Batman and Robin 1949 Serial Review

Ever since I can remember, I’ve been a big fan of the classic black and white movie serials from the 1930’s and 1940’s. I tend to like the action serials best of all, but if they happen to be comic book related? even better.

A few tears ago on this here blog, I wrote a review of the 1943 Batman live action serial. When I wrote that review, I was aware there was another Batman serial made later in the 1940’s. I’d even seen the dvd set at a couple of used movie stores. But I didn’t get a chance to watch the serial, until now that is.

“Batman and Robin” is the 1949 sequel to the 1943 serial “Batman.” But despite both serials being produced by Columbia Pictures, “Batman and Robin” stars a completely different cast. In this new live action 15-chapter adventure, Robert Lowery played Batman/Bruce Wayne, while Johnny Duncan played Robin/Dick Grayson. Supporting characters included Jane Adams as Vicki Vale, Lyle Talbot as Commissioner Gordon, William Fawcett as Professor Hammil, and Eric Wilton as Alfred Pennyworth.

Unlike the 1943 serial where Batman took on the Japanese in the middle of World War II, this time, Batman and Robin battle a villain known only as The Wizard. The cloaked and hooded Wizard operates from a secret cave laboratory, where he uses “remote-control” technology to ransom Gotham City by disrupting all of the city’s cars and trains.

This machine the Wizard uses is made up of a quaint-looking bay of switches and knobs, and is fueled by diamonds. The machine doesn’t look like much today, but I’m guessing back in 1949 kids saw this as high-tech stuff. The Wizard has other trick too, like a hypnotic power and, eventually, the ability to turn invisible.

One of the things I enjoy about these serials is the simplistic way Batman is portrayed. This is just a guy trying to do the right thing. He has almost no state of the art gadgets, and often the villain is better equipped than Batman. This was nicely done in the 1943 “Batman” Serial, which is probably why I liked that serial so much.

From a visual standpoint though, I liked the cinematography of the 1943 serial over “Batman and Robin.” The original serial had more flair, and used shadows really well. In “Batman and Robin,” the direction and camera work isn’t as creative. All the car chases are shot the same, as are the fight scenes. Even the chapter cliffhangers are scenes we’ve seen before in other serials.

It’s possible the filmmakers had a bigger budget in 1949, but it doesn’t show in the finished product. Batman and Robin get from place to place in Bruce Wayne’s car. Only Vicky vale notices this, but she never follows up on the lead. Vicky also walks around with a camera the size of a Buick. This camera looks huge even for 1949.

The dynamic duo’s costumes were updated for this serial, with darker capes for both and tights for Robin. Thing is, Lowery ends up in a goofy-looking cowl that gives Batman a round-head and floppy ears. Robin’s mask is a little too big for his face, but it looks similar to the 1943 mask. Batman’s utility belt looked better in the first serial, but at least it gets used here. Although I’m not sure how the giant gas masks fit in there. On the plus side, neither Batman or Robin’s capes get in the way quite as much as they did in the 1943 serial.

When it comes to the leads, Robert Lowery as Bruce Wayne/Batman and John Duncan as Dick Grayson/Robin, are not very convincing as either the heroes or their civilian alter egos. Lowery over plays the playboy angle, making Bruce Wayne more of a joke than anything else. If he’s really only interested in resting and going on vacation, why would the police commissioner bother to get his advice on cases?

Meanwhile, John Duncan in particular is just too damn old to be the “Boy” Wonder. Plus he spends more time on the ground rather than doing something productive. I lost count of how many times he got hit behind the head and missed part of the action. Duncan may have been knocked out more times than Tonto on an episode of “The Lone Ranger.”

While “Batman and Robin” isn’t the worst serial out there, it’s not my favorite either. This serials lacks some of the originality of the first Batman serial. The story has some good ideas, but it dumbed down with inconsistencies. For example, one character is in a wheel chair for most of the serial, but when the rest of the character see him walking, nobody addresses it.

Little things like that drive me nuts, but that’s just me. Then again,  if you’re a big Batman fan, then check out the “Batman and Robin” serial. If nothing else, it’s fun to see this often forgotten chapter of Batman.

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Looking back at Doctor Who season 8 (1971)

For the last week I’ve been fighting what is arguably the worst summer cold I’ve ever had. Because of this, I’ve been spending a lot of time in bed and taking cold meds. However, in-between coughing and sneezing, I needed something to do. So I decided to watch some of the classic Doctor Who episodes that I haven’t seen for one reason or another.

Actually, I know the reason I haven’t watched these particular episodes: they star the third Doctor, Jon Pertwee, my least favorite Doctor. The only Pertwee stories I have seen are “Spearhead From Space,” “Inferno,” and “The Three Doctors.” I didn’t care much for Pertwee’s version of the Doctor, so I’ve avoided his era since. But now that I have Britbox, I figured I should give the third Doctor another chance.

I just finished season 8, which stars Jon Pertwee as the Doctor, and his companion Jo Grant, played by Katy Manning. Also starring this season are Brigadier Lethbridge-Steward (Nicholas Courtney), and The Master (Roger Delgado). Season 8 was broadcast, consisted of give serials with total of 25 episodes which aired from late January to late June of 1971. These stories were:

“Terror of the Autons”
“The Mind of Evil”
“The Claws of Axos”
“Colony In Space”
“The Daemons”

These stories had a loose story arc running through it, which introduced the popular recurring villain, The Master. But if I’m honest, having the Master as the main villain in so many back to back stories took away from what makes the character special. For one thing, he didn’t seem to have any specific goal in mind. This seemed to change with every story, and all he ever really did was hypnotize the poor UNIT guys. By the time I got to “Colony in Space” I was tired of seeing the Master show up again.

“Terror of the Autons” (4 episodes) is the first appearance of the Master. In this tale, the Master constructs beings out of plastic to kill people. I thought this was a nice story with some genuinely scary moments throughout. There’s also plenty of action involving the UNIT guys and a surprisingly high body count.

The next story was “The Mind of Evil” (6 episodes). This was a long story with a lot of characters involved. But “The Mind of Evil” is probably also one of the most interesting Doctor Who stories from this era. This time, the Master creates the Keller Machine which we are led to believe is a new way to rehabilitate prisoners. However, we later learn that there is more to this than meets the eye.

“The Mind of Evil” has even more action than the previous story. Not only do we get prison riots, but in the second half an atomic missile comes into play. We even learn more about The Doctor and his greatest fears.

The third story of the season is “The Claws of Axos” (4 episodes). This one deals with a group of aliens called Axos, who crash-land on earth. After making contact with the Doctor and UNIT, the group proposes to help humankind with one of their minerals. But everything is a cover for the destruction of mankind, and of course The Master is helping Axos. But at one point, this story sees the Master and Doctor helping each-other for the first time.

My favorite arc of season 8 was “Colony in Space” (6 episodes). This was the first time Jon Pertwee’s Doctor left earth. This occurs when The Time Lords feel that someone or something is about unbalance the universe, so they transport the Doctor ans Jo to another planet 500 years in the future. From there we get plenty of politics, class warfare, lizard people, and a giant robot. But later on The Master shows up to spoil things.

Season 8 wraps up with “The Daemons” (5 episodes). This is one of the more supernatural Doctor Who tales. Here, the Doctor tries to thwart a magical Master. This was an interesting thing to see. I don’t know if I’d call it great, but it was definitely interesting.

Going into this season, I fully expected to hate the “earth-bound” doctor era. But I found myself enjoying the stories more than I would have thought. I think it all came down to the regular supporting characters from UNIT, and the guest stars in every story. Heck, even Jo Grant grew on me. I wouldn’t say she’s in my top 10 companions, but she’s definetly higher than many.

But don’t get me wrong, Jon Pertwee is still my least favorite Doctor. I think the Third Doctor was very selfish being, often only thinking about his own problems. He appears to hate everyone and everything around him, maybe except for Jo Grant. Too often he’d help others only because it help him in some wat. It’s no wonder that the Master tries to convert him on more than one occasion. There was even a moment during “Claws fo Axos” where I believe a part of him wanted to join the Master.

Even so, I’m glad I watched this season of “Doctor Who.” I learned a great deal about the third Doctor and about UNIT. I enjoyed the action, and some of the new races we met. Maybe the Master was overused, but it was still fun to see the original version. Now on to season 9!

Flashback Review: Son of Frankenstein

Over the last couple of weeks, the wifey and I decided to cancel our DirecTV service. It got too expensive, and we are using more streaming services than before. However, the wifey didn’t want to cut the cord completely, so we bundled with Charter Spectrum. The switch has nearly tripled the number of channels I have, but it’s costing me at least $80 less a month, including internet.

I’m still trying to learn where all the channels are. But last weekend when I couldn’t sleep, I landed upon a 1939 movie called “Son of Frankenstein.” I thought I had seen most of the Universal monster movies, but somehow this one had escaped me. But I wasn’t about to miss a Frankenstein movie starring Boris Karloff as the Monster, Basil Rathbone as Baron Wolf von Frankenstein, and Bela Lugosi as Ygor.

In the film, several years have passed since the events of the first film, and we are introduced to Baron Wolf Von Frankenstein (Basil Rathbone), the son of Henry Frankenstein, as he prepares to move his family into his father’s castle. I guess this is the castle that was destroyed at the end of a previous movie, but I’m not positive.

Anyway, the local residents aren’t too pleased with their new neighbors, and become predictably hostile. To the townsfolk, the Frankenstein name us a curse upon the village. The only friendly face in the crown is the local chief of police Inspector Krogh (Lionel Atwill). Many find this surprising, since Krogh was a victim of the Monster as a child when, he claims, the beast ripped off his arm. This is something that will play a role later in the film.

From there Wolf runs into Ygor, a creepy blacksmith who mysteriously survived his own hanging. ygor was convicted of grave-robbing, and of course, it wasn’t any old grave he robbed. Later when Wolf visits the family crypt, he discovers the Monster’s body and decides to revive him in an effort to prove his father’s right, and to restore honor to the Frankenstein name. You can probably guess how this decision played out from here.

I can’t say “Son of Frankenstein” is on a par with any of the other Frankenstein movies out there. But I also can’t deny that this was one of the most entertaining movies I’ve seen from that era. It all comes down to Boris Karloff and Bela Lugosi who give some epic performances. Karloff is as scary and sympathetic as ever, and Lugosi is a scene stealer despite being hidden under layers of hair and make-up. He was so good, I didn’t even realize it was Lugosi because I had missed the opening credits.

The grand finale of “Son of Frankenstein” was more action packed than I expected. There’s even a scene where Frankenstein rips off Inspector Krogh’s fake arm, and starts beating him with it. But the old inspector has another arm, and is able to shoot the monster. He doesn’t kill him, but he stuns Frankenstein long enough so that Basil Rathbone can impersonate Tarzan by swinging across the laboratory, and kicking the monster into the ooze below.

Speaking of Basil Rathbone, it was really strange seeing him play kind of good guy, only because I know him best as a bad guy in classic movies. However, in “Son of Frankenstein,” Rathbone really shows his acting range. Towards the end of the film he goes from meek victim, to homicidal maniac, to action hero. This might be my favorite performance by Basil Rathbone.

“Son of Frankenstein” may not the best of the classic Universal monster movies, but it’s certainly not the worst. This movie has some great scenes filled with suspense, horror, and even a little humor. The acting is easily the best part of the film, and you’ll never go wrong with Karloff and Lugosi in the same movie. All in all, I’m glad I couldn’t sleep that night, and I discovered this great monster mash.

Sense8 Series Finale Review

Possible spoilers ahead!

The second season of “Sense8” left its central characters — a “cluster” of eight “sensates,” or a slightly altered species of human with psychic powers — on the offensive. BPO, the evil corporate entity that’s been after the group from day one, has captured Wolfgang (Max Riemelt), and is experimenting on him. But the rest of the cluster took its own prisoner, BPO’s leader, Whispers (Terrence Mann).

And then some idiot at Netflix cancelled “Sense8.”

Luckily, the show’s fanbase rose up as one an demanded an injustice be in undone. Netflix heard the fans, and greenlit a movie length series finale. And I’m glad Netflix did this, because nothing could beat seeing the cluster join together to save one of their own, battle the evil BPO, and dance to a Depeche Mode song while traveling on a train.

The “Sense8” finale was one hell of a ride, and epic way to the end one of Netflix’s best shows. Almost every character we met over the course of the series returned for the finale. We saw familiar faces, and friends join the cluster as they tried to rescue Wolfgang.

Even more friends showed up to help take down the BPO, which we learn is planning to turn other telepathically linked people into an army of zombie-drone assassins thanks to Whispers (Terrence Mann), the Chairman of BPO, and Lila (Valeria Bilello).

The complicated plot of the finale was interesting, kept you guessing, and led to some amazing action sequences. My personal favorite was a gun battle as the cluster tries to take down Lila’s army. But “Sense8” was always at its best when it focused on the emotional part of things, and the finale is no exception.

Above anything else though, the series finale was a story about love. Not just love between characters like Nomi (Jamie Clayton) and Amanita “Neets” Caplan (Freema Agyeman), but love between all eight members of the cluster, and all their friends.

One of my favorite things about this show was how they never once judge one an other, and how their friends and loved ones never think they’re crazy. Even Nomi’s family make a return appearance int he finale, and it was great to see them all hang out and enjoy each other’s company.

“Amor Vincit Omnia,” was the perfect ending to one of the most creative, unique, and entertaining series I’ve ever seen. Maybe one or two of the character could have done more, but this episode still has everything I could have asked for, and in true “Sense8” fashion, there’s an orgy.

While I’m said to see this show go, I’m very happy it got a chance to wrap things up in such a wonderful way.

“Sense8” finale score: A

Cloak & Dagger Review

Possible spoilers ahead!

Marvel’s “Cloak & Dagger” series on Freeform begins when its lead characters, Tyrone Johnson and Tandy Bowen were children. The opening minutes of the premiers episode goes back and forth showing the viewer the tragic events the characters experience on the day their lives would be inextricably linked forever. On this fateful night, Tyrone and Tandy each lose someone important in their lives. The events build to an impressive climax where we witness the first connection between the two characters.

The series then turns to present day New Orleans, where Tyrone (Aubrey Joseph) is a star athlete at a private high school who has never really come to grips with the events of that tragic night years ago. The same can be said for Tandy (Olivia Holt), who has gone from a life of wealth to a life of crime with her boyfriend.

However, Tyrone and Tandy’s lives are forever changed when the two encounter each other at a high school party. This brief meeting unlocks powers neither Tandy or Tyrone knew they possessed.

I had really low expectations going into “Cloak & Dagger.” Not because I don’t like the characters, but because Marvel’s tv output has been rather Meh for the last couple of years. However, I am pleased to say “Cloak & Dagger” won me over with its solid acting, and impressive cinematography and use of music.

Shocking, right?

“Cloak & Dagger” just looks and feels different from other Marvel shows. None of it looks like it was shot in a studio, and to me that added a lot to the world building in the first couple of episodes. Even the drama of the first few minutes is realistic, and it had me from the start. This is not a CW teen drama, it’s a lot better than that.

The first two episodes of “Cloak & Dagger” focuses on its characters’ domestic situations rather than the powers Tyrone and Tandy are exhibiting. Some fans might find this boring and slow, but I enjoyed it. Not only does it ground the story in the real world, but by spending so much time in their lives, we also become attached to Tyrone and Tandy.

It was also interesting to see how the lives of both leads changed so dramatically over the course of a few years. Today, Tyrone attends a Catholic high school where he plays on the basketball team, while Tandy is a petty thief who spends her nights in an abandoned church and occasionally visits her deadbeat, drug-addled mother who steals money from Tandy to fuel her binges.

Easily the highlight of the show for me were Olivia Holt and Aubrey Joseph. Both actors are appealing young talents with a ton of potential. It’s hard to say what their chemistry is like, since they’ve only been onscreen together for about 4 minutes. Despite this, their acting is what draws you in the most, and I like what each has brought to their character.

I think one of the surprising strengths of the show is the restraint the show runners used. This easily could have gone down the typical superhero show trap, but allowing things to unfold slowly and naturally, it enhances what the main characters are all about.

That said, “Cloak and Dagger” isn’t a joyful series. If anything, this is actually a rather somber coming-of-age story of two teenagers deeply traumatized since childhood. Both are trying to heal in different ways, and its clear this show will take us through their journey.

“Cloak and Dagger” score: B+

 

Fall TV Trailer Park: Manifest

 

“Manifest” looks like it could be a very good show. The question now is, will NBC be patient enough to let this series play out as it builds an audience?

Lost in Space Review

Possible spoilers ahead!

Netflix’s “Lost in Space” is based on the classic 1960s family sci-fi series created by Irwin Allen. The series saw a family of castaways thrown into deep space along with a manipulative old doctor, a young hot-shot pilot, and an overprotective robot. The premise was the same for a 1998 film version, but the execution was flawed to say the least. The new “Lost In Space” on the other hand, is rather good.

The series premiere and follow-up episodes deliver an exciting, fun, and surprisingly dramatic, re-imagining of the original series. In the new “Lost in Space,” Toby Stephens stars as John Robinson. He’s a Marine and absentee father trying to re-connect with his wife and kids after spending years away from home.

His estranged wife Maureen is played by the always great Molly Parker. Maureen is a genius-level engineer and with John gone most of the time, she became the primary caregiver to their three children: Penny Robinson (Mina Sundwall) is the wild child, Judy (Taylor Russell) is only 18 but already a doctor, and finally there is Will (Maxwell Jenkins), the youngest member of the family, and the center of most of the action.

I wasn’t sure how the whole estranged family angle would work, but I found it to be quite effective and one of the show’s best plotlines. Having a divided family gave the Robinson kids the opportunity to develop rather quickly. By episode two we know plenty about each of the Robinson kids, including their strengths and weaknesses and their individual personalities. We also see how their parents fractured relationship is affectiong each kid.

In this “Lost in Space, the Robinson family find themselves on a distant planet, however, they are not alone. Along for the adventure are, Parker Posey as the new Dr. Smith (with a nice little twist), and Ignacio Serricchio as Don West. Unlike previous versions, this Don West is not a hotshot pilot, but a mechanic with a fondness for smuggling and a chicken named Debbie. Watch the show, I promise the chicken thing will all make sense.

But that’s not everyone stranded on the planet. The new series sees the family as one of many survivors of a colonization effort set for Alpha Centauri. When their space station is attacked, many families escape in their Jupiter lifeboats. Many survive the crash landing, but have no way to contact the space station.

This is a big change from the old tv show and the 1998 movie. I don’t know how long time fans will feel about this, but for me, the change works. It works in large part because it gives the Robinsons other people to interact with. Therefore, new relationships are formed; Doctor Smith can play more mind games; and new adventures are launched.

In the acting department, Toby Stephens is very good as John Robinson. Stephens has really improved as an actor since his dreadful work in “Die Another Day.” His character here is a complex one, but the actor delivers a solid performance as a never-say-die soldier. John is also well aware of his failures as a father, and is trying to make amends.

Meanwhile, Molly Parker’s Maureen is fiercely independent and easily the smartest person in the family. Quite often, we see Maureen working out a problem while at the same team teaching her children how she’s doing something. It becomes clear from early on that the kids have much more in common with her, than with John. However, Maureen is also willing to break the rules, if it can ensure a better future for her children.

I should also mention that Parker and Stephens have great chemistry even when their characters are bickering with one another. But the two were at their best when they find themselves stuck in one of the Chariots.

The same can be said of the Robinson children, especially in later episodes when situations force each of them to carry the weight of an episode. The standouts for me were Penny Robinson (Mina Sundwall), and Judy (Taylor Russell). Will on the other hand, got annoying. However, I don’t blame Maxwell Jenkins for this. I think the blame goes to the script which made Will extremely naive and borderline stupid. But I will say that the character improved in the last couple of episodes.

The cast is solid for the most part, even the other survivors were surprisingly strong in supporting roles. But when it’s all said and done, Parker Posey steals the show in “Lost in Space.” She is awesome as Doctor Smith, and she’s scary too. Posey had this look in her eyes that makes you believe she would kill anyone to achieve her goals.

For the most part, “Lost In Space” impressed me with its unique take on a classic. The character development was strong, as was the world building, not just on the planet, but for the space station too. With this show, Netflix has delivered a fun sci-fi family adventure that had plenty of twists and turns that left me wanting more.

“Lost in Space” score: A-