My Name is Michael Caine

The Italian Job (1969)

Get Carter (1971)
Pulp (1972)

OK, so this is more of a placeholder posting, as I am still gathering my thoughts on these three films which are criminal in nature and one of which is criminally unfunny and another which is just grim.  Perhaps a cup of coffee to jog the ol' brain juices and then we can light into these.

Well now, I've got a bit of the arabica firing through the synapses, so let's walk through these, shall we?  Obviously, all three film feature Michael Caine as he was just coming into his stardom.  Now the film for which he was going to be most remembered for at this point prior to our films under discussion was Alfie (1966) where he played the titular character - a cocky young Brit who was obsessed with birds (girls) and shirking responsibility in the pursuit of a personal happiness.  Sixties hedonism at its finest!  It was a very clever movie that had a serious undertone, but was really all about the celebrating the joy of Alfie.  So, here comes Michael Caine afterwards, and you don't really want a rehash of what he has already done, yet you don't want to alienate the audience.  How about a fun caper flick?  And thus we got The Italian Job (1969).

Now for some reason,  a lot of people think that The Italian Job is brilliant.  The British film magazine Total Film ranks it as #27 on its list of all-time great British movies and the BFI ranks it #36 on its top 100 British films.  Frankly, I was let down by the movie.  Perhaps the first warning was when I noticed Benny Hill in the opening credits.  As it is, the film is trying very hard to be funny, but I wasn't warming to it.  I don't have a problem with my suspension of disbelief, so you can't blame me for that.  Caine tries his hardest to carry the rest of the cast he is surrounded by, but its either the timing or the delivery or something more intangible which just left me flat.  Noel Coward is also in the film as an imprisoned crime lord who is still very much in control and finances the heist of gold from Italy.  He loves queen and country almost as much as money, so he endeavors to help our young criminals pull off the heist.  Now perhaps here is where some of the love film originates because the movie is very pro-England to the extent that the heist takes place during a football match of England vs. Italy.  Rah rah, rule Britannia and all that.

In an earlier post I was commenting how great Quincy Jones' music was in The Anderson Tapes (1971).  Here we have an earlier soundtrack by him which I would not call a classic.  The song which plays over and over again, "The Self Preservation Society", is a mawkish attempt at humorous music with cockney overtones.  To top it all off, the cast was recruited to sing it.  Yech.  And even the incidental music tries too hard to inject levity.  It is a sledgehammer of a soundtrack.

What does work, to a degree, is the car chase which is the climax of the movie with all the little Mini-Coopers racing about Turin, Italy.  No doubt the film helped to sell a few extra cars as I know the remake in 2003 did.  They do some interesting bits with racing on roof tops which really made me question the safety of the stunts.  If you can do that, you are doing something right.  However, it is all a little too late to save the film for me.  A waste of Caine who does get to deliver the best line of the movie though: "You were only supposed to blow the bloody doors off!"

In stark contrast to the listless humor of The Italian Job comes the gritty revenge thriller Get Carter (1971).  Here Caine plays Jack Carter, a London hardman who has come back up north to find out what happened to his brother.  Along the way we are slowly immersed in the criminal activities of the area: gambling, prostitution and bit of other extraneous exploitations.

What a great movie!  Caine is cool as a cucumber as he extracts the information he needs to find closure.  Impecably dressed throughout, no one can sport a shotgun quite as well.  I have been wanting to watch this one for years and I'm glad to finally be able to check it off.

One of  my first exposures, though, was to the fantastic soundtrack by Roy Budd.  There isn't a xlarge orchestra, basically just keyboards, bass and percussion, but the sounds he elicits are funky, but chilling.  One of my favorite soundtracks of all time.  Here's a bit to tease you with.

Having finished watching the film, I've now embarked upon reading the original novel, Jack's Return Home, which is so far a very similiar to the movie although with much more detail.  The way I see it is that the film is a haiku to the epic gangster poetry of the novel.  What is intriguing to me though is that the author, Ted Lewis, wrote two more books about Jack Carter.  Hmmm.  They appear to be out of print and a bit pricey, but I might just have to check those out to see where they could have gone with more movies.

Speaking of more Get Carter, I have yet to see Sylvester Stallone's turn as Carter, nor I did I realize until today that there was a blaxploitation version featuring Pam Grier called Hit Man (1972)!  Wow!

To be continued... (check back shortly)...

Green Lantern: First Flight (2009)

Well, this has me more excited about a live action Green Lantern movie.  One of the things it does right is condense down the origin into the first couple of minutes.  This is all about space intrigue and the Lantern Corps.  The alien design is a lot of fun with bugs and squids and other great looking creatures.  We get to see quite a few of the Green Lantern Corps and they are even give stuff to do other than stand around - for instance, quite a few die!  Remember, kiddies, this isn't for the wee ones.  DC is making films now which feature bloody violence, alien grue, sexual innuendo, and cursing.  Thankfully, all of that plays in service of the stories and not just for titillation.
Unfortunately there isn't one of the short DC films they've been packing onto their other more recent releases, but we do get five Justice League episodes featuring the Green Lantern and one Duck Dodgers episode where he finds the suit/ring in his dry cleaning.
This was a lot of fun and comes highly recommended!

The Bill - "Woodentop" (1983)

Just watched the pilot episode of The Bill which was one of the longest running police dramas of all time (1983-2010).  We are introduced to the world of the police mainly through a new officer, Jim Carver, as he starts his first day on the force.  This is an easy way to introduce numerous characters in as an efficient way as possible.  The Bill's pilot is pretty much run of the mill police work with a couple of kids being rousted for trespassing and possible doing a bit of B&E.  And then we also get a storyline with a corpse in a council house but this isn't murder, it is suicide.  So not a lot of legwork or sweat box action here.  But it is an interesting look at what the police in England would have been going through on a day by day basis.  Frankly, the show almost seems to have taken cues from the American show Hill Street Blues by focusing on the meat and potatoes police work mixed with a bit of soap opera characterization.

One of the great charms of the episode was the location work on the streets of London where we see shops and streets as they were almost thirty years ago.  I was particularly taken by a doubledecker bus that has adverts for Bowie's Let's Dance album plastered on the front end.

Also, it is hard to watch this and not think of Life on Mars and Ashes to Ashes.  How would Gene Hunt fit into this universe?  The DCIs in The Bill seem pretty gung-ho and macho, which would fit cowboy boot wearing Gene to a tee.  They both have a fair amount of boy's club thinking and looking down on the uniforms.  As far as the evolution of Gene is concerned, the playing more by the rules approach in Ashes would fit the methodology of The Bill's brand of coppers who all seem to longing for the old days when you would just box a kid's ears and send him packing instead of running him into the station.

Not a bad bit of TV, all in all.  Considering they aired approximately 2400 episodes over the course of the series, I don't think I'm gong to nearly scratch the surface of this one.

Your New Best Friend - Paul Rudd

Over the last week or so, I have found myself watching two different comedies which both star Paul Rudd. The type which he is cast as is the easy going, slightly goofy average guy that people just naturally like. He is the epitome of inoffensiveness and a natural straight man for all the wackiness which surrounds him.

The first film I watched was Dinner for Schmucks (2010) where Rudd is Tim who works for a financial investment firm and is striving to move up the ladder. After he proposes an idea to land a wealthy client, he is invited by his boss to a dinner where each guest is required to bring an unusual companion. Basically a dog fight where instead of the ugliest girl is your companion, here you have to bring the most bizarre or idiotic guest. Tim is conflicted, because public humiliation isn't the type of thing he would normally do, but then fate intervenes and he runs over Barry (Steve Carrell) in his car. Lo and behold, Barry appears to be the perfect idiot as his main hobby is building dioramas with exquisitely dressed dead mice.

One side note, though, was that the mice were created by the Chiodo Brothers who are most famous for their film Killer Klowns from Outer Space (1988).  Their work on the dioramas was amazing and truly one of the highlights of the film.  If Barry was doing a crappy job of posing dead mice, that would have been beyond creepy.

Along the way we get to meet a lot of other great idiots and losers which are played by the some of the cream of the crop of modern comedy. A veritable ladle full. A soupcon of comedy such as Zach Galifianakis (The Hangover, Bored to Death) who plays Therman, Barry's arch nemesis and boss at the IRS. Then there is Jermaine Clement (Flight of the Conchords) as Kieran, a narcissistic artist who specializes in highly sexualized environmental art. Additional characters are played by David Walliams (Little Britain), Kristen Schaal (Flight of the Conchords), Chris O'Dowd (The I.T. Crowd) and stand-up comedian Jeff Dunham.

The other Paul Rudd movie which I recently watched was I Love You, Man (2009). Peter Klaven (Paul Rudd) has just proposed marriage to his girlfriend of 8 months and suddenly realizes that he has no male friends to stand up with him at the wedding. So, he goes in search of male friendship. He finally meets Sydney (Jason Segel - Freaks and Geeks) and they hit it off, but his fiancee starts to become uneasy about the new friendship.

This is a slightly ridiculous bromance that I can vaguely relate to in that being married does change the focus of your other relationships. You tend to concentrate on that which is most important in your life and unless you take the time to nurture other aspects, they will wither and die. :( Peter is married to his work as a real estate agent, so outside of his fiancee, there hasn't been a lot of time for other pursuits. The moral of the story is balance.

As comedies go, this one is very character situational with just a wee bit of gross out. Generally nothing too outrageous happens which makes the laughs more genuine and heartfelt. A good movie.

The Anderson Tapes (1971)

America, man! You know, it's so beautiful I wanta eat it! – "The Kid" (Christopher Walken)

The Anderson Tapes is primarily a heist film starring Sean Connery as Duke Anderson, a just got out of jail con, who wants to rob an entire upscale apartment house in NYC. His accomplices are a gay interior designer who knows how much stolen goods are worth (Martin Balsam), a young cocky kid who was in the pokey for drug posession (Christopher Walken), a cool cat wheelman (Dick Anthony), an old geezer of a con who has spent the last 40 years in jail and doesn't know anything else (Stan Gottlieb), and a patsy for the mob who is there for muscle(Val Avery). Well dear readers, as you know, complications will ensue.

If you are going to plan a robbery/heist, the Parker books by Richard Stark are a must. It helps establish the importance of planning and team work. If only Duke had read those books. First of all, he's involved with a woman (Dyan Cannon) which distracts him from staying all in on his job. Then he gets tied up with the mob boss (Alan King), thinking that the mob owes him for doing time. Parker would never go the outfit for startup money. You can't trust the machine if you want to be an independent operator. And then his motley crew is filled with loose cannons and greenhorns. You need professionals for a job of this size and the fewer people the better. Poor Duke. If only you had spent more time reading while you were in for a dime, you might have had a better chance.

One of the more interesting devices used in the storytelling is the proliferation of surveillance devices. When Duke is going around town setting up the score, he is being watched by the Narc squad, FBI, IRS, private dicks, and who knows how many other information gathering sources. Very few, particularly government agencies, are interested in him and what he is doing, even though they know something is going down. They all have ulterior motives for other cases they are working. It is interesting to note that this film came out before the Watergate scandal and the revelation of Nixon's secret tapes. If this had come a couple of years later, it would have been a big hit rather than merely prescient about our Big Brother world.

Now if it is the early 1970's and you've got a crime movie, you have better have a kickass soundtrack! And The Anderson Tapes lays a doozy on us with Q himself breaking out some solid funk mixed with a lot of beeps and boops to show how cutting edge technology could be. I loved it! There's nothing that will be a breakout hit, but for an early techno thriller soundtrack, this one is alright. In fact, I need to hunt down a soundtrack CD/LP for it.

Role Models

When I was a young lad, I had an over abiding obsession with movies. Not that anything has really changed, mind you. Since my dad was a movie reviewer for a local TV station, we went to see almost everything that came to town as part of our weekend visits, but I really liked horror movies the most. So one day he gave me an issue of American Film which had an article in it, "Whatever Happened to Showmanship?" which lamented the lack of theatricality in selling movies to the public and which focused on one of the masters of ballyhoo, William Castle. Now, this is some neat stuff to learn about when you are 16 years old. Of course, I had seen a bunch of Castle's films already such as 13 Ghosts or The Tingler. Yet, here was an article which pulled back the curtain just a bit and showed a whole new carnival atmosphere. Plus, the author went on the talk about a variety of grindhouse/art films like Crippled Masters and Warhol's 3D sex movies. A door has been opened and new horizons beckoned on the other side.



Just as important as what was being written about was who was doing the writing: John Waters. Now at this point I admit my story gets a bit fuzzy in discovering more about him. I think the first film I watched of his was probably a year or two later when I went over to a girlfriend's house to watch either Desperate Living or Polyester. And I know that I read more of his writing in future issues of American Film and saw him on late night TV talk shows. Really, what can be said about Waters other than he was a incredible independent filmmaker who was equally interested in pushing the limits of good taste and extolling the virtues of fringe culture.

Recently, Waters has published a new book, Role Models, expressing his peculiar view of the world around him. There are a number of offbeat topics in it which are interesting and conform to the accepted stereotype of John Waters such as "Outsider Porn" where we meet two edgy gay pornographers. Or "The Kindness of Strangers" which is about Tennessee Williams and the influence he had on the author. Or the obsession he has for Johnny Mathis which is the lead off piece in the book entitled "Johnny and Me".



But what is most striking is the subtle changes in John Waters as an outre human. Earlier in his life, he bragged about having a John Wayne Gacy painting. He also boasted about all the high profile trials he has attended for Patty Hearst (who now has bit parts in his films) and the Manson family. He claims in Shock Value (1981) that the Tate/LoBianca murders were the crime of the century, but he approaches it back then like a subversive theater act. Now, in Role Models (2010), he goes on at length about the friendship he has developed with on of the former Manson family members, Leslie Van Houten and how she has been denied parole over the years. You know, he might have a case as he presents it, but I'm dumbfounded by the seriousness of the piece. It is a tone which which he strikes a few times, as if he has suddenly realized the impact of some of this earlier outrageousness.

Later, in "Baltimore Heroes", we are told of a lesbian stripper and a female barkeep who would only serve the homeless. Ok, this feels like Waters territory now, you are thinking, and you are right to a point. We never get to meet this people because they are already dead. Waters is dealing with them through his own recollections and through the memories of their children. That is the crucial turn. How were these people affected by the environments in which they grew up. While they all seem to have come through OK, you can't help but ponder the instability in which they were fostered.



Even when Waters begins to talk more about culture, we are presented with a more gentrified version of the hipster salvage store concept we had known to grow and love. Talking about fashion, we meet Rei Kawakubo, an extremist designer who builds clothes with flaws in them. But sells them for thousands of dollars. This ain't no dig store where you crawl around on the ground looking for treasures! And even the art work has progressed beyond serial killers and pornography. Now we have "Roommates" like Cy Twombly, Fischli/Weiss, and Moyra Davey. Hmmm. Interesting stuff, but hardly shocking. On a side note, isn't it interesting how some famous people collect art? Dennis Hopper had a renowned collection. Vincent Price used to give talks on art. Even Steve Martin has raised his nose high and proclaimed that even a jerk can like art. Too much money? Giving back to the little people? A true appreciation for craft?





In the end, Role Models is not the same John Waters we fell in love with thirty years ago, nor should he be. Mellowed like a good wine. Yet, when what you expect is a spicy complexity which sometimes ends in sharp gag reflex, this is a bit too dry and one note. Or has the rest of the world just caught up to him?

Thriller: The Twisted Image

Leslie Nielsen is cast as the perfect man: Vice President of the company, nice car, beautiful wife, nice apartment, and he's good looking to boot. Who wouldn't want to be with him or be him? So begins the set up of this first episode of the anthology series Thriller, hosted by Boris Karloff.

Essentially we have two nutcases: the girl who wants to bust up his marriage because she has a plan and the closeted mail room clerk who wants to skip all the hard work and steal a man's life for his own. Blackmail and death are the close companions of these two loveable losers.

Fatal Attraction mines a similiar vibe years later. However, this is good ol' classic crime drama from the early 1960's, so nothing too outrageous ever happens.



One of the best elements of the show is the soundtrack by Pete Rugulo, a west coast jazz arranger. Somewhere in my stacks of vinyl I know I have one or two sides by him. Remember, kiddies, jazz is the music of junkies and killers! Dangerous stuff!

Rhatfink's Lair (2011)

Hollywood Ending (2002)

It has been said that you should write about what you know. Woody Allen knows movies, having written and directed over 40 films over the last 40 some odd years. Hollywood Ending is a later day entry into that Allen filmography in which he stars as Val, a once famous director now forced into doing commericials in Canada. His ex-wife (played by Tea Leoni) is now marrying a film studio executive (Treat Williams), but she still thinks Val could be a brilliant filmmaker and fights to have him direct her passion project. Of course things go pear shaped with Val becoming psychosomatically blind for the duration of filming. While not the most brilliant of Woody Allen concepts, Hollywood Ending is pleasant film fodder.

There are a handful of things that didn't work or worked against the film being more successful. First of all is the length of the movie. For what should be a madcapped, fast moving walk on the ice comedy, the movie runs almost two hours. Not that there is anything wrong with that, but a tightening/ratcheting up of the antics would have helped. Heck, lose the whole estranged son plot line. It leant nothing to the proceedings, other than a lame positing of it being the source of Val's blindness. Which it wasn't.




Secondly, the bizarre intrusion of product placement in the film. Honestly, New York City landmarks are not product placement. If Woody wants to shoot inside Bemelmans Bar, it is because that is the environment in which they would exist. But you start throwing Pepsi cans onto tables and having characters drink from them, all I can think is how much did that cost? And who had the nerve to force it on Woody? Granted, films aren't cheap, so concessions to commericalism have to be endured. In fact, the last few Allen films haven't even been shot in NYC because it has become too cost restrictive. But c'mon! Pepsi?

Lastly, and perhaps the most elusive problem, is the casting. Woody has generally always had top drawer actors and actresses populating his films, but this one seems just a little flat with two sitcom actresses playing major roles: Tea Leoni (The Naked Truth) and Debra Messing (Will & Grace). The only stand out casting for the male actors is Hollywood icon George Hamilton who has the sense to underplay his scenes and stand out all the better for them. At one point, two characters are having a discussion on the sound stage, but my attention drifts to the background where Hamilton is dozing in a chair. Brilliant! Well, maybe not, but it sure did seem to sum up the energy level of filmmaking with all the hurry up and wait it entails.

Yet, in the end, the films works for me because it still has that tonality of Woody Allen dialogue and his twitchy nervous energy. Frankly, I can't help but like the guy.

True Grit

Back during the Christmas season I had the pleasure of going to see the Coen Brothers version of True Grit starring Jeff Bridges and Matt Damon. It was fantastic! The elements of casting, scriptwriting, cinematography and music all blended together perfectly. Of course this is a new adaptation of the novel by Charles Portis which had been filmed previously with John Wayne and Glen Campbell. It has been a long time since I have seen that version and in fact I remember the Mad Magazine version of it much more clearly.

">

About a year ago, when the Coens announced that they were going to cast an unknown girl in the lead part of Mattie, sales of the book started to take off. All the future movie parents wanted their child to read the book in order to get a grip on the part. Well, that's cool because you should not base your audition off the performance by someone else. Plus, in hindsight, the Coens were really trying to stay true to Portis's words so all the better to have the words in mind.

So, now that the film is out, people have been picking up the book again in droves. Having enjoyed the film and knowing that many consider the novel incredibly well written, I decided to take the plunge. It was, in fact, very good with all the wittiness of the dialogue originating in the book. Yet, there were subtle differences and the natural ability to elongate passages which are more character building than action oriented. Some changes were subtle, like the fact that LaBeouf stays with Rooster and Mattie the entire time, whilst in the new film he does go off a couple of times in disgust. The biggest change is to the development of Rooster with much more backstory elucidated. I have to agree, though, with the one reviewer who said that Bridges' performance of Rooster was akin to a proto-Lebowski. Both are just kind of drifters in the river of life who just want to chill and do their own thing. Except one of them is a bit more violent than the other.

Suffice it to say, if you have a couple of extra hours and need something different to read, True Grit would make a fine selection. Now I need to pick up a copy of The Searchers!

Zombie Spaceship Wasteland

This is a book written by "one of us". The "us" being those kids raised in the 70's and coming to age during the 80's, who weren't the cool kids or the jock kids or whatever else kids. "Us" is synonymous with the latter part of the TV show name Freaks and Geeks. Patton Oswalt is definitely one of "us" and his book, Zombie Spaceship Wasteland, is one part memoir mixed with one part humourous essays. And while the humorous essays are fun, like "Those Old Hobo Songs, They Still Speak to Us",the real reason to read this is to navel gaze whilst standing in front of the full length fun house mirror that reflects back Patton.

The boiled down version of Patton Oswalt that is presented here is from the perspective of an early 40's male who grew up in suburban Virginia, just far enough away from Washington DC to know there was a scene there, but not close enough to be part of it. His world, instead, was filled with Dungeons & Dragons, science fiction, horror movies on VHS, stacks of comic books, and movie theaters. This was the primordial pit from which he rose, as have many of us. The stories he relates are witty and poignant and reflective, both of himself and his audience. As a comedian, Patton knows who his audience is and he delivers the goods in full with nary a misstep.

Three pieces stand out in forefront for me for varying reasons, the first of which, "Ticket Booth", is where young Patton gets a job at the local three screen movie theater. Now while the people in his story differ from my own experiences, the actions they took are very similar what with the late night drinking and the the half tickets routine. Oh, the stories I could tell! Suffice to say, I was not present for all the sordid evenings, but there were my own fair share. Anyway, working at a movie theater is a different experience and Patton captures it beautifully. A treasured time for him (and me), but one which we would both say we are better off for having escaped.

The second piece which stands out is "We're Playing Snow Fort" wherein a 10-year-old Patton is describing the cool ass snow fort he and his friend built. They're stock piling snowballs and digging out tunnels and getting ready to throwdown in the mother of all snow wars! Unfortunately the other kids have turned into robots and don't want to play and the cool dad is too busy going into the mean lady's house. It is all laced with a subtle melancholy from an adult perspective. Perhaps the best piece in the book, yet with the fewest laughs.

The third piece, "Zombie Spaceship Wasteland", is meant to sum up the psychological view point of us young geeks and how each of those archtypes affect what kind of stories/lives we want. Kind of a ground zero of geekdom and fun food for thought.

The only issue with the book is that while there is a coherent theme upon the nature of adolescence and growing up, there isn't a grand thread that takes you through. These are just short essays, very well written mind you, but they never reach a summing up or climatic realization. Which is ok as we are still all so just nearly departed upon our journeys. The grand statements are still to come and this was a nice warm up act.

Survival of the Dead (2010)

Of course, George A. Romero is considered the grandmaster of all things zombie, but the genre has grown much larger than the low budget independent films which he started with over 40 years ago. Now we have scads of novels (both straight ahead horror and bizarrely humorous), more movies than you can shake a gore encrusted stick at, and even a weekly television series on basic cable which are all waving the zombie flag far and wide.

Over the last few years, Romero has come back to his roots as a zombie filmmaker and given us a couple of OK films: Land of the Dead (2005) and Diary of the Dead (2008). He now presents his latest, Survival of the Dead, which is an off-shoot of the film previous. In Diary, we follow a group of students who are documenting their travels in zombieland. Along the way they encounter a group of National Guard soldiers who have gone rogue and are pillaging the land they were sworn to protect. Survival follows that group of military brigands to a small island where the populace is embodying the story of the Hatfields and the McCoys with two families squaring off over long held grudges and the proper way to dispose of the dead. The O'Flynns want to kill their resurrected loved ones and the Muldoons want to teach the dead to eat animals. Well, you can sort of guess how most of this goes down and it is done with a lot of antics.

And "antics" is the right world for this film. While there are some nice moments of tension and the requisite amount of gore, the general tenor of this film is that of slapstick and situational comedy. If this isn't what Romero was trying for, then explain the explosion of the boat house which eliminates the wall and yet leaves everyone inside covered in black face? Or how about the pitchfork in the foot routine which ends in the foot becoming detached from the body? Or a just shot in the head zombie falling into a tub? You get the idea and there is more where that came from.

Overall, Survival is completely different from the other Romero zombie films, which isn't a bad thing. It probably bugs him that he has been pigeonholed in such a way, but at least it has provided him with work. While the general consensus seems to be that this film tarnishes his legend, I found it worthwhile and enjoyable on its own terms. If you don't come looking for the next Night, Dawn, or Day, you should not be too disappointed.

Yellowing Pages

The Road - Cormac McCarthy

Mighty grim, end of the world stuff with a father and son wandering across an unnamed countryside after an unmentioned apocalypse. Pretty powerful death poetry.




The Eyre Affair - Jasper Fforde

A very Douglas Adams-ish mystery/adventure with detective Thursday Next hunting down the master villian Acheron Hades, who wants to kill characters in famous novels by entering into the texts, dragging the characters out into reality and dispensing of them, thereby eliminating them from all extant copies. Throw in some time travel, an evolving discussion of who actually wrote Shakespeare's plays, and lots of name/title dropping and you have a pretty fun, light read.





The Jugger - Richard Stark

Parker goes to Kansas to find out what happened to an old safe cracker who seems to have spilled the beans on who and what his criminal buddies have been up to. A nice switch up with there being no "heist", only the extraction of information from a bunch of dubious characters. Later made into a film, Made in the U.S.A. by Jean Luc Godard.

Report to the Commissioner

Doctor Who: Frontier in Space

The Doctor and Jo Grant become political pawns in growing escalations between Earth and Draconia, but in actuality they are just part of The Master's evil plot to rule the universe. Ultimately, Frontier in Space is the first half of ostensibily a twelve-part story, which concludes with Planet of the Daleks. A decent amount of action, lots of prison time and tons of costume changes for The Doctor are the order of the day here. Pertwee does kicks, chops and rolls with the best of them. He even brandishes a gun at one point!

The Master's henchmen, the Ogrons, look like cleaned up outer space orcs from The Lord of the Rings. Not a bad villian all in all, but a bit thick. The shape changing power is a definite plus, but of course, that is all the Master's doing.

Having not seen this one before, it is always nice to catch up with old Doctor adventures whilst waiting for the new ones. Recommended.

The second disc has a number of extra features which I haven't checked out, other than a 15 minute piece of the history of Doctor Who comics in the Pertwee era.