Collectible Time: John Walsh's Conan the Barbarian (The Official Story of the Film) Hardback

 

Author/filmmaker John (Monarch) Walsh grants readers a comprehensive history of one of sword-and-sorcery's cinematic masterpieces, John Milius/Dino & Raffaella De Laurentiis' Conan the Barbarian, in an stylish, 13" x 10.5", 176-page hardback. 

Based on Robert E. Howard's tales of the rough, exalted adventurer, the 1982, Milius-directed Conan (which he co-adapted with on-the-ascent Oliver Stone) took from Frank Frazetta's sprawling imagery and Marvel Comics' sensationalism to forge an epic tour de force, with Arnold Schwarzenegger as the nominal, chiseled champion; Sandahl Bergman as his svelte companion, Valeria; Mako as the mystical Akiro (the fable's narrator); William Smith as Conan's sword-trusting father; Nadiuska as Conan's striking but damned mother; Max Von Sydow as the disgruntled King Osric; Gerry Lopez as the loyal Subotai; Sven-Ole Thorsen as the pugnacious Thorgrim; Valerie Quennessen as the spellbound Princess Yasmina; Cassandra Gava as the gorgeous Wolf Witch; and James Earl Jones as the Jim Jones-esque, Thulsa Doom, one of the most chilling antagonists ever to touch celluloid. 

Early, film attempts to bring the dynamic barbarian to the screen are detailed, as well as background information on the performers and contributors, (including venerable composer Basil Poledouris), who assured Conan the Barbarian became a virile landmark. Readers are also shown amazing, production artwork by the phenomenal Ron Cobb and William Stout and rare, behind-the-scenes imagery, which distinguish the epic's creative mortar. 

As a further incentive, Walsh's edition comes with a slipcover featuring the iconic theatrical poster, and the leathery-looking hardcover is embossed by Conan's shimmering Anvil of Crom. Walsh's book is, therefore, not merely a intriguing, coffee-table addition, but a genuine work of art. 

Fans of the film (as well those who enjoy virile fantasy in general) would be wise ... very wise to purchase this exquisite, making-of commemoration. 

Order a first edition at 

https://www.amazon.com/dp/180336176X?psc=1&ref=ppx_yo2ov_dt_b_product_details

An Alternate Reality: I saw Terminator 6

I liked the last "Terminator" to the point that "Genisys" has become my favorite in the saga. It spun a web of alternate-reality fun that (in my humble opinion) can't be beat , with an ending left wide open for endless possibilities and interpretations. 

The latest chapter, "Dark Fate", produced by James Cameron, directed by Tim "Deadpool" Miller and scripted by David Goyer, Justin Rhodes and Billy Ray, performs the same intent, taking the franchise in another zigzagged but gripping direction. But is it the best possible path? I don't know. I'm only glad that this submission didn't rub me the wrong way, for I was certain it would pile on that SJW crap, of which I and so many film buffs have had our fill.  

With that said, I still wouldn't argue with anyone who'd call "Dark Fate" a girlie film, but at least its females are foible-based kick-assers and not infallible Mary Sues. The ladies include Linda Hamilton, reprising her legendary role as Sarah Connor (re-entering the series much like Jamie Lee Curtis returned {again} to "Halloween"), Mackenzie Davis as Grace (a compassionate, cyborg protector) and Natalia Reyes as the amiable, must-be-saved-so-she-may-save-the-world Dani Ramos.

To offset the girl power, there's a relentless, Robert Patrick variant played by Gabriel Luna, who's a real liquefied son of a gun, as he damn well should be. 

Arnold Schwarzenegger is also part of the package (how could he not be?) and once more, he's "old but not obsolete". That means he's sympathetic yet lethal. It's a swell touch which worked well in "Genisys" and gives the new plot a positive pulse, no matter how heavy the gloom. 

Because of the characters' empathetic and sacrificial qualities, "Dark Fate" hits a satisfying mark. It's otherwise jammed with the expected action, glare and redundancy. In regard to the latter, the idea of Judgment Day coming and going time and again has become a bit much, but on the other hand, isn't that time-tripping-of-reality angle the whole point of this franchise? 

No matter if one dares to nitpick it, "Dark Fate" does what it's supposed to do. Sure, it ain't "Blade Runner 2049" (though why should it be?), but more so, it sure ain't the lame "Last Jedi". It's just another faithful-to-the-core chapter in a popular franchise, and I, for one, embraced it without a speck of apology.

An Alternate Reality #7: I saw Time Twist in Genisys...

When one travels through time enough times over, things are bound to get skewed. Parallel worlds emerge, and what we once thought to be reality has morphed into something new, braced by a new past and inevitably, birthing a new future.

This is the basis of Alan ("Thor: the Dark World") Taylor's sequel, "Terminator: Genisys". Incidentally, Genisys is a program linked to the infamous Skynet, which as any "Terminator" fan knows, spells trouble. To add to this, that essential, time-traveling element of mother/father/son resurfaces, with both a cyborg assassin and sentinel nearby, but now with the '84 classic's foundation hauntingly redesigned. 

In fact, the Terminator 800 dispatched to track and kill is now confronted by a mature edition, nicknamed "Pops", who we learn arrived a good number of years prior, prepared to face his imprint to protect Sarah Connor. The implication is clear: a Terminator-vs-Terminator confrontation is set, but thanks to Leata Kalogridis and Patrick Lussier's crackling script, this is only the beginning of the twisting, turning alternate-reality fun. 

Within the refurbished formula, our old favorites return, but in new forms. Now we have Emilia Clarke as the determined Sarah Connor; upcoming action star, Jai Courtney as the destined-daddy-to-be Kyle Reece; and of course, Arnold Schwarzenegger as the mechanical star attraction(s), yet again proving himself menacing, charismatic and when need be, humorous. 

Co-starring is Lee Byung-Hun as the liquefied T-1000 (a nice tribute to Robert Patrick); Matt ("Dr. Who") Smith as a most intriguing impostor with a most surprising secret; and J.K. ("Spider-man") Simmons as the insightful but tormented Detective O'Brien: a role originated by Lance Henricksen in the James Cameron original.

The revolutionary legend, John Connor, is now portrayed by Jason Clarke, who made a significant impression in last year's alternate-reality mega-hit, "Dawn of the Planet of the Apes". What's unique about Clarke's portrayal is that he's not only the John Connor we've come to admire from past films, but this time he's recycled into a tenacious T-3000. The duality here isn't exactly Jekyll/Hyde, but the abrupt personality contrasts certainly insinuate such.

Clarke's altered guise is also the driving force behind the film's conflict. His villainous tenacity is relentless, but unlike with Terminators past, the Connor model exudes a calm, sinister charm, more in tune with a Bond villain than an entity manufactured to kill. 

As with any "Terminator" yarn, "Genisys" delivers exciting action sequences, and not just for the sake of hollow glitz. The escapades have a practical purpose, logically bridging events to the "present", while spewing a steady flow of alternate circumstances. 

Indeed, for fans of action-based science-fiction, "Genisys" will satisfy. Sure, it's not the breakthrough that the first two films were and nor does it try to be as boldly revisionist as "Salvation". That's okay. "Tarzan's Secret Treasure" isn't as innovative as "Tarzan and His Mate", but that doesn't make it any less worthy within its franchise. Also, more than the other sequels, "Genisys" returns to the roots of Harlan Ellison's "Outer Limits" stories: its mood contemplative and sometimes eerie, despite the blazing visuals. 

For die-hard "Terminator" fans (which includes even those of the wayward "Sarah Connor Chronicles"), this one demands a view and box-office support. Let's hope the fans back it. Though doomsday won't strike if this latest endeavor falters, it sure as hell wouldn't hurt, either, if it spawned another. The door is certainly open for a new path of thought-provoking thrills. 

I saw Maggie...

"Maggie" is a quiet, contemplative flesh-eating zombie yarn, and I suppose its trailer conveys that, even though Arnold Schwarzenegger's presence might lead one to believe it's action-oriented.

If anything, "Maggie" is an allegorical tale, about an adolescent, portrayed by Abigail Breslin, who becomes infected during the early phases of a vicious viral outbreak: the potential forerunner to those events we witness in George Romero's zombie movies or AMC's "Walking Dead".

Schwarzenegger plays Wade Vogel, Maggie's conscientious dad, and the story focuses on their relationship, even though Wade's spouse, Caroline (Joely Richardson), also figures significantly into the relationship.

For all intents and purposes, Maggie could be afflicted with cancer, diagnosed to live but for a short time before her disease takes her life. However, there's the imminent danger of what Maggie will become once her disease reaches fruition, and it then comes down to how she should be terminated before she turns inhuman. 

Maggie's condition is a great burden on Wade's shoulders, one which he takes with honor and dignity, and most folks within his rural community are sympathetic to the situation, such as Dr. Kaplan (Jodie Moore) and the local law enforcement (J.D. Evermore and Douglas M. Griffin). However, as Maggie's condition worsens, Wade is urged to take action. Should he deposit his daughter at an isolation facility to die or administer her death himself?

Schwarzenegger's performance is wrought with subdued dread and a humble need to do what's right. In many respects, like his daughter, he's in a no-win situation. One can't help but feel for him and his family. 

Thanks to writer John Scott 3 and director Henry Hobson's careful handling of the subject matter, "Maggie" becomes identifiable, for sooner or later, we must all come to terms with a loved one's passing. How Wade and Maggie cope with the situation is what makes the film memorable. It also makes "Maggie" more than a gruesome rehash (in fact, there's hardly any carnage in the film), choosing instead to fill its minutes with tender characterization.

Produced by Schwarzenegger (along with Mathew Baer, Colin Bates, Joey Tufaro and Trevor Kauffman), "Maggie" is likely to gain attention if only due to its mega-star's inclusion, which is good, since it's current release is unfortunately limited. All the same, the movie is destined to find a larger audience down the line. By injecting compassion into an unsettling scenario, it manages to defy expectations, becoming what few of us would have dared anticipated: a strange but touching family drama.