Press-N-Play: The Golden Child (1986)

When You Finally Get Around to Seeing Your Name in the End Credits 5 Years After the Film’s Release

“By the time that 80s and 90s babies (see Millennials) were cutting their teeth on later broadcast imports like Mighty Morphin’ Power Rangers, Dragon Ball, Sailor Moon, and Pokemon, grown Gen-X geeks like me were booking airplane tickets or driving to places of fan pilgrimage near and far, like the already mentioned G-Fest, or Anime Expo in Los Angeles, and San Diego Comicon.” 

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 Yooooo, you still come back to check out this old blog? You rock!! 

To read my latest piece in Fanfare, zip on over to Medium by clicking here on my friends link. (I mean, if  you're here, you must be a friend.) ^_^ 

A ‘100 Best Martial Arts Movies of All Time’ List That Actually Doesn’t Suck (This is a Remix)

Game of Death, 1978

"Now, before I get into the actual list of martial arts flicks I’ve seen, I’m hereby issuing an Imperial Decree: Anyone who claims to be a fan of martial arts films and hasn’t seen all four of Bruce Lee’s completed works is and henceforth and forthwith forbidden from calling themselves a fan. 

It’s fine to say that you like or enjoy martial arts films, but you cannot call yourself a fan, because fandom requires a level of commitment."

A ‘100 Best Martial Arts Movies of All Time’ List That Actually Doesn’t Suck

Ode to Underground Cartoonist Vaughn Bode

"The desire to reinterpret Vaughn Bode’s distinctive cartoon style was hardly limited to the underground realms of graffiti. In 1977, Bode’s work also inspired the production of the animated fantasy film Wizards, directed by Lord of the Rings animator Ralph Bakshi." 

Note: "Ode to Underground Cartoonist Vaughn Bode" was originally published in Kung Fu Grip!#2. The text has recently been reformatted for publication on Medium. To check out the remixed and remastered director's cut, click here. 

Ralph Bakshi’s ‘Street Fight’ Film Revisited

"Three decades have passed since my original viewing of the animated film ‘Street Fight.’ I still hate it almost everything about it." 

Note: "Ralph Bakshi’s ‘Street Fight’ Film Revisited" was originally published in Kung Fu Grip! #1. The text has recently been reformatted for publication on Medium. To check out the remixed and remastered director's cut, click here. 

BATTLE ANGEL ALITA

It was in the summer of '94 that I fell head over heels in love with the short animated film Battle Angel (renamed Battle Angel Alita in the US). One of the managers at the local comic book shop had unexpectedly handed me his VHS copy one afternoon and asked me to give it a watch.

The obvious echoes of Fritz Lang's Metropolis meets Ridley Scott's (and Phillip K. Dick's) Blade Runner, laced with other original elements by story creator Yukito Kishiro, blew me away. Soon after, I started reading the graphic novels/manga.

Despite being a longtime fan (or maybe because of that), I can't say that I'm looking forward to the live-action film that director Robert Rodriguez and producer James Cameron are bringing to theaters in the coming weeks. Off the top, I don't care at all for Alita's (or Gally's in the manga) facial design. 

I positively love Alita's anatomical design on the flat, two-dimensional plane, but the over-exaggerated, Disney-influenced eyes that the manga and anime of Japan have been known for over 50+ years just looks too grossly unnatural–to me–in a live-action venture.

Rodriguez should have reconsidered taking that approach, I think. 

The off-putting design seen in the trailers, however, is somewhat downplayed in this poster, and it WORKS. In fact, the overall design of the poster is really gorgeous, and I love how the florescent pink and baby blue just pops... 

Heyyyy, wait a minute! (Then again, never mind.)

Despite my disinterest in the film, somehow I still want it to do well. Rodriguez has every thing to do with that; he's yet to make a film I didn't enjoy, and if I could get past the design of Alita–which I can't–I'd probably enjoy this one too.

The poster really does kick ass, tho.

Alita: Battle Angel opens on Thursday, February 14. If you see it, puh-leeze feel free to tell me what you thought about it. I'll prolly just stick with the original anime and the comics.

'Spider-Man: Far From Home' (I See What You Did There, Marvel)

I'm sure that it's just a *ahem* coinkydink, but I really had to chuckle just now. I'd actually known the title for the second installment of the Tom Holland Spider-Man reboot series for a while. Months maybe. But it was only today, when I saw the new poster, that I recalled a comment I'd made about how I'd set my "Ultimate Spider-Man" story idea beyond the now boring borders of NYC.

"I also thought that I'd detail the story ideas that I have for my 'Ultimate Spider-Man' movie, which I've set in Chicago, Tokyo and Hong Kong (NYC settings have become a bit cliché in movies today)..." – Paco Taylor, 6.20.2015

Okay, New York is a great city. Far from boring. But Hollywood has just – I think –  milked the snot out of New York. And anyone who pays even a little attention to the culture of America's eastern media capitol knows that there's a very insulated "It's all about us" mindset there. And the fact Marvel Comics itself has always been based there didn't help. 

But damn. You'd think there weren't 50 States in America, and who knows how many cities across this nation. At least DC's Superman was from Kansas, and we got to see a glimpse of a rural, Midwestern landscape in the old Richard Donner directed Superman. 

Oh, wait. Marvel did put Tony Stark in some faux small town setting in Iron Man 3, right? And before that they were in Monaco for the Grand Prix and he was living a Hollywood/Disneyland lifestyle, so there's that. The Avengers and all the related films have seen various foreign vistas ("Wakanda Forever!"). It was mostly just Spider-Man that was relegated to New York. 

And I get it. In the comics, Spider-Man wasn't traditionally like the members of the Avengers or the Fantastic Four. Spidey has mostly been a cash strapped hometown hero. He could barely keep the rent paid in Lower Manhattan, let alone plan for a trip overseas. So at least he's getting a European vacation by way of a class trip in the upcoming film...which I very likely won't even see. 

I didn't see Spider-Man: Homecoming. I've heard tons of great things about it, but I myself was completely over the Peter Parker character. Let the new generation have their live-action Spider-Man, I had mine with Tobey Maguire in the role. Well, the first two Maguire films. The last one was a dumpster fire. Okay, it had some really good things going for it (Sandman!), but man...the bad things in Spider-Man 3 were/are just unforgivable.    

Anywho, I'm actually tired of posting stuff about Spider-Man(s). I just had to take one final dig at Mony (Marvel + Sony) for seemingly availing themselves still another of my brilliant ideas. 

If you're interested, Kevin Feige, Phil Lord, Peter Ramsey, Chris Miller, et. al, I'm available for casual brainstorming sessions and think tanks; I require that room temperature Fiji Water®, unsweetened golden oolong tea – Teas' Tea® brand – and assorted flavors of Japanese Kit Kats® be at my fingertips (non-negotiable). 

There are many more good ideas where these lil' blog toss-offs came from. So like I said before, have your people call my people. (LOL) Or...just shoot me an email: stpaco@gmail.com. 

Spider-Man: Far From Home opens on July 5, 2019.

P.S. I just now paid particular notice to that "I Love NY" sticker on the poster... *Dry heaves*

Play It Again, Sam: Samuel L. Jackson Sings The Blues For 'The Hitman's Bodyguard'

Samuel L. Jackson is no stranger to singing on the silver screen, despite the fact that he has never made a frequent thing of it. Whenever he does decide it's time once again to croon a tune (or several tunes), Jackson invariably sings good old fashioned southern blues. This will be no different in his upcoming film The Hitman's Bodyguard, but having Sam singing wasn't originally part of the plan. Before we get into how this turn of events came about, let's take a brief glance back at Jackson's surprising track record of singing the blues.

The Blues And Sam Go Back Like Rocking Chairs

In the 1996 action film Long Kiss Goodnight (in which he stars with a proto-Atomic Blonde Geena Davis), Jackson plays Mitch Henessey, a blues-loving private eye. Throughout the film, Mitch croons Bo Diddly's "I'm A Man," with hilariously improvised lyrics that help him feel confident in times of self doubt:

"Ba-da-da-da-dun, got me a handgun / Ba-da-da-da-dun, got a rifle too / Ba-da-da-da-dun, anybody #%&$ with Mitch / He knows just what to do, cuz I'm a bad mother#$%^er."

(Side note: He's not.)

On the more serious side of things, in the 2006 drama Black Snake Moan, Jackson plays Lazarus Redd, a man on a mission from God. Redd is a fanatically religious farmer and a former blues guitarist who believes he's been called to intervene in the life of a promiscuous young woman (Christina Ricci) who's on the road to ruin. To ready himself for the role, Jackson actually spent half a year studying for six or seven hours a day to learn to play blues guitar for his performances with the instrument, which are layered throughout the film.

In keeping with what's shaped up to be about an every 10-year average, Jackson is singing on screen once again. This time it's for The Hitman's Bodyguard, his 2018 action comedy with co-star Ryan Reynolds. Here, Jackson takes on the role of Darius, a notorious hitman who is scheduled testify at the International Court of Justice, and it's the job of his mortal enemy (Reynolds), the world's top bodyguard, to get him there alive. That is, of course, if they don't kill each other first!

'The Hitman's Bodyguard' [Credit: Lionsgate]

A Hitman With A Hit Song?

On the morning of Friday, August 4, the movie hitman himself fired off a tweet to announce to fans on Twitter the release of "Nobody Gets Out Alive," Jackson’s new song on the soundtrack for The Hitmans' Bodyguard. A link to Spotify and iTunes accompanying the Tweet leads listeners to the track, which features the actor’s trademark tenor. It's a song that bubbles with the classic notes of a good blues ditty, complete with stretched slide guitar licks, a bottoming bass groove, and soulful sopranos on the backing vocals. All combined, it creates a sweet marriage of southern blues and southern gospel spiced up with curse words.

Here's my new track "Nobody Gets Out Alive" for the HITMAN'S BODYGUARD OST! Go see the film in theaters on 8/18! https://t.co/eBGnI0yWKz pic.twitter.com/TbWTtKYkaq

— Samuel L. Jackson (@SamuelLJackson) August 4, 2017

Surprisingly, “Nobody Gets Out Alive” wasn't originally planned for the film. It wasn't even a song at all, but just grew organically out of a scene in which Jackson's high-strung hitman is sitting in a car with Reynolds's boring bodyguard. The song's creation was mostly the result of in-the-moment improvisation, but director Patrick Hughes liked what he heard and asked Jackson to keep fleshing the song out.

To make sure that the song lived up to its potential, the director also shared what had been captured on film with Atli Örvarsson the film's soundtrack composer. Örvarsson then worked with Jackson to help mold it into the song heard on the soundtrack today, complete with wisdom-filled but R-rated lyrics written by Jackson himself.

Raised In The Land Of Blues Legends

Considering Jackson's past, his cinematic brushes with the blues over the course of his storied career make perfect sense. Although born in Washington, D.C., Jackson was actually raised by his grandparents in Chattanooga, Tennessee, the birthplace of the blues music queen Bessie Smith. Tennessee at large was also the birthplace and the home of several blues music legends like John Lee Hooker, Memphis Minnie, B.B. King, Ike Turner and too many others to name.

Ironically, whenever asked about his preferences in music, Jackson has professed an appreciation for hip-hop, but the man clearly has blues music in his soul, too. With all hope, between now and sometime around 2027, we’ll get yet another chance to hear his inner bluesman crooning once again.

Also starring Salma Hayek, Gary Oldman and Elodie Young, The Hitman’s Bodyguard opens on August 18.

Suffering Sappho! This 'Wonder Women' Fan Art Is Breaking The Internet

[Credit: @marcusthevisual]

As the hit DCEU movie Wonder Woman was in its fourth day of breaking the US box office this past weekend, Atlanta-based illustrator Marcus Williams (Tuskegee Heirs) started breaking the internet — or Facebook and Twitter, at least — by posting a spine-tingling tribute to WonderWoman and her largely forgotten fraternal twin sister, Nubia.

And as you can see, the artwork is wondrous.

Due to popular demand voila. Wonder Women Nubia & Diana
Posters are available  Also Shirts. https://t.co/8rwRHr1Qf9 pic.twitter.com/PuMYA0J3Ht

— marcus williams (@marcusthevisual) June 4, 2017

On June 2, a pulse-pounding preview of this now full-color work was shared in the form of a pencil sketch of Nubia and Diana. That piece showed off the pure form of fine line work for which Williams is becoming well known, especially due to his remarkable renditions of fan favorite comic book heroines like Storm, Captain Marvel, Psylocke, and too many others to name.

At the time the sketch was posted, Williams was just showing his enthusiastic support of the then-upcoming Wonder Woman film. Fans of the artist's work were quick to show their enthusiastic support of his enthusiastic support!

Yet, there were also many new school comic book fans who weren't aware that Diana had ever had a sister, aside from Donna Troy of the Teen Titans, let alone a black fraternal twin. But, once upon a time, she did indeed have one.

I offer a sketch of two Wonder Women (Nubia and Diana) to show my support for the film. Peace ya'll.#WonderWoman pic.twitter.com/L5Vg9WLeQ1

— marcus williams (@marcusthevisual) June 3, 2017

In February of 1973, during the rise in popularity of blaxploitation films like Shaft, Coffy, Black Caesar and many others, DC Comics showed themselves as "hip to the times" by introducing the Amazon warrior Nubia, with whom Diana duels in issue #204 of Wonder Woman. But Diana — who'd just recovered from amnesia — had no idea who her tall, dark and lovely adversary actually was. The same was also true of her book's readers.

By way of a flashback in Wonder Woman #206, it was revealed that Nubia and Diana were twin sisters, formed as babes from dark and light clay by their mother Queen Hippolyta, and animated into life by the breath of the Goddess Aphrodite. After their miraculous creation however, the God of War Mars appeared and stole Nubia away from her mother and sister.

[Credit: DC Comics]

In the mid-1980s, DC Comics released the popular but also controversial series, Crisis on Infinite Earths. This complex story would serve as a reset button of sorts for the publisher's then-sprawling, multi-dimensional universe. Many of the plot twists that came about in the ensuing years since Wonder Woman and her peers were first created in the 1940s and onward were erased.

Among those countless casualties was Nubia's audacious origin, which left the character being just one of many Amazons on Paradise Island with no special relation to Diana and Hippolyta. The ripple in Wonder Woman's continuity created in 1973 by writer Cary Bates and artist Don Heck never faded, and the appreciation of this little known Amazon warrior endures.

In fitting tribute to that now classic tale of the "Wonder Women," Nubia and her fraternal twin sister Diana — as they forever remain in the minds of many old school comic book collectors — have been given a picture perfect family reunion in a gorgeous work of fan art by Marcus Williams.

[Credit: @marcusthevisual]

Though Nubia has never really had the place in comics that her character deserves, the vision of this talented artist from Atlanta makes you realize that it would be some kind of wonderful to see the separated twin sisters together again on the silver screen in Patty Jenkins' senses-shattering sequel to Wonder Woman — even if only for a moment.

What say you, Patty J? Do you wanna break the box office again?

Leaked? SDCC 2015 Ultimate Spider-Man 'Shanzhai' Teaser Poster & EW Magazine Cover!

[Click to enlarge] 

Are these leaked images of SDCC Ultimate Spider-Man teasers the reason that Marvel Studios and Sony Pictures have so abruptly and mysteriously pulled out of pitching their tents at San Diego Comic-Con next month? St. Paco (aka Professor XXL) ain't really one to spread rumors, boys and girls, but...he's gonna offer a co-sign by spreadin' this one. [Innocent smile]

Making the "Leaked" SDCC Ultimate Spider-Man 'Shanzhai' Teaser Poster & EW Magazine Cover

Between you and me...and a bunch of other people who'll read this, I'd also planned to do a Spider-Man-related mini movie poster back at the time that the Marvel Blaxploitation mini movie poster series was produced (blogged about here). I toyed around with a few different designs, but I just couldn't make it happen. Maybe I had completely run out of creative juice after making the other four pieces in the series. 

Actor/rapper Donald Glover (aka Childish Gambino) has been thought by many to be a promising prospect for the Spider-Man role in film ever since he sprang out of bed rocking Spidey costume pajamas in the opening credits of the Community TV show. The audacious notion of a black Spider-Man even prompted Marvel writer Brian Bendis to actually create "Miles Morales", an all-new web-slinging hero for the 21st century inspired by Glover.

Despite a few years of DG buzz, Marvel Studios recently made known the plans that are being hatched to do another Spider-Man movie relaunch, including the character's introduction into the Avengers movie universe. But right off the bat they made it clear that they intend to use some other as yet unnamed actor, instead of Mr. Glover as Spider-Man. I'd bet my comic book money that I was far from alone in feeling annoyed with that news.

Fortunately for me, though, thanks to the Photoshop™ gods and perseverance on my part, I've had an opportunity to visualize a tiny bit of what has been pinging around inside my brain ever since the idea of Glover playing Spider-Man on screen began to waft through the ether. But first, how about a little bit more backstory. 

 A week ago, during the early part of a phone chat with my friend Gigi, I was gently scolded for my not yet having put together a zine & art show that I had talked about doing; a ten year retrospective on my underground publications and art. She finally cut me some slack, though, since I am still working on essays for the book that I'm writing and designing. 

After that call ended,  I felt inspired to go through old folders on the Mac, and to look over the pieces that I'd planned to showcase in the exhibit. In one of the folders were the previously failed attempts at a Spider-Man mini movie poster. The creative juices promptly began flowin', and somewhere around 2 hours later, it all came together. But I continued to tweek and twerk (no, I didn't really twerk) the design for several more hours.

It's funny how that works, kiddies. Something that didn't at all gel creatively before––no matter how hard you tried to make it happen––finally comes together. Admittedly, though, part of the problem is that you kept (or keep) approaching the subject from the same direction. Yet, by taking the idea back to the proverbial drawing board, and starting from scratch, you achieve the creative breakthrough that you'd hoped for when your project was started.

Beginning this blog entry, I had planned to share some of the disparate visual elements that went into to making the full mini poster image (there's 30 layers to this thing). But now I don't wanna ruin the illusion. I also thought that I'd detail the story ideas that I have for my "Ultimate Spider-Man" movie, which I've set in Chicago, Tokyo and Hong Kong (NYC settings have become a bit cliché in movies today), but I think that I'll hold onto 'em.

 If you liked last year's Marvel Blaxploitation mini movie poster series, then I hope that you'll dig this new addition––and bonus. It was a lot of fun bringing these new pieces to life. Especially when considering the major difficulty that I'd had with making a Spidey piece the first time around. As they say: perseverance pays off. Or is it persistence? [Shrug] Meh. Same thing.

Shoutouts to Donald Glover, Jamie Chung, Jamie Foxx, Brian Bendis, Marvel Comics, Columbia Pictures, Sony Pictures, Entertainment Weekly, Complex, San Diego Comic-Con––and anyone who temporarily fell for the illusion in this digital hatchet job and believed for a moment that an Ultimate Spider-Man movie was on the horizon. Uh, and shout out to Samuel L. Jackson, well...just because. 

Work in Progress – Chico Roland Filmography

I'm not sure if I'm gonna use this in the essay collection that I'm working on, but I've been putting together a filmography on the prolofic African-American presence in old Japanese films and TV shows of the 60s, 70s and 80s known as Chico Roland. If you've seen Gamera vs. Monser X (1970), or Sonny Chiba's The Streetfighter (1974), then you've seen Roland in what are certain to have been his most widely viewed bit parts in the English speaking world. 

With regard to his filmography, it may actually end up being posted on YKFS when it's done, and I may run with something else on him for the book. In the meantime, shared above is the promo poster for the 1968 film, Great Insect War (aka Genocide), one of the thirty-something flicks in which Roland made appearances––but his face is also on the poster. If you're a fan of what is affectionately known in the states as 'Asian trash cinema', then Great Insect War is a must. Roland's amateurish but heartfelt brand of acting is over the top, but convincing.

There's even an action figure of Roland's character Charlie that was included with Shochiku Studios' DVD release of the film in Japan. You're really too cool for school when you can say that you have a toy in your image––in addition to having also filled out a wide variety of large and small roles in Japanese TV shows and films. 

Oh, and if you're indeed game to checking out Great Insect War (aka Genocide), I recommend that you juxtapose that watch against Seijun Suzuki’s Gate of Flesh (1964). Roland had a small part in the latter, but the film overall is a fairly stunning production.

Shochiku Science Fiction DVD – Great Insect War (1968)

Eiji Tsuburaya on remaining childlike

"My heart and mind are as they were when I was a child. Then I loved to play with toys and to read stories of magic. I still do. My wish is only to make life happier and more beautiful for those who will go and see my films of fantasy." – Eiji Tsuburaya

Source: Eiji Tsuburaya: Master of Monsters by August Ragone, page 14

Godzilla vs. Hedora poster, Poland (1971)

Is this Godzilla vs. Hedora poster from Poland graphically badass or what? It would probably look great on your wall.* [Hint-hint] And if you haven't seen the 1971 film Godzilla vs. Hedora (aka Godzilla vs. the Smog Monster) in a gazillion years (as was the case with myself until last fall), or if you've never even seen it at all, a new DVD release from Kraken Releasing and Toho hit the domestic marketplace late last year. Unfortunately, the DVD case isn't half as cool looking on the shelf as the previous Toho releases from Sony Classic Media (blogged about here), but at least you can finally complete that Big G" movie collection. Ebirah – Horror of the Deep (aka Godzilla vs. the Sea Monster) has also been released. 

*Image is sized at 8.5 x 11 (300 dpi), and suitable for framing.

NOW SHOWING...

It's Saturday afternoon, boys and girls, and you know what that means? You bet your Fruit Loops––it's time for Your Kung Fu Sucks! Grindhouse Cinemas™ to bring another senses-shattering installment of the Monsta Mashin' Matinee to your desktops! This month's creature feature is a showing of Yog the Space Monster aka Space Amoeba (1970). And as always, kids, this Vintage Video™ is available as a free avi or mp4 download courtesy of the fine folks over at Archive.org. But you're also more than welcome to watch it front-row-and-center at the YKFS blog. But do bring your own popcorn, Sno-Caps or Jujubees, please.

Akira Ifukube – King Kong vs Godzilla (Main Theme)

Music by Akira Ifukube
Montage by CCM

Toho Master Collection DVD Releases Show Masterful Attention To Detail

Hey there.

Thanks for visiting.

The pulse-pounding post you're probably here looking for has been remixed and remastered with updated history and new pix. You can find the updated post by clicking here.

Mill Creek's 'Gamera Legacy Collection': A DVD box set for the serious giant monster movie collector

This review is from: Gamera Legacy Collection (DVD)

A few weeks prior to its April 29th release date, I was browsing around on Amazon and learned that the release of a new Gamera box set was right around the proverbial corner. I was excited by this news and pleased to see that Mill Creek was responsible for the production of this DVD set. Those folks have given hardcore Japanese giant robot show fans like myself excellent collections of old tokusatsu (special effects) programs like Super Robot Red Baron, Iron King and, best of all, Ultraman.

Having first seen them as rentals, for many years I had wanted to have in my library the Heisei era Gamera films that were made between 1995 and 1999. Prior to their inclusion in Mill Creek’s Gamera Legacy Collection, those films had been previously released in a super affordable Gamera Trilogy Blu-ray box set, also produced by Mill Creek. I, however, don’t own a Blu-ray player and wasn’t ready to scoot out to get one just so that I could finally have the aforementioned films in my video library.

As it often does, though, the heavenly virtue that is patience paid off and I now have all three of the 1990s Gamera films in DVD format. But I also have a whole lot more, and all for a really great price. In addition to those films, Mill Creek’s Gamera Legacy Collection gives me all eight of the Showa era Gamera films made between 1965 and 1980. As a kid growing up in Chicago in the 1970s, I had actually only seen four of those on TV.

When they were released roughly a decade ago, I bought the Alpha Video releases of Gamera the Invincible, Attack of the Monsters, Destroy All Planets, and War of the Monsters, which completed my small collection of the four versions I once saw on TV as a kid. And, since I already owned those, I was pleased to learn that Mill Creek was releasing all of the Gamera films in the original Japanese with subtitles, since the pangs of youthful nostalgia had already been satiated by the Alpha Video releases.

Also, I think I’m becoming something of a purist when it comes to foreign films. This first only applied to American remakes of foreign titles, but it now lends itself to old movies that I first saw as dubs. As such, the DVD issues that I find myself liking most are those that, like some of the recent Godzilla issues, feature two discs that provide the original Japanese and also English dub of a film. This way, whether I’m feeling snooty or nostalgic, I have a version that will feed either need.

I’m also quite aware, too, that the visual masters for the American English dubs aren’t always available for licensing. Taking into consideration that maybe not all of the eleven films included in this collection have even been dubbed into English, I applaud Mill Creek for just releasing them in their unadulterated form. I’ve always wanted to see all of the Gamera films and now I have them in their pure form for a price that I would have happily paid just for three of them.

Yes, Mill Creek has done it again, daikaiju fans, by releasing yet another great collection that will please the hardcore fans of Gamera who also happen to be…literate. The picture quality on the older films in this collection is the very best I’ve ever seen, considering now what is very noticeably lost in the DVD transfers of the old Americanized versions. It’s almost like seeing these movies for the first time. The sound quality and the subtitles are also top-notch, contrary to any reviews posted to Amazon that may whine otherwise.

Read the fine print

At the time that the review that precedes this posting was written to be shared on Amazon, there were a handful of critics -- probably true blue impulse buyers -- whose 3, 2, and 1-star ratings were dragging down the overall product rating on a DVD release that I thought deserved much better.

The main gripe of the negative-leaning critics -- who apparently also had to be among to the very first in line to buy the DVD collection when it came out in April -- was that the films featured were all in the original Japanese language with English subtitles. And most Americans, as we all know, really have this thing when it comes to watching foreign language films with subtitles. "I don't want to read a movie", is the now-seemingly mandatory mantra of this crowd.

But their dislike of reading subtitles must also extend to simple product descriptions as well. Had any of those savvy spenders spent a measly 30 seconds reading the information provided by Amazon on the product page, they could have made an informed decision, instead of buying first and then negatively critiquing later a product that didn't live up to their own ill-informed expectations.

When I was a boy, one of my favorite cautionary punchlines was the one that warns us to read the fine print. But as an adult, all too often I find myself wishing that people would read the not-so-fine print too. 

The Harimaya Bridge – the fine art of storytelling

Even without knowing in advance that filmmaker Aaron Woolfolk was heavily inspired by the legendary director Akira Kurosawa, something about his debut feature THE HARIMAYA BRIDGE called to mind films by Kurosawa like DREAMS and RHAPSODY IN AUGUST. It's nothing on the surface of the movie that can be quickly interpreted or discerned. It's something much more subtle and nuanced that comes through in the very natural pacing of the story and the sensitive development of its characters. It also seems to come through in the deep level of attention that Woolfolk, like his cinematic inspiration, pays to the sumptuous rural settings chosen for this film that reflect the Japan of old through modern eyes–as opposed to the country's more often seen urban environs. All this, however, isn't meant to say that THE HARIMAYA BRIDGE, Woolfolk's first feature, is a flawless masterpiece. It isn't. But it is a very masterful directorial debut that is often as visually stunning as it is emotionally stirring. With a fantastic cast that includes Ben Guillory, Saki Takaoka, Misa Shimizu and Danny Glover (also the film's producer), THE HARIMAYA BRIDGE is a densely layered portrait of the extended human family that touches on a complex variety of themes, including romantic and familial love, bigotry, loss, sorrow, discovery, tradition, and the unexpected bridges that can lead us to redemption and forgiveness. I highly and enthusiastically recommend this film. SP