Wah Ming Chang
Artist and Academy Award-winning animator Wah Chang has died. He was 86. Chang's most remarkable work was accomplished for Walt Disney studios, where he created posable figures of Pinocchio and Bambi from which animators could draw, and for producer George Pal, working on such films as "The Wonderful World of the Brothers Grimm," "Tom Thumb" and "The Seven Faces of Dr. Lao." He also created costumes for "Can-Can," "The King and I" and "Cleopatra," and created monsters for such television series as "Star Trek" and "The Outer Limits," fashioning, among many memorable props, Romulan warships, Tribbles and phasers for the former, and the infamous Zanti Misfits for the latter. He even sculpted the first models of the Pillsbury Doughboy. He earned his Oscar for the spectacular special effects that were integral to Pal's landmark film "The Time Machine."

Born in Honolulu, Chang and his parents, both artists, moved to San Francisco in the 1920s. Following the death of his mother, his father left him in the care of a guardian and moved away. Local journalist Blanding Sloan took the young Chang under his wing. The two traveled to Texas and created a historical pageant for the Texas Centennial. There, Chang met his future wife Glenella. Their marriage lasted 60 years. (Glenella Chang passed away in 1997.) Chang became a sought-after talent, developing his design, animation and puppetry skills. By the age of 16, he was designing sets for shows at the Hollywood Bowl. After landing a job with Disney, he was diagnosed with polio. He battled the illness and continued to work. (For the rest of his life Chang especially cherished a letter of encouragement sent to him by Walt Disney at this time.) Chang also worked at the George Pal Puppetoon Studio, helping to create Pal's memorable stop-motion animated series. Eager to produce films of his own, Chang invested all of his money in camera equipment and produced educational films and television spots. In 1987, Chang was commissioned by cartoonist Hank Ketcham to sculpt a life-size statue of his "Dennis the Menace" to be displayed in the Monterey park named for the character. Film historian and prop preservationist Bob Burns was working with Paul Blaisdell on "Invasion of the Saucer Men" when he first met Chang, who was then sharing the same studio while working on "The Black Scorpion." Burns has cited Chang as one of his greatest inspirations. At the time of his death, Chang's work was on display at the Chinese Historical Society of America in San Francisco.

Jack Pollexfen

[Tom Weaver contributes the following obituary/appreciation]

Jack Pollexfen, an independent writer-producer of 1950s B movies and the co-creator of the 1951 science fiction classic "The Man from Planet X," has died. He was 95. Pollexfen and his writing-producing partner Aubrey Wisberg collaborated on a number of low-budget films in the early '50s, several based on works of classic literature or on real-life historical figures, but their best-remembered credits were sci-fi thrillers like "Captive Women" (1952), "The Neanderthal Man" (1953) and "Man from Planet X," the first "man from space" movie of the era. Directed by legendary low-budget wunderkind Edgar G. Ulmer, "Planet X" re-used sets from the big-budget Ingrid Bergman version of Joan of Arc" (1948) in this story of a diminutive, bubble-helmeted alien, the advance scout for an invasion fleet, prowling the foggy moors of an island off the coast of Scotland.

"The amazing thing was that Jack and Aubrey managed to make this picture in six days, and for only $50,000, and shot the entire thing inside one soundstage at Hal Roach Studios," recalls "Planet X" co-star William Schallert, a Pollexfen-Wisberg "discovery." "Casting me in 'Planet X,' Jack was taking a gamble on me -- I didn't have much of a track record in movies yet. In addition, he backed up his initial belief in me by casting me in five or six pictures after that. I was a beginning movie actor at the time, and that was a real boost to my morale and to my belief in myself. I owe Jack a LOT for that."

Born in San Diego, Pollexfen was raised in Mill Valley, Calif. Fascinated with newspaper work, he began in that business as a copyboy on the Los Angeles Express, then moved up to reporter and feature writer on other dailies. Magazine writing assignments led to scriptwriting chores at MGM and Universal before Pollexfen served the World War II effort as an Air Force noncom, writing training films and manuals. Pollexfen and the English-born Aubrey Wisberg teamed in the late 1940s and by 1950 had formed their own production company, Mid Century Films, to make "The Man from Planet X." "Planet X" star Robert Clarke later became a regular in Pollexfen-Wisberg productions. "Jack was a workaholic before the word was coined," Clarke recalls. "Aubrey was big on talking -- you never had to encourage him. But, as I observed it, it was more talk than elbow grease. Jack was the one to always take the heavier end of things. Jack was someone who deserved everything nice that could be said about a man."

The Pollexfen-Wisberg films included "Sword of Venus" (1953), with Clarke as the son of the "Count of Monte Cristo," "Captain John Smith and Pocahontas" (1953), "Captain Kidd and the Slave Girl" (1954) and "Return to Treasure Island" (1954), a follow-up to the Robert Louis Stevenson novel. In the latter half of the 1950s, and now operating on his own, Pollexfen continued in the sci-fi/horror vein, producing and directing "Indestructible Man" (1956) with Lon Chaney, Jr., and producing and writing "Daughter of Dr. Jekyll" (1957), again directed by Ulmer. After co-producing his final film "Monstrosity" (released in 1964), Pollexfen went into semi-retirement, marrying for the first time at age 55 and moving back to the Mill Valley area where he had grown up. Impaired in recent years by diabetes and failing eyesight, he came down with pneumonia just days before his death at Kaiser Permanente Hospital in San Rafael. He is survived by Lee, his wife of 39 years.

[Thanks to Lee Pollexfen, Robert Clarke and William Schallert.]

Marguerite Bradbury
Marguerite ("Maggie") McClure Bradbury, wife of author Ray Bradbury, has died. Married to Ray for 56 years, Marguerite worked tirelessly as the family breadwinner in the early years of their marriage, while Ray stayed home and wrote, honing his talents and becoming one of America's best-loved and most successful authors. In the mid-1940s, following her studies in English and Spanish at UCLA, she worked at a bookstore where she met her future husband who was, at the time, writing for pulp magazines. She initially mistook him for a thief, according to Bradbury biographer Sam Weller. Following a brief courtship, they were married in 1947. Ray's best man was his best friend, stop-motion movie animator Ray Harryhausen. That same year, Bradbury's first book, "Dark Carnival," was published. It was Maggie, who, in 1949, typed up the original manuscript of Bradbury's classic "The Martian Chronicles." Though she came from a wealthy family, when she married Ray she took a "vow of poverty," Bradbury once said. Her vow paid off as his career ascended. Her passion for books led to a collection of at least 7,000 and the Bradbury house was, at one time, home to 22 cats. She is survived by her husband, four daughters and eight grandchildren.

Ellen Drew
Actress Ellen Drew, who began her career as a starlet earning $50 a week before graduating to starring roles opposite such actors as Ronald Colman, Dick Powell, Jack Benny, Bing Crosby, Pat O'Brien and Joel McCrea, died of a liver ailment in Palm Desert, Calif. She was 89. Drew may be best known to genre-film fans for her appearances in the Val Lewton-produced "Isle of the Dead" with Boris Karloff, "The Mad Doctor" opposite Basil Rathbone, and "The Monster and the Girl," which featured movie gorilla man Charles Gemora as a simian with the transplanted brain of Drew's brother (Phillip Terry). Drew never achieved breakout stardom, but worked steadily in films of all genres, delivering solid performances for such directors as Preston Sturges ("Christmas in July"), Samuel Fuller ("The Baron of Arizona"), Andre De Toth ("Man in the Saddle"), Gordon Douglas ("The Great Missouri Raid") and Jacques Tourneur ("Stars In My Crown"). Drew was discovered while waitressing at C.C. Brown's on Hollywood Boulevard, where character actor William Demarest encouraged her to pursue a film career, a notion she originally laughed off. She appeared in dozens of films from 1936 until her final big-screen appearance in "Outlaw's Son," a 1957 Western with Dane Clark and Lori Nelson. She also made several television appearances on such programs as "Science Fiction Theater," "The Millionaire," "Perry Mason" and "The Barbara Stanwyck Show."

Earl Bellamy
Prolific film and television director Earl Bellamy died at a hospital in Albuquerque, N.M. following a heart attack. He was 86. He had lived in Rio Rancho, N.M., since the early 1990s. Bellamy directed innumerable television episodes, particularly westerns. In 2002, he was awarded the Golden Boot from the Motion Picture and Television Fund for his contribution to the western genre. Bellamy began his film career as a messenger boy at Columbia pictures in 1935, working his way up the production ranks as a clerk, a second assistant director and an assistant director. His first feature as a director was "Seminole Uprising" in 1955. Other feature direction credits include "Blackjack Ketchum, Desperado," "Toughest Gun in Tombstone" and "Incident at Phantom Hill." But it was in television that Bellamy made his mark, becoming one of the most prolific and in-demand directors in the medium. "I got hooked on television," he once told an interviewer. "If you were doing features, which were a lot of fun, it was a long and drawn-out process. With TV, you're through with one show in six days, and now you've got another one to do with a new script, and off you go again." Bellamy directed programs as varied as "Lassie," "M Squad," "Bachelor Father," "McHale's Navy," "Leave it to Beaver," "The Munsters" and "The Mod Squad." Among the western series he directed were "The Lone Ranger," "Tales of Wells Fargo," "Rawhide," "The Virginian," "Wagon Train," "Annie Oakley," "Tales of the Texas Rangers," "Daniel Boone" and "The Iron Horse." His final directing assignment was the alien invasion miniseries "V" in 1984. He retired in 1986.


The black velvet suit supposedly worn by Claude Rains in "The Invisible Man" was recently up for auction on eBay. Effects man John P. Fulton allegedly devised the suit. To achieve Rains' "invisibility," the actor was filmed against a black screen background while wearing the suit. Rains' gloves and bandages stood out against the backdrop while the part of him covered by the suit vanished into the black screen. The same suit was supposedly used in each of Universal's Invisible Man sequels, which starred Vincent Price, Jon Hall and others as the unseen protagonist, as well as the Invisible Man cameo at the close of "Abbott and Costello meet Frankenstein." According to the official Profiles In History auction listing, the suit "consists of a hood, sleeveless cape, long sleeve tunic with zipper front closure, and drawstring pants. The tunic and pants each have Universal International labels (added later)." The pants have the name "Arthur" handwritten on them, perhaps referring to actor Arthur Franz, who played the part in "Abbot & Costello Meet the Invisible Man" in 1951. (I don't know who authenticates this stuff, but how did short-statured Claude Rains and long, tall Vincent Price share the same suit?)

The starting bid was $30,000. Auctioneers said they expected it to go for as much as $50,000. It didn't. There was reportedly one bid for $30,000 and the auction was over. What's that you say? No one would be crazy enough to blow 30 grand on a tatty velvet suit? Check out the prices these film-related items fetched at Profiles in History's "Hollywood Auction 16":

-- Superman costume worn by George Reeves nearly 50 years ago: $129,800.00
-- Derelict ship from "Alien" and "Aliens": $47,200.00
-- Jim Carrey Riddler costume from "Batman Forever": $10,620.00
-- Harrison Ford pistol from "Blade Runner": $20,060.00
-- Clint Eastwood blank-firing pistol from "The Outlaw Josey Wales": $11,800.00
-- Dr. Zaius costume and display from "Planet of the Apes": $56,050.00
-- Dr. Milo Ape-o-naut suit from "Escape from the Planet of the Apes": $64,900.00
-- Mel Brooks' handwritten lyrics for "Springtime for Hitler" from "The Producers": $26,550.00
-- USS Enterprise bridge railing segment from "Star Trek": $26,550.00
-- USS Enterprise bridge chair from "Star Trek": $26,550.00
-- Nichelle Nichols' personal scripts from "Star Trek": $35,400.00
-- Collection of storyboard drawings from "The Ten Commandments": $21,240.00

Wasn't one of those commandments "Thou shalt not covet?"

Thirty grand is chicken feed! You wanna talk REALLY pricey collectibles? The Bodleian Library at Oxford will acquire Mary Shelley's original manuscript for "Frankenstein." Britain's National Heritage Fund has awarded the library $5.2 million to purchase the 1818 manuscript from a private collection. Shelley, wife of the poet Percy Bysshe Shelley, left her papers and the manuscript to her son whose widow donated some of Shelley's papers to the library in 1893. The Bodleian acquired more of the papers following the Second World War. The remainder was on loan to the library of the eighth Baron Abinger, who passed away last year. The Bodleian's purchase of the Abinger collection will gather all of Shelley's papers in one place.

The death last month of art director, designer and all-around movie visionary, Allbert Nozaki, prompted heartfelt remembrances. One close friend of Nozaki's was Academy Award-winner Robert Skotak. Speaking to the L.A. Times, Skotak recalled, "The last time I saw him he said, 'I guess 'The War of the Worlds' is my masterpiece.' He said this in a very humble way because everybody had been telling him that. Al was very modest. He was a sweet, very special person." Skotak cited as "remarkable" the fact that Nozaki "story-boarded the entire movie himself, meaning he drew every camera angle, including what's in the shots. He also designed all the technology -- the war machines, the meteor, the Martians -- all the special things that are in the movie that don't exist."

Film historian and movie prop preservationist Bob Burns, a friend of Nozaki's, told the B Monster, "Al was a shy and humble man and one of the nicest guys I've ever met. Robert Skotak brought him over to my place a few years ago. Al was totally blind but could feel objects and "see" them in his mind. I have the spaceship from "When Worlds Collide" (the one shown in the film under construction), and the miniature of the plane from "The War of the Worlds." He touched and felt them and actually teared up as it was the first time since he worked on the films that he'd "seen" them. He had very warm feelings toward George Pal so it brought back very fond memories for him. Al was one of the true giants of the film industry working on such films as "The Ten Commandments," "The Big Clock," "Houdini" and others. I feel blessed to have met him. He will be missed."

Letchmore Heath, the quaint village in England where the horror film classic "Village of the Dammed" was filmed in 1959, recently hosted a special screening of the film at the Letchmore Heath Village Hall. The unsettling premise of the film involves a mysterious slumber, perhaps extra-terrestrial in origin that overtakes the village. The women folk awake to find themselves pregnant and, nine months later, they deliver evil offspring possessing unearthly powers. Many locals took part in the making of the movie and were on hand at this commemorative screening to recall the filming. Barbara Shelly, who co-starred with George Sanders, was the guest of honor. To be specific for our well-traveled readers, Letchmore Heath is the first village in Hertfordshire going north out of London, near Edgware and Elstree.

If you're traveling to the Brit side of the big pond, you'll want to take in Sci-Fi-London, the British film and fan convention now in its third year, taking place Jan. 29-Feb 1 at the Curzon SOHO and The Other Cinema. Previous London confabs featured the world premier of Ken Russell's "The Fall of the Louse of Usher" and the European premiers of Mamoru Oshii's "Avalon" and "Mark Pellington's "Mothman Prophecies." Scheduled to debut at this year's festivities are "Starship Troopers 2," "Spectres," starring Marina Sirtis and Dean Haglund, "Full Metal Yakuza," "Robot Stories" and many others. Workshops, seminars, debates and all-night screenings will be held and, according to organizers, this year's fest also includes "an international sci-fi short film programme, rounding-up the best sci-fi shorts from the UK and around the world ... and we are still looking for submissions!" You can learn more at:
By all means, tell 'em the B Monster sent you!

Some time ago, the B Monster did a piece on author Steven-Elliot Altman's unique project "The Touch." Altman sent writing guidelines to an aggregation of writers and performers, soliciting their take on the effects of deadly fictional epidemic. Contributors included Janet Asimov, William F. Nolan, Harry Turtledove, Sean Stewart, Tananarive Due and Kit Reed. The collected stories were published and the proceeds donated to HEAL (Health Education AIDS Liaison, and F.A.C.T. (Foundation for Advancement in Cancer Therapies). It was a unique and ambitious idea that sold well enough for Penguin Putnam to commission a novel from Altman. The result was "The Deprivers," which is currently being developed for television. According to Altman, "A starred review in Publisher's Weekly on 'The Touch' prompted a Hollywood bidding war over the rights to 'Deprivers,' with people like Laura Ziskin and Ridley Scott making generous bids on the property. I decided to sell the rights to Columbia TriStar and remained aboard as co-executive producer and wrote the script with my director Andy Wolk ["The Sopranos"/''The Practice"). "Twin Peaks" co-creator Mark Frost has called "The Deprivers" a "book that gets under your skin and on your nerves. The science is impressive; the fiction is haunting." Says Altman, "As I await greenlight to production on our series pilot, I'm overseeing a grassroots 'War Of The Worlds'-type PR campaign around the book." Altman is working with Columbia on 15 ancillary Websites that will be a part of the promotion. To find out more, check out:
You know the routine; tell 'em the B Monster sent you!

The folks at Midnight Marquee Press have decided not to hold any more Fanex conventions. According to publisher/conventioneers Gary and Sue Svehla, "There are just too many conventions splitting the limited fan base and we just can't compete with conventions that offer huge guest lists and modern stars. Fanex was never about making money (we just don't like losing money) but about honoring the stars who brought fans so much enjoyment and sharing our love of films with other fans." Fanex was known in past years for its cozy atmosphere allowing greater access to guest celebrities. The Fanex folk maintain they aren't bowing out of the convention scene completely. "We hope to convince Chiller Theatre to come Baltimore which will enable us to do a mini-Fanex whereby we would run the film program and panels and guest talks." The Chiller Theater con is a massive, twice-yearly, New Jersey-based undertaking that attracts throngs of horror film fans. Midnight Marquee Press will continue magazine publishing, and many book projects are reportedly in the pipeline. For more info, visit:

The good Dr. Gangrene, host of Nashville UPN 30's "Chiller Cinema," is soliciting sponsors. The Doc, aka Larry Underwood, needs advertising to maintain his sinister cinematic practice, carrying on the horror host tradition every Thursday (actually the wee hours of Friday) at 1:30 am. His program reaches 49 counties throughout Tennessee and Southern Kentucky. "We will produce a commercial for a business if they don't have one," says Underwood, "and in fact will make one for free if they come onboard as a sponsor for at least 3 months." So, if you know of a savvy, mid-South businessmen who might be interested in "some good, cheap advertisement," contact the Doc at drgangrene@chillercinema.com Visit the Chiller Cinema site at:
http://www.chillercinema.com Tell the good Doctor the B Monster sent you!

The gang at Retromedia has recently posted the latest additions to their roster of exploitation treasures, as well as some alluring and lurid coming attractions. Billed as "one of the hardest to find Scream Queen titles around," "Nightmare Sisters, Special Edition" stars Linnea Quigley, Michelle Bauer and Brinke Stevens. The disk includes two audio commentaries, one with Bauer, Stevens and co-star Richard Gabai, and another featuring director David DeCoteau and producer John Schouweiler. One of Retro honcho Fred Olen Ray's early efforts, "Biohazard" is also now available. Aldo ("Riot on Sunset Strip") Ray, Angelique ("Mad Doctor of Blood Island") Pettyjohn and Carroll ("Mark of the Vampire") Borland star in this 1984 tale of "science gone very, very bad." Retromedia also offers "Werewolf in a Girl's Dormitory," which we reviewed here last month. Coming soon are the 20th Anniversary Deluxe Edition of "Scalps" (also featuring Ms. Borland), publicized as "one of the most censored films of all time," as well as "Gamera vs. Monster X," which is double-billed with "Monster From a Prehistoric Planet." There's also a "Larry Buchanan Collection Double Feature" on the way, showcasing "It's Alive!" and "Year 2889." This package includes the bonus featurette, "Hangin' With Paul Petersen," featuring the former "Donna Reed Show" heartthrob and star of "Year 2889." You can find out more at:
But of course, tell 'em the B Monster sent you!

Ready for your first foray into the sub-sub-sub-genre of "scatological horror?" "Monsturd" may just be the most ambitious film about a piece of mutant, rampaging human feces ever made. The plot concerns a serial killer who busts out of the slammer, gets himself shot and plops headlong into a sewer full of toxic chemicals and human waste. In the finest tradition of B-movie mutation, chemical and excrement co-mingle to spawn the startling stool called "Monsturd." This horrific, roughage-and-radiation-fueled fiend wastes no time in terrifying the local environs. This deadpan (dare we say "tongue-in-cheek?") horror parody was written, produced, edited and directed by Dan West and Rick Popko, and is available through Image Entertainment. We recommend you watch while reading the morning paper. If the first viewing doesn't do it for you, try a bran muffin and coffee. To procure your copy, visit:
Naturally, tell 'em the B Monster sent you!

Somewhere, the real-life person who inspired "The Simpsons" "comic shop guy" character, is holed up in a dark basement, hunched over a computer, grinding out rumors concerning the soon-to-be produced almost but not quite ready for production any day now maybe perhaps if all goes well someday for sure "Superman" feature film. The latest? Natalie Portman will portray Lois Lane. Portman is perhaps best known as Princess Off-a-dollah, or whatever, of "Star Wars" fame. And they're apparently still playing musical directors. First, it was going to be "Charlie's Angels" director McG. Then McHe was off the project. Then a HOST of big names were supposedly in contention. Then McG, again. Now, Richard Donner, director of the 1978 "Superman" feature starring Christopher Reeve, has allegedly replaced McG. And, word is production has now been delayed until 2006. There is a silver lining; by the time they get around to making the film, Ben Affleck will be too old to play the Man of Steel.

So, why were all of Christopher Lee's scenes in "The Return of the King," including the climactic sequence involving the demise of Lee's character, the evil Saruman, whacked from the final cut of the film. Suraman gets a passing mention in the third installment of director Peter Jackson's elephantine filmization of J.R.R. Tolkien's elephantine Hobbit epic and then, well, it's on to other pressing Middle Earth matters. According to Jackson, Saruman was summarily excised because the character's fate, "seemed like an anticlimax ... it didn't work in the theatrical cut of 'Return of the King' ... it felt like we were finishing off last year's movie instead of jumping in and setting up the tension for the new film." Jackson's decision angered die-hard Hobbit-heads who spearheaded a petition to have the footage reinstated, gathering more than 40,000 signatures. "Please Peter Jackson," pleaded petition organizer, Matt Shuster, "at least consider putting this scene back into the theatrical version, and give us Saruman fans/haters some much needed closure." (If only such power could be rallied to combat REAL problems, like poverty and crime, or employed to quell tensions in the Middle East instead of Middle Earth.) Realizing the effort was in vain, Schuster later stated that "signing the petition now will only serve to breed ill will against the filmmakers and that is not my intent." Jackson says the pared footage will appear on the extended edition DVD version of "The Return of the King." Lee told a British TV show that he was "shocked" by Jackson's decision, but maintained that a confidentiality agreement prevented him from commenting further.


There was a time in genre-film history (mid-1960s-early-1970s) when anthology films were all the rage. Before "Creepshow," before "Tales from the Crypt" and "Tales from the Hood," there was "Gallery of Horrors," "Gallery of Terrors," "Dr. Horror's Gallery of Terrors," "Dr. Gallery's Terror of Horrors," etc. "The House That Dripped Blood" should have been the best of the lot, what with top-flight production values, star power and stories by Robert Bloch. In fact, it's pretty humdrum stuff. (David L. Hewitt's ultra-low budget "Dr. Terror's Gallery of Horrors" is more perversely -- albeit unintentionally -- entertaining than this collection.) The four stories are tenuously linked by a framing device that features John Bryans as real estate agent A.J. Stoker (Stoker, get it?) who peddles the property wherein the horrific happenings occur. The tales unfold in flashback as a police inspector investigates the disappearance of a horror movie star.

"Method For Murder" features Denholm Elliott as a troubled mystery writer with a devious wife. "Waxworks" stars Peter Cushing and Joss Ackland as former romantic rivals who discover the head of the woman they once loved on display in a local wax museum. "Sweets to the Sweet" features Christopher Lee as the cold-hearted father of bad seed daughter, and "The Cloak" stars Jon Pertwee as a hammy horror actor whose longtime co-star, Ingrid Pitt, is eager for him to live out his role as a big-screen vampire. "The Cloak" is probably the best of the lot. The story takes us "behind-the-scenes," as it were, milking Pertwee's egomaniacal behavior for laughs as he rants about shoddy sets, shabby costumes and hackneyed scripts. There's even a good-natured jab at Lee, with Pertwee complaining that they don't make monsters like they used to; he cites Frankenstein, The Phantom of the Opera and Dracula. "Bela Lugosi," of course," he points out, "not this new fellow."

The other stories lack suspense. In each case, there's 15 minutes of dull preamble, followed by a too-brief, five-minute build up to a spooky twist ending. Compounding this failing is the irritating habit, unique to British horror of this vintage, of over lighting every scene. There's zero atmosphere. For a house that drips blood, this mansion is one cheery little nest, with warm sunlight or a crackling fire brightening every corner. Director Peter Duffel seems determined to make the most of his expensive color film stock, with most of the scenes taking place in bright daylight, including strolls along babbling brooks and quaint country lanes. When the "action" does take the occasional dark turn, garish greens and pinks come into play.

The DVD release features an interview with producer Max Rosenberg, whose credits include "Scream and Scream Again," "They Came From Beyond Space," "The People That Time Forgot" and the "Cat People" remake.

I have no idea why these films are coupled. Maybe because they're both mediocre. I tried to like "The Hulk," I really did. But it's just bad. The ludicrous computer animation is insurmountable (in fairness, the non-computer effects, including a mutant super-poodle, are impressive), the casting is wrongheaded and the resulting performances unconvincing. Oscar-winner Jennifer Connelly generates some sympathy, and I'll even cut Sam Elliott a little slack as he seems to be playing a cartoon of himself. But the choice of Australian actor Eric Bana to portray the tortured scientist who turns into the muscle-bound green giant is bewildering. He conveys no emotion: not angst, not sympathy, not rage, not horror; no gravity whatsoever. And ZERO chemistry between he and Connelly. And who pumped Nick Nolte full of speed and pushed him in front of the camera? Talk about shameless scenery chewing. Ang Lee's direction is likewise giddy and gimmicky, with comic bookish panels slipping and sliding across the screen. Why not just have the actors wear sandwich boards that say, "based on a comic book?" Which begs the question we never tiring of posing: Why does it HAVE to be a movie? It was a terrific comic book in its prime. Why wasn't that enough? Is it supposed to be more rewarding artistically as a film? I've listened to the argument that film and comic are separate entities and should be judged accordingly. Why then is Lee determined to remind us constantly, by introducing two-dimensional print elements, that "it's only a comic book?"

I suppose comic lovers are thrilled to bits when Hollywood validates their hobby ("They noticed us! They noticed us!"), charging them 6-to-10 bucks a pop to see their fantasies "brought to life." In any event, there's little life in this film. (Maybe even the geeks caught on; the film did huge business its opening weekend, and the box-office take plummeted dramatically its second week in release.) All they had to do was remake "The Amazing Colossal Man" and maybe improve on it a bit. That ISN'T a very tall order. All the same, they blew it. Its most egregious capitulation to contemporary comic fans is significant; in the comics I read way back when, Dr. Bruce Banner was a hero who raced into the teeth of a gamma bomb explosion to save a life. Today's Hulk is just a victim. He does nothing heroic. Circumstances beyond his control have conspired to make him an alienated, bitter monster, which is arguably the way most Gen-Xers see themselves. Life is so much easier when you resign yourself to this position.

As for "Jurassic Park 3," well, in keeping with its derivative theme, we'll simply clone the review we wrote the first time it was released: Let's run through the checklist: CGI dinosaurs? Check! By-the-numbers script? Check! Good actors in undemanding roles? Check! Predictability fully deployed! Engage automatic pilot! The preceding could well have been said on the first day of shooting this utterly unnecessary film. The dinosaurs look cool, the cast is likable for the most part, and director Joe Johnston is a snappy storyteller. But before you've even opened your Junior Mints you'll be able to predict who gets killed and who doesn't. And you'll learn once more of the inherent dangers of genetic engineering (for the record, the lesson to be gleaned from all three "Jurassic Park" films seems to be that manufacturing gigantic, ferocious, uncontrollable monsters is a bad thing). William H. Macy plays a wealthy exec whose son has disappeared on the infamous isle of cloned dinosaurs. Scientist Sam Neill is conscripted to lead Macy and his ex, Tea Leoni, back to Jurassic Park in an attempt to find their kid. They see dinosaurs, run, see more dinosaurs, run, see still more dinosaurs, run. With a Godzillion dollars' worth of technology at their disposal, the film's makers bring absolutely nothing new to the terrain. It's predictable at every turn. But, if you really enjoy watching people run from dinosaurs -- or if you want to leave the screening feeling like the Amazing Kreskin -- this is the film for you.

This is a cute little movie filmed entirely on location in South Carolina with a cast of unknowns. Its goals are modest, as is its budget. The filmmakers set out to entertain kids and in this regard the film is reminiscent of the PBS series "Ghost Writer," and to a lesser degree, the "Ghost Busters" series that starred Forrest Tucker, Larry Storch and, of course, our buddy Bob Burns as Tracy the gorilla. The filmmakers target a young demographic -- maybe 7- to 12-year-olds -- who should find it a pleasing way to spend 70 minutes or so. The lead characters are derivative of the famous "Scooby gang," archetypes that kids will easily identify; a feisty, tomboyish ghost-hunter, a Valley-girlish type as concerned about her hair and makeup as the supernatural, a geeky inventive wiz who devises all manner of spook-catching gadgetry, and the nominally normal pre-teen guy, brother of the aforementioned tomboy, who finds himself coerced into hairy situations by his ambitious sister. While no spooks appear on camera, and special effects play little role in the film, there are supernatural elements involving a benevolent spirit. The plotting is pretty solid; the kid's Mom stands to lose the family store to a conniving developer and the IRS. The spirit-stalking siblings, vacationing on Grandma's farm just outside of town, pull out all the stops to rescue the family business from greedy clutches. They establish a cool fort in the forest (what kid wouldn't love that?) and manage to hack into the crooked businessman's computer records. It is while wandering Grandma's woods that the friendly ghost intervenes and, through a series of rather clever -- not to mention sentimental -- revelations, helps the kids keep the wolf from the door.


Michael F. Blake, whose books are available through Vestal Press or at http://www.amazon.com

ClassicSciFi.com http://www.classicscifi.com

Harris Lentz III, whose books are available at http://www.mcfarlandpub.com

Bob Madison, founder and CEO of Dinoship, Inc. http://www.dinoship.com

Bryan Senn, whose books are available at http://www.mcfarlandpub.com and at http://www.midmar.com/books.html

Tom Weaver, whose books are available at http://www.mcfarlandpub.com and at http://www.dinoship.com


"See the doll messengers of death!" -- Curse of the Doll People

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