Thunderball

Thunderball ~ This is probably the second James Bond movie I ever saw, after Goldfinger, from back in the day when ABC would show Bond like every couple weeks on their movie of the week.  I remember thinking the ads the week preceding of Bond in a jet pack were pretty cool.  And Thunderball was the first Bond book I actually read (despite the librarian's disapproving frown), realizing that Ian Fleming's James Bond and his cinematic cousin were decisively two different people. 

Last year's TCM Classic Cruise showed a trio of early Bond films - this one, From Russia with Love, and one of my all-time favorites, Goldfinger - but rearranging schedules to see other events, dinner reservations, etc., made it impossible to see all three, even when they repeated them.  They just need to make the Cruise longer if (let's hope they do) they continue it.  I made it to Thunderball though, because priorities, you know.

This one, taking place partially in the Bahamas, seemed appropriate for a cruise traveling the Caribbean.  It is known as the film that sparked the legal dispute that fractured the franchise for decades, but it's also the biggest money maker, adjusting for inflation, and one of the best of the series. The humor is brief and sharp, this is mostly an action flick, but a fun action flick that is also deadly serious. I like it. This is Bond.

Thunderball, directed by Terrence Young, who also did Goldfinger, has James Bond uncovering a plot to steal atomic bombs and ransom them back to NATO.  The culprit?  Of course, it's SPECTRE.  Like I said, classic Bond, classic espionage.  Our villain this time out is Largo as played by Adolfo Celi (later dubbed), with Bond girl Domino played by Luciana Paluzzi. 

Sean Connery is, as always, on mark. Although I had to laugh, he runs through most of this film in bathing trunks the way the late Roger Moore sleepwalked through his last three or four in a tux.  M (Bernard Lee), Q (Desmond Llewelyn), and Moneypenny (Lois Maxwell) are perfect maintaining their roles, and we get one of my favorite and most fun Felix Leiters in Rip Van Nutter.  I also loved the sense of a Team Bond in this installment, that he has support, just like a CW superhero.

The problem, as with many Bond films, is the dated sexism.  Sometimes you can get past it by seeing it as a product of its times, and sometimes, as is often the case with Thunderball, it just makes one cringe.  It's just really bad in this one.

In this viewing, especially after seeing how underwater filming was done on 20,000 Leagues Under the Sea on this cruise a decade before, I really marveled at the underwater combat scenes in Thunderball.  It's shameful that the same scenes years later are done so badly in the pseudo-remake Never Say Never Again.  You'd think the technology would have improved.  I was also stunned that there was almost no dialogue during the final fight at the end of the film, odd, but well done. 

I have to say I enjoyed this one more as an adult than as a kid, and infinitely more on the big screen.  One of the best, just like the theme by the great Tom Jones.  Recommended.

Pirates of the Caribbean, Again?

Pirates of the Caribbean: Dead Men Tell No Tales ~ How many of these things are there? I understand the desire to move away from numbers in franchise titles as the Marvel movies do, and decades before with James Bond and Godzilla, but here with the Pirates movies I can't tell one from another, and it hurts my desire to see them, as I might get the continuity mixed up. I don't even know if this is movie number four, five, or six. Shouldn't that (and I'm not the only one with these questions) bother the folks in charge?

Of course the idea that Johnny Depp's Captain Jack Sparrow has rarely been either protagonist or antagonist in these films makes the storytelling difficult and therefore the continuity hard to follow. And Depp is no longer the sweetheart, matinee idol, and box office draw he used to be, so it might be advantageous for the studio to make some definitive decisions about this franchise, or just end it.

This one is set several years after the last one, whichever one that was, and still revolves around Captain Jack Sparrow. This time his compass unlocks the curse of the Devil's Triangle, and the Flying Dutchman, and the Trident of Poseidon, and whatever other kitchen sink mumbo jumbo McGuffins were needed for this mess of a movie. But honestly that's not fair, it's only Depp that makes the film unwatchable.

They try very hard to make a good movie, with a convincing plot, and believable performances, and stunning special effects - but every moment that Johnny Depp is onscreen it becomes a politically incorrect cartoon, that after a while, becomes frankly insulting. The character is annoying, sexist, and takes the focus off the story and the rest of the cast. Disney is removing the 'we wants the redhead' sequence from their Pirates ride, how about getting rid of the alcoholic misogynist Captain Jack as well?

As I said, the effects of the ghosts of the Triangle are quite amazing, and so are the undead sharks, even though I am so sure there was a board meeting where someone stood up and said two words with a grin on their face, "zombie sharks," and immediately got this flick greenlighted. All that aside, the undead sharks are freaking cool.

The Paul McCartney cameo where he sings "Maggie Mae" seemed way out of place, but I'm glad they got it over early and quick. Geoffrey Rush, Kaya Scodelario, and Javier Bardem were terrific when not being upstaged by Depp, but the real stars here are the effects and the event status of the flick. Blink and you're miss Paul McCartney singing "Maggie Mae." Attempts are made to tie up many of the loose ends from the previous three or four movies, but don't forget to stay for the after-credits scene that hints at a certain villain's return.

All in all, this was a bit too long, but was entertaining, and would have been a lot better without Johnny Depp. His time in the spotlight has long ago moved on.

Remembering Adam West

This one hit me hard, folks, and I learned about it much the same way I had heard that John Lennon was dead. I awoke the next morning to my radio playing Beatles song after Beatles song, thinking what a great way to start the morning, with Beatles music.

For Adam West, it was similar, happy to sad. I had just spent a terrific day with The Bride at EPCOT, we were getting on the bus, and I checked my phone, hitting Facebook. I saw a really cool picture I'd seen before - my good friend Andy Burns, our friend JP Fallavollita, and Andy's daughter (in fierce Wonder Woman cosplay) standing in front of the Batmobile (the real Batmobile) with, you guessed it, Adam West and Burt Ward. I was jealous the first time I saw the picture, and jealous this time, so I posted as much. I was in a good mood, and then I saw other Facebook posts on my feed… Adam West had passed away at the age of 88. I was crushed. It was if my childhood had dropped out from under me. I was staggered by this for a couple days. It couldn't be true.

My earliest memory regards an incident in my family first house.  I was around two and stepped on a heating grate burning my foot.  I don't remember any of that, but what I vividly do recall is my brother giving me a toy Batmobile to get me to stop crying.  At our second house shortly after that the room I shared with my big brother had only two things on the walls: a Detroit Lions pennant and a picture of Batman.  I have talked before about the 1966-69 "Batman" TV series starring Adam West being the gateway drug to comics for not only myself, but for an entire generation.  In many ways, my childhood has taken a hell of a hit. 

Adam West as Batman affects me to this day.  This past weekend I thought of him on three different occasions before learning of his passing.  Andy's photo on Facebook was one.  I saw Return of the Caped Crusaders on Blu-Ray in a store and I thought I needed to own it sooner or later.  And at EPCOT on the Test Track ride, I deliberately tried to design a car just like the Batmobile. 

Other than his wild global success as Batman, Adam West had a pretty rough life, battling depression, alcoholism, and typecasting.  It wasn't until he came to terms with always being remembered as Batman that things turned around for him. Gone were the days of getting shot out of a cannon and doing terrible pilots like "The Precinct."  Batman could overcome anything.  His unique deadpan camp humor even found a home on "Family Guy," conquering a whole new television generation. I even met him once, great guy.

Adam got the Batman gig after producers saw him playing a James Bond parody for Nestle Quik commercials.  Ironically he would be considered for the role of the real Bond years later.  He beat Lyle Waggoner for the title role on "Batman," who probably would not have been able to pull it off.  Batman would take over the world – Adam West himself has been quoted as saying that the sixties were all about the three Bs - Beatles, Bond, and Batman - and it's true.  And "Batman" would not have worked without West.  He was the only choice. 

West had done other things, movies like Mara of the Wilderness, Robinson Crusoe on Mars, and Poor Devil all of which I loved, and are recommended, but he always returned to Batman, whether it was on "Superfriends," the 1970s Filmation "Batman," as the Grey Ghost, Back to the Batcave, or the aforementioned Return of the Caped Crusaders. 

Adam West passed away on Saturday after a short battle with leukemia, he was 88.  In my mind and in my heart, he will live forever as the only Batman that counts.  We have lost a true legend, and the Bat-Signal burns for you, my friend. 

Roger Moore 1927-2017

Actor and humanitarian Roger Moore has died. His family announced today that he had passed from cancer after a lengthy battle with that and various ailments beginning with a diabetes diagnosis in 2013. He was most well known for his seven-film stint as James Bond 007 in the 1970s and 80s.

Last week when I reviewed Octopussy, I was not so kind to Sir Roger Moore, and while it's true he had (literally) become a clown in the role by that point, he did star in two of my favorites from the franchise Live and Let Die and The Man with the Golden Gun. Notably he was in the role for the most films so far, and is still the best James Bond for many fans. And for prepubescent me, he was my favorite Bond as well, but perhaps that shows where the movies were aimed at the time.

Bond wasn't all Moore should be famous for. He was incredible as "The Saint," also on TV, he was fun in "Maverick." In particular, he was a favorite of mine in the infamous but much fun Spice World, with the Spice Girls. Roger Moore was a legend and he will be missed. I'll be watching a few of his Bonds and raising a martini to his memory, shaken, not stirred.

Rest in Peace Chris Cornell

Soundgarden and Audioslave front man Chris Cornell took her own life last night after performing with the reunited Soundgarden in Detroit. I had been texting with a Facebook friend about the concert when it was done. He was telling me what a great show it was, and how bigger things were coming for the band. He texted me later, saying that Cornell was dead. He had hanged himself.

I admit, until last night, it had been a few years since I thought of Chris Cornell. I loved his "You Know My Name," the first real rocker to be a James Bond theme in decades. I was never really an Audioslave guy, but Soundgarden was on my playlists long before Cornell became one of the founders of the grunge movement in Seattle. I loved their cover of the Ohio Players' "Fopp" early on and played that to death on mixtape after mixtape. I stayed with the band through grunge success, and remember the summer of 1991 with Temple of the Dog with Cornell on lead singing "Hunger Strike," which whenever it came on the radio I would yell back, "Domino's delivers." Fun times.

Here's the part where I usually say we've lost a legend, and he will be missed, and we have, and he is, but there's just something missing there. My good friend, and a terrific writer, Jessica A. Walsh, posted something on her Facebook wall that says exactly what is really on my mind. Chris Cornell seemed okay last night, he seemed amazing, and now he's gone. Here's what Jess wrote:

"Chris Cornell's apparent suicide is another reminder that what people reflect on the outside may not at all resemble how they're feeling on the inside. You can work, laugh, play music, hang out on social media, have a loving family, and still be dying inside.

"That's why we need to spend more time communicating and building relationships and being of service to one another."

Thank you, Jessica. And if anyone out there is feeling this way, please talk to someone, talk to me, talk to anyone. You have friends, you have choices, you have life, and it can all work out.

Octopussy

Octopussy ~ Confession time, I've never seen Octopussy in its entirety until fairly recently. I didn't see it in the theater, even though I was in college by then and could have. I guess at that point I just didn't care any more about Bond.

By the time Octopussy came out I had spent the seventies watching James Bond on ABC movies of the week. I loved them, watched them every time, edited or not. I had even been lured to the library to read the source material by Ian Fleming, being chastised by the librarian, bless her heart, that I was too young (junior high school) for "that trash." Shame on me!

But as far as the movies go, I had long before figured out that Sean Connery was the man, and that Roger Moore in his ridiculous indestructible tuxedo was only playing it for laughs. That said of course, Live and Let Die remains a favorite guilty pleasure. It would finally take both Duran Duran and Grace Jones to get me into a theater with Bond and Moore in A View to a Kill, but I think we all know what a mistake that would be.

Like many Bond films 'based' on Fleming work, the jump from page to screen is just cray-cray. Only the title and character are lifted from the short story collection "Octopussy and The Living Daylights," although a scene from another story therein, "The Property of a Lady," is included in the film. Even as a sniggering teenager I thought Fleming's femme fatale names were a bit much, and 'Octopussy' was just waaay over the top.

The movie comes from a time when Bond was mad camp, constantly trying to one up itself from the last entry. Seriously one could put a bat-costumed Adam West in some of these situations and it would be more serious. A tale of Faberge eggs, killer circuses, and a smuggler named Octopussy, it just does not hold my attention well. I think I would rather watch the non-canon remake of Thunderball, Never Say Never Again, released in the same year, at least that was exciting. This one breaks a cardinal Bond rule - it's boring.

There are some spectacular stunts, some beautiful locales, and a better than average theme by Rita Coolidge, but it's just not good enough. Roger Moore is showing his years, his toupee, and his disdain for the role. Maud Adams doesn't have the charisma her character demands in all of her scenes. And Moore in the clown suit and the gorilla suit... is just shameful and embarrassing. I think I'll skip this one if it comes on again, a disappointment.

20,000 Leagues Under the Sea

20,000 Leagues Under the Sea ~ For a kid, tales of Jules Verne, and especially Captain Nemo, just fire the imagination, and this film has always been a grail for me in this way. I of course had read the books, but I had seen the movie Mysterious Island, with its great Ray Harryhausen effects, first, with Nemo as a peripheral character and yet so large - I wanted more. When I finally saw the 1954 Disney version of the real Nemo saga, I was thrilled.

Originally imagined as an animated feature over a decade before, Walt Disney eventually decided to make the move to live-action with this story, investing much in special effects, and winning Academy Awards for the effort. Coupled with an all-star cast - James Mason, Peter Lorre, and Kirk Douglas - this was a sure-fire hit, although the truth is it took several re-issues to get its money back. Either way, it remains a pinnacle of the genre, inspiring generations, just as the source material of Jules Verne did.

I got the chance to see this on the big screen recently at the 2016 TCM Classic Cruise, and it was introduced by Craig Barron and Ben Burtt, two of the men behind the special effects on the Star Wars movies, who were also spurred by this film to become the SPFX wizards they are today. The boys gave a 30-minute presentation about the making of the film, the special effects, and the miniatures, which was fantastic, featuring footage from the Disney vaults never before seen.

The cast is simply stunning, with James Mason as the prototypical Bond villain a good decade before they really hit the screen, as Captain Nemo. The camaraderie between Douglas and Lorre, and Douglas and Esmeralda the seal too, as a matter of fact make this a buddy movie before its time as well. Kirk Douglas' Ned Land is flamboyant, loud, and lovable, and we do love him, and root for this hero throughout the movie. We love him so much that the wonderfully addictive and simultaneously obnoxious "Whale of a Tale" song is even excusable. You will be humming it for days after seeing it.

Highly recommended, a classic Disney adventure that we have rarely seen since.

Arrow S04 E22: Lost in the Flood

In the last episode of "Arrow," the town of Havenrock was nuked in order to save the much more populous city of Monument Point. The unavoidable death toll is in the tens of thousands instead of millions. The disaster has made Damien Darhk near invincible. He's powerful enough to kill Green Arrow and Spartan, but he doesn't, so they will live long enough to die in the armageddon when Darhk gets the rest of the missile codes. Rookie James Bond villain mistake - always kill the heroes, always.

Felicity is taking it hard, and she had a hard choice, she didn't want anyone to die. They're going to need help to keep the codes from Darhk, so she enlists Curtis, who more than a little starstruck by her hacker dad, the Calculator. I loved when he said to Felicity that she now made so much more sense, and also the WarGames reference. Of course, in retaliation Darhk enlists Cooper Seldon from "The Secret Origin of Felicity Smoak" to work the opposing side of the hack. I loved the Eye of Sauron on the screens when Cooper took over the Team Arrow computers.

Meanwhile Thea is being held prisoner by dear old dad Malcolm Merlin inside Darhk's Experimental Prototype Community of Tomorrow (yeah, I went there) after Anarky killed her boyfriend, who was not Dr. Davis after all. Anarky, who's hunting Darhk, may actually be more of a monkey wrench in his plans than Team Arrow. I am so sick of deus ex machina in these superhero shows of late, Anarky better not be the one to take out Darhk.

While Felicity is called away to deal with the domestic trainwreck that is her parents, and Green Arrow and Spartan discover Darhk's underground EPCOT, Quentin Lance is alone in the Arrowcave. It's during this time that Sara Lance returns from her time journey with "DC's Legends of Tomorrow." If you watched the season finale the next evening you know what happens when she learns Laurel has been killed. Like on "Doctor Who," Laurel's death is a fixed point in time and cannot be altered. Sara returns to the time stream.

On Flashback Island, Taiana is possessed of the power of Reiter's Khushu Idol, and planning to bring it home to her village to take revenge on the warlord there, a guy named Kovar. Interesting, the only Russian named Kovar in the DC Comics Universe is the superhero Starfire/Red Star, decidedly a good guy last I checked. Unfortunately, Reiter is still alive and isn't letting anyone leave with the idol.

Back at Darhk's Noah's Ark/EPCOT Thea been drugged and wants to kill Oliver. Merlyn steps in and says the most truthful thing that's ever been said in four seasons of this series. Oliver has always had an inability to do what is necessary. What's he going to do? It's already been established he's not going to kill Merlyn. Only John Barrowman. Cold hard truth. And right there, with those words, Merlyn takes the crown as Green Arrow's archenemy.

Inside the Ark, things have gone to hell, for exactly the reasons I had feared. Team Arrow has nothing to do with actively defeating the bad guy, again. While they stopped Darhk from getting the missile codes and foiling his plan, it's Anarky who makes the crushing blow. While the whole ark city is going up in white dwarf star alloy powered flames, little Lonnie Machin kills Ruve Adams.

As you can imagine, Darhk is at the end of his rope. And why he didn't kill Merlyn for his continued failures is beyond me. Malcolm and Oliver are just different sides of the same coin. As Darhk visits Felicity, Curtis, and Donna he promises to bring hell to them.

For my other reviews of the entire "Arrow" series, click here. And if you'd like to discuss this episode and anything else in the Arrowverse, please join the Arrow Discussion Group on Facebook.

Next: Schism, the season finale!

The Lost World

The Lost World ~ I first saw this 1960 update of Arthur Conan Doyle's The Lost World on the afternoon movie when I was maybe five or so. I had seen excerpts on the Gene London show early Saturday morning and then the whole thing later that afternoon. Maybe a year later I saw it again on a weekday afternoon with my big sister and her then boyfriend/now husband as she made a home cooked meal for them while they watched. Yeah, I was the annoying baby brother, but still the film holds good memories.

The Lost World was an early work of Irwin Allen, who besides creating some wonderful scifi television like "Lost in Space," "Land of the Giants," and "Voyage to the Bottom of the Sea," later pioneered the disaster film with The Poseidon Adventure and The Towering Inferno. He was campy cool and to a five year old, a film genius. Heck, I still dig his stuff at fifty-one. Allen produced, directed, and co-wrote this one.

The bearded Claude Rains is protagonist Professor Challenger, who with Michael Rennie, David Hedison (of the aforementioned "Voyage" and Felix Leiter in two James Bond flicks), Fernando Lamas, and the very young token female Jill St. John in tow, takes a trip to a lost plateau in Venezuela where dinosaurs still exist (yeah, the same one from Up). Rains is quite fun, Hedison overshadows Rennie sadly, and St. John plays the even sadder dual role of independent woman and damsel in distress. All that said, the cast's chemistry is tight and entertaining.

The updating of the story is well done except for the special effects, which might really tick the folks at PETA off in this day and age. One of the things that stands out most about this movie are the 'dinosaurs.' While Allen originally wanted to use stop motion for the dinosaurs, budget constraints led to iguanas, crocodiles, and monitor lizards with horns and fins attached. Yeah, I know.

This was waaay old school, a practice dating back to the Flash Gordon serials and cruel treatment of the animals, especially when they are made to fight each other. It's also quite distracting and takes the viewer out of the movie when Challenger calls a beast a brontosaurus and one can see it's obviously a monitor lizard. Some of this 'giant' reptilian footage was recycled for some of Allen's TV shows.

All things considered, this is a great traditional adventure with a wonderful pulp flavor - fun, thrills, and Jill St. John in tight pink pants - well worth seeing. Irwin Allen at his campy best, and still as good as it was when I was five.

In Like Our Man Flint

First I have to confess it's been at least four decades since I've seen either of the Derek Flint movies. When I saw they were both OnDemand (as opposed to one or the other), I decided it was time to sit down and refresh my memory.

All my life I have loved the James Bond movie series, and with that, also the numerous copycats, homages, and parodies. So I dug Flint as a kid, but I recall liking Matt Helm a lot better, and even today, Dean Martin's swaggering spy is a fave and a delight. As I got ready to watch the two Flint films, I wondered if it would change my mind.

James Coburn's Derek Flint is a retired super spy from Z.O.W.I.E. (Zonal Organization for World Intelligence and Espionage - you gotta love those 1960s acronyms) who is now living the life of a classic playboy. In the first film, 1966's Our Man Flint, he's brought out of his retirement to stop Galaxy, a cabal of evil scientists who want to rule the world.

One thing I enjoyed, and wished more movies would do this with their protagonist, is that much like Indiana Jones in Raiders of the Lost Ark, we are shown and know everything we need to know about Derek Flint in the first ten minutes. He's a man of culture, of intelligence, of mad skills, has an affinity for women, a dislike for his boss, and a wry sense of humor. Speaking of his boss, the legendary Lee J. Cobb has great chemistry with Coburn and it's a delight when the two are on screen together.

There are some clever plot twists, colorful sets, cheesy 1960s effects, beautiful women, an early cool jazzy score by Jerry Goldsmith, and lots of silly spy gadgets and cliches. The flick is dated, yes, and the plot falls apart if you think too hard, but it is parody after all. Highlights include Bond wannabe Agent 0008 and a baddie named Hans Gruber, yeah, as in Die Hard like twenty years later.

If you look close you'll see Edward Mulhare from "Knight Rider," and Charmin pitchman Mr. Whipple, and if you listen close to the President's voice - yeah, that's the Green Hornet himself, Van Williams, imitating then-Prez Lyndon B. Johnson.

The sequel In Like Flint was released a little over a year later. Even though many of the same folks are involved, this tale of a spa company taking over the world and turning the patriarchy into a matriarchy (sooo sexist and dated), is a weak sister to the original. Notably not as clever, one glaring difference is the music. In Our Man, music moved along the slow parts, and here many of the slow bits go silent.

Lee J. Cobb is toothless and nothing like his character in the original, and Flint is too nice. I found myself disliking them both whereas I loved their performances in Our Man. It's like the first movie was "Batman" clever but the second was unfunny like the later Pink Panther films, trying but never quite making it. Not to be mean, but I know why there wasn't a third Flint flick. And speaking of "Batman," look for pre-Batgirl Yvonne Craig as the ballerina in this one.

After this double feature, I would have to say I still prefer Matt Helm, and I could probably wait another four decades to see these two movies again. Now I know why the only memory I have of them previously is the sound of the ring of the President's phone.

Sharknado 3: Oh Hell No!

With Sharknado, the third time is the charm, and by now, let's face it, The Asylum is just having fun. After protecting Los Angeles and New York City in Sharknado and Sharknado 2: The Second One, Ian Ziering's Fin Shepherd has to save the entire east coast, from Washington DC (which gets demolished better than it did in either Independence Day or Mars Attacks) to Orlando. Camp silliness rules, and guest stars and product placement are everywhere. Could you expect anything else? Truly, Thunder Levin and The Asylum are laughing all the way to the bank.

The opening destruction of Washington was just as exciting as the James Bond intro it was trying to emulate. It was funny, thrilling, and ridiculous - and it sets the mood for the rest of this flick. Be warned, despite the inherent silliness, Sharknado 3: Oh Hell No! is remarkably plot heavy. While Tara Reid, Bo Derek, and the rest of Fin's non-acting family tour and promote Universal Orlando - he's making his way there from DC in an armored Shazambago.

Two of the best things about this flick are the drivers of that Winnebago - Cassie Scerbo as Nova from the first Sharknado and her sidekick Frankie Muniz. I'll take Cassie over Tara any day myself. Also look for cameos by Lou Ferrigno, Ann Coulter, Michael Bolton, Anthony Weiner, Chris Jericho, George R.R. Martin, Penn and Teller, Ne-Yo, and hell yes, even David Hasselhoff.

Like its two predecessors, this flick is a hell of a lot of fun from start to finish, and as it aired last night, plans were finalized for not just Sharknado 4, but this being a regular event. I'm down. And don't forget to vote in the Twitter contest for #AprilLives or #AprilDies... Why does this remind me of Jason Todd? Semper paratus!

RIP Patrick Macnee

We've lost another one of the legends of genre, one of the masterful actors of our time. Today, at the age of 93, we have lost Patrick Macnee.

Most of the time when folks read or hear me talking about the Avengers, it's the Marvel superhero comic, but Patrick Macnee was part of another Avengers team, the cool Avengers. In the 1960s spy series "The Avengers," Patrick Macnee played the quite dangerous gentleman in the bowler hat and the quick dry wit, and the always sexy female companion. Whether it was Honor Blackman, Julie Stevens, Linda Thorson, Joanna Lumley, or the dazzling mod minx Diana Rigg who accompanied him, John Steed was the epitome of quirky cool. "The Avengers" was smart fun television, the likes of which has rarely been seen since.

The series was by far his only claim to fame however. Macnee was an actor for decades, one of his first roles was in the Alistair Sim (the best) version of A Christmas Carol as young Marley. He's been in James Bond projects, played Sherlock Holmes, been in dozens of TV shows, and most memorably he was the demonic savior Count Iblis in the original "Battlestar Galactica." Macnee was also in This Is Spinal Tap, and he was even an invisible agent in the much-maligned theatrical version of The Avengers.

Macnee was a star of stage and screen, both silver and small, even appearing in music videos by the Pretenders and Oasis. We've lost a legend, and he will be missed.

Entourage the Movie

HBO makes this promise a lot, and usually it only happens with "Sex and the City," never stuff we really want like "Deadwood," but lo and behold, here's the movie extension of "Entourage." I always enjoyed the show, and dug the adventures of Vincent Chase and the boys, so I was down, and caught the flick on a quiet afternoon the day it opened. In the theater it was me and about ten other guys, no women.

And that is understandable, as "Entourage" is definitely a guy show, one might even call it the antithesis of "Sex and the City" if one were being flippant. The guy majority of the audience was intriguing to me based on what got laughs and vocal reactions during the film, and especially the previews. Paper Towns got booed, while Spectre and Southpaw got cheers. Yeah, you got the vibe.

As much as I loved the TV series, and while I was entertained worth my seven dollar payout, this was really just a hundred-plus minute television episode. There was really nothing that made this stand out over and above any story arc of the series. Other than money, couldn't HBO have just continued the series? Don't get me wrong, I liked it, and loved seeing it on the big screen, but couldn't this have just been half a dozen episodes of the series instead?

I dug the cameos, the widescreen locations, and even the Turtle subplot with Ronda Rousey (the best and most believable of the subplots), but some of it seemed forced. Lloyd's marriage, Johnny Drama's 'victory,' and E's baby all seemed like extras to artificially up the ante for a movie format. It felt fake, unlike Vinnie's re-imagining of Hyde.

As always, Entourage is a tale of friendship, of guyhood, and of getting girls. It's an entertaining hundred minutes, but I'm unsure it has the pull or tenacity to gain new viewers in this outing. For fans.