Archive for the ‘Movies’ Category

Library Addition: Michael Moorcock’s Into The Media Web

Thursday, September 2nd, 2021

Here’s a fairly recent Moorcock rarity that had an insanely small print run.

Moorcock, Michael (edited by John Davey). Into The Media Web: Selected short non-fiction, 1956-2006. Savoy Books, 2010. First edition hardback, a Fine- copy with slight bumping at head and heel in a Near Fine dust jacket with slight grubbiness, slight creasing at top front cover and a 1/8″ closed tear at top front fold, and slight bumping at heel. Inscribed by Moorcock to fellow writer (and New World contributor) John Baxter: “To John,/Some embarrassments/some bullshit and maybe/a little bit/of truth./All very/best, as/ever yours/Mike,” plus a signature dated “18th July ’10.” 300,000+ word, 717 page collection of non-fiction, including essays, reviews, etc. covering books, film, music, etc. (Here’s a post on the book’s design.) Reportedly had a hardback print run of less than 100 copies, though I haven’t nailed down exactly how many. Bought for £140 plus shipping.

You may remember that I also ended up with John Baxter’s copy of George Locke’s Voyages Into Space.

Movie Trailer: Phil Tippett’s Mad God

Thursday, August 5th, 2021

Phil Tippett is the stop-motion animator who worked on the first two Star Wars movies, as well as being the visual effects supervisor for some of the Twilight movies (man’s got to eat). Now he’s directed an entire stop-motion movie it took him some thirty years to produce, and it looks way trippy:

It sort of looks like Jan Svankmajer, Ladislas Starevich, a survival horror game and the war machine sequence from The Thief and the Cobbler got together and birthed a mutant cinematic baby.

Is it any good? Eh, maybe. Interesting visually, but it sounds plotless.

Library Additions: Two Centipede Press Books

Friday, July 30th, 2021

Two more books came in from Centipede Press:

  • Boyett, Stephen R. The Architect of Sleep. Centipede Press, 2021. First hardback edition, #355 of 400 signed, numbered copies, a Fine copy in a Fine dust jacket, still in shrinkwrap. Really interesting novel about a man transported to an alternate earth where raccoons evolved as the planet’s sentient life form. Originally published as an Ace paperback original back in 1986 and became something of a cult classic, and I’ve sold a lot of PBO copies of this and Ariel over the years (and indeed, if you just want to read it, I have copies available). Recommended. This signed edition is already sold out from the publisher. I’m hoping this new edition prods Boyett into revising and finishing the still-unpublished sequel, The Geography of Dreams.

  • Foster, Alan Dean. The Director Should’ve Shot You: Memoirs of the Film Trade. Centipede Press, 2021. First hardback edition, #430 of 500 signed, numbered copies, a Fine copy in a Fine dust jacket, still in shrinkwrap. I haven’t read any Foster novels since one of the early Pip and Flinx books way back in my misspent youth, but this one interests me. As the king of media tie-in novels, from Star Wars to Alien to Krull, Foster has worked on a lot of big hits (and misses), and in this book he dishes on all the behind-the-scenes drama he witnessed in in his career. This signed edition is already sold out from the publisher.

    The white square visible on the front is a numbered card inside the shrink wrap that will get laid in when it’s opened.

  • I will have copies of both of these in the next Lame Excuse Books catalog (currently in progress).

    The Eternals Trailer: Super-Meh

    Wednesday, May 26th, 2021

    The trailer for Marvel’s The Eternals dropped:

    It’s so lackluster I have to use a meme from the competing DC universe:

    There’s nothing there that grabbed me. And I’m a guy who’s seen almost all of the MCU films.

    The Critical Drinker has thoughts that largely mirror my own, albeit with more drinking and profanity:

    MST3K Kickstarter Update: Fully Funded, New Joel Episodes, Dueling Hosts, More!

    Friday, May 7th, 2021

    For those who still haven’t backed the new Mystery Science Theater 3000, they just roared past their $5.5 million goal to make 12 episodes and they still have (as of this writing) 13 hours left to go.

    I previously covered The Gizmoplex, but here are few of the more interesting tidbits about Season 13 that have been revealed since the campaign launch:

  • Grand Poobah Joel Hodgson will reprise his role as test subject Joel Robinson for two episodes.
  • In addition to Jonah Ray returning as test subject Jonah Heston (and Felicia Day and Patton Oswalt returning as the Mads), Emily Marsh (who appeared on the most recent MST3K live tour) will be appearing as test subject Emily Crenshaw. Evidently there will be separate Jonah and Emily (and Joel) episodes.
  • They’re going to do at least one 3D movie.
  • Two of the films to be riffed will be Robot Wars and Demon Squad. Since the latter came out in 2019, that has to rank as the shortest release-to-MST3K gap ever.
  • If you haven’t backed the Kickstarter yet, now would be a good time…

    Honest Trailer: Godzilla vs. Kong

    Tuesday, April 27th, 2021

    And here’s the conclusion of our (sorta) Godzilla Week on Futuramen, The Honest Trailer for Godzilla vs. Kong:

    Hopefully more book geeking starting tomorrow.

    Movie Review: Godzilla vs. Kong

    Tuesday, April 20th, 2021

    Godzilla vs. Kong
    Directed by Adam Wingard
    Written by Terry Rossio, Michael Dougherty, Zach Shields (story), Eric Pearson and Max Borenstein (screenplay)
    Starring Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Julian Dennison, Kaylee Hottle and Demian Bichir

    This is the best of the Monsterverse movies. The people at Legendary Films seem to have finally figured out what viewers actually want (hot kaiju-on-kaiju city-destroying action) and what they want left on the cutting room floor (boring human backstory).

    The movie opens with King Kong contained within a Truman Show-type dome over Skull Island and Godzilla attacking the Florida research facility of sinister Apex Cybernetics (think Yoyodyne or Weyland-Yutani). The movie quickly splits into two strands: Millie Bobby Brown’s character (a bit less useless than in Godzilla: King of the Monsters), her tubby geek friend (Julian Dennison) and a conspiracy theorist (Brian Tyree Henry) try to penetrate Apex systems to learn The Real Truth, while Kong, along with his deaf Child Monster Whisperer companion (Kaylee Hottle; think Kenny from Gamera, but much less annoying) and guardian Rebecca Hall (the bank-teller from The Town) help Alexander Skarsgard take Kong to Antarctica on an Apex-underwritten mission to the hollow earth to uncover a new power source.

    If the last part sounds extremely unlikely, you’re right, but they’ve cannily kept explanations to a bare minimum to keep you moving on to the next monster scene. (You know that 5-15 minute segment where they have to knock out Kong to get him on the ship? They snipped that sucker entirely out and cut to him already in giant chains mid-voyage.) The first battle between Godzilla and Kong takes place at sea, with round one going to our reigning lizard champion.

    There’s some delightful stuff with Kong reaching the hollow earth, where he roams the verdant green-and-purple landscape, fights some Quetzalcoatlesque giant flying serpents (which this rundown dubs “warbats”) and finds a giant ancestral throne room and (plot point alert) a Kong-sized Zilla-spined axe.

    In the other plotline, the Scooby Gang discover that Apex is breeding Skullcrawlers (from Kong: Skull Island), and are promptly whisked via high speed underground tunnel to Hong Kong (Monsterverse tech seems to be advancing much faster than our own), where they discover that Apex head honcho Walter Simmons (Demian Bichir, basically playing Evil Tony Stark) has built to his own Mechagodzilla to put man back at the top of the food chain.

    If you watched the Toho Godzilla films, you pretty much know how this is going to turn out.

    We finally get Godzilla and Kong smashing up neon-lit Hong Kong in a truly epic battle royal that Mechagodzilla later joins. Legendary really makes use of the possibilities of CGI to make you feel like you’re in the middle of a battle between two giant monsters, with the viewpoint frequently swooping in and around the action. There’s even a scene where Mechagodzilla emerges from a hillside that I would swear is an almost exact lift from a Toho hillside monster emergence scene.

    This is the Godzilla movie where Hollywood finally figured out how to get out of its own way. No “reinvented” Godzilla, no tedious backstories, no time wasted on pointless human drama, no 15 different studio executives having to stick their dicks in the soup to justify their salaries. Just compelling kaiju on kaiju action rendered with top-notch modern CGI that puts you in the middle of the city-stomping. (And none of the “they make their own weather so everything is dark and stormy” effect used to excess in Godzilla: King of the Monsters.) It bests all previous Moinsterverse films in just about every area (except Kong: Skull Island in cast; Samuel L. Jackson, John Goodman and Tom Hiddleston beat Eleven, Ben Affleck love interest and a random Skarsgard hands down).

    And it’s light-years better than the 1962 King Kong vs. Godzilla, which features perhaps the saddest Kong ever committed to film. (Banglar King Kong doesn’t count.)

    If you like Godzilla movies, this one is well worth catching while it’s still in theaters.

    Joel Hodgson Launches Another MST3K Kickstarter

    Thursday, April 8th, 2021

    MST3K creator Joel Hodgson has launched another MST3K Kickstarter to help fund the show that was dropped by Netflix after two seasons. Their minimum goal is $2 million for three more episodes (which I think they’re going to breeze past today), with stretch goals out to $5.5 million for 12 episodes (plus 12 short films).

    Plus something called “The Gizmoplex,” which he describes as “an online theater for live screenings & special events!”

    1. Live Premieres & Events: Each month for our first year, The Gizmoplex will host at least* one live event, where you can join me, our cast and writers, and some special surprise guests. Each live event will be like a night at the theater, and will have a lot of fun surprises. Our live events could include new sketches, trailers (done “MST3K style”), live Q&A panel discussions, interviews, contests… even the return of the MST3K “viewer mail” segment.

    2. The MST3K Watch Club: To make it easier to watch MST3K with your friends, The Gizmoplex will also be the official home of the MST3K Watch Club! Each month, you’ll get on-demand access to a new selection of episodes, and the ability to host your own live screenings for up to 10 people! Anyone with a Gizmoplex Pass can join for free, and if you want to invite someone who doesn’t, they can get a “Day Pass” for just $0.99!

    And, if we reach our stretch goals, the Gizmoplex Pass will get even more valuable!

    3. Gizmoplex Apps: If we raise $3.3 million, we’ll be able to develop apps that bring The Gizmoplex to mobile devices and TVs! Right now, the plan is to include apps for six of the most popular platforms: iOS, Android, AppleTV, AndroidTV, FireTV and Roku. Like Crow says: we’re gonna conquer cyberspace, man!

    Also: “I really want The Gizmoplex to feel like something new: less like another Netflix with nothing but MST, and more like a charming, off the radar, suburban cineplex that plays movies for 99 cents, long after their first run.”

    Though not stated, the ad campaign suggests they’re keeping the Season 11 and 12 cast, and Jonah Ray appears in the Kickstarter video.

    There’s also some interesting discussion of the economics behind the show and Kickstarter:

    1. Without a network supporting us, we need to fund everything ourselves. During our first Kickstarter, we estimated that, once production was up and running, we’d be able to produce new episodes for about $250K each. In the end, though, the budget for each new episode ended up being closer to $350K. For the last two seasons, we were able to cover the difference through our deal with Netflix… but this time, we’re on our own. We’ve got a lot of ways we can keep the budget lower, but, you know… it’s still going to cost something. And when you think about it, $350K for 90 minutes of television is still one of the best deals in show business.

    2. We still can’t spend everything we raise on Kickstarter to make the show.

    Campaign Fees: Between Kickstarter and the credit card processor, we pay about 8% of your pledge in fees. There’s also a fee for CrowdOx, the platform we’ll use to manage all of your surveys and rewards after the campaign ends.

    Making Rewards: We reserve about 20% of your pledge in order to design, produce, print, sort and pack all of your rewards. And that’s not even including shipping, which we’re not collecting until after our Kickstarter campaign ends!

    Dedicated Support: During our first Kickstarter, we underestimated the amount of work involved in providing customer support and creating detailed backer updates, so we had to depend on volunteers to do a lot of it. This time, we want to make sure we’re prepared, so we budgeted about 4% of each pledge for that.

    Building & Running The Gizmoplex: We really want The Gizmoplex to be great, but getting it started will take some work – and keeping it running also means we’ll have some monthly fees to cover. We also need some budget to support all of the special live events we’re planning to host. So, we’re using about 3% of your pledge for that.

    When you put it all together, we have to spend about 35% of what we raise just to cover Kickstarter expenses, and to keep all the promises we’re making to you.

    He thinks that if they do 12 episodes, per episode cost will be down to just under $300K.

    You may remember that MST3K already had the biggest Kickstarter in history up to that time. It’s since been surpassed by several smart watches and board games, among other things.

    Despite the caveat that “this might not be a good time for some people to offer financial support to a robot puppet show dedicated to cheesy movies,” I expect them to blow the doors off the totals of their last Kickstarter.

    Naturally I’ve already pledged.

    Update: Just ticked over the first goal of $2 million.

    Movie Review: Kong: Skull Island

    Friday, April 2nd, 2021

    Kong: Skull Island
    Directed by Jordan Vogt-Roberts
    Written By Dan Gilroy, Max Borenstein, Derek Connolly and John Gatins
    Starring Samuel L. Jackson, John Goodman, Tom Hiddleston, John C. Riley, Brie Larson

    With Godzilla vs. Kong upon us, I finally watched Kong: Skull Island. Even though I’m a Godzilla partisan, overall I think it’s the best executed of the Monsterverse films. (I’m seeing Godzilla vs. Kong this weekend.)

    In 1973, with the Vietnam War winding down, LANDSAT has discovered Skull Island in the South Pacific, previously hidden because it’s perpetually ringed by storms. An Air Cav force, lead by Samuel L. Jackson in the Samuel L. Jackson role, escort a group of ostensible scientists to the island, including John Goodman (head of barely-funded Monarch, secretly looking for monsters), Tom Hiddleston (an ex-SAS pathfinder/tracker mercenary) and Brie Larson (a photographer). Soon they run into Kong, who crashes their helicopters a lot quicker than the Viet Cong. Jackson immediately goes full Ahab while another group runs for their life and right into John C. Riley, playing the American version of Sir Basil St. Exposition as a stranded WWII American flyer, along with the silent but friendly native tribe. Riley quickly explains to them that not only is Kong king, but he’s the good king, saving people from the monstrous subterranean “Skullcrawlers,” which look like giant tatzelwurms with vaguely possum-ish snouts.

    The plot unfolds more or less the way you would expect.

    This seems the best of the monsterverse movies because it has the best cast, and director Jordan Vogt-Roberts (who’s primarily worked in TV) seems to have come closest to realizing his vision for it. It quickly and efficiently gets the ensemble to the island with a minimum of character exposition accompanied by a great classic rock soundtrack that runs the gamut of CCR, Jefferson Airplane and Black Sabbath. Jackson, Goodman and Riley all turn in their usual solid work in roles that might seem trite with less stellar performers (see: everyone who’s not Brian Cranston in the previous Monsterverse films). Larson is less annoying than her Marvel role. The support cast of mostly redshirts also do good work. Only Hiddleston comes across as Johnny Onenote And His Pet Stoic Gaze, but the script doesn’t give him much to do.

    The special effects work on Kong is extremely solid (which you would expect from Industrial Light & Magic), even if not as expressive as the Andy Serkis version from Peter Jackson’s remake. The Skullcrawlers are appropriately menacing. But it’s the Huey flight sequences where the effects really shine. It’s obvious from the shot composition that Vogt-Roberts watched Apocalypse Now a whole bunch of times…

    By jettisoning the “Kong takes Manhattan” plot from the previous versions, and dialing the Beauty and the Beast bits down to a bare whisper, Legendary Films has created a swift-moving kaiju film that even casual fans of the genre should enjoy.

    He’s Not Dead…

    Friday, March 5th, 2021

    …it’s only that his metabolism has gotten more selective.

    Tony Hendra, Spinal Tap manager Iain Faith in This Is Spinal Tap, dead at age 79.

    (Hat tip: Dwight.)