– the reputation of this two episode “event” from 1979 precedes it: it’s the Justice League of America as another cheap and witless variety show, the first entry bouncing flimsy adventure between two or three sets and a thicket of curdled jokes while the second is a roast of the superheroes hosted by Ed McMahon; serious comic heads treat “Legends” like the bubonic plague but it doesn’t reach the scalding hell of “The Star Wars Holiday Special” or “The Chevy Chase Show” (then again, maybe this reviewer has spent too much time entrenched in dreadful horse vomit and is now numb to true pain)
– with the rights to Superman and Wonder Woman tied up in much better properties, this Justice League is lead by Batman; Adam West returns to the cowl and proves time cannot weather his intoxicating dopiness; at his side is Burt Ward’s Robin, who also has no problem getting back on the horse (and his comedic chops feel like they’ve improved since 1968); another “Batman” reprise comes via Frank Gorshin as that maniac the Riddler; though Gorshin isn’t in command of the baddies he’s certainly in command of all the acting talent; that said, Jeff Altman is devilishly charming as Weather Wizard and you can see why they later paired him with Pink Lady
– for Green Lantern, Captain Marvel, the Flash, and Hawkman, NBC called in rent-a-hunks, deliciously sculpted figures with high watt smiles and heroic-seeming dispositions; alas, none of these guys were in danger of sweeping the Emmys, though perhaps Bill Nuckols should have received an honorary award for not dying of embarrassment while wearing the helmet “Legends of The Superheroes” shit out for Hawkman (the mask might be nothing more than construction paper); by the way, these shows aren’t the only peacock droppings Nuckols has on his résumé: he’s also Wally on “Supertrain”
– there are women in “Legends of The Superheroes” but not very many and they aren’t given much to do; in fact, famed rogue the Huntress doesn’t even speak in the first episode; hard to believe a series that introduces an African American character named Ghetto Man would marginalize women like that
– yes, the enormously problematic Ghetto Man debuts in the latter episode to clown his fellow do-gooders and shout his magic catch phrase, “Kareem!”; on a more positive note, future “Night Court” star Marsha Warfield pop up in the first entry and is deftly funny as a flabbergasted woman lingering in a phone booth as our heroes grapple with Solomon Grundy; Warfield goes uncredited but let’s choose to believe the comedienne was savvy enough to have her name removed from this not A+ production
– Batman calls Robin “laddy bubby” at one point, which might be the clearest indicator there’s more going on in the Batcave than previously figured
– a big surprise in “Legends” is that the wizard Mordru, undisputed master of black magic and various other nefarious sorceries, prefers to travel by jet ski
– Adam West, god rest his beautiful soul, refuses to tuck his cowl into the Bat costume for the duration of these programs and it is slightly infuriating how lazy and drunk it makes the Caped Crusader appear
– Hawkman’s mother shows up in episode two and get this…she’s not a hawk, falcon, or bird of any kind
– Ruth Buzzi is also present as Aunt Minerva, a nemesis of Captain Marvel who inexplicably wants to marry him; guess she didn’t get the memo that he’s secretly a ten year old boy
– judging by the reactions of the heroes during the roast episode they didn’t screen the jokes ahead of time; what looks like genuine amusement breaks out across all their faces after each playful barb (Captain Marvel Garrett Craig in particular is having a real hootenanny of a good time)
– in addition to jet skiing, the wizard Mordru (here portrayed by Dead End Kid Gabriel Dell) treats us to a ghoulish rendition of “That’s Entertainment” which concludes with the Dark Nobleman taking a cream pie to the face; no better proof exists that wasting food is hilarious
– Warner Bros released “Legends of The Superheroes” on DVD in 2010 but because this thing was shot on video it still looks like a greasy shit sandwich; didn’t they realize ding dongs in the future would feast on this as meaty irony and crave it in the highest of definitions?
– airing in January of ’79, “Legends of The Superheroes” pre-empted the Jack Webb series “Project U.F.O.” which suggests the government created these terrible comic book tv shows to keep a lid on extra terrestrial activities; assume Jimmy Carter will confirm or deny this before he dies
– Freejack is the 1992 cyberpunk exercise that famously posits Mick Jagger as Victor Vacendak, ice cold “bonejacker” from the far off void of 2009 who uses time-bending technology to harvest the bodies of the young and virile for elderly clients who fear death’s inevitable chilling blade; to stave off guilt the bonejackers only bonejack the bodies of people they know are about to die; as intriguing as this concept is, you are never not aware that you are watching world famous rock n’ roll icon Mick Jagger (no matter how much Spaceballs-looking shit they put on him)
– if a person somehow survives a bonejacking and escapes into the grimy depths of 2009, they become what is known as a freejack; Emilio Estevez plays the freejack at the center of this yarn, a race car driver named Alex who is utterly bewildered after being zapped from certain death to eighteen years in the future; New York City has become a dystopian hellscape—you know because people are playing Ministry records in broad daylight!—and he’s instantly a wanted man; thankfully Alex has a devil may care attitude and is also pretty quick with a one liner
– the strangest part of Freejack’s 2009 is that no one Alex knows has aged over the course of nearly two decades; apparently the culture of bonejacking is good for the skin
– Freejack is more plausible and absorbing than you’d expect a cyberpunk movie starring one of the Rolling Stones to be but it will also reinforce in you the notion that Blade Runner is a fucking act of god
– yes, Anthony Hopkins is also in Freejack, and more power to him for it
– this film seems like the perfect property to reboot as prestige television; imagine Zac Efron as the latest freejack, desperately searching for Emilio’s character, the only key to both their survival; also, Mick Jagger in that leather trench coat again, mewling out classic remarks like, “Just when I think I’m done with bonejacking, they pull me back in.”
Starring: Gal Gadot, Chris Pine, Robin Wright, Danny Huston
Directed by Patty Jenkins
The delay in motion picture treatment for Wonder Woman has been criminal. No disrespect to Antman, but can you believe the Antman got a movie before Wonder Woman? Good things come to those who wait, great things to those who wait even longer, and Wonder Woman is massively great, a refreshing piece of heartfelt action centered around a compelling champion that’s easily the best superhero entry in decades. There’s no deadening coursework to do beforehand, no part of it feels ancillary or middling, they never compromise Wonder Woman’s known ethos, and the whole thing will probably leave you feeling better about the world.
Diana, Princess of Themyscira, Daughter of Hippolyta (Gal Gadot) spends her unfettered youth on an idyllic chunk of earth existing in its own magical area apart from the human realm. Just as she reaches maturity, the barrier is broken by ace pilot Steve Trevor (Chris Pine) and the Germans chasing him. Diana’s agog to hear of the lethal skirmish (World War I) tearing apart “Man’s World”; she resolves herself to end it so that peace may flourish. Although a strong and fearless warrior, this Wonder Woman’s got her work cut out for her. The Germans have recruited diabolical genius Doctor Poison (Elena Anaya) to create the scariest biochemical weapons possible. Poison is also chemically enhancing a ruthless general (Danny Huston) who on the eve of armistice hopes to unleash his hell to take the globe for his country.
Gal Gadot ignited the screen several years ago with the bits they gave her in Batman v Superman and in Wonder Woman she goes the distance, adding dimension and affecting passion to the fun and ferocity already established. Diana wants to save the world with love, for love, and you’ll believe it (she also wants to punish evil with graceful resolute battle, which she does time and time again). Danny Huston’s villain is the heavy we’re meant to focus most of our attention on but underling Doctor Poison steals the nefarious show. Elena Anaya plays Poison possessed of mind and movement, living pulp escaped from page.
Wonder Woman was the dream project of director Patty Jenkins, so she’s said. How often does anyone get to make their dream project and how often does such a thing turn out note perfect at every turn? Jenkins holds the bird without crushing it. Let’s see this spread across a few more rousing outings.
FINAL SCORE: Four golden lassos (out of four).
– before you even ask, raktajino is klingon coffee; lots of beverage humor on “Deep Space Nine” since one of the main characters is a bartender
– this is the “Star Trek” that broke all the rules: instead of hurtling through the cosmos looking for adventure, “DS9’s” heroes boldly loiter on an intergalactic truck stop (one their Federation bosses consider clutch thanks to its proximity to both the universe’s first documented wormhole and a newly autonomous planet called Bajor they hope to fold into their ranks); the action is serialized, unfolding many intricate plots across numerous episodes / seasons; Gene Roddenberry’s commandment of “no interpersonal conflicts” between crew members also goes out the window, so these folks endure more realistic frictions; craziest of all, there’s money in this final frontier, proving even utopia can only spread so far before being priced out
– would you believe it all works, and works gloriously?; “Deep Space Nine” is bleaker and more cynical than the previous entries (call it “Grunge Trek”) but ultimately the characters, whatever their flaws, are being driven by the same hope and optimism that touched Kirk and Spock and Picard and that guy who merged with V’GER; it’s a potent stew that struggles not to engage; that said, in this gorn’s opinion a few bits are dopey, like the holographic lounge singer and the episode with Rumpelstiltskin
– it is strange in the early seasons to see Avery Brooks, who commands this station as Benjamin Sisko, with hair on his head and not on his face; prior to “DS9,” Brooks starred in “Spenser: For Hire” as the bald, goateed detective Hawk, and apparently there was concern audiences would think Brooks was playing Hawk in space; taking one for the team, Brooks changed his look, but had to revert when he felt the change was affecting his performance; Sisko is definitely more commanding with the tight facial scruff and shiny pate
– they could have made Benjamin Sisko’s son Jake a typical brooding teen who resents his father for trapping him on this floating gas station (mom is deceased, killed in a borg attack) but instead he’s refreshingly upbeat and supportive of his old man; he’s also one of the few characters who can pull off the 24th Century fashion of an earth tone vest over a purple jumpsuit
– some of the major antagonists on “DS9” are these grey, neck-heavy aliens called cardassians but there aren’t very many parallels between them and the Kardashians (aside from the basic “ooh these people drive me nuts but I can’t stop paying attention to their exploits!”)
– if anybody knows anything about this show it’s ferengi bartender Quark, who looks like an elephant leprechaun hybrid possessed by the devil; Quark is absolutely possessed by the quest for profit, as are most if not all Ferengis, and he refuses to grant any human the respect of having their species name pronounced correctly (“HEW-mahns,” he insists), but you’d be surprised how often a sense of morality interrupts his naked thirst for money (excuse me—latinum, the official currency of ferengi)
– if anybody knows anything else about this show it’s the episode where our Deep Space Niners go back in time and board the Kirk / Spock Enterprise via the computer technology made famous by Forest Gump; “DS9” should have won a shit ton of awards for special effects on this one because the way they cut these people into the “Trek ’66” episode is so much more seamless than what’s in Gump (it even fooled some people working on the show, they say); furthermore, it isn’t some throwaway entry in the founding “Trek” series they enter but the friggin’ tribble episode—can you imagine if “Deep Space Nine” had screwed the pooch on that one?
– Terry Farrell, who plays a character on “DS9” that is carrying a 300 year old symbiote in her belly that fuses her personality with all the personalities of its previous hosts, left the program after several years to join “Becker”; this is the all-consuming power of Ted Danson, truly the borg of our universe
– “DS9’s” later seasons are consumed by a war that breaks out between the Federation and these brand new aliens from the other side of the wormhole who want to control the universe; a lot of interesting religious stuff comes into play as several other alien races perceive the new aliens to be infallible gods while the bajorans ramp up their faith in Benjamin Sisko, who they believe is an “emissary” sent by their own gods to deliver them from evil; like any other war, this thing’s got espionage, double crossing, triple crossing, breakdowns in the chain of command, and klingons beating the hell out of each other
– also in the later seasons, Jeffrey Combs turns up at this figurehead who is like the nefarious and withering precursor to Rob Lowe on “Parks & Rec”
– since this is “Star Trek” there are of course a few episodes where the crew visit 20th Century Earth and cannot figure out what the hell is going on; as tired as this trope is within “Star Trek” it is never not entertaining
– the “DS9” series finale could be firmer in its second half but once the dust settles one could argue the narrative is open for reprisal (don’t we deserve a feature film where Avery Brooks is givin’ it to some Cardassians for 90 min?)
– yes, Iggy Pop is in one episode playing an alien and he is fuckin’ good
– Children of The Corn is a film about some kids possessed by another kid possessed by a nebulous farm demon; they’ve expunged every adult from their town and any grownup unlucky enough to cross their path winds up crucified on corn stalks; all of this is more plausible than the scene where two tykes break off from the cult to indulge in a game of Monopoly; an entire town at your disposal and you want to play a real estate simulator?
– the protagonists are Burt and Vicky, an adult-ish couple driving through Nebraska on the way to Burt’s medical internship; problems begin when they accidentally run their giant canary colored 1980s car into a child of the corn; Burt must be at the bottom of his class because he moves the kid from the scene of this accident, wrapping him up and tossing him in the trunk; slowly the child of the trunk is forgotten about as Burt and Vicky’s quest for a doctor gets weirder; by the time the end credits roll, the vehicular manslaughter that set all this shit into motion remains unresolved; the lesson: if you run over a child of the corn, just wait until help arrives or else you’ll wind up fending off gaggles of hollow-eyed baby Satanists with just your wits and a pocket knife
– the nebulous farm demon is never really seen or thoroughly explained, which is disappointing; a 1984 movie about otherworldly energy moving through cornfields and possessing children deserves a big crazy stalk monster that spits creamed corn and vaporizes chickens with laser eyes
– one of the production companies credited with bringing Children of The Corn to life is Hal Roach Studios, who of course also delivered us Alfalfa, Spanky, Buckwheat, and the rest of Our Gang; is that ironic or hilarious, and has anyone considered a dark reboot of Our Gang?
– this film is creepy and unsettling and they could have stopped at one but in the grand tradition of any marginally interesting 1980s horror film there have been seven Children of The Corn sequels and a remake
– if John Franklin’s portrayal of malevolent child preacher Isaac becomes too much to bear, calm yourself by remembering that Franklin also plays Cousin Itt in both Addams Family movies
– our collective conscious appears to dismiss Look Who’s Talking as “the talking baby picture Travolta made on his way back up” or “the talking baby picture Alley made on her way back down”; what an extreme surprise it was to learn this is an Amy Heckerling film and not [I was going to make a joke here about whoever directed Air Bud but it turns out Air Bud was directed by Charles Martin Smith—am I expecting too much from this world?]
– the central gimmick of Look Who’s Talking, the thing that got people in the door in October of ’89 after a summer of Batman and the Ghostbusters and “Weird Al,” is Bruce Willis providing the Garfield-esque inner monologue of the infant; there are times this is amusing, but more often are wide swaths where the Willis narration is pointless and asinine and makes you wonder if they tried at first to make a normal comedy hanging on Travolta and Alley’s fun chemistry but something was lacking so they decided “talking baby”
– “talking baby” is a misnomer as the baby is only such for the middle part of the movie; before that, Willis is giving voice to a sperm as it swims toward an egg (the special effects are just as mind-boggling as the Beach Boys music cue) and then an in utero fetus (which bears a striking resemblance to the murderous infant from the 1974 classic It’s Alive); toward the end of Look Who’s Talking, Bruce Willis is cracking wise over a toddler who seems old enough to actually form his own words; this is probably why they brought in another baby for the sequel, who is voiced by Roseanne
– George Segal plays the smarmy, shitty, married businessman who keeps Kirstie Alley’s character as his long-suffering mistress until he impregnates her with the Bruce Willis baby; if you’ve ever wanted to see the old fella from “Just Shoot Me” give it to the lady from “Cheers” you’ll get a little pleasure
– Abe Vigoda plays the somewhat out to lunch grandfather of John Travolta’s character; not Vigoda’s finest hour but the “please help my grandpa get into a better nursing home” subplot does pave the way for a few succulent morsels of humanity (not to mention the climatic white knuckle car chase through what we are meant to believe is Manhattan)
– there is a montage in Look Who’s Talking set to the Talking Heads song “And She Was”; I wonder how David Byrne feels about that today
– this talking baby picture is better today than what I remembered of it yesterday; that said, talking baby, talking sperm, talking sperm partying to Beach Boys, talking fetus, George Segal aardvarking, gratuitous Travolta / baby dance sequence set to “Walking on Sunshine,” gratuitous crossover of Travolta’s personal interests (his lunkheaded Jersey cab driver is also a recreational airplane pilot)
– thank god this is not the Look Who’s Talking movie where Travolta and Alley sing a parody of “Fight For Your Right to Party” about toilet training