All posts by Rod Lott

The Batman Filmography: Second Edition

batmanfilmographyAlthough I’m sure it could be done, it is extremely difficult to imagine a Batman filmography more exhaustive than, well, The Batman Filmography. Now in its second edition (a lot has happened in Bat-cinema since the original publication in 2004, you know), Mark S. Reinhart’s book is the complete history of the caped crusader on screens big and small. It does everything but weigh in on the controversial casting of Ben Affleck as Batman for the upcoming Man of Steel sequel. (Third edition, perhaps?)

As the title should clue you in, the book is a tour through every iteration of Batman, whether live-action or animated, whether in serials, specials, series or the big ol’ blockbusters.

In between, Reinhart supplements these chapters by relating what changes the character underwent with the times, on the pages of DC Comics, which helps put the various adaptations into a cultural perspective. This makes up for the extensive, start-to-finish plot synopses the author works into his essays/reviews; such beat-for-beat summaries are neither needed nor helpful when just spilling a few details of the setup is enough to either remind readers of what they’ve already seen or give enough context to those who haven’t yet.

McFarland & Company’s trade paperback contains a healthy inclusion of images, although it could stand to include more to break up long paragraphs of black. Hardcore Bat-fans should enjoy it regardless. —Rod Lott

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Memorial Valley Massacre (1989)

memorialvalleyThings aren’t going so well on opening day of the Memorial Valley Campgrounds. A construction worker dies; the roads aren’t finished; and the discovery of a dead dog in the well has tainted the water supply. (“I ain’t never seen anything like this,” says a worker as he pulls out the canine carcass, apparently having never driven down city streets in his life.) Still, the camp owner (Blood and Black Lace‘s Cameron Mitchell, in a “check, please” cameo) insists the camp open.

His Dartmouth-student son is there to help (but how smart can he be, wearing sweaters on Memorial Day weekend?), much to the chagrin of the barrel-chested, hooch-hitting park ranger. They’re given hell at every turn by the ragtag bunch of campers, including motorcycle gangs, horny teens and a fat kid. But it turns out there are even bigger troubles afoot: a killer teenage caveman’s on the loose!

memorialvalley1Yes, with Memorial Valley Massacre, you’ve stumbled on an incompetent mix of Friday the 13th, Eegah and Meatballs. The script is poor, the direction a notch below that and the acting even farther south. But how can you beat slutty chicks who like to dance in the rain or aged bosomy women with names like Pepper Mintz? Well, you can always throw in a teenage caveman! And how can you beat that, huh? —Rod Lott

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Big Ass Spider! (2013)

Big Ass Spider (2013) movie posterBig Ass Spider! needs a lesson in basic punctuation. Its title includes an exclamation point that is not needed, yet excludes the hyphen that is. After all, this is a movie about a big-ass spider, not an ass spider that also is big. (I do not know what an ass spider is. Oh, if only a porn parody existed to explain it!)

As an L.A. exterminator named Alex, Greg Grunberg (TV’s Heroes) gets the Bill Murray/Vince Vaughn role of the affable, dumpy slob who nonetheless saves the day and gets the girl (in this case, Bring It On’s Clare Kramer). With the aid of a hospital security guard named José (Candyman: Day of the Dead’s Lombardo Boyar, who makes not-that-funny lines funny in his scene-stealing delivery), Alex chases a deadly spider that gets exponentially larger over the course of one crazy day.

bigassspider1Even before this arachnid has grown large enough to scale the Deloitte office tower King Kong-style, the military is summoned. Immediately, it’s clear the troops have little to no experience dealing with giant spiders that spray some liquid with the power to melt your face like the Ark of the Covenant and take out a public park full of volleyball-playing bikini hussies in nothing flat. (That last part is the best.)

Working from a script by Centipede! scribe Gregory Gieras (I smell a trend), Mike Mendez (The Gravedancers) directs with such a featherweight touch, one practically can sense him smiling from behind the camera. The eight-legged freak’s utter CGI phoniness keeps Big Ass Spider! from venturing beyond a comic vibe into anything approaching fright; I doubt the giving of the willies ever was a goal. At times, the movie feels like you’re watching a video game — the Call of Duty-esque first-person shooter POV sees to that — and that sensibility ultimately seeps into an overall verdict of harmless.

After 75 fleet-footed minutes, the end credits begin. A few seconds later, a stinger suggests a sequel, presumably to be titled Big Ass Cockroach! Fine, boys, but let’s not neglect the hyphen again. —Rod Lott

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Adiós, Sabata (1970)

adiossabataDepending on who you ask, Adiós, Sabata may or may not be the second entry in the series that began with 1969’s Sabata and ended with 1971’s The Return of Sabata.

The reason? Whereas the bookend films starred Lee Van Cleef as the master gunslinger, Adiós cast Yul Brynner as not Sabata, but Indio Black. The title change was just a cash-in. Still, it works logically enough as a sequel; under the Americanized name of Frank Kramer, Gianfranco Parolini directed all three and, more importantly, Brynner’s character is every bit the stoic badass Van Cleef was.

adiossabata1In 1867, Mexico is a hotbed of revolution, and some of its participants (some of whom sport Afros) aim to steal a chest full of gold from your average detestable Austrian colonel (Gérard Herter, The Big Gundown), he of the mustache and monocle. Never one to make an honest buck, Sabata Indio agrees to help.

“Can I go with you?” asks a boy in the village. “I make very good tortillas!”

As with the original Sabata, gimmicks play a large part of Adiós‘ appeal, from Indio’s sawed-off shotgun hiding a cigar compartment to one of his hombres being a man who hurls metal balls with pinpoint accuracy, using his foot. These touches and others lift this spaghetti Western above the fray. When gold is glimpsed, Parolini’s camera spins ’round and ’round; it’s easy to feel the joy with this one. —Rod Lott

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The Nest (1988)

thenestNewspaper ads for The Nest got my attention in ’88, depicting a giant cockroach mounting a busty blonde in her bra and panties — sold! Even then, as yet uneducated in Roger Corman’s business practices, this Honor Society high schooler was smart enough to know that odds were, neither that beast nor those breasts appeared in the finished product.

They don’t. Disappointment likely would reign even if they were.

Still grieving over her mother’s death four years earlier, Beth (Lisa Langlois, Happy Birthday to Me) returns home to the New England island town of North Port — just in time for the Fish-a-Whack Festival! But this burg has bigger fish to fry: cockroaches — hissing, killer cannibal cockroaches that can take a man’s arm clean off in seconds.

thenest1The townspeople could turn to Beth’s dad, the mayor (Robert Lansing, Empire of the Ants), for help, but he’s partly to blame, being in bed with the corporation whose experiments resulted in the superpowered roaches. Their only hope is Beth’s ex, a second-generation sheriff (a blank Franc Luz, 1988’s Ghost Town).

Even on a Corman budget, I’d expect a full-length feature to out-creep that one segment of Creepshow in which the bugs so memorably got E.G. Marshall’s tongue, but The Nest is unable to rise to the challenge. Director Terence H. Winkless (Bloodfist) works in a few fun gore scenes, most notably in a cat-cockroach hybrid that solidifies The Nest‘s intent as a throwback to monster movies of the Atomic Age. However, here-and-there moments fail to bond into a interest-held whole. —Rod Lott

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