Though I didn’t realize it at the time, Teleport City was created for one reason and one reason only: to eventually review Intrepidos Punks. In fact, it wouldn’t be entirely beyond the pale to say that my entire life has been leading up to the moment I first heard of, then tracked down and watched this overwhelmingly fantastic slice of punk rock exploitation from, of all places, Mexico. At its heart, Intrepidos Punks is really nothing more than a by-the-numbers biker film updated for the looser censorship morals of the 1970s. But the frosting it layers onto the biker film cake make it into something utterly sublime. Everything I’ve ever been interested in — exploitation films, sleaze, punk rock, luchadores, scantily clad new wave girls, dune buggies — it all comes together in this perfect storm of day-glo mohawks and ten foot tall teased-hair brilliance.
In 1982, cult film fave Tobe Hooper got his shot at the big time. He was already an infamous character and major figure in the horror film world thanks to his first film, The Texas Chainsaw Massacre. He enjoyed some mainstream success as the director of the original made for television Salem’s Lot, a movie that made a whole generation of children afraid to look out a second story bedroom window. A year after Salem’s Lot, Hooper got a plum job directing a big-budget horror film to be produced by Steven Spielberg. Fans were excited to see what the king of survival horror could do with a Spielberg size budget. Unfortunately, whatever it was he was going to do never came to be.
Here’s how to test whether or not you are a true resident of Teleport City: if I tell you there’s a movie starring Richard Harrison, Anthony Alonzo, and Tetchie Agbayani, do you look at me quizzically and shrug, or do you start to shake with giddy anticipation? If it’s the former, then let us soothe the wound by agreeing that you have much yet to learn, and the path before you is rich with astounding discoveries. If it’s the latter, then we are all together as one, like a rag-tag band of misfits soldiers fighting our way across ‘Nam on some mission whose objective is entirely unclear but never the less must be undertaken.
What is it about a sexy woman in a skull mask? Is it that her nubile body makes one pine for his lost youth while her death’s head visage mockingly reminds him of his encroaching mortality? Probably.
Neraka Lembah Tengkorak is based on a series of popular Indonesian novels credited to author Bastian Tito, all of which focus on the exploits of Wiro Sablang, a sort of wuxia-style wandering hero gifted with a wide variety of supernatural powers. Seven films in all were based on the series, all starring actor Tonny Hidayat as Wiro, and the popularity of the books would later also translate into a successful TV series, albeit one with a different actor in the lead.
If any actor in the world was born to play Ichabod Crane, it would be Jeff Goldblum. So thank God someone thought to cast him in just that role. 1980’s Legend of Sleepy Hollow is, along with Dark Night of the Scarecrow, a made-for-television movie I seem to remember watching just about every single Halloween when I was a wee sprout. In actuality, I probably only watched it a couple times, and even though I begin every description of Dark Night of the Scarecrow off with, “Man, I watched that like a thousand times when I was a kid,” I’m pretty sure I actually only watched that one once. All I remember from it is some guy I could swear was M. Emmet Walsh drowning in a silo full of corn. All I remember from Legend of Sleepy Hollow is a scene where Brom Bones puts on a hood to disguise himself as the Headless Horseman. Heck, I didn’t even remember Jeff Goldblum was Ichabod Crane, and I could have sworn that Brom was played by Stacey Keach.
Well, it turns out that M. Emmet Walsh isn’t even in Dark Night of the Scarecrow, and Brom Bones was played by football legend Dick Butkus, not Stacey Keach. That’s what I get for listening to eight-year-old me. Though I will defend my younger self — it seems almost impossible that M. Emmet Walsh wouldn’t have been in Dark Night of the Scarecrow, and Dick Butkus and Stacey Keach do look a lot alike. What can you do?
Anyway, back in 1980, I watched Legend of Sleepy Hollow while spending the night over at my friend Rowman’s house. Rowman and his house played a significant part in my life up until middle school, when he and his family moved away. In our newly planted little neighborhood in Centerfield, Kentucky, his was the house that was farthest out in the woods, and therefore, our favorite place to spend the night. It was from his house that we launched our many Bigfoot expeditions. It was in his basement that we tried to summon the ghost of the recently deceased John Belushi. And it was there that I was once terrorized by an ax murderer. That was during a slumber party convened to work on our Greatest American Hero stage show, which consisted mostly of Rowman tying a towel around his neck, wearing red pajamas, and jumping off the stairs while flailing his arms and legs wildly. Anyway, his mom was…well, you see…this was the 1970s, right? So things were, you know, different back then. So Rowman’s mom decided a basement full of freakish little boys was too good an opportunity to let pass, so she snuck outside, grabbed an ax, pulled a stocking over her head, and squatted down in front of the basement windows, lightly tapping it with the ax until one of us noticed. Our reaction was, ummm…hey! Why don’t we move on!
Anyway, I was over at Rowman’s house when we watched this, and in my memory Dark Night of the Scarecrow on the same night. That probably wasn’t the case, and I’ll think I’ll stop talking about Dark Night of the Scarecrow until its time to review that movie. Washington Irving’s The Legend of Sleepy Hollow is one of my favorite spook tales. When I moved to New York, I made sure to visit the Sleepy Hollow cemetery to see the gravestones of the many people who irritated Irving and so got characters named after themselves in his tale of horror. As a kid, I even used to make my parents go out of their way on drives so we could go over the covered bridge in Goshen. That covered bridge was fabled to be ground zero for all sorts of ghoulish shenanigans and devil worshipping, though it wasn’t until my teenage years that I really got to indulge those fancies. I remember loving Legend of Sleepy Hollow the TV movie as a kid, but then, I wasn’t a discerning viewer. So I thought it would be fun, years after the fact — decades, even — to revisit it. Unfortunately, this like many TV movies from the era has yet to be released on DVD, so tracking it down took some doing. But we here at Teleport City are nothing if not tenacious, and before too long, I was queuing this sucker up in my old VHS player to see what it had to offer.
I guess I was pretty patient as a kid, or I watched this the same way I watched most things at that age — while doing five other things. Pretty much the first hour of the movie is a colonial era romantic comedy, with gangly young schoolteacher Ichabod Crane (Jeff Goldblum) arriving in the remote New York town of Sleepy Hollow and immediately getting on the bad side of local blowhard bully Brom Bones (Dick Butkus). Crane is a happy-go-lucky fellow though, and he reacts to Brom’s needling with a good-natured humor that only makes the mustached thug angrier. The situation is further complicated by the fact that Crane soon becomes infatuated with Katrina Van Tassel (Meg Foster), also the object of Brom’s affection. Thus we set the stage for an hour of romantic conniving and silliness, with the occasional mention of ghosts and that most famous of local bogeymen, the Headless Horseman.
This portion of the film seems like it would bored a young viewer silly, but it didn’t, and I wonder why. Part of it is that there’s just enough spook stuff to string you along if that’s what you’re looking for. Yeah, it’s obvious most of the stuff is hijinks orchestrated by mischievous locals, but it doesn’t matter. You still get people talking about ghosts and apparitions. Also, we kids knew that the Headless Horseman was real, and that he was going to come after Ichabod Crane, so I think we were easily able to tolerate the romantic comedy stuff because we knew what was coming. But also there’s the simple fact that Jeff Goldblum is pretty fantastic in this, an Ichabod Crane that we all loved and related to. He was a nerd, sure, but he was also confident (up to a point), clever, and had luck with the ladies. He makes social gaffes and was put in embarrassing situations, but he always handles them with a wink and dignity, even in the most undignified moments. Goldblum is basically playing Goldblum, but Goldblum is exactly what’s called for in Ichabod Crane.
It’s just enough to keep a kid interested for an hour or so — and it’s at the one hour mark that the movie knows to start bringing on the scares (not to mention a food fight). Although we know that most of the chilling things becoming more pervasive in Ichabod’s life are being perpetrated by Brom and his slack-jawed flunkie in an attempt to disgrace the schoolteacher and drive him mad, it’s soon also apparent that not everything that’s lurking in the dark woods around Sleepy Hollow is a prank or a legend. And the fact that Goldblum makes for such a likable Ichabod means what we know is about to happen is all the tenser. It even makes for an unexpected tone of melancholy despite the fact that the movie up until this point has been relatively breezy and comedic. When the final act plays out along a dark, snowy path, we were (and remain) primed and ready for the Headless Horseman, the appearance of which is made all the sweeter for the fact that he’s been absent the entire movie.
It’s a pretty authentic version of the story, low key but professionally filmed and acted. Though made for TV, it could easily have passed muster as a feature film had the taste in feature film horror not moved toward slashers. director Henning Schellerup was mostly a cinematographer on feature films, and an occasional director on made-for-TV movies. He brings a cinematic eye to the small screen, making good use the snowy landscapes and dark woods. The entire movie only requires a few simple locations, but you never notice how limited it is since Schellerup is an ace at capturing the stark beauty while making sure the picture concentrates on the characters. Luckily, the screenwriters are up tot eh task of having the characters be the center of attention. Jack Jacobs had been writing television for decades, and Malvin Wald cut his teeth writing some fantastic film noir scripts, including The Naked City, for which he was nominated for an Oscar. They create an Ichabod rane that we enjoy following, and a Brom Bones we hate without really hating him. The supporting cast, including Meg Foster and her icy eyes, is solid, but really this is Goldblum’s show, and he nails it.
Unfortunately, being a television movie means it plays out pretty conservatively. Even the ending we knew and expected is turne don its head in favor of a more family-friendly happy ending — the movie’s one real misstep. We knew the story of the Headless Horseman, and we knew what happened to Ichabod Crane. We didn’t need it softened for us and made into an “all’s well that ends well” sort of thing. That keeps this version from being my favorite, though ultimately it doesn’t spoil the whole thing for me. The finale is still pretty thrilling, with Ichabod chasing after a headless horseman he assumes to be an impostor when, in fact, we know it’s the real deal. And the rest of the movie has been charming enough that as kids we were willing to forgive its lack of a covered bridge and jack-o-lantern throwing. It may partly be nostalgia, but other things for which I have fondness born of youth did not survive adulthood re-examination (Return of the Jedi, I’m looking at you). But I really enjoyed revisiting this version of the classic tale. As an adult looking at it, I probably regret the absence of those things more than when I was a kid, but it doesn’t really bother me. Jeff Goldblum is just too perfect, and the film is just too enjoyable, for me to go all sourpuss on it.
Release Year: 1980 | Country: United States | Starring: Jeff Goldblum, Paul Sand, Meg Foster, Laura Campbell, Dick Butkis, James Griffith, Michael Ruud, Karin Isaacs, H.E.D. Redford, Tiger Thompson, John Sylvester White | Screenplay: Malvin Wald, Jack Jacobs | Director: Henning Schellerup | Cinematography: Paul Hipp | Music: Bob Summers | Producer: James L. Conway
Back in the 1980s, American pop consciousness got really obsessed with the Vietnam War. Serious questions about what the war meant to the American psyche manifested in a variety of mediums, none so readily exploitable as film. And film, like Bo Gritz, became obsessed with exploiting the notion that American POWs were still being held captive in Communist Vietnam. Gritz, amid a flurry of self-promotion and with a team comprised at least partly of bikini chicks wearing t-shirts about how awesome Bo Gritz and his howlin’ commandos were, set up shop in Thailand and began crowing about mounting rescue expeditions. Dealing with a KIA family member can be devastating; dealing with an MIA is often even worse. As far as I know, Gritz never actually amounted to much other than a huckster, and although Vietnam began a program of finding and returning remains of American servicemen, there was never any secret cache of POWs discovered. But the idea had taken root, and once that idea took root, American cinema was quick to send a seeming endless parade of would be heroes who didn’t fight in the actual war to win it for us after the fact in make believe. Uncommon Valor was the most respectable. Rambo: First Blood Part II was the most iconic.
And Ultimax Force is the movie that asked the question: what if Rambo was ninjas?
The enormous popularity of pocket-sized Filipino action star Weng Weng — in the wake of his successful debut as Agent 00 in For Y’ur Height Only — was destined to be short-lived. And apparently no one was more aware of that than the people guiding his career. As a result, the dawning years of the 1980s saw the P.I.’s theater screens deluged with a mini-flood bearing the Weng Weng brand. The sequel to Height, The Impossible Kid, followed hot on the heels of it’s predecessor, seeing release in 1982, while Weng Weng’s first headlining foray into the Western genre, D’Wild Wild Weng, hit screens that same year.
My guess is that if you don’t know who Weng Weng is by now, you’re probably not the kind of person who’s going to care who Weng Weng is anyway. And if that’s the case, you obviously came upon this site by mistake. Then again, I may be wrong about that. After all, those who keep abreast of internet memes and those with a taste for obscure cult movies are not necessarily one and the same — just as, conversely, it’s a rare type who will go from chuckling at the exploits of Weng Weng or Little Superstar in a two minute YouTube clip to actually seeking out and watching one of their movies in its entirety. (I am one of those two kinds of people. Can you guess which one?)
In November of 1989, The Berlin Wall — perhaps the most potent symbol of the Cold War other than Ivan Drago — became a minor speed bump as the physical, social, and political barriers separating West and East Germany collapsed. As Germans began streaming back and forth across the once imposing border, the entirety of the Soviet-era Iron Curtain began to crumble as well, and before anyone knew what was happening, the world had changed. In the ensuing weeks and months, East and West German were reunited into a single country, the Berlin Wall was demolished, and the Soviet Union ceased to be while the satellites that had once comprised it became new countries. It was a heady mix of joy, terror, confusion, elation, and ambivalence that I remember well.
Rest assured that I’m going to attempt a formal review of Hunterwali in the paragraphs below, though I have to admit I’m tempted just to leave you with the blunt summation I gave my wife after watching it, which went as follows: “Amazing. It was like two and a half hours of people yelling at each other and fat ladies dancing, and then, at the end, a dog rode a horse.”