Today is the 80th anniversary of the release of Detective Comics #27, the debut of Bill Finger and Bob Kane’s “young socialite” Bruce Wayne and his “mysterious and adventurous” alter-ego, Batman. Ever since his inauguration, the legends of the Caped Crusader has been retold and reimagined in many ways by both professionals and fans. Today’s subject is a particularly interesting interpretation of the World’s Greatest Detective: the 2005 animated short Batman: New Times. The directorial debut of Star Trek: Voyager visual effects artist Jeffery Scheetz, the DAVE School short utilizes character designs based on the Minimates toyline created by Art Asylum and features the vocal talents of two major Batman franchise alumni, Robinson Crusoe on Mars star Adam West and Mark Hamill of Corvette Summer fame, as well as Courtney Thorne-Smith (Ally McBeal) as Catwoman and the illustrious Dick Van Dyke as Commissioner Gordon.
For Black History Month, I’ve decided to take a look at two of the strangest films starring one of the biggest stars of the blaxploitation era. The man in question is Jim Kelly, the actor and martial artist who is best known for his portrayal of Williams in the groundbreaking 1973 action classic Enter the Dragon. Most of Kelly’s roles were demonstrations of his proficiency in Okinawan Shorin-Ryu karate, which earned him the World Middleweight Karate Title at the 1971 Long Beach International Karate Championships. Since his appearance in Dragon, Kelly became a rising action star during the 70s, starring in such notable films as Black Belt Jones and Three the Hard Way, but the subjects of my joint review don’t share the same amount of fanfare. Let’s take a look at 1977’s Black Samurai and 1978’s Death Dimension and see how they stack up.
Both films feature Kelly as some sort of law enforcement agent dealing with the bizarre machinations of a crazed supervillain with nothing but his wits and his martial arts prowess. The main difference is that Samurai is an adaptation of a popular adventure novel series written by Marc Olden, an African-American mystery author with black belts in karate and aikido. Besides Kelly, the other thread that ties these films together is the presence of infamous B-movie horror director Al Adamson. Although both films are structurally similar to many low-budget thrillers of the era (right down to the excessive amount of fun but pointless action scenes and gratuitous sex appeal to make up for the boilerplate story), Adamson brings a sense of tension and an affection for outlandish imagery that can only come from a director who’s honed his craft in exploitation cinema, which give the films a distinct style. The performances are more of a mixed bag, with both films relying on Kelly’s charisma and athleticism to make them something watchable. Dimension is notable for featuring two alumni of the James Bond film series, with former 007 George Lazenby (On Her Majesty’s Secret Service) giving a formulaic performance as a police chief and Harold Sakata (Oddjob from Goldfinger) hamming it up as the ice-bomb-wielding gangster known as the Pig. For the sake of comparison, one of the biggest stars in Samurai is Felix Silla of Addams Family and Buck Rogers fame, portraying a henchman working for a Voodoo-practicing crime lord nicknamed the Warlock.
Overall, I’d say both films have something of merit. Between the two, Black Samurai has a more fascinating premise and crazier fights but Death Dimension is more focused and consistent in its storytelling. Whether you’re looking for a fun bit of campy action or a decent showcase of Jim Kelly’s considerable martial arts skills, this funkadelic duo should hit the spot.
This month marks the arrival of the 4 Indiana Jones movies to Netflix. With that in mind, I wanted to take a look at one of the many adventure films that attempted to take advantage of the popularity of 1981’s Raiders of the Lost Ark. Today’s subject is the 1983 film High Road to China, an adaptation of Jon Cleary’s 1977 adventure novel about an aerial journey from England to China. In the pre-production phase, many top directors and actors were bandied about, including John Huston (The Maltese Falcon), Jacqueline Bisset (The Deep), Sidney J. Furie (The Entity), Bo Derek and her husband, director John Derek, and the then-current 007 Roger Moore. In the end, Where Eagles Dare director Brian G. Hutton was chosen to helm High Road, which would star Bess Armstrong (Nothing in Common) and Thomas Magnum himself, Tom Selleck, who was originally intended to play Dr. Jones. Let’s find out how high this particular Indy knockoff soars.
What sets High Road apart from Raiders is its focus. Most of the action is driven by Armstrong as heiress and pilot Eve Tozer, who searches for her long-lost father, played by an unusually energetic Wilford Brimley. The result is akin to a re-imagining of Raiders from the perspective of its feisty heroine Marion Ravenwood. However, the events of High Road proceed at a more leisurely pace compared to the breakneck speed of Raiders, which can cause the movie to drag in some spots. As far as the performances go, it’s a mixed bag. Armstrong does pretty well as Eve but there are some scenes where she feels less like Marion and more like the infamously annoying Willie Scott from Temple of Doom. Selleck gives an admirable portrayal of a world-weary tough guy as the jaded ace pilot O’Malley while venerated character actors Robert Morley and Brian Blessed ham it up as two of the villains of the piece. Perhaps the most thrilling scenes in High Road are the tense aerial combat sequences, which were skillfully edited by John Jympson (A Hard Day’s Night) and utilized replicas of actual World War I-era biplanes, giving the battles a highly tactile quality.
Although it was released to cash in on the fame of Raiders, there are enough unique elements in High Road to China that make it a fairly engaging story on its own merits. For the most part, I’d say this bit of high adventure sticks the landing (sorry, couldn’t resist).
This Christmas season seems to be a pretty good time to see an adaptation of a superhero comic. With Spider-Man: Into the Spider-Verse and Aquaman garnering a great deal of positive buzz and this year’s Deadpool 2 being re-released for the holidays, I’ve decided to take a look at the 2002 short film The Lobo Paramilitary Christmas Special. Based on the eponymous 1991 one shot comic by Keith Giffen, Alan Grant and Simon Bisley and directed by Scott Leberecht, the short features DC Comics’s hypermasculine, pseudo-parodic alien bounty hunter Lobo (Andrew Bryniarski of Batman Returns and Street Fighter fame) on a mission to assassinate Santa Claus at the behest of a desperate Easter Bunny.
It’s only a day away until Goth Christmas (otherwise known as Halloween) and I’ve decided to take a look at a strange example of a film in the subgenre of science fiction horror. 1980’s Saturn 3, released with an eye toward the audience that lauded Ridley Scott’s 1979 breakthrough hit Alien, is the subject of a great deal of controversy in regard to its behind-the-scenes woes. Martin Amis, the British novelist who wrote the screenplay for Saturn 3, was able to cash in on the contention with his 1984 novel Money, which is based on his own experience during the calamitous production of the movie. Are the various production problems visible in the final film? Let’s find out as we take a look at this Razzie Award-nominated sci-fi thriller.
Skynet’s development of the T-800 went through some growing pains.
If Saturn 3 has any strengths, the performances certainly wouldn’t be counted among them. Watching Kirk Douglas’s hammy, almost parodic turn as the scientist Adam could make one long to see a Douglas-impersonating Frank Gorshin take up the role. It doesn’t help that he has very little chemistry with Harvey Keitel, who portrays the villainous cargo pilot Benson, and Farrah Fawcett, who comes across as monotonous in her performance of Adam’s assistant Alex. It’s pretty unfortunate when the best actor in your movie is your key practical effect. The prop in question is Hector, an advanced robot built by Benson who, in true HAL 9000 fashion, rebels against Adam’s crew. As a space-based thriller with a small cast, it takes a lot of its cues from Alien, right down to a scene that echoes Jonesy the cat’s encounter with the Xenomorph. Veteran director Stanley Donen (Singin’ in the Rain) does the best he can with the story, which was conceived by Star Wars production designer John Barry, but most of the scenes lack energy or imagination. Saturn 3’s saving grace is Elmer Bernstein’s vibrant score, which conveys menace and mystery when the visuals and acting aren’t up to the task.
Overall, I can’t really say you should skip Saturn 3 entirely. The effects and imagery are believably frightening and some of the design work is intriguing, especially the weirdly unique and appropriately unsettling Hector. If you’re in the mood for a bit of early 80s sci-fi cheese, Saturn 3 might satisfy that craving.