Month: June 2012

Better In The Dark #132

 

Episode 132: DIE, INDIE, DIE! THE CHANGING STATUS OF INDEPENDENT CINEMA

The Boys Outta Brooklyn wander off the mainstream reservation this episode as they take a look at the way indie cinema has transformed into a minor league for the big studios. Tom and Derrick examine how the recent switch to digital projection, Sundance and other factors have transformed the face of this filmic tradition. Plus Derrick is reduced to helpless laughter when he learns one of Tom’s nicknames, far too much talk about 90′s alt-rock and comics, the revelation of where the indie spirit really lives, and a challenge to both the readers and the hosts! You don’t want Robert Redford making money off of you, so get to clicking!

BETTER IN THE DARK
Two Guys Outta Brooklyn Talk Movies
DJ COMICS CAVALCADE
Silver Age Comics Through Modern Eyes
Join us now at www.earth-2.net!
Nocturne, The City That Lives By Night….needs a darker shade of protector
THE SHADOW LEGION http://welcometonocturne.blogspot.com/

Better In The Dark #59

BETTER IN THE DARK #59

BLACK GLOVES ARE FOR MURDER: THE GIALLO STYLINGS OF DARIO ARGENTO

The Guys Outta Brooklyn go continental as we examine a quintet of giallo films by the man who helped originate the genre, Dario Argento! From the insanely plotted but compelling TENEBRAE to the insanely plotted and craptacular TRAUMA to the clip show love letter DO YOU LIKE HITCHCOCK?, Tom and Derrick examine the handiwork of this seminal Italian director. Plus Tom gets an excuse to trot out another accent, how the “Three Mothers” trilogy is like “Kill Bill” and a word from our sponsor, The Argento Decapomatic! You know it’s all like a dream brought on by too much Ziti Fra Diablo, so get to clicking!

http://www.betterinthedarksite.com/episode-archives/eps-51-60/

Better In The Dark #131

 

 

Episode 131: TOM AND DERRICK VS. THE SAFE HOUSE, GRECIAN ARMORED ROSAMUND PIKE, THE PAST HIS PRIME MEDICAL GENIUS, THE INDIAN HOTEL, AND JOSS WHEDON

In this massive Review Episode, The Boys Outta Brooklyn discuss the movie everyone’s been waiting five years for…The Best Exotic Marigold Hotel!

Just kidding…we do cover that film, as well as others and the House Series Finale, but the bulk of over two hours of talk concerns the two films of Joss Whedon, Cabin In The Woods and The Avengers! And if that isn’t enough, there’s lots of writing talk and bitching about comics. It’s Shwarma-rific, so get to clicking!

BETTER IN THE DARK
Two Guys Outta Brooklyn Talk Movies
DJ COMICS CAVALCADE
Silver Age Comics Through Modern Eyes
Join us now at www.earth-2.net!
Nocturne, The City That Lives By Night….needs a darker shade of protector
THE SHADOW LEGION http://welcometonocturne.blogspot.com/

Better In The Dark #123

BETTER IN THE DARK #123: WATERCOLOR WITH BLOOD AND BULLETS-THE CAREER OF KATHRYN BIGELOW

 

 

The Boys From Brooklyn are back to induct the first woman into their Hall of Great, Great Men as they celebrate the artistic-yet-genre career of Kathryn Bigelow. Join Tom and Derrick as they examine her whole ouvre, from the existential biker film The Loveless to the cowboy / vampire thriller Near Dark to her Academy Award-winning war flick The Hurt Locker. Along the way they examine the televisual train wreck that was Wild Palms, discuss the impact her original career as a painter had on her moviemaking, and debate whether she’s hotter than Linda Hamilton! All this plus the problems of basing your films on current events, what do you do when Juliette Lewis and / or Illeana Douglas asks you if you want to hit it, spokespeople for Jewish Hotness, and gratuitous Martin Scorsese!  So get to clicking!

 

http://betterinthedarksite.com/episode-archives/eps-121/

 

 

The Gong Show Movie

1980

Universal Pictures

Directed by Chuck Barris

Produced by Budd Granoff

Written by Chuck Barris and Robert Downey

 

Today our televisions are flooded with reality programming.  Programming that threatens the very fabric of American life and the sanctity of good Christian families.  The moral compass of our country has gone askew and it’s all because of reality television and it can be traced back to one television show: “The Gong Show”

Nah, not really.  I’m just funnin’.  But I started this review that way because the way that people talk about such reality shows such as the various “Real Housewives” or “Survivor” “American Idol” ”Jersey Shore” or “Basketball Wives” ruining television today is the same way they talked about “The Gong Show” back in the 1970’s.  Produced and hosted by Chuck Barris who already had a couple of game show hits with “The Newlywed Game” and “The Dating Game.”  “The Gong Show” was a talent show with amateur contestants performing in front of three celebrity judges.  If an act was really bad (and most of ‘em were) any one of the judges could hit a large gong with an equally large mallet.  Some of the acts were so bad that the celebrity judges would bang the gong together or even comically struggle with each other for the honor of gonging the act.  But if an act did manage to win, they were awarded the princely sum of $516.32.

“The Gong Show” at the height of its popularity was shown twice a day, five days a week and with good reason.  “The Gong Show” was outrageous, absurdist, downright surreal at times, hilarious most of the time and even when it wasn’t it still had you staring at the screen wondering if what you were seeing was actually happening.  “The Gong Show” was a half-hour where anything could happen. Cheap jokes.  Filthy language.  Jaye P. Morgan flashing her bare breasts ( an incident that got her fired).  Cute Transvestites (they were quite the novelty back in the 70’s) and perhaps the most infamous moment in the show’s history: two adolescent girls performing fellatio on popsicles:

As the host, Chuck Barris originally was very nervous and it showed.  But he quickly loosened up, wearing silly hats, clothes that looked as if he’d gotten them from the Salvation Army, using eccentric props and generally acting so goofy and off-the-wall that a lot of people watching at home thought Barris actually was drunk on stage.  But he was the perfect ringmaster for this insane circus that everybody participated in.  The studio audience was always loud and raucous and the celebrity guests threw all caution to the wind.  There were a whole bunch of celebrity judges, some very well known such as Bill Bixby, Dr. Joyce Brothers, Richard Dawson, David Letterman, Joan Rivers and Suzanne Somers.  Others were staples of the daytime TV game show circuit who made a pretty good living just appearing on game shows.  But the celebrity hosts that were the most popular were Jamie Farr, Arte Johnson and Jaye P. Morgan who was without a doubt the most risqué.  Her one-liners frequently had to be bleeped and she seemed incapable of speaking in anything but but sexual double-entendres.

Bu my favorite and the favorite of many was Gene Gene The Dancing Machine (Eugene Patton) who actually was a member of the stage crew.  Chuck Barris brought him out to dance during commercial breaks to entertain the audience.  Chuck liked him so much that he had him dance on air and from then on Gene Gene The Dancing Machine was a hit.  The “Gong Show” house band, Milton Delugg’s Band With a Thug would swing into Count Basie’s “Jumping At The Woodside” while Gene Gene enthusiastically danced around the stage, often joined by Chuck while all manner of junk was thrown onstage.  The celebrity judges and the audience even jumped up and danced.  In short, when Gene Gene The Dancing Machine came on, the joint went nuts:

Tied in popularity with Gene Gene The Dancing Machine was The Unknown Comic (Murray Langstrom) who performed with a paperbag over his head with holes for his eyes and mouth.  His hysteric, rapid fire delivery and sleazy jokes made him an immediate hit.  He would frequently call Chuck Barris up on stage to make him the butt of his jokes such as: “Hey, Chuckie baby, do you like sex?” “Sure.”  “Do you like traveling?” “Sure.” “Then why don’t you go take a fuckin’ hike?”

I realize this review is going into far more background than most of my reviews but I fairly comfortable in saying that most of you reading this have probably never heard of “The Gong Show” let alone seen an episode so I felt a little history was needed for you to understand why I was so delighted when during a free weekend of HBO I was able to see THE GONG SHOW MOVIE, a movie I haven’t seen in I don’t know how many years since it’s one of those movies that has never been available on VHS or DVD so the only way to see it is if you subscribe to one of those premium movie channels.

THE GONG SHOW MOVIE is a fictionalized week in the life of Chuck Barris as he struggles to balance leading a quiet life with his wife Red (Robin Altman, his real life wife at the time) with the zaniness of being the producer/host of the most popular show on daytime television.  It isn’t easy because everywhere he goes he’s recognized as “Chuckie Baby” and everybody wants to audition for him.  No matter what he’s doing and where he is.  His loyal secretary Mabel (Mabel King) begs him to get some proper rest.  The network executive Buddy Didlo (James B. Douglas) begs him to please tone down the vulgar wildness and out-of-hand risqué humor.

The movie has some of the wacky and downright perverse brilliance that made the show so enjoyable.  The movie has many scenes from the TV show intercut, including Chuck in auditions and acts that that were no doubt considered just too much for daytime.  The movie also has that breast baring incident, thank you Miss Jaye P. Morgan.

The acting is nothing to brag about but for me that just adds to the anarchistic spirit of “The Gong Show.” In this period we live in now, where the Cult of Celebrity is at its height, it’s refreshing to see a bunch of people who just want to have fun with whatever mediocre talent they have and look for no more than to make people laugh. I’ll take “The Gong Show” contestants over today’s crop of wanna-be’s who believe they should be famous just because they want to be famous.

So should you see THE GONG SHOW MOVIE?  As I said, unless you subscribe to HBO or Showtime or some other premier movie channel then it’s highly unlikely you’ll get a chance to.  And the movie would probably be only of interest to folks like me who remember the TV show.  I really hope it makes it way to DVD because it would make a perfect double-feature with the Chuck Barris biopic “Confessions Of A Dangerous Mind”  But if you do get a chance to see it, give it a try.  For me it’s a wonderful bit of nostalgia to indulge in.  THE GONG SHOW MOVIE is cheerful and anarchistic fun that wants to do nothing more than make you part of its kooky absurdity and that’s enough for me.

89 minutes

Rated R

Prometheus

2012

20th Century Fox

Directed by Ridley Scott

Produced by Ridley Scott, David Giler and Walter Hill

Written by Jon Spaihts and Damon Lindelof

Like most of you, upon hearing that Ridley Scott was filming a prequel to “Alien” I got as giddy as a 10 year old hearing that a law has been passed making every day Christmas.  The current age of filmmaking we live in now is one where movies I never dreamed would be made are coming to cinematic life.  And Ridley Scott returning to the “Alien” universe is most certainly one of those things I never thought would happen.  “Alien” is for me the definitive blending of horror and science-fiction film because it works so well as both.  And so many other thing went into it to contribute to its rightful place as a film masterpiece: the look of the film itself.  Between “Alien” “Blade Runner” and “Outland” we would never again have science fiction movies set in the future that looked like movie sets.  We now had future worlds that looked lived in with machines that looked functional and practical, not like priceless sculpture.  The casting of Sigourney Weaver as Ripley who became the template for female action heroes in the movies.  Surely with Ridley Scott directing a new movie set in the same universe PROMETHEUS would be a cinematic experience worthy to stand alongside that work of art.

Sorry to disappoint you but it doesn’t.  At least not for me.  The look of the movie is spectacular with sets that are absolutely amazing and flat-out beautiful special effects, especially during a terrifying sandstorm and a scene where one of the characters discovers a breathtaking holographic star map showing the way to Earth.  PROMETHEUS is watchable and worth looking at but that’s all it is.

It’s the year 2093 and aboard the trillion dollar starship PROMETHEUS, the crew is awakening from cryonic stasis sleep after two years of travel to their destination.  Which is a small moon that archeologists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) believe they’ll find evidence of beings they call The Engineers.  Their theory is that The Engineers are direct forefathers of humanity.  To prove this theory,  the billionaire founder and CEO of the Weyland Corproration, Peter Weyland (Guy Pearce) has had this ship built and sends a crew along with Elizabeth and Charlie.  The crew includes the captain, Janek (Idris Elba) Weyland Corporation executive Meredith Vickers (Charlize Theron) and David (Michael Fassbender) an android who acts as pretty much a glorified hi-tech gofer.  There are other crewmembers but it’s hardly worth mentioning them as they’re there just to have really terrible things happen to them.

Upon landing on the moon, an exploration team investigates a huge structure, discovering that an entire crescent shaped starship is inside.  They discover corpses of humanoid beings they assume are Engineers and strange stone cylinders.  Charlie becomes infected with a strange dark liquid inside of a stone cylinder David has snuck on board the ship and from then on, things continue to go horribly wrong.  So wrong that the crew of the PROMETHEUS are forced to make a decision between their own survival and that of the human race.

Okay, let me get what I didn’t like out of the way so that I can end this review on a high note with what I did like.  PROMETHEUS is one of those movies where people go where they have absolutely no business going and then run around screaming because that decision bites them in the ass.  And in this case I mean that quite literally.  The story really didn’t grab me and the poor characterization didn’t help either.  Most of the characters in this movie are just there, relying on visuals like wearing hoodies and mohawks so that we can tell them apart.  There are some scenes that are meant to be frightening and scary but to me were just laughable.  Especially the scene that inspired me to dub Noomi Rapace’s character ‘Elizabeth the OctoMom.’  If you’ve seen the movie you know what I’m talking about.  Idris Elba, one of my favorite actors is totally wasted in this movie.  At least Charlize Theron gets to have some fun playing the icy executive who makes it clear to one and all she doesn’t want to be on this mission.  Theron’s character is the only one displaying any kind of common sense which makes her stand out even more.

Noomi Rapace continues to add to her resume of solid performances as she plays a women of strength with intelligence and compassion.  Her struggle to reconcile her scientific discipline with her religious faith is well done.  But it’s Michael Fassbender who walks away with the acting honors.  For an android, David displays more personality than anybody else in the crew and has more of a sense of wonder about their discoveries than the humans.  He also has a goofy sense of humor that manifests itself in very unexpected ways.

So should you see PROMETHEUS?  Most of you reading this probably already have and are either wishing a pox upon my house or defriending me on Facebook for some of the things I’ve already said.  But for those of you who aren’t let me say this: I’m not saying PROMETHEUS is a bad movie.  It’s not.  It’s a Ridley Scott movie and the man knows how to make a movie, no doubt about it. The problem lies in the story which simply doesn’t live up to the huge cosmic themes it raises and the lack of characterizations.  Everybody turns in solid performances as best they can (but what was up with that accent, Idris?) and technically you couldn’t ask for better.   But on a level with “Alien”?  Nah.  Not even close.

124 minutes

Rated R

The Fast And The Furious (1955)

1955

American Releasing Corporation

Directed by John Ireland and Edward Sampson

Produced by Roger Corman

Written by Jean Howell and Jerome Odlum from a story by Roger Corman

Last year my Better In The Dark co-host Thomas Deja and I got the idea for a theme for the summer of 2012 which we called “The Summer of Speed”  The idea was to do episodes reviewing movies based around cars or where cars play a major role.  Naturally we immediately hit on doing an episode on the entire “Fast and Furious” series which you can find here .  I also saw this as an opportunity to do the same theme here at The Ferguson Theater and review movies I’ve been meaning to review for the longest but have been neglecting.  Movies such as “Speed Racer” “The Cannonball Run” “Smokey and The Bandit” and “Greased Lightning”. Now being anal as I am, I insisted to Tom that I wanted to start with the original THE FAST AND THE FURIOUS made in 1955.  He said I could go knock myself out and now I see why.  This movie does not follow The Ferguson Rule Of Truth In Movie Advertising in that it is neither Fast nor is it Furious.

Frank Webster (John Ireland) is a man on the run.  Doing time for a murder he didn’t commit, he manages to bust outta the hoosegow and take it on the lam.  The dragnet cast out for him is extensive and closing on him fast.  He needs a quick way out of his situation and finds it thanks to Connie Adair (Dorothy Malone) who is driving a Jaguar. While sitting in a roadside diner, Frank overhears Connie telling the waitress that she’s on her way to participate in a cross country race where the finish line is in Mexico.  Frank sees this as a perfect cover to get away.  Frank takes Connie hostage and they head for the race.

The bulk of the movie is taken up with Connie pleading for Frank to let her go even though there are numerous opportunities where she could get away but doesn’t take advantage of it.  And for a guy who’s trying not to arouse any suspicion,  Frank does a lot of suspicious things that cause many of the people he meets at the race to raise their eyebrows and ask Connie, “Hey, you sure this guy is okay?”

Turns out that the race officials have changed the rules so that women can’t participate in the race saying that they’ve deemed it “too dangerous for a woman.” So Frank has to put himself in the race so that he won’t raise any more eyebrows than he already has.  It’s during his qualifying run for the race where Frank and Connie start to bond a little.  He tells her what really happened to get him thrown in jail and she urges him to give himself up and even offers to help.  Frank quite naturally tells her to get stuffed.  Now somehow through all this back-and-forth, they manage to fall in love.  So much so that Frank jeopardizes his freedom to drive Connie’s car in what has to be the most boring car race I’ve seen on film.

Thankfully the movie is only 73 minutes long so if you do decide to watch it, it’s mercifully short.  Apparently the producers of the Vin Diesel remake bought the rights to the movie just because they wanted the title.  And I can understand that: it’s a good title.  One that is wasted on this movie.  It’s worth watching if you’re a Roger Corman fan and want to watch this because of his involvement in it but that’s about I can recommend it for.  I really didn’t care a poobah’s pizzle about anybody in this movie and while Dorothy Malone tries her best to inject some life into her scenes with John Ireland, he’s no help at all as his idea of acting is to just stand there and look constipated.  Their romance is entirely unconvincing and when I got to the end of the movie I howled, “That’s it?

THE FAST AND THE FURIOUS is available for streaming on Netflix and you can also see it the entire movie on YouTube which I’ve provided for you right here if you care to see it.  If you don’t want to, I quite understand.

POM Wonderful Presents: The Greatest Movie Ever Sold

2011

Sony Pictures Classics/Stage 6 Films/POM Wonderful

Directed by Morgan Spurlock

Written by Morgan Spurlock, Jeremy Chilnick

Produced by Morgan Spurlock, Jeremy Chilnick, Abbie Hurewitz, Keith Calder, Jessica Wu

POM WONDERFUL PRESENTS: THE GREATEST MOVIE EVER SOLD may just be The Greatest Documentary Ever Made.  And here’s why.  Imagine that a magician like David Copperfield is going to perform the most amazing illusion you’ve ever seen.  But before he does the trick he breaks it down and explains to you in every single detail exactly how he’s going to do it.  After that, he goes ahead, performs the illusion and your mind is still totally blown at what you’ve just seen even though you know how he did it.  POM WONDERFUL PRESENTS: THE GREATEST MOVIE EVER SOLD is kinda like that.  Morgan Spurlock sets out to make a movie about product placement in movies by getting advertisers and marketing agencies to finance the movie.  Some corporate executives are quite simply gobsmacked when Spurlock comes into their offices with his storyboards and his pitch.  “Lemme see if I got this straight,” one of them says. “You want to make a movie about product placement that is paid for with product placements?”

That’s exactly what Morgan Spurlock wants to do and he does it in a manner that is so goofy that this documentary easily qualifies as a comedy in my eyes as during one encounter after another Spurlock explains his concept and is met with either outright astonishment, derision or really excited enthusiasm.

He doesn’t go into this completely blind.  He interviews directors such as J.J. Abrams, Quentin Tarantino, Peter Berg and Brett Ratner to find out how they feel about the demands studios place on them for product placement and what he should expect going into those types of meetings.  I found their honest opinions about it quite refreshing,  especially Brett Ratner who says bluntly that studios only care about two things when it comes to movies: “How much is it going to cost and how much is it going to make?” and that’s why they welcome product placement to help them pay for a movie.  Spurlock’s conversation with Ralph Nader about truth in advertising gave me some the best laughs in the movie as Mr. Nader is one of those people who are at their funniest when they’re not trying to be funny.

Some companies turn Spurlock down in a New York minute.  Some never even return his calls.  Others jump into the project wholeheartedly like POM Wonderful who kicks in a cool million simply to have their name in the title of the movie.  The rock band OK Go gleefully agrees to provide a theme song, naturally titled “The Greatest Song I Ever Heard.”

And the free stuff that Spurlock gets from the participating companies is mind-boggling.  He gets not one, not two, but six Mini-Coopers.  JetBlue lets him fly free. Hyatt lets him stay in their Executive Suites. Sheetz lets him pump free gas into his free Mini-Cooper.  Old Navy gives him truckloads of clothing.  It’s crazy.  But he’s getting away with it as he’s showing us exactly what these companies are willing to do just to insure their product and their company name is in a movie.

I wasn’t all that crazy about Morgan Spurlock’s first movie, “Super Size Me” as it seemed like a pretty pointless stunt to me.  I mean, even if you eat nothing but salad everyday it’s still going to have a detrimental effect on your body.  And I don’t need to watch a 90 minute documentary to tell me that eating McDonald’s fast food everyday isn’t good for me.  Tell me something I don’t know.  I enjoyed his short-lived FX series “30 Days” much more.  Every episode had either Spurlock or some other person spending 30 days living a lifestyle they were completely unfamiliar with, such as a Christian living as a Muslim.  It was a show that truly educated and it was a shame FX cancelled it.  If you can find it on DVD or on Netflix, by all means check it out.

But POM WONDERFUL PRESENTS: THE GREATEST MOVIE EVER SOLD I can recommend totally and completely.  Morgan Spurlock’s enthusiasm for the project is infectious and the reactions of the various corporate executives and their negotiations for their products are funnier than anything that could have been scripted.  It’s a documentary that doesn’t preach, doesn’t beat you over the head with a message until your ears bleed (I’m looking at you, Michael Moore) but gets its point across while it’s entertaining you at the same time.  Highly recommended.

PG-13

90 Minutes

The Shadow

1994

Universal Pictures

Directed by Russell Mulcahy

Produced by Michael Bregman

Written by David Koepp

Created in 1930 to be the mysterious narrator of a radio anthology program, it wasn’t long before listeners demanded stories about this mysterious narrator. And so 1931 saw the debut of “The Shadow Magazine” a pulp series primarily written by the prolific Walter Gibson who also was a professional magician. It was Walter Gibson who considerably fleshed out the background of The Shadow, writing 282 out of 325 Shadow novels. The Shadow remains one of the best pulp heroes created and even today his popularity is extraordinary. His tagline: “Who knows what evil lurks in the hearts of men?” is known by people who have never read a Shadow novel or have little or no knowledge of the character whatsoever. His radio show is notable for its longevity as well as Orson Wells starring as The Shadow/Lamont Cranston in the early episodes. He’s also been featured in comic books, two television series and seven movies, including the 1994 big budget THE SHADOW starring Alec Baldwin as the slouch hatted crime-fighter.

Lamont Cranston (Alec Baldwin) is living in Asia when we first meet him. Operating as the ruthless opium warlord Ying Ko he is a cold blooded killer who has totally given over his soul to evil and corruption. He’s kidnapped by The Tulku, a holy man who tells Cranston that he could be a tremendous force for good if he could learn to harness the shadow of his own evil. Cranston is humbled by The Tulku who has some pretty formidable powers including telekinetic mastery over The Phurba, a living knife. Cranston becomes the Tulku’s disciple and is taught secrets of the mind, including the ability to cloud men’s minds so that they cannot see him. Cranston then returns to New York City to take up the life he had before, that of a rich, spoiled playboy. But secretly he wages war against crime as The Shadow, using a network of agents to assist him. He’s unknowingly helped out by his uncle, Police Commissioner Wainwright Barth (Jonathan Winters) who tends to talk a little too freely around his nephew about police business as Barth has no idea Cranston is The Shadow.

It’s a secret that Cranston can’t keep from Margot Lane (Penelope Ann Miller) who has psychic powers of her own as well as a serious problem. Her scientist father Dr. Reinhardt Lane (Sir Ian McKellan) has been kidnapped by Shiwan Khan (John Lone) the last descendant of Genghis Khan who is determined to do what his ancestor couldn’t: rule the world. And he’s going to start by blowing up New York with an atomic bomb created by Dr. Lane and his slightly daffy assistant (Tim Curry) It’s up to The Shadow to stop Shiwan Khan but it’s not going to be easy. Not only does Shiwan Khan have an army of Mongol warriors who have no problem with killing whoever stands in their master’s way but Khan has mental powers that easily equal and may even surpass that of The Shadow himself.

Somewhere inside THE SHADOW there’s a really good movie trying it’s best to be seen. There’s a whole lot about this movie to like. The production values are wonderful and there’s rarely been a movie based on a pulp character that has looked this good. The 1930’s New York City of THE SHADOW is a pulp version of New York City and looks it. Alec Baldwin is obviously having a lot of fun playing the character and he does it very well. I really love how he looks as The Shadow. He looks exactly like a Michael Kaluta illustration come to life in every scene. Even though I think Jeff Goldblum or Adrian Brody are both more similar in appearance to the traditional description of Lamont Cranston, Alec Baldwin is perfectly acceptable. He’s a lot better than Penelope Ann Miller who is a great sucking black hole that saps every scene she’s in of its energy. Oh, she looks terrific in her costumes and she looks right at home in the 1930’s time period but she simply doesn’t generate very much excitement on screen.

John Lone tries his best but Shiwan Khan comes off more as a spoiled brat than a world conquering villain. Khan and Cranston have a couple of confrontations that are really strange in that they seem more like stand-up comics trying out their material on each other rather than the deadliest of enemies. And you don’t put the wildly talented Tim Curry in a movie without giving him more to do than simply roll his eyes and flash his trademark goofy grin. Peter Boyle also appears to be having a good time playing cab driver/chauffeur Moe Shrevnitz. He comes off better than Jonathan Winters since his Police Commissioner Barth appears to spend all his time eating steak in the Cobalt Club instead of doing his job. No wonder Mongol warriors in full armor and carrying swords can run around Manhattan kidnapping scientists and hacking innocent bystanders into baloney slices. Ian McKellan displays none of the bombastic energy he displayed in the “X-Men” or “Lord Of The Rings” trilogies. But then he isn’t asked to do much as he spends most of the movie being mind-controlled by Khan.

But for me the main problem is that the movie tries to merge the two incarnations of The Shadow into one. He’s both the radio version who has psychic powers and could cloud men’s mind so that they cannot see him and he’s also the pulp version who has no issues with whipping out a pair of .45 automatics and dealing out hot lead justice. I can see Baldwin’s Shadow using his mind-clouding powers when he’s up against half a dozen Mongol warriors in Dr. Lane’s lab but does he really need to use it against a single man with a machine gun? I could almost sympathize with Tim Curry when he screams; “why don’t you come out and fight like a man?”

So should you see THE SHADOW? I think so because at the core of it, The Shadow as a character is fascinating because here’s a hero who operates and acts more like a villain than even the actual villains he fights. The idea of a man harnessing his own evil nature and using it to fight evil is wonderful and I think it’s part of The Shadow’s secret of longevity. Even though it’s an ultimately disappointing effort, I like this movie for what it gets right and I forgive it for what it gets wrong as it’s obvious the director and the actors respect the characters and the material. I would have preferred a darker approach with a bad guy who does more than worry about where to buy a nice suit like Lamont Cranston’s but this movie’s a satisfactory way to introduce those unfamiliar with the character to the world of The Shadow. If you haven’t seen it it’s worth one viewing at least.

PG-13

108 minutes

Better In The Dark #130.5

Episode 130.5: UPFRONTING WITH LUCY, KRYSTEN AND YOU

In this Fun Sized Point Five Episode, Derrick and Tom look at some of the stories that emerged from The Upfronts for the coming 2012 season. Join The Guys Outta Brooklyn as they discuss the renewal of Community in light of its show runner’s firing, the persistence of period set dramas, broadcast networks trying to be cable channels by having Krysten Ritter parade around naked, and CBS’s caginess around their announcement of Elementary! Sure, some of it is an excuse to use a photo of Lucy Liu in her underwear and Krysten Ritter giving the Fish Face as the podcast art…but give us a break and get to clicking!

———————————-

BETTER IN THE DARK
Two Guys Outta Brooklyn Talk Movies
DJ COMICS CAVALCADE
Silver Age Comics Through Modern Eyes
Join us now at www.earth-2.net!
Nocturne, The City That Lives By Night….needs a darker shade of protector
THE SHADOW LEGION http://welcometonocturne.blogspot.com/