RIP RICHARD HATCH...

Right from the start, your compassionate portrayal of Captain Apollo taught me what a stand-up guy was all about, and as a promoter of "Battlestar Galactica", you kept the fervor alive even after the original incarnation had departed. You were undoubtedly one of the reasons why the spectacular second phase entered our homes, in which you also played a significant part. "Prisoners of the Lost Universe" was all the more fun because you starred in it; the same can be said of the eerie "Unseen Evil" and the unsettling "Chatter". Above all, you treated your fans with kindness and respect: a hero in real life as much as you were within your famous, rag-tag fleet. Indeed, you were a special breed, Mr. Hatch: a legend on and off the screen, for which your fine spirit will be greatly missed and endearingly remembered.

Collectible Time #81: Lanard King Kong 18" Walmart Exclusive Mega-Figure

I kept visiting and looking about the various Walmarts in my area to find an 18" Lanard Toys King Kong Mega-Figure, but to no avail, and then when I thought all hope was lost--eureka!--my eyes fell upon one, and of course, I snatched it as fast as Kong would Ann Darrow. 

The Mega-Figure is exclusive to Walmart and ties to the upcoming "Kong: Skull Island" movie. As a Kong fan, no matter what his incarnation, it was essential that I have this version for my collection.

The design of the this new Kong is intended as a throwback to the Marcel Delgado '33 version, but I still see much of the '05 silverback variant in it, as well. Whatever the case, from what I can discern, this 18" toy is pretty much on target with what the "Skull Island" trailer features.

The figure also comes with a 4" weapon-equipped soldier; in addition, the packaging is quite colorful, but doesn't steal from Kong if one should choose to leave the big guy strapped in. 

As far as articulation goes, each arm is jointed in two sections and the hands, feet and head are movable, but otherwise the model is one big hunk of hollow (though muscularly sculpted) plastic. Alas, the seams are detectable if one looks hard enough, but the brownish gray "hair" conceals much of that in most sources of light. The face, above all, is a stunner, with the eyes, teeth, gums and tongue projecting realistic textures. The Skullcrawler scratches on Kong's chest are also a nice touch, though the figure is flawed by four, conspicuous, mold holes on his back: the sort that sometimes characterizes such toys. Oh, well...

On the whole, though, the piece is impressive, but I'm glad to have found it in a store, as opposed to having paid some insane, scalper price through Amazon or Ebay. If one plays one's cards right (i.e., is in the right place at the right time), the 18" Kong goes for a reasonable $30: a steal for such an imposing representation. 

Anyhow, thanks to good ol' Mega Kong, I'm now even more psyched for the movie; March 10th can't come soon enough!!!

I.A. WATSON'S HOLMES AND HOUDINI: AN EXCITING CROSSOVER FROM AIRSHIP 27!!!

Ron Fortier's Airship 27 Productions blessed us with a most imaginative anthology in "The Amazing Harry Houdini". Now, thanks to one of its authors, the talented I.A. Watson, a novel-length sequel arrives..."Holmes and Houdini"!!!

As the title clearly conveys, the fictional detective and real-life escapologist cross paths, accompanied, of course, by dear ol' Dr. John Watson and Houdini's diligent agent, Martin Beck, to face the unscrupulous Far Edge Club, while unraveling the mystery of the Ghost Mask of L'Inconnu: a death-mask novelty that's used as a muse among the artistic clique. 

Beyond the mask's haunting presence, the wicked band seeks vengeance on Houdini (through a "most dangerous game" set-up) for having once thwarted a vile faction of the group in a catacombs misadventure. Still, with such adroit friends at his side, does the Far Edge Club really stand a chance against the masterful magician? Then again, with Professor Moriarty seemingly connected to events, per his own peculiar death mask (and some troubling, accompanying symbols), can our heroes be so certain of success? 

I.A. Watson connects the Holmes and Houdini tracks once the story progresses, but at first presents them as parallel paths, via differing writing styles: the Holmes portion told via Dr. Watson's classic manner and Houdini's more so in the vernacular, which clicks with our hero's hip pep. Somehow the contrasting styles mesh without a hitch: truly, an amazing accomplishment by our exceptionally skilled writer. 

As I read, Chad Hardin's cover, featuring Peter Cushing's interpretation of Baker Street's great detective, caused me to recall Hammer Studio's 1959 version of "Hound of the Baskervilles" (though Cushing did, in fact, play Holmes well after such for the BBC). In this regard, I envisioned the novel as not only a sequel to "Amazing Harry Houdini", but one to the '59 cinematic classic. (It was also fun to fancy which of Hammer's stately thespians might have portrayed the legendary American, but for the sake of any reader's utmost enjoyment, the real-deal Houdini is the one-and-only to imagine here.) 

Also, the Far Edge Club, which is meticulously detailed throughout the novel, reminded me of the insidious group featured in Hammer's "Taste the Blood of Dracula", though our author's version is far trickier in its scope: not so much interested in testing the waters of debauchery, but already deeply immersed in it. 

Additionally, "Holmes and Houdini" features excellent, interior illustrations by Rob Davis, Airship's prolific art director, who's supplied stunning imagery for Airship's previous Holmes titles. 

"Amazing Harry Houdini" was one of the most engaging books of 2015-16, and "Holmes and Houdini" equals its mysterious splendor for '17 and beyond.  I.A.Watson does a flawless job in linking his crossover to his Houdini short story and the offerings of Jim Beard, Roman Leary and James Palmer, but his novel can also be absorbed as a thrilling stand-alone, if one wishes. 

Can't wait for the audiobook from Radio Archives, but for the time being, I'm most grateful to have this marvelous story to enjoy in printed form. 

For those of hankering a taste (and I can't recommend "Holmes and Houdini" enough), the novel is available in either paperback or Kindle form at...https://www.amazon.com/Holmes-Houdini-I-Watson/dp/0997786809/ref=sr_1_2?ie=UTF8&qid=1485733690&sr=8-2&keywords=holmes+and++houdini+I.A.+Watson.

I saw the Eyes of My Mother...

Oh, the symbolic grandeur of black-and-white. Such photography has made specific storytelling as the Universal monster classics and the likes of "Psycho", "Carnival of Souls", "Night of the Living Dead" and "Eraserhead" cinematic stand-outs. 

A most recent example of moody black-and-white has taken residence next to the aforementioned classics, thanks to writer/director Nicolas Pesce and cinematographer Zach Kuperstein. The film is entitled "The Eyes of My Mother", and in this particular case, its brooding aura also becomes representative of its lead character. 

She's named Francisca, played as a child by the chilling Olivia Bond and by the haunting Kika Magalhaes as a young adult. Francisca's mother (Diane Agonstini), we learn, was once an eye surgeon in Portugal, and she teaches her daughter her techniques on cows, explaining that the eyes of the latter are similar to those of humans. It's her mother's hope that Francisca will someday become a surgeon: in essence, not only utilize the specialized skills she's learned, but on an implied level, see the world through her mother's eyes. 

Francisca's mother is content living on a desolate farm with her somber husband (Paul Nazak), who seems most content when viewing television westerns. Francisca's interaction with those beyond her home is limited, though she doesn't have reason to mind. (Incidentally, the story appears to take place in the '60s, though no specific date is ever attached, so it might simply be that the quirky clan favors furnishings of past eras.)

A stranger named Charlie (Will Brill) approaches their home one afternoon, seemingly to sell goods, but his intent is otherwise, which leads (SPOILER) to the mother's death, and the father shackling Charlie in the barn, so that the youngster can experiment on him as she wishes. (BTW: Charlie sticks around for most of the movie.)

The ambiguity of Francisca's parents (why her mother left her practice and her father's nondescript background) adds a weird quality to the film's earliest phases, but developments becomes all the weirder when the odd, little girl grows into a pretty--and even odder--young woman. Francisca's general disposition is in tune with Norman Bates, or more so perhaps Bates' founder, Ed Gein: Francisca eventually keeps her father's corpse after he passes and ultimately seeks others to replace those who've left her, albeit in the most sadistic ways. 

Other young women figure into the story, one whom Francisca meets at a bar (Clara Wong) and the other on a hitchhiking ploy, who's a mother (Flora Diaz) with an infant son (later played by Joey Curtis-Green). Francisca is charming enough to lure them into her web, but once there, escape is nearly impossible, though they certainly try. One in particular marches forth to expose Francisca, but I'd be as cruel as our beguiling black widow if I revealed precisely how.

For the sake of atmosphere, Pesce's style is reminiscent of Ingmar Bergman; Herk Harvey; Tobe Hooper; Takasi Miike; and Nicolas Roeg. Much of the film feels like Jack Hill's "Spider Baby", but with a sullen twinge, as well as Jen and Sylvia Soska's "American Mary", though countrified. The ambiance is often open and ironically free, but when focus falls upon its nightmarish interiors, claustrophobia kicks in, increasing the merciless intensity, but never becoming so repellent that one must turn away. 

In a similar vein, the performances are impressive throughout, if only for their subdued realism. Such raw subtlety furthers the film's air of dread, making several moments comparable to certain passages featured in "Texas Chainsaw '73". Indeed, the story and its characters could be found (shudder!) in any sequestered time or place. 

Though Bond is memorable as little Francisca, Magalhaes owns the part. She has the makings of another Barbara Steele or Ingrid Pitt, if she should choose the horror genre as her home. She's easy on the eyes, emitting the perfect, misdirecting cover that the disturbing set-up requires. The black-and-white atmosphere also complements her, so that after a time, she becomes indivisible with Kuperstein's contrasting shades. Yes, black-and-white was a wise choice for this fable, for though color may have been acceptable, it wouldn't have reached such an unnerving level.

Considering its association with the Sundance Film Festival, where it gained significant exposure, one might assume "Eyes of My Mother" no more than another artsy experiment. It's far more than that, of course: a top-notch, psychological thriller, which digs deep into the vile depths where madness and innocence inexplicably merge. There are times when one can easily look upon poor, demented Francisca and say, "There but for the grace of God go I," and yet at the same time, one will pray never to cross the path of one so severe. 

("Eyes of My Mother" is presently available for rental through Amazon.)

Powerless Premieres: A Commoner's Comical View of the DC Universe

How would we commoners react to a world where superheroes (and supervillains) really exist? I'd imagine much like when we watch our favorite superhero shows and movies: with awestruck wonderment. 

Then again, if such were part of everyday life, maybe the luster would wear off after a spell and become at best, a weird commonality. This is the premise of NBC's new comedy series, "Powerless". 

The sit-com (not to be confused with the 2004 Marvel comic-book series) is rooted in the DC universe, but it appears that we'll only get glimpses, or more precisely hints, of any primary superheroes or their foes.

Vanessa "High School Musical" Hudgens stars as working girl Emily Locke, who occupies the directorial spot of Research and Development at Wayne Security (an offshoot of Wayne Enterprises), located in Charm City. Her boss, Van (Alan Tudyk), is Bruce Wayne's cousin. Alas, Van generally has tough time reaching his crime-fighting relative: an ongoing joke on the series. Ron Funches, Christina Kirk and Danny Pudi also participate in the office-based shenanigans.

Wayne Securities' competitor is LexCorps, but at this point, it's unclear if any other DC backdrops or furnishings will be featured on a regular basis, particularly with such mythology already established on CW. It appears that the series will cater mostly to extraordinary good and bad guys who fight beyond the realms of their more stellar counterparts, such as the mysterious and sexy Crimson Fox, who's identity on and off screen is being kept (for now) a secret, though if one looks hard enough, one can figure it out. 

NBC has a terrible track record with superhero programs, to the point where one has to wonder why its snobbish executives even bother. "The Cape" died a premature death at the network and "Wonder Woman" never made it past the pilot phase or for that matter, an official airing.

The odds don't favor that a DC inspired sit-com will go very far, therefore, but while it lasts (and let's hope it's for a decent stretch), it should present an interesting, if not unorthodox, take on the hottest genre now going. 

("Powerless" premieres Thursday, February 2 at 8:30 pm.)

TANTALIZING ACTION AWAITS IN FEMFORCE #177!!!

FEMFORCE #177 is here, with sultry action and imaginative hijinks to set one's soul a-soarin'!!! And our fantastic ladies of action are back on board: the Atomic Blonde; Dinosaur Girl; Firebeam; Kamalfa; Ms. Victory; Nightveil; Rei; She-Cat; Stardust; Stormy Tempest; Roberta Strock; Synn...Tara!!! Oh, boy!!!

My talented friends, Rock Baker and Mark Holmes, again act as significant contributors to the Mark and Stephanie Heike/AC Comics series. 

Baker supplies the lay-out for Mark Heike's "translucent" tale, "Girl on Fire", in addition to co-penciling the imagery with Heike; Baker also gives us another colossal, heart-pounding Dinosaur Girl yarn, entitled "Legacy", where the cute curves go as high as the sky. 

Holmes gives us the electrifying storyline for the far-out "White Out", with spellbinding artwork by Scott Shriver; Holmes also grants us the swell, cosmic concept for "Thrilling Science", with interstellar artwork by David Matsuoka, and believe me, no space odyssey has ever been quite so fetching. 

I may be biased, but I gotta say, I adore Baker and Holmes' imaginative flair. They have similar, moral mindsets and a definite inclination regarding what's appealing and fun. Above all, their get-the-job-done, storytelling skills stir the right, all-American fervor: a throwback style to the way comics were once told, with an unapologetic slant favoring right over wrong, plus lots of high-flying adventure. (I guess, in that regard, the Heikes deserve top credit, not only for enlisting Baker and Holmes, but for producing reasonably priced issues that are consistently jammed with provocative gems. Most importantly, with AC Comics you never need worry about a Femforce agent jumping ship to join Hydra!!! Hallelujah for that!!!)

The rest of #177's contributors make an equally impressive lot, delivering the tantalizing thrills each in his own distinct way. Indeed, Jeff Austin; Jacob Bear; Marco Della Verde; Daniel P. Gorman; Andrew Haunt; David Matsuoka; Joseph A. Michael; Francesco Savi; and Scott Shriver deserve a round of hardy applause for their efforts: a most creative group of guys if ever there was one. 

To boot, let's not overlook that powerful, Bear cover: a fine tribute to Firebeam's blazing beauty and a perfect fit for this stupendous issue on the whole!!! Oh, and then there's that wild back cover: a colorful, monsterized, Atomic Blonde representation by Gorman that's sure to make one's eyes pop!!!

Seize the sexy excitement of #177 by visiting your local comic-book shop today!!!

SO LONG, BOB HOLIDAY...

Alas, some fans seem to ignore the significance of your Superman portrayal, but for 140 performances you flew about Broadway in an enchanting musical called "It's a Bird...It's a Plane...It's Superman", with upliftings songs by Charles Strause and Lee Adams. May your soul fly ever higher among your Kal-El counterparts in that superheroic sector called Heaven. Godspeed, my good Man of Steel...