Tuesday, July 7, 2026

VERL HOLT BOND'S GALACTIC DIARY #4: ALIENS AGAINST WOLF

Artist/writer Verl Holt Bond's Galactic Diary #4 is a front-to-back, Wolf McKenzie extravaganza, as the nomadic warrior's "Post-Apocalyptic Blues" exploit continues. 

In this issue's 64-pg (4-part) saga, Wolf and Jenny join forces with Chief Mada, whose women have been kidnapped by large, humanoid aliens for breeding purposes. The invaders' queen soon learns that the tribe is mounting a rescue mission and requests her soldiers to squash it. This leads to a fierce clash between high-tech weaponry and "primitive," old-school know-how, the culmination of which will leave readers on the edge of their seats.   

Bond's dialogue is crisp and identifiable (never verbose or stilted), and his artwork flows like a fine-tuned storyboard, so that it's easy to envision "Post-Apocalyptic Blues" as a movie or television show. 

On that basis, Wolf's world reminds me of such childhood favorites as Logan's Run, Planet of the ApesKorg: 70,000 B.C., Ark II, Genesis II, Strange New World, Planet Earth, Fantastic Journey and Land of the Lost, where the speculated sojourns were spirited, but also held morals and a profound sense of duty: an important balance missing from far too many of today's mainstream, action-adventure yarns. 

For those with a hankering for the way imagi-fables were once told, Galactic Diary #4 is your ticket to fulfillment. If interested in a copy, please send a check or money order of $5.00 to Verl Holt Bond, 1663 Blue Heron Lane, Jacksonville Beach, Florida 32250. Once payment is received, he'll dispatch your copy in a flash!

TERRIFIC TEAM-UP IMAGE: SPIDEY & HULK

THE RETURN: A SAIL BACK (FOR THE SAKE OF SAILING FORWARD)

With Christopher Nolan's The Odyssey right around the bend, folks are reflecting on prior interpretations of Homer's classic. Alas, some may overlook one of the most recent: Uberto Pasolini's The Return, which entered theaters in late 2024, though to little public fanfare.

The movie, which Pasolini scripted with Edward Bond and John Collee, focuses on the end of Odysseus (Ulysses)' journey, returning home after twenty, meandering years, where his faithful wife, Penelope, waits and snide, entitled suiters hunger for the chance to seize a kingdom that they never earned. 

Ralph Fiennes is amazing in the lead: world-weary yet determined to set matters right. He's joined by Juliette Binoche as Penelope, Charlie Plummer as Telemachus, Angela Molina as Eurycleia, Marwan Kenzari as Antinous and Tom Rhys Harries as Peisander. Determination and trickery link them and empower this Ithaca tale with a countdown tension that's allegorical, but to a greater extent, palpable.

The Return made me recall not only Homer's foundation, but Rod Serling's "One More Pallbearer," where a man faces his foes in order to expose their actions. However, with The Twilight Zone tale, there's a poignant, psychological catch. The Return, on the other hand, adheres to Odysseus' vengeful myth, and it's done so much better in this cinematic instance than in others. Sure, it's not the sort of outcome that would occur in real life (it's far too steely and idealized for that), but in the realm of wishful-thinking make-believe, it's just what the doctor ordered: a pleasing sedative that's delivered through clear-cut, arrow-aimed justice.   

I suppose Fiennes' Odysseus could have been bestowed a few flashbacks to convey his previous exploits, including glimpses at the Trojan Horse, Polyphemus, Circe, Calypso and the sirens, but if so, these additives may have been too jarring within the context of this segment or they may have implied that Odysseus's memory was faulty or skewed, that he wasn't one of sound mind, but he is. That's what makes his revenge so sweet. 

In my estimation, The Return is required viewing. In fact, I can't recommend it enough, and if you haven't seen it, or perhaps even feel compelled to give it another view, it awaits at Amazon Prime, Apple TV, Hulu, Paramount+ and a number of other convenient, streaming services. Seize the opportunity to engage this stealthy gem. You won't regret it. 

PINUP TIME: INGER STEVENS

COLLECTIBLE TIME: CULTUREFLY LEATHERFACE PRETTY WOMAN & BUTCHER FIGURES

I met up with my friend, Mel, who had a couple of surprises for me, which isn't so surprising since (as most Bizarrechats visitors realize) she's known for her generosity. In this case, she gifted me a set of Culturefly/FlyGuys (Gunnar Hansen) Leatherface figures, one a "Pretty Woman" version and the other, a butcher (cook) version.

The vinyl representations measure 4.5", both mounted on round, plastic (black, logoed) bases.  

In the case of the "Pretty Woman" version, Leatherface is hoisting his frightful weapon of choice, appearing as he did during the movie's climax, finalizing Marilyn Burns' poor Sally Hardestey's voyage into permanent madness. 

In the case of the butcher version, he's again armed with his saw, in this case darted downward, in a tense yet diligent pose, appareled as he was during his initial (startling) appearance of the tale, when he bludgeons William Vail's unsuspecting Kirk.  

The packaging for each figure is commanding, with clips from the movie adoring the back and sides. The clear-plastic fronts allow the figures to be viewed and appreciated, if one chooses to keep them MIB.

Believe it or not, I had no idea these pieces were produced, so I'm grateful that Mel found them. I'm a huge, Texas Chain Saw Massacre fan, so anything tied to the movie (and the franchise in general) means a lot. 

Bless you once again, dear Mel, for knowing my macabre penchants so well.👍

Monday, July 6, 2026

WISE WORDS:

 

CLASSIC MONSTERS OF THE MOVIES: THE MUMMY'S GHOST

The Mummy's Ghost was Lon Chaney Jr.'s second outing as the frightful yet poignant Prince Kharis. This creepy, 1944 chapter is now memorialized by scholars Nige Burton, Jamie Jones & John (Penny Dreadful) Logan in a 36-page, Classic Monsters of the Movies tribute. 

Directed by horror/adventure veteran Reginald (Weird Woman/Calling Dr. Death) LeBorg and written by Griffin (The Mummy's Tomb) Jay (with assistance from the latter's Henry Sucher, in addition to Brenda Weisberg), The Mummy's Ghost is set in Mapleton, Massachusetts, thirty years after the previous chapter's events. Kharis resurfaces through mystical, tana-leaf meddling, conducted by George Zucco's high priest and John Carradine's avid protege, who lead him to the reincarnated Princess Ananka, portrayed by Ramsay (G-Men Never Forget/Calling Dr. Death) Ames. 

Additional cast members are highlighted in the volume, including the reprising Frank (King Kong/Son of Kong/Superman and the Mole Men) Reicher (who, according to legend, Chaney almost choked to death on camera); Robert (Revenge of the Zombies) Lowery (who'd soon star as the Caped Crusader in Batman and Robin); David (The Mad Ghoul/Calling Dr. Death) Bruce, Martha (Captive Wild Women/Frankenstein Meets the Wolfman/The Big Sleep) Vickers, Barton (The Walking Dead/Dr. Jekyll & Mr. Hyde 1941) MacLane; Oscar (Of Mice and Men/Captains Courageous) O'Shea, Harry (Citizen Kane/Touch of Evil) Shannon and Peanuts, the tale's brave Scotty. An overview of director LeBorg distinguishes the edition, with portions devoted to producer Ben Pivar, monster maestro Jack Pierce, photographer William A. Sickner, composer Frank Skinner and stock-music contributors Hans Salter and Charles Previn.

The authors discuss the movie's pros and cons, romantic pathos, behind-the-scenes mishaps and unconventional, Lost Horizon-inspired ending. These essential portions are bridged by rare photos and colorful, publicity materials, plus quotes and trivia, all printed on high-stock paper. 

Burton, Jones & Logan's analysis is exemplary and demands an encore. Here's hoping that Classic Monsters of the Movies publishes a deluxe edition on that big, Kharis finale, The Mummy's Curse, but for now, The Mummy's Ghost beckons at 

https://www.classic-monsters.com/shop/product/the-mummys-ghost-1944-ultimate-guide-signed-art-print/