Categories
Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

THERE CAN BE ONLY ONE {Cover: from 1986’s Highlander} (by The Seattle Symphony Orchestra: Michael Kamen’s Opus)

SUMMARY:                                   RUNNING TIME: 3:31 Min.

In conjunction with Queen, composer-conductor Michael Kamen devised the score for the 1986 Highlander film.  “There Can be Only One” is the pivotal theme narrating Connor MacLeod’s mid-16th Century training by his mentor, the flamboyant Ramirez, as an immortal duelist.  This cover is performed by the Seattle Symphony Orchestra for the 1998 Michael Kamen’s Opus retrospective album.  Short of a complete Highlander soundtrack, “There Can Be Only One” is a rare track to find. 

REVIEW:

Queen’s exuberant Highlander soundtrack is entitled A Kind of Magic, but it’s Michael Kamen who conveys the movie’s symphonic magic.  This distinctive track is proof.  Epic in scope, Kamen’s “There Can Be Only One” is instantly familiar to anyone who’s seen the movie.  Specifically, it spells out MacLeod/Ramirez’s (Christopher Lambert & Sean Connery) scenic training montage.  In addition to fans of A Kind of Magic, this theme is absolutely recommended for instrumental and classical music enthusiasts. 

BRIAN’S ODD MOON RATING:                      8½ Stars

Note: Kamen’s orchestral work on 1991’s Robin Hood: Prince of Thieves soundtrack is also recommended.

Categories
Classical, Electronica, & New Age Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

THEME FROM ‘SOMEWHERE IN TIME’ (by John Barry & Roger Williams: Somewhere in Time movie soundtrack)

SUMMARY:                                    RUNNING TIME: 3:23 Min.

Recorded by composer-conductor John Barry and pianist Roger Williams, this instrumental concludes 1980’s Somewhere in Time movie soundtrack.

REVIEW:

Both lush and serenely beautiful, with a precise touch of melancholy, this orchestral love theme is an absolute gem.  It’s well worth a download for any classical music and/or instrumental soundtrack enthusiast.   

BRIAN’S ODD MOON RATING:                          10 Stars

Categories
Digital Songs & Albums Electronica & Epic Individual Tracks (Digital Albums & Singles) Music & Radio Shows

THE WOLF AND THE MOON (by BrunuhVille: Aurora)

SUMMARY:                                 RUNNING TIME:  3:59 Min.

Released by Portuguese composer, BrunuhVille, this instrumental is the fifth track from his 2014 album, Aurora

REVIEW:

Conveying a northern lights-type theme, “The Wolf and The Moon” is reminiscent of the 1992 Last of the Mohicans movie soundtrack.  Every creative element, including its flute work and background vocals, proves ideal, as BrunuhVille is at the top of his game.  Accordingly, “The Wolf and The Moon” would be an excellent accompaniment for a movie trailer.  In terms of epic adventure playlists, this track is highly recommended as a download option.

BRIAN’S ODD MOON RATING:                      9 Stars

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Categories
Digital Movies & TV Movies & Television (Videos) TV Episodes & Movies TV Series TV Series (Specific Episodes)

THE MUNSTERS {Unaired 1964 TV pilot – Color}

SUMMARY:                               RUNNING TIME: 15 Min.

Filmed as a test reel by Universal Studios to shop around prospective TV networks, this partial 1964 episode was the first Munsters TV pilot.  It was finally released for public viewing in 2004 in time for its 40th Anniversary.  

Phoebe Munster: Joan Marshall                                 

Grandpa Dracula: Al Lewis                                        

Marilyn Munster: Beverley Owen

Edward “Eddie” Munster: Nate Derman

Herman Munster: Fred Gwynne                                 

Jack: Edward Mallory

REVIEW:

Watching this rare, unaired pilot with my wife, she succinctly described it  as “dull.”  True enough – and there’s more to it.  The campy Munster charm is sadly absent in a number of ways.  Here’s a rundown. 

Note: This episode was subsequently re-filmed in black-and-white for the first season with Yvonne De Carlo and Butch Patrick. 

  1. Color.  Seeing this episode in color proves something of a letdown.  While the gothic Munster mansion comes to life, the same effect, ironically, doesn’t do the cast any favors.  It merely spells out their elaborate costumes. 

Nonetheless, Universal Studios chose to film the TV series in black-and-white to save a few bucks.  Such practical thinking also conveniently lifts the vibe of Universal’s old-school monster movies.  Make no mistake, the cheapo gimmick works — letting a viewer’s imagination fill in the necessary colors on the TV series adds to the fun.

2. The Scripting.  The premise is standard-issue Munsters, but the half-hearted script doesn’t pitch the regular cast anything funny to do.  Launching a favorite TV series gag, only guest star Edward Mallory (he would replay this scene for the remake, too) scores a chuckle with his sped-up back-pedaling upon meeting Uncle Herman on the family doorstep.

3. The Make-Up.  It’s mixed results – even skipping Beverley Owen altogether (as she appears the same as she would in the first season).  Joan Marshall’s vampire make-up is terrific, but, yes, she closely resembles her rival: Carolyn Jones’ Morticia Addams.  Nate Derman’s werewolf look is meant to be cute, but it resembles what one might expect for a middle school Halloween play. 

The pale bluish-green hue for Al Lewis is unremarkable, as his TV series ‘Grandpa’ exudes a more appealingly cartoony look.  Impressively, Fred Gwynne has the pilot’s best make-up, but this asset backfires.  Despite closely replicating Boris Karloff’s classic 1930’s Frankenstein look, Gwynne’s severe appearance would likely confuse kids: are they watching Karloff’s Frankenstein … or not? Tweaking Gwynne’s make-up and bulking him up to convey family man ‘Herman’ as a lovable buffoon is justifiable. 

4. Acting & Chemistry.  Here’s the biggie.  The top-billed Marshall’s dour performance is competent enough, but it lacks the necessary charm.  Comparatively, Yvonne De Carlo would infuse her ‘Lily Munster’ with the ideal blend of ‘vamp-and-camp,’ so to speak, for a wacky family sitcom.  De Carlo grasped the show’s satirical premise for laughs; Marshall, at least, as directed, did not.  As for Owen, it’s just a walk-through of her TV series role. 

Derman plays ‘Eddie’ as a bratty young werewolf, but, reflective of his age, his amateurish play-acting is grade school-caliber.  The difference between Derman and Butch Patrick’s ‘Eddie’ is that Patrick played the role like a real-world kid – this subtle dose of reality goes a long way.  Given nothing amusing to do, Al Lewis’s ‘Grandpa Dracula’ is awkwardly restrained, unlike his hammy TV series incarnation.    

Lastly, there’s Gwynne.  His Herman/Frankenstein’s Monster is played straight-up as a semi-befuddled, suburban dad.  He’s isn’t a goofy lunkhead yet, so Gwynne’s basic sight gag goes only so far.  Case in point: his opening scene isn’t LOL hilarious like it ought to be.  Further, Gwynne’s chemistry with Marshall is only serviceable.  The fresh on-screen magic he later generates with the TV cast: De Carlo, Lewis, etc. is non-existent.  This perception is confirmed watching “My Fair Munster” (Season 1: Episode 2) — with De Carlo.  Gwynne & De Carlo’s teamwork is a hoot to watch by comparison. 

If anything, viewers would have likely rejected Gwynne’s best-known role, had this weak rendition of The Munsters gone into production as is.  The TV series wasn’t meant to score acting Emmys, but its heart was in the right place re: all-ages entertainment value.  This “My Fair Munster” plays like the early draft it is – the concept has some potential, but the execution isn’t close to there yet.

BRIAN’S ODD MOON RATING:                 2½ Stars

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Categories
Comic Books & Graphic Novels Marvel Comics

SPIDER-MAN UNLIMITED # 13 (2006 MARVEL Comics)

“MacArthur’s Diner” Written by Aaron Williams. Art by Casey Jones; Danimation; & Dave Sharpe.

“24-Hour Bug” Written by Lenar Clark. Art by Tim Smith 3; Don Hillsman; Sotocolor’s A Street; & Dave Sharpe.

Cover Art by Jõao Silveira.

SUMMARY:

Released by Marvel Comics for March 2006, this issue showcases two one-shot tales written and/or illustrated by newcomers to Spidey storytelling.  First up is “MacArthur’s Diner,” as a hungry Spider-Man tries scoring a complimentary meal from a less-then-impressed diner owner.  His freebie dinner becomes contingent upon first helping persuade unrepentant dine-and-dasher Rhino to scram.  In “24-Hour Bug,” Mary Jane, with some help from Aunt May, gets to nurse her ailing husband after a nasty stomach bug he catches pursuing the Vulture.   

REVIEW:

One wouldn’t know just looking at the nicely-produced cover what’s coming.  The unmasked Peter looking over his shoulder implies an imminent helping of Spidey-drama.  While that’s typically fine, this particular issue’s appeal should extend to casual fans of Spider-Man comedy in various cartoons and movies. 

Going 2-for-2, Spider-Man Unlimited # 13 sports two wonderful Spider-Man sitcoms, with some inspired LOL moments.  Keeping it refreshingly simple, both writers aim for lightweight character pieces that should spark a chuckle out of anyone.  The same applies to the two art squads, as the amusing visuals enhance the Spidey joyride readers are taking.  This issue is recommended for anyone, who can appreciate a good chuckle reading comics.  For this amusing issue, Spider-Man Unlimited # 13 gets two thumbs-up!           

ADDITIONAL CONTENT:

The first page is all-purpose.  There’s a quick cast roll call, the creative credits, and some quick bios introducing Aaron Williams, Casey Jones, Lenar Clark, & Tim Smith 3.  

BRIAN’S ODD MOON RATING:                               8 Stars

Categories
Comic Books & Graphic Novels Independent Publishers (Comic Books & Graphic Novels) Marvel Comics

SPIDER-MAN/BADROCK # 1B (1997 MARVEL Comics & MAXIMUM Press)

Written by Dan Jurgens

Art by Dan Fraga; Lary Stucker; Jon Sibal; Livesay; Norm Rapmund; Richard Starkings; Comicraft/KS & AD; & Extreme Color (Don Skinner, Ron Rife, Tanya Horie, Jeff Voeltner, Brett Evans, & Andy Troy)

Variant Cover Art (as seen below) by Stephen Platt

SUMMARY:

Teaming up, Marvel Comics & Maximum Press released the conclusion of their Spider-Man/Badrock two-parter for March 1997.  It’s entitled simply as “Crossing Over, Part 2 of 2.”  In a New York City ambush, Venom has downed this makeshift duo.  Fighting back, Spider-Man & Badrock face a continuing gauntlet of Spider-foes: Carnage, Green Goblin, Hobgoblin, and the Vulture. 

Readily annoyed, they must then backtrack their suspicions re: the elusive culprit playing head games with them.  Meanwhile, J. Jonah Jameson’s exclusive photo shoot with the Youngblood squad is held up by some extortion from his least-favorite staff photographer.  With Mary Jane’s help, Peter passes on a rare Battlestar Galactica souvenir to Badrock.

Note: Two covers were produced for this comic.  The other cover artist is Dan Fraga.

REVIEW:

Think of it as a Maximum Press homage of the old Marvel Team-Up series.  In that sense, Spidey & Badrock sport surprisingly good chemistry together, such as a propensity to instantly recuperate from seemingly severe injuries.   Including a barrage of A-list Spider-foes, an amusing Daily Bugle sequence, and a sweet last page courtesy of Peter & Mary Jane, this issue supplies a surprisingly good read for all ages.  Dan Jurgens’ reliability writing Spider-Man in more of a lighthearted vein carries much of the load.  To Jurgens’ credit, he welcomes Badrock with near-equal screen time. 

Impressively, the Maximum Press crew conveys the likable visuals (including the cover) in a consistent manner that lives up to Marvel production values.  Even if the plotting is just business-as-usual, the satisfying Spider-Man/Badrock # 1B is worth adding to any comics collection.    

ADDITIONAL CONTENT:

None.  

BRIAN’S ODD MOON RATING:                                  7 Stars

Categories
Agatha Christie-Related Books & Novels Mystery & Suspense

HERCULE POIROT: THE LABORS OF HERCULES

Written by Agatha Christie

SUMMARY:

First published in 1947, William Morrow/HarperCollins released this 314-page paperback edition in 2011.  Like Sherlock Holmes before him, the legendary Hercule Poirot contemplates a quiet retirement to the British countryside.  Inspired by his mythical predecessor, Poirot handpicks a dozen cases during the coming months that serve as contemporary parallels to the original herculean ‘Labors.’  An elderly Poirot deems such a gauntlet a worthy challenge to finish his career, but is he really retiring?  

His self-imposed ‘Labors’ are:

  1. The Nemean Lion: Looking into a Pekinese dog-napping ring, Poirot’s memories of an old homicide case infers  that history is apt to repeat itself.    
  2. The Lernean Hydra: Salacious village gossip haunts Poirot’s new client: a mild-mannered physician … and his prospective next spouse re: the death of his first wife. 
  3. The Arcadian Deer: Sympathizing with a lovestruck young mechanic, the Belgian sleuth seeks out an elusive woman known only as ‘Nita.’ 
  4. The Erymanthian Boar: In Switzerland, Poirot finds himself among the few trapped inside a posh mountain resort with a ruthless thief’s gang.
  5. The Augean Stables: At the British Prime Minister’s behest, Poirot counter-punches a sleazy tabloid intent on exposing a humiliating government corruption scandal to the public.
  6. The Stymphalean Birds: A rising young politician on a Central European vacation unwittingly becomes involved in a murder-and-blackmail scheme.       
  7. The Cretan Bull: A young woman seeks Poirot’s insight probing her fiancé’s apparent insanity amidst a series of grisly overnight attacks. 
  8. The Horses of Diomedes: Poirot backtracks an illicit source of cocaine circulating amongst a faction of wealthy and young London socialites. 
  9. The Girdle of Hippolyta: The Belgian private eye tackles dual crimes: a teenage student’s baffling abduction during a class trip and an international art heist. 
  10. The Flock of Geryon: In a sequel to The Nemean Lion, Poirot recruits a recent acquaintance to go undercover investigating a religious cult. 
  11. The Apples of the Hesperides:  Poirot is hired to recover a lost historical artifact: a jeweled goblet with a dark history dating back to the Borgias.  
  12. The Capture of Cerberus: A Hell-themed London nightclub (as does a familiar Russian countess) beckons Poirot, in a sordid jewel theft case.

Notes: Representing Poirot’s supporting cast are appearances by Miss Lemon, valet George, and Scotland Yard’s Inspector Japp. 

REVIEW:

Despite overplaying her ‘Labors’ theme at times, Christie’s premise still holds up well.  Her content includes wistful romance (The Arcadian Deer), some grisly suspense (The Erymanthian Boar and The Cretan Bull), satirical humor (The Nemean Lion and especially The Augean Stables), and, of course, a few reliable crime capers (The Lernean Hydra and The Girdle of Hippolyta).  Pitching more unusual challenges for Poirot, The Apples of the Hesperides and definitely The Capture of Cerberus convey sufficient surprises to keep readers tuned in. 

Only three installments are unremarkable.  Re: The Stymphalen Birds, Poirot’s ultra-convenient arrival is never explained.  In that sense, the Birds might just as well have been a Parker Pyne tale.  The story is okay, but its witless young politician is practically a caricature.  The Flock of Geryon’s premise makes better sense, but it relies too much on criminal dirt that Poirot and Inspector Japp expediently dig up that readers couldn’t have known. 

The weakest tale, however, is the preachy Horses of Diomedes, as Christie overindulges lecturing on the evils of cocaine and drug dealing.  Too many clues evidently occur off-screen, as Poirot’s deductive revelations aren’t fair game, at least from the minimal context Christie provides.  Horses should have been a Poirot novel’s sub-plot by allowing more time for it to sufficiently unfold.

Otherwise, Poirot is on his game, as these tales (free of racist undertones found in some Christie works) are ideal for bedtime.  Even if The Labors isn’t a genre masterpiece, Poirot’s casework is still above-average.  The book’s best is likely the delightful Augean Stables, aside from its too many references to the mythical Stables.  Not only is the ending LOL hilarious, the Stables’ amusing realism still holds true in the 21st Century re: the follies of 24/7 media obsession and scandal-mongering. 

For its tongue-in-cheek jibes re: Hell, The Capture of Cerberus is another near-gem.  If anything, it’s an intriguing second (and possibly last) chance for Poirot to mingle with his flamboyant equivalent of Irene Adler.  Considering its reliable entertainment value, The Labors of Hercules is recommended for armchair sleuths, ages 15 and up.  

ADDITIONAL FEATURES:

The first page is Christie’s biographical summary.  Along with an obligatory table of contents, Christie dedicates her book to Edmund Cook. 

BRIAN’S ODD MOON RATING:                         8 Stars

Notes: Another worthwhile Poirot short story collection is Poirot Investigates.  Similarly, Christie penned Partners in Crime (the second Tommy & Tuppence novel), Miss Marple’s The Tuesday Night Murders, Harley Quin’s The Mysterious Mr. Quin, and Parker Pyne Investigates.   

Categories
Comic Books & Graphic Novels Independent Publishers (Comic Books & Graphic Novels) Mystery & Suspense Sherlock Holmes-Related

SHERLOCK HOLMES # 1 (2009 DYNAMITE Entertainment)

Written by Leah Moore & John Reppion

Art by Aaron Campbell; Tony Aviña; & Simon Bowland

Cover Art by John Cassady

SUMMARY:

In late 2009, Dynamite Entertainment’s opener for this five-part mini-series is released.  It’s entitled “The Trial of Sherlock Holmes, Part One: A Smoking Gun.”  In October 1895, a warehouse’s massive explosion rocks London’s East End.  It’s a grim warning shot of urban terrorism by an unknown bomber.  While an admiring Baron Albrect Lothair’s visit to England intrigues Holmes, retired Scotland Yard Assistant Commissioner Samuel Henry’s predicament is Holmes & Dr. Watson’s immediate priority. 

Suffering from tuberculosis, the ailing Sir Henry has been targeted for death by the shadowy terrorist(s) for an unknown motive.  Unless the ex-Assistant Commissioner willingly consents to being murdered inside his own home at a specified time, additional bombs will be detonated across London.  As Sir Henry’s bodyguards the following night, even the combined forces of the legendary detective duo and Scotland Yard’s best can’t thwart a shocking locked-room outcome.      

REVIEW:

In spite of rave industry reviews from Jeph Loeb, Ed Brubaker, & J. Michael Straczynski on the back cover, this first issue has potential — but it’s not some instant masterpiece.  Dynamite’s visual inspiration is apparently Peter Cushing’s Holmes, as recreating his British hawk-like approach makes good creative sense. 

Much of the time the production values are above-average, including a few stellar panels (i.e. the explosion on Page 2).  However, the artwork is muddled in some places, making it harder to distinguish characters from one another (i.e. Inspector Lestrade from Watson).  Still, as with the cover image, the artwork succeeds well enough in delivering the goods.

Including a welcome late twist, the plotting conveys a semi-intriguing premise that might well keep Doyle fans tuned in.  The question is whether or not there’s really enough going on “A Smoking Gun” to snare casual readers into following Holmes’ unusual dilemma.  If anything, this issue makes a good sampler for the complete “Trial” compiled in Dynamite’s Sherlock Holmes, Volume 1 trade paperback (released in July 2010).         

ADDITIONAL CONTENT:

There’s a single-page “Dynamite Dispatches” column.  The back inside cover is a full-page cover reveal for Issue # 2.  

BRIAN’S ODD MOON RATING:                     7 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

NORTH AND SOUTH – MAIN TITLE {1985} (by Bill Conti & The London Symphony Orchestra: Highlights from The Right Stuff/North and South soundtrack)

SUMMARY:                   RUNNING TIME: 3:46 Min.

In 1985, composer/conductor Bill Conti and The London Symphony Orchestra released an instrumental album consisting of highlights from 1983’s The Right Stuff and 1985’s North and South TV mini-series.  Conti’s original symphonic track accompanies the opening credits for each of North and South’s initial twelve episodes.

Note: As of 2008, a limited-edition CD set of Conti highlights from North and South Books One & Two was released.

REVIEW:

It’s all a matter of approach.  In that sense, Bill Conti’s soaring North and South theme won’t be confused with Randy Edelman’s grandiose yet somber main title for 1993’s Gettysburg.  While Edelman’s piece conveys a fateful march towards immortality, Conti emphasizes North and South’s fictional soap opulence.  Still, Conti’s larger-than-life approach is as equally vivid as Edelman’s, as both themes must accommodate huge casts and even larger production values. 

For Conti, it’s all about conjuring up a majestic, big-budget ambiance, and he admirably accomplishes the task.  Not only does his theme effectively advertise North and South’s all-star cast, its low-key finish nicely segues into each episode’s initial scene.  Accordingly, Conti’s theme is a textbook example re: how to effectively hype an epic historical romance from the get-go. 

BRIAN’S ODD MOON RATING:                            8 Stars

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Categories
Comic Books & Graphic Novels Marvel Comics

NEW AVENGERS ANNUAL # 1 (2014 MARVEL Comics)

Written by Frank Barbiere

Art by Marco Rudy & VC’s Joe Caramagna

Cover Art by Marco Rudy

SUMMARY:

Billing it as an Avengers annual, Marvel Comics released this 36-page Doctor Strange one-shot entitled “Self-Surgery” for August 2014.  In the present-day, at the behest of an ancient order he befriended long ago, the Sorcerer Supreme is in the Tibetan mountains.  Versus an extradimensional parasite, Strange battles for the fate of a young girl. 

As told in black-and-white flashbacks, Strange recalls a humbling tragedy as a young neurosurgeon.  Despite his colleague’s protests, the future sorcerer’s brash ego re: salvaging impossible medical cases leads to a heart-breaking failure.  With this old lesson in mind, the present-day Strange resorts to a desperate gamble saving an innocent child from the demon parasite’s soul-consuming evil.   

REVIEW:

Reminiscent of the murky visuals in DC’s epic Seven Soldiers saga, this enigmatic Doctor Strange deep-dive carries middling appeal.  Re: its visual approach (Marco Rudy’s accurate cover image notwithstanding), the ambiguous artwork tries too hard conveying mystery and abject horror.  Still, the easy-to-follow flashback scenes accomplish what’s necessary without toying around with readers too much.    

Also reflecting Grant Morrison’s bizarre Seven Soldiers-style plotting, too few details re: this parasitic demon’s powers are revealed.  At least, writer Frank Barbiere spells out the tale’s main thrust of Strange’s belief in preserving lives, no matter how steep the price is.  While the ending implies a potential future twist (i.e. a now-corrupted Doctor Strange), the story sorely misses input from Strange’s fellow Avengers for some welcome variety. 

Hence, this New Avengers Annual # 1 merits a single read, as the Sorcerer Supreme’s demonic battle comes off too muddled for its own good.

ADDITIONAL CONTENT:

None.  

BRIAN’S ODD MOON RATING:                         5½ Stars