Also known as: El día de la bestia (original Spanish title)
Release Date: September 4th, 1995 (Venice Film Festival – Italy)
Directed by: Álex de la Iglesia
Written by: Jorge Guerricaechevarría, Álex de la Iglesia
Music by: Battista Lena
Cast: Álex Angulo, Armando De Razza, Santiago Segura, Maria Grazia Cucinotta
Canal+ España, Iberoamericana Films Producción, M.G. S.R.L, 103 Minutes
“Well, it’s fundamental. lt inspired me to see the Apocalypse not as an allegory but as an equation. Each letter has its own number. So, for example… Daleth is worth four, and Synn is worth three hundred, so we can…” – Cura
El Día de la Bestia a.k.a. The Day of the Beast is a film that never popped up on my radar until Joe Bob Briggs featured it on a third season episode of The Last Drive-In. I’m glad he did show it, though, as it was a pretty cool occult horror picture from Spain.
Being that I worked in video stores in the ’90s, I’m surprised that I never came across this. If I did, I may have easily dismissed it due to it being foreign and having VHS box art that didn’t catch my eye.
This is a damn cool movie and it fits well with the rise of biblical and occult horror pictures of the mid-to-late ’90s, which I think was born out of people’s strange fear of approaching the new millennium.
The story is about a priest that believes that Satan is coming, so to take the Devil out, he decides to commit every sin imaginable to earn Satan’s trust and thus, kill him… I guess? The story is a bit nonsensical and deciding to become a sinner with about 24 hours on the clock probably isn’t a great plan.
However, the plan does work in that the priest and his overweight, heavy metal sidekick are able to attract some serious dark power into their lives. There’s a pretty cool scene where an occult ritual delivers a creepy presence but I don’t want to spoil the film.
While you do have to suspend a lot of disbelief due to the wonky story, the film still delivers and is entertaining as hell. Furthermore, all the core characters are really damn good and watching this all play out was a blast.
There isn’t a dull moment in the film and it flies by pretty quickly.
In the end, this has made me want to check out more from director Álex de la Iglesia.
Pairs well with: other “raise the devil” or biblical horror movies of the ’90s, as well as the other films directed by Álex de la Iglesia.
Release Date: September 18th, 1987 (Toronto International Film Festival)
Directed by: Rob Reiner
Written by: William Goldman
Based on: The Princess Bride by William Goldman
Music by: Mark Knopfler
Cast: Cary Elwes, Mandy Patinkin, Chris Sarandon, Christopher Guest, Wallace Shawn, Andre the Giant, Robin Wright, Peter Falk, Fred Savage, Billy Crystal, Carol Kane
Act III Communications, Buttercup Films Ltd., The Princess Bride Ltd., Vestron Pictures, 20th Century Fox, 98 Minutes
“Hello. My name is Inigo Montoya. You killed my father. Prepare to die.” – Inigo Montoya
I’m going to be honest, this wasn’t a film that captivated me in my childhood like it did most people from my generation. However, I have still always liked it and it’s one of those things I’d leave on if I was flipping the channels in my teen years.
This was the first time I had seen this, though, since probably the ’90s. At least, in its entirety. So revisiting it was kind of a treat and I actually think I’m more fond of it now, simply because they don’t make movies like this anymore.
At its core, this is just a wholesome fairytale. But it’s also full of several characters who have become iconic over the three and a half decades since this was released.
I think that these characters became so iconic because this movie was so well cast, from top-to-bottom.
I also really underappreciated the swashbuckling bits and the camaraderie between the characters, which was so good and natural that one would have to assume that all these people genuinely clicked and enjoyed working together.
As a big wrestling fan, especially the ’80s era, I love seeing Andre the Giant in this. He’s absolutely superb and it makes me wish that he got to do more films before he died, shortly after this.
The Princess Bride is just a really entertaining and fun movie that should work for anyone, regardless of age, gender or generation. It’s kind of perfect in its wholesomeness and its adventurous spirit.
While it’s not what I personally consider a classic, I can see why so many people are immensely fond of it.
Pairs well with: other ’80s family friendly fantasy movies.
Published: June 18th, 2013
Written by: Jeph Loeb
Art by: Tim Sale
DC Comics, 147 Pages
Being that I love the Batman comics that Jeph Loeb and Tim Sale did years ago, as well as their multiple Marvel miniseries, I’m not sure why I hadn’t picked up Catwoman: When In Rome until now.
It’s a pretty good solo story that sees Selina Kyle go off to Rome to get away from Gotham and her on again/off again relationship with Batman. Granted, he does have a very strong presence in the story, which I don’t want to spoil. However, this really shows you how the Bat has a tremendous emotional impact on Catwoman.
It should probably go without saying that I am a big fan of Tim Sale’s art. Mixing it in with a Jeph Loeb story somehow always brings the best effort out of Sale and this is no different.
Now I don’t consider this to be as good as Loeb and Sale’s Batman work but it still fits well within their version of the larger Batman universe. This is really a neat accent to their specific pocket of the mythos and honestly, I’d read anything they crafted that fit within the style and tone that they first created with The Long Halloween.
When In Rome is a much smaller and personal story than their Batman story arcs, however. And I guess that’s what I like about this, as it shows that they can tell smaller, more personally focused tales, where their Batman arcs involved lots of villains and characters.
Fans of the Catwoman character should probably love this and fans of the work of Loeb and Sale should probably love it too. It’s just a well-written and beautiful piece of work.
Pairs well with: Jeph Loeb and Tim Sale’s other collaborations for DC Comics.
I really dug the hell out of the Dungeons & Dragons arcade game, Tower of Doom. That one felt like it was greatly inspired by the awesome Golden Axe series, except they really expanded on what those games did and created something with more diverse enemies, great looking levels and multiple paths to reach the end.
This game, Shadow Over Mystara, is a direct sequel to Tower of Doom and with that, was created in the same style on what I would assume was the same engine. It reuses elements of the previous game but also expands further, making this one hell of a fun experience to play.
Additionally, there are so many character choices you can play as in this game. Even just experimenting with them all as you progress is a lot of fun. Each character has its own set of pros and cons like a regular table top Dungeons & Dragons campaign should.
Furthermore, the game is chock full of so many baddies of various types. The boss battles are also a lot of fun and simply progressing through this game gives you a good sense of accomplishment.
This is just a really great game and while it does take a good amount of time to beat for an arcade beat’em up, the time flies by pretty swiftly.
Pairs well with: its predecessor, as well as the Golden Axe games and Altered Beast.
Also known as: Hyappatsu hyakuchû: Ôgon no me (original Japanese title), Booted Babe, Busted Boss, Ironfinger Strikes Back (alternative titles)
Release Date: March 16th, 1968 (Japan)
Directed by: Jun Fukuda
Written by: Jun Fukuda, Ei Ogawa, Michio Tsuzuki
Music by: Masaru Sato
Cast: Akira Takarada, Beverly Maeda, Tomomi Sawa, Andrew Hughes, Makoto Sato, Yoshio Tsuchiya
Toho Co. Ltd., 80 Minutes
Since I thought Jun Fukuda’s Ironfinger was a pretty solid spy comedy, I wanted to give its sequel a watch, as well.
Fukuda is mostly known, at least in the States, for being one of the two most prominent directors of classic Godzilla pictures. While he doesn’t seem to be held in the same regard as Ishiro Honda, I always saw the two directors as fairly equal. Honda, however, did more of the earlier Godzilla films, where Fukuda did more of the later ones, which some fans like less due to them becoming more and more kid friendly as the franchise rolled on.
Fukuda did lots of other pictures over his career, though, especially for Toho, who loved pumping out quick sci-fi/tokusatsu fare. But between those movies, Toho also had Fukuda do these cool, ’60s spy flicks.
It’s obvious that these films are inspired by the James Bond movies of the era, as well as other spy flicks. At the time, there were many spy comedies like this, which sort of parody the genre but don’t completely deconstruct it like the Austin Powers movies would do later on.
This one pretty much follows the beats and tone of its predecessor but I didn’t enjoy it as much. There are some insanely goofy moments and some of the more over-the-top antics felt like they were too hammy.
For instance, there’s a gunfight scene where the heroes throw two assault rifles closer to the baddies and then shoot the rifles with their own guns, lifting them into the air from bullet ricochets where they fire and kill the villains. It’s f’n ridiculous and while it’s funny, it’s a “jump the shark” moment that happens pretty early into the film.
Still, I did enjoy Akira Takarada in this, as the spy hero. He’s just a good, fun actor and he was in dozens of Toho pictures and also worked with Jun Fukuda quite a bit.
Now I did miss Mie Hama in this one but since these movies are essentially ripping off James Bond, we can’t have the same chick in both films.
In the end, this isn’t as good as Ironfinger but it’s still cool and enjoyable if you like ’60s spy comedies.
Pairs well with: its predecessor, Ironfinger, as well as other ’60s spy comedies.
*No trailer available online.
Release Date: 2018
Directed by: Sara Dosa, Barbara Kopple
Written by: Jeff Zimbalist, Michael Zimbalist
Music by: Johnny Cash, Glen Matisoff (music coordinator)
Cast: Johnny Cash (archive footage), Richard Nixon (archive footage)
All Rise Films, Triage Entertainment, Netflix, 59 Minutes
Tricky Dick and the Man In Black is the story of how Johnny Cash and Richard Nixon crossed paths during a turbulent time in America. A time that was more turbulent than now, if you can believe it.
This covers how Nixon reached out to Cash to get him to perform at the White House, which is a hell of an accomplishment for any artist, regardless of who’s got the keys to the country. And this obviously happened before Nixon’s crimes would be exposed and he would go on to severely damage the reputation of the United States government.
Anyway, in 1970, Cash did perform at the White House. However, Cash soon developed some serious reservations about it as it became apparent to him that his ideals clashed with that of the president.
This examines what led up to the concert at the White House and the reasoning behind how Cash ultimately wasn’t happy with the regime that was in charge of the land he loved.
Overall, the subject matter was damn interesting but I feel like this documentary was too short and didn’t really get deep enough into the mud. But this story is mostly told through talking head interviews by people who aren’t Cash and Nixon, as they’re no longer with us.
This was still a worthwhile and entertaining watch, however. It just needed more meat and felt incomplete.
Final Fight is a pretty badass side scrolling beat’em up game from the era where I spent a lot of time in arcades. The era that was probably the peak, as far as arcade games were concerned but then arcades started to fizzle out not too long after.
This game exists in the same universe as the Street Fighter series and a lot of the characters from Final Fight would appear in Street Fighter-related games over the years.
With that, this is an incredibly well-crafted, fluid, fun, smack a bitch kinda game.
Final Fight is just a blast to play and it’s aged really well and is definitely one of the best games of its type. While I enjoy Double Dragon a bit more, Final Fight beats out the vast majority of its competition from the same era.
The characters all look cool as hell, the levels are neat and the overall playing time and pacing of the game is damn near perfect.
This would go on to spawn sequels and to see its characters used, again and again, in other Capcom games from the early ’90s till current day.
Pairs well with: other Final Fight games, as well as similar side scrolling beat’em ups like the Double Dragon series, the Streets of Rage series, Crime Fighters, etc.