It’s not so much the journey of getting the shoes but what they ultimately represent to a lot of people. Eventually the mission of young Brandon to get his Jordans back from a vicious neighborhood psycho becomes a lot more than re-claiming a piece of goods. It becomes about re-claiming a part of himself, and perhaps taking a chance on something that could either mean his doom or prove that he’s capable of going very far in his life, and perhaps farther than anyone figured.
Ted Geoghegan’s “Mohawk” is stellar and a very timely commentary on colonialism, manifest destiny, and the last gasp of what would become a slain race in the middle of a pointless war in 1814. “Mohawk” has a very unusual aesthetic to it, approaching audiences with a unique score, some great digital photography, and a tone that’s right down the line between horror and action. It has a lot to say about the unfair and cruel destruction of the Native American race, with an enemy we all have learned about but still known very little thanks to revisionist history.
Rowdy Herrington’s “Road House” exists in that line of the late eighties and early nineties where honky tonk trailer trash chic was in vogue. This is the re-emergence of rowdy bars in that whole period of “Black Velvet,” “Black Betty,” Stevie Ray Vaughn, and Billy Ray Cyrus. It permeates with that exact odor but with Patrick Swayze playing basically your normal everyday enigmatic superhero known as Dalton. Only Dalton. He is so bad ass he has one name, carries a thick reputation, and spends his off time stitching his own wounds in bar room bathrooms.
“Hell to Pay” is chapter two in what is one of the more under appreciated animated DC series currently in stores. While DC mainly focuses on Batman and Superman, we’re given a second shot with “Suicide Squad” who DC is thankfully not above sharing for the home entertainment audiences. After the very good “Assault on Arkham,” the team known as Task Force X return with a premise that—let’s just say it—should have been the premise for the live action movie. It’s a small covert team, they should do small covert operations that involve the DC Universe, for crying out loud.
“Up in the sky, look! It’s a bird. It’s a plane. It’s Superman! Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single bound, this amazing stranger from the planet Krypton, The Man of Steel: Superman! Empowered with X-ray vision, possessing remarkable physical strength, Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent.”
John Jordan’s short animated experiment is a film that would have pretty much benefited from a longer format, some original voice work, and perhaps better dialog in the end, but for what he serves up in the form of original animation and the public domain cartoons, “Superman vs. The Giant Robot from Outer Space” is a great short for the Super Geeks out there.
Another year, another season has passed with “The Walking Dead” delivering one of its most intense story arcs yet. The producers promised “All Out War” and that’s exactly what we got, with Rick Grimes and his army giving all or nothing to Negan and the Saviors. Though the season wasn’t without its faults (ahem—Morales) there were some great twists and turns and an epic finale. Here are ten moments that stunned and shocked us this season.
Two years ago I spouted thirteen facts about me and my connection to “Friday the 13th” and I repeat that same fun list with thirteen more random, weird, meaningless facts that continue to link my life to “Friday the 13th.” Since I’m not all superstitious this is more about my love for the movies and or TV show.
Where ever the red dot goes: Ya bang!