Dr. Who and the Daleks

First things first, and those who know will just have to bear with me, but there is a very important lesson to be learned in the title of this film. It's all in the spelling. Dr. Who is an eccentric inventor played by Peter Cushing in two movies about the Daleks in the 1960s. Doctor Who is a Gallifreyan Time Lord played by over a dozen actors in the BBC television series for over fifty years. Two different things, however similar, got it? And Dr. Who from King Kong Escapes and the Rankin-Bass "Kong" animated series has nothing to do with either.

When "Doctor Who" first featured what would become his primary nemeses, the Daleks, the UK was caught up in a hysteria nearly as mad as Beatlemania. Daleks and Who were everywhere. Seeking to cash in, the BBC rushed into production this movie Dr. Who and the Daleks, and a year later, its sequel Daleks - Invasion Earth: 2150 A.D. It is a re-imagining of the "Doctor Who" TV series, to use the modern vernacular, and the first time we see any version of these characters either in color or widescreen. This was a treat for the times, despite the differences.

In the television series, while it has been presented as a pun on occasion, The Doctor is never referred to as Doctor Who. In the movies however, this is his name. He is a kind old man (as opposed to William Hartnell, the then current and first Doctor, being gruff and unpleasant at times) played with charming eccentricity by Peter Cushing. He is at times childlike and the source of thoroughly British dry wit, but in this fan's eyes, still very much a possible Doctor.

The rest of the TARDIS crew are essentially the same albeit recast for the movies. While Susan is still his granddaughter, changes had been made with the characters of Barbara and Ian. Barbara here is also a granddaughter and Ian is her suitor. In the series, there may have been some romantic chemistry between the two but it wasn't shown until years later when it was revealed that they had married.

We're launched into the story rather quickly, which is nice, no long secret origins or unnecessary exposition, just into the time machine and onto another planet, boom. The story, by the way, is based on the second serialized episode of the TV series, "The Daleks," written, as many later Dalek episodes would be, by Terry Nation. The crew arrives on the planet Skaro (though unnamed until the sequel) which has been ravaged by a nuclear war between the Thals and the Daleks.

What follows is a typical Daleks adventure, but in color and widescreen. The sets and backgrounds are slightly better than that of the TV series, but again kinda cool in color. The Daleks themselves are a little bigger than their TV counterparts, and so much more intimidating. The Thals, on the other hand, are very groovy, therefore dated, and somehow suited more to say Barbarella than "Doctor Who."

Dr. Who and the Daleks is a fun romp, if in some places a bit boring and corny. And if you catch it on TCM, you get to hear Ben Mankiewicz mangle the pronunciation of 'Daleks' multiple times in his intro and outro. I love ya, Ben, but come on! Every Who fan should see this at least once.

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.

Howard the Duck

Back in the day, before the internet, when newspapers (yeah, remember them?) would do their occasional slow news day story on how comics weren't just for kids any more, there would always be certain elements brought up. First off, they'd have most of their facts wrong, second the headline would have a lame Batman '66 sound effect in the headline, and third, they'd be talking about one of three characters - the Shazam! Captain Marvel, Judge Dredd, or Howard the Duck. The thrust of the article was always comics are for adults now, wow, who woulda thunk it? with an undertone of old comics are worth money. Both of these myths helped to derail how comics are perceived today.

These inaccurate newspaper articles are where I first encountered Howard the Duck, usually on the cover of the first issue of his titular series, with a cigar in his mouth, a sword in his hand, and Spider-Man on the inset of the cover. There was also a scantily dressed woman behind him and the banner that read, "Trapped in a world he never made!" I had no idea at twelve what any of that meant. So I never picked up the book.

A duck in the mostly superhero Marvel Universe didn't make sense to me. Sure he had weird scifi fantasy origins but he first appeared in the Man-Thing horror comics, and Marvel horror wasn't something I'd pick up on until much later. Howard was just weird, he looked like Donald Duck from Hell, and of course now might be a good time to mention Disney (before they owned Marvel) sued to make Howard wear pants, removing some of the litigious similarities.

When the Howard the Duck comic strip showed up in my local paper (those things again?) I just didn't get it. I dismissed it as too smart for the room like Doonesbury or any of the other political stuff. Then came Iron Duck. This was the first issue of Howard the Duck I ever picked up, almost four years into his run. This parody of Iron Man was the reason I bought it, and therein I learned not just that Howard was a master of Quack Fu, but that his foe in that issue was a guy named Doctor Bong. This villain wore a bell on his head and hit it with his clapper hand to make horrible sounds. I was sold.

I guess by then I was old enough to get it, and after that I really dug Howard the Duck. I understood what a genius creator Steve Gerber was to create a character that only entertained, but also commented on society. This was so cool. And then Marvel took Howard away from Gerber in a web of legal complexity too big to get into here, and the Duck vanished for a bit. Little did I know that when Howard returned, it would get worse.

The late summer of 1986 saw the release of George Lucas' Howard the Duck, which was, believe it or not, Marvel's first theatrical release. Although Lucas had originally intended it to be animated, it was unfortunately live-action, which of course made the idea of a talking duck ridiculous. We ended up with a little person in a bad duck costume. Things did not get better from there.

Howard the Duck is frequently acknowledged as not only one of Lucas' biggest bombs, but also as one of the worst movies ever made. The film stars Lea Thompson as a barely recognizable Bev, Howard's human female companion, Tim Robbins as a scientist, and Jeffrey Jones as another scientist possessed by a Dark Overlord of the Universe, the villain of the piece. No one shines here, even Thompson who's trying awkwardly to start a musical career. Also Broadway's Chip Zien provides the voice of Howard. I think Ed Gale was in the duck suit.

The scientists are trying open up dimensional gateways, and end up pulling Howard from Duckworld, and also pulling in a cosmic nasty called the Dark Overlord of the Universe. The thrust of the movie is all about getting that genie back in the bottle to save the Earth. As if the duck suit isn't embarrassing enough, the opening credits sequence shows us quite a bit of Duckworld, which is filled with more embarrassing duck suits. The opener also features the sad John Barry score. It's good, but so wrong for the film. Apparently Barry thought he was scoring a slow noir or a sixties melodrama.

The more modern music of the film was one of the few things I did like. How could I not like a collaboration between Thomas Dolby and George Clinton, two of my faves? Dolby did most of the music, and even those songs attributed to Lea Thompson and her band 'Cherry Bomb.' Yeah, I confess, this is a guilty pleasure, but I dig the music. The soundtrack is no longer available but I have a few of them still.

I remembered hating this flick the first time I saw it back in 1986, and I have to say, it's still pretty bad the second time around. There's so much to struggle through - Howard as a lapsed rocker who becomes Bev's manager, their bizarre relationship that was made even more bizarre in the movie, and special effects nowhere near Lucasfilm's usual output. I only laughed once, when Jeffrey Jones says, in the Dark Overlord's voice, "She took my eggs." at a diner. It's become a running joke with friends ever since. And let's not even talk about Jeffrey Jones' hentai tongue.

Rumor says that overall Steve Gerber thought the essence of Howard and Bev made it into the film. Honestly I don't see it. I really don't see Howard at all, but if it's any consolation, I don't think I've seen the real Howard since the seventies in the comics, since Gerber left him. The film is not recommended, please do check out some of the original comics though.

Daredevil S01 E07: Stick

I had mentioned before that I'm not a big Daredevil guy. If that's not embarrassing enough, the next bit will be. My introduction to Stick was Splinter. That's right, the rat sensei of the Teenage Mutant Ninja Turtles, Splinter, was my introduction to Stick, Daredevil's martial arts teacher and enemy of The Hand - or as they're known in the TMNT universe, The Foot. And the thing is, I was only barely aware of the Turtles.

When the TMNT cartoon was hot, a friend who was really into them pointed out that they were originally based on a comic I might enjoy. He thought it was a comic I would dig because it mocked the comics I didn't like. TMNT was a parody of all that ninja mumbo jumbo nonsense that Frank Miller had made Daredevil into. My Daredevil was a swinging swashbuckler in San Fran who fought the Jester, the Owl, and the Stilt-Man - not what I'd seen in that title of late. But TMNT intrigued me. I loved the parody, and shameful as it is, it's where I learned of Splinter, I mean Stick.

In the comics, Stick was also a blind man, and like Daredevil possessed a kind of radar sense, and so when he encountered the young Matt Murdock, trained him in the use of it. Stick was the leader of a martial arts/super powered group called The Chaste, whose students also included Elektra. The Chaste's mission was to eradicate The Hand. Stick eventually died in that pursuit. He might have also encountered Wolverine back in the 1930s. As I've said, I'm not a big Miller fan, so beyond that, details are iffy in my mind.

Stick, as portrayed by Scott Glenn, makes his first and supposedly only appearance in Netflix's "Daredevil" in this self-titled episode. Rumor has it that originally showrunner Steven S. DeKnight wanted Sonny Chiba for the role, but I think this works out better. Of course as we see in our pre-credits scene, Scott Glenn is pretty damned Sonny Chiba...

In the opening, Stick is after a businessman in Japan, and by after, I mean Quentin Tarantino style. Somebody is going to die horribly either by gun or sword. Stick is looking for something called Black Sky, and takes first the guy's hand, and then his life to find out what he wants to know. Whatever Black Sky is, it's on its way to New York.

Back in New York the Owl is doing some accounting for Mr. Nobu, and intimates that he knows that his people (are they The Hand?) are bringing something into the docks. Owlsley's intention is an unofficial alliance in case the Kingpin turns on them as he did the Russians, but Nobu will have none of it. Just as they leave and we know whatever Black Sky is, Nobu's people are getting it, Daredevil confronts The Owl, and as he's about to get the info he needs, his prey gets the upper hand and tases our hero. When Stick coincidentally finds Daredevil, it's flashback time.

Folks who are regular readers of my reviews know my feelings on superhero secret origins especially in film and television. Get in and get out, or don't mention it at all, and get right to the real story. I was so proud of this "Daredevil" in that they did the origin in just a couple minutes in the first episode. Daredevil is a Silver Age Stan Lee superhero, blah blah blah, radiation creates heroes, villains, and monsters. We get it, move on.

Based on those thoughts, one might think I would hate this episode. Logically you'd be right, but I don't. Scott Glenn, doing his curmudgeonly best David Carradine crossed with Robert Durst, saves these sequences. I love the bit in the park where Stick trains young Matt to open his world and read it, and equally love when he judges the adult Matt for what he's done with his life.

Stick is here in Hell's Kitchen, fighting the war he spoke of so often when training young Matt. This war this night involves the weapon called Black Sky, what Stick refers to as the bringer of shadows. It's not something Matt wants in his world. The two strike an alliance. Matt helps Stick stop Black Sky, and Stick promises he won't kill anyone. Yeah, that's gonna work, especially when he says it Robert Durst style.

We also get a bit of our work triangle - Matt, Foggy, and Karen. Over and above their discussion of the vigilante the paper is calling 'the devil of Hell's Kitchen,' we get just enough of the three actors' chemistry to know we want more. Charlie Cox and Elden Henson are especially good together, as I've said before. Even Foggy knows now what we've known since episode one, Karen is hiding something. Maybe she's a vampire? Oh yeah, that's right.

Speaking of Karen and her secrets, no matter how good Deborah Ann Woll and Vondie Curtis-Hall are separately, they unfortunately lack that same chemistry I mentioned above. When Karen and Ben Urich get together to trade notes, even the master actor can't save the scene from seeming awkward and long. At least he's aware he was the target last episode. Perhaps in the future the awkwardness might be saved as Karen finally brings Foggy into Ben's house of cards circle.

Black Sky turns out to be a child, in torn clothes and chains, delivered to the docks in a big storage unit. While Black Sky appears to be a boy, Stick only refers to him with the 'it' pronoun, as if he is a thing. In the comics, The Hand does have an interest in artifacts of supernatural or demonic origin, just as Stick himself has an interest in powered individuals. Witness his seeking out Daredevil and Elektra as students with The Chaste.

Stick claims to have killed Black Sky but it happens off-screen, and given his past with the truth, I wonder if it happened the way he says it did. "Daredevil" takes place on the edge of a universe of superheroes. Matt and company co-exist with the Avengers but the worlds don't really intersect. I think this is one case where the edges start to blur, and we'll be seeing more from this particular episode in future Netflix series as we build toward "The Defenders."

The appearance of Stone at the end seems to be an assurance of that, whether here, in future series, or in the second season of "Daredevil." Scott Glenn is amazing as Stick, and equally amazing are the fight sequences between him and Matt, both as a kid and as an adult. Props go to Skylar Gaertner as young Matt. The kid is really good too. Excellent episode all around.

Remembering Late Nights with David Letterman

As I watched the finale of "The Late Show with David Letterman" last night I couldn't help but remember how much a part of my life the man was and is. Now I have to be honest, I haven't really paid all that much attention to Letterman since he moved over to CBS, but I did watch both "Late Night" and "The David Letterman Show" which aired on weekday mornings in the early 1980s.

As far as the morning show went, I remember laughing out loud at it, and my mother thinking I was weird because she couldn't figure out what was so funny. I also recall when "Late Night with David Letterman" came along he would refer to that morning show as 'way back in the late fifties.' Before this of course I knew Letterman from his stand-up comedy and guest-hosting on "The Tonight Show."

I remember that Philadelphia came to "Late Night" late (pardon the pun), not airing the show until a few months after it had begun. However, back in the analog day of pre-digital cable, I could precariously hold the dial between Philadelphia NBC affiliate channel 3 and NYC affiliate channel 4, and get a reasonable broadcast of "Late Night" from New York.

This is the way I first met Larry 'Bud' Melman, Chris Elliott, and Stupid Pet Tricks, the most memorable (and disturbing) of which had a dog drinking milk from his owner's mouth. I remember frequent guests Sandra Bernhard, future frenemy Jay Leno, and fellow only-New Yorker (at least at the time) Howard Stern. I was much happier when I could see the show on channel 3 finally, and remember seeing great acts of the day like R.E.M. and Indigo Girls.

Still, even though I hadn't watched much of "The Late Show," I'm sad to see Dave go. Last night's viewing only cemented the reasons that I should have been watching. Have a great retirement, Dave, come back and visit some time.