Cult Animation: TWICE UPON A TIME and THE THIEF AND THE COBBLER
Take a look at this clip from YouTube:
If you're going, "WTF?!", settle in and watch all 8 segments. You won't be sorry.
Chances are you've never even heard of this film... or, if you're one of the obsessive few who remember some press about this in the early 80's, you haven't seen it.
This is one of the great 'lost' films of the 80's, particularly strange since it is a Lucasfilm Production; one of those projects that Lucas wanted to champion -- well, so much for that.
The history of the film has been detailed in print, and has been touched upon in the blog world and websites; what it boils down to is that what was envisioned by some to be a family film got made into something a bit edgier -- and being neither fish or fowl, the film fell between the cracks, with those being lucky enough to see it left to wonder if it really existed.
I got to catch one 'clandestine' screening at the UCSF campus in the early 1990's - had no idea that it had been broadcast on HBO several times before being pulled. And now, thanks to YouTube, this is the version you're now able to see.
Although it seems that this would be perfect DVD fodder - most of the people involved in the production have gone on to bigger things, like Henry Selick and David Fincher; most of the humor would be better received - it's sort of like the twisted progeny of Jay Ward, and its opening scene has been homaged by Tim Burton in BATMAN RETURNS; and most of all, it's produced by GEORGE LUCAS. But that's not a guarantee of anything - though it deserves a better presentation, this may be the main way people finally discover this film.
Another lost animation classic also up on the 'Tube is THE THIEF AND THE COBBLER, in a 'Recobbled' Cut. The legendary project by animator Richard Williams, it was years in production and finally taken away from him and finished up in an inferior version called ARABIAN KNIGHTS in the 90's. The Recobbled Cut is a fan-made project, which attempts to present the film as close to Williams' intent as possible, including pencil tests of unfinished sequences and original voice tracks. Obsessives kept this alive via websites and blogs; it's worth an hour and a half of your time to watch -- and then wonder how Disney never gets sued over films like, say ALADDIN.
Friday, June 05, 2009
Wednesday, May 27, 2009
Vault Viewing: 99 and 44/100% Dead (with a small digression, at first)
So I finally watched THE DARK KNIGHT -- OK, it did live up to the Bat-hype, though I strangely have no desire to see another Batman movie. Ledger would've been nominated for the Oscar if he hadn't croaked... not sure if he actually would have won it. Possibly, but dying certainly bagged it, so to speak.
I'm still not sold on the Batman voice... it just got to be annoying.
Hats off to Chris Nolan, who certainly raised the bar on this incarnation of the Bat... but it's somewhat sad too. Remember when he did other movies other than Batman flicks? You can guarantee that'll be the kickoff on the obituary - "BATMAN director..."
Really sad to think that'll be in Michael Caine's obit too. "In addition to playing 'Alfred' in BATMAN BEGINS and THE DARK KNIGHT, Caine also had roles in ALFIE and GET CARTER back in the mid to late 60's..."
Sad.
Not that this post is about Michael Caine, but he is a part of it, somewhat indirectly. What this IS about is the usual geek post about films that not very many people know about, but should. 99 & 44/100% Dead is certainly a mouthful of a title for a film... that it's very little known nowadays is a shame, since it's directed by John Frankenheimer and stars Richard Harris. It pops up on the Fox Movie Channel from time to time, as well as other sources. It's little known because it comes under that rare classification of films known as 'weird shit'... so I HAD to find it.
It appears to be a crime film... Richard Harris playing a hired gun named Harry Crown who's called in to back up a crime lord in a war against another rival crime lord. That sounds straightforward enough, but there's something that's just not... quite right.
First off, there's the ad campaign:
.gif)
And there's the look of Harris:
Remind you of anyone?
(see... I told you!)
A somewhat tongue-in-cheek title, and a character definitely referencing a pop culture hero... this is not your dad's Mafia film. In fact, this plays very much like this could've been made within the last decade or so. Lots of matter-of-fact violence, odd touches like the city it takes place in not being very identifiable or having lots of background crowds; alligators in the sewers, pithy dialog, and strange characters, which in this case is Chuck Connors playing a rival gun, "Claw" Zuckerman. Guess how he got the nickname?
The opening title sequence and set-piece set the tone, as well as a funky score by Henry Mancini
It all may seem old hat nowadays, but in 1974 it was pretty out there. Strangely enough, this was the second such animal in Mafia crime films.
PRIME CUT, directed by Michael Ritchie was another 'weird' film done maybe a couple of years earlier than "99 & 44/100%". In a way, it's almost kind of the same story -- not surprising since both were written by the same man, Robert Dillon and had the same producer, Joe Wizan.
There are some similarities - both have as their 'hero' a legendary figure called in for a favor - in PRIME's case, it's Lee Marvin called in to collect money owed by Kansas crime boss Gene Hackman, who has a bad habit of getting rid of said collectors by turning them into sausages!
The main difference is tone - Frankenheimer stages action better than Ritchie does, but Ritchie has a better satirical eye, and nails the tone a bit better than Frankenheimer manages to do.
PRIME CUT is available on DVD. 99 & 44/100% is not as of yet.
So I finally watched THE DARK KNIGHT -- OK, it did live up to the Bat-hype, though I strangely have no desire to see another Batman movie. Ledger would've been nominated for the Oscar if he hadn't croaked... not sure if he actually would have won it. Possibly, but dying certainly bagged it, so to speak.
I'm still not sold on the Batman voice... it just got to be annoying.
Hats off to Chris Nolan, who certainly raised the bar on this incarnation of the Bat... but it's somewhat sad too. Remember when he did other movies other than Batman flicks? You can guarantee that'll be the kickoff on the obituary - "BATMAN director..."
Really sad to think that'll be in Michael Caine's obit too. "In addition to playing 'Alfred' in BATMAN BEGINS and THE DARK KNIGHT, Caine also had roles in ALFIE and GET CARTER back in the mid to late 60's..."
Sad.
Not that this post is about Michael Caine, but he is a part of it, somewhat indirectly. What this IS about is the usual geek post about films that not very many people know about, but should. 99 & 44/100% Dead is certainly a mouthful of a title for a film... that it's very little known nowadays is a shame, since it's directed by John Frankenheimer and stars Richard Harris. It pops up on the Fox Movie Channel from time to time, as well as other sources. It's little known because it comes under that rare classification of films known as 'weird shit'... so I HAD to find it.
It appears to be a crime film... Richard Harris playing a hired gun named Harry Crown who's called in to back up a crime lord in a war against another rival crime lord. That sounds straightforward enough, but there's something that's just not... quite right.
First off, there's the ad campaign:
.gif)
And there's the look of Harris:
Remind you of anyone?
(see... I told you!)
A somewhat tongue-in-cheek title, and a character definitely referencing a pop culture hero... this is not your dad's Mafia film. In fact, this plays very much like this could've been made within the last decade or so. Lots of matter-of-fact violence, odd touches like the city it takes place in not being very identifiable or having lots of background crowds; alligators in the sewers, pithy dialog, and strange characters, which in this case is Chuck Connors playing a rival gun, "Claw" Zuckerman. Guess how he got the nickname?
The opening title sequence and set-piece set the tone, as well as a funky score by Henry Mancini
It all may seem old hat nowadays, but in 1974 it was pretty out there. Strangely enough, this was the second such animal in Mafia crime films.
PRIME CUT, directed by Michael Ritchie was another 'weird' film done maybe a couple of years earlier than "99 & 44/100%". In a way, it's almost kind of the same story -- not surprising since both were written by the same man, Robert Dillon and had the same producer, Joe Wizan.
There are some similarities - both have as their 'hero' a legendary figure called in for a favor - in PRIME's case, it's Lee Marvin called in to collect money owed by Kansas crime boss Gene Hackman, who has a bad habit of getting rid of said collectors by turning them into sausages!
The main difference is tone - Frankenheimer stages action better than Ritchie does, but Ritchie has a better satirical eye, and nails the tone a bit better than Frankenheimer manages to do.
PRIME CUT is available on DVD. 99 & 44/100% is not as of yet.
Thursday, May 14, 2009
Truth be told, all this TREK hatin' can take a lot out of you. After a lot of truthful smack talk, one needs to cleanse the palate... sample something that one has no illusions about, and that truly delivers on its promises.
Giant shark chomping the Golden Gate Bridge!?
And jumping out of the water to attack planes!!??
Giant octopus smacking planes out of the sky with its tentacles!!!???
DEBBIE GIBSON!!!!????
Fuck STAR TREK... now THIS is a Summer Movie.
Wednesday, May 13, 2009
Douchebag Cinema
An epiphany in the midst of all this STAR TREK hate I have and lemmings insisting it's the greatest thing since Jesus did the Sermon on the Mount...
actually, it's more related to the popularity of the work of J.J. Abrams, whose work I've been less and less enamored with as it grows to public popularity. I think the key to that popularity is down to one word: DOUCHEBAG.
Follow closely...
Abram's first major work is the screenplay for TAKING CARE OF BUSINESS, an alleged comedy with Jim Belushi as a douchebag who steals the Filofax of another douchebag played by Charles Grodin, and assumes his identity. Hijinks abound.
His next script is for a Mike Nichols film starring Harrison Ford (!) called REGARDING HENRY. The story of a major douchebag who gets shot in the head and learns not to be a douchebag anymore -- it sucked. Badly.
FOREVER YOUNG - Mel Gibson as a douchebag who participates in an experiment and is frozen until he's unfrozen by a couple of kids; GONE FISHIN', another alleged comedy with Joe Pesci and Danny Glover (hot off the LETHAL WEAPON films) as two douchebag friends from the city who take a fishing trip.
This culminates into being co-writer for ARMAGEDDON, where the entire world is saved by douchebag Bruce Willis and his douchebag crew of roughnecks.
Then Abrams jumps to television. He creates FELICITY, about a female douchebag who gradually learns she's not entitled to anything, with a whole bevy of douchebag friends; and ALIAS, a riff off of the spy craze of the 60's where master spy Jennifer Garner learns that instead of being a U.S. spy, she's a spy for a douchebag agency, and she learns that her family, friends and co-workers are douchebags fighting other douchebags - that fucks with her head! Monster success for both shows, which leads to his touch with LOST, a show full of douchebags attempting to find out... well, who knows what. With LOST, not only are the characters all douchebags, the show itself does douchy things to its audience, who of course, just LOVE it.
Abrams works with master douchebag Tom Cruise on MISSION IMPOSSIBLE 3 and not even the presence of Philip Seymour Hoffman can overcome the douchiness; the new show FRINGE is basically X-FILES with douchebags... and now Abrams brings the douchy touch to STAR TREK, where almost everyone is a douchebag - even Old Spock.
In the midst of all this douchiness, WHY does it work is the question? Why is it so popular?
Because the audience is mainly douchebags. Sad to say.
An epiphany in the midst of all this STAR TREK hate I have and lemmings insisting it's the greatest thing since Jesus did the Sermon on the Mount...
actually, it's more related to the popularity of the work of J.J. Abrams, whose work I've been less and less enamored with as it grows to public popularity. I think the key to that popularity is down to one word: DOUCHEBAG.
Follow closely...
Abram's first major work is the screenplay for TAKING CARE OF BUSINESS, an alleged comedy with Jim Belushi as a douchebag who steals the Filofax of another douchebag played by Charles Grodin, and assumes his identity. Hijinks abound.
His next script is for a Mike Nichols film starring Harrison Ford (!) called REGARDING HENRY. The story of a major douchebag who gets shot in the head and learns not to be a douchebag anymore -- it sucked. Badly.
FOREVER YOUNG - Mel Gibson as a douchebag who participates in an experiment and is frozen until he's unfrozen by a couple of kids; GONE FISHIN', another alleged comedy with Joe Pesci and Danny Glover (hot off the LETHAL WEAPON films) as two douchebag friends from the city who take a fishing trip.
This culminates into being co-writer for ARMAGEDDON, where the entire world is saved by douchebag Bruce Willis and his douchebag crew of roughnecks.
Then Abrams jumps to television. He creates FELICITY, about a female douchebag who gradually learns she's not entitled to anything, with a whole bevy of douchebag friends; and ALIAS, a riff off of the spy craze of the 60's where master spy Jennifer Garner learns that instead of being a U.S. spy, she's a spy for a douchebag agency, and she learns that her family, friends and co-workers are douchebags fighting other douchebags - that fucks with her head! Monster success for both shows, which leads to his touch with LOST, a show full of douchebags attempting to find out... well, who knows what. With LOST, not only are the characters all douchebags, the show itself does douchy things to its audience, who of course, just LOVE it.
Abrams works with master douchebag Tom Cruise on MISSION IMPOSSIBLE 3 and not even the presence of Philip Seymour Hoffman can overcome the douchiness; the new show FRINGE is basically X-FILES with douchebags... and now Abrams brings the douchy touch to STAR TREK, where almost everyone is a douchebag - even Old Spock.
In the midst of all this douchiness, WHY does it work is the question? Why is it so popular?
Because the audience is mainly douchebags. Sad to say.
Friday, May 08, 2009
Bitter Old Man or "Get off my starship, you damn kids!"
As you can guess, I'm not part of the hordes of moviegoers and critics who are practically fellating STAR TREK and J.J. Abrams. The reviews are favorable and everyone seems to confirm that the franchise is back...
Truth is, the last TREK movie that I was interested in was UNDISCOVERED COUNTRY. The last TREK spin-off that I liked was DS9. I'm lukewarm on NG TREK, actively despise VOYAGER and ENTERPRISE. I have plenty of TREK to choose from, thank you, and I tend to like the Original Recipe.
What I've seen of STAR TREK: THE PEPSI GENERATION, I'm not impressed with. "The Future's So Bright, I Gotta Wear Shades - 'Cause Of The Lens Flares." It seems to be a case of 'CLOVERFIELD Syndrome' - everybody loves the initial rush, but in 5 years or so looking back, everyone will be embarrassed that they actually thought it was good.
This isn't limited to TREK, or a case of "raping my childhood" -- I really have lost my taste for the megabudget, big event films that should make my life more complete. Bat-Hype totally killed any interest I had in going to THE DARK KNIGHT, and indifference to comic adaptations was my excuse for IRON MAN, WATCHMEN, WOLVERINE... and not being a real big fan of Abrams made the TREK announcement a non event for me.
Most of these are really great thrill rides - a couple may actually be really good films. But in-between these two poles is a lot of mediocre style that people mistake for good filmmaking.
I don't really have the need anymore to rush out to watch mediocre films. "Lemming-cinema", as I'll start calling it from now on.
At best, Pepsi Gen TREK is a cheap matinee, or a wait for the DVD. I hope to be surprised that it's a good movie...
I just really hate the thought of wearing sunglasses inside while I'm watching it.
Update: Best one line review of Pepsi Gen TREK from the A.V. Club comments. And yes, it's offensive.
As you can guess, I'm not part of the hordes of moviegoers and critics who are practically fellating STAR TREK and J.J. Abrams. The reviews are favorable and everyone seems to confirm that the franchise is back...
Truth is, the last TREK movie that I was interested in was UNDISCOVERED COUNTRY. The last TREK spin-off that I liked was DS9. I'm lukewarm on NG TREK, actively despise VOYAGER and ENTERPRISE. I have plenty of TREK to choose from, thank you, and I tend to like the Original Recipe.
What I've seen of STAR TREK: THE PEPSI GENERATION, I'm not impressed with. "The Future's So Bright, I Gotta Wear Shades - 'Cause Of The Lens Flares." It seems to be a case of 'CLOVERFIELD Syndrome' - everybody loves the initial rush, but in 5 years or so looking back, everyone will be embarrassed that they actually thought it was good.
This isn't limited to TREK, or a case of "raping my childhood" -- I really have lost my taste for the megabudget, big event films that should make my life more complete. Bat-Hype totally killed any interest I had in going to THE DARK KNIGHT, and indifference to comic adaptations was my excuse for IRON MAN, WATCHMEN, WOLVERINE... and not being a real big fan of Abrams made the TREK announcement a non event for me.
Most of these are really great thrill rides - a couple may actually be really good films. But in-between these two poles is a lot of mediocre style that people mistake for good filmmaking.
I don't really have the need anymore to rush out to watch mediocre films. "Lemming-cinema", as I'll start calling it from now on.
At best, Pepsi Gen TREK is a cheap matinee, or a wait for the DVD. I hope to be surprised that it's a good movie...
I just really hate the thought of wearing sunglasses inside while I'm watching it.
Update: Best one line review of Pepsi Gen TREK from the A.V. Club comments. And yes, it's offensive.
8 May 2009 | 1:03 PM CDT hatin
JJ Abrams' Star Trek = reacharound
Courteous, yes. But you're still getting fucked in the ass.
Saturday, April 25, 2009
Tuesday, April 21, 2009
In theaters April 24 & May 1: MIL MASCARAS VS. THE AZTEC MUMMY & SONG OF THE DEAD
When I posted news of SOTD's acquisition by Monogram Releasing, I had no idea it would be so soon - like May 1 soon! But an even bigger surprise was finding out about another film out even sooner; like THIS FRIDAY!!
In theaters April 24
Courtesy of B-Movie Nation, read a review of MMVSAM, and for a crash course in "ProducerSpeak"... what's that smell? - an interview with the Producer. Also, read an interview with Chip Gubera about SOTD.
Both movies will be digitally released - the theaters listed are in the South and Midwest... maybe there'll be other regions listed soon. Both should see their DVD releases later in the year.
I'd be happier to also see news about ACADEMY OF DOOM!, but I know there's tons of lucha fans who will be happy to see this... and good to see SOTD get some exposure in this country.
UPDATE: ACADEMY OF DOOM! is scheduled for release on June 19. So all 3 should be out on DVD by the Fall.
In theaters May 1
Theater listings:
Nova at Sabal Palms
2539 South Federal Highway
Fort Pierce, Florida 34982
Nova Georgia
340 Tanger Drive
Commerce, Georgia 30529
Studio 10 Cinemas
1624 E. State Highway 44
Shelbyville, Indiana 46176
Movieline: 398-FLIX(3549)
Georgetown 14 Cinemas
3898 Lafayette Road
Indianapolis, Indiana 46254
phone: (317) 291-3456
Nova 10
4353 Merle Hay Road
Des Moines, Iowa 50310
Movie Palace Cinemas
1231 Woodland Drive
Elizabethtown, Kentucky 42701
phone: (270) 769-1505
Dixie Dozen Cinemas
6801 Dixie Highway
Louisville, Kentucky 40258
phone: (502) 935-3771
Theatres of Georgetown
401 Outlet Center Drive
Georgetown, Kentucky 40324
Branson Meadows Theatres
4740 Gretna Road
Branson, Missouri 65616
Branson Meadows Outlet Mall
Phone: 417-332-0464
Movie Hotline: 417-332-2884
The Amp Oxford Mississippi
206 Commonwealth Boulevard
Oxford, Mississippi 38655
Movie Hotline: 662-236-4080
Portsmouth Cinemas
1623 Chillicothe Street
Portsmouth, Ohio 45662
Movieline: 355-FILM(3456)
Lake Geneva 4
244 Broad Street
Lake Geneva, Wisconsin 53147
When I posted news of SOTD's acquisition by Monogram Releasing, I had no idea it would be so soon - like May 1 soon! But an even bigger surprise was finding out about another film out even sooner; like THIS FRIDAY!!
In theaters April 24
Courtesy of B-Movie Nation, read a review of MMVSAM, and for a crash course in "ProducerSpeak"... what's that smell? - an interview with the Producer. Also, read an interview with Chip Gubera about SOTD.
Both movies will be digitally released - the theaters listed are in the South and Midwest... maybe there'll be other regions listed soon. Both should see their DVD releases later in the year.
I'd be happier to also see news about ACADEMY OF DOOM!, but I know there's tons of lucha fans who will be happy to see this... and good to see SOTD get some exposure in this country.
UPDATE: ACADEMY OF DOOM! is scheduled for release on June 19. So all 3 should be out on DVD by the Fall.
In theaters May 1
Theater listings:
Nova at Sabal Palms
2539 South Federal Highway
Fort Pierce, Florida 34982
Nova Georgia
340 Tanger Drive
Commerce, Georgia 30529
Studio 10 Cinemas
1624 E. State Highway 44
Shelbyville, Indiana 46176
Movieline: 398-FLIX(3549)
Georgetown 14 Cinemas
3898 Lafayette Road
Indianapolis, Indiana 46254
phone: (317) 291-3456
Nova 10
4353 Merle Hay Road
Des Moines, Iowa 50310
Movie Palace Cinemas
1231 Woodland Drive
Elizabethtown, Kentucky 42701
phone: (270) 769-1505
Dixie Dozen Cinemas
6801 Dixie Highway
Louisville, Kentucky 40258
phone: (502) 935-3771
Theatres of Georgetown
401 Outlet Center Drive
Georgetown, Kentucky 40324
Branson Meadows Theatres
4740 Gretna Road
Branson, Missouri 65616
Branson Meadows Outlet Mall
Phone: 417-332-0464
Movie Hotline: 417-332-2884
The Amp Oxford Mississippi
206 Commonwealth Boulevard
Oxford, Mississippi 38655
Movie Hotline: 662-236-4080
Portsmouth Cinemas
1623 Chillicothe Street
Portsmouth, Ohio 45662
Movieline: 355-FILM(3456)
Lake Geneva 4
244 Broad Street
Lake Geneva, Wisconsin 53147
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