Wordpess has recently re-hauled itself and deleted certain features I’ve come to rely on. Besides that I’m finding more and more that I like blogspot better. That being said, I’ve already put up my first post and am looking forward to resurrecting this sadly rarely updated site and taking it back to the days of yore when I used to post regularly.

This is my final post on wordpress.com. Thank you all for reading and I hope you’ll continue to do so on our new site: Alonefancryinginthewilderness.blogspot.com!

Johnny LaRue’s Crane Shot (a fantastic blog I check on a regular basis) has just posted a great article on the history of this movie and it’s various North American re-edits at the hands of Roger Corman.

This article comes with my highest possible recommendation!

And for those who are interested in my original article but don’t want to trudge through the other fourteen reviews attached to it, I’m re-posting it below. Ciao everyone and have a fishy day!

Island of the Fish Men (1979)

Though available on dvd in North America …

… this film was first released on region 1 vhs as Screamers!

The original by veteran Italian director Sergio Martino has a slower (and some argue more thoughtful) nature to it. The vhs version was heavily re-edited with scenes removed and gore added by none other than legendary genre director Joe Dante (of Gremlins and The Howling fame) under the title Dan T. Miller. Opinions vary as to which version is better.

Overall this movie is a basic retelling of The Island of Dr. Moreau with an emphasis on fish-men instead of animal-men. The story tells of a prison ship that sinks, the prisoners and the ship’s doctor wash up on a Island with only two inhabitants and army of Gill-Men just waiting to tear them apart.

Fun for the whole Family! … if your last name is Addams at any rate. Check it out if you dare!

Most people remember Go-Bots as being the Transformer‘s stupid cousin. Most people who do are probably themselves, somebody else’s stupid cousin (who says this blog’s not edgy?)! After years of waiting, Hanna-Barbera’s fantastic adventure, sci-fi show that was a mega-hit in the 80′s is finally coming home to own on Digital Video Disc (and you know I’m excited when I spell out DVD)! The series is being released on May 17th as a manufacture-on-demand product by the Warner Archive collection, and will contain the show’s pilot, a five-episode mini-series which can be had for an estimated cost of $14.95.

Critically speaking, I will admit that Go-Bots is not as challenging (pun intended) as Transformers, nor is the animation as dynamic, but where it fails on those points, it makes up for it in consistency. I’m not going to nitpick Transformers. It’s one of the greatest animated shows of all time, but all that said and done, it’s not fair to point out what it did better than Go-Bots without pointing in kind how Go-Bots actually outshined it.

Like Transformers, Challenge of the Go-Bots featured a group of Robotic beings (well, in Go-Bots they’re actually Cyborgs, but I’m not going into all that now) that are divided into two camps: the evil Renegades and the valiant Guardians! They originate the planet of Gobotron which has one of the coolest designs of any alien world I’ve ever seen!

As would be expected, eventually both Guardian and Renegade alike end up on earth where they adapt their robot bodies to transfor, er, I mean convert (yeah, they call it converting in this show. Biiiiiig difference than transforming) into earth vehicles and from there they go to war.

Go-Bots does offer somethings you don’t find in Transformers though. For one, the Guardians are obligated to work with the human military, partly with the aid of General Newcastle and partly through their 3 human liaisons: Nick, Mac, and A.J. This is the first point that goes to Go-Bots. Unlike the Autobots whose companions never have any real reason to hang out with them when they should be out earning a living, the Guardians’ companions are there because it’s there job. Not only that, but the story had better direction from the start. The series suffers through far fewer plot holes than Transformers did and while the animation is less eye-catching it is more consistent with visual less goofs and virtually no choppy animation. And honestly, for a Hanna-Barbara cartoon, the series was surprisingly mature. The first five episodes deal with issues of the Cold War and encourage American and Soviet cooperation.

I’m not going to sell this as the greatest show ever made, but it is good and much better than its been made out to be. It’s biggest sin has been living in the shadow of Optimus Prime, but if taken on its own terms and for its own merits, Challenge of the Go-Bots is not only fun, but actually can be quite exhilarating if you catch it at the right moment.

Both Toonzone and TV Shows On DVD have additional details concerning the release, should anyone wish to pursue the matter further.

Shortly thereafter, Roger published one of comicdom’s first Graphic Novels, Manhunter, The Complete Saga, a collection of stories featuring DC’s popular character by Archie Goodwin and Walter Simonson.

From there, he went to DC Comics where he served as their first Sales Manager to the specialty comic book shops and also wrote The Omega Men, DC’s first on-going title sold exclusively to comic shops. In that series, he co-created Lobo, the popular and infamous interplanetary bounty hunter. Additionally, Roger edited World’s Finest, New Talent Showcase and a quality reprint series of Green Lantern/Green Arrow by Denny O’Neil and Neal Adams.

In the eighties and nineties, Roger worked for Sunbow Productions, first as a writer on the G.I. Joe series, and later as Sunbow’s Supervising Producer of various shows including Transformers, Conan, Bucky O’Hare, My Little Pony, G.I. Joe Extreme, and Jem. In addition to his work on hundreds of hours of TV series programming, he was an executive story consultant on three theatrical movies: Transformers, G.I. Joe, and My Little Pony.

He was also the story editor for many series including Jem, G.I. Joe Extreme, and Streetfighter. In 2001 he co-produced the first season of Yu-Gi-Oh for 4KIDS Productions.

Roger has also written for many animated series including Jem, Bucky O’Hare, Conan, Spider-Man, Princess Tenko, G.I. Joe, and Robocop.

Most recently, he has worked as a writer and consultant in the videogames industry. He is also hard at work on many spec movie and TV scripts. And he has been approached to write a graphic novel based on World Champion Pole Dancer Felix Kane.

I recently had a chance to sit down and talk to Mr. Slifer about some of his past work. I hope everyone enjoys the following interview …

Lone Fan: Is it true that both the Ghost Rider villain Inferno (real name Slifer) and Slifer, the Sky Dragon from Yu-Gi-Oh, are named after you?

INFERNO: FOE OF THE GHOST RIDER!

Roger Slifer: Yes. I had met Tony Isabella through our mutual friend Duffy Vohland on a roadtrip to New York. Tony was writing Ghost Rider at the time and decided to name Inferno, a demon from Hell, after me. I’m assuming it wasn’t a reflection on my character since Tony and Duffy later were instrumental in getting me my first job as an assistant editor at Marvel Comics. Duffy was very determined to get me on staff and, I’m sure, hounded Tony relentlessly. Tony recommended me to Roy Thomas, saying that he remembered meeting me and that I was a nice guy. I’ve always assumed he had gotten me confused with (artist/letterer) Jim Novak who he met at the same time and who really is a nice guy!

As for Slifer the Sky Dragon, despite the rumors on the web, I did not name that character after myself, even though I was a producer on Yu-Gi-Oh at the time. What happened was this: Another 4KIDS employee, Sam Murakami, was our liaison with the producer of the cards. Some names of the cards had to be changed because there was concern their names would be considered demonic or sacrilegious or something here in the states. It never made much sense to me, but when you’re broadcasting here in America, it’s something that has to be accommodated. Anyway, Sam renamed a bunch of those characters after people on staff at 4KIDS. It just so happened that the one he named after me happened to be a “god” card and much more prominent than the others in the series. I attribute it to the cosmic forces in the universe trying to balance things for me being made a demon in Ghost Rider. And again, just to set the record straight, I wasn’t even aware of it until after the names on the cards had been changed and it was too late to go back.

Lone Fan: Moving on to your television career, most of the references I found for you as a producer and screenwriter were for animation house Sunbow Productions. Was that the first television production company you worked for?

Roger Slifer: Yes.

Lone Fan: How did you get hired?

Roger Slifer: I had worked for Sunbow as a writer on the G.I. Joe series which was being story edited by Steve Gerber. Steve was a good friend of mine, back from the days at Marvel. Steve had spoken very highly of his experiences with the company. I had told him that if there was ever a staff position that opened up (Sunbow was based in New York, where I was living) that I’d be interested. One day I got a call out of the blue from one of the Sunbow production assistants that they understood I was interested in interviewing for the job they had available.

I went in and interviewed, first with Joe Bacal and then with Tom Griffin who were the heads of Sunbow. Much to my chagrin, when Tom called Jay Bacal, my potential direct boss, to come downstairs to meet me, Jay seemed reluctant to do so. But it turned out that Jay was just trying to get out a FedEx package in time for a deadline. When he did come down, he looked very frazzled and like he hadn’t slept in days. I could see why they were trying to get him some help. But we hit it off and got along great. About a year later, I remember looking up from my desk and telling Jay that I felt like he looked the day he hired me. He said that was probably because I was now doing all the stuff he was doing at the time. By that point we had expanded to doing many more shows. And we had three feature films in the works.

Lone Fan: What was your first job for Sunbow?

Roger Slifer: Weirdly, although my title changed over the years, my job really didn’t. I was Sunbow’s supervising producer for a number of shows. What that meant was that I worked closely with the writers and story editors and also with the producers of our production partners. When I first started, we were working closely with Marvel Productions who had a lot of great people working there. I worked very closely with their producers, who included Will Meugniot, Boyd Kirkland, Frank Parr, and Larry Houston, who are still friends till this day. Those guys are all amazingly talented and worked hands on with a lot of other talented storyboard artists and designers. They were the ones really responsible for the making the shows look as great as they did. Sunbow and Marvel Productions had a very close working relationship in those days. I also worked with Marvel’s film editors in editing the film of the episodes, with Wally Burr who was our voice director, and with various post-production people in mixing the final shows. Of course, Sunbow was also working very closely with Hasbro to make sure that their concerns were addressed and that all their characters got ample coverage in the stories.

Lone Fan: I notice you worked as producer on Robotix and Big Foot and the Muscle Machines, both of which were part of Super Week (also billed Super Sunday and Super Saturday), which was a half hour cartoon block that featured four serialized six-minute cartoons. What was your primary job as a producer on Super Week?

Roger Slifer: I was involved with the JEM segments, which I believe was the only one of the three that went on to its own series. I also remember working with Doug Booth and together re-writing some of the Robotix scripts.

Lone Fan: Since you were only working as a producer on one of the featured segments, did that present any problems in working with the producers who might have been in charge of the other two segments?

Roger Slifer: None whatsoever. All of Sunbow’s creative people got along great together. That’s one of the reasons I enjoyed working there so much. Also, even on the shows I was working on, there were other Sunbow staff people involved as well. Eric Early was involved in post-production for JEM, for example.

Lone Fan: You were a producer on The Transformers not long after that. You’re also listed as a writer for that series on imdb.com. However, they designate you as a writer of unknown episodes. Which episodes did you author?

Roger Slifer: I actually did not write any episodes of that series, even though Jay often asked me to submit stories. I was way too busy overseeing the production and working with our story editors (Flint Dille, Steve Gerber, and Marv Wolfman). To give you an idea how busy we were those days, I remember there was one weekend where I had to fly to L.A. and work with three different film editors simultaneously on three different Transformers episodes. I think we finally finished up about four in the morning and I went back to the hotel and crashed. Also, frankly, when it came to writing, I preferred doing scripts for the JEM show.

Lone Fan: You’re listed as an associate story consultant for Transformers: The Movie. I know from talking to Buzz Dixon that he actually wrote the screenplay for G.I. Joe: The Movie even though Ron Friedman is credited as the writer due to a contractual agreement with Sunbow that promised him a writer’s credit regardless of whether or not he wrote the final story as long as he worked on it. Interestingly enough, Mr. Friedman is also credited as the writer of the Transformers animated film. Is he really the writer? Frankly, I always thought the movie smacked more of Flint Dille’s work than Ron Friedman’s.

Roger Slifer: Well, first of all, I wouldn’t say that Ron had nothing to do with the writing of G.I. Joe: The Movie. Ron definitely submitted an outline and a script for the movie. One of the first things I was asked to do on the movie was to refine his outline. But there is also no doubt that the script went through a lot of revisions. I know I re-wrote parts of the script and Buzz did a major rewrite. I’ve never done a comparison of all the scripts so I don’t really know how much of Ron’s script remains. But Buzz certainly did a major overhaul.

As far as Transformers, that story also underwent major revisions. I know Flint Dille and Jay Bacal wrote a completely different script that never saw the light of day. The longest meeting I ever participated in was a story meeting for the Transformers movie. I think we were there sixteen hours. It was Joe (Bacal) and Tom (Griffin), Jay, Flint, myself, Carole Weitzman and maybe another one or two people I’m forgetting. We ordered out for pizza at lunch and when dinner rolled around, we ordered Chinese. But we never left the room. The edict was, before we left the meeting, the story was going to be hammered out. After that, Flint rewrote the script. And he did a great job. It’s not easy to fit all those characters into one story!

Lone Fan: I notice you only wrote two episodes of the original G.I. Joe series: The Germ and Money To Burn. Both of these episodes prominently feature Tomax and Xamot. Is there any reason you chose to focus on those two Cobra operatives in particular?

Roger Slifer: I liked them. Also, I think Steve Gerber, the story editor, felt that I knew more about economics, the stock market, etc. than most of his other writers. That’s why I believe I was assigned Money to Burn. I don’t really remember any particulars for The Germ.

Lone Fan: In the episode Money To Burn, you had Cobra attempting to subvert America’s monetary system. Economics are an interesting choice of tactics, especially since so many cartoons focus on bad guys blowing stuff up as the only option of attack. Why did you choose economics as your primary subject matter?

Roger Slifer: Well, I guess the easiest answer is, “Why not?” As you know, at Sunbow we tried not to talk down to the audience. Also, we tried not to do typical storylines. So the idea of using the monetary system to collapse America seemed like a reasonable objective for the bad guys. I guess more than a few modern bankers were fans of the old G.I. Joe show.

Lone Fan: I got a real kick out of The Germ. The mutant monster that appeared in it reminded me a lot of the 1950’s science fiction movies. What was the inspiration for that story in particular?

Roger Slifer: Obviously, the major inspiration was The Blob. There was an interesting reaction to the germ from some apple growers association. Apparently, they were concerned that we pointed out that there is cyanide in apple seeds. Personally, I think we were performing a public service—I mean, I had no idea there was cyanide in apple seeds until I did my research.

Lone Fan: In 1990 when DIC had taken over production of G.I. Joe from Sunbow, you came back and wrote one more episode called Pigskin Commandos. What were the differences in scripting for Sunbow vs. scripting for DIC?

Roger Slifer: I enjoyed working for Sunbow. But, seriously…Doug Booth asked me to do a script for the DIC show. And Doug is one of the nicest guys you’ll ever meet. But one really shouldn’t ask a guy who has no interest in sports (that would be me) to write a show with a football metaphor.

Lone Fan: In 1995, Gunther-Wahl Productions began working on a new series entitled G.I. Joe: Extreme, for which you were the story editor. The setting of the series featured a smaller cast of characters fighting the terrorist organization SKAR. How did the series develop and at what stage in its development were you brought in?

Roger Slifer: There were actually two seasons of G.I. Extreme, the first produced by Sunbow and Graz Entertainment and the second by Gunther-Wahl. The first season, I was Sunbow’s supervising producer and worked closely with the people at Hasbro. When Hasbro decided to move the series to Gunther-Wahl for season two, they asked me to come along and be the story editor. My friends at Sunbow didn’t object, so I went along. That series was also one of my easiest negotiations. When I sat down with Lee Gunther, I asked that he pay me what I was being paid to write and story edit Street Fighter, which I was story editing for Invision for USA Networks. He agreed, we shook hands, and he said “I know you and you know me, so let’s get started.” Lee had run Marvel Productions, when Sunbow was working with them, so we already knew one another. The “Extreme” second season production was already behind schedule, so I dug in. Eventually the contract showed up and it was everything to which we had agreed.

When I was brought in on Season One, I believe the series bible had already been done. But Hasbro wasn’t completely happy with how things were developing. Lloyd Goldfine (with whom I later worked with on Yu-Gi-Oh at 4KIDS) and I starting working closely with Hasbro and the producers at Graz to address Hasbro’s concerns and together got things on track. Dan Price and Ben Torres were Hasbro’s point men on that show. Will Meugniot was the Graz producer. And we all had a great time working on the show together. Also, behind the scenes, David Anthony Kraft, an old and very talented friend with whom I had previously worked at Marvel, assisted me with story-editing the series.

I recently ran across a note that Chris Connolly at Hasbro wrote to Carole Weitzman at the completion of the first season. It was very complimentary and praised my involvement in the series. It was appreciated, because, in this business, rarely do people take the time to write a personal note. And, like I said before, it was a great pleasure working with Ben and Dan on the show.

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Lone Fan: Previous to G.I. Joe Extreme, Sunbow had created one half-hour animated cartoon called Sgt. Savage and His Screaming Eagles. The special was packaged on a VHS tape that was sold exclusively with the Sgt. Savage toy line that Hasbro produced. It was a follow up to the original G.I. Joe cartoon, and certain fans have speculated that G.I. Joe: Extreme was a sequel to that special since Sgt. Savage was one of the characters featured in Extreme. Do you know if it was ever the intent of Gunther-Wahl for their series to be part of the G.I. Joe cannon that was started Sunbow and continued by DIC?

Roger Slifer: There was definitely a connection between the Sgt. Savage one-shot and G.I. Joe Extreme, but, like I said, Sunbow was the first to carry it over. I wasn’t really involved in the Sgt. Savage one-shot but I remember being handed it as reference. I also believe Ben and Dan from Hasbro were involved in that production as well. As was Lloyd, if memory serves.

Lone Fan: There’s not a lot of information about G.I. Joe: Extreme on the web and so far as I know it has never had a single DVD or VHS release. Would you mind sharing some memories about the show?

Roger Slifer: It was an interesting show to work on. Most people aren’t aware that Bill Sienkiewicz did character design for that show which was later adapted to animation by Will Muengiot. The aim with that show was to make it more “cinematic” than other shows on the air at that time. Ben and Dan at Hasbro were very involved in pushing for that. And Will and his team I think fulfilled that vision. At least in the first season.

Lone Fan: Out of curiosity, as someone who has contributed to Transformers and G.I. Joe over the years, what are your feelings on the live action feature films based upon them?

Roger Slifer: Years ago, when I was in the Marvel Bullpen, one of the artists was critiquing one of the Star Wars films. When he concluded his argument, he paused and said, “But I’m very critical, and they’re (Lucas and Fox) very rich!” Let’s just say I apply that same sentiment to the Joe and Transformers films. I would like to say, though, that I thought the animated G.I. Joe: Resolute was terrific!

I would like to thank Roger Slifer for talking to me and granting this interview, and to all those who took the time to read it and to all those who remember those wonderful days of cartoons gone by. For that, more than anything, we are forever indebted to Mr. Slifer and the quality of his work!

This amazing trailer comes to us courtesy of youtube user Custom Lego Karl. Be sure and check out his channel on youtube for more great vids!

The footage should be self explanatory. It lays out more plot points, gives us a better look at Hector Hammond (the big-headed super villian) as well as our first look at Parallax (the giant yellow mass glimpsed at the beginning and end of the trailer). Incidentally, it’s good to finally see him and interesting that the film is leading off with him. In the comics, Parallax was an alien entity who holds the same spot in Green Lantern’s lore that Doomsday holds in Superman’s and Bane holds in Batman’s.

Parallax In The Comics (Pay no attention to the men in green)

But all that said, the highlight of this footage is doubtless the scenes involving Oa, the home planet of the Guardians of the Universe (Green Lantern’s benefactors) and the universal headquarters for the Green Lantern Corps!

Anyway, enough of my chatter! Here’s Green Lantern! … or four minutes of him anyway.

From there Mr. Tartakovsky went on to create the Emmy Award Winning series Samurai Jack and the much lauded Star Wars: The Clone Wars mini-series (arguably the only good thing to come out of George Lucas’ new trilogy). And after that … he disappeared or at least that’s how it seemed. Mr. Tartakovsky actually struck a deal to create a feature animation studio which lingered but never really finished anything due to funding issues. For a time he was attached to direct to the Jim Henson fantasy film The Power of the Dark Crystal, but bowed out of that for reasons that are unknown (at least to this blogger), and while he did storyboard some of the fight scenes for Iron Man 2 his actual directorial output seemed nonexistent.

Finally it was announced that Genndy was coming home! He was returning to Cartoon Network with a brand new series that spoke of his sci-fi/comic book/anime roots. This was Sym-Bionic Titan!

A labor of love which has so far produced 20 stellar episodes that have delivered great competitive ratings which is why Cartoon Network has decided to reward one of the main men involved in its early success by … canceling the show?

Yeah … that was my reaction too. Nothing is confirmed, though one quote over at cartoonbrew.com did offer an interesting and somewhat disturbing suggestion for the series’ abrupt end. And on the plus side a facebook page has been started to petition the network to renew the show, and this Lone Fan is solidly behind it! Now get on over there and let’s put that guy from The Social Network‘s Frankenstein brainchild to a good geeky use for once and save that show!

SYM-BIONIC TITAN SHALL RISE FROM THE ASHES!!!

The character battled the evils of the Nazi Regime before America actually got into World War 2. Many have seen the creation of this character as a political statement, which is ironic, since Marvel Studios have been trying to downplay his American-ness in favor of a more centrist global view of the character (reportedly so not to offend oversea markets and cut into their profit line).

Whatever intentions Simon and Kirby may have had for the character, Cap has rarely been used in a political setting with most of his adventures focusing on the regular sci-fi/fantasy trappings of normal superhero comics or James Bond style political conspiracy theories that have little or no bearing on the real world.

He’s an interesting character, the Marvel equivalent of Superman minus the powers. He’s a soldier, a hero, and (in the comics at least) the leader of the Mighty Avengers! (I say in the comics because there’s a rumor going around that Robert Downey Jr. may head the team in the upcoming Avengers movie due to Iron Man’s popularity. I have no problem with that because Iron Man has been the leader of the group at various intervals, and unless Cap’s new film storms the box office, Iron Man will remain a more recognizable character in the public’s eye).

Anyway, I am going to post the trailer now (like everybody and his brother seems to be doing) so here goes, courtesy of youtube user ClevverMovies!

Well, that should be that, but while we’re on the subject of my favorite Marvel Comics character, I thought I might mention that this isn’t the first time Captain America has starred in a feature film. 1979 saw the release of not one, but two made-for-television films starring the First Avenger: Captain America and Captain America II: Death Too Soon.

Incidentally, while Captain America (1979) had a television release here in the United States, it actually had a theatrical release in Europe. Both films starred b-movie hero Reb Brown (star of Howling 2: Your Sister Is A Werewolf).

The second feature had him doing battle with Christopher Lee (who also starred in Howling 2). Both films are mediocre at best, but they have had vhs releases at least and are well worth looking up for b-movie fans, made-for-tv-movie connoisseurs, and Mighty Marvel die-hards.

I wasn’t able to find a trailer for the first film, but I did locate this little gem courtesy of youtube user EnterCrash. It’s the trailer for the second feature, Captain America II: Death Too Soon.

Moving on the more infamous (but certainly not the worst despite what you may have heard) Captain America movie, the straight-to-video production from 1990. Before I say anymore about this film, I want to point out that when I first saw it as a kid, I had no idea who Captain America was. This movie introduced me to him and his archenemy The Red Skull! While it may have its problems, it is fun in a b-movie sort of way. The plot has more than a few holes, and I still don’t understand why the Red Skull loses his Red Skull face after the first act. I guess they were trying to approach his character from a realistic standpoint, but nothing else in the movie was terribly realistic so why bother?

The Red Skull At The Film's Start

The Red Skull as he appears in the last 2/3's of the Movie

Straight from the library of youtube user ComicFilmExpert here’s the trailer for director Albert Pyun’s version of Captain America!

Speaking of Albert Pyun, if you’ve never looked him up, you should.

THE MAN HIMSELF

A lot of people nitpick this film for not living up to the comic book or for certain costume choices, but they miss the point that this is less a Captain America film and more an Ablert Pyun film. Mr. Pyun’s first (and arguably best) film was the cult classic The Sword and the Sorcerer, and despite having a bevy of hardcore fans, I find it odd that Sword is exalted while Captain America is derided even though they’re incredibly similar films!

Both films suffer from silly looking, yet still kind of cool sfx (compare the three bladed sword to scenes of Cap throwing his mighty shield for the full effect of that argument), both films have great makeup effects that look the slightest bit outrageous (at least Cap’s movie does until the Red Skull gets plastic surgery after Act I), both films have heart (I dare you not to be moved when Steve Rogers wanders aimlessly around his now changed hometown trying to cope with the passage of time), both suffer from slightly muddled screenplays, but most important of all, BOTH OF THEM ARE TONS OF FUN!!!

I am going to argue that Albert Pyun’s Captain America film is not only undeserving of its status as a bad movie, I’m not only going to argue that it’s good, I’m actually going to argue that in the hallowed halls of straight-to-video productions Captain America is a classic!!!

Remember Empire Films and the early days of Full Moon Productions? Remember great movies like Robot Jox, Puppet Master 2, Dolls, or Trancers? This is the kind of film that fits perfectly among those types of movies and not only that, but it’s one of the best of that strange time of experimental, low budget film making that flourished so creatively in the late 80′s and early 90′s.

Forget what you’ve heard! Forget what you’ve read! If you’ve never seen Captain America (1990) then check it out and make up your own mind on the matter. Some of you will hate it, some of you may just love it, but at least you gave it a go! Mr. Pyun’s highly underrated film deserves that at least!

That’s all I got! Peace Out!

Thundercats is, was, and always will be a masterpiece! It was one of the best things to ever come out of the Rankin and Bass library, which is really saying something when you look at their work. But enough of my inane prattlings, behold and be amazed because the Cats are back in town!

The premise is that an ordinary rubber tire gains awareness and psychic abilities and sets out to terrorize a small town. Wow! I can’t believe in this age of remakes and also-rans that I just said that. If the premise hadn’t got me excited, the trailer sure did! Check it out!