Night Man: Man of...well night mostly.

Hey kiddies, thought I would drop by with another TV series review. Yeah, I was feeling up for it.   So grab a seat, a refreshing soda and kick back.  This is Night Man.

Spoilers have secret identities too…

Ill-fated comic book company Malibu Comics creates a realm known as the Ultraverse; a land with heroes and heroines of science and magic alike.  Mutants and super powered beings roam this world until Marvel Comics bought them out in 1994.  The idea was to capitalize on this new bastion of characters and incorporate them into the existing Marvel Comics universe.   But hey who gives a crap about that?! 

Today we are talking about Glen Larson’s (creator of Magnum P.I., Knight Rider, Quincy, M.E., The Fall Guy and Manimal) adaptation of Night Man made for two seasons.  Loosely based on the comic book character, Johnny Domino, an accomplished saxophone player and former martial arts instructor is struck by a lightning bolt in a freak accident involving a cable-car and attempted political assassination.  Johnny (Matt McColm of Night of the Warrior, The Adventures of Brisco County Jr., The Protector, Space Cowboys, Baywatch and The Matrix Reloaded) discovers after this bizarre trauma that he is telepathically able to recognize evil.  After being released from the hospital and an attempt on his life he encounters Rollie Jordan (Derek Webster of Stargate, Independence Day, Godzilla, Mental and Damages)a brilliant engineer who is of four men that created high tech body armor and weapons for the Department of Defense only to have their project gutted due to budget cuts.  Wanting to hold onto their jobs and reputations, they decide to move the armor into law enforcement only to find out the prototypes are being auctioned off to foreign powers and possibly terrorist cells.   With the aid of his father Frank (Earl Holliman of Forbidden Planet, Police Woman, Hotel de Paree and The Wide Country) former Bay City officer the trio tries to intercept the bad guys and rein in the cops for assistance.  

  Johnny feels the cops won’t arrive into time and uses the prototype armor which consists of: a poly-weave Kevlar and Nomex hybrid, an anti-gravity flying belt, a holographic woven cloak that allows him to be rendered invisible, an optical lens that sees every spectrum of light and doubles as an offensive laser beam.

Okay the storyline is a bit hokey, the cops are a trifle inept and frankly the fact that Johnny manages to keep his identity secret at all is something of a miracle.  The concept of a vigilante striking out on crime by his or her lonesome is not an original story but that jazzy saxophone intro you will NOT get out of your head.  This show is a bit of a guilty pleasure and yes for the haters I shall hang my head down for this.   Similar to the Flash’s production, this show had potential to continue fairly well but alas the dreaded Nielsen ratings felt this show was not up to snuff and after only two seasons it went away like a puff of smoke.  This rating board also thinks such shows as Road Rules and Jersey Shore are worth your time so keep that in mind and hey at least check out the pilot if you are interested.

Moonlight...gone too soon.

What do you say about a shamus over 85 years of age that is young and vibrant, mysterious and intrigue surrounding his every other action?  So grab a fresh willing victim, open an artery and feed.  This is Moonlight.

 

Spoilers exist in a realm of darkness and mystery…

Writers Ron Koslow (Lifeguard, Beauty and the Beast, My Life and Times and Beauty and the Beast remake) and Trevor Munson (Lone Star State of Mind and Moonlight) try to unfold a show of humans and vampires without it being clouded with too many flashbacks, horrible atrocities and the need for more Victorian garb than an Anne Rice novel.  They give a spin to scoff at coffins and holy icon warding them off.  Garlic can leave a bitter aftertaste in one’s mouth.  They do adhere to the mythos that stakes merely paralyze vampires and fire and decapitation are always the call of the day.

A private investigator named Mick St. John (Alex O’ Loughlin of The Holiday, August Rush, The Back-up Plan and Hawaii Five-O) gives us the viewers a bit of narrative of life as a vampire from his perspective.  By all accounts he is a young pup in the realm of forever ranging in at the age 85.  Yes our protagonist is not old as dirt like for example: Nick Knight from Forever Knight or Angel from Buffy the Vampire Slayer and Angel.   He is barely out of touch of the mainstream but lives by a code similar to theirs.  A bit of a foot dragging vampire in that eternity is a bit of a bummer.   A murder is captured on a digital network called Buzzwire.   The lead investigative reporter Beth Turner (Sophia Myles of Underworld, Underworld: Evolution, Outlander and MI-5) has a veracious appetite for success and a gnawing hunger for the truth that she could easily end up a chalk outline.  She and Mick meet at the crime scene, he charms her then swoops off into the night leaving her wondering if that just all happened.   

Oh don’t worry readers there more bloodsuckers out there.  Take Mick’s best bud and mentor to all things fangy, Josef Kostan (Jason Dohring of Deep Impact, Veronica Mars, Supernatural and Ringer) a 400 year old investment financial wizard and ruthless for corporate takeovers.  He gives a light hearted standing on vampires enjoying the humans for food, fun and fiscal gain.   Mick’s main hang-up is he did not request to be made a vampire by his bride-to-be and somehow she kept this all secret.  Not exactly a difficult task. “Say Honey, why do I never see you eat at all?”    Bit of a pointer there.  

 Alas this series has only 16 episodes and we are left with that same achy Firefly moment without even a band-aid of Serenity to patch it up.   Shot in L.A. and my belief vamps just want to feed on models and movie stars, these series of stories unfold of murder, conspiracy, vampirism and human brutality.   It all has that nice third person narrative that the detective delves into and frankly went before it really had a chance to shine.   Guess the popularity of the Jersey Shore tromped it so proof that taste in American viewing pleasure can be limited but feel free to snag a copy because all in all it was enjoyable.

Pan's Labyrinth...wow

Hello all… we are at the climax, the cusp of Guillermo del Toro week and what better film to end on then a tailored fairy tale.  So get comfy in your seats, grab a beverage and imagine.  This is Pan’s Labyrinth.

Spoilers can be magical…

Guillermo del Toro’s creation describes a fascist Spain of the year 1944.  The story is once again told through the eyes of a young child.  Ofelia (Ivan Baquero ofRomasanta: The Werewolf Hunt, The Anarchist’s Wife, The New Daughter and The Red Virgin) and her pregnant mother Carmen (Arianda Gil of The Age of Beauty, Nuts for Love and Soldiers of Salmina) must journey to the North and Carmen is wed to Captain Vidal (Sergi Lopez of An Affair of Love, With a Friend Like Harry and Dirty Pretty Things), a ruthless dictator that delights himself with torturing rebels.   And you thought your step-dad was kooky.   Ofelia, her head in the cloud realms of dreams and myth does not want to take this monster of a man as her new father, her part-time nanny Mercedes (Maribel Verdu ofCanguros, Y Tu Mama Tambien, The Blind Sunflowers and The Red Virgin) tells Ofelia of a magical garden that she may explore to her heart’s content.   Ofelia roams the garden only to discover a massive maze, a labyrinth if you will and encounters Pan (del Toro regular Doug Jones of Hellboy, The Cabinet of Dr. Caligari, Fantastic 4: Rise of the Silver Surfer, The Wager and Fallout: Nuka Break), a faun guarding the labyrinth.   He identifies Ofelia as the long last Princess Moanna and tells her of three sacred tasks she must perform before the next full moon to reign for all eternity in the Underworld.  With these tasks complete she will escape the holy hell that is her life.

Now while this sounds like your typical Disney movie tripe, let us be clear on our director.  With a man that combines macabre, humor, fantasy and harsh reality for his films, so we are in for a bumpy ride.   Ofelia is operating on her limited logic and emotional plight.  With her country struggling to rebuild and the post-war angst, to her mother suffering from a complicated pregnancy and her tyrant of a stepfather, it is not difficult to see why she would want to escape this madness in this realm, but what of the other?     I was asked recently if this is a family film and I have to be honest, I really do not know.  The film is terrifying in parts of the sheer brutality of humans tormenting one another; to the emotional rollercoaster of the world but any many ways for me I had the same response to the Devil’s Backbone too.   If anything it shows the audience that not all tales of history and fantasy are mad dash excitement and good triumphs over evil every time.  It gives perspective but at the same time it may fall under more enjoyment for the horror fans.  This film offers a dark gothic tale of cruelty in either realm of dream or consciousness so it is really up to the parents to show this one to the kiddies.   The visuals alone will blow you out of your seat.  Del Toro’s patented panoramic cinematography and melodious pacing of storytelling is what truly makes this mystifying and ominous tale the very life it needed.    Be warned Parental Units, this film has a whole lot of bleak.

Mimic...isn't always flattering

classic; both sneered and cheered at.   So grab a can of Raid, maybe a fly swatter and a can of Coke to lure them out.    This is Mimic.

Spoilers can be people!!!

Based on the short story of the same name by American sci-fi author Donald A. Woldheim, Writer Matthew Robbins (The Sugarland Express, Close Encounters of the Third Kind, Dragonslayer, *batteries not included and Don’t Be Afraid of the Dark) and our boy Guillermo del Toro (Cronos, The Devil’s Backbone, Blade II, Hellboy, Pan’s Labyrinth and Hellboy II: The Golden Army) combine their forces to bring this sci-fi thriller to live deep in the passages of New York City.  Entomologist Doctor Susan Tyler (Mira Sorvino of Mighty Aphrodite, Romy and Michele’s High School Reunion, The Replacement Killers, and Too Tired to Die) and her husband Doctor Peter Mann (Jeremy Northam of The Net, Emma, Amistad, Gosford Park and The Invasion) are geneticists dealing with a plague dubbed Strickler’s disease that is spread by cockroaches that claiming hundreds of the city’s children left and right.   Desperate to quell this onslaught of infection, the two created a new breed of insect called the Judas breed that would feed on the roaches. The concept of stunting the ability to breed the Judas breed would die out in 3 years time.  Well that is the plan of course but we all know how Man plays and God laughs according Nietzsche.    

Unfortunately the good intentions aside, years later the Judas breed has managed to reproduce and to amass to over six feet tall and they got hungry for more tender meat that the roaches cannot offer but in a city of 8 million people I think they may have one hell of a buffet.

Transit Cop Leonard (Charles S. Dutton of Crocodile Dundee II, Alien 3, Rudy, A Low Down Dirty Shame, Nick of Time and Gothika) hears a noise and spots one of these giant bugs, drops a few rounds at it and calls for back up.  Tyler, Mann and their extended staff all make their way into the subway line to offer assistance.  As Leonard knows these tunnels like the back of his hand, the lot proceeds deep in.

I still love how we go from the hustle and bustle of New York City streets to these vast underground steam tunnels of Ontario er…um...I mean New York of course.  To the sum of $28 million, this is Guillermo del Toro’s first American movie and to be fair why the story itself was not overtly fascinating to me of Man twisting God’s work but again the initial storytelling and atmosphere of grim standing one moment but with a little dark humor when deemed necessary.   I still was impressed how del Toro made you guess who was next on the menu.   It is almost as he threw out that unwritten rule of animals, old folk and kids were most likely to survive to the very last minute.   Not a favorite but well done by performance and story.

The Devil's Backbone...

Hey kiddies! How about a story hellbent on despair, childhood terrors, resistance and tenacity?  So grab your crucifix, say 30 Hail Marys and be humble.  This is The Devil’s Backbone.

Spoilers is the devil!!!

Set in the background of the Spanish Civil War, this film is told through the eyes of a twelve year old boy Carlos (Fernando Tielve of The Shanghai Spell, Goya’s Ghosts and Pan’s Labyrinth) has been left at this enormous orphanage a day’s walk from any village in Spain.  His father is quite dead but Carlos is blissfully unaware of this as his mentor drops him on in his strange environment leaving him to be the new kid in a terrifying new place.  No sooner the film has opened up, Carlos sees a translucent boy in the kitchen that is in fact, yes a ghost.  As the ghost turns to him Carlos does what any twelve year old does.  Ran scared, hopped into bed and hid under the covers. Carlos discovers later on a name of Santi (Junio Valverde of Hidden Hands, Vida y color, Shiver and Tierra de lobos) carved into the locker.  Carlos and several other kids are watched over by Dr. Casares (Reoccuring del Toro actor Federico Luppi of Cronos, Martin and Pan’s Labyrinth) and the Headmistress Carmen (Marisa Paredes of Life is Beautiful, All About My Mother and The Skin I Live In), who is also fighting for the cause using a series of gold ingots to pay for food and arms.  

Most of these characters are filled with good intentions but as we all know what that road paves.  The school’s handyman Jacinth (Eduardo Noriega of Tesis, Open Your Eyes and The Method) knows of the gold and plans to steal it and run off with his fiancée Conchita (Irene Visedo of Cuentame, Los pasos perdidos and Cascabel) to make a better life for their selves in this war torn time.  The beauty of del Toro’s writing is while Jacinth has some deep psychological issues, serious flaws and in general comes off as a thug at first glance, we are privy to see into his soul and love for his woman that separates himself for the atypical bad guy of film.  The ghost child’s chalky skin and white contacts will send a shiver down your spine.  You will feel remorse for the loss of his life but will be innerved by his presence.

The terror and beauty of this movie is amalgamated into one.  The cinematography is phenomenal and really tells a horrendous tale from different points of view with subtly.   There were times in this film you could feel an influence of William Friedkin’s The Exorcist had.  The story established a tale of malice and torment all the while showing hope and optimism in the background.  Easily, this is a time-period film worth viewing and having on your shelf.  So chuck that copy of Caligula you shamefully bought, sit back and taking in this movie for its awesome brilliance and disturbing beauty.

Cronos: An Original.

Hey all.  I’m back again with a vampire movie on the platter.   Now before you all groan and chant “Seen it”, this is not your typical vampire movie and in fact is a whole other realm of magic, relics and wild happenings.  So sit back in your seat, put your feet up and gaze in disbelief.  This is Cronos.

Spoilers are made of many things…

Director/writer/producer Guillermo del Toro (The Devil’s Backbone, Mimic, Blade II, Hellboy and Hellboy II: The Golden Army) weaves a story of 1535 Mexico, an alchemist creates a golden mechanical artifact that staves off the ravages of age, allowing the wearer almost infinite life and energy so long he or she is prepared to pay the price.  Now in 1997, Jesus Gris (Federico Luppi of Martin, The Devil’s Backbone and Pan’s Labyrinth) an antiques dealer in Mexico, who comes across a beetle-shaped golden trinket found in an old statue.  While inspecting the item in question, it buzzes and whirls to life, sprouting claws and digs into his hand deep.  The next day Jesus feels stronger and more energetic than he had in years, a notion he attributes to the artifact now embedded in his flesh.  No sooner does this newly found vitality come about as does a thirst, a craving for human blood.  Methinks this gift needs a refund option.  Down this new found passage of self-discovery he learns of a malicious millionaire Dieter de la Guardia (Claudio Brook of The Exterminating Angel, Simon of the Desert, Miroslava and Valentina) stricken with disease and old age he is obsessed with the tales and writings of the Cronos invention along with his brute of a nephew Angel (Ron Perlman of Beauty and the Beast, Absolon, Blade II, Hellboy, Mutant Chronicles, The Job, I Sell the Dead, Acts of Violence and Conan the Barbarian)  who simply wishes dear Uncle would drop dead and give him the business.  Jesus fears that he will soon be a threat to his granddaughter who he dearly loves as he is warping away from the good man he was.

And now I would like to mention a quick, few tidbits on the cinematography itself.  Toro’s usage of winding visual and clockwork title card introduction is something of a patent for him.  As most of his films are based in sci-fi fantasy, horror and the conglomerate of both, it is a unique signature as well as the need for orchestra music building momentum and suspense.  Most of the camera work is hand held and with such precision down a winding staircase and such attention to detail that you get the feeling he truly is a storyteller around a campfire rather than a director.   

How his gothic take on most of his films gets compared to Tim Burton’s work can only be attributed that Cronos was released in 1993 after Burton successes of Beetlejuice, Batman and Edward Scissorhands and therefore people feel Toro lifted the same feel for his own.  I would have to disagree and find while similar that Toro’s work unfolds with a subtle grace and is more dialogue and action driven, while Burton’s work tends to come off as kooky or obtuse.  And considering how many bloody remakes Burton has been in hand with, I am not a huge fan.    Following in the facet of Hitchcock like many other current directors, Toro appears as small bit characters in his films but never a top bill one.  He is behind the scenes if you will and frequently has actors of previous film projects to come back as often as he can get them.   To this date, Ron Perlman has done 4 films with him thus far and I dare say it is only the beginning.  So if you care for an exquisite take on an old legend with little to mild gore then I would dare say put this in your Netflix.

Hellboy...don't tell me you never heard of it?

What is it that makes a man a man? Is it his origins, the way things start…Or is it something else, something harder to describe?   Hey folks I thought this would be a good kick start to Guillermo del Toro week if we tackled a film a great deal of us know, like or dislike, love or loathe.  Now without further adieu…This is Hellboy.

Skip to the part where I can kill a spoiler

In 1993, San Diego Comic Con’s second titled comic was released by comic artist/writer Mike Mignola (Wolverine, Daredevil, Power Man and& Iron Fist) Hellboy was a monster, a demon that championed on the side of good and taught Christian morals. Hellboy was contracted by Dark Horse Comics in 1994 and is a title to this day.   Mignola stated in a interview for the movie he got tired of drawing men and women in tights, panel after panel and really like making monsters instead. So why not make a monster a hero?

Collaborating with writer Peter Briggs, del Toro and he start hammering through the pages of Mignola’s Red Right Hand of Doom story arc and place a father/son relationship that Hellboy and Professor Broom did not have in the comics.   That being said, let’s get to fun!   In 1944 on the shores of some remote ruins in Scotland a natural connection of ley lines, the Nazis are attempting to cross a dimensional gate to a realm uncharted by sane men.   From a substantial gunfight between US forces of the newly founded Bureau of Paranormal Research and Defense and the Nazis, Russian scientist, paranormal expert Grigori Rasputin (Karel Roden of Blade II, Bulletproof Monk, The Bourne Supremacy and The Abandoned) delves in a realm where angels dare not tread and is sucked through the portal, all seems well but Professor Broom points out that portal worked both ways and was open long enough for something else to have gotten through.    A search of the premises comes up with a small ape like child, red as a fire engine and a right hand composed of stone.   Cut to 2004 and young FBI agent John Myers (Rupert Evans of Sons & Lovers, Fingersmith, Emma and This is David Conrad) entering the world of the BPRD and informed there is much more going on this little blue green planet by Professor “Broom” Bruttenholm (John Hurt of Alien, History of the World: Part I, The Hit, 1984,Beyond the Gates and V for Vendetta).  A brief introduction with the aquatic Abe Sapien (Doug Jones of The Time Machine, Men in Black II, Adaptation, Doom and Pan’s Labyrinth) a vault about 8 inches thick is open to reveal the man or demon of the hour, Hellboy (Ron Perlman of Beauty and the Beast, The Magnificent Seven, Crime and Punishment, Cronos, Blade II and Star Trek: Nemesis)   

A few issues being in the BPRD, if you do not really have an area of expertise and just a grunt with a gun you have the live span expectancy of a red shirt.   You are on Hellboy’s team and we never heard of you?  Bye bye cannon fodder.   This film with its crane shot, hand held and a fair amount of dolly track with anamorphic scope gives you that chestnut of being there in the action without a fraction of the collateral damage.  An enjoyable monster flick, you can show to the kids and they will thank you for it.