POINT TO PONDER:

 

PIN-UP TIME/CHRISTMAS 2021: NATALIE WOOD

 

An Alternate Reality: I saw Resurrections...

The Matrix Resurrections is a sequel to four, previous movies (that's counting an animated anthology, of course) which to say the least, proved influential in the action-movie arena. This new chapter is delivered by one half of the franchise's faithful, sister writer/director team, Lana Wachowski; but the submission has a detached aura about it. That's not to say it stands on its own, but rather works as a reawakening of an idea that one can delve into without knowing much about what came before. (I suppose that's a good thing, in that Resurrections holds the ability to appease faithful fans, while opening the door for intrigued first-timers.) 

As Resurrections stands, the saga's Christ-like hero, Neo, aka Thomas Anderson (Keanu Reeves), initially acts as a meeting-clogged, video-game designer. His revived recollection is more of a gradual, Philip K. Dick eye-opener, where he learns of the mythology's artificial-intelligence realm through quirky perseverance, and as he embarks upon the startling discovery, all feels fresh, as do its attached explanations. With this, the concept's prevailing question once more strikes: Does it matter if all that we see is real or fake, as long as we're nurtured? (In other words, is being imprisoned in a soft, fabricated reality acceptable or should we shatter it for autonomy's sake? The political allusions aren't hard to decipher.) 

Neo's romantic, reborn pal, Trinity, aka Tiffany (Carrie-Anne Moss), experiences the same what-do-ya-know? revelation, albeit in smaller increments, as she joins her soul mate in an is-it-or-is-it-not-San-Francisco? to sustain the last, veritable city called Zion (once annihilated but perhaps merely misplaced). Indeed, an "etcetera" modul for this tricky turf and snug as a bug because of it. 

Accompanying our dynamic duo is Morpheus and Mr. Smith (now played by Yahya Abdul Mateen II and Jonathan Groff respectively), who (depending on the instance) either trip our protagonists' equivocation back to blissful blindness or an exaltation of symbolic truth. To parallel their presence, the returning Niobe (Jada Pinkett Smith) and Neo's frank-to-a-fault "analyst" (Neil Patrick Harris) perform the same service, each attempting to center the conflicting circumstances. 

The objective is Twilight Zone/Tron-ish, the seeds of which were planted in the original Matrix: an opulent overlap of dictatorial technology and merciless other-worldliness. Resurrections, however, isn't as non-stop thrill-laden as the original or its back-to-back, live-action entries. This is beneficial since all that pill-popping/overdosing psychedelia had a tendency of smothering the saga's characters. But action fans should fear not: A pretty persona named Bugs (Jessica Yu-Li Henwick) keeps things ricocheting with abundant, kung-fu kick.

Beyond its existential commentary and revolving, CGI layers, Resurrections also has the surprising audacity to poke fun at its foundation without being snarky. We're talking the sort of good-natured humor that makes Star Trek IV: The Voyage Home so endearing. 

Even with its in-on-the-joke elements, Resurrections doesn't once reinvent the surreal wheel. It reinstates what fans desire with just enough insinuations to birth additional sequels. As such, The Matrix has long held the potential for vast exploration through a variety of interred platforms and sources. If WB's execs are smart, they'll shake the spectrum further. The sky's still the limit with this reality-bending franchise. Why let such thought-provoking posterity perish? 

HAPPY 50TH CLOCKWORK

It's fifty years since the U.K. premiere of Stanley Kubrick's adaptation of Anthony Burgess' grim, literary venture, A Clockwork Orange. That's because its fierce, visual commentary resonates even more today than then. 

Indeed, one can learn lots from this "real horror show", and dear delinquent, Alex DeLarge, as portrayed by the maniacal Malcolm McDowell, sure did teach us the score, especially when his antics were droog-driven by Wendy Carlos' Beethoven-pumped chords. 

Happy Anniversary to one of the most splendid and demented, A Clockwork Orange!

REGARDING DONNA:

I try to keep personal (at home and/or day-job related) concerns beyond “bizarrechats”, but even so, intimate details of my life still tend to reach folks. A case in point is the recent hospitalization of my wife, Donna. As such I’ve received many cards and emails expressing concern, support and prayers for her welfare and have shared these sentiments with my dear spouse. 

Donna is tough cookie. I believe with all my heart that she’ll pull through. I’ll keep you posted on her progress, if not per this forum, then through direct means. God bless, my friends.

WELCOME WINTER 2021/2022

 

Collection Recommendation: Mr. Lobo's Cinema Insomnia (A Bucket of Blood)

Director Roger Corman's 1959 A Bucket of Blood is an offbeat, beatnik classic. That the movie is now parenthesized by Mr. Lobo's Cinema Insomnia trimmings places it all the nearer to my warped heart. 

Bucket of Blood is, in truth, a lead-in to Corman's Little Shop of Horrors, and like the latter, stars the incomparable Dick Miller. In this instance, Miller plays an eager-to-please sculptor named Walter Paisley, who uses a most unique foundation for his creations--the sort to make one's blood turn cold!

In addition to the charismatic Miller, Bucket of Blood features such sentimental favorites as Ed Nelson, Julian Burton, Burt Convy, Myrtle Vale, Antony Carbone, Judy Bamber and Barboura Morris as Carla, the compassionate apple of Paisley's smitten eye. To enhance these fine performances, Charles B. Griffith snappy script grants the stars lots of neato dialogue, and Jacques R. Marquette's moody photography and Fred Katz's sardonic score boost their doomed groove. 

Mr. Lobo's casual charm peculates the contents to a murderous, table-bussing high, giving this Cinema Insomnia submission a finger-snappin', bohemian buzz like no other. In truth, Mr. Lobo's clever in-betweens comprise a Bucket of Blood tribute that acts as a veritable sequel in its own cool right. 

There's no question that Cinema Insomnia's Bucket of Blood is an essential for any "misunderstood" video collection. 

Order this hip, oldies.com DVD release at 

https://www.oldies.com/product-view/1164d?fbclid=IwAR0BRopOO-EhuxA5jxp4iAvhq-GyKkWOgnG28bMjzFGdm5pt-jwsO_UBFKI

TERRIFIC TEAM-UP IMAGE: CAP V NAMOR V TORCH

 

An Alternate Reality: I saw No Way Home...

When I was a kid, I didn't understand why Darrin Stevens asked his wife, Samantha, not to twitch her nose and use witchcraft to solve their conundrums. As I got older (more experienced to the ways of the world), I came to understand Darrin's noble plea: Working to achieve an outcome (i.e. earning it) is much more fulfilling (not to mention bewitching--tee hee) than taking the easy way out, especially when it comes to character building.

This philosophy prevails throughout Peter Parker/Spider-man's lineage. Steve Ditko introduced it in the early '60s, and it continues to pigment Spidey lore, for on every amazing level, Spider-man: No Way Home epitomizes the dignified point.

Some claim that No Way Home is the final chapter in the Tom Holland "home" (work-hard-for-one's-goals) trilogy and that a series of Sinister Six flicks will follow, in addition to Holland stand-alones that might feature Venom, Carnage, the Vulture and Morbius. Who the hell knows? It's the story at hand that counts, and because of its diligent gist (which connects to such current Marvel/Disney Multiverse fare as WandaVision and Loki), it's an extraordinary one that should resonate with all fans who take pride in getting off their duffs. 

In this cinematic fable, director Jon Watts and writers Chris McKenna and Jon Sommers unroll an astounding, Twilight Zone-ish obstacle for Parker, thanks to J.K. Simmons' J. Jonah Jameson exposing Spidey's true identity through some startling Jake Gyllenhaal/Mysterio footage. In desperation, Parker enlists Benedict Cumberbatch's Stephen Strange to fix the situation through a swift spell which only makes matters worse, though this proves a melodramatic blessing, with old and new Spidey personas joining the aforementioned trio: Zendaya as M.J.; Marisa Tomei as Aunt May; Jacob Batalion as Ned Leeds; Tony Revolori as Flash Thompson; Jon Favreau as Happy Hogan; Benedict Wong as Wong; Jamie Foxx as Electro; Alfred Molina as Doc Ock; Willem Dafoe as the Green Goblin; Thomas Haden as the Sandman; and Rhys Ifans as the Lizard. (Now, what of Tobey Maguire and Andrew Garfield, you ask, as well as some of the other reputed icons who were to be in this one? Ah, shucks, do ya really want me to spoil what may or may not be? That would, after all, be taking the easy way out. Dig? All the same, I don't think one will come away too disappointed.)

Even with its anticipated, special appearances, this Multiverse mishmash doesn't cover every speck of every possibility, but it's still fulfilling for all of its clever intent, heaping great danger, exasperation and responsibility upon Holland's shoulders. That means our Avengers-based Spidey must squash a number of "Monkey's Paw" consequences to reverse the mad process (a motif that Wonder Woman 1984 also asserts), weaving his way in and out of the messes that follow, thus creating an edge-of-the-seat, lesson-based maelstrom, sprinkled with sweet, sensible sacrifice and whenever required, more than a little help from his industrious friends.  

The script's underbelly is, therefore, pure Ditko (and in the best possible Parker/Strange classic-rooted manner), allowing No Way Home to capture the artist/storyteller's moral compass with awe-inspiring precision. No doubt Ditko is looking down upon this one with great gratitude and no doubt the same can be said of good ol' Stan Lee.  

The bum-ish and spineless won't appreciate this chapter since it goes against their let-me-tap-you-with-my-wee-wand, Potter-fied grain, but for those who understand what makes Parker (as well as Marvel's Multiverse on the whole) swing, this one's a web-slinging godsend and could end up the biggest Spidey blockbuster yet. No Way Home deserves that much. I mean, shoot, it's earned it. 

FILMFAX #160: A NEW FIVE-OUNCE TON OF INTELLIGENT FUN

Filmfax #160 is a winner and then some, with in-depth coverage on Denis Villeneuve's cinematic adaptation of Frank Herbert's Dune (Part 1). 

Along for the ride are highlights on the cowboy-dino classic, Valley of Gwangi, and there's a first-time-in-print interview with the versatile Dick Miller on working with the innovative Roger Corman. The sultry Sylvia Lewis; Jerry Lewis, the Three Stooges; Hammer star, Charles Lloyd Pack; Bela Lugosi (Drac on stage); Brett Halsey and Vincent Price complete this issue's iconic spread!

 

There's also continued coverage on Commie-crisis scares and other eccentric confections to keep one  on the edge of one's seat. 

Filmfax #160 can't be beat. Seize it from your local book shop asap for a big, nostalgic treat!