“He may not be Superman, but he’ll be a living symbol of what this country stands for!”
One thing I found most inexplicable about Albert Pyun’s 1990 “Captain America” adaptation is the curious presence of the cast of “A Christmas Story.” Either, they were in town for a press junket, or Pyun just loves the movie, because they appear throughout the film. Melinda Dillon has a walk on role as Steve Rogers’ mom who gives him a memento to take to the war with him, while Darren McGavin has a supporting role as a corrupt politician working with the Red Skull. What, did Peter Billingsley opt out of playing Bucky? In either case, director Albert Pyun does the best he can with so little, and 1990’s “Captain America” is still a terrible comic book movie, in spite of the nostalgia value it holds. Only real collectors will want to pick up this latest Shout Factory release, as director Pyun really doesn’t know how to construct a great Captain America movie.
“Ninja III: The Domination” encapsulates everything you loved about the eighties. There are ninjas, Sho Kosugi, Aerobics instructors, Lucinda Dickey with puffed hair and an Aerobics uniform playing an arcade in her house, a synth pop soundtrack, and yes, a callback to “The Exorcist.” To reflect upon the fitness-centric decade, Dickey’s character even seduces a man by pouring V8 juice down her body. Teaming a revenge film with a possession film, “Ninja III” is every bit the silly genre mashing I remember from when I was a kid. While I have fond memories of Lucinda Dickey being called upon by her floating sword back then, “Ninja III” watches surprisingly well today. It’s silly as all hell, but in the end it’s a fun eighties trip that you can’t help but smile through from beginning to end. And who didn’t love Ninjas back then?
I’ve always had this idea that the sequels to Tobe Hooper’s “Texas Chainsaw Massacre” were just glorified remakes of the first film. While it’s true they’re all very similar, filmmakers didn’t start to remake Hooper’s horror film until “The Next Generation.” The Hooper fueled sequel, and “Leatherface” are different films from the first film with finales that are in fact nearly identical to the end of the first film. It’s almost as if the writers never really know where to go once they’ve had their fun, and just go back to the whole dinner scene where the heroine screams bloody murder for thirty minutes. Wherein the second film in the series had poorly developed story, “Leatherface” really has little story.