After the global success of Peter Jackson’s Lord of the Rings trilogy, to say nothing of the Harry Potter books and movies I hear were mildly popular for a brief period, most everyone assumed the world was ready for a glut of big-budget fantasy films full of heroic posing and dodgy CGI effects. While there were attempts — The Golden Compass, a few Chronicles of Narnia films, that lavish epic In the Name of the King from Dr. Uwe Boll and featuring King Burt Reynolds — most of those attempts fell flat on their face, and the cash-in trend died before it took off.
The Greatest Movie Ever! podcast invited me on as part of the Mysterious Order of the Skeleton Suit’s “Big Muscle Tussle” theme month to discuss Lou Ferrigno’s pecs, the death of Cannon Films, greasy man-on-man action, and tales of high … Continue reading Greatest Movie Ever: Sinbad of the Seven Seas
We here at Teleport City are no strangers to sword and sorcery films, and chances are, if you are here reading this, neither are you. In the 1980s, when I was going through my formative years and had a friend with satellite TV (back when that meant you had a huge NASA sized satellite in your back yard), I don’t think there was any genre we loved more. That’s because the sword and sorcery movies of the 1980s are perhaps the purest distillation of a ten-year-old boy’s mind that a ten-year-old boy could ever hope for. Yes, yes, I know. Ten year old boys were too young to watch such filth. We were also too young to read Heavy Metal magazine, know who Sylvia Kristel was, and have opinions about the best Playmates. Get with the times, ya squares. Sword and sorcery movies were great because not only could you stay up late and watch the R-rated ones, but even the PG ones were full of everything we wanted: monsters, gore, and big-boobed chicks wearing tiny fur bikinis, if they were wearing anything at all. And if that represents the purest distillation of a ten-year-old boy’s mind, then the movie Sorceress represents a sort of cask strength version of that particular spirit. Because Sorceress asks the question, “Sure, what if you had all that, but also the heroes are hot, naked twins?”
In 1975, exploitation film master Roger Corman produced one of his very best films. Combining a wicked sense of campy humor, a healthy dose of violence, and an angry satirical edge, Death Race 2000, directed by Paul Bartel, was the best things to bear Corman’s name (as producer) since Corman himself was directing cool horror films based on Edgar Allan Poe stories for AIP. Always keen to make a buck, Corman immediately set about creating another vehicle-based futuristic fling, albeit one with a lot less of a budget — even for a Corman flick — and a much less talented writer and director. Corman would do his best to make people think it was related in some way to Death Race 2000 by calling the new film Deathsport and casting David Carradine in the lead. But the similarities end there, and while Death Race 2000 is a genuinely good, enjoyable, and even smart film, Deathsport is an incompetent piece of junk with almost nothing to offer humanity. Predictably, I do not own Death Race 2000 and have only seen it once. I do, however, own Deathsport in two different formats now and have watched it at least half a dozen times.
At my age, and with my experience, I shouldn’t fall for it. And yet, on occasion, I’m still taken in by cool posters and cover art. At these times, I actually leave my body and hover above myself, screaming warnings but powerless to prevent my corporeal self from plunking down a wad of cash on a movie that has a cool looking cover. “You fool! You know the movie isn’t going to be anything like the cover!” my spirit cries, but alas his words are unable to prevent the transaction. And so it is I end up owning movies like Throne of Fire, a dreary, slow-moving, largely uninteresting Italian sword and sorcery film with a cover that featured an illustration of a big-breasted nude chick swinging around a sword and wearing a little metal thong. “This looks pretty good,” I said to myself, even as my other disembodied self was shouting, “Dude, seriously! That chick probably never even shows up in the movie! Didn’t you learn anything from the cover of Hot Potato???”
I can anticipate a lot of things that would potentially show up as the first shot in a Sinbad the Sailor movie (as opposed to Sinbad the Comedian movie, though I can also imagine the first shot in that movie as well, and it’s Sinbad making an exaggerated screaming face and running away in fast motion from a poopy baby diaper), but one thing I never expected was a still shot of Edgar Allen Poe. It’s that same one everyone uses when they need a photo of Edgar Allen Poe. Maybe that’s the only one. I don’t know. I also didn’t know why Poe would be associated with the opening of a Sinbad the Sailor movie, though I could understand it in a Sinbad the Comedian movie, what with the macabre and all.
Somehow, the animated Ralph Bakshi feature Fire and Ice managed to slip through the cracks, though I can’t imagine it didn’t make the early 1980s cable TV rounds. It’s perfect late-night HBO fare. If I’d seen it back then, I would have embraced it whole-heartedly and probably proclaimed it the best thing I’d ever seen. Continue reading Fire and Ice