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It's Batman, and its not badly done
7 February 2009
Warning: Spoilers
I purchased the first THE BRAVE AND THE BOLD with Batman in it, so I've seen it all. The B&B stories were rarely, if ever, part of the continuity, so you fanboys whining about it destroying the mythos can get bent...you don't have Clue One what the mythos really is.

Bader, doing his "Hoss Delgado" voice, is an inspired voice casting, though its not likely we'll see Bruce Wayne in these episodes. So far, I've not been disappointed with the other voices we've heard.

The take on Aquaman is probably the most brilliant freakin' original take ever of one of the more dull characters in the DC Universe, and to have him show up as guest star *twice* made it all the better.

I am still chuckling..."A Hero Doctor!!!" Elongated Man and Plastic Man were never in a comic story that I recall, yet Ralph and "Eel" were played out with truly beautiful humor given the contrasts between the comics and this show.

The only "down" moment was the Outsiders; I didn't see that as an appropriate intro of the three characters, especially Katana and Metamorpho. OTOH, this isn't the same strict interpretation DCU we've come to know, so someone else may see it as great.

But even my elderly father, who read his books as a kid, thought the casting for Wildcat was absolute perfection and has started watching in hopes of more Golden Age heroes appearing.

If you only go back as far as the CRISIS ON INFINITE EARTHS, don't bother watching it, because you just won't "get" what the show offers.

But if you know of the earlier books, or survived the Mike Sekowsky era, you'll likely agree that this is a pretty good effort.

And curse George Lucas to Hellywood for refusing to make BLACKHAWKS.
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9/10
Get off the JLA's lawn
2 February 2008
Warning: Spoilers
I've collected and read since 1959, and being the consummate comics fan, I've seen all of the incarnations, followed all the Secret Crises and plot lines and threads, and what I missed, my best friend collected and we shared.

Adaption of the concept: 10. What did the McCarthy Era cause for the superheros, and would the "Common Man" plan be used as we saw?

Adaption of the characters: 9. The only reason for this is the divergence from the "new" comic reality that the WWII Wonder Woman was in actuality Queen Hippolyta.

Adaption of the comic: 7.5. It would have been better if some of the side plots were developed, and had the Losers been more explained. The last bits of King Faraday were not jarring per se, but would have gone a lot more to explaining what was going on had the Losers been developed out in the story. However, the inclusion at the beginning of the author's final moments helped clarify a lot that was scattered in the original mini-series.

Adaption of the story: 8. Hal Jordan's 'discovery' should have happened at the beginning, as indicated. Wildcat's fight should have been shown along with the various side characters, along with the Challengers of the Unknown (Ace Morgan named alone explains nothing). Likewise, Captain Nathaniel Adam, Ray Palmer and others who were merely named without explanation, as well as the Blackhawks and Green Arrow...there was only a mention of Hourman without explanation, and we needed a bit more than a "Hawwwkk-AA-AAA!" to carry on...

But...there _was_ a "Hawwwkk-AA-AAA!"...and an Arrow Plane...

And Batman at the end, putting it all together for even the most brilliant scientific minds (though I would have preferred to see Adam Strange released from Arkham Asylum...).

Put it all together, and for me, who has seen every incarnation of the JSA/JLA/JLE/JLI/JLU...

This was a masterpiece of reconstructive ret-con. Superbly done, relying heavily on a fundamental comic book knowledge, but loosely enough that people can at least identify who the characters are and their purpose.

The closing scenes were ripped from the books, and beautifully handled, and while I'm not sure if that was his voice or a clever impersonator, it was the masterstroke to the masterpiece that completed the epic.

To those (some of whom have already posted) who will whine and kvetch that "this is not the JLA I know"...

You're absolutely right; this isn't any JLA that I knew of before reading the books or seeing the adaption, and I've been reading them long before many of you appear to have been born or even knew of Happy Harbor, Maine.

But as "Origin Stories" go, this is one of the best to be presented, and will hopefully open the pocketbooks of viewers to watch and encourage the rich history within the Golden Age, Silver Age, and Modern/Crisis Age of Comics to be brought to "life" in animation.

I just snagged the collected serials of BATMAN from 1943 in their entirety, so I'm off-line to enjoy that.

Now, if only Lucas would exercise his options to bring the Blackhawks to the silver screen...
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3/10
Disappointing, and I know why...
29 May 2006
I was fortunate enough to meet George Pal (and still have my DS:TMOB poster autographed by him) at a convention shortly after the release, and asked him why he chose to do the film "camp". Before he could answer, two studio flacks intercepted and lectured me on how the studio "knew best" and how "no one will take such a film seriously". I had been reading the Bantam reprints for a couple of years thanks to a friend (ComiCon attendees of the 1970s will recall Blackhawk and his band? I was in a couple of years of that with him), and had higher hopes than what we got.

The flacks insisted that no high adventure would ever be done seriously, and so doing 'camp' was the only way. Several other fans jumped in on my side, with Pal listening as best he could. At the end of the little event, Pal came up to us and apologized, wishing he could have done more and better.

STAR WARS put the lie to the flacks, and a year after Pal's death, Spielberg and Lucas proved that Doc Savage could have easily been the next major movie franchise...if it hadn't been for the flacks.

Tear out the memory or history of Doc, and the film would have been worth a 6/10 rating as nothing more than a mindless popcorn seller.

But destroying the legacy like that was no less an abomination than killing a baby in the crib.

Doc Savage can still come to the screen, and survive the inevitable comparisons by the ill-informed to Indiana Jones, but it would have to be done in all seriousness and earnest to reclaim the glory that we should expect from the First American Superhero.

SIDENOTES: Yes, there was a second script for ARCHENEMY OF EVIL, and it's a lot more serious. Yes, there was simultaneous footage shot, but mostly establishing shots and very little with actors. And, yes, there _is_ a one-sheet of Ron Ely leaping over a brick wall and blasting at something over his shoulder with a specially built bronze pistol. Ely's wearing a duster over a button down white shirt with a bronze tie, and the words "DOC SAVAGE: ARCHENEMY OF EVIL...Coming Next Summer!" POSTSCRIPT: If anyone knows who the studio flacks were that accompanied George Pal in 1975 to San Diego for the convention, smack the idiots up the side of the head and call them the idiots that they are. At the time, they were doing dorkknobs and Fu Manchu in stripes and baggy canvas pants, and carrying Paramount portfolios.
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Open All Night (1981–1982)
8/10
Understated and Bizarre
21 May 2006
This was one of those 'summer filler' shows that networks used to use when it really wanted to dump a series by eliminating reruns.

It was stupid. It was stupid in a funny way. It was not slapstick, it was not sight gags, it was not skit/ensemble comedy.

The Feesters lived in the flat above their "364 Store", which is essentially a 7-11. The son, Terry, was from his wife Susan's first marriage, and the father, Gordon, was stuck with him. Terry was every 'failed to launch' post-college hanger-on you've ever known, who refused to leave the nest, with a mother who would kill to keep him tied to her apron strings.

Gordon just wanted to make a living. He and his sole employee, Robin, were the only sane people in the store, and Gordon wasn't too sure about him...

Scenes to remember: The son being released from the freezer unit, describing how he survived the imprisonment by digesting a frozen 10-pound roast...whole.

The orange chutney episode...and the consequences.

The lawsuit, one with a closing argument consisting of a saxophone solo.

The snakes...and just where _were_ they?

The show would never change the world, cure cancer or cause the planets to align into the Answer Of The Secrets of the Universe...

But it is simply entertainment, and probably would have lasted a full two seasons were it not for network executive stupidity.

I doubt it will ever make it to DVD, and my VHS tape of all episodes was lost in a nasty break-up...but as much as my memories playing in my head may seem a lot more funny than if you watched it, I think you will find out that this is not a "funny" that fits the mainstream definition.

It was a good summer, and one with fond and funny memories from a show that didn't fit into some studio exec's idea of "sitcom".

If you know anyone with a set or copies, catch at least two episodes, and if you can catch what I mean about it not being a 'normal' comedy program.
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The Big Bus (1976)
Every Bad Gag, Done Well...
3 July 2004
Saw this when first released, and it was a howler...but only to a genuine movie and TV fan.

In addition to the various disaster films of the 1970s, it also harkens back to some classic WWII films, the smarmy romances of the 60s and 70s, and not a small number of tidbits from television.

Our circle of friends who saw it together are all film nuts, and we spent days picking the film apart and identifying all of the references and parodies, and still find ones we missed whenever we catch it again.

It's not a spectacular film...hell, it's not even that great of a comedy if you don't get the parody references...but it _is_ one of those films that "hangs together" into a working product.

If you aren't a film buff, then simply sit down on the couch with your favorite nosh, and empty your mind to accept the totality...

And don't cut yourself on the broken milk carton.
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10/10
An example to all who would make sequels...
14 April 2002
I never saw the original TREMORS in the theatre, but caught it on USA Network and SCI-FI Channel...and see it and the sequel TREMORS II every chance I can. Each film is little more than pure fun for fans of monster and suspense films, but with TREMORS III, the whole package is nearly complete.

There are many of the characters from the first film and, of course, Burt Gummer...but unlike any other sequel I have seen to date, this one actually builds from the continuity of all the other films, from the books being sold to the bottle of booze in the wall to the closing scene, and the tone of the film is absolutely pure to the originals...something that can be said of only a very few sequels.

I would *strongly* recommend screenwriters, persons who adapt from prior works, directors and producers to see these films as a guide on "how to do it right".

I agree with another reviewer...it was a big mistake not to have released this to theatre. And if S.S. Wilson can do it, he should go ahead with the logical fourth and final sequel from this. Who knows, it might make for an interesting reunion movie, too.
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