Published: 1993 Written by: Danny Fingeroth Art by: Scott McDaniel
Marvel Comics, 97 Pages
I recently revisited and reviewed one of my favorite miniseries in my youth, The Deadly Foes of Spider-Man. I was pretty impressed by it and so I wanted to read its sequel, which I missed when I was a kid.
Unfortunately, this one is a much weaker miniseries.
I think the biggest reason for that was because this one was just overloaded with characters, the villains weren’t really unified at any point and it was more like a Royal Rumble than a story about Spider-Man having to overcome a team of enemies with the objective of defeating the hero through shear numbers.
This picks up some of the plot threads from the previous story but honestly, everything seemed pretty much resolved already. Adding on to those stories didn’t really generate anything meaningful or that interesting.
I really liked the Sinister Syndicate team from Deadly Foes but only half of them returned and then we had other villains kind of randomly thrown in.
The story wasn’t necessarily hard to follow but it was a mess.
I’m not sure what went wrong but trying to do too much for the sake of simply upping the ante isn’t really a good approach.
Rating: 6/10 Pairs well with:The Deadly Foes of Spider-Man and The Superior Foes of Spider-Man.
Published: June 16th, 2015 Written by: Chuck Dixon Art by: Scott McDaniel
DC Comics, 292 Pages
This volume in Chuck Dixon’s lengthy Nightwing run kicks off right where the previous one left off and builds off of those stories.
We also get to see appearances from more well-known villains in this chapter but a lot of them are just glorified cameos. However, the stories involving Scarecrow and Man Bat were really damn enjoyable.
Beyond that, I like how this also features other villains that are developed more for Nightwing and the city he protects, Blüdhaven.
We get more of Blockbuster, who essentially serves as Blüdhaven’s Wilson Fisk-type crime lord. We also get more of female villain Lady Vic, as well as some others thrown into the mix.
I also didn’t mind the romantic subplot that Dixon developed for this story between Nightwing and his new building’s female superintendent. Add in his sometimes romantic partner Barbara Gordon and you don’t really know how things will play out.
Ultimately, this is a story about Nightwing breaking out on his own and trying to be his own version of a street level vigilante. This is the culmination of the lessons he’s learned from Batman and it shows how he’s applying all of that to making his own life in a different city that also deserves a hero.
Rating: 7.25/10 Pairs well with: other ’90s Nightwing and Batman comics.
Release Date: December 14th, 1984 Directed by: Michael Crichton Written by: Michael Crichton Music by: Jerry Goldsmith Cast: Tom Selleck, Cynthia Rhodes, Gene Simmons, Kirstie Alley, Stan Shaw, G. W. Bailey, Joey Cramer, Chris Mulkey
Delphi III Productions, TriStar Pictures, 99 Minutes
“You screwed up good, Ramsay. We got two dead officers, do you understand me mister? Two. Dead. Cops! We got two wounded – one of them your own partner – and we got two dead guinea punks! And no one knows why or what the hell its all about!” – Chief of Police
This was one of those movies that used to be on HBO or Showtime all the time when I was a kid. I probably saw it a dozen times back then but it’s eluded me ever since and sort of fell down pop culture’s memory hole.
Watching it now was kind of cool, as it wasn’t as cheesy as I thought it would be and even if there is a bit of hokiness in the movie, it’s still pretty serious and a much better than decent sci-fi thriller.
While there aren’t cyborgs or dystopian metropolises glowing from infinite neon lights, Runaway still has a really strong cyberpunk vibe to it. I think this is due to the amount of robots in the film, the wacky inventions like AI-controlled bullets and the general visual aesthetic of the picture.
Tom Selleck is damn solid in this and it makes me wish he was in more action and crime films. He plays a complex cop character that specializes in community service calls dealing with malfunctioning robots. Sometimes the jobs are easy and straightforward but other times, they’re deadly dangerous. What makes him complex is that he’s a tough guy but he also has a severe fear of heights. Plus, he’s a single dad, raising a son and still emotionally recovering from the death of his wife while also wooing the two ladies in the movie: his partner and a woman that’s in way over her head with the story’s villain.
Speaking of which, the baddie in this is Gene Simmons from KISS. While I can’t say that his acting is good, he still has a presence and really hams it up in a great way. When he finally gets what’s coming to him, it’s a damn satisfying momenty.
The cast is rounded out by Selleck’s female partner played by Cynthia Rhodes, the corporate damsel in distress played by Kirtstie Alley, Joey Cramer of Flight of the Navigator fame playing Selleck’s son and the always entertaining G. W. Bailey as the cantankerous Chief of Police.
It’s also worth mentioning that this was written and directed by Michael Crichton before he became a much more prolific writer when Steven Spielberg made a little film franchise out of his novel Jurassic Park.
Overall, this is still a really entertaining picture that has a pretty basic but interesting tech crime story. It certainly feels like it’s straight out of the ’80s and while the special effects may appear dated by today’s standard, I appreciate the work that went into this. The robots all look pretty cool and function well.
Rating: 7/10 Pairs well with: other sci-fi or cyberpunk films of the ’80s and early ’90s.
This is a terrible game and it’s always been a terrible game.
That doesn’t mean that I didn’t play the hell out of it when I was a kid because frankly, I loved Marvel Comics and this was the closest thing to the arcade game Operation Wolf that I owned on a home console.
Sadly, like most early Marvel games for the Nintendo Entertainment System, this just sucked. I tried to convince myself otherwise but the controls were dog shit and the game was hard as fuck, especially on the tedious boss fights.
The big problem with the difficulty is that it becomes impossible to dodge all the gunfire, missiles and grenades lobbed at you. You become quickly overwhelmed as the game advances and the opportunities to gain some extra life are too far and few between.
The graphics are also shit and this looks like a game that was rushed or just designed pretty half-assed.
Additionally, the villain roster was pretty generic, except for Jigsaw and The Kingpin. The reason for this could also be because the regular Punisher comic book series was still only a few years old when this was made. That doesn’t mean that they couldn’t have used other street level villains from the larger Marvel universe like Hammerhead, Tombstone, The Owl, Bullseye, Boomerang, Taskmaster, Crossbones, Typhoid Mary, Mister Fear, The Rose, The Gladiator, etc.
Hell, what’s with the fucking android boss? They could’ve designed it to look like a Doombot or mini-Sentinel.
I know, I know… I’m asking too much for a basic bitch 1990 Marvel game.
Rating: 4/10 Pairs well with: other 8-bit side scrolling shooters or other terrible 8-bit Marvel games.
Also known as: Gamera daikaijû kuchu kessen (original Japanese title), Gamera: Giant Monster Midair Showdown (Japanese English title) Release Date: March 11th, 1995 (Japan) Directed by: Shusuke Kaneko Written by: Kazunori Ito Music by: Kow Otani Cast: Shinobu Nakayama, Ayako Fujitani, Yukijiro Hotaru
Daiei Studios, Hakuhodo, NTV Network, Toho Co. Ltd., 96 Minutes
Gamera movies are a lot of fun for hardcore fans of kaiju and tokusatsu flicks that want to go deeper than just the regular Godzilla films.
However, they were always sort of shit. That is, until this movie came out in 1995 and gave the world a Gamera picture that was taken really seriously and may actually be as good as the ’90s Godzilla movies. Hell, I’d say this is even better than some of them.
This has a darker tone than the jovial kids movies of the original run of films. Also, this has a harder edge and the monsters are more played up for scares than slapstick comic relief.
I like that the studio stuck to using actors in monster suits, as well as great miniature sets for them to wreck while duking it out over the course of the story.
In fact, the special effects for the time and budget are exceptionally good. Quality-wise, this is one of the best looking kaiju movies of the Heisei era.
Plus, I like the cast in this a lot more than what’s typical in these sort of films. The core characters stand out, have purpose and make the human part of the story a worthwhile one, which can often times just get in the way of what audiences really want to see, which is giant monster mayhem.
This also sets up future films, which for this era in the Gamera franchise led to a pretty impressive trilogy.
From memory, I feel like each sequel improved upon its predecessor but since it’s been so long since I’ve watched these, I’ll refrain from actually stating that until I revisit and review them in the coming weeks.
Rating: 7.75/10 Pairs well with: the other Gamera films of the Heisei era.
Published: March 8th, 2017 Written by: Chris Claremont, Bill Mantlo Art by: John Buscema, Sal Buscema, Ron Frenz, Bob McLeod, Frank Miller, Paul Smith
Marvel Comics, 520 Pages
As big of a fan of The New Mutants as I am, it’s been a damn long time since I’ve read the original graphic novel and their earliest stories. I got into the series around it’s midpoint and because of that, didn’t have all of the earliest issues until more recently. This collects that first year of the regular comic books series, as well as the characters’ appearances before it started.
This was neat to revisit and it brought me back to where I was in the late’80s, as a young kid just discovering comics. Back then, I really liked the youth superhero teams like Teen Titans and New Mutants.
This collection had a few stories I hadn’t read before. It kicked off with Karma’s debut story, which happened in Marvel Team-Up and featured Spider-Man and the Fantastic Four.
Additionally, I had never read the story that served as the debut of the Hellfire Club’s Selene and New Mutants member Magma.
Everything else here I’ve read but it was nice checking it out again and refreshing my memory, as my brain gets older and forgets more than it remembers now.
I loved the art style of this series, early on, and the Chris Claremont and Bill Mantlo stories were solid.
Now I do have to say that this isn’t as good as the series would become. This is early on and it hasn’t found its grove, here.
However, this is the foundation of this group and they would eventually be faced with some really intense, life-altering storylines that would take this from just being a “Junior X-Men” comic to something unique and very much its own series, standing on its own strong legs.
Rating: 7/10 Pairs well with: other New Mutants comics, as well as the other X-Men related titles from the ’80s.
Also known as: Defender 2000 (Germany), Apocalypse Warriors (France), Slade, o Dominador (Portugal) Release Date: 1987 (Spain) Directed by: Cirio Santiago Written by: Joe Mari Avellana, Frederick Bailey Music by: Ding Achacoso (as Edward Achacoso) Cast: Richard Norton, Corinne Wahl, Don Gordon Bell, Robert Patrick
Premiere Productions, 85 Minutes
Out of all the Mad Max ripoffs I’ve watched over the years, this is one of the worst ones. Still, I liked it because I like these sort of films.
I’m not gonna lie, though. Former Penthouse Pet, Corinne Wahl, made this movie really watchable. So much so, I cry for my eight year-old self who missed this movie back when it was newly released.
Anyway, the only other person of note in this is Robert Patrick, who looks damn young playing a villainous scumbag trying to bite off more than he can chew with the movie’s buff hero, his clunker apocalypse car and bizarre, multi-turreted gun.
I wouldn’t call this Patrick’s best work but it’s still cool seeing him a couple years before he became famous as the T-1000 in Terminator 2: Judgment Day.
The story is pretty run-of-the-mill post-apocalyptic schlock. There’s a bad gang that terrorizes people, wants to steal their shit and then a hero shows up to challenge them and murder the crap out of them with guns and vehicles.
The cars aren’t very cool in this film and that works against it. Also, the action is just kind of mediocre and it doesn’t really leave you with anything worth remembering unlike Wheels of Fire, a similar movie that had great action and cooler cars.
I can’t recommended this to anyone, except for people like me who just have a strange attraction to post-apocalyptic vehicle flicks.
Equalizer 2000 could’ve and should’ve been better but it also came out at the tail end of these film’s popularity.
Rating: 4.5/10 Pairs well with: other Mad Max ripoffs: Battletruck, Metalstorm and Megaforce.
Also known as: Universo en fantasía (original Spanish language title) Release Date: July 29th, 1981 (premiere) Directed by: Gerald Potterton Written by: Daniel Goldberg Based on: original art and stories by Richard Corben, Angus McKie, Dan O’Bannon, Thomas Warkentin, Bernie Wrightson Music by: Elmer Bernstein, various Cast: Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, Zal Yanovsky
Canadian Film Development Corporation, Guardian Trust Company, Columbia Pictures, 86 Minutes, 90 Minutes (premiere cut)
“A shadow shall fall over the universe, and evil will grow in its path, and death will come from the skies.” – Narrator
Fuck, this movie is so damn cool!
However, it does lack in the “heavy metal” department, as far as the music goes. That’s not to say the music is bad, this is just a lot less heavy than the title implies. Still, this developed a really strong cult following and for very good reason.
I love the rock and pop tunes in this, though. I mean, where else can you see a sword and sorcery story with sci-fi elements playout to a Devo song? Nowhere!
This entire movie is an animated anthology. The various segments were inspired by some of the stories and art that appeared in the pages of the Heavy Metal comic magazine. This is also a very adult cartoon, as it features nudity, sex and violence. There really isn’t anything here for kids but I saw it as a kid and it blew my mind. The ’80s were a different era, though. Kids today can’t watch Gremlins without needing the light on till they turn thirty.
Anyway, this was produced by Ivan Reitman and it featured a lot of his regular actors in voice roles. It’s kind of neat watching this for the first time in years and hearing John Candy, Harold Ramis, Eugene Levy and Joe Flaherty. It almost needed Bill Murray in there to round it out but it was still pretty dope hearing these comedic legends voices pop up in something like this.
That being said, this is just a really unique experience and it still conjures up a sort of magical feeling when watching it.
Despite the action and violence, the film has a calming, chill vibe to it and I think that has a lot to do with its visual style, tone and the superb use of music to season the already flavorful meal.
Heavy Metal is a weirdly comforting movie that reminds me of a time when filmmakers were still daring and experimental and with that, often times gave us movies that were really interesting, wonderfully eccentric, bizarre and special.
Rating: 7.5/10 Pairs well with: its sequel, as well as other late ’70s and ’80s adult animated films.
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+.
Rating: 8.25/10 Pairs well with: the other animated Marvel television series from the ’90s.
Published: February 10th, 2010 Written by: Neil Gaiman Art by: Andy Kubert, Scott McKowen (covers)
Marvel Comics, 246 Pages
This started out as a really cool story and I enjoyed it a lot from the get go. However, it did lose steam after a few issues and wrapped up pretty weakly. I also thought the big reveal/twist was fairly predictable and that this didn’t live up to the high hopes I had for it and the past work of Neil Gaiman.
Still, it piqued my interest enough to make me want to check out some of the other stories that take place in this odd, alternative version of the Marvel universe.
I liked the setting and I really liked most of the character designs. I did, however, feel like too many characters and subplots were forced in for the sake of trying to make this a big deal, big event. A lot of the extra fluff was unnecessary and narratively cumbersome.
I don’t know if that was an issue with Gaiman’s writing or Marvel instructing him to throw in every major old school character. I feel like all the extra characters could’ve been saved for their own interesting spinoffs of this.
Beyond the rickety story, I thought that Andy Kubert’s art was pretty damn impressive. Artistically, this is one of my favorite things that he’s done and the style he used here fit with the story really well.
Also, the covers by Scott McKowen are some of my favorite from this comic’s era. They’re actually framed poster worthy and while staring at them, I thought about seeing if I could buy some.
In the end, Marvel 1602 was a fun experiment and it captivated me early on. But it was too dragged out and overloaded and with that, became more of a chore to read in the back half.
Rating: 6.75/10 Pairs well with: other Marvel alternative timeline stories, as well as other comics written by Neil Gaiman.