Tag: Andrew Robinson
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Dirty Harry only has one significant problem. It has a bunch of little problems, but it gets past those–sometimes manipulatively, sometimes just nimbly thanks to director Siegel and star Clint Eastwood–but the big one. It can’t overcome the third act. Villain Andy Robinson (I can’t forget to talk about him) has kidnapped a bunch of…
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There’s a certain exhaustion about Trancers III. Director Joyner doesn’t have much chemistry with star Tim Thomerson, leading to way too much time spent on the evil super-soldiers. This Trancers sequel, in addition to a really lame Terminator 2 vibe with a novelty android, is all about explaining the origins of Trancers. But not in…
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Shoot to Kill is an exceptionally bland action thriller. It shouldn’t be bland–there’s a decent concept to it. Kirstie Alley is a wilderness guide, cut off from the outside world, and one of her obnoxious fly-fishing white male character actors is secretly a killer. Who will it be? Richard Masur? Clancy Brown? Andy Robinson? Unfortunately,…
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The issue opens with a sci-fi story–from Watt-Evans and Robinson–about a female space traveler who finds a world filled with adorable little creatures out of a Disney cartoon. It turns out they’re very amorous to the human female, which provides for a rather amusing story. Watt-Evans’s story is well-paced and always thoughtful. There are the…
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The issue opens with a sci-fi story–from Watt-Evans and Robinson–about a female space traveler who finds a world filled with adorable little creatures out of a Disney cartoon. It turns out they’re very amorous to the human female, which provides for a rather amusing story. Watt-Evans’s story is well-paced and always thoughtful. There are the…
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Madwoman sort of whimpers off to its end. Jordorowsky tries to do way too much–he introduces two new characters and kind of changes up the point of the story. He also introduces the possibility its all about getting a drug princess out of jail. It doesn’t even have a solid ending, instead making a joke…
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Madwoman sort of whimpers off to its end. Jordorowsky tries to do way too much–he introduces two new characters and kind of changes up the point of the story. He also introduces the possibility its all about getting a drug princess out of jail. It doesn’t even have a solid ending, instead making a joke…
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Another mediocre issue. DeLint and Vess’s Savoy story, about a woman masquerading as a highway robber to confirm her man’s fidelity, ought to be a lot better. Vess has some great panels, but he occasionally will have some indiscernible action sequences. With DeLint writing a “ballad,” he doesn’t exactly make things clear. Once the narrative…
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Another mediocre issue. DeLint and Vess’s Savoy story, about a woman masquerading as a highway robber to confirm her man’s fidelity, ought to be a lot better. Vess has some great panels, but he occasionally will have some indiscernible action sequences. With DeLint writing a “ballad,” he doesn’t exactly make things clear. Once the narrative…
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I think Madwoman would read better as a single narrative, instead of sectioned off into installments. Jordorowsky makes a major plot addition this installment–the protagonist hallucinates his younger self as an advisor when it comes to being inappropriate with one of his students–and it just changes the tone completely from the last entry. The content…
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I think Madwoman would read better as a single narrative, instead of sectioned off into installments. Jordorowsky makes a major plot addition this installment–the protagonist hallucinates his younger self as an advisor when it comes to being inappropriate with one of his students–and it just changes the tone completely from the last entry. The content…
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So, Hellraiser is supposed to be scary, right? Because it seems like a poorly directed, completely illogical (if a wall split open in front of you, would you walk into it?) mess. It’s only ninety-four minutes, including credits, but it’s this exceptionally boring “scary” movie. The scariest thing in the movie might be the off-screen…
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Walter Matthau hated Charley Varrick. He must have been stuck in a contract or something. It’s understandable why he did, however. Matthau’s whole image is one of the likable curmudgeons. Varrick casts him as a gum-chewing (for that Matthau effect) bank robber… who doesn’t do it because he needs the money, but because crop dusting…
The Stop Button 