In addition to flying sports cars and a machine that mixes the perfect martini, one of the accoutrements of worldly masculine adulthood that impressionable young boys weaned on sixties pop culture grew up to expect is the ready availability of … Continue reading Some Girls Do
My latest Frolic Afield over at The Cultural Gutter, and my last there for 2013. What better way to close out my first (half) year with The Cultural Gutter than with one of the worst things around. From Bea Arthur … Continue reading Cultural Gutter: Death to Life Day
Gerry and Sylvia Anderson were best known for “supermarionation” shows like Thunderbirds and Captain Scarlet and the Mysterons when they decided they wanted to move into live-action scifi programming. So was born U.F.O., and from that, Space: 1999. As a … Continue reading In the SHADO of the Moon
The snow devils appear when the Gamma One team stumbles across some space yetis in a cave. Rod and his crew are taken prisoner by the yetis, who seem primitive despite their cave being decorated nicely. It turns out the decor is courtesy of the head space yeti, who dresses like a terrible superhero and politely explains the entire nefarious plan. Continue reading Snow Devils
Compared to the appellations given to the protagonists of other 1980s action films — the Exterminator, the Punisher, the Executioner — the Stabilizer sounds pretty benign. You’d almost think that he was given that name only because all of those others had already been taken. But then you learn that what the Stabilizer is in charge of stabilizing is the very balance between good and evil itself. And that, it turns out, is a job that involves an awful lot of exterminating, punishing, and executing. But if that name was the result of The Stabilizer being late to the game, that might be explained by the fact that The Stabilizer is an Indonesian film, and that Indonesian exploitation filmmakers of its day were generally loathe to jump on any bandwagon until its moneymaking potential had been well proven. There is no word for “art” in Indonesia, after all (I totally just made that up), and if there was one thing that those filmmakers were interested in above all it was a return on investment, especially on the international market. This last caveat explains another trend in Indonesian genre films of the day; the practice of using Caucasian lead actors, which tended to make it easier to sell the movies to distributors outside of Asia.
At some point, online emoticon technology will advance to the point where there is a little smiley face thing that perfectly expresses the sentiment of me shaking my fist toward the heavens and yelling, “Dharmendra!!!” And when that technology exists, … Continue reading Saazish
It’s been too long since we last visited the bizarre world of cut-rate Korean cartoons made by a Chinese guy using Japanese robots and characters and marketed toward Australian television, so let us once again steel ourselves for the bad acid trip that is a Joseph Lai produced cartoon. Lai, to bring up to speed those of you who don’t know him, was a producer most famous for taking bits and pieces of cheap Hong Kong and Taiwanese movies and splicing them together to form a new movie, usually augmented by freshly shot scenes of white people in ninja outfits. The films border on works of absurdist art masterpiece. With titles like Ninja Phantom Heroes, Ninja Demons Massacre, and Diamond Force Ninja, Lai’s films — often created in conjunction with shadowy men of mystery Godfrey Ho and Thomas Tang — did far more than make no sense at all. They attained a rarefied air of complete and utter incoherence that has remained largely out of the reach of even the most incompetent of filmmakers.