Written by: Ralph Macchio
Art by: Bret Blevins, Steve Carr, Mike Mignola, John Bogdanove, John Ridgway
Based on: Solomon Kane by Robert E. Howard
Marvel Comics, 157 Pages
The Sword of Solomon Kane was a six-issue miniseries that Marvel Comics released from 1985 to 1986. All of the stories were written by Ralph Macchio and adapted from the original Robert E. Howard stories.
Each of the issues had a different artist but they featured some of the best up and coming artists of that era, most notably Mike Mignola. One of the covers was also done by Bill Sienkiewicz.
I had a lot of fun reading these. I already knew the stories from their source material but it was really neat seeing them come to life in a different medium. Some of these stories are ones that I had hoped would’ve been adapted if there were ever more Solomon Kane films after that first, solid one with James Purefoy. But alas, it wasn’t a hit despite it being good.
While I wasn’t as blown away by this as I was the collection of black and white Solomon Kane comics that appeared in The Savage Sword of Conan magazine, this was still a hell of a fun read, had the right energy and felt pretty close to the source material.
Even though the art changes from issue-to-issue, I liked all of it and the general tone and visual aesthetic worked unlike a lot of modern comics that switch art styles frequently, which can be a bit jarring when reading a collection or larger story arc.
It would’ve been cool if this opened the door for a regular Solomon Kane series like other Robert E. Howard properties the first time they were at Marvel. Sadly, it didn’t but the stuff we did get between this series and the character’s stories from Savage Sword were all top quality.
Pairs well with: other Solomon Kane comics, as well as other comics adapted from the works of Robert E. Howard.
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.
Also known as: Sinbad’s Golden Voyage (working title)
Release Date: December 20th, 1973 (London premiere)
Directed by: Gordon Hessler
Written by: Brian Clemens
Based on: Sinbad the Sailor from One Thousand and One Nights
Music by: Miklos Rozsa
Cast: John Phillip Law, Tom Baker, Caroline Munro, Takis Emmanuel, Douglas Wilmer, Martin Shaw, Robert Shaw (uncredited)
Morningside Productions, Ameran Films, Columbia Pictures, 105 Minutes
“Trust in Allah, but tie up your camel!” – Sinbad
I’ve got to be honest, I didn’t expect to love this movie as much as I did. I honestly just wanted to check it out because it had Caroline Munro in it. I mean, I was also sold on the fact that it had Ray Harryhausen stop-motion special effects, as well as Tom Baker and John Phillip Law in it.
I still figured that this would just be slightly better than meh.
To my surprise, this movie was a heck of an adventure that was packed full of action and charming characters that had solid and jovial camaraderie.
This really has the same spirit as a classic swashbuckler while also adding in some cool fantasy elements and special effects that were, honestly, some of the best I’ve seen from this era. Had I been a kid in 1973 and seen this in the theater, I would’ve loved the hell out of it.
I like Sinbad movies and frankly, I should actually watch more of them. Especially, the others that also feature Harryhausen’s work. His creatures in this were friggin’ great. I was most impressed by the six armed statue and her sword fight with the film’s hero.
I thought that the story was pretty good too and I really liked the casting.
John Phillip Law was enjoyable as Sinbad but Tom Baker was intriguing as hell as the evil sorcerer. It’s really cool seeing Baker play such a bastard when he’s most known for playing one of the most popular incarnations of The Doctor on Doctor Who.
If you’ve ever read any of my reviews of movies with Caroline Munro in them, then you know how I feel about her in everything. As far as I’m concerned, she should’ve been the leading woman in every film from the ’70s and into the ’80s.
The Golden Voyage of Sinbad is an entertaining popcorn movie and that’s all it needed to be. Luckily for us, the filmmakers went the extra mile and gave us something fairly exceptional.
Pairs well with: other Sinbad movies, especially those with special effects by Ray Harryhausen.
Release Date: November 27th, 1920 (New York City premiere)
Directed by: Fred Niblo
Written by: Johnston McCulley, Eugene Miller, Douglas Fairbanks
Based on: The Curse of Capistrano by Johnston McCulley
Music by: Mortimer Wilson
Cast: Douglas Fairbanks, Marguerite De La Motte, Noah Beery, Robert McKim, Milton Berle (uncredited)
Douglas Fairbanks Pictures, 90 Minutes (1970 cut), 107 Minutes (DVD cut), 97 Minutes (Academy Archive Print)
“We never let business interfere with drinking!” – Undetermined Role
My mother used to love this film a lot and I saw it multiple times, as a kid, because of that. Granted, her favorite Zorro film was the one with Tyrone Power but it was my mum’s love of Zorro movies and swashbuckling in general that made me appreciate these whimsical adventure movies too.
I wanted to go way back and revisit this one, though, as it actually set the stage for what Zorro would evolve into over the years. This generated the tone and style for the franchise from a visual standpoint and with this picture, specifically, you can see how this character and his world inspired the main character and world of the Batman comic book series.
Douglas Fairbanks, working with the original Zorro creator, made a pretty action packed, energetic and jovial motion picture, especially for its time, as this is a silent picture and had to rely more on the physical performances and athleticism of its cast.
This has a good, straightforward story and it created a template that wasn’t just reused in the dozens of Zorro films, serials and television shows that followed but also in other intellectual properties.
The Mark of Zorro is quite fantastic for its era. While it isn’t my favorite version of Zorro, it made it possible for those other versions to exist, as well as so many pulp heroes and stories from Batman, The Shadow, The Phantom and countless others.
Pairs well with: other Zorro pictures and film serials, as well as other Douglas Fairbanks movies.