Todd from Die Danger Die Die Kill is responsible for many of the best reviews on Teleport City, including reviews of two East German science fiction films produced by DEFA. I got a chance to return the favor (a little) by writing about a DEFA science fiction film, Eolomea, for his site.
You know what I love? I love that “post apocalyptic rollerskating movie” isn’t a description of a movie, but instead of an entire genre. Granted it’s a genre created almost entirely by a single man, but when the man is dedicated and prolific enough, suddenly you have a whole section in the old time video store with sun-bleached VHS boxes on the shelves dedicated to movies where women on rollerskates gingerly navigate the rubble-strewn parking lots of post-apocalyptic Los Angeles, which is invariably going to be referred to as Lost Angeles, as it has been in so many of the crappy direct to video post-apoc films from the 1980s. It’s the DTV post-apocalypse equivalent of the DTV L.A. gang war movies, which inevitably go, “Los Angeles…City of the Angels.”
I think I’m detecting a pattern here, thanks in large part to the number of cheapjack genre films that used The Philippines and local Filipino crews and extras during the 80s and 90s. Need to make a cheap Rambo rip-off? Let the lush jungle landscape of The Philippines stand in for Vietnam. Need to make a crappy movie about a martial arts tournament that features bare-breasted female fighters? Don’t worry; The Philippines is the place for you. Want to make a post-apocalyptic adventure film featuring nude Amazons and kabuki little people? Even then you need not fear, for The Philippines truly is the Promised Land, so long as your vision of Paradise includes nude Amazons, kabuki midgets, topless kickboxing, and lots of slow motion explosions. And that damn well better be your vision of Paradise.
Cirio Santiago’s Future Hunters resembles some ancient horror buried for millions of years at the bottom of a pit beneath some black and unnamed ruin of a city comprised primarily of forms and colors that have no corresponding point of reference in our own universe. In fact, when first I purchased this movie on VHS, I ended up returning it as defective. I bought it used from a video store that was liquidating its stock back in 1995 or so, and a few days later I popped it in the VCR and set about watching it while I did some simple household chores. The film started out as a Road Warrior rip-off, with occasional Hong Kong action film villain Richard Norton tearing around the post-apocalyptic wasteland in a muscle car. Familiar enough territory. Then I got distracted, possibly by the discovery that our refrigerator had been leaking, and the leakage had turned into a putrid yellowish goo underneath the crisper drawers (man, talk about unspeakable Lovecraftian horrors). When I finished toweling up the gelatinous gloop and throwing the towel onto the roof of the credit union across the parking lot (I was young and punk then — take that, society), I returned to the living room and found that someone had recorded a different movie over the one I’d purchased. Because there on my massive ten-inch screen was a Bruce Le kungfu film, with the famous Bruce Lee imitator locked in mortal kicking combat with Hwang Jang Lee wearing a silver wig.
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.
I once stayed at a place in the Smoky Mountains that was a combo motel and biker bar. The toilet in my dingy room was a hole cut in the floor of the bathroom, covered with screen door mesh and with a stucco bucket sitting on the ground beneath it. Solar Adventure is another Korean cartoon spawned by the same batch of animation commissioned by some Australian company and produced by Hong Kong cheapskate crap film mogul Joseph Lai. It certainly isn’t a motel room with a hole cut in the floor leading to a stucco bucket I was meant to use as a toilet, but it is perhaps somewhat similar to what you might expect to find as the contents of such a stucco bucket. But if Solar Adventure is largely a bucket full of piss, crap, used condoms, and cigarette butts, then it’s lucky that I have a very high tolerance for such things so long as they are not being rubbed into my hair. And while Space Thunder Kids may set the bar for incompetent glory so fabulously high that it becomes nigh unattainable, Solar Adventure is no slouch in the incompetence field.
Years ago, Hong Kong made a Tekken movie, but they forgot to secure the rights to actually make a Tekken movie, so it eventually became Avenging Fist, and no one really cared. About the only thing anyone remembers is that Ekin Cheng eventually turns into Sammo Hung. So anyway, fast forward to today, and now someone who bothered to secure the rights to the Tekken name, years after I think the world stopped giving a crap about Tekken, has finally made a Tekken movie called Tekken.
I can’t say for sure whether or not this was the first movie based on a video game whose primary plot was “two characters fight each other,” but I think it might be. If not, it’s pretty close. Street Fighter is best known for being the final film of well respected, Academy Award winning actor Raul Julia, whose final gift to society was himself in a red leather fascist get-up, cackling and flying around and shooting lightning out of his hands. Some people lament the unfortunate timing of this movie and Julia’s death conspiring to turn Street Fighter into his memorial movie. I don’t really see things the same way, though.
“I think we can put our differences behind us… for science… you monster.”
Portal 2 is a game that gleefully flies against all the wrong-headed assumptions about games — both from within the gaming community and from its many critics in the world of politics and moral watchdogging. It is a bloodless, essentially non-violent video game with a female protagonist. And it was a massive hit with an appeal that made it popular with both committed and casual gamers alike. It’s a game that dismisses the notion that games have to cater to the baser human desires for blood and guts, and that games have to be designed for what the industry erroneously defines as its audience: white, heterosexual guys who actively dislike — or are at least extremely uncomfortable with — women, and by extension, female characters in games. The massive success of Portal 2 proves these time-honored conclusions are, if not totally incorrect and blind to a massive and largely unacknowledged diversity, at least increasingly creaky, old-fashioned, and out of touch with the industry’s shift into a mainstream form of entertainment. And hell, even if they were correct, those are not assumptions that should be played to anyway.
I am breaking little new ground when I point out that the original 1954 film Godzilla was a serious sci-fi horror film that is taken seriously by serious critics (seriously!), even the more annoying ones who usually refuse to give genre films the time of day. Few people would argue that it was a cinematic milestone, that it was to the crossover scifi/horror film what Citizen Kane was to movies about grumpy newspaper moguls and what Pee-wee’s Big Adventure was to the road trip film. Whatever the franchise may have become, Godzilla’s contribution to film history was as big as the monster itself, and not even Michael Medved will argue that one. Or maybe he will. I don’t really know him personally, so I can’t account for him.