Time for another Frolic Afield over at The Cultural Gutter, where I am writing Einstein and the Bearded Lady, about the Czech science fiction comedy I Killed Einstein, Gentlemen (Zabil jsem Einsteina, panove) from 1970. The film asks the question, … Continue reading Cultural Gutter: Einstein and the Bearded Lady
Interpol 009 has everything you’d want in a 1960s spy movie–except for a memorable villain, a spectacular crime, and audacious action set pieces. On balance that leaves you with attractive stars, lots of nicely photographed scenes shot in glamorous locations, … Continue reading Interpol 009
One of the things I love about these Eastern Bloc science fiction films from the early 60s is the air of moment that hangs around them. Unlike American sci-fi films of the era, which were more often than not throwaway drive-in fare, these movies were a major undertaking for the countries that produced them, and were not only intended to be an expression of national pride, but also a source of it. Of course, you wouldn’t know that from the versions of them that eventually made it to theater screens here in the U.S. Radically edited to eliminate all evidence of their communist origins and frequently retaining little of their original footage beyond their special effects sequences, such films became the building blocks for cut-rate titles such as Roger Corman’s Voyage to the Prehistoric Planet and Voyage to the Planet of Prehistoric Women (both fashioned from the Russian Planeta Bur) and Crown International’s retooling of East Germany’s The Silent Star, First Spaceship on Venus.
In the course of doing my usual rigorous research in preparation for bringing you the most carefully considered review of Iron Claw the Pirate possible, I came upon some information that seemed to suggest that it was the second film in a series of Iron Claw movies. That made sense to me, because Iron Claw the Pirate is a film that seems to start in progress, without any introduction of the characters or ongoing conflicts. However, what makes sense does not always prove to be so –especially in the case of Turkish action cinema–and I later determined that I had misinterpreted that information. In fact, it was Iron Claw the Pirate that was the first film, followed immediately by its sequel, Demir Pence Casuslar Savasi. Still, the reality of the situation makes its own kind of sense, simply because that’s just the way that these movies are. Any amount of exposition or character development would most likely have been seen by the makers of Iron Claw the Pirate as a waste of valuable time that could otherwise have been devoted to fist fights, shootouts, and fleshy women doing exotic dances.
In at least one scene we see a Christmas tree and some garland, and I think someone mentions Christmas at some point. In my book, that qualifies this as a cherished holiday movie, like Gremlins and Die Hard Continue reading I Come In Peace
I was uhm-ing and ahh-ing about reviewing this one given it’s a film with a rather high level of tween-girl appeal, and I didn’t want to tarnish my stout-yet-manly Franco Nero-in-Enter the Ninja image. But then Keith admitted to watching … Continue reading I Am Number Four
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.