Published: December, 2020 Written by: Mark Poulton Art by: Mike McMahon
Haunted Pizza, 80 Pages
The first book in this series came free with my order of the second Graveyard Shift comic. It caught me by surprise and it was a whole lot of things I liked from late ’80s and early ’90s comics. It reminded me of Deathstroke and G.I. Joe mixed with the Cannon Films action movies of that era.
My surprise solidified my support for this campaign and I’m glad I backed it, as this second book arrived fast and was also pretty damn good.
I like the first chapter slightly more but a lot of that probably has to do with the surprise in getting it and for it being so f’n rad. With this one, I kind of knew what to expect, so the initial effect wasn’t the same.
In this chapter, we learn more about the main character, his primary villain and their long history together. It’s similar to the Snake Eyes and Storm Shadow bond in G.I. Joe but then add steroids and more bullets.
Overall, I dug the hell out of this and it’s a cool series that hits the right marks for me. It’s also better written and more entertaining than the comics that inspired it.
I’m pretty sure I’ll also jump on the third book, as that one crosses over with Graveyard Shift.
Rating: 7/10 Pairs well with: Its predecessor, as well as Mark Poulton’s Graveyard Shift.
Release Date: January 30th, 2000 (Sundance) Directed by: Ben Younger Written by: Ben Younger Music by: The Angel Cast: Giovanni Ribisi, Vin Diesel, Nia Long, Nicky Katt, Scott Caan, Ben Affleck, Ron Rifkin, Jamie Kennedy, Taylor Nichols, Bill Sage, Tom Everett Scott, Anson Mount, Kirk Acevado, Desmond Harrington (uncredited)
Team Todd, New Line Cinema, 120 Minutes
“[to the new recruits] And there is no such thing as a no sale call. A sale is made on every call you make. Either you sell the client some stock or he sells you a reason he can’t. Either way a sale is made, the only question is who is gonna close? You or him? Now be relentless, that’s it, I’m done.” – Jim Young
For years, until there was actually a second Wall Street movie, I saw this as that film’s spiritual successor. Which is also sort of fitting as the characters in this movie worship the Gordon Gekko character from Wall Street.
I actually still view this as a spiritual sequel, however, as it’s very apparent that it was strongly influenced by Wall Street and also because it is a motion picture of quality. While it might not live up to Wall Street or Wall Street: Money Never Sleeps, it’s still damn good and at least in the same orbit as those movies.
The plot of the film is intriguing and it sucks you in from the get go. It’s about a smart, savvy college dropout who goes from running an illegal casino in his house to being one of the top brokers at a really young, lucrative and questionable brokerage firm.
Over the course of the movie, we see Giovanni Ribisi’s Seth Davis go from being a slightly timid rookie to a confident and smart salesman to being swarmed with immense guilt when he realizes that he has completely fucking people out of their life savings to reluctant antihero that tried to fix some of the damage he caused while taking the firm down.
I can’t quite call Seth Davis a hero, as it took his father disowning him and the FBI pinching him to get him to actually change his tune. It’s hard to tell if he would’ve arrived to a better place on his own but, at least he tried to undo some of his wreckage.
Beyond Ribisi, this is a film that is loaded with a lot of the up and coming male talent of the day. Vin Diesel and Nicky Katt really stick out and Ben Affleck’s performance is great, even if his scenes are few and his role feels more like a beefed up cameo.
I really loved the music in this film, as it’s full of east coast hip-hop of the early to mid-’90s, which has always been my favorite kind of hip-hop. It may be slightly dated for this 2000 film but it worked for me, as I started to ignore more mainstream rap music around 1998.
Anyway, this is a superb finance thriller. It has stood up to the test of time in the same way that Wall Street has. If you like these sort of movies but have slept on Boiler Room the last two decades, you should check it out.
Rating: 7.75/10 Pairs well with: other finance industry thrillers like Wall Street, Wall Street: Money Never Sleeps, The Big Short, Rogue Trader, etc.
Published: December, 2020 Written by: Eric J. Berry, Charles Bonetti Art by: Gifney Richata, Gingerfoxy
Wikid Publishing, 96 Pages (total)
This was a crowdfunded comic that I backed a few years ago. I think that it initially failed and had problems funding but eventually, after multiple campaigns, it got the money to come to life.
I didn’t mind waiting and I remember the price for these three comics as being rather low when compared to other campaigns out there. Being that I thought it was a good value and that it had a strong tokusatsu vibe to it, I supported it.
I’m glad that I finally got these three issues in my hands and I was impressed by the overall quality of the books, the paper stock, the printing and the colors. I work in a field where I manage a lot of print jobs and this did not disappoint in that regard. So extreme kudos to the creators for not taking shortcuts.
As far as the story goes, this is straight comedy and it parodies the tokusatsu, kaiju and mech genres of Japanese sci-fi.
The best thing about this was that it was actually funny and the jokes landed well. I liked the bumbling hero and seeing him rise to the challenge in spite of his generally buffoonery and the lack of faith from his allies.
This was a fun, amusing and most importantly, entertaining comic. It was a value, in my eyes, from day one and honestly, the finished product exceeded expectations.
Rating: 6.25/10 Pairs well with: other comedy tokusatsu inspired comics.
Also known as: Leprechaun 6, Leprechaun 6: Back In Da Hood (working titles), Leprechaun 6: Back to Tha’ Hood (alternative title) Release Date: December 30th, 2003 Directed by: Steven Ayromlooi Written by: Steven Ayromlooi Based on: characters by Mark Jones Music by: Michael Whittaker Cast: Warwick Davis, Tangi Miller, Laz Alonso, Page Kennedy, Sherrie Jackson, Donzaleigh Abernathy, Keesha Sharp, Sticky Fingaz, Shiek Mahmud-Bey
Lions Gate Entertainment, 90 Minutes
“Don’t you presume to tell me right from wrong. You compromised all you believed in once you got the gold, just like all those before you. Your kind is weak, and will always give in to your selfish yearnings.” – Leprechaun
So I was not looking forward to watching this after reviewing the previous film in the original Leprechaun film series. However, I was pleasantly surprised and this somewhat redeemed the series and at least brought it back to the quality level of the first three movies.
That’s not necessarily high quality but they’re at least pretty palatable for horror fans that like the occasional laugh.
The five previous films were made by Trimark but this one was made by Lions Gate, who ended up absorbing Trimark after the atrocious fifth picture. With that, I feel like Lions Gate wanted to salvage this series and make a decent sequel.
I feel like they succeeded, even though this ended up being the last installment of the original string of films. They’d be rebooted later, twice, but no one cared either time because without Warwick Davis, you don’t have the Leprechaun.
Anyway, this film was actually funnier and the jokes mostly landed. Also, it felt a bit more grounded, as the Leprechaun can’t just summon any random spell for plot convenience, essentially being omnipotent.
It’s not specifically shown or stated that the Leprechaun’s magic has limitations in this film but he seems severely powered down and acts more like a supernaturally strong slasher when he kills. He almost feels like a miniature, festive Jason Voorhees with the ability to teleport.
Another thing Lions Gate did was that they updated the Leprechaun’s look. And they did a good job, as he looks a lot cooler, menacing and more serious in this installment.
Additionally, compared to the previous movie, the cast in this one was a lot more likable. I especially loved Page Kennedy in this, as he made me smile every damn time he was onscreen. He has tremendous charisma and even though he’s had a pretty good career since 2003, more people should hire him.
My only big gripe about the movie was the the Leprechaun’s death scene was heinously weak. Especially considering that this is his final sendoff.
Still, this fixed the damage created by the two previous chapters in Warwick Davis’ six-film Leprechaun run.
Rating: 5.5/10 Pairs well with: the other Leprechaun movies starring Warwick Davis.
Also known as: Decentralized: The Story of Blockchain (working title) Release Date: October 26th, 2018 (New York City premiere) Directed by: Alex Winter Written by: Alex Winter Music by: Bill Laswell Cast: Rosario Dawson (narrator), Alex Winter (interviewer), various
After watching Alex Winter’s documentary Deep Web, I was left wanting more. He followed that one up a few years later with this, which covers similar topics but with the majority of its focus on blockchain technology and cryptocurrencies.
What I liked most about this film is that it describes these complex things and ideas really damn well. It makes this somewhat palatable for the layman.
Also, this interviews several people who know what they’re talking about while also featuring comments from many of blockchain and crypto’s detractors along with some great rebuttals.
A big part of the documentary follows the story of Lauri Love, a British hacker and activist that was wanted by the United States for alleged activities as a member of the hacker collective Anonymous. His story is really damn interesting and the film does a solid job of telling it.
If you have an interest in this stuff and haven’t seen this documentary, you should probably check it out. Alex Winter does great work and presents these subjects well.
Rating: 8/10 Pairs well with: other documentaries about cypherpunk stuff like blockchain, cryptocurrency, hacking, etc. Especially, those by Alex Winter.
Release Date: May 4th, 1982 (USA Film Festival) Directed by: Carl Reiner Written by: Carl Reiner, George Gipe, Steve Martin Music by: Miklos Rozsa, Steve Goodman Cast: Steve Martin, Rachel Ward, Reni Santoni, Carl Reiner, George Gaynes
Aspen Film Society, Universal Pictures, 88 Minutes
“I hadn’t seen a body put together like that since I’d solved the case of the Murdered Girl with the Big Tits.” – Rigby Reardon
How is it that this film has existed for nearly forty years but I hadn’t even known of its existence until more recently. Maybe I saw it in video stores, as a kid, and it just didn’t jump out at me. However, being a lover of Steve Martin and classic film-noir, this felt like it could be something that was right up my alley.
In short, it most certainly was and I liked this movie a lot. However, it’s far from perfect and I think that its constant reliance on old film footage that features old film stars was really overused, even if that was the creative direction of the picture.
I loved seeing Steve Martin interact with the greatest stars of the silver screen and I certainly love that Humphrey Bogart’s version of Philip Marlowe was a big part of the story. However, some scenes came off a bit clunky and unnatural. But I guess it’s hard trying to make this feel more organic when Martin rarely has another actor to actually banter with. It’s hard reading a scene as it plays out and nailing that comedic timing.
Still, a lot of the jokes and one-liners in this movie were hilarious and Martin was the real high point of the film, making this much greater than it would’ve otherwise been.
The film looked stupendous, though, and Carl Reiner did a hell of a job behind the camera and managing the overall aesthetic of the picture. It matched with the classic film-noir clips quite well and in modern HD, this really looks crisp and pristine.
All in all, this was a weird but entertaining experiment. I can see why it might not have connected with mainstream audiences in 1982 and fell down most people’s memory holes but it still features a fantastic, memorable performance by Steve Martin in his prime.
Rating: 7/10 Pairs well with: other Steve Martin comedies of the ’80s and early ’90s.