The Rocketeer (1991) – Review

In 1982 comic book writer/artist Dave Stevens created “The Rocketeer” a character that was a brilliant homage to the Saturday matinee serial heroes from the 1930s through the 1950s. It’s popularity among comic book fans led to Disney and director Joe Johnston doing their best to bring that comic book hero to the big screen, unfortunately, the superhero genre hadn’t quite taken off yet and this resulted in a box office disappointment, of course, this does not mean it wasn’t a great movie.

Set against the backdrop of pre-World War II America, the film follows the story of Cliff Secord (Billy Campbell), a stunt pilot who stumbles upon a mysterious rocket pack hidden in his airplane, which was developed by legendary engineer Howard Hughes (Terry O’Quinn), but when he dons the jet-propelled device he his loyal mechanic friend, Peevy (Alan Arkin) find themselves being targeted by Government Agents and Nazis spies, all who want the rocket pack. Complicating things is Cliff’s girlfriend Jenny (Jennifer Connelly), an aspiring actress who hopes to land a big part in the latest adventure film starring Neville Sinclair (Timothy Dalton), but not only is Jenny unaware that her boyfriend has taken on the mantle of “The Rocketeer” but matinee idol Sinclair turns out to be an undercover Nazi agent. Thrust into the public eye Cliff must decide what to do with the jet pack, turn it over to the Feds or make a few quick bucks first.

 

This is one damn cool outfit.

Then there is mob boss Eddie Valentine (Paul Sorvino) who had been hired by Sinclair to retrieve the rocket pack, it was one of his men who stole the rocket and hid inside Clifford’s plane, but when Valentine learns of Sinclair’s true masters his loyalties shift to the side of the red white and blue. He may be a career criminal but he’s an American! But if gangsters and a treacherous Nazi spy were not enough of a problem we’ve also got a monstrous henchman named Lothar (Tiny Ron), a thug strong enough to fold his victims in half, who is Sinclair’s backup plan to retrieve the rocket pack, and he is as brutal as he is terrifying. And while Cliff takes this treacherous path filled with gangsters, movie stars and secret agents we must ask one pertinent question “What the hell is he doing fooling around with rocket packs and Nazi spies when he’s dating someone as hot as Jennifer Connelly?” All I’m saying is that this guy really needs to get his priorities straight.

 

Who would dare let Connelly get captured by Nazis?

Stray Observations:

• In the original graphic novel, Cliff Secord’s girlfriend was called Betty Page, a character based on the real-life pin-up girl Bettie Page, unfortunately, she would not allow her name to be used in the film so now she’s Jenny Blake.
• The original inventor of the rocket pack was thirties pulp novel hero Doc Savage, the Man of Bronze but the studio didn’t bother securing the rights to that character, instead, they opted to change it to Howard Hughes.
• Cliff Secord’s rocket pack lights several fires throughout the film yet his pants and boots never seem to suffer any effects from the heat.
• Neville Sinclair being a Nazi spy is a nod to the rumours that Errol Flynn was a Nazi agent, though no conclusive evidence was ever brought to bear to prove if this was the case.
• The fictional German airship Luxembourg, which meets a fiery end, is meant to resemble the famous Hindenburg that exploded in flames in 1937, a year before this film takes place.

 

Not the speediest of escape vehicle in the world, even before bursting into flames.

Directed by Joe Johnston, The Rocketeer is a delightful throwback to the golden age of adventure films, one that takes us on a nostalgic journey to 1930s Los Angeles, and not only was this a great adaptation of Dave Stevens’ original comic book – Billy Campbell is a dead ringer for his comic book counterpart – but with its stylish costumes and vintage set design it also perfectly captures the serials of the 30s and 40s. Without a doubt the film’s greatest strength lies in its ability to capture the essence of that bygone era, from the dazzling Art Deco design of 1930s Los Angeles to the jazzy soundtrack, The Rocketeer successfully transports viewers to a time when heroism and villainy were more black and white.

Note: The villainous henchman Lothar was based on actor Rondo Hatton who starred in various horror films playing “The Creeper” in such films as House of Horrors, but without the need for makeup due to his unique facial features, which resulted from acromegaly.

At the heart of the film is Billy Campbell, who delivers a charismatic performance as Cliff Secord, a relatable and endearing protagonist who finds himself thrust into a world of espionage and adventure. While on the love interest side of things, Jennifer Connelly looks as if she was born to this period in film and her chemistry on screen with Campbell is palpable. Then there is Timothy Dalton who steals the show as the suave and sinister Neville Sinclair, an actor with a hidden agenda, and his sneering portrayal of villainy adds an extra level of fun to the story’s conflict. Of course, one of the film’s standout features is the rocket pack itself and while the innovative special effects of 1991 may appear somewhat dated by today’s standards they still hold up remarkably well and maintain a sense of wonder and excitement. Cliff’s exhilarating flights through the Los Angeles skies are breathtaking, and they remind us of the pure joy that can come from watching a superhero take flight.

Note: Director Joe Johnston may have failed to create a box office success with this comic book hero but later he’d hit gold with the MCU entry Captain America: The First Avenger.

In conclusion, The Rocketeer is a mostly forgotten gem from the early ’90s one that deserves to be rediscovered as it offers a refreshing departure from modern superhero films by harkening back to a simpler era of cinema. With its endearing characters, authentic period setting, and a hero who soars without the need for a cape, this film remains a delightful and nostalgic adventure worth experiencing. So strap in and let The Rocketeer take you on a thrilling flight back in time.

The Shadow (1994) – Review

Following the success of Tim Burton’s Batman many studios were scrambling around to get their hands on their own comic book-type property, so that it could turn into the next big thing, this led to Universal Pictures teaming up with producer Martin Bregman who had acquired the rights to the pulp action hero The Shadow. Needless to say, such noble goals were met with box office disappointment and film that is now mostly forgotten.

This adaptation of The Shadow starts with an unusual backstory as we learn that following the First World War, Lamont Cranston (Alec Baldwin) sets himself up as some sort of drug kingpin and warlord in Tibet – I guess anybody can want a career change – but his murderous opium-fuelled empire comes to a close when he is abducted by servants of The Tulku (Brady Tsurutani), a holy man who exhibits otherworldly powers and somehow knows Cranston’s true identity. He offers Cranston a chance to redeem himself and become a force for good and after undergoing rigorous physical training he learns various mind control abilities such as hypnotism, mind reading, telekinesis and bending people’s perception so that he cannot be seen, making him virtually invisible except for his shadow. Seven years later he returns to America and takes on the duel role of Lamont Cranston the lazy playboy millionaire and The Shadow, a vigilante who terrorizes the city’s underworld inhabitants.

Note: The Shadow uses twin automatics in this movie, a trademark of his character, but in this film he never uses it to actually shoot the bad guys. Which is strange for someone who is basically the pulp version of The Punisher.

While having dinner with his uncle, Police Commissioner Captain Wainwright Barth (Jonathan Winters), Cranston’s secret identity is endangered upon meeting Margo Lane (Penelope Ann Miller), a socialite who has strong but untested telepathic abilities of her own which, for some reason, Lamont is unable to shield his mind against and so she’s able to read him with ease. But his secret identity being revealed by Margo is the least of his problems as Shiwan Khan (John Lone), the last descendant of Genghis Khan and rogue student of The Tulku, plans to fulfill his family’s legacy of world domination. His plan involves the use of an unstable metal called “bronzium” that if placed in a beryllium sphere could, theoretically, generate an atomic explosion large enough to wipe out New York City. Worse is the fact that such a device has been devised by Farley Claymore (Tim Curry) and his hapless partner Dr. Reinhardt Lane (Ian McKellen), who also happens to be Margo’s father and is complete unaware that Claymore is in league with Shiwan Khan. With the world on the brink can The Shadow and his friends stop this madman in time?

 

Someone should call Professor X.

Stray Observations:

• The Shadow is known for wielding twin automatics but the two “longslide” 1911 pistols he uses in this movie were not developed until decades later.
• Dr. Reinhardt Lane is working on nuclear fission but his lab is tricked out with enough beakers filled with coloured liquids to rival the lab of Doctor Jekyll. He clearly shopped at “Mad Scientist R Us.”
• Lamont Cranston’s ruby ring glows to alert him if a minion of his has important information, but wouldn’t this be awkward and hard to explain if it started glowing around civilians?
• Shiwan Khan introduces himself as the last living descendant of Genghis Khan, which is a bit of a stretch when you consider the fact that about 8% of the men living in Mongolia are related to Genghis Khan. In fact, roughly 0.5% of the male population of the world is related him.
• Both The Shadow and Shiwan Khan can use their mental powers to become invisible but this doesn’t explain how Khan’s minions can wander around New York City dressed in ancient Mongolian armour without anyone taking notice.
• The temple of the Buddhist holy man, the one who turned Cranston into a hero, has a strange cobra motif to it. This is not what one would expect from the good guys but I guess that would explain why Shiwan Khan turned into a supervillain.

 

It does kind of look like Cobra Commander’s hangout.

Director by Russell Mulcahy, The Shadow enters the realm of superhero cinema with an air of promise and hope, sadly, it falls short in almost every aspect, resulting in a disjointed and forgettable cinematic experience. A film’s success often hinges on its ability to captivate the audience with a compelling protagonist but The Shadow falters here as Alec Baldwin’s portrayal of the titular character, Lamont Cranston aka The Shadow, lacks any depth and fails to evoke any genuine interest. Baldwin’s performance feels more like an exercise in melodrama than a nuanced depiction of a conflicted and complex character. What’s odd is that his duality as a wealthy playboy and a vigilante with supernatural abilities could easily have been made to be intriguing, instead, it comes across as clichéd and uninspired – practically every line of dialogue he delivers feels forced and unconvincing – and to make matters worse the complete lack of chemistry between him Penelope Ann Miller grinds the film to a halt.

 

The decor in Lamont’s mansion outshines this tepid romance.

The film also suffers from a narrative identity crisis, struggling to decide whether it wants to be a dark and brooding tale or a lighthearted action-comedy and this indecision is reflected in the film’s tone, which swings wildly between moments of attempted wit and moments of gritty seriousness, as a result, the film struggles to establish a consistent atmosphere that would draw the audience into its world. The screenplay by Walter B. Gibson and David Koepp attempts to weave an intricate plot involving mystical artifacts, ancient evils, and a web of intrigue, but the convoluted storytelling often left me more bewildered than engaged. The antagonists, led by John Lone’s Shiwan Khan, are disappointingly one-dimensional and lack the gravitas needed to make them truly threatening. Their motivations and plans remain shrouded in vague exposition, making it difficult to invest emotionally in the conflict, and when you can’t take the villains seriously it rather undercuts the heroics of our leads.

 

Tim Curry was better off as a sweet transsexual.

On the visual aesthetics of the film, The Shadow presents a mix of badly dated CGI and practical effects that fail to stand the test of time, ranging from the passably crude to the laughable, and the film’s depiction of 1930s New York City often feels more like a studio backdrop than a real immersive setting, lacking the attention to detail needed to transport us to a different era. One aspect of the film that does shine is the production design, with impressive sets and costumes that do, at times, capture the essence of the 1930s aesthetic, but while costume designer Bob Ringwood and art director Joseph C. Nemec III do their best to breathe some life into this picture even their talents could not salvage the film from its myriad of other issues, the key issue being the fact that this version of The Shadow is kind of lame and boring.

 

He does win points for dramatic posing.

In conclusion, this comic book adaptation squanders its potential as a compelling superhero film by delivering dull performances, a muddled narrative, and a tonal inconsistency that prevents it from finding its footing, and while there might be a certain nostalgic charm for those who grew up watching this film, it’s difficult to recommend it to anyone who is seeking a satisfying superhero experience. With the plethora of superior superhero adaptations available to fans of the genre today, 1994’s The Shadow remains a forgotten relic of a bygone era of cinema.

The Shadow: The Serial (1940) – Review

The popular pulp action hero The Shadow was made popular via classic radio series and pulp magazines but in 1940 the character had only one singular venture into the world of serials – following the likes of Flash Gordon  and Captain Marvel – where he received very mixed reviews, which is probably why this serial was a one-time undertaking.

The 1940 Shadow serial was not the first time this pulp hero had made it to the big screen, having appeared in several short films and two feature films in the 1930s with The Shadow Strikes being the most notable but also fairly forgettable. As expected, the story is set against the backdrop of a gritty and mysterious urban landscape, one where we are quickly told that the economic life of the city is being threatened by a criminal organization headed by the mysterious figure known only as the Black Tiger (Robert Fiske) “Whose mad ambition is to acquire supreme financial power” and the city’s industrial leaders turn to Lamont Cranston (Victor Jory), noted scientist and criminologist, to combat this menace. Of course, Cranston also moonlights as a vigilante crime-fighter, a feared enemy of the underworld, unfortunately, the police have come to the conclusion that The Shadow and the Black Tiger are one and the same person.

 

“Do I look like a Black Tiger?”

It goes without saying that The Shadow does not work alone and Margo Lane (Veda Ann Borg) is along for the ride in this outing, working as both a possible love interest and a damsel in distress to provide fodder for the cliffhangers that these serials rely on to get kids back each and every week. In fact, this serial has more in common with the 1938 serial The Spider, where a masked hero ran around punching denizens of the underworld than it does the stories found in Walter B. Gibson’s pulp stories featuring the titular The Shadow. It should also be noted that while he may dress as The Shadow, and Victor Jory does pull off the classic “Shadow Laugh” with aplomb, the pulp hero was never intended to be some standard “gang-buster” hero, instead, he was to be a crime-fighter who solved mysteries using strange and uncanny powers. That is what makes The Shadow stand out from all other action heroes that populated serials throughout the 1930 and 1940s and where this outing drops the ball.

 

“Who knows what cliches lurk in the hearts of Hollywood?”

This 1940 serial undoubtedly holds a place in the history of early cinematic adaptations of popular pulp characters, but it’s difficult to overlook the shortcomings that prevent it from being a truly engaging and memorable experience. While it attempted to bring the enigmatic and mysterious crime-fighting figure to the silver screen it falls short in several crucial areas. One of the most glaring issues with this serial is its obvious low-rent production quality. The serial’s low budget is evident in its cheap sets, uninspired costumes, and limited special effects. Furthermore, the serial’s pacing also leaves much to be desired, rather than building tension and suspense, the episodes often devolve into repetitive chases and action sequences that feel more like filler than meaningful contributions to the plot. This constant cycle of action without substantial character or plot development diminishes the audience’s engagement and investment in a story that clearly relies on simplistic, often contrived scenarios that don’t do justice to the complexity of the original source material.

 

“Find me a decent scriptwriter or else.”

Central to The Shadow serial’s downfall is its portrayal of the titular character. While Lamont Cranston, the Shadow’s alter ego, is played by the charismatic Victor Jory, the writers and directors seem to have misunderstood the essence of the character. The Shadow is meant to be an imposing and mysterious figure, a force of nature that strikes fear into the hearts of criminals. However, the serial often portrays him as more of a straightforward crime fighter, lacking the subtlety and psychological depth that defined the character in the pulp stories. The visual representation of The Shadow’s supernatural ability to “cloud men’s minds” is not so much as missing in this serial it’s been given to the villain. What the hell?  On the plus side, this version of The Shadow does retain the character’s iconic mix of suave sophistication and dark intensity and Jory’s performance captured the essence of the enigmatic crime-fighter, whose mastery of disguise and psychological manipulation makes him a unique and compelling protagonist.

 

We are still waiting for a proper adaptation of The Shadow.

Ultimately, 1940’s The Shadow not only failed to capture the essence of its source material but even missed the target of delivering a compelling cinematic experience. While it may hold nostalgic value for some fans of classic cinema and pulp fiction enthusiasts, it cannot escape its status as a product of its time with limited resources and creative constraints. For those seeking a more faithful and engaging depiction of the enigmatic crime fighter, turning to the original pulp stories or more modern adaptations would likely be a more satisfying choice.

The Shadow Strikes (1937) – Review

Writer Walter B. Gibson originally created The Shadow to be nothing more than the “spooky” announcer for a radio drama series, with its sole purpose to boost sales for a flagging pulp magazine, but listeners became so intrigued with the character that they start demanding stories featuring this mysterious figure, and thus a crime-fighting legend was born. Soon he became a star of radio and pulp magazines and eventually made his way to the big screen, today we will look at his less-than-stellar movie debut.

The plot of The Shadow Strikes kicks off when amateur criminologist Lamont Cranston (Rod La Rocque) while operating under his secret identity as The Shadow, thwarts a couple of burglars working for local crime boss Barney Brossett (Cy Kendall) but when the police arrive Cranston is forced to assume the identity of the attorney, Chester Randall, whose office was being burgled, and ends up summoned to the home of Caleb Delthiern (John St. Polis), a wealthy client who wants a new will drawn up, and before you can say “Who knows what evil lurks in the hearts of men” poor Caleb is shot dead and it’s up to Cranston to find out who wanted to stop that new will from being made public.  This new will states that Caleb’s niece Marcia Delthiern (Lynn Anders) will be cut out of the will if she marries Warran Berringer (John Carnivale), the oldest nephew. What follows is your typical mystery with Cranston and his trusty friend Henry Hendricks (Norman Ainsley) wandering around looking for clues while trying to keep the police from realizing he’s not actually Chester Randall, all before the killer or the crime boss but an end to his sleuthing career.

 

Warning: The Shadow has less than five minutes of screen time in this particular outing.

One of the most glaring issues with The Shadow Strikes is its failure to effectively translate the enigmatic allure of the titular character onto the screen. The Shadow, known for his distinctive voice and uncanny ability to manipulate the minds of criminals, is reduced to a mere caricature in this film and the cast of actors brought to bear on this incarnation are not exactly top-tier in the acting department. The film’s portrayal of Lamont Cranston lacks depth and fails to capture the complexity and internal conflict that made the character so compelling in the original pulp stories. Perhaps the most disappointing aspect of The Shadow Strikes is the films’s failure to capture the spirit of the original pulp stories that captivated readers in the 1930s. What we get here lacks the dark and morally ambiguous tone that defined the source material, opting for a more sanitized and superficial approach. This decision robs the film of both the depth and complexity that could have set it apart from other films of its time.

Note: This movie is a loose and condensed adaptation of ‘The Ghost of the Manor’ from a 1933 issue of the Shadow Magazine.  Do yourself a favour and skip this movie and track down the original story instead.

At its core, The Shadow Strikes is a classic detective story that attempts to capture the essence of its source material found in the classic radio show and pulp novels, but ultimately falls short of delivering a compelling cinematic experience, and while the film follows the familiar structure of the genre its use of the formula lacks finesse, failing to create a suspenseful narrative that could properly engage and audience. The appearance of the film is beyond subpar, looking like someone filmed a high school production, and the visual aspects lacked the necessary grit and atmosphere to transport the audience into the shadowy and dangerous world of crime and mystery. Cinematographer Marcel Le Picard’s use of shadows and light is not one would call a good example of film noir atmosphere, failing to evoke the time period and mood required to immerse viewers in the story. The world of The Shadow should be an intriguing and mysterious place and not this dollar store treatment of the subject matter.

Note: Aside from a couple of movies and a serial The Shadow never had much of a successful cinematic career, on the other hand, Bob Kane’s The Batman, which borrowed heavily from Walter B. Gibson’s pulp hero, has gone on to be the star of many successful movies and television shows.

In conclusion, The Shadow Strikes is a lacklustre attempt at adapting a beloved pulp character for the silver screen. Despite its potential, the film’s underdeveloped characters, uninspired direction, and misguided departure from the source material result in a forgettable cinematic experience. Fans of the original stories are likely to be disappointed by this adaptation, and newcomers will find little reason to invest their time in a film that fails to capture the essence of the character and genre it seeks to embody.

Hausu (1977) – Review

A haunted house is one of the more popular settings of the horror genre but with Nobuhiko Obayashi’s Hausu we get something altogether unique, and by that I mean this film is like no other horror movie you’ve ever seen. This Japanese cult classic combines surrealism, horror and comedy in a bizarre mind-bending experience that is as entertaining as it is confusing. What’s not to love about that?

Imagine if you will, a haunted house movie that takes you through a psychedelic, surrealist art exhibit and you’ll start to get a sense of what Hausu (House) is like. And how does this wonderfully wild tale begin? We are introduced to high school girl named Gorgeous (Kimiko Ikegami) who is looking forward to spending her summer vacation with her widowed father (Saho Sasazawa), however, her plans take a sudden unfortunate turn when her father returns from Italy with a new fiancée, Ryoko Ema (Haruko Wanibuchi). Upset and unwilling to accept her new stepmother – as stepmothers don’t have a great track record in movie you can’t really blame –  Gorgeous decides to visit her aunt’s secluded country house, inviting six of her friends along for the adventure. The friends are more caricatures than characters with each embodying a single trait. It is these exaggerated personalities that add to the film’s playful and surreal nature.

• Fantasy (Kumiko Ôba), who is dreamy and imaginative
• Prof (Ai Matsubara), the intelligent and logical one
• Melody (Eriko Tanaka), the musically talented girl
• Kung Fu (Miki Jinbo), who is athletic and skilled in martial arts
• Mac (Mieko Satô), who is constantly hungry
• Sweet (Masayo Miyako), who is gentle and caring

 

The Magnificent Seven.

Upon their arrival at the aunt’s mansion, they are warmly welcomed by the seemingly kind Auntie (Yoko Minamida) but it soon becomes apparent to the girls that this house harbours dark and malevolent secrets and that the house itself may very well be alive. This is why you should do research before going on any vacation. As the night goes on the house begins to target the girls one by one, using their unique traits against them in bizarre and supernatural ways. The girls attempt to understand and escape the house but are met with increasingly strange and terrifying obstacles at every turn, and by terrifying I mean bloody bizarre. These horror elements are intertwined with whimsical and surreal sequences; one moment you’re laughing at the girls’ antics and the next you’re watching a severed head bite someone in the ass. It’s this unpredictability and willingness to embrace the outlandish that makes Hausu such a unique viewing experience.

 

This is not the way to get ahead.

As things spiral into madness, Gorgeous undergoes a drastic transformation, becoming possessed by the vengeful spirit of her aunt, who has been waiting for her niece to come so she can reclaim her youth and beauty. Once again, a little research ahead of time could have saved everyone a lot of trouble. The film’s climax is a blend of haunting imagery and psychedelic visuals, showcasing Nobuhiko Obayashi’s experimental filmmaking style and is what makes this film so memorable. Hausu is a kaleidoscope of chaos and Obayashi uses a mix of unconventional special effects, vibrant colours, and frenetic editing to create a dreamlike (or rather, nightmare-like) atmosphere. It’s like watching a live-action cartoon where the rules of reality do not apply. One moment a girl is playing a piano, and the next, she’s being devoured by said piano in a flurry of psychedelic imagery.

 

This is why I always avoided piano lessons.

Stray Observations:

• This horror movie includes a stepmother but rather than being the standard “evil stepmother” she’s actually quite nice and it is the heroine fleeing the situation that lands her and her friends on the doorstep of true evil.
• The Japanese rock band Godiego have a brief cameo in the film as the men who flirt with the girls at Tokyo Station.
• Gorgeous has the amazing ability to fill us in on her family’s history via black-and-white film footage, that her friends are somehow able to view. I guess witchcraft does run in that family.
• If your host says “You sure look tasty, being round and all” and then follows that up with “The bright sunlight frightens me” you should immediately pack your things and flee.
• I would love to read Gorgeous’s school essay “How I Spent My Summer Vacation” or what would be more aptly titled, “How I Got All My Friends Killed.”

 

The Japanese Missing Persons Bureau must be very overworked.

This Japanese cult classic is an eccentric and wildly imaginative horror-comedy that defies conventional storytelling and embraces the bizarre. This is something you either get or you don’t as the tone of Hausu is a genre-defying blend of horror, absurdity and dark humour. It swings from laugh-out-loud moments to genuinely creepy scenes with reckless abandon. The dialogue and character interactions often feel exaggerated, almost like a parody of the horror genre, and while this over-the-top approach might throw some viewers off this is precisely what gives Hausu its unique charm. Beneath its wacky surface, this film also touches on themes of adolescence, fear of the unknown and the transition from innocence to experience. Or am I reading too much into things? Nevertheless, the film’s primary goal is to entertain and bewilder, and I must say in that area it succeeds immensely.

 

This is what a horror movie looks like on acid.

In conclusion, Nobuhiko Obayashi’s Hausu is a cinematic rollercoaster that invites viewers to suspend disbelief and embrace the madness.  Simply put, it is a film that must be experienced rather than merely watched. Its originality and creativity are off the charts and the blend of horror and humour makes it a perfect pick for those who enjoy unconventional films. Hausu offers a glimpse into the experimental side of Japanese cinema in the 1970s, which was a time of bold artistic expression. Enter if you date.

Blind Fury (1989) – Review

The 1980s saw a boom in great action films, with Arnie and Stallone dominating the genre, but in 1989 actor turned producer Tim Matheson would take his love of itinerant blind masseur and Japanese swordsman Zatoichi, and along with star Rutger Hauer, he’d create a rather fun and bizarre action movie, this flick was Blind Fury.

The film follows the story of Nick Parker (Rutger Hauer) a former soldier who lost his sight when he was blinded by a mortar explosion, but instead of wandering off to his death he was rescued by local villagers and while recovering his health he was also trained to master his other senses and to become an expert swordsman. The plot of Blind Fury kicks off when Nick tries to track down his old war buddy Frank Deveraux (Terry O’Quinn), not knowing that he’d been forcefully recruited by crime boss Claude MacCready (Noble Willingham) to create designer drugs, and when Nick arrives at the Deveraux home he is greeted by Nick’s ex-wife (Meg Foster) and his snot-nosed kid Billy (Brandon Call), but before Nick learn much about good ole Frank, two crooked cops and MacCready’s chief henchman Slag (Randall ‘Tex’ Cobb) show up an attempt to kidnap Billy as leverage over Frank.  Sadly, even though Nick is able to fend off the bad guys Frank’s wife is killed – poor Meg Foster – but her dying wish is that Nick protect her son and this leads to our “odd couple” going on a road trip to Reno where Frank is being held.

 

Planes, Trains and a Blind Swordsman.

As plots go, the one for Blind Fury is pretty silly, with Nick and Billy having numerous encounters with MacCready’s endless supply of inept goons while the main villain is off getting ready to close a big drug deal to save his casino, which requires Deveraux to deliver a top-quality drug mix. Our heroes will team up with Frank’s current girlfriend, Annie Winchester (Lisa Blount), who will lead Nick to where Frank is being held, and the film’s final confrontations is where murderous assholes and blind heroes must prove who has the right stuff. But can Nick’s incredible combat skills, clever resourcefulness and a touch of comedic charm keep him and the kid alive and save the day? As this is your standard action comedy the answer to that is a resounding yes. Rutger Hauer will slash and kill until nary an asshole is left standing, because good guys always win, even in the eighties.

 

At least as long as bad guys can’t shoot worth shit.

Stray Observations:

• This may be an Americanized “remake” of the 1967 movie Zatoichi Challenged but comic book fans will find Nick Parker’s character a little reminiscent of Stick from the Marvel comic Daredevil.
• Part of Nick Parker’s training involves slashing melons with a katana, which are tossed at him by the villagers, and I’d like to believe this scene inspired the game Fruit Ninja.
• Nick Parker was declared “Missing in Action” and all I can think of is how cool it would be if he’d teamed up with Chuck Norris’s Colonel James Braddock.
• Our hero is able to dispatch numerous thugs with well-executed attacks with his sword/stick, but for some reason, Slag only receives minor non-life-threatening wounds. It’s as if Parker knows that Slag is a main villain and must survive until the last act.
• Legendary martial arts actor Shô Kosugi shows up for the final confrontation as “The Assassin” and he is no stranger to appearing in bizarre American action flicks having already starred in Cannon’s Ninja III: The Domination a few years earlier.

 

“Only a ninja can kill a ninja!”

What makes Blind Fury so watchable is its ability to inject humour into the most unexpected moments and with one of the wildest collections of villains to appear in an 80s action film there are a lot of opportunities for those moments. It’s Nick’s encounters with these rather giant bad guys – MacCready having employed a gang of eight tough guys including Nick Cassavetes and Rick Overton as two particularly fun and goofy hired killers – that makes this movie so much fun to watch as Nick’s reliance on his heightened senses often leads to hilarious situations as he takes down his opponents one after another, creating a refreshing and unique blend of action and comedy. It should also be noted that the chemistry between Hauer and his young co-star adds an extra layer of heart to the film, making the stakes feel a little higher as they navigate dangerous situations together. As this is a buddy film, with a kid as one of the buddies, director Philip Noyce carefully managed the rated-R material surrounding the violence to appear less gruesome. We may get to see hands lopped off but no one is disembowelled, and for the most part, this balancing act works.

 

“I hope I’m not cut in half and dropped off a mountain.”

Rutger Hauer delivers an outstanding performance as the blind swordsman, Nick Parker as he effortlessly embodies the character’s duality, showcasing both his physical prowess and his endearing personality. The action sequences are choreographed brilliantly, highlighting Nick’s exceptional abilities despite his blindness. Even if it’s not all that plausible. These scenes are intense and well-executed, providing the necessary adrenaline rush for action aficionados. In terms of direction, Phillip Noyce’s skilful handling of pacing and tone keeps the movie engaging throughout its runtime, and cinematographer Don Burgess perfectly captures the beauty of the landscapes and the intensity of the action, enhancing the overall visual experience. To be fair, the narrative does rely on some clichés and predictable plot points, which might be expected from an ’80s action film, but the strong performances and the film’s ability to balance action with emotion keep it engaging.

Note: The film ends with Nick walking off alone, with his bag slung over his shoulder. All it needed was the sad piano music from The Incredible Hulk to make this perfect.

While this Zatoichi “remake” may not be a flawless masterpiece, nor did it achieve blockbuster status upon its release, it remains a hidden gem within the action-comedy genre. Rutger Hauer’s charismatic performance, coupled with the film’s unexpected blend of action, humour and heart, make it a memorable and enjoyable cinematic experience. Whether you’re a fan of action-packed sequences, heartwarming tales of friendship, or are simply in the mood for a unique cinematic journey, Blind Fury is well worth a watch.

“It’s a Bird…It’s a Plane…It’s Superman!” (1975) – Review

The first Richard Donner/Christopher Reeve Superman movie was three years away when this Broadway musical adaptation was forced on the unsuspecting public and despite being well-reviewed on Broadway it was the biggest flop to hit “The Great White Way” at that time. This led to the creation of a heavily reworked TV special which was brought into being in an attempt to recoup some of that show’s losses. Who says financial considerations can’t spark creativity?

The film opens with the bustling newsroom of the Daily Planet, where reporters are abuzz with the latest news stories and we are introduced to our main cast, the central figure is Clark Kent (David Wilson), the mild-mannered reporter who leads a double life as Superman, Lois Lane (Lesley Anne Warren) who is hot and bothered over Superman’s lack of emotional attachment, Max Mencken (Kenneth Mars) a deceitful glamour columnist who thinks Superman is a big show-off, and then there is Sydney Carlton (Loretta Swit) as Mencken’s “Girl Friday” who mostly hates Superman because his clothes are prettier than hers. Finally, there is Dr. Abner Sedgwick (David Wayne), a ten-time Nobel Prize-losing mad scientist who wants to destroy Superman simply because he stands in the way of his plans of world domination.

  

Can this smug Man of Steel be defeated?

The supposedly brilliant Dr. Sedgwick devises a convoluted scheme that involves using his scientific genius to discredit and ultimately destroy the Man of Steel. This involves making him look bad to the public – having him receive an award while City Hall is being blown up – and aided by the likes of Max Mencken and the local mob, who also find Superman to be a pain in the ass, the public begins to turn against Superman. Worst of all is that Sedgwick discovers that Superman and Clark Kent are one and the same and he uses psychological manipulation to turn the Man of Steel into an emotional wreck. Of course, Truth, Justice and the American Way will eventually win out in the end and all of Superman’s adversaries will get their comeuppance.

 

“I knew I should have invested in a kryptonite ray.”

Dr. Sedgwick may have been a mad scientist with delusions of world domination but the biggest crime on display here is in how this adaptation handled the music, not only were five songs cut from the original Broadway production – which had to be done due to television time constraints – but with only four days of rehearsals the cast didn’t have a chance to nail the songs and thus their performances were lacklustre at best and incredibly embarrassing at worst. The choreography is equally uninspiring, with clumsy dance routines that do little to enhance the overall experience. Rather than adding to the film’s charm, the musical elements serve as a constant reminder of how out-of-touch the production is with its source material.

 

The level of dullness is unparalleled.

Stray Observations:

• One of the reasons for the Broadway musical’s failure is it was overshadowed by the Batmania sweeping the nation surrounding the Adam West Batman series.
• George Chandler, who plays Jonathan Kent, portrayed shady characters on three different episodes of Adventures of Superman (1952).
• Despite several numbers from the Broadway musical being cut for the aforementioned time constraints of a television show, a new musical number was made for the TV special called “It’s a Great Country.” Sadly, it wasn’t a great song.
• The ethnicity of a troupe of evildoers was changed from Chinese acrobats in the Broadway show to Mafia-style gangsters for the television special. I guess bad stereotypes of Italians were more acceptable in the 70s.
• Lois Lane falls madly in love with Clark Kent off-camera, during the commercial break, despite her constantly forgetting Clark even exists. This has to be the most out-of-left field character shift in history.

 

I need a super-kiss to forget this ever happened.

A key problem with this adaptation lies in the casting of David Wilson as Superman whose stiff and wooden performance lacked the charisma and presence that the Man of Steel demands, and his attempts to balance Clark Kent’s mild-mannered persona with Superman’s heroics came off as awkward and unconvincing. Lesley Ann Warren as Lois Lane was equally disappointing, her performance was marred by exaggerated expressions and over-the-top reactions that made it hard to take her seriously. Her Lois Lane felt more like a rip-off of the ditzy Julie Holiday character from Born Yesterday than it did that of the fiery reporter found in the comics. It should be noted that Warren was in the running for the Richard Donner Superman Movie and I have to wonder if someone slipped him a tape of this travesty and that helped Margot Kidder land the role.

 

“Please, Mister Donner, it wasn’t my fault!”

Sadly, the rest of the cast fare no better in this outing. The usually entertaining Kenneth Mars is meant to be the show’s comic relief but his performance is so hammy and overdone that it quickly becomes grating and painful to watch at times. Then there is David Wayne’s Max Mencken who is utterly forgettable, bringing nothing memorable to the role as the “mad scientist” with world domination goals. Simply put, he is no Lex Luthor. And then there is poor Loretta Swit who is perhaps the biggest disappointment here as her character is reduced to a one-dimensional stereotype, offering little in terms of depth or intrigue. The way the producers of this movie poorly utilized such a talented cast – David Wilson aside as he deserved the terribleness of this movie – is another crime to put on the books.

 

“Wait, was this supposed to be a comedy?”

As for the all important special effects, well, to say they are laughably bad would be too charitable.  Even by 1970s television standards they are bad and the practical effects are amateurish to say the least. The set designs also look cheap and hastily assembled and look as if they’d been stolen them from a high school production and hastily put together by blind chimpanzees.  Then there is the matter of the important costumes, while colourful they come across as something purchased for an office Halloween party and failed to capture the iconic look of the comic book characters and were just another level of embarrassment foisted on an unsuspecting world. Overall, the visuals are a major disappointment and contributed to the film’s overall lack of polish.

 

You won’t believe a man can fly.

This adaptation of Broadway’s “It’s a Bird…It’s a Plane…It’s Superman!” was a misguided attempt to bring the beloved superhero to the small screen, but not only was this a terrible adaptation of the failed musical its numerous shortcomings make it a tedious watch, even for die-hard fans of the character. The film’s combination of poor performances, weak plot, uninspired music and shoddy visuals creates an experience that is more frustrating than fun. In the end, this made-for-TV movie is best left forgotten, a relic of an era that produced far better content. If you’re looking for a Superman fix, you’re better off revisiting the classic comics or the much superior films that have since brought the Man of Steel to life in far more compelling ways.