George A. Romero – The Passing of a Master of Horror. 1940 – 2017.

It has been established that persons who have recently died have been returning to life and committing acts of murder. A widespread investigation of funeral homes, morgues, and hospitals has concluded that the unburied dead have been returning to life and seeking human victims. It’s hard for us here to be reporting this to you, but it does seem to be a fact.

                                                                     Newcaster in Night of the Living Dead (1968)


What can a say about George Andrew Romero that hasn’t been said by fans, filmmakers, critics, trolls and even himself. Well, I can only tell you what Romero meant to me personally. And of course ramble as I do. You where warned.

He was responsible for many nightmares, for which I thank him for from the bottom of my scaredy cat heart. Sound strange? Why do we watch horror films? To be entertained? Of course. But it’s the fact that they frighten us that gives us that thrill we keep coming back for. And George did that in spades. And his films, especially his zombie films, had an underlying social commentary that not only made them stand out from the average slasher or gore-fest flicks at your local megaplex, but truly scared the living dead shit out of us. He did it to me. Zombies, or more so the idea of a zombie outbreak, remains my one irrational fear. That safe fear can be entertaining and rejuvenating.

Until I discovered his films in my mid-twenties study film at university. Up until then I steered away from zombie movies because of a bad childhood experience with one. It was the Night of the Living Dead that started it all. Watching the film and reading the material we lowly students were given, my skull was burst open for Romero to feed on. I hunted down and watched, and later bought, every one of his films and devoured them all. And just like when I had discovered John Carpenter years earlier, I was studying at the feet of a master filmmaker, a master of horror. And at 6’5” his feet case a big shadow.

Romero created a whole sub-genre of film. He created what we think about as the modern zombie films. Before 1968s Night of the Living Dead, zombies had been a voodoo created horror that was old hat in the late 60s. He put rotting flesh on those old bones and the imitators and rip off artists built on his foundations.

He was a filmmaker that almost came out of nowhere, if you don’t count the countless short films and tv commercials he made with his company ‘Image Ten Productions’, and quickly became an auteur. The Romero name became a brand, one which delivered a quality product every time. And of his 20 directing credits, 15 where horror movies, 6 where zombie flicks, 3 where collaborations with Stephen King, 2 with Dario Argento and one featured knights in armour on motor bikes. What is not to like.

I watch his films every year, as I do with John Carpenter and Wes Craven, and I never get bored with them. They have a unique style and structure all their own. And the images. Wonderfully frightening. And the characters interact was where the real horror was. Minority and females characters often took centre stage. A black lead in a movie in 1968 was a big deal.

In a time where the older filmmakers are passing on, Craven and now Romero, I fear for the horror genre as there doesn’t seem to be to many candidates to take up the mantle left by the old guard. We need a new generation to strap on the armour, jump of the motor bike and kill some fucking zombies. To recreate the vampire. To add a new twist on the werewolf, to re-slash the slasher film.

George Romero’s work will live on. It will inspire, entertain and make us all think about the hard questions. And plan for that zombie outbreak.

And who knows, maybe George with be back in a few days hungry for human flesh leading the zombie horde.

The Godfather of the Zombie has passed. (Maybe).

George A. Romero – The Passing of a Master of Horror. 1940 – 2017.

The End of an Era – Video Stores

Everything in this world changes. The old gives way to the new (notice I didn’t say better there). From my perspective, it’s usually down to one of two things as to why things change. Money, you say. Partially. Time maybe? It certainly is a factor. I see these two factors of change as cultural evolution of thinking and technology. I know I may be simplifying things a bit, but this is my blog, so button it.

For example, Telephones have evolved from the clunky behemoths with a big slowly moving dial on the front that was so heavy that on more than occasion if was probably logged into police evidence as a murder weapon, to the sleek and small handheld digital devices we all have today that contain more computing power than the super computer that put men on the moon almost 50 years ago. And with those changes comes a new way of thinking about the concept of the telephone. People choose to text rather than to speak to another human being, countries have altered the way traffic lights work for pedestrians due to these little amazing devices containing a camera, digitals music play, games platform and access to the internet are taking the attention away from clueless people walking across the road where the road become the lights to say, ‘Stop!’.

The change I have hopefully gathered you all here for today is not as impressive and urgent. Not a bit. But never the less it is something close to this movie geek and pop culture nerd. That of the humble video store.

The evolving media mediums have always been a topic of worry for the people making their livings in the medium that previous. Moving pictures was thought to kill radio when they became talkies, television was a possible death blow to the Hollywood studios and their product, home video and the rise of video stores where anyone could rent something that they wanted to watch was seen as a possible death knell to both network television and the Hollywood machine. This is where I am going to stop the ‘next thing that could kill the previous thing’ barrage. Why, you ask. Because after this point, things do really change.

I am fully aware that the Hollywood style movie houses died out and was replaced by multiplexes, but people still go to the movies. Radio no longer air radio dramas and adventures, but get in your car and turn a certain knob and there is music, commercials and chatty disc jockeys to accompany your journey. But what if you wanted to go and rent a movie on DVD or Blu-Ray (VHS having already been replaced)? Sorry to say, no. At least not the way you used to.

The humble video store has been replaced by vending machines that are dodgey at best, digital downloads where you can rent or buy movies or TV shows, online streaming subscription services and the generally cheap DVDs and Blu-Rays on offer to buys in many stores. The video rental stores just haven’t been able to keep up and one by one have been shutting up shop.

I know what you’re thinking, “So what? Thinks are better now than they were.” Different, yes. Better? I’m not so sure. It is true that now you can get your hands on any kind of film ore TV program very quickly, almost instantaneously is some cases, but the revere for the material is not the same.

Now I did already point out this was an opinion of mine and I am looking through these with nostalgia goggles, but I think it is such a same. When I was younger I didn’t read for myself, I read for school. I played with other kids whose parents knew mine. I played the sports my parents wanted me to play. But when we went to the video store, surrounded by thousands of mini movies posters of the VHS cases, I was told I could wonder these isles of imagination a pick something that I wanted to watch. Me. Not Mum or Dad or my sisters or my brother, but me. I was overwhelmed with choice and I almost cried. I chose a VHS tape of the Masters of the Universe. And I watched it three times before it had to be returned. And again, I got to choose something. And one choice turned into two, two to three. And when I was old enough, I would walk or ride my bike down to the local video store and chose whatever I wanted. And I sampled everything I could. Everything I was on the table there was not restrictions. The world opened up for me then, my mind soaked it all in like a sponge, my imagination became mighty and my education began, truly began in the isles of that video store.

Now my adult brain is still soaking up everything I can find, but the experiences of finding what you want is no longer an adventure with a cinematic outcome as close to a religious experience as I can get. It has become a little more clinical. Anticipation replaced with a waiting game with the postman.

The closest to that feeling I have gotten in recent years is going into JB Hi-Fi (anyone outside Australia, it is a huge chain of stores loaded with every kind of media) and wondering the isles viewing the titles on the spines of the DVDs or Blu-rays. I will continue to go to these places and lose myself in the past, when the choices I made helped make me the person I am today.

The last video in my area is closing soon. It is selling off all its stock and closing its doors. I know eras end, and everything changes. It is the one constant in the universe. But we all must mourn the passing of the end of even the smallest things in our lives, because without them, we wouldn’t be who we are, be it man, woman, child or mutant.

I raise my glass to the video rental stores. You will be missed.

The End of an Era – Video Stores

Corman is King. Reviewing Death Race 2050.

Death Race 2050 (2016) Dir. G.J. Echternkamp

Starring Manu Bennet, Malcolm McDowell, Marci Miller, Burt Grinstead, Folake Olowofoyeku, Anessa Ramsey and Yancy Butler.

Holy Jumping Shitballs! This movie is amazing. Award winning? Not on your life. Fun? Without a doubt. Cheesy? You can bet your sweet ass it is.

Released on DVD and Blu-Ray in 2016, Death Race 2050 is a remake of one of Corman’s own films, Death Race 2000 (1975) which is considered a cult classic of American exploitation cinema.

I know what you’re thinking out there, dear reader. Wasn’t Death Race 2000 already remade in 2008 with the Brit machismo Jason Statham? Why yes indeed, it was. It was fun and brutal and had an angle of social commentary with a nice side order of core. So why remake it again? Well, it seems Roger Corman wasn’t happy with the remake excising a lot of the political commentary, dark satire and the broken society elements for the storyline. Which is fair enough, as a lot of filmmakers are sometimes less than happy about remakes of their films. But that was back in 2008, what took Corman so long?

Well now, gentle fluffy bunny slipper wearing reader, it wasn’t until a few years after 2008 that Mr. Corman got an idea for a remake. He was being interviewed by an Italian journalist who remarked that The Hunger Games had similarities with Corman original Death Race 2000. That was when the ideas fell into place and the dollar signs in front of his eyes.

He contacted the studio Universal, who had the rights to produce the remake (and it two sequels) and made a deal. And what a deal it was. Universal released the film straight to disc and a little after the new year, it landed in the mighty land of skin cancer. (Ptssh! That’s Australia I’m talking about).

Now for many decades now Roger Corman has been making films independently in Hollywood, even as far back as the old Hollywood studio system. He has made his films fast, cheaply, often reusing sets and actors, and while many of his films are pretty terrible there remains within them a weird kind of charm. And occasionally he produces a gem that lasts and is even studied in academic circles. And even more amazingly, none of his film have EVER lost money. That is right, he never technically had a flop in all his years in the film business. Which I believe is because he has an eye for talent, hires them while they are cheap and supports them. Joe Dante, Ron Howard, James Cameron, amongst others, have all got their starts with Roger Corman. Corman himself has directed 56 films, and while he hasn’t directed a film since the beautiful gothic sci-fi horror film Frankenstein Unbound in 1990, he has continued to produce films cheaply, on time and in demand. And while his mainstays of drive-ins and video rental have changed, he has produced films for cable networks and streaming services with such titles like Supergator (2007), Dinoshark (2010), Sharktopus (2010), Camel Spiders (2011), Attack of the 50 Foot Cheerleader (2012), Piranhaconda (2010), and Sharktopus Vs Whalewolf (2015). And you thought only the Asylum boys had a stranglehold on the cheesy CGI monster movie because of Sharknodo. How very wrong you are, silly mortals.

But Death Race 2050 is up there with the crazy, cheap exploitation films that made the original such a fun ride. If I could use one phrase to some up this film, it has to be a glorious ‘Over the Top’.

In the near dystopian future, everyone is addict to reality television they watch on headsets, all day, every day because the is basically on employment. The Corporation owns and runs everything and they produce all produce and entertainment in the United Corporations of America, and the most popular spectacle is the Death Race. A cross country motor race where drivers race supped up death machines whose sole purpose it to mow down innocent pedestrians for points on the way to the finish line. The most popular of these drivers is the mysterious masked Frankenstein. Add ridiculous competition for Frankenstein, like Jed Perfectus and Tammy the Terrorist, and rebel resistance (I know, right), gore from laughable to awesome, cheesy television presenters, outrageous costumes, a crazy amount of terrible CGI and the chairman with worse hair than Donald J Trump and this movie is a gem of ridiculous fun that barely hides its brilliance. I see this remake very soon having the same cult status as the original.

And the disc even comes with special features. Three documentaries (The Making of, The Look of 2050 and Cars! Cars! Cars!) that look at the production, and there are also deleted scenes. Yes, that’s right. There was crappier stuff that they had to cut out. Whaaaaaaaat?

If you want some awesome, crazy, ridiculous fun that you can actually have a intelligent conversation about (or even hit it with a Rifftrax or MST3K treatment) this movie is a must.


Corman is King. Reviewing Death Race 2050.

Scary Monsters and Super Creeps: Justice League Dark Blu-Ray Review.

DC Comics have been releasing original animated movies for some time now, making them alongside their various animated series, an area where they have continued to kick Marvel’s collective asses for some time now. While Marvel is trying to catch up with the use of Disney’s animation department, they have a long way to go. DC’s animated films use to be made for television, but tv broadcasts of these films now seem to be an afterthought as these straight to DVD and Blu-Ray released films have increasingly offered more adult driven content, with the occasional limited cinematic run.

Batman: The Dark Knight Returns Parts 1 & 2 based on the Frank Miller graphic novels and Alan More and Brian Bolland’s adapted Batman: The Killing Joke have both been released over the last few years to praise (& cinematic runs), the later bringing Mark Hamill back to voice the Joker, a character he had retired from. They have told stories from the comic books, individual stories that are not connected to an overreaching arch. These stories are told the best way the filmmakers can with the confines of length, usually between 75 and 95 minutes.

But on the 7th February 2017 with the release of the animated film Justice League Dark, DC Comics and Warner Bros Animation have given us something a little different; fantasy (in this case magic) with a healthy dose of adult themes and a darker plot. In fact, in the United States it was slapped with an R rating for the magical themes coupled with the humour and the moderate action. In Australia, where I reside clicking away at the computer keys, the film was given an M rating for mature audiences for the same reason.

Based on the Justice League Dark comic series in the recent New 52 soft reboot of DC’s titles written by Peter Milligan, Jeff Lemire, and Mikel Janin, the screenplay for this film was penned by J.M. DeMatteis and Ernie Altbacker and directed by DC/Warner Animation veteran Jay Oliva was a sigh of relief for many DC fans. After the Guillermo del Toro’s failed attempt to give us a live action Justice League Dark film, the property seemed to die a tragic death of never being translated to another medium. And the announcement of the animated film gave many hope, as did the casting of Matt Ryan returning to voice the character of John Constantine which he played in the short lived live action television series. Hope seemed to be alive for a motion picture or tv show of either JLD or Constantine. Or both. Can we all be that lucky?

The story features the (regular) Justice League troubled and very confused about a large string of supernatural killing happening all over the country. While meeting about the mystical crimes, Batman bows out and leaves, leaving the other members scratching their heads. But after a strange occurrence featuring the name ‘Constantine’ written in blood over Bruce Wayne’s bedroom does Batman snap into action. Tracking down Zatanna and Deadman as a means of finding Constantine, we are introduced to him and the House of Mystery where he resides and the human like avatar Black Orchid, who protects the magical artefacts Constantine stores in the house. After a fact-finding mission into the mind of one of the survivors of the mystical attacks thanks to the aid of Ritchie Simpson, an old friend of John’s, more members join the fight and the villains revealed.

Jason Blood and his demon alter ego Etrigan, join to help stop a foe that they both faced back in the time of Merlin, a character called Destiny, and the ever-popular fan favourite Swamp Thing also joins the fight against Destiny and Felix Faust. And in the final confrontation, even the (regular) Justice League are thrown in to mess thing up.

While this is primarily a John Constantine story, it is good to see some of DC’s lesser used characters in the next best thing to a live action movie. All that it was missing, apart from more Swamp Thing, was the DC equivalent to Marvel’s Doctor Strange, Doctor Fate. Now, while is not usually presented as a dark character, it would have been amazing to see.


The DVD release of Justice League Dark is rather bare, but the Blu-Ray release has some of the standard extras we have come to know and love from DC’s animated films. The great comic writer Len Wein, who created Swamp Thing, along with other artists and writers appear in the documentary ‘The Story of Swamp Thing’. This little talking head doco gives us the characters back story, his changes over time, and reason for the character’s appeal.

There are also four little vignettes ‘Did You Know?’ giving us a little trivia on the production, trailers for other DC animated movies, a trailer for the new Wonder Woman film, two bonus episodes of Batman: Brave and the Bold featuring some of the characters from the main feature and a sneak peek at the next animated feature, Teen Titans: The Judas Contract. As a special feature’s package, this is pretty standard. But some these the DC’s animated titled are packed with docos and extras, like the DC Showcase, action packed short featuring various heroes and villains. Sadly, there are no sign of the Showcase shorts here.

If you haven’t picked up any of the DC animated titles, I high recommend buying one or two and checking them out. They are rarely released about $20, often retailing for much less, and are always entertaining. Intriguing and entertaining stories, characters you know and love in various incarnations, beautiful animation and some real kick ass action.

I give it 4 out of 5 severed monkey heads.


Here is a list of the DC Animated films from recent to earliest:

Teen Titans: The Judas Contract (2017)

Justice League Dark (2017)

Batman: The Killing Joke (2016)

Justice League vs. Teen Titans (2016)

Batman: Bad Blood (2016)

Justice League: Gods and Monsters (2015)

Batman vs. Robin (2015)

Justice League: Throne of Atlantis (2015)

Batman: Assault on Arkham (2014)

Son of Batman (2014)

Justice League: War (2014)

Justice League: The Flashpoint Paradox (2013)

Superman: Unbound (2013)

Batman: The Dark Knight Returns – Part 2 (2013)

Batman: The Dark Knight Returns – Part 1 (2012)

Superman vs. The Elite (2012)

Justice League: Doom (2012)

Batman: Year One (2011)

Green Lantern: Emerald Knights (2011)

All-Star Superman (2011)

Superman/Shazam!: The Return of Black Adam (2010)

Superman/Batman: Apocalypse (2010)

Batman: Under the Red Hood (2010)

Justice League: Crisis on Two Earths (2010)

Superman/Batman: Public Enemies (2009)

Green Lantern: First Flight (2009)

Wonder Women (2009)

Batman: Gotham Knight (2008)

Justice League: The New Frontier (2008)

Superman: Doomsday (2007)

Scary Monsters and Super Creeps: Justice League Dark Blu-Ray Review.

Civil War Memorial

Okay, it has been a while now this Civil War was released and I watched this latest addition to the MCU (Marvel Cinematic Universe for those who don’t know) and I have had time to decompress and analyse the film in the grey matter that makes the rest of me move around and stuff.
Now there was a great deal of anticipation surrounding the release of this film. And while it was based on one of the most important event story lines in Marvel comics history Civil War, but it was the potential geek-fest and money maker of Spider-Man’s long awaited introduction into the MCU, the spectacle of all the heroes facing off against each other, and the Russo brothers Anthony and Joe returning to direct another Captain America film.
Every bit of news related to this film was devoured by the internet and all other media. From the casting news to the perfectly timed release of the trailers, the whole world was like a starving man at a buffet. And I was so psyched to see this film. Marvel has been going from strength to strength and the beast just keeps getting stronger.
When I finally sat down to watch this film with my popcorn and Maltesers , I was excited and nervous to the point I had to pee three times before the movie started and missed most of the coming attraction trailers. So, what was the verdict from the Monkey, you ask?
Well, it was a fun movie. It is a tent pole movie. A popcorn movie. A disposable movie.
The movie has all the things you could want in a movie of this sort. Great action sequences, amazing special effects, characters you know and love, new and interesting characters, a stellar cast and crew and humour that is genuinely funny and works in the right places (Thanks Spidey!). But that is where it ends. Seriously, I don’t want to be that trolling bitchy fanboy attacking a geek property because its gets attention, and I’ll do my best not to sound like that, but I’m about to drift into the ocean of the unsatisfied.
This is by no means slamming the talent involved, the impact the films has made, or Marvel and Disney. This is like the being of a movie you watch on DVD when it says the opinion contain within are that of the film makers and are in no way, blah blah blah. This is my opinion and how I felt. We all clear. Okay, strap in
For me, there was no real story, or at the least a very weak one for a tent pole movie. It just didn’t live you to the hype and the promise the marketing department conjured up for this movie. And for a man such as me who can find something good in any filmed story, that is saying something. I even liked Iron Man 2 and Thor: The Dark World, the two weakest entries to date in the MCU. But after leaving that movie theatre, I felt disappointed and let down by the story. I wouldn’t say I felt betrayed, but it came close. I honestly couldn’t talk to my friends I when to see the film with for hours afterwards. I felt gut punched and not because of any emotional elements of the story. This was Michael Bay/Transformers 2 pain I’m talking about here.
This movie needed a twist, an unforeseen event, or justifiable role reversal to make you care and it didn’t have it. The bucket of cold water dumped on your brain to wake you up from the fast moving primary colour and is just didn’t have it.
Some of the elements from the comic book story just weren’t successfully carried over to the film version. In the comic book story, the heroes break into two groups, one for superhero registration and one against. There was no villain accept the bureaucracy of the government politicians. The leaders of the two groups, Iron Man (Tony Stark) and Captain America (Steve Rogers), where both hero and villain within the story. They both made hard choices in the roles they took, some good and some bad and they both had repercussions that affected the outcome and those close to them. They both had defections and deserters to their causes, most notably Spider-Man who left Team Iron Man for Team Cap. The movie didn’t show the last aspect at all.
On the printed page you understood the motivations for these two titans, you understood both of their arguments and why they would not back down. In the film version of the story, this duel dynamic becomes very one sided. While Cap objects to the registration act and its possible negative repercussions and voices his views early on in the main story when taking to Stark, they never seem to be mentioned again. Cap appears to throw caution out the fifty story high rise, consequences be damned, too safe his friend, Bucky. Those blinders conveniently blocks out the millions in property damage and the lives of innocent bystanders that get caught in the crossfire, as when as international relations, something he has care about greatly in four feature films so far. Two supporting characters, that of Peter Parker / Spider-Man and T’Challa / Black Panther are given more relatable and understandable motivations in their short screen time than Cap.
Iron Man on the other hand, while he was motivated by guilt in the beginning, is given the emotional journey, the back story motivations, the emotional and psychological hurdles, and the sacrifices (both personal and professional) within the story and still fights on. With the frame work of this kind of story, is presented as the hero more so than Captain America. And as a result Cap comes off as a bit of a dick and a destructive one at that. This is all very odd, and humorous to me in a Captain America movie. This should have been an Avengers movie or Iron Man: Civil War at the very least. Cap seemed to get lost in the shuffle and over shadowed by more colourful characters in his own movie. This is one of the factors that lead to Michael Keaton vacating the role of Batman after Batman Return in 1992. Somebody should have been paying attention to that little bit of info.
And this is the part where I become that ‘guy’ waxing pretentiously about the original comic book being better than the movie. So buckle in while I try not to sound like a full twat. In the comic book story line, both men, Rogers and Stark (and be extension their respective superhero teams) are lead to re-evaluate their course(s) of action with the death of an important character in Marvel comics and The Avengers history, Goliath.
Dr Ben Foster and his superhero alter ego Goliath was the latest in a long line of size altering heroes, and arguably the most mentally stable. He was a brilliant scientist, colleague and friend to many on either team in the civil war divide, even though he chose to fight with Cap. His death at the hands of a Thor clone created by Stark and Reed Richards (Mr Fantastic) devastated many heroes fighting and troubled many in civilian life and government. This death added an emotional weight to the story for many of the characters and the readers, that in this crisis of ideology, there will be real and tragic consequences. The readers where spurred on to read and wonder will happen in this tale and what kind of world will be left in the wake of this fight at story’s end. It added an unstable element to the story of ‘anything could happen’.
In the filmed version of the story, this was absent; as too was the character of Goliath (his role of increasing his size to giant proportions was taken over by Ant-Man as he become Giant-Man for the fight scene at the airport). There were no deaths of any significance within the story, and definitely not heroes in the MCU. In fact, the only one screen death of any significance in the film was that of the villain Crossbones in the first ten minutes of the film, which was a shock to me because he has such a long and interesting arch in the comics.
But there was a point in the filmed version where the death of a major character would have given the Civil War story line and the MCU the same gravitas and emotion weight of the comic story line. In the fight scene at the airport, War Machine (Roddy Rhodes) was shot out of the sky and fell back to Earth. If he had died from his injuries then and there it would have even the story the ‘anything could happen’ uncertainty the film needed. Now I have nothing against the character of Rhodes and I love the work of the actor Don Cheadle, but the movie needed a high body count to make the story important in the MCU and relevant to the extended audience who flock twice a year to the Marvel films. As it stands, as a story, this film in the most disposable of the MCU films and just like every Michael Bay movie, misses every poignant heart string moment to make it truly memorable.
In the end, the film makers could have done better with this tale. I mean, even Henry Jackman’s score for the film was lack lustre and underperformed. This is a man who delivered amazing scores for Kick-Ass 1 & 2. X-Men: First Class, Kingsmen and Captain America: The Winter Soldier. He knows how to score a good movie and make it great and here he seems almost distracted at best, creatively knee capped at worst.
Captain America: Civil War made a butt ton of money, and is a fun movie, but in the end the Russo brothers delivered a film that was all flash and no substance. They are better than this, so are the actors, the writers and the studio that made the film. I’m hoping and praying for better when the team comes together again for the Avengers: Infinity War movies. Fingers crossed.
I think that is all for this rant. Till next time.
– Monkey


Civil War Memorial

Comic Book Man

Do you read comics? Or have you read them in the past? If you’re reading this blog or listen to podcasts like The Smoke Breakers then I’m guessing the answer is yes to one of those questions. Do you remember what drew you to comics in the first place? Was it the colourful artwork, gorgeous covers, or the stories of the fantastic on the inside?

I love reading comic books. I always have as far back as I can remember. Like many, the first time I saw a superhero was in morning cartoons on television in the early 1980s. Super Friends, Spider-Man, Masters of the Universe, Thundercats and many others where mesmerizing to me as a kid as where the superhero cartoons on the 1990s like X-Men, Fantastic Four, Iron Man and Batman The Animated Series.

I still remember the first time I bought my own comics. It was in 1990 and on my way home from school I missed my connecting bus to finish my journey. So while I waited for the next bus, I look through the toy store next to the bus stop and they had a large amount of direct comics from the states. And in that humble little shop I bought a Batman and X-Men and between sitting down at the bus stop and getting off the bus, I had read those two books three times each. And that ladies and gentlemen was that, I was hooked. I didn’t need drugs later on in life because on that day my imagination was set free and has run wild ever since. I needed to read more and find out everything I could about these characters and what other ones where out there. And as my addiction grew, I discovered so very much.

Now I had read comics before this faithful day and I knew the pages held beautiful artwork and crazy characters like Asterix and Obelix, Tin Tin, Garfield and The Phantom on their different adventures. And while I still love these books to this day, they didn’t have the impact on my young mind as the caped crusader and that band to mutants.

Maybe part of it was that I had bought them with my own money, or these characters rescued me for panic on that day, but these spandex clad heroes have been a part of my life ever since. And from them, and the writers and the artist who create them, I have learned so much. Learn as much from them as from school, parents and the ‘so called’ more important books. They have helped me to become the man I am today. And if you ask my friends and family they might say I am good and right and true, a true hero. Hey, I can dream can’t I?

I understood honor, duty, the ethics of right and wrong, philosophical dilemmas, guilt, fear, and the consequences of ones actions. A lot of what was once the purview or history text and the bible, I got from comic book superheroes. They enlighten and have opened up my mind to question and except. Maybe I am the odd one. Maybe there are others like me who learned these things from comics. But I haven’t met anyone who has admitted it.
I know they helped me because when I was a kid I was no happy. I had emotional problems, anger issues and was placed in therapy at the age of 8. But after I started reading comics, the change was so unexpected, my parents and my therapist where amazed. You could say comics saved me.

But for all my love of comic books, the graphic novel collections, the collectables and the movies and TV shows that have spawned from them, I still find myself defending them. And recently, with the movie universes of Marvel and DC gaining more and more of an impact in popular culture, I find myself defending comics more and more. One of the things I have to set people right on is the age old assumption that comics are just for kids.

Admittedly, in the 1930s when the comics craze began, the artwork, titles and stories where targeted at boys and teenagers. But those kids grew up, as kids often do, And if the publishers wanted to keep them, they had to evolved. And they did. It did take them a while to catch up but they had to contend with therapists, parents groups and right wingers attacking the industry so it wasn’t until the end of the 50s and the beginning of the 60s when the Silver Age of comics started that the comics industry redesigned and created amazing characters again did the stories begin to evolve. The 60s counter culture and the university academics began to take notice and praise the imaginative and inventive story lines as well as the political and social elements running throughout the books. This and the relaxed comics code of the 1970s helped with the tales the writers and artists wanted to tell. For the first time in decades, adults where reading comics as much as the kids, and government agencies began praising them, the same government that attacked them in the 50s, for their social commentaries, especially their anti-drug stories. What other “children’s” entertainment can boast the same?

And with this turn around, writers and artists like Alan Moore, Dave Gibbons, Brian Bolland and Frank Miller created works such as Batman: The Killing Joke, The Dark Knight Returns, V For Vendetta and The Watchmen, works of great literary importance that have been praised by critics, academics and fans alike. And even appear on many Top 100 and Best Seller Lists worldwide. These stories where not created with kids in mind. They are dark, violent, brooding works that rival classic gothic literary tales.

Superhero fiction does teach important lessons, believe it or not. From the straight forward storylines to the bizarre, to the murky water of the grey area storylines, they give examples of right versus wrong, good versus evil, and light versus dark. But I believe in my adamantium laced bones that this goes deeper. Using superheroes, their friends and relationships, the world that they live in and their interactions with the super villains (even if sometimes the villains are the heroes) we are given lessons in the virtue of truth, ethics and morality, the responsibility of doing the right thing, the responsibility of ones actions and accepting the consequences, and philosophical questions like do the ends justify the means. With the changing times, it is any surprise that people may find these lessons in superhero fiction, and not from more traditional or classical sources like the bible or classics literature.

For all those people out there who believe that people who read superhero comics and watch superhero movies and television programs are somehow illiterate or less intelligent, or are defective in some way, I say shame on you and get your head out of the ass of dust covered academia snobbery or traditional stiff upper lip, chinless boarding school teachings. Academia is starting to see comic books and not only an art form but a separate medium for telling stories. And it would surprise some people, especially those snobs with the weak chins, that many comic book creators are not only intelligent, well-read people, but many base their creations and stories on the classics these tweed lovers hail as oh so important.
Comic books, and their big brothers, the graphic novels, are no longer second class or second hand entertainments. They are out of the shadows, in the public eye, big business and no longer just for kids. They are eternal, they are important, they are life savers, they are inspirational.

Now, this rant is over.

Just go and get yourself a comic or graphic novel and fall in the realm of sci-fi / fantasy storytelling and sequential art and find out for yourself. Make up your own mind on the form and hopefully you will enjoy the experience instead of trashing a vibrant world that started with comic strips in newspapers over 100 years ago.

Quick Robin! To the Batcave!

– Monkey

Comic Book Man

Bad Movie Madness

Smoke Breakers – 005: The Good the Bad and the Zombie

Now, when you talk about Bad Movies, what actually do we mean? Movies with no social merit, entertainment value, or just failures at the box office? As you know, butt loads of bad movie are financial success, giving way to the bad franchise and the nine colours of shit you would expect.
But there is a lot of interesting ideas in these bad movies, stuff that you wouldn’t see in bigger budget entertainment. Be it a cause, personal agendas of the filmmakers, for just simple gore and special effects. And bad movies, a lot of the time have bad acting that makes porn actors seem like they were trained at the Royal Shakespeare Company, and budgets so cheap you can seriously see the sets wobble with a heavy sneeze.
We all have an idea of a bad movie is, and we all have personal dislikes when it comes to movie watching. But a lot of these movies become cult classic and end up being celebrated, usually because of all the reason I’ve already mentioned. Why, you say? Time, it is as simple as that. After a period of time passes, the films change. And an audience’s reactions to them are different from when they were first released. All the elements that put the films together are perceived through different eyes.
I’m not going to write too much on it here, I’ll do that at a later date on this blog. What I would like to do it share with all you crazy cinefiles out there some of the bad movies that left a mark, either on me or on the world. All of these films I have seen, and the range from the woefully bad to the so bad they’re good. And you will be happy to know, most of these films are available to watch for free on You Tube. So head on over, microwave some popcorn, strap in and enjoy some of these not quite gems of cinema history. And I know there are many more, but let’s start here. And by all means, comment if I missed anything.


Maniac (1934)
Refer Madness (1936)
Terror of Tiny Town (1938)


Glen or Glenda (1953)
Bride of the Monster (1955)
The Giant Claw (1957)
The Killer Shrews (1959)
Plan 9 From Outer Space (1959)
The Tingler (1959)


Robot Monster (1964)
Santa Clause Conquers The Martians (1964)
Manos: The Hands of Fate (1966)
The Oscar (1966)
Satan’s Sadists (1969)


Myra Brekinridge (1970)
The Black Gestapo (1975)
Giant Spider Invasion (1975)
Track of the Moon Beast (1976)
Exorcist II: The Heretic (1977)
Death Bed: The Bed That Eats (1977)
Attack of The Killer Tomatoes (1978)
Starcrash (1978)
The Swarm (1978)
Caligula (1979)
For Your Height Only (1979)


Alligator (1980)
The Apple (1980)
Battle Beyond The Stars (1980)
Motel Hell (1980)
Galaxy of Terror (1981)
Mommie Dearest (1981)
Frankenstein Island (1981)
Krull (1983)
Children of the Corn (1984)
C.H.U.D. (1984)
American Ninja (1985)
Creature (1985)
Howling II (1985)
Chopping Mall (1986)
House (1986)
Howard The Duck (1986)
Maximum Overdrive (1986)
Troll (1986)
Rawhead Rex (1986)
Hell Comes To Frogtown (1987)
Ishtar (1987)
Jaws: The Revenge (1987)
Mannequin (1987)
Superman IV: The Quest For Peace (1987)
Leonard Part 6 (1987)
The Blob (1988)
The Hobgoblins (1988)
Killer Clowns From Outer Space (1988)
License To Drive (1988)
Return of The Killer Tomatoes (1988)
Laser Mission (1989)
The Punisher (1989)
The Puppet Master (1989)


Ernest Goes To Jail (1990)
Troll 2 (1990)
Highlander II: The Quickening (1991)
The Roller Blade Seven (1991)
Showdown in Little Tokyo (1991)
Demonic Toys (1992)
Leprechaun (1993)
Super Mario Bros. (1993)
Street Fighter (1994)
Showgirls (1995)
Striptease (1996)
Anaconda (1997)
Batman and Robin (1997)
Jack Frost (1997)
Mortal Kombat: Annihilation (1997)
Speed 2: Cruise Control (1997)
The Avengers (1998)
Camp Blood (1999)


Battlefield Earth (2000)
Dungeons and Dragons (2000)
Freddy Got Fingered (2001)
Glitter (2001)
Master of Disguise (2002)
Swept Away (2002)
The Room (2003)
Ben and Arthur (2003)
Gigli (2003)
House of the Dead (2003)
Catwoman (2004)
Shark Attack 3: Megalodon (2004)
Soul Plane (2004)
Blade Trinity (2004)
Van Helsing (2004)
Alien Apocalpse (2005)
Alone in the Dark (2005)
The Gingerdead Man (2005)
Santa’s Slay (2005)
Son of Mask (2005)
Eragon (2006)
I Know Who Killed Me (2007)
Norbit (2007)
Birdemic: Shock and Terror (2008)
The Twilight Saga (2008 – 2012)
Disaster Movie (2008)
The Love Guru (2008)
Max Payne (2008)
Meet The Spartans (2008)
Crank: High Voltage (2009)
Year One (2009)


The Last Airbender (2010)
Jack and Jill (2011)
Movie 43 (2013)
Sharknado (2013)

– Monkey

Bad Movie Madness