Original Run: November 19th, 1994 – January 31st, 1998
Created by: John Semper, Bob Richardson, Avi Arad, Stan Lee
Directed by: Bob Richardson
Written by: John Semper, various
Based on: Spider-Man by Stan Lee, Steve Ditko
Music by: Kussa Mahchi, Jeremy Sweet, Shuki Levy, Joe Perry, Shuki Levy, Kussa Mahchi, Udi Harpaz
Cast: Christopher Daniel Barnes, Ed Asner, Jennifer Hale, Roscoe Lee Brown, Mark Hamill, Hank Azaria, Joseph Campanella, Martin Landau, Richard Moll, Don Stark, Dawnn Lewis, Majel Barrett, David Warner, Earl Boen
New World Entertainment Films, Genesis Entertainment, Marvel Enterprises, Fox, 65 Episodes, 23 Minutes (per episode)
After the success of the early ’90s X-Men cartoon on Fox, it was natural for the network to ask for more Marvel properties to adapt for their Saturday morning audience. The Spider-Man series was the longest running and most successful of these animated spinoffs.
While the X-Men show still stands as my favorite of these animated Marvel series, Spider-Man is a very, very close second and nearly as good.
The stories are generally well written and even if they have to take some liberties and alter the plots from the comics. This was due to time constraints and by trying to wedge in the debut of Venom really early in the series, which changes the overall timeline of events in Spider-Man’s life, greatly. Also, the showrunners probably wanted to get as many villains added into the mix, early on, so that each new episode felt fresh.
Spider-Man has a massive rogues gallery and this show utilized the core villains really damn well.
The tone of the cartoon is pretty perfect. Sure, there are cheesy and hokey bits in every episode because this is a kid’s cartoon but it does stay pretty true to the tone and style of the source material. Most importantly, it’s true to the characters and the writers obviously knew the Spider-Man mythos well.
I love this show and it’s still fun to have minimarathons of episodes. Honestly, to me, it’s one of the highlights of Disney+.
Pairs well with: the other animated Marvel television series from the ’90s.
Original Run: February 7th, 1998 – May 16th, 1998
Created by: Larry Brody
Directed by: various
Written by: various
Based on: Silver Surfer by Jack Kirby
Music by: Shuki Levy
Cast: Paul Essiembre, Camilla Scott, Colin Fox
Marvel Entertainment, Saban Entertainment, Fox, 13 Episodes, 22 Minutes (per episode)
This show came out in a time when I was way more interested in chasing girls than watching Saturday morning cartoons. Also, I was probably really hung over on Saturday mornings in 1998. Plus, this series was really short-lived that I didn’t even know it existed until years later.
I binged watched it online in an afternoon, though, as I wanted to see if it was as good as some of the other ’90s Marvel cartoons that were on Fox and existed as part of that X-Men ’92 animated Marvel canon.
I think that this is pretty decent but it didn’t pull me in like the X-Men or Spider-Man cartoons of the same era. Also, it relied heavily on CGI and with that, gave us a weird mix of traditional hand-drawn 2D animation with 3D CGI graphics. It’s not terrible, visually, but it’s a bit jarring at times and the two styles have never really worked together for me. Also, the CGI stuff looks really cheap, which is probably just because of the time when this was made, as CGI animation wasn’t as refined as it would become.
This is similar to the other shows it shares a universe with, as it adapts the comic book stories but takes tremendous liberties with the material due to the length of the episodes and trying to get the franchise off of the ground with lots of characters as quickly as possible. Considering that everything is condensed down to just 13 episodes, I’m okay with it.
I really liked the three-part origin episodes more than the rest of the series but it was cool seeing what characters they started to sprinkle in and a second season, had it been made, could’ve been an improvement with a much larger universe to explore and a richer mythos.
All in all, this was a fun way to waste a Sunday afternoon. It’s hard to tell what this could’ve been due to it not surviving a short, first season.
Pairs well with: other Marvel animated shows from the ’90s.
Also known as: Uchu kaijû Gamera (original Japanese title), Phoenix Dominator (Belgium), Space Monster Gamera, Gamera 80 (alternative titles)
Release Date: March 20th, 1980 (Japan)
Directed by: Noriaki Yuasa
Written by: Niisan Takahashi
Music by: Shunsuke Kikuchi
Cast: Mach Fumiake, Yaeko Kojima, Yoko Komatsu, Keiko Kudo, Koichi Maeda, Toshie Takada
Daiei Film, 92 Minutes
“Space ship Zanon is about to attack. Even Gamera is not powerful enough to stop it. You must find some way. You must!” – Giruge, “Sister, you’ll be all right!” – Keiichi, “Thank you, boy. If it’s true we are reincarnated after we die, then I should be born here again. Goodbye.” – Giruge
This seems to be the one Gamera film that people vehemently hate. I don’t, however. But I’ll explain why that hatred exists and why I don’t feel the same.
One has to understand that this did come out when Daiei was in financial peril. Because of that, they revisited a plan that bailed them out once before. This plan saw them create a new movie in their successful Gamera franchise but in an effort to make it as cheaply as possible and to maximize profits, they reused monster fight footage from previous films and wrote the story around that in an effort to make it work, narratively.
So we’re essentially stuck with the second “best of” Gamera movie just a few years after the first one.
However, this one is better than the previous attempt and that has to do with how ridiculous and cool the story was that tied this great mess together.
To start, it recycled elements of the previous “best of” and had an alien threat summon all the monsters of Gamera’s past to do battle with the giant turtle. With that, Gamera has suspiciously familiar battles with foes we’ve seen before and they all go suspiciously the same way. I do like the alien warship in this, though, as it is a deliberate ripoff of the Imperial Star Destroyers from the first Star Wars movie. In fact, this film even replicates the opening shot of A New Hope.
The grand finale, after all villain monsters are destroyed, sees Gamera take on the faux Star Destroyer.
Additionally, the film has a wacky plot about these three alien sisters that have a van that transforms into some spaceship thing that looks like a glowing yellow ball. They do weird dance movies, terrible karate and try to help this film’s annoying little kid, who is really only there to scream encouragement at Gamera.
The weirdness doesn’t end there, however. This film strangely splices in footage from to legendary Leiji Matsumoto animes Space Battleship Yamato a.k.a Star Blazers and Galaxy Express 999. Why this was done, I have no f’n idea but these two animated shows were immensely popular at the time.
It’s all this batshit craziness that makes me love this movie, though. I can’t help myself. This, to me, is just so damn bonkers I can’t not love it. And man, it just feels like pure, cheesy tokusatsu of the greatest caliber, especially for its time.
In my heart and in my head, I know that Gamera: Super Monster is a terrible film. But that doesn’t mean that it’s not a smorgasbord of wonderful, entertaining shit.
Pairs well with: the other classic era Gamera films.
Release Date: August 6th, 1993
Directed by: Robert Townsend
Written by: Robert Townsend
Music by: Cliff Eidelman
Cast: Robert Townsend, Marla Gibbs, Eddie Griffin, Robert Guillaume, James Earl Jones, Bill Cosby, Another Bad Creation, Luther Vandross, Sinbad, Naughty by Nature, Cypress Hill, Big Daddy Kane, Stephanie E. Williams, Roy Fegan, Frank Gorshin, Marilyn Coleman, Bobby McGee, Don Cheadle, Nancy Wilson, Tommy ‘Tiny’ Lister, Jenifer Lewis, LaWanda Page, Faizon Love, Biz Markie, John Witherspoon, Chris Tucker (uncredited)
Tinsel Townsend, Metro-Goldwyn-Mayer, 100 Minutes
“You don’t have to vote. I’ll leave. I’m sorry about what happened to the neighborhood tonight, but I feel even sorrier watching what’s going on in this room. How can we stop the crime and the gangs if we act like we don’t see them? Everybody complains about the police. They aren’t perfect, but how can you complain when you do nothing? You don’t have to vote.” – Jefferson Reed
Meteor Man is a very ’90s movie but it’s also aged tremendously well for what it is. Additionally, it has so much heart it’s damn hard not to love. Plus, it features a large roster of legendary black actors that it’s really cool seeing them all in one place under the direction of the uber talented and then young Robert Townsend.
I love this movie, although I was a bit apprehensive in revisiting it for the first time in at least two decades, as I didn’t want my memories of it to be diminished.
I’m happy to say that I actually have a deeper appreciation for it now than I did back then when I was really impressionable and nowhere near as versed in motion picture history or the art of filmmaking.
To be real, this is a film with several flaws and it features a superhero whose powers are never clearly defined and seem to change on a whim for plot convenience. At the same time, this barely matters, as this isn’t simply a cookie cutter superhero tale, it’s something deeper with more meaning than a typical Marvel or DC adaptation. It’s also better than the vast majority of comic book movies from (and before) its era.
At its core, this examines the turmoil and effects of inner city crime on its communities. It asks when “enough is enough” and it shows good people actively trying to overcome it and clean up their neighborhoods.
Many critics in 1993 tried to make the point that the film failed because it showed that people could only make a difference with a superhero doing the bulk of the work. What the reviewers failed to see was the bigger picture or frankly, the f’n film.
Reason being, Meteor Man loses his powers and is about to be killed by the violent gang and that’s the moment where the good, scared folks of the neighborhood finally proclaim that “enough is enough” and they fight back to help save the one man that came to their rescue when he’s at his darkest hour.
The community in the film become the heroes the neighborhood needs. And while Meteor Man regains his powers for a final showdown with the film’s big villain, it’s the community again that saves the day when even bigger villains show up to finish the job. More than anything else, this is about people inspiring each other and coming together.
That being said, it’s still really damn cool that this message came together so beautifully in a film about a superhero. That also made it cooler and more universally accessible for all ages than just being a movie about a gang controlled neighborhood. We’d seen those many time before this and many of them lacked the heart and soul that Townsend put into this motion picture.
As far as I know, this is also the first black superhero film. If it’s not, please correct me in the comments.
All in all, Meteor Man is a product of its time but that doesn’t mean that its message isn’t relevant, today. It’s light, it’s fun, it’s energetic, it has character, it has love and it definitely deserves more recognition than its gotten over the years. I hope, at some point, new generations discover it and see it for what it is and not what the critics in 1993 thought it was.
Pairs well with: other Robert Townsend movies, as well as other ’90s superhero movies.
Release Date: August 22nd, 1987 (New York City premiere)
Directed by: Rod Amateau
Written by: Rod Amateau, Melinda Palmer
Based on: Garbage Pail Kids by John Pound, Topps
Music by: Michael Lloyd
Cast: Anthony Newley, Mackenzie Astin, Katie Barberi, Phil Fondacaro, Debbie Lee Carrington, Leo Gordon
Topps Chewing Gum Company, Atlantic Entertainment Group, 100 Minutes
“You wanna see a dog wanking off into a garbage pail?” – Girl #2
While I know this film’s awful reputation, I did enjoy the hell out of it when I was a little kid. I haven’t seen it since way back then and I’ve always wanted to revisit it to see how bad it truly is. However, it never streams anywhere so I had to finally just track a DVD copy down. Luckily it was like four bucks.
So, yeah, this is a terrible movie in just about every regard. Although, I do like the practical effects, even if the Garbage Pail Kids characters look hokey, clunky and not at all real. I’m honestly fine with it considering the limitations of the time, this film’s small budget and because it’s definitely not the worst flaw this film has.
Plus, most of the costumed actors were good in these roles and the voice work was decent. I also liked most of the characters used for the film and they’re supposed to gross you out and they effectively do. So mission accomplished in that regard.
The only really known actor in the movie is Mackenzie Astin and you probably only really know him if you’re a fan of the ’80s sitcom The Facts of Life and watched the last few seasons of it. I liked him on that show and in this. Seeing this now, though, he’s better than most kid actors and he did fine even though the movie and its script were very subpar.
There’s not a whole lot to say about this other than it fails in every way outside of the two positives I already mentioned.
The other actors are a mixed bag but most of the performances are pretty bad. The film looks like shit and it just comes off as incredibly cheap and slapped together. Hell, the sequence where the Garbage Pail Kids are basically in a prison for ugly people is so damn cheap and ridiculous.
Although, I really liked the idea of a prison for ugly people and thought that could’ve been a cool concept and a more solid gag had they explored it a bit more. Plus, Leo Gordon, a legendary character actor, pops up in this sequence as a prison guard.
All in all, yes, this is shit. It’s enjoyable shit if you’ve got the stomach for it and feel nostalgic for the source material but I wouldn’t force anyone to watch it.
Pairs well with: other really bad, ’80s “kids” movies like Mac & Me, Munchies, etc.
Also known as: Gamera tai uchu kaijû Bairasu (original Japanese title), Gamera vs. Bairus (alternative spelling), Destroy All Planets, Gamera vs. Outer Space Monster Viras (US alternative titles)
Release Date: March 20th, 1968 (Japan)
Directed by: Noriaki Yuasa
Written by: Niisan Takahashi
Music by: Kenjiro Hirose
Cast: Kojiro Hongo, Toru Takatsuka, Carl Craig
Daiei Studios, 90 Minutes (TV cut), 81 Minutes (theatrical cut)
“Attention all spaceship crew members. Attention all spaceship crew members. Gamera has been located. He’s at the bottom of the ocean. Prepare to attack at once. Activate the super catch ray.” – Doctor A
This Gamera film is really a mixed bag but due to the behind the scenes troubles that Toei was dealing with at the time, their shortcuts in this film are somewhat excusable and the new stuff is pretty enjoyable for a Gamera picture.
What I’m referring to is that the studio was in financial trouble and they needed to make some money to stay afloat. The biggest money maker for them was the Gamera film series but since money was tight, this picture reuses footage from previous ones.
So on one hand, this plays like a Gamera’s Greatest Battles compilation while also providing a new, cool alien threat and an awesome kaiju creature for Gamera to fight in the final act.
From my youth, this was the Gamera movie that always stuck out in my memories, as the set design of the alien ship was just f’n cool. It’s pretty simplistic and just uses triangular screens and flashing light panels but it’s surrealness just burned into my brain. Plus, the outside design of the alien ship is cool and I always wanted a toy of it.
I also liked the monster Viras, who was essentially just a space squid with a sharp, pointed head and the ability to fly.
The plot is wonky as shit and the overall production is cheap and noticeable, even for a Gamera picture.
Still, this isn’t a bad way to waste some time, especially if you’re a kaiju fan and haven’t seen this one.
Pairs well with: the other classic era Gamera films.
Also known as: Super Mario Brothers: The Movie (original script title)
Release Date: May 28th, 1993
Directed by: Rocky Morton, Annabel Jankel
Written by: Parker Bennett, Terry Runte, Ed Solomon
Based on: Mario by Nintendo
Music by: Alan Silvestri
Cast: Bob Hoskins, John Leguizamo, Dennis Hopper, Samantha Mathis, Fisher Stevens, Fiona Shaw, Richard Edson, Mojo Nixon, Dana Kaminski, Lance Henriksen, Frank Welker (voice), Dan Castellaneta (narrator)
Allied Filmmakers, Cinergi Pictures Entertainment, Hollywood Pictures, 104 Minutes, 90 Minutes (Japan), 87 Minutes (TV cut)
“[bathing in mud] Do you know what I love about mud? It’s clean and it’s dirty at the same time.” – King Koopa
Super Mario Bros. was one film in a string of a few that helped to build the reputation that video game movies suck. Looking at the picture in comparison to the video game series it’s based on, I get it. And frankly, it irked the shit out of me when I saw it in 1993.
However, seeing it with pretty fresh eyes nearly three decades later, I have a very different view of the film now. Especially, when I just look at it as its own weird body of work apart from the video game franchise.
Removing the source material from the equation, I can still see why this would be viewed as a bad film by most but for me, a lover of really weird shit, everyone in this cast and late ’80s/early ’90s cyberpunk shit, this is kind of a feast of awesomeness!
Additionally, the Alan Silvestri score is great, lively, playful and boisterous. It reminds me of his score to Honey, I Shrunk the Kids, which was, honestly, what really set the magnificent tone for that movie. Here, Silvestri’s work is just as effective and man, I miss scores like this.
This movie also feels like a time capsule into the heart of the ’90s. It embraces the wonky tropes of the decade and it completely misses the mark it should’ve been aiming for. Although, in retrospect, I really like that this just did whatever the hell it wanted to and provided the world with something so damn bizarre and zany.
I really liked the bond between Mario and Luigi, even if trying believe that Hoskins and Leguizamo are supposed to be real brothers is maybe the most unbelievable thing in the film. That kind of doesn’t matter, though, as nothing in this needs to make any sort of logical sense. It’s actually cooler that it doesn’t. Now that’s something I’d typically be highly critical of but this movie with its flaws is still so much fun and overly ridiculous that it adds to its charm.
I guess Dennis Hopper was miserable working on this due to behind the scenes clusterfucks and severe delays but honestly, it probably worked to the movie’s benefit, as he truly comes off as an insufferable prick and it just makes his character that much more sinister and entertaining to watch.
Additionally, I really liked Samantha Mathis in this, as she played Princess Daisy, the apple of Luigi’s eye. Her and Leguizamo had nice, believable chemistry and she really was a highpoint of the picture. In fact, her final scene where she returns as a gun toting badass really made me wish a sequel had been made.
That being said, I actually wouldn’t be opposed to having more things made from this version of the Super Mario IP. I get it, it was a bomb and most people hated it but it’s also unique and kind of special in its own odd way. Plus, it’s developed a good cult following over the years and I think many people are like me, where seeing this decades later really allows you to separate from what it should of been and wasn’t to seeing it as its own cool thing.
Pairs well with: the other few ’90s movies based on video games, as well as other early ’90s cyberpunk films.
Also known as: Gamera tai Daimaju Jaiga (original Japanese title), Gamera vs. Monster X (US TV title), Monsters Invade Expo ’70, War of the Monsters, Gamera vs. Giger (alternate worldwide English titles)
Release Date: March 21st, 1970 (Japan)
Directed by: Noriaki Yuasa
Written by: Nisan Takahashi
Music by: Shunsuke Kikuchi
Cast: Tsutomu Takakuwa, Kelly Varis, Katherine Murphy
Daiei Motion Picture Company, 82 Minutes
It’s been awhile since I’ve seen a Gamera movie but I do have a few left from the original run of films that I haven’t yet reviewed. I already did all the movies that were featured on Mystery Science Theater 3000 but there are still three left that never made it on that show.
This one is mostly more of the same but it does have an interesting bit where Gamera, after a defeat, is essentially dead with a pale head. His body is left half submerged in the bay near the World Expo ’70 site, a world’s fair type of festival that takes centerstage in this movie.
With Gamera out of commission, two kids use a small submarine to enter his mouth and try to resuscitate him. While in there, they have to survive the heroic mission while outwitting killer parasites in the giant creature’s body. It’s weird, it’s neat and it’s pretty cool if you’re a fan of this sort of awesome cheese.
Other than that, there’s not much more to say. Everything is on par with the other sequels but this at least stays afloat and has an edge over some of the other chapters because of the sequence with the kids inside of Gamera’s body.
All in all, a decent flick for Gamera fans but if you’re not a diehard kaiju or tokusatsu viewer, you’ll probably be scratching your head for eighty-two minutes.
Pairs well with: the other classic era Gamera films.
Release Date: November 15th, 1992 (Century City premiere)
Directed by: Chris Columbus
Written by: John Hughes
Music by: John Williams
Cast: Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Catherine O’Hara, Devin Ratray, Gerry Bamman, Hillary Wolf, Kieran Culkin, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Rob Schneider, Ally Sheedy (cameo), Donald Trump (cameo), Bob Eubanks (cameo), Rip Taylor (cameo), Jaye P. Morgan (cameo), Jimmie Walker (cameo)
Hughes Entertainment, Twentieth Century Fox, 120 Minutes
“Hey. You guys give up? Have you had enough pain?” – Kevin McCallister
As I said in my review of the first Home Alone, I hadn’t seen that movie in-full in years. Well, I hadn’t seen this one since it came out. I’ve seen scenes on television over the years but I felt like a full watch was grossly overdue.
So while this isn’t as great as the original and while I don’t think that it was necessary, it’s still really endearing and a fun, holiday movie.
All the important cast members are back but if I’m being honest, it would’ve been nice just getting a cameo from Roberts Blossom after he saved Kevin and reunited with his estranged son in the first film.
That being said, it’s kind of unbelievable that Kevin would’ve been left behind by his family once again but you’ve got to kind of suspend disbelief and just go with it. I mean, it’s also unbelievable that this kid could live and survive in New York City on his own and that while there he’d run into the same burglars from the first film but I digress. This isn’t the type of story where you should be really thinking that hard.
My only real gripe about this film is that it’s too long. I don’t know why they had to go for a full two hours, as the just over ninety minute running time of the first movie was perfect. But I guess Kevin is in a much larger environment and that provided John Hughes the luxury of writing more gags.
Despite the new, grandiose setting, though, the film is really formulaic and just tries to repeat the main beats of the first movie. That doesn’t wreck it though, it just makes it a slightly inferior but still a pretty good copy of the masterpiece it’s trying to emulate.
I really liked the cast additions of Tim Curry and Rob Schneider in this one, though. They added a lot to the movie and their interactions with Kevin and then his parents were pretty good.
It was also great seeing Kevin put the burglars through the gauntlet once again and while this sequence isn’t as iconic as the original, it still provided some great slapstick comedic moments and I love seeing Culkin, Pesci and Stern play off of each other in these scenes.
All in all, the first film is perfect but this is a worthwhile sequel that doesn’t diminish the greatness of the original while giving you a few more hours to spend with these characters you love.
Pairs well with: its predecessor and other John Hughes holiday movies.