- Published on
I know that I've warned you kids hundreds of times never to get too excited about news of a return to NBC's fabled Quantum Leap.
Honestly, the property has been in creative limbo for over two decades since its signature end that kinda/sorta divided fandom over what happened to Dr. Sam Beckett. I've long argued that in that swan song Beckett was somehow merely stuck in the time stream, continuing to jump from body and body, setting right things that once went wrong, and so on and so forth. I've read others suggest that he wouldn't exist any longer since his actions essentially deconstructed the Quantum Leap program, meaning it never got started, and thus he caused his own demise. I've always resisted that conclusion, insisting that the universe -- cold she might be -- would never squash someone who had accomplished so many great things over the show's five season run; and I hold out hope that good deeds still account for something in the Great Beyond.
But, I digress ...
Producer Donald Bellisario and practically everyone involved at some point with the popular Science Fiction and Fantasy serial have long promised a follow-up, but nothing ever transpired. Dean Stockwell's passing just last year kinda/sorta cemented (in my mind anyway) that we wouldn't be getting a legitimate sequel much less an honest answer to the fate of Sam ... and the news I've read today lightly confirms that: Variety is reporting that a new iteration of the Quantum Leap program is quite possibly finally heading to the small screen. Curiously enough, the article states that an all-new team has been assembled to investigate what happened with the original project ... did you catch that? That means Sam and Al did exist, and that those good deeds did account for something.
Also, I'd be remiss if I didn't point out that if this summary is correct then there's definitely a chance that actor Scott Bakula -- who pretty much rocketed onto fandom's radar with his work on this show -- might be tasked with returning to the property. That would be a huge plus if this is a kinda/sorta continuation of the original storyline, but it's way too early to begin making these kind of assumptions based on what little chicken scratch there is to the Variety piece.
Minimally, I'm thrilled that there's finally some movement on this front. Bakula himself has long asserted that the franchise was far from dead, and that fact that NBC appears to have finally made a call to action bodes well. It's early ... but "Oh, boy!"
As always, thanks for reading ... and live long and prosper!
-- EZ
Honestly, the property has been in creative limbo for over two decades since its signature end that kinda/sorta divided fandom over what happened to Dr. Sam Beckett. I've long argued that in that swan song Beckett was somehow merely stuck in the time stream, continuing to jump from body and body, setting right things that once went wrong, and so on and so forth. I've read others suggest that he wouldn't exist any longer since his actions essentially deconstructed the Quantum Leap program, meaning it never got started, and thus he caused his own demise. I've always resisted that conclusion, insisting that the universe -- cold she might be -- would never squash someone who had accomplished so many great things over the show's five season run; and I hold out hope that good deeds still account for something in the Great Beyond.
But, I digress ...
Producer Donald Bellisario and practically everyone involved at some point with the popular Science Fiction and Fantasy serial have long promised a follow-up, but nothing ever transpired. Dean Stockwell's passing just last year kinda/sorta cemented (in my mind anyway) that we wouldn't be getting a legitimate sequel much less an honest answer to the fate of Sam ... and the news I've read today lightly confirms that: Variety is reporting that a new iteration of the Quantum Leap program is quite possibly finally heading to the small screen. Curiously enough, the article states that an all-new team has been assembled to investigate what happened with the original project ... did you catch that? That means Sam and Al did exist, and that those good deeds did account for something.
Also, I'd be remiss if I didn't point out that if this summary is correct then there's definitely a chance that actor Scott Bakula -- who pretty much rocketed onto fandom's radar with his work on this show -- might be tasked with returning to the property. That would be a huge plus if this is a kinda/sorta continuation of the original storyline, but it's way too early to begin making these kind of assumptions based on what little chicken scratch there is to the Variety piece.
Minimally, I'm thrilled that there's finally some movement on this front. Bakula himself has long asserted that the franchise was far from dead, and that fact that NBC appears to have finally made a call to action bodes well. It's early ... but "Oh, boy!"
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Neill Blomkamp is a hard nut to crack.
Essentially, he soared onto the silver screen and was embraced by fandom worldwide with his signature big screen project District 9 (2009), a film that I'll admit I was honestly surprised did as well as it did with audiences and critics. I loved it, personally, but I remember thinking it was really two films ideas that, fortunately, worked in spite of its construction: one-half was a clever kinda/sorta mockumentary about this unusual case of First Contact while the second half actually fleshed out a very human tale in the midst of utter genetic chaos. Its finale was surprisingly heartfelt with an ordinary man retaining his humanity despite losing that which made him uniquely human; and the director has long assured fans that he'd be doing a sequel that would resolve the fate suffered by perhaps the most unfortunate United Nations lackey in screen history.
Since then, however, Blomkamp appears to have been pulled in the directions of other projects, ones that have mostly failed to match the level of accomplishment attributed back to District 9. In large part, the storyteller has stayed true to his genre roots with films like Elysium (2013) and Chappie (2015), but it would seem he's lost the edge to push boundaries in such a way that earned him attention and praise from audiences intrigued with the journeys he's taken them upon. I'm well aware that his name -- for a time -- was even floated as a possible savior for the Alien franchise; and, yet, nothing has come down from that franchise other than some lukewarm continuations of what's already been explored before. Sad, but true.
Fortunately, the filmmaker is still toiling away on projects, though the numbers I've looked at involving his Demonic (2021) don't look much better than the SciFi work he's distracted himself with since District 9. Demonic looks to have screened around the world in 2021 (with a limited release in the U.S.), and sadly it only has a basement rating (as of today's date) of 15% on the critical meter at Rotten Tomatoes with a slightly better 18% amongst audiences. The flick retains a 4.2 (out of 10) on the more Average Joe friendly IMDB.com, but I'd argue that's still a bit undercooked for a steward who was once heralded as being one of the up-and-coming voices in genre entertainment.
Now, I don't write any of this to disparage the man. Blomkamp is who he is with or without the support of the likes of me. Personally, I'd love to see what lies ahead with District 9 more than anything else, but a guy's gotta eat so I understand perfectly why he's gone on to other wares as the inspiration has obviously found him. If anything, maybe a return to form is possible with a tale that taps back into what brought him and audiences great joy in the past, and I suggest that might be the better way to go. Continuing down this path -- with successive projects losing the goodwill he's earned from the industry -- might consign him to a dismal fate no writer/director deserves.
Demonic is coming to home video on March 1. Trailer is below. Those of you interested in this sort of fare might give him a pass and check it out.
As always, thanks for reading ... and live long and prosper!
-- EZ
Essentially, he soared onto the silver screen and was embraced by fandom worldwide with his signature big screen project District 9 (2009), a film that I'll admit I was honestly surprised did as well as it did with audiences and critics. I loved it, personally, but I remember thinking it was really two films ideas that, fortunately, worked in spite of its construction: one-half was a clever kinda/sorta mockumentary about this unusual case of First Contact while the second half actually fleshed out a very human tale in the midst of utter genetic chaos. Its finale was surprisingly heartfelt with an ordinary man retaining his humanity despite losing that which made him uniquely human; and the director has long assured fans that he'd be doing a sequel that would resolve the fate suffered by perhaps the most unfortunate United Nations lackey in screen history.
Since then, however, Blomkamp appears to have been pulled in the directions of other projects, ones that have mostly failed to match the level of accomplishment attributed back to District 9. In large part, the storyteller has stayed true to his genre roots with films like Elysium (2013) and Chappie (2015), but it would seem he's lost the edge to push boundaries in such a way that earned him attention and praise from audiences intrigued with the journeys he's taken them upon. I'm well aware that his name -- for a time -- was even floated as a possible savior for the Alien franchise; and, yet, nothing has come down from that franchise other than some lukewarm continuations of what's already been explored before. Sad, but true.
Fortunately, the filmmaker is still toiling away on projects, though the numbers I've looked at involving his Demonic (2021) don't look much better than the SciFi work he's distracted himself with since District 9. Demonic looks to have screened around the world in 2021 (with a limited release in the U.S.), and sadly it only has a basement rating (as of today's date) of 15% on the critical meter at Rotten Tomatoes with a slightly better 18% amongst audiences. The flick retains a 4.2 (out of 10) on the more Average Joe friendly IMDB.com, but I'd argue that's still a bit undercooked for a steward who was once heralded as being one of the up-and-coming voices in genre entertainment.
Now, I don't write any of this to disparage the man. Blomkamp is who he is with or without the support of the likes of me. Personally, I'd love to see what lies ahead with District 9 more than anything else, but a guy's gotta eat so I understand perfectly why he's gone on to other wares as the inspiration has obviously found him. If anything, maybe a return to form is possible with a tale that taps back into what brought him and audiences great joy in the past, and I suggest that might be the better way to go. Continuing down this path -- with successive projects losing the goodwill he's earned from the industry -- might consign him to a dismal fate no writer/director deserves.
Demonic is coming to home video on March 1. Trailer is below. Those of you interested in this sort of fare might give him a pass and check it out.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Yes, yes, yes ... I have a vague recollection of watching Starflight: The Plane That Couldn't Land when it aired on U.S. broadcast television all the way back in 1983. If I remember correctly, I was reasonably smitten with the TV grade special effects and general production detail, though I found some of the performances of its players a bit campy. This was essentially a Airport-style movie wannabe but amped up with technology so that it could take place in the heavens over Earth; and its cast boasted such big names of the era including Lee Majors, Hal Linden, and the luminous Lauren Hutton. God, how I loved Lauren Hutton in those days.
Also, I believe I had read something at the time about how the flick was going to be repacked for international release, which may or may not have been a theatrical run. I've written before about how back in those days it wasn't uncommon for a high stakes television production to obtain additional financing by preparing the production to screen theatrically overseas, and I believe that was the case here though I think it went wide under the name of Starflight One.
Well, the good people at Code Red and Kino Lorber have put their heads together, and they're putting out a Blu-ray release of said Starflight One this March, 2022. If I'm reading their press materials correctly, this will be a new 2K remaster (always an improvement). Though it's essentially a bare bones release, the theatrical trailer will be included. I'll hopefully be welcoming this one into my collection; if so, you can expect a review on SciFiHistory.Net's MainPage.
I'll be providing the usual cut-and-paste below. Interested readers can scan for details, and maybe even hop over to Amazon.com to place your order.
As always, thanks for reading ... and live long and prosper!
-- EZ
Also, I believe I had read something at the time about how the flick was going to be repacked for international release, which may or may not have been a theatrical run. I've written before about how back in those days it wasn't uncommon for a high stakes television production to obtain additional financing by preparing the production to screen theatrically overseas, and I believe that was the case here though I think it went wide under the name of Starflight One.
Well, the good people at Code Red and Kino Lorber have put their heads together, and they're putting out a Blu-ray release of said Starflight One this March, 2022. If I'm reading their press materials correctly, this will be a new 2K remaster (always an improvement). Though it's essentially a bare bones release, the theatrical trailer will be included. I'll hopefully be welcoming this one into my collection; if so, you can expect a review on SciFiHistory.Net's MainPage.
I'll be providing the usual cut-and-paste below. Interested readers can scan for details, and maybe even hop over to Amazon.com to place your order.
As always, thanks for reading ... and live long and prosper!
-- EZ
Starflight One
Prebook Date: 2/8/22
Street Date: 3/8/22
Label: Code Red
DVD SRP: 19.95
DVD Item #: K25808
DVD UPC: 738329258085
BD SRP: 29.95
BD Item #: K25809
BD UPC: 738329258092
Genre: Sci–Fi Thriller
Year: 1983
Rating: NR
Runtime: 115
Director: Jerry Jameson
Actors: Lee Majors, Lauren Hutton, Hal Linden, Ray Milland, Robert Webber, Gail
Strickland
Special effects guru John Dykstra (Star Wars) brings his technical expertise to this futuristic vision of the maiden flight of the world’s first hypersonic transport jet. Touted as a technological breakthrough, the super-speed aircraft debarks amid much fanfare. All systems are “go” until a misguided missile renders the craft helpless, pushing it into a deadly orbit above Earth that threatens the total annihilation of its passengers. Time is running out for the Starflight One, a.k.a. Starflight: The Plane That Couldn't Land, in this nerve-jangling space-age disaster movie directed by suspense specialist Jerry Jameson (Airport ’77, TV’s Superdome) with music by the great Lalo Schifrin (Coogan’s Bluff, Bullitt). Heading the all-star cast of this sci-fi adventure are Lee Majors (TV’s The Six Million Dollar Man) as the ship’s captain, Hal Linden (TV’s Barney Miller) as the scientific genius behind the machine, Tess Harper (Tender Mercies) as Majors’ wife, Lauren Hutton (Gator) as Majors’ lover and Ray Milland (Panic in Year Zero) as the high-powered chairman of the aerospace company.
Bonus Features:
Brand New 2K Master | Theatrical Trailer (Newly Mastered in 2K) | Optional English Subtitles
Prebook Date: 2/8/22
Street Date: 3/8/22
Label: Code Red
DVD SRP: 19.95
DVD Item #: K25808
DVD UPC: 738329258085
BD SRP: 29.95
BD Item #: K25809
BD UPC: 738329258092
Genre: Sci–Fi Thriller
Year: 1983
Rating: NR
Runtime: 115
Director: Jerry Jameson
Actors: Lee Majors, Lauren Hutton, Hal Linden, Ray Milland, Robert Webber, Gail
Strickland
Special effects guru John Dykstra (Star Wars) brings his technical expertise to this futuristic vision of the maiden flight of the world’s first hypersonic transport jet. Touted as a technological breakthrough, the super-speed aircraft debarks amid much fanfare. All systems are “go” until a misguided missile renders the craft helpless, pushing it into a deadly orbit above Earth that threatens the total annihilation of its passengers. Time is running out for the Starflight One, a.k.a. Starflight: The Plane That Couldn't Land, in this nerve-jangling space-age disaster movie directed by suspense specialist Jerry Jameson (Airport ’77, TV’s Superdome) with music by the great Lalo Schifrin (Coogan’s Bluff, Bullitt). Heading the all-star cast of this sci-fi adventure are Lee Majors (TV’s The Six Million Dollar Man) as the ship’s captain, Hal Linden (TV’s Barney Miller) as the scientific genius behind the machine, Tess Harper (Tender Mercies) as Majors’ wife, Lauren Hutton (Gator) as Majors’ lover and Ray Milland (Panic in Year Zero) as the high-powered chairman of the aerospace company.
Bonus Features:
Brand New 2K Master | Theatrical Trailer (Newly Mastered in 2K) | Optional English Subtitles
- Published on
Though I do consider myself (largely) a 'Child Of The 1980's,' I admit that I don't always see eye-to-eye with my peers when it comes to their film choices; and one bone of contention I've always had to pick (and defend my position) on is Albert Pyun's much celebrated The Sword And The Sorcerer.
My opinion?
Well ...
It's a perfectly acceptable B-movie opus but really not much more than that. Lee Horsley gives a solid performance as a kinda/sorta 'knight for hire' who reclaims his right to the throne once he gets his hands on a weapon of destiny. The always reliable Richard Lynch admirably chews scenery as the film's chief baddie, Cromwell; and there are a handful of recognizable faces in there worth some praise. The film's biggest asset? Kathleen Beller certainly created a sensation in those days, and her well-oiled physique definitely amps up the lite-TnA factor for those who appreciate a comely lass.
Overall, I just find the flick mired in its B-Movie roots a bit too firmly. There are no big signature action set pieces, just a few mediocre battles to fill in the gaps. It's really more of a sweaty revenge picture than anything else -- not that there's anything wrong with that -- and I guess in the 'Age of Conan' I just expected a bit more.
Though I could be wrong, I believe the film has been mired in ownership issues, and that's largely why there's never been a solid home video release for it ... but Shout Factory has come to the rescue once more. They're done a fabulous job with genre pictures over the last few years, so securing the rights to bring an all-new 4K restoration to this lesser classic should make fans of Fantasy very pleased.
At this point, I've not be able to find many details on any supplemental materials, so I'm copying and pasting what's available from a small press release I found on Bluray.com. Interested parties are encouraged to place their pre-order today via Amazon.com.
As always, thanks for reading ... and live long and prosper!
-- EZ
My opinion?
Well ...
It's a perfectly acceptable B-movie opus but really not much more than that. Lee Horsley gives a solid performance as a kinda/sorta 'knight for hire' who reclaims his right to the throne once he gets his hands on a weapon of destiny. The always reliable Richard Lynch admirably chews scenery as the film's chief baddie, Cromwell; and there are a handful of recognizable faces in there worth some praise. The film's biggest asset? Kathleen Beller certainly created a sensation in those days, and her well-oiled physique definitely amps up the lite-TnA factor for those who appreciate a comely lass.
Overall, I just find the flick mired in its B-Movie roots a bit too firmly. There are no big signature action set pieces, just a few mediocre battles to fill in the gaps. It's really more of a sweaty revenge picture than anything else -- not that there's anything wrong with that -- and I guess in the 'Age of Conan' I just expected a bit more.
Though I could be wrong, I believe the film has been mired in ownership issues, and that's largely why there's never been a solid home video release for it ... but Shout Factory has come to the rescue once more. They're done a fabulous job with genre pictures over the last few years, so securing the rights to bring an all-new 4K restoration to this lesser classic should make fans of Fantasy very pleased.
At this point, I've not be able to find many details on any supplemental materials, so I'm copying and pasting what's available from a small press release I found on Bluray.com. Interested parties are encouraged to place their pre-order today via Amazon.com.
As always, thanks for reading ... and live long and prosper!
-- EZ
Scream Factory will celebrate the 40th anniversary of Albert Pyun's film The Sword and the Sorcerer (1982) with a brand new Collector's Edition 4K Blu-ray, which will be available for purchase on March 15th.
Description: Meet Talon, a daring mercenary who conquers castles and dungeons alike with his lethal three-bladed sword. But when Talon learns that he is the prince of a kingdom controlled by an evil sorcerer, he is thrust into the wildest fight of his life. Can Talon rescue the beautiful princess and slay the warlock, or will he fall prey to the black magic of medieval mayhem? Lee Horsley, Kathleen Beller, Simon MacCorkindale and Richard Moll star in this action-packed adventure saga, filled with brutal battles, luscious maidens, savage monsters and more!
Description: Meet Talon, a daring mercenary who conquers castles and dungeons alike with his lethal three-bladed sword. But when Talon learns that he is the prince of a kingdom controlled by an evil sorcerer, he is thrust into the wildest fight of his life. Can Talon rescue the beautiful princess and slay the warlock, or will he fall prey to the black magic of medieval mayhem? Lee Horsley, Kathleen Beller, Simon MacCorkindale and Richard Moll star in this action-packed adventure saga, filled with brutal battles, luscious maidens, savage monsters and more!
- Published on
The beauty of Science Fiction is that the narrative payoff for an entire story typically rests upon the effective delivery of an idea.
Dramas tend to be critical favorites because it gives the scribes the chance to wax poetically over their favorite actors, actresses, and subject matter. Comedies, by comparison, work to ease the viewers’ anxieties by transporting them somewhere else where they can laugh their cares away. Horror films exist to explore not only what goes bump in the night but why we run the risk of being digested by those very monsters. And thrillers tend to put in extra elbow grease hoping to elevate your pulse, get you caught up in all of the action and intrigue, and leave you exhausted with the final reel.
But SciFi – not just good SciFi but great SciFi – presents a concept that might require a suspension of disbelief (to varying degrees) all for the sole purpose of weaving a yarn arguably the only way it can be spun. Like a house of cards, you can’t remove that central premise without running the risk of everything toppling over; yank it out, and you’re most often left with not so much a house as you are a mess. Dare I suggest that this is why mainstream audiences generally avoid Science Fiction? Do they look elsewhere for their diversions because SciFi requires too much of their brain with little room left to be suitably entertained?
Whatever the case, I’ve long argued that blending Science Fiction with Comedy is a risky proposition. Laughs and brainwork don’t often go hand-in-hand, but when storytellers can hit on the precise recipe they’re typically rewarded with big box office. Films like Ghostbusters (1984), Back To The Future (1985) and Tremors (1990) don’t come along all that often; but audiences have embraced them time and time again despite some SciFi or Fantasy proposition, and the end result has been solid returns, critical praise, and a demand to go back into that well for similar adventures. Studio executives celebrate those opportunities because they’re few and far between.
As independent fare goes, Beyond The Infinite Two Minutes stakes out similar territory, though on a vastly lower budget and corresponding media fanfare. What it has in spades, however, is old-fashioned movie-making charm.
(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 encourage you to skip down to the last few paragraphs for the 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 café owner discovers that the TV in his café shows images from the future, but only two minutes into the future.”
Now I ask you: which of us hasn’t wanted to know what the future holds? Without question, such a subject has been a singular fascination for us culturally since … well … since we were all put on this rock in space. Films, TV shows, and books have breached the topic of time travel in just about every conceivable way; and yet Beyond The Infinite Two Minutes kinda/sorta upends this obsession of ours by scaling it way back to the point of absurdity. So now I ask you: what changes could you make to your life if you knew what the next two minutes held?
Indeed, it’s all meant for laughs, and Makoto Ueda’s script very cunningly finds one way after another to sustain our interest in such an idea. In fact, it isn’t long that these local yokels find themselves not only trying to capitalize on the clever circumstance but also come up with a way to expand it out to four minutes, six minutes, eight minutes, etc. Knowing the future means you can profit from it in the present, especially when that means knowing which square to scratch off on a lottery ticket. Before you know it, each member of this gaggle has found some form of personal enhancement, and they resist Kato’s dire prediction that knowing too much is never a good thing. (FYI: he’s soon proven right!)
Dramas tend to be critical favorites because it gives the scribes the chance to wax poetically over their favorite actors, actresses, and subject matter. Comedies, by comparison, work to ease the viewers’ anxieties by transporting them somewhere else where they can laugh their cares away. Horror films exist to explore not only what goes bump in the night but why we run the risk of being digested by those very monsters. And thrillers tend to put in extra elbow grease hoping to elevate your pulse, get you caught up in all of the action and intrigue, and leave you exhausted with the final reel.
But SciFi – not just good SciFi but great SciFi – presents a concept that might require a suspension of disbelief (to varying degrees) all for the sole purpose of weaving a yarn arguably the only way it can be spun. Like a house of cards, you can’t remove that central premise without running the risk of everything toppling over; yank it out, and you’re most often left with not so much a house as you are a mess. Dare I suggest that this is why mainstream audiences generally avoid Science Fiction? Do they look elsewhere for their diversions because SciFi requires too much of their brain with little room left to be suitably entertained?
Whatever the case, I’ve long argued that blending Science Fiction with Comedy is a risky proposition. Laughs and brainwork don’t often go hand-in-hand, but when storytellers can hit on the precise recipe they’re typically rewarded with big box office. Films like Ghostbusters (1984), Back To The Future (1985) and Tremors (1990) don’t come along all that often; but audiences have embraced them time and time again despite some SciFi or Fantasy proposition, and the end result has been solid returns, critical praise, and a demand to go back into that well for similar adventures. Studio executives celebrate those opportunities because they’re few and far between.
As independent fare goes, Beyond The Infinite Two Minutes stakes out similar territory, though on a vastly lower budget and corresponding media fanfare. What it has in spades, however, is old-fashioned movie-making charm.
(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 encourage you to skip down to the last few paragraphs for the 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 café owner discovers that the TV in his café shows images from the future, but only two minutes into the future.”
Now I ask you: which of us hasn’t wanted to know what the future holds? Without question, such a subject has been a singular fascination for us culturally since … well … since we were all put on this rock in space. Films, TV shows, and books have breached the topic of time travel in just about every conceivable way; and yet Beyond The Infinite Two Minutes kinda/sorta upends this obsession of ours by scaling it way back to the point of absurdity. So now I ask you: what changes could you make to your life if you knew what the next two minutes held?
Indeed, it’s all meant for laughs, and Makoto Ueda’s script very cunningly finds one way after another to sustain our interest in such an idea. In fact, it isn’t long that these local yokels find themselves not only trying to capitalize on the clever circumstance but also come up with a way to expand it out to four minutes, six minutes, eight minutes, etc. Knowing the future means you can profit from it in the present, especially when that means knowing which square to scratch off on a lottery ticket. Before you know it, each member of this gaggle has found some form of personal enhancement, and they resist Kato’s dire prediction that knowing too much is never a good thing. (FYI: he’s soon proven right!)
In light ways, Two Minutes certainly comments on the human condition. We’re all slaves to something in this existence – be it our careers, our fandoms, our relationships – and staying true to ourselves becomes a never-ending balancing act. How we achieve what we do in this life often defines how we’re remembered, and as is the custom in ensemble comedies the group must come together before it’s too late in order to maintain their life, liberty, and pursuits of happiness. And even when Big Brother (not genetically but authoritatively) flexes those mighty muscles we all find a way to fight the oppression, eventually choosing to chart our own course into an uncertain tomorrow. The fact that Two Minutes handles so much substance and still delivers on its laughs is impressive, indeed.
It’s final message?
Enjoy today … while you still have it.
I’d be remiss in my duties if I failed to mention that the film has also garnered a fair amount of praise on the festival circuit. At the 2021 Fantafestival, director Junta Yamaguchi took home the ‘Golden Bat’ Award for ‘Best Film.’ At the 2021 Fantasia Film Festival, the flick won in both the ‘Best Asian Feature’ and ‘Special Mention’ categories. And at the 2021 Fantasy Filmfest, Yamaguchi was again graced with the trophy for ‘Best Feature.’
Beyond The Infinite Two Minutes (2020) is produced by Tollywood. Beginning on January 25th, the feature will be available in VOD platforms including iTunes, Amazon, VUDU, iNDemand, and DISH.
Highly recommended.
As time travel comedies go, Beyond The Infinite Two Minutes really stakes out fairly limited territory. Its participants are only able to ‘travel’ a handful of minutes into the future, and it isn’t really time travel so much as it is accessing information from a narrow spectrum. But the cast and crew – working from what appears to be a single take production – get incredible mileage out of the SciFi framework, delivering some of the most charming laughs, homespun performances, and even lesser bits of tension required to make all of this entertaining. At just over an hour in length, it’s a fabulous short film that would probably show some blemishes were it any longer. It’s also easy to see why the flick has been the darling of the festival circuit. Hats off to a project very well done.
In the interests of fairness, I’m pleased to disclose that the fine folks at Justin Cook PR provided me with a complimentary streaming link of Beyond The Infinite Two Minutes 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.
-- EZ
It’s final message?
Enjoy today … while you still have it.
I’d be remiss in my duties if I failed to mention that the film has also garnered a fair amount of praise on the festival circuit. At the 2021 Fantafestival, director Junta Yamaguchi took home the ‘Golden Bat’ Award for ‘Best Film.’ At the 2021 Fantasia Film Festival, the flick won in both the ‘Best Asian Feature’ and ‘Special Mention’ categories. And at the 2021 Fantasy Filmfest, Yamaguchi was again graced with the trophy for ‘Best Feature.’
Beyond The Infinite Two Minutes (2020) is produced by Tollywood. Beginning on January 25th, the feature will be available in VOD platforms including iTunes, Amazon, VUDU, iNDemand, and DISH.
Highly recommended.
As time travel comedies go, Beyond The Infinite Two Minutes really stakes out fairly limited territory. Its participants are only able to ‘travel’ a handful of minutes into the future, and it isn’t really time travel so much as it is accessing information from a narrow spectrum. But the cast and crew – working from what appears to be a single take production – get incredible mileage out of the SciFi framework, delivering some of the most charming laughs, homespun performances, and even lesser bits of tension required to make all of this entertaining. At just over an hour in length, it’s a fabulous short film that would probably show some blemishes were it any longer. It’s also easy to see why the flick has been the darling of the festival circuit. Hats off to a project very well done.
In the interests of fairness, I’m pleased to disclose that the fine folks at Justin Cook PR provided me with a complimentary streaming link of Beyond The Infinite Two Minutes 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.
-- EZ
- Published on
Folks, don't be all that shocked if you've never heard the name Edgar G. Ulmer.
Though I do have a decent grasp of the names of directors for cinema of a certain era, I had to look this one up as it didn't conjure up any immediate visions in my head. But Edgar G. Ulmer was a storyteller from an era of Hollywood wherein talented folk could toil endlessly in low-budget or B-Movie fare, for which he was well known. Eventually, he managed to throw off the 'low-budget' credentials and graduated to more respectable projects, though many of them stray well beyond the boundaries of Science Fiction and Fantasy. Late in his career, he dug deep into the well of inspiration and delivered three flicks to the world of genre entertainment: The Man From Planet X (1951), The Amazing Transparent Man (1960), and Beyond The Time Barrier (1960). While none of these titles may be all that distinct, it's still great to know that a craftsman like Ulmer left a mark with his visual flair in his storied days in Tinseltown.
In any event, the fine folks at Kino Lorber have put together an impression trifecta of these signature works, and it's coming available for pre-order soon. I thought I'd share some of the specifics with you below (in my standard cut-and-paste) fashion. Interested parties are encouraged to check these out at your earliest convenience.
As always, thanks for reading ... and live long and prosper!
Though I do have a decent grasp of the names of directors for cinema of a certain era, I had to look this one up as it didn't conjure up any immediate visions in my head. But Edgar G. Ulmer was a storyteller from an era of Hollywood wherein talented folk could toil endlessly in low-budget or B-Movie fare, for which he was well known. Eventually, he managed to throw off the 'low-budget' credentials and graduated to more respectable projects, though many of them stray well beyond the boundaries of Science Fiction and Fantasy. Late in his career, he dug deep into the well of inspiration and delivered three flicks to the world of genre entertainment: The Man From Planet X (1951), The Amazing Transparent Man (1960), and Beyond The Time Barrier (1960). While none of these titles may be all that distinct, it's still great to know that a craftsman like Ulmer left a mark with his visual flair in his storied days in Tinseltown.
In any event, the fine folks at Kino Lorber have put together an impression trifecta of these signature works, and it's coming available for pre-order soon. I thought I'd share some of the specifics with you below (in my standard cut-and-paste) fashion. Interested parties are encouraged to check these out at your earliest convenience.
As always, thanks for reading ... and live long and prosper!
Edgar G. Ulmer Sci-Fi Collection
[The Man From Planet X / Beyond the Time Barrier / The Amazing Transparent Man]
Prebook Date: 2/22/22
Street Date: 3/22/22
Label: KL Studio Classics
BD SRP: 39.95
BD Item #: K25821
BD UPC: 738329258214
Genre: Sci Fi / Horror
Year: 1960/1961
Rating: NR
Runtime: 204
Director: Edgar G. Ulmer
Actors: Robert Clarke, Darlene Tompkins, Marguerite Fields, Douglas Kennedy, William Schallert
Black & White
This collection features three sci-fi shockers directed by the sensational Edgar G. Ulmer (The Black Cat, Detour).
THE MAN FROM PLANET X (1950) – On the coast of Scotland, where there’s enough fog to hide an alien landing, an astronomer discovers that one has actually occurred. But it’s soon realized that the creature, the “Man from Planet X,” has definite plans—not for friendship, but for domination—unleashing “out-of-this-world” havoc on the villagers!
BEYOND THE TIME BARRIER (1960) – In 1960, U.S. Air Force Major William Allison pilots the X80 jet, which is capable of speeds up to 5,000 miles an hour and reaching heights of more than 100 miles above Earth. Upon nearly reaching outer space, Allison is unaware that the X80’s tremendous velocity has propelled him through a time barrier and into the post-apocalyptic year of 2024. He soon finds himself held captive in an underground city known as the Citadel, whose inhabitants have been menaced by mutants and a deadly virus. Now Allison must find a way to return to the past and warn humanity of impending disaster.
THE AMAZING TRANSPARENT MAN (1960) – In this pulse-pounding sci-fi classic, safecracker Joey Faust is snatched out of prison and made invisible with an atomic ray gun, apparently—and transparently—for the sole purpose of stealing nuclear fuel for a villain named Krenner and his beautiful moll Laura. But when Faust realizes his radiation-generated new look is slowly poisoning him, the tables are quickly turned, and his simple heist could now become the decade’s most horrifying nuclear nightmare of vengeance!
[The Man From Planet X / Beyond the Time Barrier / The Amazing Transparent Man]
Prebook Date: 2/22/22
Street Date: 3/22/22
Label: KL Studio Classics
BD SRP: 39.95
BD Item #: K25821
BD UPC: 738329258214
Genre: Sci Fi / Horror
Year: 1960/1961
Rating: NR
Runtime: 204
Director: Edgar G. Ulmer
Actors: Robert Clarke, Darlene Tompkins, Marguerite Fields, Douglas Kennedy, William Schallert
Black & White
This collection features three sci-fi shockers directed by the sensational Edgar G. Ulmer (The Black Cat, Detour).
THE MAN FROM PLANET X (1950) – On the coast of Scotland, where there’s enough fog to hide an alien landing, an astronomer discovers that one has actually occurred. But it’s soon realized that the creature, the “Man from Planet X,” has definite plans—not for friendship, but for domination—unleashing “out-of-this-world” havoc on the villagers!
BEYOND THE TIME BARRIER (1960) – In 1960, U.S. Air Force Major William Allison pilots the X80 jet, which is capable of speeds up to 5,000 miles an hour and reaching heights of more than 100 miles above Earth. Upon nearly reaching outer space, Allison is unaware that the X80’s tremendous velocity has propelled him through a time barrier and into the post-apocalyptic year of 2024. He soon finds himself held captive in an underground city known as the Citadel, whose inhabitants have been menaced by mutants and a deadly virus. Now Allison must find a way to return to the past and warn humanity of impending disaster.
THE AMAZING TRANSPARENT MAN (1960) – In this pulse-pounding sci-fi classic, safecracker Joey Faust is snatched out of prison and made invisible with an atomic ray gun, apparently—and transparently—for the sole purpose of stealing nuclear fuel for a villain named Krenner and his beautiful moll Laura. But when Faust realizes his radiation-generated new look is slowly poisoning him, the tables are quickly turned, and his simple heist could now become the decade’s most horrifying nuclear nightmare of vengeance!
- Published on
It’s not really a controversial statement to assert that 1989’s Star Trek V: The Final Frontier remains a low point in the whole Trek silver screen movie pantheon.
Honestly, there are a number of good reasons for such a low ranking amongst other franchise entries and even the wider body of Science Fiction and Fantasy films. It touches on issues of religion or faith, and that’s a topic many folks would rather keep out of the genre-viewing diet. Its storyline – that of the crew of the Enterprise being sent on a commando-style rescue mission to Nimbus III – certainly pushed the bounds of believability: a younger (ahem) and much more fit Starfleet security team would’ve made far more narrative sense as opposed to a band of “hardened” sixty- and seventy-year-olds. And, of course, it can’t escape mentioning that the feature’s special effects work was far less “special” and more “work” for viewers to accept, especially given the state of the industry at the time. Even writer/director/star William Shatner has opined about his effects’ budget and how the film’s final reveal had to be reconceived to fit within the studio parameters.
Still, if one sets aside some moments of rather obvious campy humor in the script, I’ve often argued that Frontier featured some fascinating moments exploring a subject that, perhaps, Shatner himself understood best, that being the franchise’s much celebrated trinity relationship of Kirk, Spock, and McCoy. The three characters have moments that bookend the feature – I’m speaking here of the campfire sequences that open and close the flick – that are written with some admirable subtlety, and these scenes both dissect and amplify what has best served their respective identities over decades in stories. Kirk’s gung-ho clashes with McCoy’s professional desire to preserve all life, and both come into conflict with Spock’s logical resolve to deduce before acting. Though a few sharp words are exchanged, judgements are withheld; and it’s suggested that possibly the best life lived combines just enough from each three position to keep everyone grounded.
It’s this precipice that leads me to always conclude that Frontier’s biggest mistake – all other issues aside – really was the film’s failure to let this same sentiment be explored when the captain, his doctor, and first officer confront Sybok, the kinda/sorta villain who sets all the events of the picture in motion.
After Sybok and his band of rebels take control of the Enterprise, the trinity are sequestered in the captain’s lounge wherein the spiritual leader finally explains to them (and the audience, of course) what set him on this particular course of action. His pursuit of Sha Ka Ree – the Vulcan ‘center of creation’ – somehow granted him the ability to conceive the pain of others, to project it on display for others, and to assist in healing the sufferer of what ails him most. Every antihero needs to prove his worth, and Sybok correspondingly takes both Dr. McCoy and Mr. Spock on quick tours through their psyches. It’s revealed that Bones – the series’ longtime healer – allowed his elderly father to succumb to a condition that was soon thereafter cured; and this pain of an ill-timed decision weighed heavily on the physician throughout his life. By comparison, Spock showed audiences something we’d long known – that he feared never quite being good enough as a half-Vulcan, half-human hybrid to his full-blooded Vulcan father. These were great emotional scenes – honestly a rarity in classic Star Trek – and they were played with conviction by all actors involved.
Honestly, there are a number of good reasons for such a low ranking amongst other franchise entries and even the wider body of Science Fiction and Fantasy films. It touches on issues of religion or faith, and that’s a topic many folks would rather keep out of the genre-viewing diet. Its storyline – that of the crew of the Enterprise being sent on a commando-style rescue mission to Nimbus III – certainly pushed the bounds of believability: a younger (ahem) and much more fit Starfleet security team would’ve made far more narrative sense as opposed to a band of “hardened” sixty- and seventy-year-olds. And, of course, it can’t escape mentioning that the feature’s special effects work was far less “special” and more “work” for viewers to accept, especially given the state of the industry at the time. Even writer/director/star William Shatner has opined about his effects’ budget and how the film’s final reveal had to be reconceived to fit within the studio parameters.
Still, if one sets aside some moments of rather obvious campy humor in the script, I’ve often argued that Frontier featured some fascinating moments exploring a subject that, perhaps, Shatner himself understood best, that being the franchise’s much celebrated trinity relationship of Kirk, Spock, and McCoy. The three characters have moments that bookend the feature – I’m speaking here of the campfire sequences that open and close the flick – that are written with some admirable subtlety, and these scenes both dissect and amplify what has best served their respective identities over decades in stories. Kirk’s gung-ho clashes with McCoy’s professional desire to preserve all life, and both come into conflict with Spock’s logical resolve to deduce before acting. Though a few sharp words are exchanged, judgements are withheld; and it’s suggested that possibly the best life lived combines just enough from each three position to keep everyone grounded.
It’s this precipice that leads me to always conclude that Frontier’s biggest mistake – all other issues aside – really was the film’s failure to let this same sentiment be explored when the captain, his doctor, and first officer confront Sybok, the kinda/sorta villain who sets all the events of the picture in motion.
After Sybok and his band of rebels take control of the Enterprise, the trinity are sequestered in the captain’s lounge wherein the spiritual leader finally explains to them (and the audience, of course) what set him on this particular course of action. His pursuit of Sha Ka Ree – the Vulcan ‘center of creation’ – somehow granted him the ability to conceive the pain of others, to project it on display for others, and to assist in healing the sufferer of what ails him most. Every antihero needs to prove his worth, and Sybok correspondingly takes both Dr. McCoy and Mr. Spock on quick tours through their psyches. It’s revealed that Bones – the series’ longtime healer – allowed his elderly father to succumb to a condition that was soon thereafter cured; and this pain of an ill-timed decision weighed heavily on the physician throughout his life. By comparison, Spock showed audiences something we’d long known – that he feared never quite being good enough as a half-Vulcan, half-human hybrid to his full-blooded Vulcan father. These were great emotional scenes – honestly a rarity in classic Star Trek – and they were played with conviction by all actors involved.
But, alas, Kirk refuses to cooperate. He does so on the grounds that he refuses to surrender his pain, that he needs his pain to fuel his never-ending efforts to be who and what he is.
This, I think, is the greatest failure of Star Trek V, and I think it demonstrates why audiences never really connected with the film the way they had other installments. As we see following Kirk’s refusal, the good doctor and Mr. Spock recover the effects of having their pain relieved rather quickly. They’re not brainwashed into blind servitude, certainly not in the manner that other crewmembers are, and maybe – just maybe – their characters are elevated a bit in stature precisely because that which helped shape them is fully shared. When inspirations – good or bad – are known, then a bond is either created or strengthened; and I, for one, certainly felt closer to these two than I ever had before. I knew what set them on their respective paths – or helped convince them a change was needed – and I identified with it.
While I understand why Kirk (maybe Shatner) felt an examination of the captain’s pain was – ahem – illogical, I disagree with that creative choice. A glimpse into the man – the legend – and his past could’ve been monumental, and that’s saying something for a character that has already been explored in countless hours of television, books, and prose. Some moment from his past that explored a twist he never expected or a choice he later regretted would’ve added another layer to the character’s already rich foundation; and I’m convinced it likely would’ve made his fans and supporters only love him more.
A few years later, audiences do finally get a look behind that curtain.
In 1994’s Star Trek: Generations, Captain Kirk is thrown into the Nexus – a whirling ribbon of energy that transcends time and space – and he finds himself exploring what we’re led to believe was one of the regrets to his storied life: he passed up a chance for marital bliss with the return to service in Starfleet. Here – just as with Sybok’s promise in the earlier film – Kirk faces his pain and eventually refuses to surrender to it. Why? Not because it wasn’t real but rather because he knew there was no risk with that choice any longer. I suspect whatever epiphany Kirk would’ve explored with the spiritual leader would’ve achieved the same result, and the crew would’ve been still on track to save life itself. What helped make Generations stronger with the captain’s reveal and response served to make Frontier weaker.
-- EZ
This, I think, is the greatest failure of Star Trek V, and I think it demonstrates why audiences never really connected with the film the way they had other installments. As we see following Kirk’s refusal, the good doctor and Mr. Spock recover the effects of having their pain relieved rather quickly. They’re not brainwashed into blind servitude, certainly not in the manner that other crewmembers are, and maybe – just maybe – their characters are elevated a bit in stature precisely because that which helped shape them is fully shared. When inspirations – good or bad – are known, then a bond is either created or strengthened; and I, for one, certainly felt closer to these two than I ever had before. I knew what set them on their respective paths – or helped convince them a change was needed – and I identified with it.
While I understand why Kirk (maybe Shatner) felt an examination of the captain’s pain was – ahem – illogical, I disagree with that creative choice. A glimpse into the man – the legend – and his past could’ve been monumental, and that’s saying something for a character that has already been explored in countless hours of television, books, and prose. Some moment from his past that explored a twist he never expected or a choice he later regretted would’ve added another layer to the character’s already rich foundation; and I’m convinced it likely would’ve made his fans and supporters only love him more.
A few years later, audiences do finally get a look behind that curtain.
In 1994’s Star Trek: Generations, Captain Kirk is thrown into the Nexus – a whirling ribbon of energy that transcends time and space – and he finds himself exploring what we’re led to believe was one of the regrets to his storied life: he passed up a chance for marital bliss with the return to service in Starfleet. Here – just as with Sybok’s promise in the earlier film – Kirk faces his pain and eventually refuses to surrender to it. Why? Not because it wasn’t real but rather because he knew there was no risk with that choice any longer. I suspect whatever epiphany Kirk would’ve explored with the spiritual leader would’ve achieved the same result, and the crew would’ve been still on track to save life itself. What helped make Generations stronger with the captain’s reveal and response served to make Frontier weaker.
-- EZ
- Published on
Though I've known a fair amount about the entire Kolchak franchise over the years, I've never really had the pleasure of exploring it further until recently: just last year, I picked up the first two telefilms and the subsequent television series on Blu-ray from Kino Lorber. They were a bit pricey, but with all that I've read on the show's influence I figured the money was well spent. To date, I've only had the good fortune of squeezing in the original telefilm -- which I do plan to review at some point, just organizing my thoughts -- but I'm dying to get back into it. Darren McGavin remains one of Hollywood's most underrated actors, and the monster of the week serial format has always been a personal favorite of mine. It was great to see the actor kinda/sorta reprise (in a manner) the role with appearances aboard The X-Files during its run.
In any event, I happened across an announcement today (via email) from Moonstone Publishing, who must own the Kolchak license (or share it, perhaps?). They're spearheading a Kickstarter effort to bring Kolchak back in a big way for his 50th Anniversary (later this year). I'm not really up on these things, but it does appear as if they've met their goal (well over, in fact), so there are a wealth of products set to release for those interested in this sort of thing. I'll do the usual copy and paste below, so you kids know what to do if you're truly as interested as I am.
As always, thanks for reading ... and live long and prosper!
-- EZ
In any event, I happened across an announcement today (via email) from Moonstone Publishing, who must own the Kolchak license (or share it, perhaps?). They're spearheading a Kickstarter effort to bring Kolchak back in a big way for his 50th Anniversary (later this year). I'm not really up on these things, but it does appear as if they've met their goal (well over, in fact), so there are a wealth of products set to release for those interested in this sort of thing. I'll do the usual copy and paste below, so you kids know what to do if you're truly as interested as I am.
As always, thanks for reading ... and live long and prosper!
-- EZ
The Kickstarter is now LIVE:
https://www.kickstarter.com/projects/manbomb/kolchak-the-night-stalker-50th-anniversary?ref=ek7smq
On Tuesday, January 11, 1972, KOLCHAK: THE NIGHT STALKER terrified and delighted audiences on ABC. The TV movie — written by horror legend Richard Matheson (I Am Legend) and based on an unpublished novel by Jeff Rice — was the highest-rated TV movie in U.S. history. It subsequently spawned both a second TV movie, THE NIGHT STRANGLER, and a cult TV series that ran for just one season, but inspired a generation of storytellers, notably including X-Files creator Chris Carter.
In 2022, Moonstone Books will celebrate this pop culture milestone with a Kickstarter campaign for KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL, edited by James Aquilone (Classic Monsters Unleashed). This all-new, 100+ page, full-color graphic novel will feature 10 startling stories chronicling the life of monster-hunting reporter Carl Kolchak. The stories are written by such master storytellers as David Avallone (Elvira: Mistress of the Dark), Rodney Barnes (Killadelphia), James Chambers (Kolchak the Night Stalker: The Forgotten Lore of Edgar Allan Poe), Nancy Collins (Swamp Thing), Peter David (The Incredible Hulk), Kim Newman (Anno Dracula), Jonathan Maberry (V-Wars), Richard Christian Matheson (Scars and Other Distinguishing Marks), Tim Waggoner (Temple of the Dragonslayer), and Aquilone, and illustrated by such amazing artists as Jonathan Marks Barravecchia (Scarlet Witch), Marco Finnegan (Lizard in a Zoot Suit), Warwick Johnson-Cadwell (Mr. Higgins Comes Home), Paul McCaffrey (Anno Dracula), Clara Meath (Midnight Vista), Julius Ohta (Iron Man), Tom Rogers (Herald: Lovecraft & Tesla), J.K. Woodward (Star Trek), and Colton Worley (The Shadow). THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL features covers by Colton Worley, Jerry Ordway (The Power of Shazam!), and J.K. Woodward as well as lettering by Thomas Napolitano, coloring by Zac Atkinson, and text design by Shawn T. King.
KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL also includes an introduction by Richard Christian Matheson, the bestselling horror author/screenwriter/producer and son of THE NIGHT STRANGLER and THE NIGHT STRANGLER writer Richard Matheson, an essay on the 50th anniversary by Mark Dawidziak, the author of The Nightstalker Companion, and a retrospective of Moonstone Book's Kolchak publication history by publisher Joe Gentile.
The KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL ANTHOLOGY will be available in limited-edition softcover and hardcover editions, both with variant covers. In addition Moonstone Books is creating a special 40-page standalone comic for the Kickstarter, featuring the story "Satanic Panic '88," written by James Aquilone and illustrated by Colton Worley, and featuring a cover by Dan Brereton.
“It’s been half a century since Carl Kolchak made his first appearance on TV and it seems the fandom for the character is stronger than ever,” said editor James Aquilone. “I wanted to create something very special for the anniversary: a look at the life of my favorite monster hunter, from his childhood to his last case…the ultimate Kolchak story, full of creatures, frights, and the reporter’s iconic wit.”
"Carl Kolchak is one of the great horror genre characters of the 1970s,” said Kim Newman.
“KOLCHAK changed my life,” said Killadelphia writer Rodney Barnes. “The story we're telling brings the character into some wholly unexpected places and it’s a genuine thrill to be a part of this incredible anthology.”
For updates, follow James Aquilone on Twitter and Instagram and follow the Kolchak campaign on Twitter.
The Kickstarter is now live:
https://www.kickstarter.com/projects/manbomb/kolchak-the-night-stalker-50th-anniversary?ref=ek7smq
https://www.kickstarter.com/projects/manbomb/kolchak-the-night-stalker-50th-anniversary?ref=ek7smq
On Tuesday, January 11, 1972, KOLCHAK: THE NIGHT STALKER terrified and delighted audiences on ABC. The TV movie — written by horror legend Richard Matheson (I Am Legend) and based on an unpublished novel by Jeff Rice — was the highest-rated TV movie in U.S. history. It subsequently spawned both a second TV movie, THE NIGHT STRANGLER, and a cult TV series that ran for just one season, but inspired a generation of storytellers, notably including X-Files creator Chris Carter.
In 2022, Moonstone Books will celebrate this pop culture milestone with a Kickstarter campaign for KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL, edited by James Aquilone (Classic Monsters Unleashed). This all-new, 100+ page, full-color graphic novel will feature 10 startling stories chronicling the life of monster-hunting reporter Carl Kolchak. The stories are written by such master storytellers as David Avallone (Elvira: Mistress of the Dark), Rodney Barnes (Killadelphia), James Chambers (Kolchak the Night Stalker: The Forgotten Lore of Edgar Allan Poe), Nancy Collins (Swamp Thing), Peter David (The Incredible Hulk), Kim Newman (Anno Dracula), Jonathan Maberry (V-Wars), Richard Christian Matheson (Scars and Other Distinguishing Marks), Tim Waggoner (Temple of the Dragonslayer), and Aquilone, and illustrated by such amazing artists as Jonathan Marks Barravecchia (Scarlet Witch), Marco Finnegan (Lizard in a Zoot Suit), Warwick Johnson-Cadwell (Mr. Higgins Comes Home), Paul McCaffrey (Anno Dracula), Clara Meath (Midnight Vista), Julius Ohta (Iron Man), Tom Rogers (Herald: Lovecraft & Tesla), J.K. Woodward (Star Trek), and Colton Worley (The Shadow). THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL features covers by Colton Worley, Jerry Ordway (The Power of Shazam!), and J.K. Woodward as well as lettering by Thomas Napolitano, coloring by Zac Atkinson, and text design by Shawn T. King.
KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL also includes an introduction by Richard Christian Matheson, the bestselling horror author/screenwriter/producer and son of THE NIGHT STRANGLER and THE NIGHT STRANGLER writer Richard Matheson, an essay on the 50th anniversary by Mark Dawidziak, the author of The Nightstalker Companion, and a retrospective of Moonstone Book's Kolchak publication history by publisher Joe Gentile.
The KOLCHAK: THE NIGHT STALKER 50TH ANNIVERSARY GRAPHIC NOVEL ANTHOLOGY will be available in limited-edition softcover and hardcover editions, both with variant covers. In addition Moonstone Books is creating a special 40-page standalone comic for the Kickstarter, featuring the story "Satanic Panic '88," written by James Aquilone and illustrated by Colton Worley, and featuring a cover by Dan Brereton.
“It’s been half a century since Carl Kolchak made his first appearance on TV and it seems the fandom for the character is stronger than ever,” said editor James Aquilone. “I wanted to create something very special for the anniversary: a look at the life of my favorite monster hunter, from his childhood to his last case…the ultimate Kolchak story, full of creatures, frights, and the reporter’s iconic wit.”
"Carl Kolchak is one of the great horror genre characters of the 1970s,” said Kim Newman.
“KOLCHAK changed my life,” said Killadelphia writer Rodney Barnes. “The story we're telling brings the character into some wholly unexpected places and it’s a genuine thrill to be a part of this incredible anthology.”
For updates, follow James Aquilone on Twitter and Instagram and follow the Kolchak campaign on Twitter.
The Kickstarter is now live:
https://www.kickstarter.com/projects/manbomb/kolchak-the-night-stalker-50th-anniversary?ref=ek7smq
- Published on
Junta Yamaguchi's Temporal Paradox Comedy Beyond the Infinite Two Minutes Takes a Trip to VOD
Following Critical Acclaim on the International Festival Circuit
Available on Digital HD and Cable VOD January 25th
Across North America from Indiecan Entertainment
Following Critical Acclaim on the International Festival Circuit
Available on Digital HD and Cable VOD January 25th
Across North America from Indiecan Entertainment
"What Yamaguchi has created here is pure magic" -- Daily Dead
"One of the most clever time travel movies in years" -- RogerEbert.com
"Takes a simple premise and turns it into one of the most enjoyable features you will see this year" -- Cinema Axis
"Elevates well above its micro means as a thought-provoking science fiction mystery without a single bell or whistle" -- WhatToWatch
Toronto, ON - Following a wildly successful run on the global film festival circuit, Indiecan Entertainment has the North American VOD premiere of Junta Yamaguchi's acclaimed debut feature film Beyond the Infinite Two Minutes. Beyond the Infinite Two Minutes made its North American premiere at Montreal's Fantasia International Film Festival, followed by a wildly successful UK premiere at London's Arrow Video FrightFest and a US Premiere at Austin's Fantastic Fest. The timewarped workplace comedy will be available on a number of digital and cable platforms, including iTunes, Amazon, VUDU, iNDemand and DISH, beginning January 25th.
Beyond the Infinite Two Minutes had its world premiere at Brussels International Fantastic Film Festival, beginning a global tour of critical and audience acclaim. The film has taken home several awards to date including White Raven and the Critics Award at BIFFF, Best Director and the Audience Award for Best Feature at Fantaspoa, the NETPAC Award at BIFAN, the Golden Bat for Best Film at Fantafestival and the Nippon Visions Audience Award for Best Director at the Nippon Connection Japanese Film Festival. The film most recently took home a Jury Award for Outstanding Achievement in Filmmaking and the Gold Audience Award for Best Asian Film at Fantasia.
Since the world premiere at Brussels International Fantastic Film Festival, Beyond the Infinite Two Minutes has been praised by critics. Comic Book Resources hailed "Beyond the Infinite Two Minutes cost next to nothing compared to the megabudget Tenet, yet it manages to be equally inventive in its portrayal of time travel and far more entertaining to watch" while Cultured Vultures called the film "intricate and wonderfully creative" and "a dazzling sci-fi gem". Film Threat gave the sci-fi comedy "10/10" and boasted "there is nothing to not love about Beyond the Infinite Two Minutes." Flickering Myth proclaimed that "Beyond the Infinite Two Minutes delivers a rare truly fresh take on the time travel movie."
Beyond the Infinite Two Minutes was produced by Kazuchika Yoshida and Takahiro Otsuki, with Junta Yamaguchi directing from a script by Makoto Ueda.
Kato is a middle-aged shop owner in Kyoto, Japan who lives above his cafe. He spends his free time playing in a local band and sometimes thinking about Megumi, the woman in the barbershop next door with whom Kato is infatuated. One evening, after closing up the cafe, Kato is in his room when suddenly he appears on his own computer screen. The Kato on the screen is using the computer from downstairs in the cafe and claims to be from two minutes in the future. Kato is understandably confused and skeptical, but things get really strange when he goes down to the cafe computer, sees himself sitting back in his room, and begins to deliver the same message he heard two minutes before. It’s not long before Kato’s friends discover the phenomenon – which they dub “Time TV” – and devise a plan to go beyond the infinite two minutes.
Beyond the Infinite Two Minutes had its world premiere at Brussels International Fantastic Film Festival, beginning a global tour of critical and audience acclaim. The film has taken home several awards to date including White Raven and the Critics Award at BIFFF, Best Director and the Audience Award for Best Feature at Fantaspoa, the NETPAC Award at BIFAN, the Golden Bat for Best Film at Fantafestival and the Nippon Visions Audience Award for Best Director at the Nippon Connection Japanese Film Festival. The film most recently took home a Jury Award for Outstanding Achievement in Filmmaking and the Gold Audience Award for Best Asian Film at Fantasia.
Since the world premiere at Brussels International Fantastic Film Festival, Beyond the Infinite Two Minutes has been praised by critics. Comic Book Resources hailed "Beyond the Infinite Two Minutes cost next to nothing compared to the megabudget Tenet, yet it manages to be equally inventive in its portrayal of time travel and far more entertaining to watch" while Cultured Vultures called the film "intricate and wonderfully creative" and "a dazzling sci-fi gem". Film Threat gave the sci-fi comedy "10/10" and boasted "there is nothing to not love about Beyond the Infinite Two Minutes." Flickering Myth proclaimed that "Beyond the Infinite Two Minutes delivers a rare truly fresh take on the time travel movie."
Beyond the Infinite Two Minutes was produced by Kazuchika Yoshida and Takahiro Otsuki, with Junta Yamaguchi directing from a script by Makoto Ueda.
Kato is a middle-aged shop owner in Kyoto, Japan who lives above his cafe. He spends his free time playing in a local band and sometimes thinking about Megumi, the woman in the barbershop next door with whom Kato is infatuated. One evening, after closing up the cafe, Kato is in his room when suddenly he appears on his own computer screen. The Kato on the screen is using the computer from downstairs in the cafe and claims to be from two minutes in the future. Kato is understandably confused and skeptical, but things get really strange when he goes down to the cafe computer, sees himself sitting back in his room, and begins to deliver the same message he heard two minutes before. It’s not long before Kato’s friends discover the phenomenon – which they dub “Time TV” – and devise a plan to go beyond the infinite two minutes.
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Truth be told, I appreciate anyone who can make people laugh ... and I think Bob Saget certainly deserves a mention for all he's contributed to the world of entertainment over his years in the business. Granted, his particular brand of humor may not have been for everyone, but such is the nature of true comedy -- what each of us finds laughable does vary from person-to-person.
Yes, yes, and yes: his SciFi and Fantasy credentials might be thin. Not every talent out there gets cast in our movies and shows, but he did make an appearance in NBC's popular time travel drama Quantum Leap. (Plus, he did have one of those 'blink and you'll miss it' teeny tiny roles in The Greatest American Hero.) Opposite Scott Bakula, Saget got to show his stuff as they played two-thirds of a Catskills trio on the run (of sorts) from the mob. As I always say, it's great that we have this performances to remember folks by as these continue to unite us long after they're gone.
Prayers to the Saget family and friends in their time of need.
As always, thanks for reading.
-- EZ
Yes, yes, and yes: his SciFi and Fantasy credentials might be thin. Not every talent out there gets cast in our movies and shows, but he did make an appearance in NBC's popular time travel drama Quantum Leap. (Plus, he did have one of those 'blink and you'll miss it' teeny tiny roles in The Greatest American Hero.) Opposite Scott Bakula, Saget got to show his stuff as they played two-thirds of a Catskills trio on the run (of sorts) from the mob. As I always say, it's great that we have this performances to remember folks by as these continue to unite us long after they're gone.
Prayers to the Saget family and friends in their time of need.
As always, thanks for reading.
-- EZ