HAPPY FATHER'S DAY 2015!!!

HAPPY FATHER'S DAY FROM DEAR OL' DARTH VADER AND ME!!!

Collectible Time #28: Gary Shipman Captain Marvel/Shazam! and Rocketeer Prints, plus Funko Rocketeer figure

Landed a trio of new superhero additions for my collection: two of which are Gary Shipman art pieces...

The first entry is a sizzling 11" x 17" tribute to Captain Marvel--the original Captain "Shazam!" Marvel, that is. 

DC recently renamed the "big, red cheese"(a derogatory label, incidentally, coined by his adversary, Dr. Sivana) as the incantation used by Billy Batson to conjure the mighty one. Nonetheless, whether one calls him by is original (true) name or the Gomer Pyle exclamation, Shipman's homage is both electrifying and colorful, invoking not only the imaginative, decades-enduring myth, but the Tom Tyler movie serial and the '70s Saturday morning, live-action show. Indeed...Shazam!!!

Next in line are two pieces based on Dave Steven's spectacular tribute to Rocketman...the Rocketeer!!!

The first is a 11" x 17" Shipman print, championing Cliff Secord, the man with the amazing jetpack. As one can see, Shipman's design ignites the sheet with sleek, Art-Deco gusto. 

Nifty, eh? (BTW: the color scheme of the actual print rivals the above significantly, with lovely shades of golden brown and smoky gray.)

Shortly after obtaining the print, I came across (as fate so graciously dictated) the Funko 3 3/4" Rocketeer action figure at Barnes & Noble. The packaging features a cropped image of the '91 Disney movie poster. This particular Funko figure is more intricate than others in its vast pop-cultural series, featuring an attachable helmet and jetpack.  

As respected as Captain Marvel and the Rocketeer are, they still could benefit from renewed interest. I should hope these commendable representations will help promote that deserving elevation. 

Collection Recommendation #3: Korg 70,000 B.C.

"Neanderthal Man left no written records of his history, just some tools and burial mounds. This story is based upon the assumptions and theories drawn from those artifacts. It might have happened in 70,000 B.C..."

Such is Burgess Meredith's unpretentious disclaimer that closed each half-hour episode of "Korg: 70,000 B.C.": a 1974 -'75 Hanna Barbera, live-action, Saturday morning television series. It was created and produced by Fred Freiberger, co-writer of "Beast from 20,000 Fathoms" and a producer on "Star Trek", "Space: 1999", "Wild, Wild West" and "The Six Million Dollar Man".

Recently, TCM Archives released the entire 16-episode run of "Korg", and for those who remember the series, this is a real treat, in that it remains unique among children's programming. 

"Korg" stars Jim Malinda in the lead; Bill Ewing as his resourceful brother, Bok; Naomi Pollack as Korg's mate, Mara; and their children: Christopher Mann as older brother, Tane; Charles Morteo as younger brother, Tor; and Janelle Pransky as their little sister, Ree.

Malinda and Ewing are generally the focus, each giving memorable performances, but all participants are top-notch, creating a credible family whose earnest members truly care and look out for one another: far more the Waltons than the Flintstones, one might say. Still, their naivete can't be denied, and it leads to a number of educational, tense and touching scenarios.

Some episodes deal with the basic ins and outs of life, such as "Trapped", "The Beach People"; and "Ree's Wolf": the latter a tender, coming-of-age tale. Others, such as "Eclipse of the Sun", "The Exile" and "Magic Claws" play upon superstition and the overcoming of psychological hindrance."The Hill People", on the other hand, is a prehistoric variation of Helen of Troy, with the episode's guest counterpart doing something the mythological maiden never dared do: thwart a burgeoning war. 

With the proper push (and perhaps a bigger budget), "Korg" would have played well during early prime time, since adults generally seemed to like it as much as children. By today's standards, however, I'm not so sure youngsters would appreciate or tolerate the series' sense of rough adventure, particularly if their interest lies in such mollified fare as "Minions". 

This is a shame, since the series' concept has much to offer. For those who watched it during the '70s, its content will still be appreciated (along with its now-available-via-Ebay tie-ins: a King Seeley lunchbox, Milton Bradley board game and Charlton Comics series); for those who missed the brief phenomenon, you now have the chance to fill the void. 

I can only hope some open-minded executive might take note and give "Korg" (or something like it) another crack. Lord knows we need a show of such anthropological depth these days, for kids and adults alike. 

Cinema Retro: Issue #32 (2015)

I want to give a nod to the latest issue of Cinema Retro. Alas, it's been hit-and-miss with my catching past issues, but I lucked out and found #32, Vol 11: a treat for any Dino De Laurentiis fan.

It includes in-depth articles on two Dino productions: "King Kong '76", by Ray Morton (author of the book, "King Kong: The History of an Icon..."), and "Orca: the Killer Whale", by Ernie Magnotta. 

Morton's Kong segment presents an honest, thorough assessment of John Guillermin's controversial remake, detailing how the epic retelling came to be and how ill-fated, competing projects helped shape it. (Part II will follow in Issue #33, dipping deeper into the actual filming.)

Magnotta's Orca review offers a refreshing view at what some of us consider the best of the "Jaws" inspirations. Sure, Joe Dante's "Piranha" may get loads of deserving accolades, but when it comes to poignancy and depth of character, Michael Anderson's adventure knocks it out of the park. Besides, the movie gives us one of Richard Harris' finest performances.

The issue also includes a look at Tom Gries' "100 Rifles", written by contributor Howard Hughes, which features several, stunning Raquel Welch stills, plus many other fascinating perspectives on films from the '60s/'70s.

Grab a copy while you can at your local Barnes & Noble.

I saw Jurassic World...

May I be frank with you, folks? When it comes to an impeccable dinosaur trilogy, I find Eugene Lourie's "Beast from 20,000 Fathoms," "The Giant Behemoth" and "Gorgo" to be as good as it gets. Yep, I'm that kind of old-school guy. 

Now, with that being said, I can still admit to appreciating the three, prior "Jurassic Park" movies (and Michael Crichton's original novel), except that...well, unlike other dino flicks of past, the "Jurassic" movies are bogged down with loads of kid-filler: that is, whiny children who get in the way of what should be exclusive, adult-vs-dino turmoil. As such, of the original three, I'm more at ease with Joe Johnston's "Jurassic III", since its youthful distraction is limited, the story tighter, and yeah, I realize I'm the odd-man-out there, but it is what it is. 

So, what's my take on director Colin Trevorrow's "Jurassic World"? I'm cool with it...in fact, more than cool. Like the third chapter, this one's free of superfluous, kiddie shenanigans, even though youngsters do appear. There are two, in fact: brothers Gray (Ty Simpkins) and Zach (Nick Robinson) Mitchell. 

It's Chris ("Guardians of the Galaxy") Pratt, however, as raptor-trainer Owen Grady, an ex-Naval officer, who keeps them in check, his focus (and the story's) falling upon his creatures: Blue, Charlie, Delta and Echo. Grady's intrepid presence is a big reason why this chapter clicks, and once the movie gets rolling (and boy, does it ever when Grady finally seized the spotlight), it's rather like "Indy Jones on Dino Island": a pretty inspired idea, if I may say so myself.  

To further truncate any whiny interference, supporting come-and-go characters nicely fill the gaps, without ever clouding matters with garrulous tangents, with Claire Dearing (Bryce Dallas Howard) acting a prevailing presence among them. She's both park manager and aunt to the Mitchell boys, initially a staunch supporter of the attraction, but becomes as frightened and disenchanted by the dinosaur mayhem as her nephews. Fortunately, she never turns into a screaming ninny in the process.

"Jurassic World" also presents a solid, human antagonist: security-head Vic Hoskins, portrayed by Vincent D'Onofrio, who just scored high as Kingpin in Netflix's "Daredevil". Alas, Hoskins motive is annoyingly predictable: to analyze the park specimens for possible military possibilities (oh-hum...at least "Godzilla '14" put a positive spin on our Navy). Nevertheless, Hoskins' myopic view of the dinosaurs contrasts well with Grady's Tarzan-tinged persona. 

The real reason the film succeeds, however, is Trevorrow, whose direction isn't only snappy, but he deserves a big pat on the back for contributing to the unpretentious script (co-written with Rick Jaffe, Derek Connolly and Amanda Silver). Its overall execution smoothly extrapolates the other sequels and even probes a tad deeper into the consequences of specialized genetics and its resulting calamity. 

The sharp-witted Indominus Rex, for example, perfectly embodies that age-old idea of "man should not tamper with what he does not understand", but wisely keeps the ferocity and fun upfront, as opposed to layering it with unnecessary, environmental gibberish. 

For what it's worth, "Jurassic IV" was to have dealt with genetically engineered saurian soldiers: a clever concept that would have taken the franchise in a most refreshing direction. It makes one wonder if this film isn't a warm up for such reconsideration (as Hoskins presence insinuates), or if we can expect a similar take a couple years down the line. Only time will tell. Still, the reptiles' sharpened wit makes their rampages all the more nail-biting, particularly when the Indominus Rex enters the park structures, touching upon the prehistoric-vs-modern-world tradition. (In the end, though, the moment pales in comparison to any Kong city spree.)

Though "Jurassic World" is certainly fulfilling in its progressive momentum, I'm still be more inclined to choose "Valley of Gwangi" or "Land Unknown" for some future rainy afternoon. Sorry, but even the best CGI (and this one's a veritable stand-out, in that regard) will never capture the sense of wonder I find in my childhood favorites. All the same, I give this latest effort credit for at least making a valiant attempt at recapturing that good ol' joy. This make "Jurassic World" the closest in the franchise yet to hit such sentimental rekindling. 

RIP CHRISTOPHER LEE...

Just learned of Sir Christopher Lee's passing. I'm rather numb to say the least.

I (and his massive fan base) will certainly savor his many characterizations. His legend will live on in his movies, his performances to be enjoyed for generations to come.

Collectible Time #27: 31" Luke and Han in Stormtrooper Guise

Came across these two, jumbo (31" tall) "Star Wars" figures at Toys"R"Us Express: a tad overpriced, in my opinion, but in that I hadn't seen them available in person before (and didn't felt so compelled to mail-order them), I boldly made the move.

In essence, Luke and Han are similar, representing the "Episode IV: A New Hope" sequence where our heroic rebels disguise themselves as Stormtroopers: a famous moment, yes, but also a clever stunt on Creative Designs' part to save a few bucks. After all, it's really just the heads of Mark Hamill and Harrison Ford planted on an already used body sculpt.

I'd have preferred representations reflecting the characters as otherwise featured, but oh, well, one can't have every wish fulfilled. All the same, these are fetching in size and will complement my other jumbo "Star Wars" pieces: the classic Stormtrooper, the orange and blue trimmed Clone Troopers and of course, the meanacing Dark Vader!!!