The fact that this movie is set in eternally balmy Texas and is about Dolph Lundgren trying to kill a hulking Edgar Winter from outer space who shoots razor-sharp CDs at people should in no way distract you from the fact that 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 I Come In Peace as a holiday movie, to be cherished during Christmas time alongside other heart-warming, Teleport City approved Christmas movies, like Gremlins, Die Hard, and at least some of the Silent Night, Deadly Night movies. Although little regarded upon its initial release, back when we were making such films, I Come In Peace has enjoyed a steady growth in its reputation, so much so that if it isn’t a much beloved classic for all time, it’s at least attained the status of appreciated cult gem.
There are three Roger Cormans. The first Corman is the director Corman. Working primarily at American International Pictures, young Corman was famous for being able to crank out competent, successful films on time and under budget with a surprising consistency. Although Corman’s name is often associated with drive-in schlock, in my opinion most of what he made was, at the worst, adequate for the intended purpose of entertaining the teenagers. And on occasion, Corman directed some genuine classics of genre cinema. His Poe films with Vincent Price, for example, are some of the best Gothic horror films you’ll find.
Many hours into playing Fallout 3, with my character standing on a bluff watching the sun set behind the ruins of Washington DC while Inon Zur’s haunting score played in the background, I started contemplating the very nature of video games and when a video game becomes something more than what “video game” often connotes. I played Fallout 3 obsessively for hours on end, often without any direction — sometimes going for days with no interest at all in advancing the actual plot of the game, content to simply wander the post-apocalyptic wasteland listening to Bing Crosby and Gerharde Trede, exploring every point on the game’s expansive map, and occasionally gunning down cannibalistic punks and super mutants. I began to wonder if this video game wouldn’t be better classified as something other than a video game, or if the term “video game” needs to be radically redefined. Does something as complex and sprawling and open-ended as Fallout 3 deserve to be filed under the same monicker as, say, Space Invaders or Angry Birds or Street Fighter? Or even as more sophisticated but less complex modern games like the Halo series.
In 2002, I had the possibly once in a lifetime chance to spend an entire summer driving across the United States. My traveling partner and I were able to indulge every whim, sometimes diverting wildly from our vaguely set course in order to visit some out of the way attraction or satisfy some curiosity or whim. Among the many things we both enjoyed was visiting air and space museums. Some we had targeted ahead of time. Others we learned about along the way. Some we stumbled upon entirely by chance out in the relative middle of nowhere. We were, at one point, making our way across Kansas after having already stumbled upon the Mid-America Air Museum in Liberal. We hit a town called Hutchinson, and as we made our way through caught a glimpse in the distance of a couple rockets. Obviously further investigation was warranted, and that in turn led us to The Cosmosphere. By this point in our travels, we’d hit more air and space museums than I can remember off the top of my head, and though I was not tiring of them (who can get enough Ham the space chimp? No one I’d want to know, that’s who), what made Cosmosphere one of the best was that a substantial portion of the museum was dedicated to the Soviet space program.
I’ve got a weird fascination with superhero movies from places other than the USA. Since X-Men (2000) and particularly Spider-Man (2002) demonstrated the possibilities of adapting comic books with a previously unthinkable level of faithfulness to the source material, superheroes have become a staple of Hollywood’s output. And with cash tills ringing in spades for all manner of four-colour-inspired heroics (as I write, The Avengers is already the third-highest grossing film of all time and still in theatres), it’s no surprise that overseas producers began to wonder at the possibilities. Some looked to their local comic properties for inspiration, such as with Hong Kong’s ‘a bit like Batman but played by Michelle Yeoh’ effort Silver Hawk. Elsewhere, filmmakers just borrowed wholesale from American films, as with Russia’s ‘Spider-Man with a flying car’ Black Lightning, or Thailand’s ‘Spider-Man… actually just Spider-Man’ cash-in Mercury Man. And of course Bollywood, boasting the biggest film industry in the world, was hardly going to miss out.
Silver Hawk (originally titled Masked Crusader) is loosely based on a series of popular pulp tales by Xiao Ping, published in Shanghai during the 40s and 50s. These told of the adventures of a masked heroine, Wong Ngang, sort of a female Chinese Robin Hood in superhero garb. The stories were previously adapted into Hong Kong movies and TV shows in the 60s and 70s, with the heroine portrayed by big stars of the time including Connie Chan, Angie Chiu and Petrina Fung Bo Bo. This movie’s genesis was rather more down to Earth: producer Thomas Chung was in China doing promotion on The Touch and noticed that Spider-Man was doing bravura business, and decided a superhero movie could make some serious money.
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 Red Riding Hood and I figured why not? Teleport City is after all built on inclusivity, which is the next best thing to build something on after rock and roll. So for the site’s no doubt large but silent tween girl fanbase, and anyone else who was just browsing and saw the picture of a cute girl walking away from an explosion, here it is; I Am Number Four.
Sector 7 is the very worst kind of movie with which to be confronted. OK, maybe not. Maybe What Happens in Vegas is the very worst kind of movie with which to be confronted, but since that’s not the sort of movie I seek out, and Sector 7 is, then the wounds I suffer at the hands of Sector 7 leaves a much deeper scar than any injuries I may have suffered while confined to a seat in a bus where they were playing What Happens in Vegas. Sector 7 is the person who should be your friend, but when you are dangling over the precipice and it is holding on to you, it suddenly flashes an evil grin and lets go, allowing you to fall to your death puzzled by this betrayal. Also, you are falling into lava. Sector 7, you were a flashy, big budget monster movie set on an oil rig and fronted by a wickedly cute actress with decent biceps. How could you do this too me? How could you be so very bad on pretty much every single level?
When Teleport City reviewed the French science fiction animated feature Gandahar, we delved into the history of French sci-fi in animated and comic form, including the birth of Metal Hurlant, the comic magazine that, when it was licensed for publication in America, became Heavy Metal. Tackling Luc “The Destroyer of French Cinema” Besson’s whimsical fantasy-adventure The Extraordinary Adventures of Adele Blanc-Sec allows us to continue our meandering history lesson on French comics and comics magazines. Adele Blanc-sec is an adaptation of a comic strip of the same name, which appeared in Pilote — coincidentally, the magazine that served as an incubator for the writers and artists (including Jean Giraud, aka Moebius, and Enki Bilal) who would leave it in the 1970s to launch Metal Hurlant. Pilote was founded by two writers, Rene Goscinny and Jean-Michel Charlier, and two artist, Albert Uderzo and Jean Hebrard. The four of them worked previously on comics supplements to newspapers as well as providing strips for magazines. Goscinny and Uderzo’s Asterix le Gaulois, a humorous strip about a village of Dark Ages Gauls was Pilote’s biggest hit in the early days and served as the foundation on which the magazine was built. The magazine boasted a number of other popular series, too, such as Blueberry, Barbe-Rouge, and Valerian et Laureline.
Born as I was in the early days of the 1970s, I am by law required to identify myself as part of the Star Wars generation. And to some degree I suppose that’s accurate. I’m not going to try and retcon myself into some cool iconoclast who hated Star Wars when he was five years old. I loved it. Saw it in the theaters, saw it at the drive-in, saw it more times than I care to count at my friend’s house when it finally came out on VHS. But Star Wars was not the sole reflection of my science fiction tastes. I started in on sci-fi at a very young age, exposed pre-concrete-memories to a lot of trippy hippy sci-fi freaks — the benefits of growing up with parents who were still in college. Neither of my parents were full-on hippies. My mom was a bookworm with hippy tendencies but too much anger, and my dad was basically one of those easy-going jock stoner types with a taste for Uriah Heep. So I was around a lot of college weirdos, some of whom helped invent stuff like Dungeons & Dragons, and some of whom played football or were on the swim team back from that strange era when even athletes had long hair and Fu Manchu mustaches and lava lamps. I was a kid obsessed with comic books superheroes, robots, ray guns, and Ultraman. I “read” a lot of old sci-fi comics as well, or read them as much as any three-year-old can, which is to say I looked at them and drooled. But I guess the crazy covers and artwork were the sort of colorful eye-candy to me that Teletubbies or Yo Gabba are to modern children. All things considered, I prefer my version.