Published: February 25th, 2015 Written by: Andrew Dabb, R.A. Salvatore Art by: Tim Seeley Based on:Dungeons & Dragons by TSR, characters by R.A. Salvatore
IDW Publishing, 145 Pages
I’ve known about the character of Drizzt Do’Urden for a few decades. In fact, I own a few of the Forgotten Realms paperbacks with him on the cover but I never got around to reading them because I wanted the whole saga.
Well, many of those stories were adapted into comics by IDW, who have the publishing rights to the Dungeons & Dragons franchise. So, I figured that I’d read them and get a taste for the character and his pocket in the larger D&D universe.
This first volume serves as Drizzt’s origin story and while it’s interesting and pretty unique, it’s not super exciting. However, his story had to start somewhere and it’s important if you want to actually understand the character, his motivations and what kind of struggle he’s gone through before evolving into a legendary hero.
Reading this, I appreciated the level of world building that went into the story, as originally penned by the great R.A. Salvatore. This goes deep into the culture, beliefs, politics and history of Drizzt’s people, setting up a lot of potentially good stories to follow.
Still, this first volume didn’t captivate me in the way I was hoping but that’s fine. I still plan to read the six volumes that IDW put out because I already own them and because this character can now leave the nest and grow into the great character I’ve been told he is by many.
Rating: 6.25/10 Pairs well with: other Dungeons & Dragons comics, specifically those with the Forgotten Realms banner and more specifically, those featuring Drizzt Do’Urden.
Release Date: September 3rd, 1997 (New York City premiere) Directed by: David Fincher Written by: John Brancato, Michael Ferris Music by: Howard Shore Cast: Michael Douglas, Sean Penn, James Rebhorn, Deborah Kara Unger, Peter Donat, Carroll Baker, Armin Mueller-Stahl, Anna Katarina, Mark Boone Junior, Tommy Flanagan, Spike Jonze, Daniel Schorr (cameo)
“They just fuck you and they fuck you and they fuck you, and then just when you think it’s all over, that’s when the real fucking starts!” – Conrad
I don’t think that I’ve seen this since the theater but I remembered really liking the hell out of in the ’90s and I had always meant to revisit it because Fincher’s other two ’90s films (not named Alien 3) were pretty much masterpieces.
This one doesn’t live up to the quality and iconic status of Se7en and Fight Club but it is a good filling within the ’90s Fincher cinematic sandwich.
The big selling point for me, at least when this came out, was that it starred Michael Douglas and Sean Penn. The thought of seeing those two great actors together made this picture a “must see” for me. Plus, the trailer intrigued me.
For the most part, this is a thrilling ride where you don’t really see what’s coming and how deep this “game” will go. It gets bigger and more complex with each twist in the plot and it’s a lot of fun, seeing it play out.
The problem with the film, though, is knowing that it’s just a game. Granted, the movie does its damnedest to make you question that and it really pushes the bar in pushing Michael Douglas’ Nicholas over the edge. However, I thought that the big reveal was really obvious, even before I knew the ending. In fact, I thought it was obvious from the trailer but I still was captivated enough to see how far the story would push things.
Overall, the plot doesn’t disappoint but being that so many things are so over the top and elaborate, the picture leaves me with more questions than answers. It would’ve been cool to see how all of this was pulled off but you don’t really get that and just have to accept that this is just the work of powerful pranksters with unlimited funding.
From a visual standpoint, the movie looks good and I’d say it’s less stylized than Fincher’s other movies. I’m not sure if he felt like he needed to be more reserved in that regard or of it was the work of the producers. But out of all Fincher’s movies, this one is the least Fincher-esque, as far as the cinematography goes.
As should be expected, it’s a picture that is superbly acted and the leads are truly great, here.
In the end, this is still fun to watch, even after knowing what the ending would be. As I stated earlier, I knew it was just going to be a game beforehand but that doesn’t make it a bad thriller. The big thrills still work and this is an intense movie that still packs a punch.
Rating: 8/10 Pairs well with: other David Fincher films of the ’90s that aren’t Alien 3.
I have finally reached the end of the classic Marvel Comics G.I. Joe run, which was almost entirely written by Larry Hama.
Most of it was great but the last four or five volumes are pretty shitty, this one being no different, which is sort of sad, considering how great this franchise was in its prime, back when Larry Hama still cared about it and when Hasbro was making great toys and not corny ones that pushed fans away.
To be fair, most of the loyal G.I. Joe fans were also more into girls by the early ’90s.
Anyway, this final collection of issues is a wee bit better than the previous lot but the series still went out with a whimper.
This is also plagued by awful art that is well below Marvel’s quality standards in the ’90s.
Most of the half dozen or so artists here were trying really hard to be the next Rob Liefeld and I don’t say that complimentary. They sort of adopted the worst parts of Liefeld’s style and gave us stories littered with bad physics, weird anatomy and messed up looking faces.
All in all, I still love this series. But everything went to shit after about 100 issues and never recovered.
Rating: 4.75/10 Pairs well with: Any of the original Marvel G.I. Joe comics.
Also known as: Leprechaun 5: In the Hood (alternative title) Release Date: March 28th, 2000 Directed by: Rob Spera Written by: Doug Hall, Jon Huffman, William Wells, Alan Reynolds, Rob Spera Based on: characters by Mark Jones Music by: Nicholas Rivera Cast: Warwick Davis, Ice-T, Coolio (cameo)
Trimark Pictures, 90 Minutes
“A friend with weed is a friend indeed, but a friend with gold is the best I’m told.” – Leprechaun
While the fourth film is where the series starts to really drop off in quality, this fifth film is where it turns into a total piece of shit.
This completely ignores the events of the fourth film, which was set in the future in outer space. Or maybe, chronologically that one is the final movie. But then again, I guess it doesn’t matter, as none of these movies really seemed tied to previous installments.
Anyway, the idea of having the Leprechaun go against Ice-T is kind of intriguing but when the script and the direction are quite deplorable, you get a stupid, mundane picture that might be a turd but can’t even stay afloat.
There is actually one amusing scene where the owner of a pawn shop makes fun of the film’s three protagonists but that’s about it. Even the Leprechaun’s one-liners seem tired by this point and even though the series needed to sort of reinvent itself, this was a massive misstep.
I can’t fault Warwick Davis, he seems to love playing this character and getting a paycheck in the process but five movies deep, even he can’t keep this franchise going.
The main characters in this story are rappers and they draw the ire of an evil rap producer/gangster. Just think Suge Knight, as played by Ice-T.
The music is absolute crap. This film came out in 2000 but these rappers sound like a group from a West Coast gangsta rap demo that got rejected in 1991.
In the end, the Leprechaun raps poorly too but he’s at least better than the actual rappers. This is only worth checking out for that scene and you can just watch it on YouTube, anyway.
Rating: 2.25/10 Pairs well with: the other Leprechaun movies starring Warwick Davis.
I was pretty stoked to see this documentary when the trailer came out but honestly, it was really disappointing.
This seemed like such a wasted opportunity to tell a great story about the people and all the shenanigans around Biosphere2, including the people behind the project, its genesis and how everything panned out.
This was a story that was a big part of my life around middle school age, as I had a science teacher that was obsessed with it and gave us constant updates while also having her curriculum kind of tie to the Biosphere2 experiment.
I actually had no idea how interesting the story actually was until seeing this and learning about the group and how they came together, a quarter of a century before being locked up together in the world’s first biodome.
Sadly, the documentary doesn’t seem to dig deep enough in its nearly two-hour running time. It just scratches the surface and gives you some insight. It even has the real people in the film giving their accounts of events. However, this really needed more meat and because of that, should have probably been expanded into a multipart series.
I left this feeling like I knew the story but the real details were glossed over and I didn’t get to feel like I really knew these people, as much as I should.
Still, this was interesting enough to justify its existence and it was a decent way to spend two hours but I know that there is a lot more to the story that we didn’t get and that left me unfulfilled and underwhelmed.
Also known as: The Quest (working title) Release Date: June 26th, 1988 (Beverly Hills premiere) Directed by: John Landis Written by: David Sheffield, Barry W. Blaustein, Eddie Murphy Music by: Nile Rodgers Cast: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, Shari Headley, Paul Bates, Eriq La Salle, Frankie Faison, Vanessa Bell, Louie Anderson, Allison Dean, Sheila Jackson, Jake Steinfeld, Calvin Lockhart, Samuel L. Jackson, Vondie Curtis-Hall, Cuba Gooding Jr., Don Ameche (cameo), Ralph Bellamy (cameo)
Eddie Murphy Productions, Paramount Pictures, 116 Minutes
“Do not alert him to my presence. I shall deal with him myself.” – King Jaffe Joffer
I’ve reviewed a lot of films lately that I know inside and out but hadn’t seen in their entirety in well over a decade. This is one of those films and after rewatching it, I realized how much I missed the good feelings that this generates, as well as how infectious Prince Akeem’s optimism is. This is really something that I hope is not lost in the sequel, which comes out in a few months.
At it’s core, this is a modern fairytale romance. While it doesn’t feature magic and mythic creatures, it does feature a great quest that sees its protagonist travel to a strange, foreign land in an effort to find treasure.
This treasure is his true love and in seeking her out, he defies his father, the King of Zamunda, as well as centuries of tradition. But in the end, love conquers all and this film conveys that message so splendidly that I feel like it’s impossible not to adore this motion picture.
Eddie Murphy is at his absolute best in this classic but his performance is maximized by Arsenio Hall, his real life best friend and a guy that plays off of him so perfectly well that it feels like they’ve been a comedy team for years when this is actually, their first movie together.
Beyond the two leads, this film is perfectly cast from top-to-bottom. It’s frankly an all-star cast that features a lot of the top black talent of the time, as well as Louie Anderson in what’s still his most memorable role.
I love the scenes with Murphy and John Amos, as well as the ones with his storyline father, James Earl Jones. Murphy holds his own alongside these legends and this is the one film where he really proves that he is the prime time talent that most assumed he was.
Also, this is the first picture where Murphy, as well as Hall, play multiple characters. This worked so well that it would go on to be a trope in several Eddie Murphy movies in the ’90s and beyond. I can only assume that many of these extra characters will also make their returns in the upcoming sequel. I hope we see the old guys from the barber shop again, even though it’d be shocking if they were still alive 33 years later.
The most important thing that needed to work in this film was the relationship that develops between Akeem and Lisa. It’s a great, simple love story and the two had dynamite chemistry and the emotion of their best scenes shined through, making this a much better picture than it really needed to be.
One thing that really jumps out, that I didn’t notice or appreciate until now, is the music. Nile Rodgers orchestrated an incredible score full of memorable pieces that make certain scenes and sequences, magical. In fact, his King Jaffe Joffer theme is so damn good it’s iconic in my book.
All in all, this is a film where everything went right and I feel as if it exceeded the expectations that even its producers had. John Landis was truly a master of ’80s comedy and this is one great example of how good of a comedic director he was.
As much as I have always loved this movie, I don’t think that I ever had the appreciation that I have for it now. It’s a pretty close to perfect romantic comedy, which is a genre I’m not a massive fan of. But when you make one so great, the genre doesn’t matter and the end result is something that far exceeds the label of “chick flick”.
Rating: 9/10 Pairs well with: other John Landis comedies, as well as Eddie Murphy’s ’80s and early ’90s films.
I have only read a few Solomon Kane stories by Robert E. Howard and that was a long time ago. I’ve always loved the character, however. Especially, when he appeared in issues of The Savage Sword of Conan, as well as his own classic comic book series from his original Marvel run. I also like the film adaptation, quite a bit, as it has grown on me since I reviewed it for this site a few years back. I may need to update that, as I have a higher opinion of the movie now than I did after my original viewing of it.
This nice, thick book collects a lot of the iconic Solomon Kane stories that Howard wrote. I’m not sure if this is all of them or most of them but it does feature the stories I’m either familiar with from the comics and from what I’ve learned about the character’s history.
I enjoyed this pretty immensely, which I kind of expected to, but it exceeded those expectations and as far as a big collected body of work, this may be my favorite book I own by Robert E. Howard. Granted, I plan on reading the collected editions of Conan soon, as I have only read about a third of his short stories.
Solomon Kane is a very different hero than either Conan or Kull, however, and it was cool seeing Howard writing what I still consider to be sword and sorcery but quite unlike his better known “barbarian” heroes.
I love that this takes place on Earth in a historical time and that it connects to the real world closer than Howard’s prehistorical fantasy stuff.
Additionally, every story here had purpose and serious gravitas. I also liked all the colorful characters that weaved in and out of these tales, as well as the monsters and the Lovecraftian influence on them.
The Savage Tales of Solomon Kane should definitely be in anyone’s library who enjoys fantasy, action and horror. It’s a perfect blend of these three things, written by one of the greatest American authors that ever lived.
Rating: 9.25/10 Pairs well with: other Robert E. Howard collections.
Also known as: Centralia (fake working title), Terror en Silent Hill (Argentina, Brazil, Colombia, Venezuela) Release Date: April 20th, 2006 (Hollywood premiere) Directed by: Christophe Gans Written by: Roger Avery, Christophe Gans, Nicolas Boukhrief Based on:Silent Hill by Konami Music by: Akira Yamaoka, Jeff Danna Cast: Radha Mitchell, Sean Bean, Laurie Holden, Deborah Kara Unger, Kim Coates, Tanya Allen, Alice Krige, Jodelle Ferland
“When you’re hurt and scared for so long, the fear and pain turn to hate and the hate starts to change the world.” – Dark Alessa
When this came out, it was the film that seemed like it bucked the trend of video game movies being shit, as far as adaptations and overall quality goes.
The Resident Evil films were their own thing and before them we had the Street Fighter movie, Super Mario Bros. and Double Dragon. I would say that the film that actually bucked the trend first, though, was 1995’s Mortal Kombat. However, Silent Hill is a much better film than that one and it works without having knowledge or appreciation of its video game series before seeing it.
In fact, I know several people that saw this film first, which then served as a gateway into the games due to the effect this movie had on them.
I used to watch this quite a bit after I bought it on DVD when it was first released that way. It’s probably been a dozen years since I’ve seen it but my fondness for it was still really strong and I wanted to revisit it. I also want to playthrough some of the earlier games too, which I might in the very near future.
Seeing this now was kind of cool because I was separated enough from it to see it with somewhat fresh eyes. I definitely see the flaws in it more than I did in 2006 but that could also be due to me not being as obsessed with the franchise as I was back then. Subpar sequels in both video games and film took the wind out of this once great property’s sails.
The film adapts elements of the stories from the first two games and sort of merges them while also doing its own thing. So it’s familiar enough for fans to immediately recognize but also takes some interesting turns that allow it to breathe and evolve in a different way.
I like the film’s story quite a lot, even if it does change some key things. Those things don’t break the film as its own body of work, though.
My biggest gripe about the film is the dialogue. It’s not terrible but there are some weird lines and some weird delivery, here and there. I’m not sure if that’s due to a language barrier due to the director, who also co-wrote the film, being French. I don’t know enough about him outside of his finished films that I’ve seen, which aren’t many.
However, the child actress delivers some lines with weird inflections on certain syllables that sound unnatural and a bit off. I don’t necessarily blame her, I blame the direction and the takes that were chosen to be used in the final film.
Overall, she did well essentially playing two different characters that were polar opposites of each other: one being good and innocent and the other being the absolute embodiment of evil. The requirements of her role aren’t easy for most adult actors and she did rather well considering her age and experience.
Moving on, some of the CGI effects look a little dated but for the most part, the film still looks great. There are just a few shots that look kind of weird.
The film as a whole looks incredible, however. Gans has a stupendous eye and from a visual standpoint, he captured the tone and aesthetic of the video game series phenomenally well. I am still really impressed by the scenes where the purgatory world dissolves into the Hell world.
Beyond that, I’m not a big fan of the ending but it fits well within the framework of what Silent Hill is. I guess there is a part of me that wanted something more optimistic but the ambiguous and strange ending leaves the viewer with more questions than answers. Also, that’s not a bad thing, some of my favorite movies do that but after the literal hell that the characters went through, it felt like more of a reward was needed.
I liked the cult aspect of the story and I definitely loved their end. As violent and incredibly fucked up as the climax was, it was also satisfying as hell after learning who these people really were. This movie doesn’t simply provide you with sympathy for the Devil, it makes you root for him… or in this case, her.
The last thing I want to mention is the music. The film recycles the score and iconic songs from the video game series. That might not work in the case of most film adaptations but it really amplified the effect of the film and its brooding, disturbing atmosphere. I think that I appreciated it even more now, as I kind of forgot how good the games’ music was.
Silent Hill is, hands down, one of the best horror movies in its decade, which was unfortunately a terrible decade for horror. But I think it would’ve been just as great in earlier decades, regardless of the higher quality of the genre.
Rating: 8/10 Pairs well with: it’s absolutely shitty sequel, I guess. But more importantly, the video game series. Specifically, the first three games.
Also known as: Here’s the Knife, Dear: Now Use It (alternative title), Satan with Long Lashes (Germany) Release Date: February 28th, 1964 (Germany) Directed by: Freddie Francis Written by: Jimmy Sangster Music by: Don Banks Cast: David Knight, Moira Redmond, Brenda Bruce, Jennie Linden
Hammer Films, 83 Minutes
“You found me out there, didn’t you? That part of it wasn’t a dream! Where does the dream finish and reality begin?” – Janet
This movie is a bit of departure in style from what one would expect from Hammer Films in the mid-’60s.
To start, it’s in black and white. Secondly, it doesn’t really star anyone of note or any of the regular faces that you’d see in a Hammer production during their peak.
However, this is written by Jimmy Sangster, who penned a lot of Hammer’s best scripts. It’s also directed by Hammer regular Freddie Francis. So there was at least a solid crew behind the camera.
Still, this isn’t quite what one would expect from a Hammer picture and that probably has a lot to do with why I hadn’t watched it until now. It’s not a bad film, by any means, but it’s unique and strange.
I found it mostly enjoyable, even if it wasn’t as fantastical and visually alluring as the studio’s typical output. This felt much more like a low budget indie horror movie of the ’60s and tonally, reminded me a lot of the black and white Roger Corman productions of the time, as well as Francis Ford Coppola’s Dementia 13.
The story is about a young boarding school student that has nightmares of her institutionalized mother haunting her. Because of her horrible dreams, the girl is expelled from school and sent back home. Once there, things get even worse.
While it’s an interesting enough setup, the story does feel a bit paint-by-numbers. It kind of goes in the direction you’d expect.
I did like the over-the-top acting in some scenes and actually thought that it was really effective, as the main character slipped further and further into madness.
Still, this is far from Hammer’s best and while it’s a neat experiment and departure from their style, it also shows that the studio was at its best when it was sticking to the great style it had already perfected.
Rating: 6/10 Pairs well with: other Hammer horror films of the ’60s.
Published: July 30th, 2019 Written by: Aleksandra Motyka Art by: Marianna Strychowska Based on:The Witcher novels by Andrzej Sapkowski
Dark Horse Comics, 106 Pages
I have reached the last comic story in The Witcher saga. Well, at least for now.
I’m sure that Dark Horse or eventually another publisher will do more in the future, as it continues to be a hot property, especially with the Netflix show and I’m assuming, future video games and maybe even novels.
While this wasn’t my favorite of the four stories I’ve read, it was still entertaining and a good amount of fun.
This also brought Dandelion into the comic book continuity and he’s a favorite character of mine from the only game I’ve played in the series, The Witcher 3: Blood Hunt.
This was done by a different creative team but they did just fine. The story was energetic and exciting while the art was also really good and pretty much consistent with the volumes that came out previously.
The plot was well constructed with a pretty good twist that I didn’t predict and it leaves you smiling with an amusing, satisfying ending.
All in all, for those who enjoy The Witcher mythos, this shouldn’t disappoint. Honestly, if you want to read the comics, I’d just buy the omnibus edition, as it includes all four of the volumes that have been published, thus far.
Rating: 7.5/10 Pairs well with: other Witcher comics.