Comic Review: G.I. Joe: A Real American Hero – Classics, Vol. 12

Published: July 20th, 2011
Written by: Larry Hama
Art by: John Stateman, Herb Trimpe, Rod Whigham, Andrew Wildeman
Based on: G.I. Joe: A Real American Hero by Hasbro

Marvel Comics (original printing), IDW Publishing (reprinted), 280 Pages

Review:

The last volume was probably where I would have jumped off the series when I was a kid, if I hadn’t jumped off of it before that due to getting older and getting strange feelings around girls.

Sadly, this collection of issues didn’t pick things back up and it just continued down a crappy path.

At this point, it’s like all the good stories have been told and the series just feels like it is running aimlessly on fumes without a clear direction. Maybe Larry Hama stopped caring and Hasbro was just making him wedge in all their new, weird toys, which, in my opinion, wrecked the franchise and killed it due to terrible redesigns and stupid, unrealistic vehicles.

With this stretch of issues, the art quality also fell off fairly significantly. While this features multiple artists, the overall quality is poor and littered with issues from bad perspective to weird faces and bizarre anatomy.

This is also longer than the previous eleven volumes by a couple of issues, which made pushing through it even harder.

But at least there were a lot of ninjas!… even if most of the new ones look really stupid.

Rating: 5.5/10
Pairs well with: Any of the original Marvel G.I. Joe and Transformers comics.

Film Review: The Wrecking Crew (1968)

Release Date: December 25th, 1968 (Canada)
Directed by: Phil Karlson
Written by: William McGivern
Based on: The Wrecking Crew by Donald Hamilton
Music by: Hugo Montenegro
Cast: Dean Martin, Elke Sommer, Sharon Tate, Nancy Kwan, Nigel Green, Tina Louise, Wilhelm von Homburg (uncredited), Chuck Norris (uncredited)

Meadway-Claude Productions, Columbia Pictures, 105 Minutes

Review:

“So this is the place I was gonna get shot in the back. Kind of a stylish pad to take off from.” – Matt Helm

I’ve arrived at the fourth and final Matt Helm film and while the Dean Martin spy comedies have been enjoyable, this one showed me that maybe they had already run out of steam.

That’s not to say that this one wasn’t enjoyable, it was, but it was the weakest in the series and just felt like everyone involved was simply running through the motions and the entire production had become a paint-by-numbers affair.

Sure, Martin is still charming and suave and the women are beautiful. But this really felt like they were dialing it in, trying to get one last glass of milk out of the cow.

However, if they did make a fifth film, I’d still watch it. It’s hard not to like Dean Martin in this role, as it’s tailor made for him and who the hell doesn’t like Dean Martin?

One of the strong points in this film was the villain, who was played by Nigel Green, who is most known for his roles in classic horror films.

This is also sort of bittersweet in that it was Sharon Tate’s last movie before she was murdered by the Manson Family in 1969. I enjoyed her in this but I think that she hadn’t reached her full potential and it’s hard to say whether or not she would’ve grown into a real film star that could’ve carried a production on her own.

The film also featured a bunch of boxers, wrestlers and martial artists, all of whom were uncredited for their small roles. However, it’s worth mentioning that Bruce Lee worked on the film, behind the scenes, and this was also Chuck Norris’ first film, even though he’s so far under the radar that I didn’t even notice him.

Another interesting thing about this movie is that it was directed by the same guy who did the first Matt Helm picture, Phil Karlson. He’s a director mostly known for his fine noir movies and while I enjoy his work in the Matt Helm series, it doesn’t quite live up to the movies he did before them.

The Wrecking Crew was an okay finale to the Matt Helm film series. It could’ve tried a little bit harder and gave fans something better but in the end, it did get this far and that’s something.

Rating: 6.25/10
Pairs well with: The SilencersMurderers’ Row and The Ambushers: the other Matt Helm films.

Retro Relapse: A Miles Davis Sunday Experience

RETRO RELAPSE is a series of older articles from various places where I used to write before Talking Pulp.

*Written in 2014.

Technically, I guess this could be considered a review of two things and not just that but how these two things come together. Really though, it is a reflection on an experience more than anything else.

My football team has a bye week and I really don’t care about any other team enough to turn on the television. So I am left with not much to do. Then I came across the bottle of Miles Davis’ Bitches Brew from Dogfish Head sitting in my fridge – waiting for the right moment to crack open. Without any plans other than having planned to sit down and write today, I figured I’d open the bottle and enjoy it while listening to Miles Davis’ “Bitches Brew” album, the great work that inspired what I have been told is a pretty great beer. Then I figured, I’d kill two birds with one stone and that I would write about the experience while indulging in the experience.

First, the beer is an American stout. Being a fan of stouts, this dark and mesmerizing brew is right up my alley. It has a roasted coffee essence but it is pretty minimal. The beer is rich and robust and has some nice maltiness to it. I pick up other flavors, such as caramel, molasses and some light fruitiness. Physically, the beer itself is very dark, kind of like black coffee. It has a dark caramel-colored head that almost bubbles similar to a good root beer but not as quickly. It isn’t a highly carbonated beer and it is almost, in body and in flavor, pretty close to being a perfect stout.

As far as the album, “Bitches Brew” is one of the most complex and original jazz albums of all time. It is a departure from what the general public expected from Miles Davis and is deemed more experimental and primal compared to what many perceive as his more refined and traditional works. Well, I really wouldn’t consider this unrefined and the fact that isn’t considered “traditional” by many in that time, just goes to show the versatility Miles Davis had as an artist. He was one of the greatest musicians that Planet Earth has ever had and “Bitches Brew” not only solidifies that fact, it shatters the mold Miles himself made and goes on to transcend the incalculable level of greatness he had achieved before this unique album’s release. Sorry if I am selling this hard but I am a huge Miles Davis fan and this album is a vital piece of work not just in Miles’ catalog but in American music history.

When Rolling Stone’s Langdon Winner reviewed Miles Davis’ “Bitches Brew” album in 1970, upon its release, he stated something so profound that it sums up the album and the experience of listening to it perfectly. He said, “Whatever your temperament, “Bitches Brew” will reward in direct proportion to the depth of your own involvement.”

So what is it like to merge these two things: the album and the stout?

Well, the attitude and complexity of the album is only rivaled by the attitude and complexity of this meaty and potent jazz juice. Upon my first sip, this beer has risen up into the upper echelon of the brews that Dogfish Head offers. I’ve drank a lot of their stuff and there isn’t anything I haven’t liked. They are a brewery that does their own thing and strives to surprise the public, even though they have grown to a position where they could just sit comfortably and collect their profits. Dogfish Head goes way beyond that and continually creates some of the best brews in the world. With Miles Davis’ Bitches Brew, they have created one of the finest stouts that I have ever had.

Going beyond that, they have created a stout that from a flavor and body perspective, captures the essence of the “Bitches Brew” album. Throughout history, there have been many products that have tied into other products. This is one of the very few tie-ins that makes a lot of sense and is truly complimentary. The people at Dogfish Head just get it and luckily for us, they also have the palates and knowledge in how to create a perfect compliment to something that in and of itself is already a near flawless piece of work.

Well, the album is nearly over and my beer is nearly gone. I’ll have to do this again some time. I’m sure it won’t be as majestic as this initial experience but it is an experience that I would welcome at anytime. Dogfish Head’s Bitches Brew is a beer that Miles Davis would have been proud of. For the rest of us, it is a beer that we can relish in and enjoy with Miles’ most uncommon yet most interesting album.

Film Review: Frogs (1972)

Release Date: March 10th, 1972
Directed by: George McCowan
Written by: Robert Hutchinson, Robert Blees
Music by: Les Baxter
Cast: Ray Milland, Sam Elliott, Joan Van Ark, Adam Roarke, Judy Pace, Lynn Borden, Mae Mercer, David Gilliam

Thomas/Edwards Productions, American International Pictures, 91 Minutes

Review:

“I still believe man is master of the world.” – Jason Crockett, “Does that mean he can’t live in harmony with the rest of it?” – Pickett Smith

After revisiting this for the first time in a few decades, I was surprised to see how many different animals this film featured. Honestly, it shouldn’t have been titled Frogs. They should’ve called it Swamp Critters or Florida On A Tuesday, as it reminded me of a regular afternoon hike in my home state.

This movie is weirdly drab, even though it’s pretty eventful and features a lot of zany deaths. I wouldn’t say it’s boring but it does feel like the filmmakers barely took this seriously and tried their best. It certainly feels like a rushed production where they had x-amount of hours to film in a Florida State Park, so everything had to be done in a few takes: perfect shots, good effects and attention to detail be damned!

Now I did enjoy a very young Sam Elliott in this and I actually forgot he was the hero of the story. His environmentalist banter with the evil capitalist played by Ray Milland was enjoyable and it was cool seeing these two legends ham it up and try to turn this shoddy production into a film with a meaningful message. There are just so many other films that tell the “science run amok on nature” story much better, though.

This had the makings of something that could’ve been much better in an era where animal horror was really popular. However, for every Jaws you get ten Night of the Lepus.

Rating: 5.25/10
Pairs well with: other animal horror films of the ’70s.

Book Review: ‘Kings of the Wyld’ by Nicholas Eames

I heard some good things about this book from different sources. It got me hyped up and I was really stoked to give it a read.

Initially, it lived up to expectations, as the first fifty or so pages were great. It was well written, I liked the two main characters and it hit you in the feels from the get go.

However, once they set off on their adventure, the book became tedious and tiresome.

A lot of times, the action happened off the page and was just sort of reflected on, as characters spent most of their time exchanging witticisms. Because of this, I felt like the author was leaning on the strength of his dialogue and working around his possible weaknesses.

However, after hundreds of pages of mostly banter, I couldn’t wait to get through this book.

Sure, there is action but the stuff I wanted out of this book took a backseat too often. By the time you get where you’re supposed to be going, you don’t care anymore.

This was about 500 pages. It could’ve bumped up the action and told a good, solid story in 300 pages.

I had hoped that this would be the start of a series I could’ve loved but in the end, I’ll pass on its sequels.

Rating: 5.5/10
Pairs well with: I’m assuming it’s sequel and other installments in the future, as well as other modern fantasy novels.

Film Review: In the Mouth of Madness (1995)

Also known as: John Carpenter’s In the Mouth of Madness (complete title)
Release Date: February 3rd, 1995
Directed by: John Carpenter
Written by: Michael De Luca
Music by: John Carpenter, Jim Lang
Cast: Sam Neill, Julie Carmen, Jurgen Prochnow, Charlton Heston, David Warner, John Glover, Bernie Casey, Peter Jason, Frances Bay, Hayden Christensen, Wilhelm von Homburg

New Line Cinema, 95 Minutes

Review:

“God’s not supposed to be a hack horror writer.” – John Trent

I’m actually really surprised that I haven’t watched this in the four years since I’ve started this site. It’s a film I’ve watched at least a dozen times and it’s one of my favorite John Carpenter flicks. Plus, it’s the third and final part to his unofficial trilogy of films he calls the Apocalypse Trilogy. The other two films are The Thing and Prince of Darkness.

While The Thing takes the cake in the trilogy, Prince of Darkness and this movie are still damn good, incredibly fucked up and a lot of fun, especially for fans of John Carpenter’s more fantastical pictures.

This story sees its protagonist try to uncover an “end of days” conspiracy, as he’s sent to go find a famous horror author but discovers that the writer’s written words are telling the true, current and still developing story about humanity’s fall to dark, sinister powers.

In the Mouth of Madness has a very Lovecraftian vibe, which is also pretty apparent by the film’s title, which sounds an awful lot like H.P. Lovecraft’s At the Mountains of Madness. Also, different horror novel titles seen within the film are also homages to Lovecraft’s famous stories.

The one thing this movie does incredibly well is creating an atmosphere that almost feels like a dense, creepy fog that is thickening and wrapping around the two main characters, as the film rolls on and provides more details and plot developments. Also, the small town that they’re in feels like a legit ghost town with a bizarre otherworldly-ness. Even when these characters are out in the open, it feels as if they are confined in a tight box and that box’s walls are closing in.

This is an example of a film that does a lot with very little. Sure, there are effects and actual monsters in the movie but its the unseen stuff that creates the magic. Although, when you see the monsters, it also doesn’t diminish the implied horror, it sort of just legitimizes it and makes you, the viewer, go, “Oh, shit! These things do exist and this guy isn’t fucking crazy!”

In regards to the monsters and the special effects, I dig all of it. This film really achieved some great effects shots and freak out moments. It really pushed the bar for a film that I assume just had a typical early ’90s horror budget.

Sam Neill is really superb in this, as well. While this didn’t boost his bank account like his Jurassic Park movies, it is one of his best performances and it really set the stage for what he could do in the horror realm. In fact, I think that his experience with this picture really allowed him to explore the depths of hell in his own soul in Event Horizon, a few years later. Both of these movies are two of the finest horror films to come out of the ’90s and both have aged tremendously well.

In the Mouth of Madness is a fantastic horror fantasy, through and through. It sort of just seeps into your mind and never lets go of it. I guess that’s why it’s one of the Carpenter films that I revisit the most.

Rating: 8/10
Pairs well with: the other parts of what Carpenter calls his Apocalypse TrilogyPrince of Darkness and The Thing.

Comic Review: Teenage Mutant Ninja Turtles, Vol. 11: Attack On Technodrome

Published: July 1st, 2015
Written by: Kevin Eastman, Tom Waltz
Art by: Cory Smith
Based on: Teenage Mutant Ninja Turtles by Kevin Eastman, Peter Laird

IDW Publishing, 104 Pages

Review:

This isn’t really a filler volume in the long-running Teenage Mutant Ninja Turtles series by IDW, as much as it is its own solid story that puts a heavy emphasis on developing a much bigger event that is going to go down and take up the two volumes after this one. The second such event in this version of TMNT continuity. When I get to those, I’ll probably review them together, as I did the last massive story arc.

In this, however, we see Donatello go behind his brothers’ backs and try to work out an alliance with Shredder, so that they can all take down Krang, his army and the dreaded Technodrome.

There are a lot of swerves and plot twists but the story reads really well and was pretty satisfying. While this wasn’t my favorite volume, it doesn’t disappoint and it kept the story moving forward at a brisk pace without it becoming redundant or derivative of previous stories, which is really hard to do when a series has gone on as long as this one has.

Cory Smith has taken over the art full-time and I like his work. It’s a bit more dynamic and detailed and it feels like the quality is a step up from what it has been. And that’s not to knock the previous artists, as I’ve really liked this series from both the art and writing sides of the coin.

In the end, I’m still enjoying this series and frankly, it’s now probably my favorite version of the turtles. I’m really looking forward to the big arc that follows this one.

Rating: 8/10
Pairs well with: the rest of IDW’s Teenage Mutant Ninja Turtles run.