One of my first introductions to the Zatoichi series was through the 1989 samurai action film “Blind Fury” which established the blind samurai to American audiences through actor Rutger Hauer. Since Hauer was king back in the eighties, this is one of the rare instances where he plays not just a hero, but a hero with an immense ability for good who is unbelievably charming. ‘Blind Fury” is a modernized and altered adaptation of the seventeenth “Zatoichi” film entitled “Zatoichi Challenged” which is in many ways fixed for the eighties set pieces, but possesses some of the same moments from the original film series. Including the moment where Zatoichi’s young ward tries to pass off a rock as a piece of candy to Zatoichi who surprises him by spitting it back in his face.
Tag Archives: B
Batman (1966)
So we learn in ten minutes of “Batman: The Movie” that Batman manages to store and keep handy a Bat Copter in a warehouse manned by a bunch of workers without actually giving away his identity as Bruce Wayne, office buildings oddly house a large group of scantily clad groupies all of whom will willingly stand on a launch pad to wave at Batman (so much for covert operations), and that Batman labels the ladder in his copter with “Bat Ladder.” Oh so this is the Bat Ladder! I often get it confused for the Hyena Ladder and the Panther Ladder. Good thing it’s labeled. Prudent. Also, even if a shark is robotic, it’s vulnerable to shark repellent.
The Bat (1926)
Batman creator Bill Finger cites 1926’s silent crime thriller “The Bat” as one of the primary inspirations for Batman. And it’s easy to see where he draws his influences from. The Bat in this film is actually a criminal and a master one who steals from the rich. Like Batman he has a bat beacon, he brands all of his calling cards with a bat shaped symbol, The Bat dresses up like a giant bat with a cape and all, and rather than a utility belt, he wields a utility bag where he stores his tricks and supplies including a bat shaped grappling hook. The similarities just don’t stop there. The Bat climbs tall buildings with his ropes and uses the rooftops as his stalking grounds, lurking in the darkness.
Batman: Ashes to Ashes (2009)
I guess this can be considered a fan film worth watching. Only if you’re willing to endure what it has to offer in the way of pathos and cruelty. “Batman: Ashes to Ashes” pretty much re-thinks the mythos of Batman while knocking off classic movies in the process. Directors Samuel Bodin and Julien Mokrani take from “A Clockwork Orange,” “Batman Returns,” and heavily relies on imagery reminiscent of “Sin City” to get its story moving, while characters like Harley Quinn are turned in to femme fatales with major villains playing only small parts.
Bad Channels (1992)
This is one of the first Full Moon movies I’ve ever seen that was scored by Blue Oyster Cult, so even if the movie sucked, there’s a good chance the movie rocks by default. Blue Oyster Cult manages to provide a raucous and rocking soundtrack for what is generally a cheesy and absolutely goofy piece of early nineties schlock, but it has genuine camp value in its corner, as well as the always attractive Martha Quinn as a heroine.
The Bad Seed (1956)
For the most part, “The Bad Seed” is a classic horror film that lives up to its reputation of being an infamous movie about a little monster who will stop at nothing for gratify herself and her own ego. She’s the product of over privilege and an abundance of deifying from the people around her. To get it out of the way, my one gripe with “The Bad Seed” is ultimately the ending. Since audiences couldn’t bear watching a film end on a downbeat with the villain winning, and the studios insistent on the bad guy losing in the end, no matter how contrived or tacked on it seemed, the climax to “The Bad Seed” keeps the film from being a perfect thriller.
Batman Forever (1995)
Burton out. Keaton out. Score out. And apparently, Bruce Wayne, out. “Batman Forever” is where the series started to eventually fall off the fails and Joel Schumacher’s approach toward these movies are completely different and absolutely radical from what Burton originally envisioned. Burton depicted Gotham as a sprawling endless canyon of darkness and shadows while Batman was mostly polarized and closed off outcast from the world. In Schumacher’s eyes, Gotham is now a bright and neon wonderland and Schumacher’s handling of Batman and many other key characters of the mythos make “Batman Forever” in to a veritable gay burlesque show.