While I’m admit it’s rare, there are times I find myself asking “Just who was this picture made for?”

See, the point of storytelling has been – and should always be – to craft a meaningful yarn built to embrace the widest audience possible.  Certainly, there’s always room to stray a bit of that path – if the film is meant to be more educational in nature – and there should still always be just enough space for folks both in front of and beyond the camera to inject the effort with a little something extra, a little chutzpah, an air of freshness.  Ultimately, if a team has assembled a work of art that’s essentially intended just for their little group, then it runs the risk of being ignored or completely misunderstood outside on one’s personal or professional circle.  This doesn’t mean releasing it to the public-at-large is a bad idea; but those involved should be prepared for the disappointment if the critical consensus winds down to a confusing sense of “Well, what was that all about?”

Now, I’m not saying – definitively – that this is the kind of picture Bunker Heights (2026) is.  Written by, directed by, and starring Drew Fortier, I’ll conclude that most definitely it was a loose vanity project – you can’t have that measure of involvement and not have some personal investment in there – and the film surprisingly meanders along at a reasonable pace (there’s some bloat) to what might be best described as … well … acceptable entertainment.  Though it suggests in spots that it might be trying to say something about a specific time and/or place, the story still gets a bit bogged down in nothingness to the point wherein I just didn’t quite care for how it all tied up and/or what it all meant.

Mind you: I think it was made for a certain audience.  I just don’t think that audience was you or me.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …”

From the film’s IMDB.com page citation:

“A savage collision of crime, comedy, and creature horror unfolds when corruption, violence, and something monstrous emerging beneath the city streets plunge Bunker Heights into chaos.”

Growing up in a small town has advantages.

For instance, a classmate of mine had a huge desire to go into filmmaking; and his parents at one point gifted him what I believe was an 8MM camera.  Instead of just documenting little-to-nothing and experimenting with the thing, he chose to gather some friends together every now and then and actually produce a zero budget epic, something loosely strung around a few story points that his makeshift cast would then pick up and run with.  These weren’t any heavy hitters by any estimation; and yet we could still get together as a group some weekday eve and laugh at these finished ‘motion pictures’ entirely because that’s why and how they were made.  It was all good fun.

2026’s Bunker Heights from Drew Fortier feels like it could’ve been the same thing but on a much grander scale.  Arguably, there’s much more story than our humble group would ever have attempted – small town politics, broadcast news shenanigans, some secret government monster-making facility, and a tired police veteran who has grown tired of trying to fit the pieces together with a sense of justice – but the overall milieu remains the same.  Throwing the monster business into the mix is, most likely, the only element here that has a significant chance at hooking an audience wider than those involved; and yet in the end there’s so little of that goodness that those who do find this are probably still going to be disappointed.

As for the story: an unfortunate labor strike of the police force has the already overworked Derek Tucker (played by Fortier) quickly moving up the ladder (whether he likes it or not, much less being qualified or not) when some gruesome murders look to involve a murderer something more than human.  Hotshot reporter Julia Stevenson (Hannah Fierman) will stop at nothing to get the inside scoop if for no other reason than it’ll be her ticket out of the dead end Bunker Heights has turned out to be.  Eventually, circumstances require the two to work together; and alongside the somewhat wacky Doctor Young (Paul T. Taylor) they’ll make a stand against an emerging threat of undead mutants who are hungry for human flesh in just the way undead mutants always are.

Now, if you can’t tell, then let me assure you that this is all intended to be more than a little tongue-in-cheek.  While a few of the players muster a bit of seriousness, their candor likely is only being used to build to a punchline that’s forthcoming; and – if you’re patient – then you’ll reach each of the modestly telegraphed jokes as they unfold in perfunctory fashion.  Because this is an obviously micro-budgeted affair, it’s important to just sit back, munch some popcorn, and go with the flow: it isn’t so plain that you feel like you’re a hostage being forced to watch the comedy and drama unfold, but there’s still an ample bit of bloat that could’ve been trimmed to make Bunker Heights a leaner machine than what’s chucked in between the opening and closing credits.

However, I couldn’t quite shake the feeling that I’d somehow stumbled into one of those informal screenings of my youth.  Because I wasn’t there to participate in the glorious process of throwing it together, I didn’t quite get all of the punchlines, nor did I understand why all of these misbegotten souls could be jammed into a single space at a single time.  Sure, I’ll give credit where credit is due and say that Fortier understood the assignment well enough to delineate every narrative beat in his script.  But when the film closes on a moment which appears to have been an outtake, it destroyed the experience so criminally that I felt more like an unwelcome voyeur than I did a welcome member of the audience.

Bunker Heights (2026) was produced by Bellini Industries.  DVD distribution (for this particular release) has been coordinated by the fine folks at MVD Entertainment Group.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that this independent production still boasts some very, very, very solid sights and sounds: a few sequences could’ve used better sound support – some garbled words, some obvious dips in volume – but none of that is all that distracting.  Lastly, if you’re looking for special features?  This two-disc set contains two cuts of the film along with a ‘making-of’ documentary that definitely proves that this was a group effort, one wherein a good time was likely had by all involved.

Alas … only Mildly Recommended.

There are times when it becomes difficult to have something significant to say about a picture; and, sadly, that’s the bottom line with Bunker Heights (2026).  On the surface, it certainly appears to be a labor of love from those who both dreamed it up and brought it to life; and yet it’s hard to dismiss that nagging question at the back of the brain that kept asking, “Was any of this necessary, though?”  Performances are adequate, and the practical effects – what little there are – are convincing enough in an old school style of presentation.  But when you choose to end your motion picture with what seems to be an outtake – with what’s best suggested to be an inside joke that we, the audience, aren’t privy to – then it kinda/sorta leaves an impression that this was all done for us and not for you, meaning no one cared whether we showed up or not.  A strange brew, indeed.

In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Entertainment Group provided me with a complimentary Blu-ray of Bunker Heights (2026) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ

Folks, I'm at the age where I'm apt to remind readers that exploring content outside one's favorites is always good for the brain.

In other words, I firmly believe that it's important for one's general wellbeing to search for programs outside of simply Science Fiction, Fantasy, and Horror.  As a reader, I've long been a huge fan of vintage crime mysteries; and that's what led me to the world of Mickey Spillane's Mike Hammer.  Certainly, the books aren't for everyone -- they're deliciously predicated on accepting that 'toxic masculinity' is undeniable vital to the species of man -- but they're an incredible diversion from whatever plagues the mind ... the perfect bit of escapism into an utterly sometimes diabolical world.

In any event ...

Spillane's seminal private investigator found broadcast television life in the 1980's and beyond with the face of tough guy Stacy Keach.  This old-fashioned gumshoe was brought into that era wherein we were culturally evolving a bit, making him sometimes a bit of an odd duck for characters to figure out.  He was the dinosaur who couldn't change his ways even though he tried on occasion; and it made for some compelling TV-grade storytelling that deserves a bit of rediscovery today.  Good writing -- and great characters -- never go out-of-style, nor should our collective realization that sometimes you need an old school tough guy to handle even the most modern age villain.  Keach did a masterful job.

Alas, none of us lasts forever; and I saw overnight that word had reached the Information Superhighway on the man's passing.

With well over two hundred different screen credits to his name, I can assure you that there's something in there for everyone.  Keach also turned his talents to voice acting on occasions; and I know that he was also contracted to do audio adaptations of a Mike Hammer novel here and there.  I also know that he served as the host (I believe it was) for a generation of radio adaptations to installments of Rod Serling's The Twilight Zone, and I'll always encourage folks to give those a listen.  Lastly, I know fans of the Batman: The Animated Universe might also recognize the actor as the voice of Phantasm in the wildly popular Batman: Mask Of The Phantasm (1993) ... one of the single greatest Batman adventures ever brough to cinemas.

If you haven't noticed, then let me make it plain: this death hurts.  I loved Keach as a talent, and I shudder to think of a world where his unmistakable voice and general tough guy presence has slipped into the void.

Our warmest prayers are extended to the family, friends, and fans of Stacy Keach.

May he rest in peace.

-- EZ

Good morning, happy readers, and welcome to the latest controversy within fandom ... and if you know anything about fandom's many controversies then you full well know this won't be the last one.

While I've said over and over and over again that my site is unlike a lot of the others -- I rarely wander into the fray of online cultural arguing -- I'm occasionally pushed into the light.  My point in refraining from such hubbub is that, fundamentally, what I have to say really isn't going to change anything anywhere, so why should I expend any time, thought, and effort on it?  I know, I know: that sounds a bit defeatist, but I do like to think of it as me being a realist.  When something happens, it generally happens for a reason; and I'm willing to let things play out to see where they lead.  Regardless, there are instances wherein an event or two have folks asking me what I think, and today's another one of those days.

Now ...

As I've often said, I'm no fan of James Gunn. 

I don't harbor any ill will against the man -- his Tweets are stuff of vile legends, and in his defense he's insisted that they were just jokes, though I fail to his anything humorous in there -- and even though he's lost his job as Grand Poobah over DC Studios I suspect he'll continue to be gainfully employed in Hollywood (of all places).  He and his buddy Safran have arguably damaged the DC Studios brand, and I really don't think that can be effectively disputed: box office returns being what they are, any affiliated merchandise attached to his projects seems to be equally dead.  When that happens, bosses have to do something and quickly if they want to retain some prospect for intellectual properties to interest here and abroad.  That's simple reality.

Still, the controversy seems to be 'did he quit' or 'was he fired,' and -- once more -- I have to say that I really don't care one way or the other.  Based on his statement, it would appear that quit once he realized that the nature of being a studio head was somewhat beyond his grasp, he learned that lesson, and wanted out.  If that's the case, then good on him.  Since then, a great deal of reportage has surfaced strongly indicating he was, in fact, removed from the post; and, frankly, it isn't hard to see how that couldn't be the true means with which he and Peter were somewhat cast aside.

The point I'm trying to illustrate here thinly is that financial metrics underscore that a change was N-E-C-E-S-S-A-R-Y.  The state of DC Studios rose to a point wherein someone -- some adult in the room -- recognized that fiscally things weren't worked; and regardless of whether Gunn's movies and shows are liked you can't woo investors into the breach on the promise of little to know profit.  Hollywood math being what it is, Gunn's efforts simply weren't working at the scale required; so his vacating the job -- however it happened -- was a necessary first step.  That essentially is where all of these issues start and stop for me: it might make me a bit callous, but as I've already said I think it makes me a realist.

Those who would celebrate the change in management are perfectly justified in doing so, especially given the fact that all of Gunn's internet fans spent the better part of the last few years trouncing anyone who had a kind or even supportive word to say about Zack Snyder's handling of the DC properties.  In the ultimate battleground demonstrating better than ever that you reap what you sow, there were very few voices -- like mine -- trying to stay focused on simply celebrating entertainment that worked to unite us as opposed to divide us.  While I'm an admitted fan of what Zack did, I'll concede that his take on superheroes wasn't for everyone.  While I've been no fan of Gunn's work, I equally don't go around christening his supporters as rejects.  Each of us gets to like what we like ... so long as we're being honest with one another ... but I prefer fandom when we're not at each others' throats.

But, again, the change in leadership was N-E-C-E-S-S-A-R-Y.  For better or for worse, this conclusion has come to pass; and we'll have to wait and see where it takes us.  Naturally, if 2027's Man Of Tomorrow comes out and is a box office hit, I would suspect that there might be another layer to this that could have Skydance suits doubting their decision ... and, yet, for now all we can do is let the chips fall where they may.

Try to do it respectfully.

-- EZ

On this day in 1955 within the pages of Detective Comics #225, Martian Manhunter – aka J’onn J’onzz) first came to life for fans.

In a story written by Joseph Samachson (who also penned adventures for Batman, Sandman, and Green Arrow), readers first met the Martian telepathic peacemaker who was the last of his people and found himself transported to Earth.  The issue was illustrated by Joe Certa, and “The Strange Experiment Of Dr. Erdel” had the manhunter stepping into a teleportation beam which strands him on our big blue marble of a world.  As the mythology grew, J’onn eventually had the Martian taking the name of John Jones and serving as a police detective in Middleton, USA where he could continue his crime-fighting duties in relative solitude.

As tends to happen these days in the world of superheroes, the Manhunter has been fortunate enough to appear in several live action projects.  Actor Phil Morris took up the mantle aboard the WB’s long-running Smallville show, enjoying a run that stretched over ten different episodes.  Also, actor David Harewood did the last surviving Martian justice throughout the entire run of Supergirl on The CW.  Additionally, actor Harry Lennix filled in the heroic shoes – albeit briefly – when the character made a late appearance aboard Zack Snyder’s Justice League in 2021.

Given the fact that the Martian Manhunter has been around now for decades, it can be challenging to point out anything by way of trivia that might seem novel or truly tickle the fancy of fans near and far; but in my research one thing has risen to the top.  It was within the pages of Martian Manhunter #24 that readers and their Martian peacemaker came face-to-face with what some have dubbed his “Choco Cookie Madness” when fellow Justice League International members Blue Beetle and Booster Gold stole their teammates supply of favorite cookies.  Lo and behold, such deprivation turned the Manhunter into a hulking destructive creature who tore up the city streets in search of his beloved snack.  Eventually, Batman learned that Chocos actually behaved like a narcotic in the Manhunter’s digestive system; and the team helped their comrade overcome the addiction for the betterment of his self and mankind as a whole.

So … Happy birthday to the Martian Manhunter … and here’s to many move!

-- EZ

On this day in 1956 (in the U.S.), Science Fiction Theatre aired "Three Minute Mile."  Officially, this served as the twenty-seventh episode of the program's second season.  According to our friends at IMDB.com, here's the plot summary:

"Since becoming Dr. Kendall assistant, college student Britt has gained incredible strength, and can run a mile in about three minutes. A nosy reporter, along with Britt's fiance, begin snooping to find out what kind of "Frankenstein"-type experiments the doctor is conducting."

-- EZ

From Google.com:

Here are the three most fascinating pieces of trivia about "Three Minute Mile," the 27th episode of Season 2 of the classic 1950s anthology series Science Fiction Theatre:

1. Inspired by Roger Bannister's Real-Life Historic Run

The concept of the episode was heavily inspired by contemporary, real-world athletic history. Just two years before the episode aired in November 1956, English runner Roger Bannister made global headlines by shattering the "impossible" barrier to run the first recorded sub-four-minute mile (3:59.4) in 1954. The episode took this massive public fascination with human endurance limits and pushed it to a sci-fi extreme—imagining an experiment that could force a human body to run a mile in just three minutes.

2. Features a Young, Baby-Faced Martin Milner

Long before he became an iconic fixture of classic television, a young, remarkably baby-faced Martin Milner starred as the main test subject, Britt. Milner is widely recognized by television history buffs for his iconic later roles as Tod Stiles in Route 66 (1960–1964) and Officer Pete Malloy in Adam-12 (1968–1975).

3. A Rare Deviation from the Show's "Generic" Campus Rule

Science Fiction Theatre was well-known for using highly ambiguous, universal settings, routinely placing stories at a "small Midwestern college" or a "generic research facility" to emphasize the science over the setting. "Three Minute Mile" broke this habit by explicitly naming the setting as Haverly College, a rare instance of a specific, named fictional institution in the show's run.

On this day in 1951 (in the U.S.), Tales Of Tomorrow aired "The Search For The Flying Saucer."  Officially, this served as the eleventh episode of the program's first season.  According to our friends at IMDB.com, here's the plot summary:

"An airman travels to a small town looking for clues about flying saucers and only meets denial."

-- EZ

From Google.com:

The episode "The Search for the Flying Saucer" (Season 1, Episode 11 of the live-action anthology series Tales of Tomorrow) originally aired on November 9, 1951.

Top 3 Trivia Facts

• Riding the Post-Roswell UFO Craze: The episode broadcasted just a few years after the 1947 Roswell incident and the peak of the late-1940s/early-1950s American UFO and "flying saucer" media phenomenon. The term "flying saucer" itself had only been coined by U.S. media a few years earlier in 1947 following Kenneth Arnold's reported sighting.

• Live-Action Stage Play Format: Because it was produced during the infancy of commercial television, the episode—like the rest of the live series—was performed and broadcast virtually live on a three-camera setup with minimal special effects, functioning more like a live theatrical stage production than a modern taped program.

• Jack Carter's Dramatic Turn: The lead role of grounded Air Corps Lieutenant Vic Russo was played by Jack Carter—who was primarily renowned as a famous American comedian, nightclub comic, and host rather than a dramatic science-fiction actor.

So many movies ... so much to celebrate!!! 

On this day in 1996 (in Hong Kong), Black Mask to the silver screen in pursuit of justice!  Directed by Daniel Lee from a story by Hark Tsui, Koan Hui, Teddy Chan, and Joe Ma, the Superhero/Fantasy starred Jet Li, Ching Wan Lau, Karen Mok, and others. 

According to our friends at IMDB.com, here's the plot summary:

"Micheal, a former test subject of a project to create supersoldiers, is forced to escape with his comrades after the project was cancelled. Months later, he is trying to have a quiet life as a librarian with a tough cop as his best friend. However, a string of vicious gangland murders begins that has all the markings of his former compatriots who seem to have turned to violent crime. Realizing that the police are helpless to fight these soldiers, Micheal decides to take them on himself. Donning a mask to protect his identity, Micheal must fight these powerful villians as the mysterious superhero known only as Black Mask."

ExtraExtra Alert:
In 2024, I received a promotional new release of Black Mask (1996) from a distributor in exchange for review coverage on SciFiHistory.Net.  Interested readers can find my review right here.

-- EZ

From Google.com:

A Direct Homage to Bruce Lee's Kato
The costume and persona of Black Mask are heavily inspired by Bruce Lee’s portrayal of Kato in the 1960s television series The Green Hornet. Jet Li wears an identical domino mask, black coat, and chauffeur's cap as a deliberate tribute to the martial arts legend. This marked the second time Jet Li formally paid homage to Bruce Lee on screen, following his role in Fist of Legend (1994).

The Infamous "American Cut" Changes
When the film was imported to the United States by Artisan Entertainment in 1999, it underwent drastic alterations. The US release was shortened by roughly 10 minutes, completely scrubbed of its original techno-industrial Hong Kong score, and re-tracked with a hip-hop soundtrack featuring artists like Linkin Park and Cypress Hill. Additionally, Jet Li’s character name was changed from "Tsui Chik" to "Simon" for Western audiences.

Choreographed by the Master Behind The Matrix
The movie’s intensely stylized fight sequences were choreographed and directed by action legend Yuen Woo-ping. His innovative work blending martial arts with wire-fu in Black Mask caught the eye of Hollywood, directly leading to his hiring for major American blockbusters like The Matrix, Crouching Tiger, Hidden Dragon, and Kill Bill.

So many movies ... so little time ...

On this day in 1924 (in the U.S.), that sterling mecca known as New York City, New York served as host for the exclusive theatrical premiere engagement of HE Who Gets Slapped.  Written (in part) and directed for the screen by Victor Sjöström, the film starred Lon Chaney, Norma Shearer, John Gilbert, and others. 

According to our friends at IMDB.com, here's the plot summary:

"A bitter clown endeavors to rescue the young woman he loves from the lecherous baron who once betrayed him."

For the record:

In 2017, HE Who Gets Slapped was inducted into the National Film Registry, that U.S. organization that seeks to preserves films which have demonstrated a lasting artistic aesthetic.

-- EZ

From Google.com:

• It stands as a historic milestone as the first film produced entirely by Metro-Goldwyn-Mayer (MGM) following the landmark merger of Metro Pictures, Goldwyn Pictures, and Louis B. Mayer Pictures.

• It was the very first movie to feature the iconic MGM lion mascot logo, utilizing an Irish-born lion named Slats who, because it was a silent film, only looked around instead of roaring.

• The film features the unique stylization of capitalizing the word "HE" in the title (HE Who Gets Slapped) on the original title cards to emphasize that it serves as the character's proper name rather than a basic pronoun.

As I'm always apt to remind readers, Science Fiction and Fantasy understandably comes in products for all shapes and sizes.  On this day in 1999 (in the United Kingdom) a family-friendly sitcom gave the young and old a chance to come together under the idea of My Parents Are Aliens ... something all of us have no doubt thought of our own at one time or another.  Created by Andy Watts, this BAFTA-nominated Comedy / Sitcom starred Tony Gardner, Alex Kew, Charlotte Francis, Carla Mendonça, Danielle McCormack, and others. 

According to our friends at IMDB.com, here's the series' premise:

"The day-to-day lives of three orphaned children who are adopted by aliens that have trouble adjusting to the local culture."

-- EZ

From Google.com:

• The Recasting of Sophie: The alien mother, Sophie, was originally played by Barbara Durkin in Series 1, but she left the show. To explain the change in-universe, the writers penned a storyline where Sophie had trouble morphing back into her original human disguise and permanently transformed into a new face played by Carla Mendonça. Fans affectionately dubbed the eras "Blonde Sophie" and "Redhead Sophie".

• Only One Cast Member Appeared in Every Episode: Tony Gardner, who played the bumbling alien dad Brian Johnson, is the only actor in the entire series to appear in every single episode across all eight seasons.

• A Surprising Family Connection: Carla Mendonça (the second Sophie) comes from a very famous and eclectic family. Her brother Jorge Mendonça was the youngest-ever British Army colonel, and her other brother, Jason Mendonça, is the lead singer of the extreme blackened death metal band Akercocke.

It isn’t that uncommon for Science Fiction films to showcase a variety of artistic looks … especially when it comes to female characters.

Naturally, fandom has always gone a bit bonkers for ladies whose female attributes lend themselves to a kinda/sorta comic book aesthetic: blonde or brunette bombshells outfitted in retro-looking aluminum bikinis often rule the day, and this kind of raw sexualized energy has been the kind of thing fanboys and fangirls celebrate to varying degrees whenever they see it.  While such objectification has long drawn the ire of our cultural betters – along with our parents and grandparents – Science Fiction and Fantasy enthusiasts have often looked the other way when suffering criticisms for what such adoration says about women (or men, for that matter).  Why, one need look no further than the World Wide Web’s unending fascination of ‘Slave Leia’ – Carrie Fisher famously filled out that someone metal bikini in Star Wars: Return Of The Jedi – to see that a flash of skin here and there certainly captivated audiences to the nth degree.

The truth over where such a look originates – along with Science Fiction’s fascination with it – is a bit more complex.

However, 1936’s Things To Come from London Film Productions arguably serves as a foundation for some of what fandom might dub the slightly more elegant ‘Space Lady’ design.  Director William Cameron Menzies helmed this cinematic adaptation of the celebrated H.G. Wells’ novel; and Google.com reports that the man worked closely alongside René Hubert, John Armstrong, and Cathleen Mann to give the character of Catherine Caball – as played by South Africa actress Pearl Argyle – an almost regal look by comparison to what 1936’s Flash Gordon would do with its ‘Dale Arden’ that same year.  In fact, one could make the argument that the artistic merits of Things To Come definitely influenced the many ladies who’d appear costumed in Gene Roddenberry’s groundbreaking Star Trek (1966-1969) as well as 1976’s Logan’s Run.

Given that Things To Come explored a Utopian’s view of the Future, Caball sported an almost Greek-looking ensemble, one highlighted with flowing layers and almost royally confident shoulders.  While the hemline wasn’t opposed to showcasing the actress’ natural beauty (Argyle performed as a ballerina in London and was once dubbed ‘the most beautiful woman of her generation), there was still an aura of high culture and respectability around such a display.  The point here was that the future was bright, assured, and prosperous; so effort was made to guarantee that Caball looked as though she fit effortlessly into an enclave that was both fashionable and minimalist.  Indeed, this is a template that the more thoughtful forays into the realms of the Fantastic would follow … but it truly got its start ninety years ago and still turns up from time-to-time almost a century later.

Chiefly, I bring this up today in celebration of Pearl Argyle’s birthday.  Born on this day back in 1910 in Johannesburg, South Africa, the actress would go on to eventually establish this archetypical look in Science Fiction; and she deserves to be remembered as one of the earliest and finest examples of the highly-cultured ‘Space Lady’ amongst those who cherish such things.

-- EZ