I can't begin to recount for you the measure of grief I've suffered over the years for talking about shows like Knight Rider and Airwolf as Science Fiction.  Admittedly, they're nothing even remotely close to shows like Star Trek and Star Wars (both of which I've also had to defend as SciFi for differing reasons), but when a program relies fairly heavily on futuristic technology I do tend to get sucked in a bit easier than most of blog on entertainment.  Also, at the end of the day, "it's my party, and I'll cry if I want to" also applies, so what I say goes ... and Airwolf was a mainstay in my TV diet back in the day.

Today, I read the news on Jan-Michael Vincent's passing.  Much like others in his generation, Jan-Michael was probably best known to have a particular 'era' in movies and television: he hadn't done anything professional in quite some time -- some of which can be chalked up to health and/or choosing to live a life a certain way -- and I'll admit I've often missed the toughness he brought hand-in-hand to his craft.  While others might consider his genre credentials a bit lightweight, I'd caution them to check out his contributions to the Apocalyptic-themed Damnation Alley and think again.

I'm missing him already.

As always, thanks for reading ...

We spend the better part of our lives just living it: we get up each day, fresh with the promise of new beginnings, and we spend the next eight to ten to twelve or more hours just getting by.  Working.  Eating.  Talking.  Like I said: living.  But never do we know what Life or Fate has in store for us.  Oft times, it takes an event -- sadly, it's often the passing of someone we may know or have followed in the news -- to serve up a real epiphany, the kind that reminds us all that life is so very short and so very precious it deserves to be celebrated each day.

I woke up today never expecting to write this sentence: "Luke Perry has passed away."

Honestly, I was never that much a fan of his work.  I was a bit old to buy into the teen-set antics of Beverly Hills, 90210, perhaps his most notable claim to fame.  As I've made it my business of following talent closely associated with the genres of Fantasy and Science Fiction, I am aware of his greater contributions to Buffy The Vampire Slayer (1992), The Fifth Element (1995), and J. Michael Strazzynski's Jeremiah.  As time permits, I'll have to do a few more scans of his IMDB.com profile and maybe even pop in a DVD or two to remember him by and to celebrate a talent taken from us far too soon in the greater scheme of things.

As always, thanks for reading ...

Regular readers to SciFiHistory.Net know all too well that I don't often acknowledge passings: it isn't that I don't see them as newsworthy ... it's that I try to keep my focus on celebrating life and the accomplishments that go along with them instead of just highlighting those who pass beyond this world into what ever comes after.  Still, from time-to-time (and as time permits!) I post a few.

Morgan Woodward enjoyed a career in the entertainment industry that spanned four decades, and his was a face I can remember from so many properties of my formative years, including work aboard the classic Star Trek (two different appearances in differing roles), TV's sadly overlooked Planet Of The Apes series, the Logan's Run TV series, and the Roger Corman produced Battle Beyond The Stars (1980).  One of his last professional gigs was work aboard Fox TV's stellar The X-Files, and I suspect Morgan's fans even recognized him, though his features had changed a bit.  For what it's worth, I thought he always played roles where he was a bit of 'the heavy,' imposing upon those around him but never an imposition.

Though he's passed beyond, we'll always have his work to remember him; and there's certainly something to be said for that in these troubled times.

Well, well, well, welcome to another Monday in another week in what's shaping up to be a very interesting year (2019, that is); and I'm thrilled to point out a few of the newbies you'll find on the February 25th day of citations here at SciFiHistory.Net!  You may find them a bit obscure, but if nothing else they underscore what I've often said about SciFi and Fantasy, that being that all roles -- large or small -- deserve a bit of recognition from we fans for keeping the flame alive.

Let's get started, shall we?
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I certainly realize and appreciate that not all readers have enjoyed access to some of the International releases that have come down the pike.  While I'll admit that's a lowdown dirty shame I'm also quick to point out that, sadly, so few folks enjoy flicks wherein they must "read" subtitles in order to understand the greater nuances of any story.  True, some of these releases have dubbed releases; I'm thrilled to point out that more and more of them are actually incorporating English into the spoken language, and that's probably owed to production houses growing more and more savvy in trying to increase the opportunity for exposure outside of their shores.

In any event, France's Mutants is a terrific example of how the zombie flick has traveled around the world and back again before the superhero flick can squeeze into its Spandex pants.  (I believe -- but don't quote me -- I saw this one thanks to a video release from IFC.)  It's a tight little story structured much like the best zombie flicks are -- survivors are all trapped in an abandoned building with the dead closing in -- and I think it's worth your time.  Plus, it has the lovely Hélène de Fougerolles in a central role, so let's all be thankful for great extras when you weren't expecting them.  This talented actress celebrates her birthday today.
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I didn't get the pleasure of enjoying all of TV's Sliders during its run.  I remember watching the first season when it aired on Fox; and I vaguely recall watching a few installments of its second and wondering why they tweaked the formula, losing some of the charm of those earlier hours.  And -- so far as No Ordinary Family is concerned -- I missed it entirely: I think my take on the show's promotional shorts was that it was basically a live action lower-budget version of Walt Disney's The Incredibles (one of my personal favorite Pixar properties), so why bother?

Well, I suppose one of the finer reasons to go back and explore these properties might be to explore the lovely Laurie Fortier's gifts: she's an actress who enjoyed a bit of screen time aboard both of these.  She turns another year wiser today.
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Ah, the Van Dyke family ... what a true Hollywood original.  It's always a pleasure to see that one generation of TV stars spawns another generation (FYI: the venerable Dick Van Dyke is this family's Don Corleone).  Granted, the sum of their contributions may never equal much less surpass the original, but it's nice to see the business of 'all in the family' still meaning something beyond the 'bread and butter' states of the Midwest.

​In that respect, Carey Van Dyke started out in the biz of acting, but his career took a detour into the realm of screenwriting.  While he has no huge "hits" (per se) to his credit, there are a few genre entries worthy of note: 2008's The Day The Earth Stopped and 2012's Chernobyl Diaries.  They may not be Oscar-contenders, but let's hope they have something to offer genre junkies who are into some of the lesser flicks.

As always, thanks for reading ... and live long and prosper!

Good morning, peeps, and welcome to what some in mankind have labeled 'the most romantic day of the year,' better known as Valentine's Day.  I don't profess to being one of the most romantic men around, but I did leave my wife a card and a gift in her auto this morning for her to discover on the way to work.  So there's that.

However, I also bid you to welcome the laughable flick The Pumanman finally to SciFiHistory.Net's citation pages.  According to IMDB.com, the Donald Pleasance feature premiered on this day in 1980 in Italy (one of the world's most romantic destinations, go figure), and it went on to become one of filmdom's most lampooned releases.  I've only seen it by way of the MST3K treatment -- a very noble gesture -- and that's honestly probably the best way to drink in its rich camp.  I think it's been said that if the Pumaman emerges from its lair on Valentine's Day and sees it's shadow then we're in line for two more months of Global Warming.  You've been warned.

So in between your various amorous gestures today, why not check out the daily highlights?

As always, thanks for reading ... and live long and prosper!

Greetings and Happy Monday, peeps!  It's the start of an all-new week, so I want you to approach this new day with all of the enthusiasm you can muster (especially for a Monday, no doubt).  Get out there and do something spectacular today to help set the tone for this new week, this new month, and this new year!

Keeping with the kick I started next week, I wanted to give you a brief update as to what you'll find new today for February 4th's citation which, naturally, can be found right here.

Those who know me well will tell you that I go through periods where I'm a total junkie for vintage Science Fiction properties, the kind of which the late William Phipps appeared in.  For those who don't know the name, he turned up in Invaders From Mars, Cat-Women Of The Moon, and even an episode of The Twilight Zone, all with fabulous performances, I'm sure.  For those of you who like your SciFi with a bit of contemporary politic edge or commentary, he even turned up in the pilot episode for a late 1970's SciFi/Comedy called "Space Force," of all things.  I think I noticed that it was up on YouTube.com, if you're interested.
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If you don't know the name of Irwin Allen, then what in the Holy Hell are you doing here?!?!  Allen was responsible for some of the greatest TV schlock of a generation, including programs like Voyage To The Bottom Of The Sea, Lost In Space, and Land Of The Giants, all of which should've been staples in your syndication diet if you're of the same background as yours truly.  Gary Conway enjoyed leading man status for Land Of The Giants, though it was hard to peg any one person as the lead on this ensemble drama.  Check it out if you get the chance, though I found it campier than most of Allen's other shows.

It's hard not to love a lady with a pretty smile, and the smile on Lisa Eichhorn probably draws plenty of attention.  To be perfectly honest, she hasn't appeared in much Science Fiction: her leading lady status in the SciFi/Cult film Moon 44 is probably her biggest claim to genre fame, and sadly that's a film I've yet to see uncut.  I did notice that it's currently available on Amazon Prime, so I'll probably be taking it in for a viewing as soon as I have the time.

There's a Trifecta of new birthdays for you regular knuckleheads.  Be sure to check out February 4th's citations when you get the chance.  And also be sure to tell all of your friends about SciFiHistory.Net: I can always use the good press.

As always, thanks for reading ... and live long and prosper!

​My wife and I share a love of motion pictures.  Naturally, this doesn’t mean that we see everything together – she has her own requirements from time-to-time which don’t intersect with mine – but, generally speaking, what makes me laugh tickles her funny bone, too.  And that’s why last year we took in a screening of Mel Brooks’ Young Frankenstein at our local cinema.
 
Right before the lights went low and the picture was about to start, I glanced around the theatre: to my surprise, most of those in attendance were either our age or older, putting the crowd in the 50+ demographic easily.  If there were 300 people in the theatre, then a very, very small percentage were young people, a turnout which confused me slightly.  After all, this was Mel Brooks, and didn’t people of all ages find Mel as hysterical as we did?
 
After the film spooled – and we were exhausted by laughter – I suffered an epiphany: why, naturally today’s young folks wouldn’t enjoy Young Frankenstein as it was made at a time when humor truly had few boundaries drawn around it.  The script casually flirts with things like aggressive, not-exactly-consensual sex.  There’s a scene involving an “abnormal brain” and how it’s eventually treated that some of today’s social justice warriors might find objectionable.  And there’s an infectious, good-hearted bawdiness to so much of these zany performances, and Millennials are on record about what men can and cannot speak about to the opposite sex, so the nuance of another time and another place would most definitely be lost on them.
 
If Young Frankenstein served them some offense, then 2069: A Sex Odyssey would likely have their heads exploding!
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(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to my last few paragraphs for my final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the product packaging: “Five sexy females from the planet Venus are sent to Earth to bring back sperm samples to their planet which is dying out because there are no men left on it.  After they land they find that it’s not all that difficult persuading Earthmen to help them with their quest.”
 
Now, for the record, that plot synopsis is not exactly accurate.  True, these Venusian lovelies come to our world in search of “the seed,” but the rest of it – the how they go about interacting with Earth males – is and isn’t consensual by the common definition.  This is intended to be a comedy, after all, and it’s a long stretch from pornography, something that probably is assumed by the title alone.  2069 instead hits out at such targets as men’s willingness to jump in the sack with little preparation as well as women’s unwillingness to couple at a moment’s notice; and it does so an emphasis on social stereotypes of the early 1970’s, the period in which the film was made.  Sex comedies of that era didn’t work without poking fun at some of mankind’s wildest generalizations (i.e. “all French women are great in bed” – these are Venusians and not French ladies), and I suspect much of the humor will be lost on today’s (ahem) discriminating viewers.
 
That said, 2069: A Sex Odyssey doesn’t break any ground on the narrative front: it at all times retains a straightforward comic focus, a loosely constructed farce poking fun at everyone by way of the timeless and perhaps useless ‘battle of the sexes.’  You have the town Mayor whose wife isn’t getting as much attention as the young ones.  You have the traveling salesman who’s willing to “get it on” at the drop of some panties.  You have the town constabulary who couldn’t make an arrest if his love life depended upon it.  Willy Fritsch’s script paints with broad strokes (pun intended), always squeezing out fresh laughs or polite groans from the associated human antics and sexual innuendo.  This is more Benny Hill than it is Ben Franklin, and that’s exactly how sex comedies were meant to be.
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The ‘sexcapades’ here are all benign: these women are seeking willing male conspirators to repopulate their planet, but not a one of them were expecting the Sexual Revolution waiting for them on Earth.  One after another, the women succumb to their wildest expectations, be they focused on keeping warm, exploring their sensuality, or just putting on lingerie.  (Girls just wanna have fun, after all … )  And once their eyes are opened to the unbridled joy of romantic coupling, one can guess what interest they may have in returning to their homeworld, much less the mothership.
 
As someone who loves practical sets and effects, I’d be remiss if I didn’t mention that 2069’s spaceship interiors are fabulous.  (Granted, they’re of a certain era in filmmaking wherein not every single detail was augmented with CGI, so there’s something to be said for appreciating a level of craftmanship going into these sets.)  I shudder to think that this reasonably expansive spaceship bridge was simply built for a film which will undoubtedly be lost to the ages; more likely it was loaned out from another studio at a price 2069’s producers were willing to pay.  It may not look like much to younger viewers who’ve grown up with that high-tech Apple stores quality, but this old-fashioned SciFi junkie liked it well enough.
 
The sad truth is that I’d say the current P.C. climate has probably pronounced films like 2069 dead at the box office long before they’re ever released much less made: you can’t make money – even a few bucks – off a society that’s constantly offended over the littlest misstep, and I can’t see them ever embracing a benign, fun-loving sexual romp.  Why, sex is too serious a subject to poke fun at!
 
It’s a wonder most of them were ever born at all!
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2069: A Sex Odyssey was produced by Günther Köpf Filmproduktion.  DVD distribution of this release is handled via Cheezy Movies, LLC.  As for the technical specifications?  Well, be warned that Cheezy Movies has a reputation for finding the best possible “source” for their releases: while this one has a fair amount of grain and occasionally loss of color, I honestly find the quality a reflection back to films of a certain time and a certain place.  Sadly, there are no special features for those interested in that sort of thing, of which I always consider myself.

Recommended.  2069: A Sex Odyssey is perhaps a great example of the kind of storytelling simply not explored any longer, the harmless sex romp of men pursuing women just as much as women chase the men.  It’s meant to be watched and then forgotten, a visual confection for a few laughs and nothing more.  There isn’t a scene that isn’t a bit predictable, and – rest assured – absolutely none of it was ever intended to harm your delicate sensibilities.  There’s a bit of nudity, true, but this is not a pornographic film.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Cheezy Movies, LLC provided me with a DVD release of 2069: A Sex Odyssey by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

Good morning and Happy Friday, peeps!

I'm pleased as punch this morning to let you know that I have a few reviews in the pipeline, as they say: the kind folks at Cheezy Movies, LLC have shared with me a few of their 2018 DVD releases, and I'm going to be wading through some  of these older, grittier, and maybe even campier flicks as time permits.  This morning, I had the good fortune of finally seeing 2069: A Sex Odyssey and took the time to screencap the release for SciFiHistory.Net's growing library.  Those interested can access the images right here.  For the record, I've left out all of the film's nudity, so don't bother looking for any "boobies," you pervs.

I'm currently working on a review, and as soon as I get it up here you folks know that you'll all be the first to know.

As always, thanks for reading ... and live long and prosper!

Believe it or not but every now and then a reader suggestion makes perfect sense: such is the case today because I thought it might be a good time to post a few new additions to January 31st and then highlight them on my MainPage, an area of the site which frankly I just don't give much attention.  (Honestly, it's a time issue: if I had more of it, then I'd probably do more MainPage blogging and reviewing and whatnot.)  So as I have a few extra minutes this morning, I'll just put this up here for posterity ...
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The late Eddie Byrne (1911-1981) managed to squeeze in some time to squeeze Carrie Fisher with his work as 'General Willard' in the much beloved original Star Wars (1977) feature.  In this day and age, shouldn't hugs still count?  I think so, and I've added him to my listings.
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I loved the BBC original Life On Mars, but I had trouble finding its follow-up, Ashes To Ashes (2008-2009) consistently on BBC America.  The lovely Amelia Bullmore enjoyed a recurring spot on the program, and I've happily added her to my listings as well.  Outside of that work and a spot in Jekyll & Hyde, it looks like she's avoided genre work.
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Ah, Grant Morrison, Grant Morrison, Grant Morrison ... or is that "ugh, Grant Morrison, Grant Morrison, Grant Morrison"?  He's a hard talent to truly love -- so far as I'm concerned -- as his prose has been all over the place.  Some of it is honestly very, very good; but there's more that I haven't enjoyed nearly as much.  He's done some fabulous work with Superman and Batman -- as the critics will tell you -- though I haven't been all that fond of what he's done with some characters.  Kudos for a long and storied career in comics, my friend.
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And last but not least to today's birthday additions is the particularly fetching Marta Nieto.  (Love that name, too ... Nieto ... Ni-et-o ... lovely.)  As many of her highlights on IMDB.com involved Spanish-language projects -- and as I'm uniquely unfamiliar with the language -- I can't tell you much about her save an appearance aboard The Ministry Of Time.

As always, thanks for reading ... and live long and prosper!

When is a Victorian-style thriller more than a Victorian-style thriller?
 
Well, that would be when it combines elements beyond the traditional Victorian-style thriller as is the welcome case with 1932’s occasionally impressive Doctor X.  Directed by Michael Curtiz (the same who would go on to helm 1942’s Casablanca) and adapted for the silver screen from a play by Howard Warren Comstock and Allen C. Miller, the SciFi-lite feature takes a stab in the dark at crafting a pleasant enough whodunit by way of introducing the concept of ‘synthetic flesh.’
 
Intrigued?  Perhaps you should be …
 
[Note: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for my final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …]
 
From the film’s IMDB.com citation:
“A wisecracking New York reporter intrudes on a research scientist's quest to unmask The Moon Killer.”
 
Yes, I suppose it’s fair to label Doctor X essentially as a murder mystery, but I suspect audiences showing up to the motion picture when it was originally screened were more interested in the film’s Technicolor potential (I’ve read that the film was shot in a two-color format which sounds a bit more experimental for its time than anything else, though I’m no film historian) as well as the director’s promise to curl the audiences blood … with horror!  (Let it be known that your grandfather and great-grandfather likely appreciated movie scares as much as you do.)  Much of X’s second half takes place in a vast, palatial estate wherein the good doctor himself – Dr. Jerry Xavier (played by Lionel Atwill) – attempts to solve a baffling murder with the use of science.  The genius has fashioned together what might be considered an early yet crude attempt of a lie detection – albeit one with the kind of bells and whistles found in Baron Von Frankenstein’s castle – and it requires the dramatic re-enactment of the killing itself to get the ball rolling.
 
But what I found most impressive about X was that fated second half, one that gives way to what’s an obviously contrived love story (a legitimate criticism of so many features from this era) and the use of science by both good and evil forces.  It would seem that the pursuit of knowledge is no longer the province of the those seeking justice alone, and this idea truly gives the film its foundation.  That and some impressive production detail lift this one a cut above other forgettable fare, making it definitely worth a single viewing.
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Sadly, the first half requires a bit of patience to endure: big city reporter Lee Taylor (Lee Tracy) is racing against the odds to unravel the identity behind ‘The Moon Killer,’ even if it means putting himself in harm’s way.  His undercover work at the city morgue – where the latest body has been brought in – pays off like he hadn’t imagined: police suspect Dr. Xavier and his colleagues are involved with the slayings due to the use of a uniquely rare surgical scalpel as the murder weapon.  (Apparently, this blade is only known to have been used at his private institute.)  Rather than submit to the time-consuming trappings of a full-blown investigation, Xavier convinces the detectives to grant him the chance to catch the perpetrator using his own preferred means, a set-up which gives way to the aforementioned second half.
 
Fay Wray – who one year later would become a household name with her work aboard King Kong (1933) – stars as Joanne Xavier, the doctor’s daughter, and she stumbles across the nosey reporter trying to gain access to her father’s private estate.  The typical 30’s era wordplay ensues, and a budding (yet only possible in the movies) romance is born.  Can these two witty young adults put their heads together quick enough to uncover just who the Moon Killer is and what his connection is to her father?  Naturally, you’ll have to tune in to find out, but let’s just say this one doesn’t come up short with the promise of a happy ending.
 
When it’s doing what it does best, Doctor X mines the quality melodrama well enough to produce a modicum of suspense.  Much of it is heavily photographed in darkness – especially the sequences involving the serial killer – in much the same way quality black-and-white features were exceptionally composed.  While the science seems more than a bit contrived than legitimate, I found Curtiz staged his vignettes with enough visual appeal that even the sugary bits were easy to digest.  Our antagonist’s attempt to conceal his identity with synthetic flesh quite probably gave audiences of the era something to think about, even though today’s viewers possibly conjured up memories of a weekend mud bath.  Production details are very good, and the performances across the board are certainly in keeping with the aesthetic of the material.
 
Mildly recommended.
​I’ve a fondness for old features, and this one tickled my fancy more with its gothic imagery than anything else.  There’s a lot of tongue-in-cheekiness about it all, so consider yourself warned.
 
For those interested, a sequel – The Return Of Doctor X – was produced a curious seven years later; and – for what it’s worth – the follow-up heavily lacks the gruesome appeal of the original.  In fact, the only thing of distinction about it so far as this reviewer is concerned is that it features one Humphrey Bogart in a role I never expect to see Bogey attempt.  It’s worth a view perhaps for that reason alone but not much else.