Published: March 3rd, 2021 Written by: Simon Furman Art by: Guido Guidi Based on:Transformers by Hasbro
IDW Publishing, 130 Pages
I got a little hyped up when this series was first announced, as it was supposed to serve as a prequel to the original Transformers – Generation 1 comic book canon from the ’80s. I used to read those when Marvel was pumping them out and when Transformers was one of the hottest toy franchises of the time.
Sadly, I found this to be a bit underwhelming, as far as the story goes. Everything was told in flashback through narration like it was a distant legend. That’s fine and all but it didn’t need to do that and it kind of wasted time setting up the story each issue. Time that could’ve been used to tell a richer, deeper story in a more direct fashion.
The story itself was just okay and there wasn’t much in it that was surprising and all that interesting. It just read like a generic prologue where most of the events within it were fairly predictable. It’s not a bad story. it’s just not a very exciting or inspiring one.
Now I did dig the art. It was pretty much akin to what you would’ve seen in the old Marvel Transformers comics of the mid-’80s, even down to the color schemes of the characters, which differed from their cartoon and toy counterparts.
This was a fairly cool throwback but at the same time, if more Transformers stories were done in this style, I don’t think that I’d be quick to pick them up.
Rating: 6.25/10 Pairs well with: other Transformers comics, as well as other comics based off of Hasbro toy lines.
Release Date: June 2nd, 1987 (New York City premiere) Directed by: Brian De Palma Written by: David Mamet Based on:The Untouchables by Eliot Ness, Oscar Fraley Music by: Ennio Morricone Cast: Kevin Costner, Charles Martin Smith, Andy Garcia, Robert De Niro, Sean Connery, Billy Drago, Patricia Clarkson, Brad Sullivan, Clifton James (uncredited)
Paramount Pictures, 119 Minutes
“You just fulfilled the first rule of law enforcement: make sure when your shift is over you go home alive. Here endeth the lesson.” – Malone
While this isn’t one of my favorite Brian De Palma movies, it was one of my favorite mob movies back when I was a teenager. As a De Palma picture, though, it’s stylistically very different than his other films, especially those that came before it.
Don’t get me wrong, though, I still love the hell out of this movie.
The Untouchables is full of great actors giving solid performances and telling a really compelling and tragic story, as many of the heroes die very violently while trying to bring one of America’s most violent criminals to justice.
This is a balls out, unapologetic movie that doesn’t shy away from some onscreen carnage and while that’s what made me think this was cool as a teen, it’s actually what makes it so effective and real.
Granted, Robert De Niro’s portrayal of Al Capone is inaccurate, as the real man wasn’t as publicly careless as he appears to be in the film. That’s not De Niro’s fault, that’s the script’s fault but at the same time, I don’t mind it, as it is used artistically to convey who Capone was beyond the public facade.
I love the camaraderie between the four heroes in this film, as they all felt truly chummy and it transcended the picture and made their sacrifices come across as even more genuine. You feel it in your gut when Sean Connery is gunned down and it doesn’t really matter how many times one has seen this picture.
The real standout in the cast to me is Billy Drago, who plays Frank Nitti, the sadistic and blatantly evil henchman of Capone. Drago has been a favorite actor of mine since he played the villain, John Bly, in the grossly underappreciated television series The Adventures of Brisco County Jr. Since then, I’ve taken note of everything Drago has been in but then, he’s really hard to miss. Drago takes control of every scene he’s ever been in and can convey chilling villainy like no other actor. That being said, this is probably his greatest and most prolific role.
The movie also has a really unique score, composed by the legendary Ennio Morricone. Even for Morricone, it’s a strange soundtrack while also still sounding like his patented style. I like that this movie allowed Morricone to experiment in a way that he couldn’t when he was doing spaghetti westerns and Italian dramas.
The Untouchables holds up pretty well. It’s not a run of the mill, typical gangster picture. It certainly feels like it’s own thing and I feel like that’s why it still stands out, years later. While I can’t consider it as great as De Palma’s Scarface, Coppola’s Godfather movies or Scorsese’s Goodfellas, it’s still in the upper echelon of the genre.
Rating: 8.5/10 Pairs well with: other Brian De Palma crime films, as well as other Robert De Niro starring crime flicks.
Published: 1993 Written by: Carl Potts Art by: Gary Erskine
Marvel Comics, 70 Pages
This comic was really weird but also kind of cool. It’s certainly a product of the early ’90s and with that, taps into some comic book tropes that seemed cool when I was twelve but come off as really dated and hokey, as an adult nearly thirty years later.
Which young kid in 1993 didn’t want to read a Wolverine and Punisher team up story, though? Especially, with the possibility that the two legendary badasses would actually duke it out, as the cover implies?
The real villain of this story is the Kingpin but he is working on creating a cyborg soldier with the ability to destroy the Punisher. The cyborg also has personal beef with the Punisher and is glad to do his part in trying to put him down.
Wolverine kind of just stumbles into the story and at first, he’s focused on taking down the Punisher for something heinous he believes the Punisher did. There are some plot twists and turns and nothing is exactly what it seems.
This comes to a crescendo with some badass fights and the two heroes coming together in the end. While it’s not a great read, it’s still fun and entertaining.
Also, the art style is sort of unique and not what you’d typically see from Marvel in this era. I feel like it was trying to tap into a grittier, indie style but it still works for the tone of the story.
Rating: 7/10 Pairs well with: all the other Punisher miniseries, one-shots and graphic novels from the late ’80s and early ’90s.
Release Date: June 6th, 2011 (UK) Directed by: Andrew Black (as James McPherson) Written by: Anne Black, Jason Faller, Kynan Griffin, Justin Partridge Music by: Panu Aaltio, Ben Carson Cast: Adam Johnson, Maclain Nelson, Renny Grames, Barta Heiner, Michael Behrens, Brad Johnson
Rub Pictures, 3 Men in a Tub Productions, Camera 40 Productions, 78 Minutes
When I first read about this movie, I thought the concept was damn cool and if handled correctly, this could’ve been a great, entertaining and badass cult film. Then a few months later, I saw the trailer and it was hard for me to muster up any interest in watching it until now, a decade later.
The main reason for watching it was that it was free on Prime Video and it was only 78 minutes. Sure, part of me hoped I’d be wrong and that I’d find something amusing and entertaining in the picture. While I didn’t hate every aspect of it, it was dull, overall, and it suffered from what appeared to be a PG-13 rating.
The only real positive was the lead actor, who had charisma, was legitimately funny and at least kept this movie from being a total waste of time.
Apart from that, this was a disappointing, tame fantasy horror flick that needed some old fashioned gore and over the top badass moments. Had this been directed by someone like James Gunn or Peter Jackson before he actually made his own orc movies, we could’ve been treated to an exceptional picture that would’ve lived on for decades as a real cult classic.
Instead, we’re given a neutered, mostly boring movie that shies away from the brutality that one should expect from a film about deranged orcs savagely murdering every human being they come in contact with.
I thought that the orcs actually looked pretty good for the budget and limitations of this movie but they were wasted because of their lack of actual brutality on the screen.
In the end, this could’ve and should’ve been great. I don’t understand the creative direction of the movie and the filmmakers didn’t seem to understand what this picture needed to actually deliver.
Rating: 3/10 Pairs well with: other modern, really low budget horror movies.
Release Date: August 24th, 2014 (London FrightFest Film Festival premiere) Directed by: David Gregory Written by: David Gregory Music by: Mark Raskin Cast: Richard Stanley, Fairuza Balk, Rob Morrow, Robert Shaye, Hugh Dickson, Oli Dickson
Severin Films, 97 Minutes
I saw the mid-’90s Island of Dr. Moreau film in the theatre. But it was so bad that I barely remembered anything about it other than how damn weird and terrible it was. I also didn’t really know the story behind it until years later when I read articles about the problems on the set and the ousting of director, Richard Stanley.
This documentary does a pretty good job of covering the details and allowing several of the people involved in this fiasco to tell their stories from their points-of-view.
Most importantly, it let Stanley tell his side of the story while also cluing the viewer in on what he had planned. Frankly, his ideas and his vision for the picture sounded incredible, even if what he wanted to do was probably unachievable even before the producers started meddling with his plans.
It also didn’t help that two massive egomaniacs, Marlon Brando and Val Kilmer, were hired to star in the picture. With that, they developed a rivalry that truly derailed the production and caused even bigger problems.
Even knowing what I did going into this documentary, I still wasn’t prepared for the whole story and the dozens of additional details I never knew. Fairuza Balk’s stories about the experience were really interesting and allowed you see how this unfolded through the eyes of someone who was trapped in this production and pretty powerless to do anything about it.
All in all, this was informative and it shed a lot of light on one of the most troubled productions in motion picture history. It’s a compelling story and certainly deserving of having that story told.
Rating: 7.5/10 Pairs well with: other documentaries about failed films, as well as all the Dr. Moreau film adaptations.
Release Date: February 6th, 1998 Directed by: John Landis Written by: Dan Aykroyd, John Landis Music by: Paul Shaffer, various Cast: Dan Aykroyd, John Goodman, Joe Morton, J. Evan Bonifant, Aretha Franklin, James Brown, B.B. King, The Blues Brothers Band, Erykah Badu, Blues Traveler, Eric Clapton, Clarence Clemons, Bo Diddley, Issac Hayes, Dr. John, Lou Rawls, Paul Shaffer, Travis Tritt, Jimmie Vaughan, Steve Winwood, Kathleen Freeman, Frank Oz, Steve Lawrence, Jeff Morris, Nia Peeples, Darrell Hammond, Max Landis
Universal Pictures, 123 Minutes
“Listen, Willie, you gotta understand. Those goons are orphan remnants of the post-perestroika Soviet secret police apparatus, which, until 1991, carried out its twisted interpretation of the original well-intentioned Marxist-Leninist doctrine vis-a-vis state security, which was massively corrupted by Lavrentiy Beria in the ’30s. Of course, once a mass populace is coerced into such behavior as a permanent condition, a radical didactic, dialectic shift, such as glasnost, produces guys like these:…” – Elwood Blues
I never wanted to see this movie.
For one, the first one was perfect and should have been left alone. Especially, after the death of John Belushi. Had he not passed away at a young age and then wanted to do a sequel, I probably would’ve been fine with that. Something just seemed grossly inappropriate about this film even being made but Hollywood has no morals, shame or respect for anything so I can’t say that this movie’s existence didn’t surprise me.
I figured that I’d give it a fair shot, though. Mainly, I wanted to review it and because maybe I was initially too harsh on this and it’s possible that it might be a nice tribute to Belushi.
Well, I wouldn’t call it nice or even good, really. Now it’s not as terrible as other people have led me to believe, over the years, but it’s kind of a pointless movie.
The reason why it’s pointless is that it takes all of the famous beats of the original film and just reuses them… poorly. It’s like Dan Aykroyd and John Landis dusted off the script to the original, changed some character and location names, moved some scenes out of sequence and then tried to do some clever modifications. Unfortunately, these tricks were really transparent and what we’re left with is a lame, terribly derivative picture that doesn’t have a reason to exist. Well, except for maybe one reason.
That reason is the music itself. I know that Aykroyd and Landis love the blues and they, at the very least, were able to create some solid musical sequences that I enjoyed. Now none of them are as iconic as the ones from the original movie but these sequences are where you can see that the creatives involved in the movie were really trying their damnedest to make this something special.
So, I can’t knock the musical parts but if the threads holding these sequences together is made of shit material, well, the semi-attractive tapestry is just going to fall apart. And sadly, that’s what happens with this movie.
In the end, I don’t hate this but I doubt I’ll ever watch it again.
Rating: 5/10 Pairs well with: its far superior predecessor and other John Landis comedies.
If you remember the review I did for the book Paperbacks From Hell, this book is a lot like that one. Although, it’s focused specifically on Conan titles.
What’s cool about this, though, is that it doesn’t just go through the history of the original Robert E. Howard stories and books but it also covers the books that were written by other authors later on. It also explores the comic side of things to.
This is part history book, part reference book and part art book. Well, mostly art book, as it showcases so many great covers from the nearly century long literary history of the Conan franchise.
I loved thumbing through this as I was reminded of many book covers I had long forgotten and even more that I had never seen. When I was a kid, it was seeing these book covers in the library that really drew me to the character, even more so than the original 1982 movie with Arnold Schwarzenegger. Granted, the comics pulled me in too but there was just something about the paintings that adorned the covers of the paperbacks I’d come across that really captivated my imagination.
This is a pretty cool book to own if you’re a fan of fantasy art or the Conan mythos. If you’re a big fan of both, even better.
Rating: 7.5/10 Pairs well with:Paperbacks From Hell, as well as other Robert E. Howard related non-fiction books, many of which I’ve reviewed here.
Also known as: The Tiger (international alternative title) Release Date: November 28th, 1986 Directed by: Richard C. Sarafian Written by: Michael Thomas Montgomery Music by: Don Preston Cast: Gary Busey, Yaphet Kotto, Seymour Cassel, Bert Remsen, Denise Galik, William Smith, Judith Barsi, Kimberlin Brown, Ted Markland
Action Brothers, International Video Entertainment, Scotti Brothers Pictures, 92 Minutes
“Doing that time in there didn’t do a damn thing for you, did it? You were an asshole then and you’re a ‘bigger’ asshole now!” – Sheriff
Bruh… how did I never know of this movie’s existence? It’s pretty incredible if balls out unapologetic ’80s action is your thing. Why wouldn’t it be your thing? It should be everyone’s thing. We should still have movies like this made, today, as it might’ve stopped Generation Snowflake from existing in the first place.
Shit, I haven’t even told you yet that this stars Gary Busey and Yaphet Kotto! You also get Seymour Cassel playing a crooked, slimy sheriff in league with the villainous biker gang. Plus, you have the insane leader of the biker gang, who is an actor I don’t know, but still came off as completely chilling and intimidating as fuck.
In addition to a biker gang and a lot of motorcycle action, this movie has a bomb dropping bi-plane and a heavily armored, heavily weaponized super truck! I mean, seriously, what’s not to fucking love?!
Alright, so the script is a bit sloppy and the acting is weak once you look passed the four primary characters but the action is solid and you want to see the scumbag pieces of shit get crushed, shot up and blown to bits by Busey, who is actually playing the film’s hero.
Honestly, I wish Busey would’ve gotten to make more movies like this where he just murders the crap out of human garbage. If I had a time machine, I’d go back to 1986 and make a motorcycle vigilante flick with Gary Busey and Rutger Hauer called Murder Brothers. It’d have about seven sequels featuring previously unmentioned brothers replacing the originally leads that noped out after the first movie.
Anyway, this is as high octane as high octane gets. I mean, it’s not Death Wish 3 or anything but I know for a fact that I’m going to revisit this movie a lot over the rest of the years I have on this planet.
More people should know about this picture. I only found out about it because it was in an ’80s action DVD collection that I bought just to get a physical copy of The Exterminator 2. You can get that and this with two other movies in the same set for like nine bucks on Amazon.
Rating: 7.5/10 Pairs well with: other badass ’80s action movies.
I bought this game way back when it came out but I didn’t actually play it until this year, as I had spent about 18 months completely immersed in Conan Exiles and The Witcher 3. Between that, I also spent a lot of time playing hundreds of retro games on my RetroPie.
I can’t say that this was worth the wait, as it’s really just mediocre.
The graphics as far as how the city looks and the smoothness of gameplay are great but the characters’ designs certainly don’t blow me away. Also, most characters don’t look like how you’d expect them to and I’m not sure why. The game sort of ignores the comic book designs and tries to go with something more “realistic” and cinematic, akin to the films. I feel like it’s trying to meet the comics and the films somewhere in the middle but it fails at that.
As far as the gameplay goes, it’s fun but it’s way too similar to the Batman: Arkham City games. Granted, I love swinging through New York City and seeing the iconic sites but after really exploring for a day or so, even that gets old.
My real issue with the game is the story. I just don’t like it and it puts a lot of emphasis on villains that aren’t all that popular to begin with like Mister Negative. While I don’t mind the character, he is the primary antagonist for the first two acts of the story. While Norman Osborn is the mayor and Otto Octavius starts out as a good guy, there are still so many great, iconic Spider-Man villains they could’ve used as a focal point. Is Mister Negative even C-list?
I also heard all this noise about how many villains were going to be in this game and after playing through it, I’m completely underwhelmed. Sure, there are many baddies but it’s the cast of villains that they went with that are the problem. Plus, there are glaring omissions that are a bit baffling.
I get that you might not want to do a full fledged Hobgoblin or Venom story but the game could’ve introduced their normal selves, as both had interesting backstories that tie back to either Peter Parker’s personal life or the lives of his friends and allies.
Beyond that, Mary Jane is just kind of Plain Jane and she’s not even a model or actress. Instead, they made her an investigative reporter and her character is basically just ginger Lois Lane. Mary Jane is nothing like Lois Lane and this creative choice was just strange.
Speaking of MJ, I hate when this game makes you play as her or pre-Spider-Man Miles Morales. I bought this to be Spider-Man. Not his no superpowers having peeps. And there are just too many of these stupid side character sneaking missions.
Complaints aside, this is still a decent game that laid some groundwork to build off of. I’ll probably check out the sequel, if it’s ever made. I’ll also probably play the Miles Morales spinoff when it’s not still full-price.
The thing is, this could’ve been something great had they made it more loyal to the source material and not used a scrub that casual fans won’t know as the big bad for the first two-thirds of the game. Can you imagine if they made a Batman game and the main villain was someone like The Clock King?
Rating: 7/10 Pairs well with: its Miles Morales spinoff game, as well as other recent Marvel games and old Spider-Man games.
Also known as: On the Brink (working title), The Damned (alternative title) Release Date: November 16th, 1962 (Australia) Directed by: Joseph Losey Written by: Ben Barzman, Even Jones Based on:The Children of Light by H.L. Lawrence Music by: James Bernard Cast: Macdonald Carey, Shirley Anne Field, Oliver Reed, Alexander Knox, Viveca Lindfors
“I like to listen to people who know what they’re talking about. My trouble is I never believe anything they say.” – Simon Wells
This is a Hammer movie that I have never seen. Also, I didn’t know anything about it and went into it blindly. That was the best way, as it went in wild directions, surprised me and kept me pretty glued to it until the final frame.
That being said, this was great and if you want to check it out, don’t let my review spoil it for you. Just go watch it because it shouldn’t disappoint and it’s better to know nothing about it. Even the trailer is too much of a spoiler.
If you’re still here, some spoilage will happen as I continue to write.
Anyway, this started out as youth biker movie and I kind of thought it might just be Hammer’s attempt at capitalizing off of that growing trend. However, it evolves into a chilling science fiction horror flick of a pretty high caliber. It also takes awhile to get to the sci-fi twist, which made it even more effective once you get pulled out of the real world and into something much more fantastical.
This was a chilling and pretty emotional picture, much more so than your standard Hammer fare. You really felt for the kids in the movie and their terrible situation. But this also drew you in like the early episodes of Twin Peaks, where you knew there was some great, strange mystery and you had to see how it could possibly be explained.
There is a secret military base, a wild conspiracy and it’s the human adults that are the real monsters.
Frankly, this is a departure from what Hammer is most known for and it’s damn refreshing to see, even all these years later, as the studio tried to move outside of its stylistic box and ended up succeeding, creatively speaking.
Additionally, this is really well acted and it’s no secret that I love Oliver Reed but this has to go down as one of his best performances and I’m really glad that I sort of just stumbled upon this.
These Are the Damned isn’t widely known, even by Hammer aficionados like myself. It should be, though. It’s one of Hammer’s best pictures and one of the best horror/sci-fi pictures of its time.
Rating: 9/10 Pairs well with: other lesser known Hammer films and other genre bending films of the ’60s.