Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast—following that kaiju movie rule that everybody has to follow the 10 year old’s lead—follows suit. Even Yuk Wud Jaeng, when he shows up, does this.
Power pop fans sometimes try to swell the ranks of their chosen obsession by widening their nets to include within it acts that are not necessarily deserving of the label. Take for example, The Quick, a fixture of LA’s club scene in the 70s often cited as power pop standard bearers.
The greatest compliment you could pay an exploitation film is to say it looks like they designed the poster first and then recreated it on screen. This formulation describes Inframan perfectly. It is, in many ways, a perfect film, in that it is resoundingly successful in achieving what it sets out to do.
Examples of Egyptian filmmaking date back to the beginning of the 20th century, with Cairo becoming a hub of commercial filmmaking in the Arab world with the introduction of sound. It was there that the country’s first “Hollywood-style” film studio was established.
A washed-up, alcoholic superhero must pull himself out of depression and obscurity in order to defeat the villainous Christopher Lee in one of cinema’s first deconstructions of comic book superheroes. It also happens to be a musical.
If jungle adventure movies have taught us anything, it’s that modern man, with all his so-called “refinement” and “civilization”, is the most dangerous animal of all. Even though those city folk ultimately fall prey to quicksand, cannibals, and hungry wild animals.
When it comes to music, I have little nostalgia for vinyl. I much more prefer the internet equivalent of crate digging to the old school variety, where, along with the limits of physical space you had unlimited opportunities to inhale large quantities of dust. It has to be admitted, however, that those physical limits did…