James Bond rewatch: A View to a Kill

Rewatching the James Bond films chronologically. Of all the movies made in 1985, not many scream “1985” more than A View to a Kill. Aview1 Blond blurb: Bond is investigating a new type of microchip, one that can survive an electromagnetic pulse. This puts him in the path of mega-rich businessman Max Zorin, who is plotting to take over Silicon Valley with his indestructible chips, killing a lot of people along the way. Aview2 Bond background: Bond adds safecracking and competitive horseback racing to his long list of skills. He’s back to working undercover in this one, under the name “St. John Smythe,” which everyone pronounces “Sinjen Smythe.” Bond also cooks a delicious quiche for breakfast. That’s actually character development, because back in Live and Let Die, he couldn’t figure out how to use his breakfast juicer. Aview3 Bond baddies: You know all those comedians who impersonate Christopher Walken? I’m convinced they’re impersonating him from this movie. As Zorin, Walken’s unique line delivery is on full display. On the plus side, he looks like he’s having great fun with the role. As for the character, they try to set up this big mystery of where Zorin came from, with scenes discussing his past with the KGB and how he might be the result of genetic engineering, but this info doesn’t really add up to anything. Bond babes: Aside from being way too young for Roger Moore, Tanya Roberts doesn’t make much of an impression as the main love interest. Bond reunites with an old flame, Paula, and they discuss their mutual past as rival spies. This hints at where the series will go during the Brosnan years. Also, Alison Doody of Indiana Jones and the Last Crusade is all flirty with Bond, making her both a Bond girl and an Indy girl! Aview5 The movie’s real leading lady, though, is actress/singer/weirdo Grace Jones as May Day, Zorin’s killer henchwoman. She’s a striking presence, no doubt, but her sex scene with Bond is troubling for two reasons. One, because it’s Roger Moore and Grace Jones in bed together. Two, because they’re faking each other out — she’s banging him to distract him from Zorin’s scheming, and he’s banging her to maintain his cover. It’s just icky. Bond best brains: Bond has a credit card from the Sharper Image (!) which somehow can open locked windows with the press of a small button. How does that work? Q plays with a remote control car, saying it’s really sophisticated surveillance equipment. Sure it is. Aview6 Bond bash-ups: Yes, more skiing! The opening ski chase is the first time most people ever saw a snowboard, which would have been cooler if the filmmakers hadn’t punctuated its debut with the Beach Boys’ “California Girls.” The chase up and down the Eiffel Tower is one of the movie’s iconic scenes, so I was surprised to see it come and go so quickly. A horseback chase is cool, evoking old fashioned Westerns. Then we get to San Francisco. After a fistfight or two, there’s a madcap chase through the streets of SF involving a fire truck and the hokiest rear projection effects this side of Airplane. The finale acquits itself with a mine shootout, followed by Zorin’s blimp (yes, blimp) attacking the Golden Gate Bridge, with a mixture of great stunts and more wonderfully cheesy effects. Aview4 Bond baggage: The emphasis on Silicon Valley speaks to the home computer revolution kicking off at the time, and a lot of talk about steroids in both horses and human athletes calls back to the rise of steroid-use paranoia in ‘80s sports. Duran Duran does the theme song, in case you’re still not sure it’s 1985.

Bond babble: My secret shame: I actually liked this one. Yes, some of the performances are wooden (cough-Moore-cough), but A View to a Kill has fun villains, some exciting set pieces, huge production value, and a plot that just zips right along from one adventure to the next. It’s lighthearted Moore Bond, but it’s fun lighthearted Moore Bond.

Next week: DALTON!!!

****

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Fantastic Friday: The Monocle? Seriously?

Rereading the Fantastic Four comics from the start. The so-called “middle years” are famous (infamous?) for introducing a bunch of hokey, one-off villains, and that’s the case with issue #95.

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We begin with a man on the street taking photos of the FF as they stand on the roof of their building. (Heck of a zoom lens on that camera.) He’s a member of the foreign press corps, and he’s there to shoot a visiting delegation of world leaders. The Baxter Building is located right by the U.N., it seems. This man, however, has a sinister plot brewing, thinking that he has to get the delegates and the FF out of his way before he can enact his plan. The fellow calls himself the Monocle (no, really) and his camera secretly contains a “neutrak ray.”

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On the rooftop, Reed, Sue and Ben are gossiping about Johnny. They say that he and Crystal are having troubles. The Inhumans want Crystal to rejoin the Inhumans, but Johnny wants her to stay. The hop in the Fantasticar, with Reed saying that they have to protect the delegates, because one unfortunate incident could trigger World War III. The Monocle uses his camera to zap the Fantasticar, disintegrating it. Reed heroically pilots the falling Fantasticar to the river, so as not to destroy New York. He stretches into a soft round shape to protect him and Sue from the impact on the water.

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Ben, meanwhile, had split off his portion of the Fantasticar before the attack. He comes across a collapsing building. He uses his awesome strength to hold the structure in place so the people inside can be safely evacuated. The Monocle watches this, revealing via his thought bubble that his neutrak ray was what wrecked the building. The U.N. delegates arrive, saying they’re here to resolve “the crisis.” The Monocle, still in his thoughts, exposits that he’s going to use this incident to kick off an atomic war. He plans to hide out in an underground bunker, and, after all the bombs have fallen, he’ll come back to the surface and become the world’s new ruler. Villain logic!

There’s a funny bit where Reed and Sue return to the Baxter Building wrapped in big blankets after their dip in the river. Reed insists on finding out what happened to the Fantasticar. Then we catch up with Johnny and Crystal. She says she doesn’t want to leave, but the Inhumans need her. Note that Medusa, who is both her big sister and the queen, is standing right there during this conversation. Medusa says Black Bolt, the Inhumans’ king, has ordered Crystal to come home. On cue, a teleportation/portal thingie opens, and Medusa says it’s time for Crystal to leave. Johnny resists, but Medusa uses her super-hair to throw him around the room. She then wraps Crystal in her hair and takes her through the portal. Just like that, Crystal’s gone.

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Reed and Sue enter the room, and Reed says finding the mysterious attacker has to take precedence over pursuing Crystal. Johnny reluctantly agrees, and takes off, flying over the city in the hopes of somehow finding the culprit. The Monocle spots him, and attacks, trashing various buildings and landmarks around the city. Johnny realizes that someone’s just trying to distract him, and he deduces that the U.N. conference is where the real action is.

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At the U.N., the delegates are about to discuss the “crisis,” and the Monocle is inside, among all the other reporters. He is about to fire his camera and kill the delegates, which he believes will set off nuclear Armageddon. Then, something destroys his camera, before he can pull the trigger. It’s Reed, holding some weird-looking weapon. He says neutrak rays are nothing new, and that’s he’s been working on them for weeks. This allowed him to invent a “reversal ray,” to negate the Monocle’s camera. The Monocle pulls out another gun, and fires concussion blasts at Reed. The Monocle tries to escape, dodging an invisible Sue and her force fields, and then leaping out the window, with little flying devices on his shoes. Too bad that Johnny is there. Johnny burns off the flying machines, and Ben catches the Monocle to turn him over to police. The issue then ends abruptly, with Reed saying the world has now earned a second chance.

Unstable molecule: Reed guiding the Fantasticar into the river to save lives is a great hero moment for him, as is his confrontation with the Monocle at the U.N.

Fade out: Sue almost catches the Monocle while invisible, but he gets away from her with a Judo move. This was after Reed said to Sue, “Only you can stop him now!”

Clobberin’ time: Many fans have said that Ben holding up the falling building is one of the character’s defining moments. Still others have argued that it’s a metaphor for the character’s struggles, carrying the world on his shoulders. I’m not sure I’d go that far, but it is a great scene.

Flame on: Although broken up over Crystal leaving, Johnny nonetheless is quick to figure out that the Monocle is messing with him. Nice to see him use his brains.

Fantastic fifth wheel: We’re not told why, exactly, Medusa and Black Bolt demand that Crystal return, especially after they (presumably) gave permission for her to stay with the FF in issues 82-83. Crystal says she’ll find a way to return to Johnny, but the breakup still seems pretty final. This storyline will be revisited in issue #99.

Commercial break: I always wondered what these things were — cardboard standees, or something more?

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Trivia time: The Marvel Wiki says the Monocle is a German spy, who was hired by someone else to attack the U.N., but that’s not in this issue! In the actual story, it’s his own plan to start a war and then take over the world after the bombs fall. Not cool, Marvel Wiki.

Fantastic or frightful? This Monocle guy is D-list, but the book is smart enough to know he’s D-list. Once the FF figure out what’s going on — and they’re quick to do so — the Monocle doesn’t stand a chance against them. So there’s not a lot of suspense or high stakes in this one, but it’s kind of fun to see the heroes take out a villain who stands no chance against them.

Next week: The duplicators.

****

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21 Jump Street rewatch: “Next Victim”

Rewatching 21 Jump Street. It’s another Booker-centric tale, one that attempts to solve all of society’s ills at once. It’s season three, episode eighteen, “Next Victim.”

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 What’s goin’ down: An obnoxious college radio DJ, known for making outrageous and inflammatory political statements, becomes the target of a car bombing. Booker goes undercover as the DJ’s replacement, only to find the campus divided by race issues.

Ka-blooey.

Ka-blooey.

 Here’s Hanson: Another Depp no-show this week.

Penhall’s prerogatives: Penhall is put on “backup” at the start of the episode, and then we don’t see him again.

Voice of the people.

Voice of the people.

Book ‘em: Being a shock jock doesn’t come as easily to Booker as you’d think at first. Once he gets the hang of it, though, he goes overboard with the abrasive on-air behavior — partially to draw out the culprit and partially because he enjoys shooting his mouth off.

Undercover blues: Hoffs, also undercover as a college student, gets close to a student leading an anti-racism group, although Booker warns her that he might be nuts.

Goin’ to the chapel: Hoffs has this crazy-looking lamp on her desk that looks like eight silver globes floating in a semi-spiral shape.

This dramatic scene is overtaken by an alien lamp.

This dramatic scene is overtaken by an alien lamp.

 Torn from today’s headlines: This one’s got the rise of shock radio and the whole neo-Nazi thing, possibly inspired by the famous brawl on Geraldo the year earlier. Also, Tim Burton’s Batman was about to hit theaters, and the episode’s opening scene has someone asking, “Riddle me this, Batman.”

Trivia time: The episode was directed by James Contner, who went on to join Joss Whedon’s TV camp, directing episodes of Buffy the Vampire Slayer, Angel, Firefly, and Dollhouse. One of the voice-only phone callers was played by actor Richard Kind, star of Mad About You, Spin City, and dozens of other comedy roles.

Do you really HAVE to sit like that?

Do you really HAVE to sit like that?

 Jumpin’ or not: OK, OK, we get it, racism is bad. There’s some interesting moments in this one where Booker wonders if he’s gone too far, but that human drama is buried under the heavy-handed message. So very heavy-handed. Not jumpin’.

Next: Gangland.

 ****

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James Bond rewatch: Never Say Never Again

Rewatching the James Bond films chronologically. It’s still 1983, with the second of two Bond movies in theaters that year. Never Say Never Again, although not part of the “official” Bond series, nonetheless brings back Sean Connery as 007. The legalities of how and why this happened are well documented elsewhere on the internet, so instead let’s focus on the real question: Is the movie any good?

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Blond blurb: The world of espionage is changing, and the Double-0 agents are no longer as valuable as they once were. An older, world-weary Bond is sent off to a spa, where he gets caught up in a plot involving a missing pilot, which in turn leads to a bigger plot involving stolen nuclear warheads.

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Bond background: The “Bond is getting older” theme runs throughout the film, as it begins with Bond not in the field, but teaching and in training exercises. There are a lot of lines like, “It’s older but it still works,” in reference (subtly or not so subtly) to Bond’s/Connery’s age.

Bond baddies: Blofeld is back, surprisingly, since we just saw him getting tossed down a smokestack. Because huge chunks of this movie are a repeat of Thunderball, Largo is back, now without the eyepatch. There’s some talk about how he sees this whole thing as one big game, but that’s never really followed up on. Much better is female assassin Fatima Blush, who gets increasingly unhinged in her efforts to prove herself better than Bond. It’s a lot of fun to see her get crazier and crazier as the movie goes along.

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Bond babes: Kim Basinger! She plays Domino, Largo’s main squeeze, who of course switches sides and ends up with Bond at the end. Bond spends most of the movie, though, romancing an unnamed fisherwoman (?) he meets in the Bahamas.

Bond best brains: There’s a new Q in this one, going by the name “Algernon.” He shows off an exploding pen, because of course he does, and he equips Bond with yet another laser beam pen, and a motorcycle that can pull off rocket-powered jumps.

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Bond bash-ups: The movie’s opening action scene is in a militaristic jungle setting, loudly announcing to the audience, “It’s the ‘80s now!” Bond has a great fight at the spa against gigantic film legend Pat Roach, which concludes with a classic comedic beat. There’s more undersea action, including a fight against some sharks, and a cool motorcycle chase in the south of France. The finale gives us more Indiana Jones-inspired action with an escape on horseback and a shootout inside an ancient underground temple of some sort. The final showdown is underwater again, because Thunderball.

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Bond baggage: Bond first meets Largo at… the video arcade! Not just any arcade, but a really fancy one inside a casino, where there are no kids, but adults in their finest evening wear dumping quarters into Centipede or Galaga. Bond and Largo get in one the fun playing a 3-D “world domination” video game that gives electric shocks to the loser.

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Bond babble: The movie begins as if it’s in continuity with the previous Bond films, with Bond having been through a lot and a new M at the helm. It’s only afterward that it becomes a literal remake of Thunderball, with a lot of the same characters and plot points. This makes it frustrating when watching all these films as a series. Beyond that, Connery looks like he’s having fun, and I can’t hate any movie with Pat Roach.

Next week: Nice view.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Season of the witch

 Rereading the Fantastic Four comics from the start. Generally speaking, fans divide the first 300 or so issues of FF into three eras, the Lee/Kirby years, the “middle years,” and the John Byrne years. Although Kirby is still with the book with this issue, #94, for me it always represented the beginning of the “middle years,” thanks to the introduction of one of the book’s weirdest, wackiest supporting characters.

Agatha7The story begins with the FF at home, where Reed and Sue announce that they’ve chosen a name for the baby — Franklin, after Sue’s father. They further reveal that lil’ Franklin’s middle name is Benjamin, after the Thing. Ben gets all teary-eyed after learning this, the big softie.

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 We then catch up with the Frightful Four, who are still a team, but still bickering with one another. The Wizard is secretly spying on the FF, saying he wants his revenge on our heroes, while Sandman hesitates about putting the baby in danger. Then Paste Pot Pete, um, I mean the Trapster shows up with Medusa, so the original Frightful Four is back together. (Wait, isn’t Medusa a good guy now?)

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Reed announces that he’s found a “child-rearing specialist” to help take care of the baby while the FF are having adventures. They fly the Fantasticar to the Adirondacks, to a big gloomy mansion that Reed tells us is the home of Agatha Harkness. Harkness, Reed says, has a world-famous reputation as a child specialist. We meet Harkness, a creepy old lady with a black cat named Ebony. She says she’s coming out of retirement, because she couldn’t say no to the famous Fantastic Four.

Harkness’s mansion is of course a big scary house with creepy antiques and paintings all over the place. She does the horror movie “I’ll show you to your rooms” thing. While horsing around in his bedroom, Ben finds a hidden door leading to a secret passage, where he’s attacked by the Wizard. Ben is lifted off the ground from one of the Wizard’s anti-grav discs, and then knocked unconscious by an energy blast. The Wizard and Sandman attack Johnny next, dousing his flame with Sandman’s sand. The Trapster’s paste gun seals the only door to Reed and Sue’s room.

The Frightful Four reunite inside the house, and the Wizard announces that now that the FF is trapped, it’s time to dispose of them permanently. That’s when Medusa strikes, attacking the Wizard with her super-powered hair. Turns out she secretly only joined them to protect the FF, if needed. (Fooled you!) It’s a short fight, after the Trapster traps Medusa in the paste.

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 It looks like the fighting is over, but Harkness appears at the top of the stairs. Ebony transforms from an ordinary cat into a giant panther. There’s a strange bit where Ebony chases the Wizard out of a window, and as the Wizard flies off into the sky, Ebony’s face fills the entre sky around him. (Magic, I guess?) Sandman tries to attack Harkness, but she transforms him into hard, solid rock. The Trapster runs for it, but a big demonic monster blocks the exit, and Trapster faints with fear.

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We turn the page, and the “demonic monster” was really Ben, who didn’t even lay a hand on the Trapster. The sand, anti-grav disc, and paste have all disintegrated. Medusa is freed as well. They find Sandman and Wizard both paralyzed with fear. Reed and Sue are out of their room, and everyone rushes to Harkness’s room, where the baby is. They find everything is OK — the baby is sleeping and Harkness is sitting there, knitting. Ben sees a book in the room titled “Tales of Old Salem,” and he suspects that Harkness is a witch. She voices his suspicion before he can say it, suggesting that she read his mind, so Ben freaks out and runs out of the room, Scooby-Doo style.

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Unstable molecule: It’s never mentioned how Reed learned about Harkness or why he decided she should be the baby’s nanny, but everyone goes along with it.

Fade out: Sue insists several times that the baby must be kept somewhere remote and distant, to keep him safe from the FF’s many enemies.

Clobberin’ time: Despite being a teammate to a genius, Ben is the only one who suspects there’s something supernaturally weird going on with Harkness.

Flame on: The villains’ plan is to take out Johnny fast, before he can summon up his flame. I wonder why more baddies don’t try this approach.

Fantastic fifth wheel: Although Crystal stays behind in New York in this issue, Medusa makes sure to ask how Crystal is doing, setting up the next issue.

Four and a half: The famously blonde Franklin has brown hair in this issue. A panel showing the exterior of the Baxter Building shows funky blue energy crackling all around it as the FF discuss Franklin’s future safety. Could this be foreshadowing Franklin’s powers?

Commercial break: Glo-Gloop?

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 Trivia time: This is actually not the first time readers learned Franklin’s name. So many readers had written into the letter’s page suggesting the name that Stan Lee more or less unofficially spilled the beans in the letters months earlier. Also, Sandman previously appeared in Hulk #114, where he was turned to glass. A line of dialogue in this issue says the Wizard turned him back to normal.

 Fantastic or Frightful? As a comedic haunted house story, this is an amusing little romp, but the fact that so much stuff happens for no reason shows us that we’ve entered the directionless, meandering storylines of the “middle years.”

Next: They call him “One-eye.”

****

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21 Jump Street rewatch: “Blinded by the Thousand Points of Light”

Rewatching 21 Jump Street. The show’s creators are back to pushing the envelope and going to extremes in season three, episode seventeen, “Blinded by the Thousand Points of Light.”

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What’s goin’ down: Homeless male teen prostitutes are being savagely beaten and left for dead by an unknown assailant driving a nice car. Now, our heroes are undercover on the streets in the bad part of town.

My own private Depp.

My own private Depp.

Here’s Hanson: Johnny Depp is barely in this episode, only in a few scenes. Some fans have speculated that his line, “I hate feeling like a piece of meat,” was some sort of sly commentary of how he wanted off the show to pursue his film career.

Penhall’s prerogatives: Penhall develops a friendship with a girl who suffers serious abuse from the other homeless teens. His “street name” is “Trump,” because he’s so good at conning cash from passersby.

Streetwalker, or jazz man?

Streetwalker, or jazz man?

Book ‘em: Booker’s “homeless” disguise has him wearing a hat. Other than that, he’s wearing pretty much what he always wears.

Undercover blues: To track down the one missing teen who can identify the suspect, Hoffs accompanies one girl back to her parents’ suburban home, for the tear-jerky reunion.

"Homelessness? Still better than starring in The Road to Wellville."

“Homelessness? Still better than starring in The Road to Wellville.”

Trivia time: Bridget Fonda, one of my favorite actresses, plays one of the homeless teens. Also, there’s a rare acting appearance by writer Darin Morgan, known for his outstanding and oddball scripts he wrote for The X-Files, Millennium, and Cartoon Network’s short-lived Tower Prep.

Torn from today’s headlines: A lot of ‘80s shows did “Let’s feel bad about the homeless” episodes, and this one lays it on really thick. The episode’s title refers to U.S. President George H.W. Bush’s famous “thousand points of light” speech, about community organizations and volunteerism. I suppose the title also refers to Manfred Man’s lyrically-confusing 1976 hit song “Blinded by the Light.” (Revved up like a WHAT?!?)

Bummer.

Bummer.

Jumpin’ or not? This one checks off all the boxes — homelessness, drugs, violence, prostitution, and more. It’s dealt with in more of an even hand than other “message” episodes the show has done, though, mostly thanks to some strong character work in the script. The homeless kids come across as real people and not just stock types. It’s jumpin’!

Next week: Shock jock rocks the block.

 ****

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James Bond rewatch: Octopussy

Rewatching the James Bond films chronologically. Just like 1967 gave us two Bond movies, an unofficial one with Casino Royale and official one with You Only Live Twice, the same thing happened in 1983, with two Bonds in one year. First up this time was the official one, Octopussy. (How, exactly, did that title get past all the censors in the world?)

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Blond blurb: The Russians are up to no good, with a plan to conquer the rest of Europe. Meanwhile, Bond is on the trail of a stolen Faberge egg, which leads him to India, and a female-led smuggling ring, and an East German circus that… I give up. Can anyone follow the plot of this one?

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Bond background: After a couple of movies where everyone knows Bond and his reputation, in this movie he’s back to being a spy again, working in secret. There are several references to him working for “Universal Exports,” which I’m assuming is a cover for MI6. Also, Bond is captured after spending the night with a woman, which once again reveals that the ladies are his “blind spot.”

Bond baddies: Head villain Kamal Khan (Shatner: “Khaaaan!!!”) doesn’t do a whole lot except glare angrily at Bond, which he does well. I really like the henchman Golinda, who crushes dice with his bare hands and whose name sounds like a good witch. This is the one with the yo-yo sawblade guy, a nifty but not very practical weapon. Some knife-throwing twins add to the fun as well.

Bond babes: Bond first beds bad girl Magda, who does the Cirque de Soliel escape with her unfolding dress off his balcony. It’s the titular (heh) Octopussy, though, who’s the main squeeze. Never mind that she’s a criminal overlord with her own island full of deadly henchwomen. Bond’s actually into that.

Bond best brains: Oh, so this is the one with the acid-spewing pen. Nice! Bond’s watch gets a lot more gadgets, including a tracking device that gets a lot of screen time. Because this the Moore era, we’ve got a mini-sub shaped like a crocodile. There’s also an amusing bit where Q gets in on the action in the field, doing some surveillance on Octopussy’s hideout and even saving the day in a hot air balloon.

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Bond bash-ups: The opening is worth the price of admission, with some eye-popping stunts as Bond escapes capture in a super-speedy mini-plane. There’s an amusing taxi chase through an Indian marketplace, with a lot of slapstick gags. More gags follow during Bond’s Most Dangerous Game jungle escape. It then ends with a three-part finale, with a bomb diffusing followed by a shootout in a mansion followed by an airplane escape with Bond clinging onto the outside of the plane.

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Bond bewilderment: To get past the bad guys while at the circus, Bond disguises himself as a clown, complete with full-on clown makeup. (Really detailed clown makeup, too, which is impressive considering that he only had a few seconds to put it on.) Even stranger, this is foreshadowed in an earlier scene when another 00 agent fights a bunch of guys and then is killed while in the exact same outfit.

Bond baggage: Raiders of the Lost Ark had come out recently. Could it have been an influence? The marketplace chase/fight and Bond’s jungle escape seem a little more Indy than Bond.

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Bond babble: I’ll be honest. This one was a little hard to sit through. The practical stunts and the lavish scenic locations are great, but who can follow this wonky storyline? Add to that the constant puns and wacky slapstick, and you’ve got a movie that’s a total mess.

Next week: Let’s go to the arcade.

****

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Fantastic Friday: In the arena

Re-reading the Fantastic Four comics from the start. Here’s issue #93, which came out in December 1969. It’s the end of the 1960s, and it’s the unofficial end of Jack Kirby’s time on the FF. Sure, he’ll be around for a few more issues, but most experts agree that this arc was the last time he gave a damn. Anyway, to recap: Skrulls who live as old-timey gangsters kidnapped Ben and are forcing him to fight in gladiatorial games.

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We begin in space, where the FF is flying along in their Skrull flying saucer which they happen to own, searching for a trail to lead to Ben. Johnny, it’s worth noting, is flying outside of the ship with his flame burning, with absolutely no mention of how he can do this in the vacuum of space. (Remember that way back in issue #6, Ben and Namor needed special helmets to breathe in space.) Our heroes find a radioactive trail which Reed deduces leads to Ben’s abductors.

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On the Skrull planet, Ben and his opponent, the robotic Torgo (not the Manos Torgo, sadly) are finally put into the ring. They’re told they must fight to the death. Ben continues to try to convince Torgo to escape, but Torgo is resigned to his fate. He punches Ben real good. Ben’s strength, however, stands up to Torgo’s blows, and Torgo says Ben is the mightiest opponent he’s ever faced. The Skrulls insist that they keep fighting or else their homeworlds will be destroyed by sonic rays. Then there’s a bit of business where somebody throws a bomb into the ring, which knocks Ben back. Torgo is about to strike the final blow, but the Skrulls won’t have it, saying Ben was defeated by the bomb, not by Torgo.

While the aliens/gangsters argue about the rules, Ben finally fights back, punching Torgo. The computer, which I guess is keeping score somehow, determines that the fight’s outcome is voided. Now, they have to start the fight over. (How that’s different from just keeping on fighting, I don’t know.)

The FF arrives at the Skrull planet, and a Skrull ship flies out to intercept them. Johnny envelops the alien’s ship in a “sub-nova heat blanket.” This knocks out the Skrull. As the FF invade his ship, Reed says they’ll learn where Ben is once he comes to.

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Torgo and Ben have been given some weird-looking alien weapons that kind of look like big bottle openers, and they continue to fight. Despite all that’s happened, Ben is still arguing that they should work together to escape, but Torgo still believes that they have no choice but to keep on fighting. Ben refuses to go the distance and kill Torgo. Torgo then reveals that the weapons are also gas guns (!) and he blasts Ben with knockout gas. This makes Ben vulnerable to Torgo’s final blow. In the stands, the Skrulls/gangsters once again argue whether these weapons are allowed in the rules (they really should have gone over these rules before the fight started).

Elsewhere, one of the gangsters’ henchmen is reported about the fight on the phone, when he’s approached by Reed, now in a full-on gangster outfit. He says he’s with “Reed Richards’ gang” and he demands to be taken to the fight. They hop in a car, where Johnny and Crystal are also in their best Untouchables-era finery. Lest we forget that this is an alien gangster planet, it’s a flying car.

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At the arena, Ben’s message finally sinks in, and Torgo says he cannot kill one who has shown him mercy. The Skrulls prepare to fire up the sonic disrupter, but a blast of energy comes out of nowhere and destroys it. The blast came from Crystal, arriving in the nick of time with Reed and Johnny. Ben is so happy to see his friends that he does the old “I must have got something in my eye” gag.

No time for sentiment for Torgo, however, as he frees all the slaves, and they all bring the fight to their Skrull overlords. The FF escape in the commotion, and flee the planet. Ben wonders who Torgo was, and hopes his former cellmate will succeed in the fight for freedom.

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Unstable molecule: Note that Reed’s gangster suit isn’t made of unstable molecules. When he stretches his arm, the suit doesn’t stretch with it. Nice detail, there.

Clobberin’ time: Although he’s the one so often quick to fight, Ben’s underlying humanity is the showcase in this issue, as the real fight isn’t in the gladiator ring — it’s the fight to become a better man.

Flame on: Still not sure how Johnny can fly around in space like that. Not even one line of dialogue explaining that he’s protected by a portable energy field or some crap?

Fantastic fifth wheel: Crystal is totally badass when she destroys the sonic world-killing machine.

Commercial break: If you know your comics history, you know about the controversies surrounding these light tables, yet here’s an ad for one — in a comic!

Trivia time: According to the Marvel Wiki, the Skrull gangsters Boss Barker and Lippy Louie were never seen again after this arc, and are presumed dead after the revolution in this issue. If anyone from Marvel is reading this, I dare you to bring these two back.

Fantastic or frightful? If all the rumors are true and this was Jack Kirby’s last genuine work on the FF, then it’s a good one for him to go out on. Many have speculated that the Thing’s personality was basically Kirby’s personality, and here we get to the heart of what Ben is all about. But it’s not over! Kirby is still with us for the next few issues, and there’ll be more to talk about.

 Next week: Season of the witch.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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21 Jump Street rewatch: “High High”

Rewatching 21 Jump Street. You guys. Seriously. It’s one of my all-time favorite episodes. Season three, episode sixteen, “High High.”

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What’s goin’ down: Some scumbag is dealing drugs at a performing arts school. The Jump Street cops must now do the all-acting, all-singing, all-dancing thing while sniffing out the culprit.

"Dude, Disney Channel is showing Lemonade Mouth again tonight!"

“Dude, Disney Channel is showing Lemonade Mouth again tonight!”

Here’s Hanson: Hanson’s music knowledge helps him out in band class, where he can talk the talk with the rock kids. Also, Johnny Depp is sporting some serious Tim Burton hair while at the station in the opening scene. Filming Edward Scissorhands, were we?

Bang. Zoom.

Bang. Zoom.

Penhall’s prerogatives: When Penhall performs a scene from The Honeymooners, the teacher has him play it not for laughs, but instead act as if it’s the real him, and not a character. This is some art imitating life, as the “play the character more like myself” thing was something actor Peter DeLuise mentioned in several interviews around this time.

Book ‘em: Booker’s performance art piece. He stands on stage and says, “My friends always ask me, ‘Why don’t you watch TV?’ Because it gives me a headache.” He then puts on sunglasses, picks up a sledgehammer, and smashes a bunch of televisions, with sparks and smoke flying everywhere. It’s the most badass thing that ever did badass.

I wear my sunglasses at night, so I can, so I can smash televisions.

I wear my sunglasses at night, so I can, so I can smash televisions.

Undercover blues: Turns out there’s not one drug dealer in school, but everyone’s on drugs. Instead of pursuing one crook, the Jump Street gang has to deal with a full-blown drug infestation. Their solution? Throw an assembly, and arrest the entire student body at once!

Goin’ to the Chapel: Blowfish, who, let’s not forget, is Jump Street’s janitor, is for some reason put in charge of cataloging all the confiscated drugs. When asked how he knows so much about narcotics, he responds, “Dragnet re-runs.”

Trivia time: In the opening credits, we read, “Music and Poetry by Wolfgang Amadeus Mozart.” Your guess is as good as mine.

Overly open throats.

Overly open throats.

Torn from today’s headlines: The movie Fame was released in 1980, and was adapted into a TV series in 1982, and then into another TV series, Fame LA, in 1997. It then got a big screen remake in 2009. The success of Glee and High School Musical owes a lot to Fame. Also, there was Hull High in 1990, one year after this episode. I’m sure nobody but me remembers Hull High, so I can get away with saying it was a totally rockin’ high school music show and wasn’t cheesy or stupid at all.

Jumpin’ or not? This one has a lot of great humor, memorable character beats, and slick visual style, courtesy of superstar director Mario Van Peebles. There are a lot of big speeches about art, emotion, pressure to be the best, and living in the moment, but in this case the speechifying feels more natural. It’s woven into the story in a way that fits the setting. I love this episode so much. It’s jumpin’!

Next week: Do the hustle!

 ****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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James Bond rewatch: For Your Eyes Only

Rewatching the James Bond films chronologically. The fans love to grouse about the cheesiness and camp of Moonraker and Octopussy, but in between those two in 1981, we got For Your Eyes Only, a movie that, it seems, the fans never talk about. Well, I’m going to talk about it… right now!

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Blond blurb: In the opening credits sequence, Bond is confronted by Blofeld, and then finally kills him. From there, Bond is investigating a sunken submarine, which puts him in the path of the beautiful-but-deadly Melina Havelock, who seeks revenge for her parents’ murder.

Bond background: We begin with Bond visiting his wife’s grave. This would be the wife who died in Her Majesty’s Secret Service. He’s then attacked by Blofeld. Blofeld has more or less been a different character in each appearance, and in this one, he’s the Joker, making lame puns as he confronts Bond. It’s awfully anticlimactic considering everything these two have been through in past movies.

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Bond baddies: The one is interesting in that it doesn’t tell us who the villain is at the start. We see the whole thing through Bond’s point of view, as he uncovers clues and follows leads. The trail eventually leads to the seemingly-nice Kristatos, who is into drug-smuggling and then submarine-stealing. His henchman is the silent killer Loque, who’s not quite as memorable as some of the other silent killers Bond has fought.

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Bond babes: Melina is an interesting character. She’s tough and she’s driven by revenge, but she’s also enjoying her adventures, even laughing at Bond’s (Moore’s) awful puns. She’s great, basically. Too bad that Bond also kinda/sorta romances Bibi, a figure skater whose power-rich uncle is involved in the case. It’s the first of several “she’s too young for him” dalliances in the Moore era, but at least this time they call some attention to it.

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Bond best brains: There’s another comedic tour through Q’s wacky workshop, with one of my favorites — the killer umbrella. But, really, it’s the hokey “indentigraph” that steals the show. It creates a simplistic police sketch of the villain, which the computer is then able to recognize. Q invented Google image search!

Bond bash-ups: There’s some great helicopter stunts in the opening, followed by a fun car chase in the Greek countryside, and then lots of skiing! Instead of remote mountainside, this ski chase is at a resort, so Bond and the bad guys weave their way in and out of the tourists, which adds a lot of fun gags to the scene. Then there’s a cool gunfight that leads to a real “license to kill” moment, and some awesome undersea diving action in and around the sunken sub. It all ends with an assault on Kristatos’s hilltop hideaway, with mountain climbing and gun blasting.

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Bond baggage: Sure enough, the Winter Olympics had been a year before this movie, so Bond makes with the winter sports again. Also, Melina immediately reminded me of Marvel Comics’ Elektra, because they’re both kickass Greek women caught up in international intrigue. Milena even compares herself to the mythological Elektra at one point. Turns out Marvel’s Elektra debuted in 1981, same year as this movie. So who ripped off who?

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Bond babble: I’m torn about this one. It’s a slower-paced, more grounded film than others in this series, and that’s clearly by design, but I wonder if it’s at expense of some of the fun. I like a lot of the action and some of the performances, but the plot meanders and there was a lot that didn’t work for me — like why is Bibi even in this movie at all? So… I enjoyed For Your Eyes Only, but it won’t be on any “best of” list I might make. If others feel the same way, maybe that’s why the fans never talk about it.

Next week: Octo-WHAT?!?

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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