– of course this writing only exists because I recently discovered Netflix has the first five original Star Trek films up for streaming; who knows why they’re omitting the series finale, Star Trek VI: The Undiscovered Country (perhaps Netflix has strong feelings about Lieutenant Valeris replacing Lt. Saavik)
– everyone dogs Star Trek: The Motion Picture for crawling along like cold molasses, but the extra time helps ramp up the suspense as Captain Kirk and his Get Fresh Crew unravel the mystery of V’ger; the only bit that really drags is when Scotty first delivers Kirk to the Enterprise via shuttle craft—they drift around and marvel at this ship, mouths agog, like they haven’t already spent five years toolin’ around the cosmos in the thing
– everyone dogs Star Trek: The Motion Picture for the uniforms, those pukey blue and tan outfits that make our heroes look like models for Space Sears, but those unis are more flattering than the thick red tops they adopt for Star Trek II on; the only person who looks like he has any kind of mobility in the conservative crimson wrap is Bones, because physically that’s all he is
– Star Trek II: The Wrath of Khan is celebrated by many as the best of this series and while it’s a humdinger I’m not sure it’s my fave; there’s greater complexity to the events of Star Trek III: The Search For Spock and Star Trek IV: The Voyage Home has so much fun turning these characters on their ear, forcing them to bumble and con their way through our so-called modern world; that said, the apex of the entire series comes in Khan when Ricardo Montalbán’s titular villain hears Kirk has made Admiral and keeps repeating it to himself like he’s savoring a fine steak sauce
– the decades of controversy over Ricardo Montalbán’s chest in Khan means that even as the film sucks you in you’re occasionally distracted by his shiny exposed torso, wondering if it really is pure Montalbán or some fleshy piece of Hollywood magic; all that swaggering and no nip slip, makes you wonder
– Kirstie Alley is a tough act to follow but history would probably be kinder to Robin Curtis had she played Saavik without the perm
– there’s so much going on in Search For Spock, so much to consider and weigh, you don’t even notice John Larroquette is playing a Klingon, or at least I never did until I saw the credits this time around; what fine a career Larroquette’s had, from Texas Chain Saw Massacre to “Night Court” to Search For Spock to Beethoven’s 5th
– Star Trek, perhaps because it commits so unabashedly to optimism in the face of total insanity, is the only franchise I can think of that could get away with The Voyage Home, a movie about zapping whales into the future so they can try to communicate with an angry space log (and get away with it they do, beautifully, masterfully); if Keanu Reeves made a movie like this he’d be laughed onto the surface of Mars
– Kirk thinks that 1986 marine biologist in Voyage Home is falling for him, but then he brings her to the 23rd Century and she’s like, “Whatever, I’m a strong independent woman getting on her own spaceship, I’m not even going to kiss you on the lips!” You go, girl, you put that walking cologne ad in his place
– hard to believe over the course of five movies we only see a Tribble once, and just for a few seconds (in a bar, no less, getting something to drink?)
– hard to believe over the course of five movies we never see Gorn (but we do see a cat lady with three tits, predating Total Recall’s tri-breaster)
– hard to believe in the fifth movie Uhura distracts those weird marauder dudes with a sexy fan dance (not gonna lie, I was into it)
– Star Trek V: The Final Frontier is pretty sloppy, almost on a made-for-tv level; major bummer since this is the one that wants to play with the high concept of literally meeting God; you want to lay blame with rookie director William Shatner, but apparently his editor refused to take notes; to this day, Shat hasn’t been able to convince Paramount to release a director’s cut (c’mon, Paramount, think about the money this guy’s raked in for you screaming at Klingons and beaming up whales)
– if nothing else, Final Frontier will convince you William Shatner knows how to free climb a mountain and that Uhura wants to break off a piece of Scotty (there’s a sex scene our planet deserves)
– rumor has it Walter Koenig wrote a draft for either Star Trek V or VI where everyone on the Enterprise fails their military physical except for Spock and through some bizarre chain of events everyone dies except for Spock and McCoy; not sure who rejected this idea but they need to be jailed
– according to Shatner, on his death bed in 1999 DeForest Kelley pleaded with him, “Let’s do just one more Star Trek! I miss making those movies!”; didn’t think anything from this realm could tug at my heart harder than (SPOILER ALERT) Spock’s death and resurrection, but here we are
– Sulu does absolutely no shirtless fencing in these movies; what a crock
According to me, some guy.
Only the grit-streaked bark of ’87 Axl could sell lyrical bits like “space brain” and “west coast struttin'” and “rattlesnake suitcase.” This song boogies like a career drunk taking his final sobriety test. Accurately conveys whatever we believe about the “the rock n’ roll lifestyle.” Also, there’s cowbell.
Frosty nihilism thaws into an earnest ballad. The nakedly emotive second half is just Wagnerian enough to retain the dark thrust of the first. Features a slide guitar break so good it distracts you from competing sex noises. Who needs the Meatloafery of “November Rain” when “Rocket Queen?” exists?
Best exemplifies the Guns N’ Roses mission statement of “we are Aerosmith by way of the Dead Boys.” Also includes the more literal mantra: “come with me, don’t ask me where ’cause I don’t know.” If we’re to believe Appetite For Destruction killed hair metal this was the fatal stab.
The band’s star turn, wherein they drag sugary pop harmony through a greasy, rust-laden junkyard. Even the dubious moves work. “Jungle” is the “Search & Destroy” of whatever genre GNR were claiming. They sort of invented their own here. Chainsaw glam? Dive bar punk?
The best “message” song in the Guns catalog. Too bad civil war is exactly what tore this band apart (which makes Slash’s Snakepit the Reconstruction Era). Too bad this illustrative and anthemic display is forever in the shadows of the Use Your Illusion video trilogy MTV rammed down our dry throats.
Sincerity cloaked in gloom. Walks right up to the border of overblown ballad and flips the bird. It’s not hard to imagine Nirvana performing this one, which is why it managed to slip through the apex of grunge unscathed. Slash’s slow-burn solo is one of his absolute best.
Keeps you on the edge of your seat for six goddamn minutes. The most cinematic of GNR rockers; no wonder it ended up in Terminator 2. Closes with that fantastic breathless Axl rant, which includes one of my favorite non sequiturs—“don’t forget to call my lawyer with ridiculous demands!”
If a bar fight were a song…you can almost feel the pool chalk being shoved up your nose. The bass line sounds how I imagine cocaine tastes. So full of piss, vinegar, and acid it’s hard to believe they didn’t bang it out they night the band formed. Maybe they did?
Could be a parody of the Appetite aesthetic, could be a pure adrenalin shot. Either way, I’ll take it every time, if just to burn off paranoia/nervous energy. The sound effects almost turn the whole thing into a “Far Side” cartoon. That’s not a complaint.
More an experiment than a song, like a free form poem with chunks of heavy metal improv (and, of course, on-the-nose hospital reenactments). Maybe that makes “Coma” the precursor to the Lou Reed/Metallica album. I’m not even sure it works, but man do they commit. Boredom never arrives.
1. Big & Beautiful (1986)
An endless party. Bubbly, crisp, refreshing—like that first sip of champagne. A melee of creativity. As if the cover of James Brown’s “Sex Machine” isn’t genius enough they also give us the tremendous Bond riff “Double O Fat Boys.” It’s a hip hop trailer for the greatest spy comedy never made. They rap in Russian accents! And you believe it!
2. Coming Back Hard Again (1988)
The re-imaginations of “The Twist” and “Louie, Louie” are astoundingly great. The song about Freddy Krueger featuring guest rapping by Freddy Krueger is astoundingly great. And yet, five albums in, did these guys need to lean so heavily on such established properties? Everything between the three tunes mentioned is cool without the nucleus of some massive cultural touchstone.
3. Crushin’ (1987)
Though it speaks to the staggering power of the Fat Boys in 1987 that they could get the Beach Boys to do backup vocals on their remake of “Wipeout” the end result is stilted and dated in a way the remainder of Crushin’ isn’t. Same with the AIDS PSA “Protect Yourself”; a noble gesture, but why is it paired with the insane testicle joke “My Nuts?”
4. Fat Boys (1984)
The debut is packed with fresh rhymes but too many songs break the five minute mark. No surprise a group that started out under the name (the) Disco 3 had trouble navigating away from that genre’s conventions. And there’s something unsettling about the cover art, where it appears the Boys are eating a pizza where smaller versions of themselves are the topping.
5. On And On (1989)
A concept album with no concept and the unnecessary application of Public Enemy style production that makes everything feel claustrophobic. Still, the Fat Boys charisma is there in huge gooey chunks. “School Days” is a classic banger that should have been a million times bigger.
6. The Fat Boys Are Back (1985)
Too loose and sloppy. In a couple songs it sounds like the drum machine fell off a table and they just went with it. Also, major points off for the exclusion of their tremendous entry from the Krush Groove soundtrack, “All You Can Eat.” Instead we get a reggae tribute to…reggae itself?
7. Mack Daddy (1991)
This has to be lowest simply because it’s the one Kool Rock and Buff did without Prince Markie Dee, who apparently took the group’s sense of humor with him when he left. Elements of New Jack Swing keep this exercise as lively as it can be (and there’s at least one Teddy Grahams reference).
They said it would never happen, not in a million years, but then late last year it did: the 1960s “Batman” tv series was freed from copyright quagmire and released for the first time ever on multiple home viewing formats. What an immense sigh of relief for crust-laden artifacts such as myself who grew up marveling at the reruns in a barren pre-Michael Keaton Bat world. Had to be 1984 when I first caught Adam West overacting in my living room. I was five. Milk cost $1.94. Orson Welles wasn’t dead yet. Anything seemed possible.
The last time I remember a channel airing “Batman” was fourteen years ago, on TV Land. I’m sure they’ve played somewhere since then, but who has time to watch television as it happens? I need Neil Hamilton and Stafford Repp on demand. For my on demand lifestyle.
Praise be to the corporate gods for packaging euphoric childhood memories and selling them to me at a reasonable price. For once, capitalism works.
Before the episode-by-episode breakdown, a few general comments:
I. The writers/producers of “Batman” really loved gassing their characters—that is to say, spraying plumes of brightly colored smoke into their faces to rob them of consciousness. It happens in practically every single episode. Was it that prevalent in the comics? Seems like it’d be easier (and cheaper) to just conk everybody on the head with a blackjack. “Batman” was aimed mostly at children, I suppose, so maybe they were trying to avoid inciting similar violence in American living rooms. Maybe it cost a lot of money to develop the colored smoke effect so they used it as much as they could. “Batman” definitely had a strict budget (they didn’t even paint the Joker’s exposed wrists to match his face).
II. Adam West and Burt Ward are so natural, so genuine, as Bruce Wayne and Dick Grayson you almost wish the series had dialed down the costumed hijinks and focused more on life above the Batcave. That Adam West I can see as James Bond, that Burt Ward I can see in The Graduate (which Ward reportedly turned down in favor of “Batman”). Perhaps this charm is why so many people close to them who ostensibly don’t know they’re Batman and Robin choose to ignore the insane coincidences. Wow, the guy who answers the Batphone sounds just like Bruce’s butler, that’s some funky shit. Oh, you guys gotta go do something inexplicable that you never mentioned until this moment after Alfred whispered in your ear? Hey, none of my business, man. By the way, Dick, you smell just like Robin.
III. Something I never noticed before in the opening cartoon is after Batman and Robin shake hands and Batman looks toward the camera (as he turns into the program logo) Robin continues to look at him, grinning from ear to ear. Like, Robin has such reverence for the Dark Knight, he can’t stop looking at him. It makes me uncomfortable.
IV. There’s a theory that, despite being filmed and airing in the late ’60s, “Batman” actually takes place in the early ’60s, before JFK’s assassination. There are little clues, like newspaper headlines and asides in the dialogue, none of which I can remember specifically. This theory is plausible if not a tad asinine. Were the producers afraid people would call Batman a draft dodger? This begs the question: if Batman were real, would the government make him go to Vietnam, or would it be his choice? What the hell could Batman even do in a war? He never uses guns. He doesn’t have a shield and/or super strength like Captain America. He’d just be some costumed detective standing on a rice patty.
V. “Batman” is an overwhelmingly white show, but when you do see people of color among the cast they always seem to be in authoritative positions (cops, reporters, store managers, etc). That’s progressive compared to the 1978 Superman movie, where the only person of color is the pimp who jumps up momentarily to compliment Superman on his “bad out-fit.”
VI. If we’re to believe the hand-painted signage outside the Batcave, Gotham City is fourteen miles from Wayne Manor. So Bruce Wayne does not actually live in Gotham. He lives in some tony suburb. Must be a tax thing.
VII. Two half hour episodes make up one complete story on “Batman” and originally ABC aired them over as many consecutive nights (Wed-Thurs). Not sure why they didn’t just make the program a full hour; “Batman” is usually presented in syndication as a 60 minute thing. The business is weird.
Now, let’s tear into the adventure.
1. “Hi Diddle Riddle” / 2. “Smack In The Middle”
Strong opener, could be the best entries of the season. The Riddler hatches an ingenious plan: stage a crime, sue Batman for false arrest, unmask the Caped Crusader in a court of law. He pulls off the first two-thirds and makes Batman look like a Grade A chump. The scene that follows all that is one of the few times the Dynamic Duo actually seem defeated; as Bruce and Dick, they sit crestfallen in Wayne Manor, watching a Gotham newscaster explain their dilemma. Also, although they defeat the Riddler in the end, they don’t capture him, proving that this guy is top tier trouble for Gotham. Of course, you know that just from Frank Gorshin’s performance—he plays the Riddler as an unrepentant sadist. “You’re really scared, aren’t you?” he asks Robin at one point, grinning with satisfaction. Hell, I was.
3. “Fine Feathered Finks” / 4. “The Penguin’s A Jinx”
Penguin has never been any favorite of mine. On paper, “what if Franklin Roosevelt was a dick obsessed with fish?” sounds fun, but something just doesn’t connect for me. You know, I’m not a purple top hat kinda guy. The digital remastering also does nothing for the gloriously phony nose Burgess Meredith sports as Das Peng. At any rate, Burgy growls his way through a frame-up positing Batman as the real criminal, and at least with this baddie you can always count on a few solid groans over his punny civilian aliases (K.G. Bird, P.N. Quinn).
5. “The Joker Is Wild” / 6. “Batman Is Riled”
The Joker is Batman’s number one foe, but instead of giving him a fitting dramatic introduction “Batman ’66” opens on the non-threatening scenario of our Clown Prince playing softball in prison (looks just as weird as it sounds). You’ll never believe this but the Joker escapes and soon terrorizes Gotham with confetti, sneezing powder, and other party store gimmicks. Eventually Laughing Boy invades a televised performance of Pagliacci, during which he hopes to unmask Batman before an audience of however many people were watching televised performances of Pagliacci in 1966. I sorta wish they kept the Joker in the traditional harlequin outfit he wears during these scenes. Way more frightening. Any way he’s dressed, Cesar Romero manages to lend the Joker a strange sexuality, especially when he uses adjectives like “succulent” and draws out Batman’s name as if post-orgasm.
7. “Instant Freeze” / 8. “Rats Like Cheese”
George Sanders would make a great brooding heavy even without the Mr. Freeze character. Still, it’s nice to have that extra layer wherein Batman is responsible for turning this crook into an ice cube-sucking freak of nature. People tend to bag on Adam West’s physique not being all that resplendent in the Bat costume but the scene with multiple Batmen proves West filled the spandex better than most. Toward the end Freeze offers Bats a cordial but he declines, for this Dark Knight is a teetotaler. Do you think anybody could really be Batman without taking a drink? Seems like a stressful life. On the other hand, he’s got a kid to look out for, he can’t be getting sloshed if there’s a chance Robin might be kidnapped or injured or tied to a giant whatever.
9. “Zelda The Great” / 10. “A Death Worse Than Fate”
Renowned magician Zelda goes crooked, teaming up with everyone’s favorite “strange Albanian genius” Eivol Ekdol for a robbery/counterfeiting scheme. This eventually turns into a kidnapping caper when Zelda snatches Dick Grayson’s elderly Aunt Harriet, ties her up, and dangles the old biddy over a vat of boiling oil. Nabbing Dick himself would probably yield greater ransom but Aunt Harriet’s easier to burgle. What’s interesting about these episodes is Zelda is never totally convinced a life of crime is for her—she’s just struggling so much as a magician she has no other recourse. C’mon, Harry Blackstone, help a sister out. Fuckin’ magic cabal.
11. “A Riddle A Day Keeps The Riddler Away” / 12. “When The Rat’s Away The Mice Will Play”
King Boris, a dignitary from an unnamed and ill-defined European country, comes to Gotham and is almost immediately seized by the Riddler. Another fine Gorshin performance but the real entertainment comes when Batman and Robin are tied to enormous spinning wheels and it is hilariously clear in the wide shots that dummies are substituting for the actors. I remember that looking fake as hell even when I was a child. Whomever is responsible for those dummies should be ashamed, if they’re still alive. If they’re dead, I hope they carried that shame to their grave(s). Harsh words but it’s not that hard to make a dummy not look like a sack of loose potatoes.
13. “The Thirteenth Hat” / 14. “Batman Stands Pat”
Perhaps intimidated by David Wayne’s flamboyantly fussy performance as the Mad Hatter, these entries find Adam West dialing up his hamminess to radioactive levels. West shouts and gesticulates like an angry grandpa at the Elks Lodge and subsequently flushes away all vestiges of Bat being a cool, collected character. Naturally Mad Hatter is consumed with owning Batman’s cowl and goes to great lengths in attempting to obtain it. This certifies him for the loony bin in my eyes because this cowl is so weird-looking compared to the cowl of the comics (and later film properties). Granted, it’s the cowl that most resembles the true look of a bat (stout, wide), but you get my drift. By the way, what’s the penalty for cowl theft? Like $50 and time served? I think that would even be laughed out of “Night Court.”
15. “The Joker Goes To School” / 16. “He Meets His Match, The Grisly Ghoul”
A landmark story only because it confirms that Gotham City and New York are two separate and co-existing entities. In the next pair of episodes it is revealed that Gotham is also on the BMT transit line; this prompted me to look up the exact location of Gotham in the comic universe and it turns out the bustling urban hive is situation in north east New Jersey. Anyway, the Joker’s crimes in these eps are pretty inconsequential. Rigging vending machines in some hair-brained attempt to corrupt teenagers. On the plus side, he fires off a pretty funny dead dog joke and manages to get Batman and Robin in electric chairs. This arc also presents a painful scene where Burt Ward has to pretend to be a happenin’ street though. Hey Kookie, lend me your knife so I can stab this kid.
17. “True Or False-Face” / 18. “Holy Rat Race”
False-Face is a text book example of a character who is very comic book but not cartoonish. I attribute this to the fact you can’t see Malachi Throne’s face contorting behind the mostly opaque False-Face mask (by the way, the name Malachi Throne has an amazing ring to it, they should have worked it into the script somehow). The Dutch angles feel a little out of control here but maybe that’s intentional, maybe that’s supposed to underscore how topsy-turvy this adventure is (Batman v. the Unknown). False-Face proves so tough that the Dynamic Duo have to fall back on Alfred to escape the harrowing climax; I like to believe the underground gossip in Gotham points to a third shadowy figure in the Batman equation, one alleged to be of advanced age (hence his seclusion) but who never fails as a nuclear option.
19. “The Purr-fect Crime” / 20. “Better Luck Next Time”
Consider the family dynamic that exists between Julie Newmar’s powerful feline-obsessed antagonist and the Dynamic Duo: Catwoman is the bored mother figure seeking a liberating and lawless independence; Batman, the lovelorn father too aloof to know what to do; Robin, the eager son who just wants Mommy and Daddy to love each other again. Wait ’til you catch the horror on Boy Wonder’s face when it appears Catwoman (who spends her story trying to locate the lost treasure of some made up pirate) dies at the end of the second episode. Poor Dick. Catwoman, fyi, has one of the best accompanying leitmotifs of Nelson Riddle’s scoring—eerie, hypnotic, fun.
21. “The Penguin Goes Straight” / 22. “Not Yet, He Ain’t”
In which the Caped Crusaders appear to be dead for a small chunk of time, saddening Gotham but exciting that ever fiendish Penguin…who, as it turns out, is trying to trick the world into believing he’s become a do-gooder. Tim Burton famously cribbed Penguin’s theft of the Batmobile in this adventure for 1992’s Batman Returns. Who knows why a covert crime-fighting team would insist on tooling around in a convertible. Seems like an open invitation. The Penguin carjack allows for introduction of the Batcycle, which is a far more bad-ass means of conveyance (even with the side car). Ghost Rider would be a complete joke if he was riding out of Hell in a Sedan.
23. “The Ring Of Wax” / 24. “Give ‘Em The Axe”
Usually the requisite bad girl or “moll” amongst a gang of male villains in “Batman” is just that, a wayward youth blinded by power. Here, however, the lady by Riddler’s side (as he tries to uncover some weird Incan treasure) is a cape-wearing figure called the Moth—a budding mastermind in her own right, we may assume. It’s a shame they didn’t give her more to do (or even her own episode later on). A tremendous scene pops up about midway wherein Batman asks a librarian, voice absent of irony, “Have you seen any unusual looking people around here?” The librarian says she has not and somehow avoids comment on the two guys in front of her dressed as winged forest creatures.
25. “The Joker Trumps An Ace” / 26. “Batman Sets The Pace”
A visiting Maharajah! The Batmobile cruising over a golf course! Someone writing Batman a check and misspelling his name! Definitely not the most exciting outing…they meander around a fairly eye-rolling money laundering plot, stretching out the flimsy premise/final reveal, but I’m forever grateful we get to hear Cesar Romero shout, “Egads, I’ve been deflated!” Again, so unnecessarily sexual.
27. “The Curse Of Tut” / 28. “The Pharaoh’s In A Rut”
The blustery charm of Victor Buono as King Tut makes up for lackluster action. The bulk of episode one is Gotham trying to figure out what to do about a giant statue of a cat that suddenly appears in a park and begins making strange pronouncements. Seems like a noise complaint, but the authorities call Batman anyway. Later, for the umpteenth time this season, a woman comments upon Batman’s handsome looks, which is nuts because 80% of his face is covered at all times. King Tut’s backstory is interesting because it’s the only time “Batman” references the social unrest of the ’60s: Tut was a Yale prof cracked on the head during a student riot; he woke up believing he was the famed Egyptian. Never mind the fact King Tut died at around 18 and this guy is 40. Brain injuries are no laughing matter.
29. “The Bookworm Turns” / 30. “While Gotham City Burns”
Are you ready for the darkness? This one opens with Commissioner Gordon getting shot in the back and falling off a bridge. Later, Batman goes into a Manson-esque trance while attempting to figure out his enemy’s next move, spooking Chief O’Hara and every viewer at home. Though Roddy McDowell gives the nefarious Bookworm a frightful edge anytime he saunters onscreen the character’s trump card is real corny: he traps the Caped Crusaders in a giant cook book, choking them with noxious soup fumes. It all pays off in the end when a defeated Bookworm meets Bruce Wayne; after some banter, the Bookworm dismisses Bruce, exclaiming, “This guy’s almost as annoying as Batman!”
31. “Death In Slow Motion” / 32. “The Riddler’s False Notion”
The Riddler sets up a bunch of robberies he also films so he can sell the resulting movie to Gotham’s biggest silent film buff (some people want to meet the Dynamic Duo, this guy just wants to watch them run around at twice their normal speed in black and white). Somehow the Riddler also finds time to spike the lemonade at a temperance party; tensions are stirred and while blitzed on the drank Commissioner Gordon angrily dismisses Chief O’Hara’s assertion that Maury Wills is “50 times better” than Honus Wagner. You think this will be the best part of the episode until Robin, tied up and thrown off the ledge of a high rise, staves death by catching the Batarang in his fucking teeth. Batman of course uses this as a teaching moment re: dental hygiene. Yeah, it’s okay for a minor to fight crime without a bullet proof vest, but heaven forbid you stop flossing.
33. “Fine Finny Fiends” / 34. “Batman Makes The Scenes”
This time Alfred is kidnapped, by the Penguin, a.k.a. Knott A. Fish. The Peng is trying to uncover the location of some secret millionaire’s dinner being held by Bruce Wayne. This is one of those plots that wouldn’t happen in the 21st Century. No millionaire dinner is secret from the expanse of the Internet. The most fascinating part here is the Penguin’s henchman, Shark and Octopus; Shark looks suspiciously like Clint Howard and Octopus is wearing a very obvious bald cap (or he’s actually bald and has some insane skin condition at the base of his neck). “Batman” hench work is good stuff if you could get it. Joe E. Tata did it a handful of times.
And there you have it. “Batman ’66” Season One. Still plenty weird, still plenty fun. Satiating for a fan of über-insanity such as myself but who knows how the uninitiated would feel at this point (to wit: I can’t stand a goddamn second of “Sigmund & The Sea Monsters” any time I’m trapped in front of it). Glancing at the Season Two lineup I see things kick off with Art Carney as the Archer. Somehow I am not fatigued from the previous 34 chapters of lunacy. I’m ready to dive in. Holy crippling addiction.
P.S. Did I forget to mention that in the very first episode Batman goes to a nightclub and go-go dances with Jill St. John? What, like you’re not gonna go-go dance with Jill St. John? I think we can forgive the Bat for actin’ a fool there. And he’s got better moves than Tobey Maguire’s Spider-Man.
– the full title of this just released documentary is The Death Of Superman Lives: What Happened?, which seems like a perfect opportunity to make at least one Fred Berry reference but the filmmakers hold back
– this is a fantastic watch if you’ve ever wondered exactly how concept art fits into the movie-making process and/or what it’s like to be a concept artist in Hollywood; these people churn out incredible work that usually never sees the light of day (unless the film is a massive hit or a notorious implosion)
– the legend of Superman Lives, a.k.a. the aborted Tim Burton/Nic Cage Superman movie, is a bizarre and engrossing one, and hats off to TDoSL for snagging so many direct sources (Burton, producer Jon Peters, assorted screenwriters) to unravel the tale; still, they couldn’t get Cage, the revoked Superman himself, and as it stands the doc decides to gloss over or omit a handful of really vital points (the Jimmy Olsen ethnicity debate, screenwriter Kevin Smith’s original casting picks, the ferocity of the Smith/Burton snit)
– at one stage in Superman Lives they would have put Cage in the traditional Super togs and the pictures from that costume fitting will make you believe a Coppola could be the Last Son of Krypton
– the version of Brainiac Tim Burton was cooking up cuts a little too close to his Mars Attacks! aliens, which I think demeans the twelfth level intellect from Colu (of course, at this point I’d take Brainiac as a sassy animated kitten—anything to depose the standard Supe film baddie Lex Luthor)
– overall The Death Of Superman Lives: What Happened? has a bit of an amateur feel and that is in no way a criticism; it helps convey an earnest “by the fans, for the fans” sentiment, an endearing approach for any piece of media (especially one about a collapsed comic book property)
– on a scale of 1 to 10 I give this doc a 7.5, mainly for lack of Cage
– next up I hope these filmmakers tackle the legend of Batman Triumphant, a.k.a. the Batman movie Warner Bros wouldn’t let Joel Schumacher make after the colossal turding of Batman & Robin, wherein Howard Stern may have played Scarecrow and Jack Nicholson would have returned as the Joker in one of Batman’s dreams
Last night Paul Feig tweeted out this photo of the new Ecto 1, a.k.a. the car in which his rebooted Ghostbusters will be cruisin’. Looks hype to me, like a cross between the original Ecto and the car from Blues Brothers. Definitely more on point than many of the fan recreations you see out there.
I’m not as punk rock as I thought—I don’t like being out on the highways of America and seeing Jeep Cherokees or Ford Fiestas in the iconic dressings of the Ecto. Would you try to turn a smart car into the Batmobile?
I digress. This new Ecto is boss and here is quite possibly the hottest take I can give: it’s cooler than the Ecto 1A, the revamped Ectomobile unveiled in Ghostbusters 2. There’s just too much fucking shit on the roof of Ecto 1A, my disbelief cannot be suspended. There’s no way the Ghostbusters would be able to glide through the boroughs without bits flying off every few miles.
Also, the hazard tape racing stripes and flashing digital sign are garish. You’re the Ghostbusters, not the goddamn Money Store.
Again I digress. JG2 is pro new Ecto. Looking forward to seeing Wiig, McKinnon, et al tear ass in these ace wheels. I’ll be there, front row, in my “Ecto 1A Has Too Much Fucking Shit On Its Roof” shirt.
This is the most intense game of “Hollywood Squares” I’ve ever seen.
X-Men: Days Of Future Past
Starring: Hugh Jackman, James McAvoy, M. Fassbender, Jennifer Lawrence
Directed by Bryan Singer
2011’s X-Men: First Class is that rarest of things: a prequel that works. Full of snap crackle pop, First Class breathed new life into Marvel’s soggy mutant movie franchise (now fifteen years old) and emboldened 20th Century Fox to put together a sequel wherein an X-Man goes back in time and tries to erase the stuff from the original movies nobody liked. Actually, the heroes in Days Of Future Past seem to want to snuff out the first three X-Men films entirely, and who can blame them? Wouldn’t you rather live peacefully in an upstate New York mansion, teaching little childrens and apple picking in your spare time, instead of living on the run out of some military grade jet while humanity and other evil mutants are constantly nipping at your heels?
The line between good and evil is in truth a tad blurry in Days Of Future Past; yes, Wolverine (Jackman) travels to 1973 to prevent the assassination that kicks off humankind’s war on the mostly benign mutant species, but he also enlists a minor to help him break an incarcerated Magneto (Fassbender) out of his Pentagon jail cell. You see, in the future, Professor X (McAvoy) and Magneto have buried their hatchet, and they convince Wolv that he needs to get them together in ’73 to make sure everything’s on lock. It should come as no surprise that young Magneto, whose personal allegiances similarly blow around like a windsock, decides at a critical juncture to take matters into his own hands, gumming up the entire ballgame.
And then there’s shape-shifter Mystique (Lawrence), the assassinator, convinced she has to kill her target (a gov’t contractor who builds giant mutant-hunting robots) no matter how many people from her past or her future show up. Nobody can convince her this shooting kicks off a major human/mutant conflict. They should have just cracked open a history book for her. Hey dumb dumb, ever hear of Archduke Ferdinand? Pearl Harbor? Fear leads to anger, anger leads to hate, hate leads to suffering. Yoda? You know, I won’t fault you for missing that quote, you were busy with infinitely better movies when the Jedi master dropped that one.
Though clumsy in places, Days Of Future Past serves up a pretty fun slip through time and delivers everything you want in an X-Men movie: Wolverine whuppin’ up on dudes, Mystique whuppin’ up on dudes, political intrigue, a few yuks, a take on Richard Nixon that would be at home on “MADtv,” and tender bromance moments between Patrick Stewart and Ian McKellen as the aged Xavier and Magneto (respectively). If you don’t like it, don’t worry: at some point Days Of Future Past will be retconned out of existence just like every other comic property, because that’s the way this business works.
FINAL SCORE: Three and a half funky ’70s duds (out of four).