to other country artists and rap world icons, Cash hit a chord with them all. Here on this 88-minute disc we get to see and hear a bit of that along with the Johnny Cash story told in his own words as well as by those who knew and loved him best.

The DVD opens with a wonderful salute to the way that he would open his shows. Many of the people interviewed for this project say in their own way, “Hello, I’m Johnny Cash” and it works masterfully, setting the tone for the film and how it will run as the footage that rolls around them flashes images of the Man In Black at his peek. Saying hello are Ozzy Osbourne, Merle Haggard, and Snoop Dogg to name a few of those that gave their thoughts and stories to the cameras. These people of various backgrounds are what set this documentary apart from others that glance back on the life of Mr. Cash, born simply J.R. and dubbed “Johnny” while in the Air Force.

The documentary traces the life of Johnny Cash using old footage and interviews but we rarely see him giving these interviews; we hear them over images of the places he’d been, wrote, and sang about. What we do see laced throughout are the on-camera interviews with the people of the land that Cash had a major effect on. From the cotton fields of Dyess, Arkansas and death of his brother Jack at an early age, to his travels in the armed forces and around the world with his tours, we hear from the man himself how it was and how he was inspired to write his songs. And even though plagued by personnel demons, Cash never backed down from singing what he though was right.

Senator Lamar Alexander reminds us that Johnny Cash was always invited and welcomed at the White House by the Presidents; Al Gore also shares his thoughts and memories of Cash who never chose a political side but always stood for what he thought was worth fighting for. While family members give their versions of what life was like at different times in his life. Cash’s sister takes us back to the home that they knew as children as his son John Carter tags along and brings a new generation of Cashes to the land where the legend took root. Daughters Roseanne and Cindy reflect on how it felt when their father was home from the road in their youth and in later life and how his love for his wife June Carter fueled his everyday life to the end of hers and his.

Fellow outlaw country artists Haggard and Kris Kristofferson tell tales of wild, sober, and wise Cash as another American original. Bob Dylan lets us in on what it was like to work with him on Dylan’s Nashville Skyline. We also hear from rapper Snoop Dogg about what his friends thought of his listening to Cash and how Snoop came to own his first Cash record. Snoop’s take is one of the highlights of this DVD as it’s always good to hear how Johnny Cash can make a connection to anybody anywhere by his simple music and lyrics of life, love, and devotion.

The companion CD is worth owning for the fact that it mirrors the DVD and contains some songs not found on other best-of CDs. It has the alternate and rare versions of a few key tunes used on the DVD. “Ride This Train” and “What Is Truth” are two examples of how Cash can give more of a talking-blues delivery as used in his “Singin’ In Vietnam Talkin’ Blues,” a true nod to his friend Bob Dylan. “I Am The Nation” is Cash performing spoken-word poetry and doing it well with a force that reaches beyond chest-thumping and hits home, making you smile as you think how much he loved his country and makes you feel the same way with his words and voice.

Other tunes on the CD do a good job in covering the many aspects of Cash’s music. His gospel side (“Were You There (When They Crucified My Lord),” “Children Go Where I Send Thee”), songs inspired by the history of our nation (“Big Foot,” “Ragged Old Flag,” “All God’s Children Ain’t Free”) his early hits (“Big River,” “Folsom Prison Blues (Live at Folsom),” “Cry, Cry, Cry,”) and the latter-day reflective reworking of a Nine Inch Nails’ classic (“Hurt”). Overall a nice collection of songs for the casual fan while hardcore Cash fans will enjoy the unreleased takes.

HELL RIDE

Written by Fantasma el Rey

From writer/director/star Larry Bishop (yes, Joey’s son) comes Hell Ride! A romping, stomping, “whopper of a chopper opera” that moves fast and is filled with “bikes, beer, and booty.” It may not be fun for all, but if you find classic biker flix to your liking, then Hell Ride is the ride for you. There are no major plot twists or turns that come out of nowhere (Bishop is wise to leave that sort of thing to a guy like Scorsese), and there is a bit too many naked girls running around (if it’s truly possible to have too many) but for 83 minutes I was lost in the spaghetti-western, B-movie film-noir yarn of biker law and honor.

The plot is a simple one that revolves around the biker brotherhood of The Victors MC settling an old score with revived rival outlaw biker clan The Six-Six-Six-ers and its leader Billy Wings (Vinnie Jones). Cool names abound as Victors’ prez Pistolero (Bishop) attempts to finally close the case and keep his word to a murdered love (Cherokee Kisum played by Julia Jones) lost 32 years ago in a drug deal gone bad. With his two lieutenants, The Gent (Michael Madsen) and the young Comanche (Eric Balfour), who is more than he appears to be, at his side Pistolero aims to right past wrongs, purge his crew of traitors and turncoats, and put to rest some of the demons that have plagued his heart and soul for over 30 years.

Along the way the bonds of brotherhood are reaffirmed, throats are cut, people set a blaze, mysteries solved, and the outlaws ride off into the sunset to continue living the dream. There are also biker orgies to attend, booze to consume, wonderful weapons of all kinds to use, and old friends to revisit as the “classic” outlaw lifestyle of the never-ending party is played up as well as biker lore of how one earns their colors, wings, and other honors.

With 20 days and not a lot of cash to shoot this thing Bishop delivers a film that is at times a bit overplayed, hokey (the peyote scene), and a tad too deep into “the pussy,” yet overall entertaining. Bishop stays clear of tired antics to try and make his film appear as a lost gem of the past. There are no grainy film prints or missing frames. Just a simple attempt to continue and improve upon the way he made movies nearly 40 years ago when he put out films like The Savage Seven. Bishop has turned out a modern western with motorcycles replacing horses and leather vests in place of black hats.

The cast played a big part in the shaping of Hell Ride as well. If not already bike savvy, they became so while adding what they could to the characters they portrayed. Madsen is the strongest as The Gent, with his idea to play the role in a tux; as horrid as that sounds he pulls it off well. Dennis Hopper and David Carradine have small parts that stand out just as much as Leonor Varela and Laura Cayouette in roles of the important women in Pistolero’s life.

The DVD special features do a fine job in going into what Bishop was trying to do with Hell Ride and why those involved got on board. The extras also include a closer look at the authentic and very mean-looking bikes used in the movie as well as the chicks used in the film. There is also audio commentary that cracks open the wacky mind of Bishop who is fun to listen to as he explains his reasons and inspiration for certain shots and scenes.

So if a simple run through the desert with badass bikers, hot girls, and a straightforward story with a few holes sounds like a good time, check out Larry Bishop’s Hell Ride. I did and got a kick start out of it, but then again, I love such dirty, bloody, lowdown tales of outlaws that blur the lines of good and evil. Some are better than others, but if you can forget the world for an hour and a half and lose yourself in another one, then mission accomplished.

REST STOP - DON'T LOOK BACK (Uncut)

Written by Fantasma el Rey

Rest Stop: Don’t Look Back. Well, they did warn me in the title.

Potential, yes this movie had it. Rest Stop 2, as I’ll call it going forward, tried to expand on the first movie and add a back story, which always gets me; I’m a sucker for histories. And I was slightly amused for an hour and a half, so I guess that’s a good thing. Anyway, as far as slashers go not too much of that took place and as for the ghost story aspect it’s just okay.

So the plot is thus: G.I. big brother of the douche that got hacked in movie one assembles a team of the usual slasher crew (dumbass sidekick and impatient, hot bitch) and goes looking for baby brother and his girlfriend. Along the way they run into all the creepy folk from Rest Stop Uno and the new crew become the hunted. But this time the new crew are aided by the Ghost of Corpse’s Past and are given clues to “the bus” where all the Driver’s evil goes down. Along the way torture of the new team ensues and half-naked chicks are placed in key camera positions.

What gives this sequel a small niche is its back story and attempt at a California Bermuda Triangle of sorts, where ghosts and spirits run rampant and torture “sinners” as they travel down “The Old Highway.” In round two of Rest Stop we get to see the “who made who” regarding the Driver and the Winnebago Family. The Driver is the hand of God that delivers the death blows while the Winnebago Family, who are religious freaks acting as seekers, helpers, set-up men, or whatever you want to call them, have at it.

So here it is, y’all (Spoiler Alert). The Family kills and tortures the Driver after the Driver bangs the preacher’s wife. Sinner! The Driver must be cleansed (killed), loses a hand and an eye as the Bible commands but in this mysterious corner of the world the body and/or spirit rises and hacks the looney family to bits, gets in his phantom truck, and drives off to an eternity of killing sinners.

We get flashes of what happened in the first movie as we encounter the ghost or almost ghost from the first movie. I say “almost” because when the ghost or these barely living people are encountered, they disappear after some key actions. So did they die awhile ago or just now after the current team finds them and “rescues” them? That part of the film does make me wonder and I was hoping that would be further expanded upon but maybe in the next two or three flicks they hope to make we’ll get the answers.

Anyway, that’s about all this movie’s got. There is not much slashing and torture as the makers wanted to concentrate on the ghost story of Rest Stop 2, which ends up rather confusing. I dig what the makers of this flick tried to do it’s too bad they fell a bit short. Sadly this whole film can be figured out by watching a few minutes of each chapter and then pressing the skip button on the DVD player’s remote; I did both and got the same results except I missed the little gore that took place: nails and drills in thighs, eyeball extraction, minor slashing with sharp objects.

The DVD’s special feature includes a decent look at what the men behind this movie wanted to do. There is audio commentary as well that carries as much insight as the featurette does. Deleted scenes don’t add much either.

So, ghoulies, in short, go watch Texas Chainsaw Massacre instead.

CHICAGO 10

Written by Fantasma el Rey

Chicago 10’s tagline, “The Convention Was The Drama. The Trial Was The Comedy,” is perfectly illustrated in the films’ hour and forty-three minutes. Blending actual footage and animation makes this documentary something different and unique, as were the participants in those events of 1968. Chicago was not only host to the Democratic Party convention that year but also to youthful subculture figures who would rise out of the chaos of those days as legends. Abbie Hoffman, Jerry Rubin, Tom Hayden, and Bobby Seale would become inspiration for many, many people for years to come. Not only in the world of politics but in music as well, fueling the fire for bands such as Rage Against The Machine and System Of A Down.

The 1968 Democratic convention was to be the stage for one of the largest gatherings of youth in peaceful protest. There were to be bands playing and hippies dancing toward peace in nearby Lincoln Park but that was not to be the case. As the crowd grew and the march began, police presence became more visible and active to prevent anyone from getting too close to the steps of the International Amphitheatre. Alternate routes were taken, yet things still got bad. Violence erupted everywhere, much of it caught on film.

The key figures were rounded up and accused of conspiracy, inciting to riot, and other charges related to the protests and so on and so forth. There is more to the story but that is what Chicago 10 goes over and covers in graphic detail. I’m not going to recreate those days here in type; I’ll let you watch the film or seek out more detailed accounts of those days than I could ever give.

The film does do a wonderful job in bringing back to life those days of color and horror, though. Existing archive film is used when and where available while animation based on court transcripts is used for the courtroom and other places where cameras were not present, as in that key moment when the “Yippie” (Youth International Party) name was born. During those latter scenes, the actors used as voice talent for our main characters do good work in capturing the personalities of the people they are voicing. Hank Azaria (Abbie Hoffman), Mark Ruffalo (Rubin), Jeffery Wright (Seale), and Roy Scheider (Judge Julius Hoffman) lend their skills to help paint the picture.

Also lending talent and punctuation to the film is the music of the Beastie Boys and Rage Against The Machine. The music is put to good use by writer/director Brett Morgen and highlights scenes perfectly, providing an energy level that must have matched the electricity that was in the air in those uncertain times.

From start to finish my eyes were fixed on the screen as the images of the courtroom and around Chicago played out in front of me. Morgen has arranged the scenes so the movie flows back and forth between the events, pulling moments from during and prior to both the convention and the trial. This method not only keeps the film fresh but gives it a pace that pushes it forward, holding your interest while upping your anticipation of what will happen next.

Some of the unbelievable events that came out of the trial are played out for us. Even though it’s animated, it makes one think how close to a police state the nation was, or is. To see Seale bound and gagged to his chair in the courtroom (the precedent was actually set in a case years prior) and to see how certain rights were denied today we think these things can never happen in our country but they did and not that long ago.

On the other hand Chicago 10 illustrates how the older generation could see these youths as loud-mouthed troublemakers. Morgen took nothing away from Abbie’s or Jerry’s personalities and a more conservative viewpoint can point out that they were acting up and being juvenile merry pranksters. They did wear judicial robes to court and Abbie was fond of blowing kisses to the jury, but that, my friends, is for you to decide. I suggest reading more on the lives of the Chicago 10 or 8 or 7, depending on how you look at the case (if you count the lawyers as Jerry did, it’s 10 along with Seale, who’s was eventually tried separately). So go steal this DVD and draw your own conclusions.

The DVD has one special feature that is a remix video by a contest winner that uses scenes from the movie to sum it up in a few minutes. The rumor mill has it that two sequels are in the works as well as a live-action film. Should be interesting to see how those pan out. Don’t forget to vote.

Johnny Cash: The Man, His World, His Music

Written by Fantasma el Rey

The award-winning PBS documentary series P.O.V., now in its 21st season, will proudly present Johnny Cash: The Man, His World, His Music on Tuesday August 5th. This rarely seen gem by Bob Elfstrom was filmed in 1968-69 while Johnny Cash was at one of the highest points of his career. Bob and his crew, consisting of “My camera, my sound recordist Alan Dater,” were able to capture the Man In Black drug free and in good spirits as he works, relaxes at home and reminisces with old friends. The film blends live performances and scenes of everyday life very well.

Today, Johnny’s overall life and exploits are well known, from his youth in the cotton fields of Dyess, Arkansas to his days at Sun Records, his marriage to June Carter and his reemergence as a musical outlaw legend. Elfstrom’s film covers a bit of Johnny’s past in his own words but is a portrait of the man at that one moment in time and his career when the sky was the limit and the future was as bright as June’s smile. The live At Folsom Prison album was his biggest-selling record and he was riding its wave, one that would see more hit songs and a television show that would run for 58 episodes from 1969-71. But that is in the future and the Johnny of Elfstrom’s film isn’t concerned about that; he’s living well and doing what he loves with the people he loves and that’s what matters.

Johnny seems comfortable with the camera as it follows him from place to place, the tour bus, the stage, and home. We get see him perform at a prison near Christmas time and at a Native American Indian reservation close to the Wounded Knee massacre site. He and June joke and interact with the inmates, composed mostly of young greasy-haired hoods and depression-era men, making them roar with cheer and laughter, and then they tour the Wounded Knee site with a grandson of one of its victims and a tribal elder dressed in traditional ceremonial attire as guides. The viewer is also present as Johnny receives his award for Album of the Year at the Country Music Awards for At Folsom Prison.

Yet the moments that are best are those of Johnny with the folks that he loves best and holds most dear: June, his family, and his friends. Whether its on the tour bus driving to a show and talking youth and cotton picking with rockabilly king Carl Perkins or sitting at home with June picking his guitar and talking about recently written songs and country music, he holds your attention. Johnny has that gift of making people listen when he talks and it’s through those talks that we get glimpse of his life and beliefs and how they shape his music.

Through the camera’s eye we follow Johnny back stage at shows where he talks with fans of all ages and young musicians hoping to make a go at country music. We are there as Johnny and a gum-chewing Bob Dylan record “One Too Many Mornings” as Dylan works on his Nashville Skyline album. We even get to go along as Johnny, June, and his sister Louise visit the Cash family home in Dyess and recall what it was like to live there and how Mom and Daddy (Carrie and Ray) made ends meet.

Throughout the documentary the music of Johnny Cash fills our ears and our heart as he tells the story behind some of his songs (“Big Foot”) and explains the meaning of others (“Great Speckled Bird”) or playing in the background of scenes (“Cisco Clifton’s Filling Station”). Additional songs performed and used in the film include “Ring Of Fire,” “Daddy Sang Bass,” “Land Of Israel,” “Jackson” (with June), “Orange Blossom Special,” “Busted,” “Big River,” “The Long Black Veil,” and of course “Folsom Prison Blues.”

Bob Elfstrom has done a magnificent job in preserving and documenting this moment in time and the life of a legend. In subtle ways we get the story of Johnny’s life in his own words as he saw it. We can see, hear, and understand why the world and his family love him as much as they do. You don’t have to be a die-hard Johnny Cash fan to appreciate what Elfstrom has given us by truly bringing to life Johnny Cash: The Man, His World, His Music. It’s easy to see why P.O.V. would choose this film to air on their series. Check your local listing to catch the point of view of Johnny Cash in 1969.

OTIS

Written by Fantasma el Rey

The senior prom looms and all poor Otis wants is to take the lovely “Kim” as his date. He has the kick-ass tux, the hot car, and those wicked dance moves. All he needs is Kim and her family to say yes. Too bad Otis is a complete psycho and his prom was twenty years ago. So follow me now, if you dare, into the sick and twisted world of Otis. I shall be your guide on the ten-peso tour of the dark comedy, horror movie that turns the happy suburban sitcom world on edge as well as provides a new look at a played-out genre.

Otis, directed by Tony Krantz, is a clever play on the gore fest, teen slashers that most folks love and tend to think is what horror should be. It opens straight away with whom the serial killer is, how he tortures his victims, and why he does what he does to them as he catches it all on camera. After the accidental death of victim number five, we even get to see how he abducts the girls. So with that, we’re not spending the film looking for a killer, leaving what happens next the fun of Otis and why I kept watching for just over an hour and a half.

Otis (Bostin Christopher) and his new “Kim,” real name Riley (Ashley Johnson), he names them all “Kim,” begin to spend quality time in his torture garage, where he builds different makeshift sets to act out his courtship. He asks her out after the football game, takes her to a movie, and drives her around in his cooler-than-ice Trans Am. He is even proper enough to ask her parents for permission to escort her to the prom. What a guy, just a sweet kid really, who has gone a bit nuts after his parents have died and he is watched over by his older brother (played brilliantly by Kevin Pollak), who has a life of his own.

The family of Otis’ latest captive (father Daniel Stern, mother Illeana Douglas, brother Jared Kusnitz) decides to get involved as days go by and the seemingly inept and rude F.B.I. agents have no leads. The family takes matters into their own hands after receiving a call from the now-free Kim, who escaped on the hilariously sad prom night. So with Riley safe in the hospital and armed with household weapons and an evil, vengeful plan from Hell, they skulk off to the run-down residence of one Otis Broth.

Once inside the fun really begins as they wait for Otis to arrive after a long shift of pizza delivery. The door opens and the family rains down bloody havoc on the savage that abused and raped their loved one, torturing him to a brutal end; too bad it’s Otis’ brother. Oops. Once they find this out, the family of crazed killers must cover their tracks and stay cool.

Twisting, twisting, the story goes as Otis discovers the video of his mean-spirited brother’s demise and the Feds find out the truth to boot. But have no fear the Feds are hep and understand the wrath of a family in pain; they let them slide and do confide that if they could, they would do the same. No charges pressed and no striped suits to detest so all ends happily ever after, right? Wrong. What of Otis and his fate? We know he must avenge the death of his brother and reclaim his “Kim,” the genre demands this. Yet, alas my fiends that is a story for another film or is it?

Seriously that’s how it ends, well pretty much. I can’t spoil the very end of the film for you, Ghoulies, you’ll have to see it for yourselves. I do hope that Otis goes without a sequel though; leaving the film as it is gives it more meaning. A “part two,” which I do admit could be interesting if we get more of a back story about the original Kim, would put it in the same bag as all the other stupid movies it pokes fun at. I would hate to see it go on and on past its potency much like the horror films and spoofs that go beyond a second outing.

The uncut DVD has a few extras that are interesting like the audio commentary from director Krantz and writer Erik Jenderson. Two good extras to look upon are the “festive” alternate ending and the showing of the movie that Otis brings Kim to. Those two add a bit more to the movie as far as what Big O does to his girls and the alt. ending makes you wonder which is best. The DVD also includes a making of featurette with a closer look at what the cast and crew think of the film. So check it out I did and got a kick out of it once I got past the gore for gore sake's, which isn’t all that much anyway.

National Treasure 2: Book Of Secrets

Written by Fantasma el Rey

National Treasure 2: Book Of Secrets continues along the same lines as its predecessor, bringing back original core characters while adding a new villain. The two-disc collector’s edition DVD set is loaded with many special features that include audio commentary and making of featurettes.

The plot in NT2 follows very close to that of the first film, the cast journeys to various places in search of clues to decipher the whereabouts of a lost treasure as a bad guy of sorts is hot on their trail and at a point one step ahead. Oh, and the F.B.I is involved again as well. The strong characters that made the first film return with just as much chemistry as before. Nicolas Cage (Ben Gates), Jon Voight (Patrick Gates), Harvey Keitel (F.B.I. Agent Sadusky), and this time Ed Harris is the heavy (Mitch Wilkinson). Yet with NT2 we are taken to further points on the globe that get our heroes ever closer to their treasure, which is the Lost City of Gold.

The story involves Gates’ great-grandfather, the Presidents’ secret book, and John Wilkes Booth and the plot to assassinate President Lincoln. During a lecture on the missing pages in Booth’s diary, Wilkinson accuses Gates’ ancestor of being in on the plot to kill Lincoln. And the hunt and action begin first to clear the good name of Gates. Then they stumble onto the Confederate states’ plot to find the Lost City of Gold to continue the Civil War.

The adventure takes them to Buckingham Palace and Paris, France for more key clues and them back to the White House, into the Library of Congress for the actual Book of Secrets, and then finally inside the Black Hills of South Dakota and Mount Rushmore. (I suggest for all to look deeper into the contrast of Mt. Rushmore being carved into the Black Hills and how it concerns Native Americans) Oh yeah, then there is the kidnapping of the President of the United States to boot. Keep in mind that all the while the basic plot as outlined above is moving right along.

This isn’t a bad thing as it keeps the film from becoming overly serious about itself. For over two hours I never lost interest as the characters kept me smiling and the action/adventure kept me looking forward to the next scene. Cleverly placed history mixed with some smart obstacles for our film friends to overcome makes this just as fun as the first. The history is everywhere and speaks for itself.

For the action there is a car chase on the London streets that involve not only witty gags but the use of the automobiles built-in safety camera for driving in reverse. While in the caves and caverns of the Black Hills there are a few Indiana Jones-like booby traps in the way of finding the Lost City of Gold. We’ve seen most of this before but it is done well again for NT2.

I love the history involved in these films and the questions that arise as to is it fact or “for the story” fiction. These questions are answered as you listen to the audio commentary by director Jon Turteltaub and actor Jon Voight; both do a great job in shedding light on the truth vs. fiction in their movie. The remaining special features are on disc two and include several behind-the-scenes featurettes including deleted scenes, a blooper reel, a look at the Library of Congress and various other “making of” segments.

The film’s pace, little known historical facts, and the overall chemistry of the actors is what makes the National Treasure films so much fun to watch. As you get involved in any story that sweeps you away, you can overlook some of the minor flaws in plot, continuity or other small flubs, and wacky schemes and themes (like an intelligent President). If you’ve seen National Treasure 2: Book Of Secrets before then this will be a good way to view it again. If you missed it in theaters, then here is your chance to join the adventure to the heart of Mount Rushmore and the Black Hills of South Dakota in search of the Lost City of Gold. I know that the minds behind these two films are looking to make another but if it plays the way they hint at, involving the President, then it may border on hokey, we’ll just have to wait and see.