I SAW GEORGE A. ROMERO'S RESIDENT EVIL

George A. Romero's Resident Evil is a 2023 documentary (placed in recent circulation), directed by Brian Salisbury, who cowrote with Robbie McGregor. It explores the Pittsburgh filmmaker's rejected vision for a theatrical adaptation of the video-game franchise, inspired in large part by his original, Dead trilogy.

Romero did, in fact, direct a commercial for the sequel game to Capcom's Resident Evil, known in Japan as Biohazard, which led his consideration for a film version of the Umbrella Corporation's heedless horrors, though we learn that Romero had reservations on taking the directorial reins for the feature, stating that, while making the commercial, he felt he was plagiarizing his own material. 

The documentary opens with a rundown of Night of the Living Dead, Dawn of the Dead and Day of the Dead, followed by a retrospective on Resident Evil/Biohazard's genesis and its obvious nods to Romero's trilogy. Such demonstrates that there wouldn't be a Resident Evil if not for Romero (and John Russo)'s zombie mythology.

Astute fans and contributors associated with both franchises share explicated details, including actor Norman England, actor Christian Stavrakis, actor Jim Krut (Dawn of the Dead's helicopter zombie), actor Pat Jenkiewcz (a Resident Evil, commercial zombie), reviewer James D. Rolfe, Romero archivist Ben Rubin, producer/editor Michael Felsher, director/Romero protege Dick Demick and Resident Evil designer Kenichi Iwao. Their reflections are linked by narrator Pablo Kuntz, who voiced the original, Resident Evil game. 

Problems with Romero's intended adaptation occurred when the owners of Resident's movie rights, Constantin Film (known for its involvement in Wolfgang Peterson's The NeverEnding Story and Das Boot, as well as Oley Sassone's "unreleased" The Fantastic Four) balked at the carnage contained in Romero's script (despite such existing in the games). As a result of desiring something more restrained, Romero's contract was terminated and Paul W. S. Anderson's loose but stylized version was greenlit, which proved violent in its own right, even if geared in the action-movie vein. 

A substantial sum of the documentary covers Romero's faithful-to-the-source script, but also Resident Evil's many intricacies. Depending on one's appreciation or hunger for Resident Evil, the latter may either delight or frustrate, considering that Romero wasn't a direct participant in such, beyond his works' outside influence. Nevertheless, for the sake of historical bridging, the approach is sensible, thorough and essential. 

The documentary ends with Romero's passing, handled with great pathos by its on-screen commentators. A few of Romero's other unfinished projects are referenced during the conclusion, but the Resident Evil hiccup remains his most profound, came-close-but-never-was. Who knows? Romero's adaptation may very well exist in an alternate reality, laden not only by his deft conceptualization, but with stand-out additives from Berni Wrightson, Tom Savini and Greg Nicotero. 

George A. Romero's Resident Evil dangles this prospect to the point that one can almost taste it, and because of this, Salisbury and McGregor's effort deserves high marks for its scrupulous and impassioned rumination. 

For the full film, visit https://www.youtube.com/watch?v=ZejDDfFAIvc

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https://tubitv.com/movies/100045845/george-a-romero-s-resident-evil?start=true&tracking=google-feed&utm_source=google-feed&startPos=0

WISE WORDS:

I SAW WONDER MAN

I must confess, I never invested much into Marvel's Wonder Man (regardless of it being created by the terrific trio of Don Heck, Jack Kirby and Stan Lee), perhaps because as a kid, the concept confused me. Wonder Man wasn't connected to DC's Wonder Woman, obviously, and so why the label overlap, when he could have (should have) been called something else? On the other hand, I was just as confused with there being two Captain Marvels riding off the same perch, even though I considered the Shazam! version the definitive one. Even so, why the clashing double-whammy? Get my drift?

On this basis, I took Disney+'s Wonder Man (brought to the screen by Andrew Guest and Destin Daniel Cretton) at casual face value. Considering that Ben Kingsley's Trevor Slattery was on board, I figured how bad could it be?

Well, I found the eight-part miniseries to be quite good, and throughout the ride, it was easy to accept Yayha-Abdul (Candyman/Aquaman) Mateen's Simon Williams as its identifiable lead, an everyman who's not such an everyman once the mutant-ous truth is revealed.  

The structure of Wonder Man's world is Midnight Cowboy-based. Williams is Jon Voight's Joe Buck and Slattery is Dustin Hoffman's Ratso Rizzo, maybe not on every level, but enough to jive with the borrowed intent. This melodramatic parallel is established early in the series when Williams and Slattery meet at a showing of John Schlesinger/Waldo Salt's 1969 classic.  

The update depicts Williams hoping to fill the lead in a remake of a superhero movie he loved as a kid, that being Wonder Man. Slattery is there to show Williams the ropes, giving him acting advice, while seeking a sidekick part. Slattery isn't always on the up-and-up, in that he's coerced to spy on Williams by a bureaucratic organization, led by Arian Moayed's Agent P. Cleary. The agent hopes to get the scoop on Williams, who's insinuated extraordinary mental and physical powers over the years, even though he's never enacted them to the fullest extent. 

The quest to corral Williams is what turns him into the real-deal Wonder Man, but it's always the chase for movie roles that remains the series' overriding motivator. For example, one episode presents a tense yet comical, competing-actor audition, conducted by a big-time director, Zlatko (Superman 2025) Buric's Van Kovak, which prompts Williams and Slattery to do their damndest to win his favor (and the roles), even though their efforts appear more doomed than not. 

Another episode centers on Joe Pantoliano (who should hold significance with Marvel fans for his Ben Urich part in Mark Steven Johnson's Daredevil), playing himself in this instance and bouncing off Slattery to give the downtrodden performer more heartbreaking depth, as his infamous "Mandarin" gig holds unavoidable court. In a related instance, poor Slattery faces a condescending, New York Times critic, Lauren Weedman's Kathy Friedman, who probes his imprisoned past, thus obstructing his redemption.

Perhaps Wonder Man could have bypassed or downplayed its Marvel association altogether and rolled as an autonomous, inspired-by stand-alone, ala Julius Avery/Sylvester Stallone's The Samaritan. No matter. The Marvel label does secure attention, but for those jaded by its ubiquitous, Disney connection, don't worry. Wonder Man isn't designed for the contented, Gary Stu/Mary Sue crowd. Its characters come with glaring impairments and plenty of heart: a step in the right direction for a live-action impetus that has slipped in recent years due to misguided, play-it-safe blandness.  

DARK PRETENTION REFLECTION REPOST

 

The big topic at the gym this morning was last night's Grammy Awards, not that any of us watched the full-of-it program, but we did see several of the nauseating highlights. Yeah, talk about a real celebration of misguided, snobbish mediocrity, though we did agree that JellyRoll's speech was at least uplifting.

One of my gym pals mentioned my "Dark Pretention" post in relation to the award show, and since folks had a little trouble finding it, I promised to repost it. And so, without further adieu, here it is, as from-the-heart as it was the first time around: 

In conducting research for an upcoming, album review, I stumbled upon sporadic denouncements on sites from trolls, stating (give or take) that music has no worth unless it's "intellectual," that is, dark and depressing (never ever happy). 

As part of their entrenchment, these "highbrows" weaved the ol' "Bieber sucks" dictum among their examples and complaints. It's an easy enough fallback, a convenient cliche and copout, and not in the least clever at this point. These hotshots also condemned pretty girls who sing peppy songs, decrying their products as juvenile and uncharacteristic of anyone who's faced (ahem) hard knocks. However, one of the contradictory lot admitted he can't get enough of those sweetie-pie, Disney princess flicks, which let's face it, aren't all that profound or dreary, even when they're purported to be. 

Listen, I don't care if one digs U2 (even Bono's cornball MacPhisto) or let's say, the screw-the-man revolts of Marilyn Manson or Eminem. I mean, it's more than cool by me if such floats one's boat, in particular if the content prompts one to formulate a beneficial goal. On the other hand, if such engagement leaves one no perceived choice but to relish voluntary unemployment and denounce others because of their differing (i.e. "pedestrian") tastes, that doesn't denote higher thinking. It signifies closed-mindedness, and closed-mindedness is weakness, and weakness is selfishness, and selfishness rides off a lack of empathy: an ironic twist, considering that these two-faced windbags claim to be ever-so-in-tune with others' emotions. 

Anyway, that's my take on the matter. Now, if you don't mind, I think I'll partake some Spice Girls videos. Doing so inspires me to write, envision, exercise and achieve and so ...  

FOR THE FUN OF IT:

 

GODSPEED, YVONNE LIME

You were "appealing as the girl who loved him" in I Was A Teenage Werewolf, with Michael Landon, and were just as appealing in the rambunctious Dragstrip Riot, Untamed Youth, High School Hellcats and Speed Crazy, the latter two with Brett Halsey. You brought comparable charm to the absorbing The Rainmaker, with Burt Lancaster and Earl Holliman, and the uplifting Loving You, with Elvis Presley.  

You were also easy to spot in other popular productions, including Happy (for all episodes as the sprightly Sally Day), The Many Loves of Dobie Gillis, The Adventures of Ozzie and Harriet, The George Burns and Gracie Allen Show, Bringing Up Buddy, The People's Choice, The Millionaire, The Hardy Boys: The Mystery of the Ghost Farm, Crossroads, Dragnet, Gomer Pyle U.S.M.C., My Three Sons, Family Affair, Wichita Town, Bat Masterson and The Adventures of Jim Bowie.

Above all, you had a very big heart, one that helped cofound the essential charity, Childhelp, to assist abused and neglected children. 

In other ways, you personified the idea of an ideal girlfriend, being beautiful, amiable and supportive, much as you were in your roles. 

There's no doubt that you were an Earth angel, and now as an angel of Heaven, you'll travel the golden trails of a forever appreciative Eternity. God bless and Godspeed, my appealing Ms. Lime.