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Post by docsteve on May 26, 2008 17:49:57 GMT -5
EPISODE 301 - THE CAVE DWELLERS
David’s Review:
This movie is my primary motivation for ducking out on the synopses. As Crow put it, “even Tolkien couldn’t follow this plot!” This immortal line is uttered during one of the most tortuous flashbacks in the history of cinema. I kid you not. I was shocked to learn that this was only the second Ator flick, because the flashback sequence seems to contain material from at least two other films. Essentially, it’s just the mandatory exposition/experiment in padding bit. However, one is left with several lasting impressions: 1) the first Ator movie must have had about five times as many action scenes as this sequel, which is almost impressive; 2) it probably had even more continuity errors; and 3) it was a bigger rip-off of Conan (assuming that’s possible). I suspect that all of the Ator flicks were actually shot at the same time, and later edited into three movies.
By Season Three, the riffing can be as fast and furious as any episode from the later seasons. In the earliest KTMA episodes, the show was almost entirely improvised, and it showed. By the last KTMA eps, it is pretty obvious that some scripting is occurring, such as setting up a visual joke. (In K21, Legend of the Dinosaurs, the ‘bots even rag Joel a little about watching the movie before they did.) Season 1 was scripted, but the ethos of the show remained more or less the same. In the earliest MST3K, there was a real attempt to let the bad movies speak for themselves. Some of the longest, goofiest scenes in the theater are left to play out without comment, until the first “dead air.” By Season Two, this trend has disappeared, but the Brains still seemed a little tentative at times. It may have taken them some time to realize that their audience did indeed want to hear them more than the movie!
For me, The Cave Dwellers is a perfect MST3K movie. Events occur, apparently at random. There is zero plot or production continuity. There are more anachronisms in this film than in David and Bathsheba (1951) and The Conqueror (1956), combined. Even the impossibly long flashback, including obligatory voiceover, is entertaining, because this movie offers plenty of action. Sure, it’s completely nonsensical, frenetic, ineptly blocked and choreographed, and serves no function in the “plot” most of the time, but the bland, half-baked portions are ample.
Our heroine Mila is hysterical. She alternates between window dressing and the only one of our intrepid adventurers with half a brain. The movie would have ended in about five minutes if they had used the atomic nucleus as a weapon against Zor, as she advocates in the first scene!
This is one of the best episodes in the entire run, and my only possible criticism is that the intro and invention exchange, although good, are not equal to the remaining host segments. The re-enactment of the Film Ventures International-style credits is one of Joel’s most insane moments. It may be worth noting here that a FVI movie is always a good sign. (Stranded in Space is the exception that proves the rule, however.)
David’s Rating: 5.0 (FIVE CROWS).
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Post by docsteve on May 26, 2008 17:52:36 GMT -5
EPISODE 302 - GAMERA
David’s Review:
Gamera has only one glaring fault: he’s not Godzilla. In some respects, the monster Gamera actually surpasses go-go Gojira. For example, Godzilla cannot fly; however, he never risks the indignity of self-induced motion sickness, either. As a leading lizard character, Gamera has some issues. Even the most bizarre, ridiculous, and uncomfortable (as in “I’m embarrassed to be watching this”) Godzilla movie, such as Son of Godzilla, looks like The Magnificent Ambersons in comparison to the sheer madness that is Gamera v. Guiron (#312).
As a lifelong Godzilla fan, I have always been a snob concerning Gamera. In MST3K terms, Gamera was Joe Estevez to Godzilla’s Martin Sheen. All of the Gamera flicks, except possibly the first two, are directed at a younger audience than most of the Showa Godzilla series films. (Of course, both Godzilla v. Megalon and Gamera v. Zigra appear to have been marketed to toddlers, who would be dazzled by all the bright colors!) In other words, the monster was cool, but even American kids could recognize that the Gamera films were derivative, banal, and more than a little irritating, if only due to all of the precocious tykes declaring martial law, stowing away, and such-like. I guess we were supposed to identify with all of the Kennys, and Itchys, etc. In reality, no American kid would have been caught dead in those polyester Daisy Duke shorts, and we knew better than to jump freight trains barreling through restricted areas.
Gamera suffers from the same basic problems as Godzilla: King of the Monsters. The earliest version of the monster has little personality, and the plot revolves around the destruction of a scale model of Tokyo. It’s a solo job, with no monster on monster action. In concept, the first Gamera film has some minor improvements over the formula of the first Godzilla film. In terms of execution, it lags a bit. Sure, there are a few refinements, and Plan Z was a pretty cool idea. Where Gamera really grates is the injection of “Kenny” into the proceedings. It’s difficult to say whether this is Daiei’s new wrinkle to the Godzilla formula, or just a rip-off of King Kong and Mighty Joe Young as well. Like the American version of Godzilla: King of the Monsters, the American edit of Gamera also adds superfluous footage of “Americans.” Instead of Raymond Burr, however, we get Curly Joe Dorita’s stunt double.
As a child, it always struck me as very odd that none of the characters realized that Gamera could fly until the movie was virtually over. Before the advent of Gamera, there really was zero precedent for a giant, atomic-powered turtle, who could transform himself into a Blooming Ground Flower. When all’s said and done, you can’t take that away from him.
The first Gamera film is the best of the Gamera Showa series (1965-1974), and this episode is very strong in every category: movie, riffs, host segments, and invention exchange. It’s not a personal favorite, however. Other than the scenes with Kenny, the movie may be too good.
David’s Rating: 4.5 (FOUR AND A HALF CROWS).
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Post by docsteve on May 26, 2008 17:55:57 GMT -5
EPISODE 303 - POD PEOPLE
David’s Review:
I just re-read the reviews from Don, Forrest, and Josh. It’s a good thing, because they covered almost everything I wanted to say about this episode. In one sentence, this is a “must own.” I promised that I would review every episode, so here goes...
The Cave Dwellers (#301) and Pod People (#303) have been permanently linked, it seems. The original Rhino VHS tapes came out at the same time. Both are on Vol. 2 of the Rhino DVDs. Both always made the viewer’s choice polls on Comedy Central (i.e. Turkey Days and “Play MSTy for Me”). Other than Humanoid Woman (#K11) and Robot Holocaust (#110), these were the most recent films to be MSTed at the time.
There actually are quite a few parallels between Cave Dwellers and Pod People. Some are fairly obvious: 1) Film Ventures International; 2) Zero plot and production continuity; 3) Color film stock, developed incorrectly; and 4) International House of Casting.
Some of the parallels are more subtle. Although foreign productions, both films are nominally English-language films. (Quick checking with “Daddy-O’s Drive-In Dirt” and the IMDb revealed that the majority of both casts and crews are American or perhaps Canadian.) Despite this fact, most of the dialogue in both films appears to be looped or dubbed, particularly outdoors, as is the custom in Italian and Spanish productions. Although shot on film, both movies might as well have used video. It’s not really fair to rag on the directors’ shot composition, since we are watching the television versions. (Still, it’s pretty awful.) However, neither film’s director has even rudimentary skills in lighting locations. I suppose this is done for “mood” in Pod People, but one expects to see what’s going on in a motion picture.
Movies from Film Ventures International always raise a few questions. First, what did the original credits look like? Since FVI movies are all public domain, there is no real need (or rational explanation) for their patented credit sequences. Second, did these movies never make any sense at all, or did the FVI video editors butcher them? Did FVI just release any old piece of @#$%, so long as it was public domain, or did they actually have a selection process? If the latter, how do you explain Stranded in Space?
Speaking of questions, here are a few more that Pod People never bothers to answer. If Laura was the daughter of the recording studio’s owner, what kind of story was the band going to cook up for the brass to explain the alien’s comparative fault in the subsequent negligence suit? Who was the fey male groupie, and how did he and the sound engineer spend their weekend? Did the eggs in fact contain nightingales? (Otherwise, three ren fest rejects died for nothing.)
This episode fully deserves its reputation. Along with the movie, this is a great “first MST3K.”
David’s Rating: 5.0 (FIVE CROWS).
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Post by docsteve on May 26, 2008 17:59:50 GMT -5
EPISODE 304 - GAMERA VS. BARUGON
David’s Notes on the Cast:
Koji Fujiyama had roles in all of the Gamera films from the first series (1965-1974), except Gamera v. Guiron (#312), which has only one speaking role for an adult male (Cornjob). Apparently, Fujiyama was a contract player for Daiei at one time. Judging by the titles, he appears to have been a villain in most of Daiei’s “B” films. My favorite title is 1973’s Female Prisoner Scorpion: Beast Stable. (Unfortunately, Fujiyama was left out of the first two films: Female Prisoner #701: Scorpion and Female Convict Scorpion: Jailhouse 41.) Fujiyama had roles in a couple of films in both the Zatoichi and Lone Wolf and Cub series.
David’s Review:
Apparently, the uncut Japanese movie, Daikaiju Keto: Gamera Tai Barugon (“Giant Monster Battle: Gamera vs. Barugon”), is about ten minutes longer than the Sandy Frank version for American television (101m). The full television version was MSTed in #K04. The version used for episode #304 is edited down by another 16 minutes. Most of the footage missing from #304 takes place onboard the ship, both before and after the landfall on Rainbow Island (or whatever it was called). Curiously, the Brains also cut part of the first fight between Gamera and Barugon. In the full version, we see Barugon freeze the G-Man, rather than the main characters learning of it by a television broadcast (which is just a recap in the original).
Barugon enjoys the distinction of being Gamera’s toughest adversary to date. It’s a shame, because they have little screen time together. Their first fight scene occurs over fifty minutes into the edited running time, or over an hour into the original. In the first fight, Barugon makes Gamera look like the Mock Turtle searching for his mouthpiece on the canvas. Gamera then spends thirty minutes (of the remaining 40 minutes of running time) as a frozen deep-dish pizza. When Gamera thaws out, he is finally able to defeat the weakened Barugon. On the bright side, there are no Kennys, Itchys, or Helens in sight!
Like the earliest Godzilla films, Gamera the Invincible (Daikaiju Gamera, “Giant Monster Gamera”) and Gamera vs. Barugon were also directed at an adult/teen audience, in addition to kids. Without a doubt, the earliest movies are the best in both the Godzilla and Gamera Showa series. However, they don’t make for the best MST3K episodes, since they tell a recognizable story. Gamera vs. Barugon is ambitious; it attempts to hold your attention for well over forty minutes (about 30 minutes in this version) before Barugon even hatches. Ultimately, I am forced to conclude that Plot #1 (retrieving the “opal”) was all padding. As kaiju fans know, the miniature sets are quite expensive and usually the single biggest line item in these films’ budgets.
Although the Marx “Fighting Men and Monsters” ad is hysterical, the host segments and riffing are stronger in the other MSTed Gamera offerings.
David’s Rating: 4.0 (FOUR CROWS).
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Post by docsteve on May 26, 2008 18:09:50 GMT -5
EPISODE 305 - STRANDED IN SPACE
David’s Notes on the Cast:
The utter mediocrity of the pilot for “The Stranger” might be the fault of one Glenn Corbett. Corbett may be the most forgettable “leading man” actor in the history of film and television. Corbett allegedly has parts in two of my favorite movies, John Wayne’s Chisum (1970) and Jimmy Stewart’s Shenandoah (1965). Honestly, I could not remember him being in either, and I had to dust off my VHS copies to confirm that he is, in fact, in both movies. Apparently, Hollywood forgot about Corbett for many years as well. After Midway (1976), Corbett appeared exclusively as a television “guest star” until a bit part in 1993’s Shadow Force.
David’s Review:
This movie is the worst adaptation of L’ Etranger, the Albert Camus novel, to date. For one thing, we have a bland astronaut, instead of a disillusioned Frenchman. Also, no Arabs are slain in a fit of existential ennui. I don’t think that even The Cure could have come up with a decent song from this story. Excuse me...I have just been informed that “The Stranger” tv pilot was not intended as a dramatization of the Camus classic. I am filled with shame.
Stranded in Space is firmly within the “dystopic” genre, or at least that’s what the producers wanted us to think. From Yevgeny Zamyatin’s We to Orwell’s 1984, the dystopic novel has presented a future in which technology has outpaced ideology or morality, humanity is enslaved by a totalitarian state, and a false sense of security has replaced freedom. In the final analysis, Stranded in Space takes a giant whiz on all of this. The genre might be summed up as follows: It CAN Happen Here. However, in this turkey, it all happens on an alternate Earth (“Terra,” very clever), which completely destroys the dramatic impact. Who even cares about this planet full of squares, stool pigeons, and miscellaneous tools, all played by Love Boat rejects?
As a production shortcut, Terra is uncannily like our own Earth! I tell you, it’s eerie. Did I mention that Terra is exactly like our own Earth, except everyone is left-handed! Oh, I almost forgot, Terra doesn’t even have a Florida! Man, I sure never saw that coming... It’s pretty hard to suspend your disbelief when you and other people in your high school have actually owned some of the cars used in this futuristic epic.
This “movie” does not make for a good MST3K experiment. There are a grand total of two “action” scenes: Corbett escapes from the hospital, and Corbett escapes from the space center. Stranded in Space is incredibly talky and 100% predictable. When something finally happens, the audience has already seen it coming from a country mile. There is no way this episode could have worked before Season Three; the movie is just that dull. The host segments are excellent, which help salvage this dud. If ever an experiment needed a short, this is the one.
David’s Rating: 2.5 (TWO AND A HALF CROWS).
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Post by docsteve on May 26, 2008 18:11:50 GMT -5
EPISODE 306 - TIME OF THE APES
David’s Review:
This is a very difficult review for me to write, because I really have a hard time watching this episode. The crappy ape costumes disturb and nauseate me, no joke. The BBI makeup in Season 8 is light years ahead of this.
Upon careful reflection, I would have to say that this one actually makes less sense than Mighty Jack. None of the pseudo-scientific explanations pass the "giggle test," so they provide no help with plot continuity, etc. This "movie" seems to consist of two separate plot arcs, but the appearance of UNEC COM and the "startling conclusion" make the final scene of Puma Man seem dignified and well-executed.
Forrest has suggested that this is mandatory MST3K viewing, a sort of endurance test. I wouldn't disagree, as I actively avoid this one. Let me count the whys and wherefores. 1) In my mind, action (or at least a brisk pace) really helps a riff. The limited "action" in this film consists of the "heroes" running from the Ape Army, who have worse marksmanship than Imperial Stormtroopers combined with the guards on Hogan's Heroes; 2) I dare someone to publish the "plot" to this roadkill with a notarized attestation to its accuracy; 3) Garish lighting, costumes, and art direction will combine to give you severe bedspins if you attempt to watch this in a reclined or supine position. 4) The pseudo-scientific explanations offered in halting English don't explain why the hero dies a horrible, lingering death in some sort of radioactive hell.
This episode is hilarious the first time through. That said, most people who have made the mistake of watching it twice do not recommend multiple attempts. Again, I cannot stress enough that this is the WORST Sandy Frank episode.
David’s Rating: 3.0 (THREE CROWS).
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Post by docsteve on May 26, 2008 18:16:18 GMT -5
EPISODE 307 - DADDY-O (ALPHABET ANTICS)
David’s Notes on the Cast:
Bruno VeSota appeared in five MST3K experiments (Daddy-O, Attack of the Giant Leeches, Gunslinger, The Wild, Wild World of Batwoman, and The Undead). Fortunately, for Mr. VeSota, this is only good for a second place and a tie with two other Corman alumni, Ed Nelson and Peter Graves. In first place at six MSTed performances, Jonathon Haze stands alone. Apparently, Haze was to Corman as Hank Worden was to John Ford.
David’s Review:
In my mind, the infotainment shorts feel like they were always an integral part of the show. In writing these reviews, I realized that the majority of these came from 1991-1994. The only remarkable aspect of Alphabet Antics is that it was the second infotainment short. I have always wondered what age group was intended to benefit from this no-budget compilation of stock footage, since it couldn’t even hold the attention of a school-aged child. This is by far the weakest infotainment short of the series.
This episode is a sentimental favorite, but it doesn’t hold up as well as most of the other MSTed ‘50-‘60s “teen” flicks. As near as I can figure, Daddy-O inverts the formula. For example, Untamed Youth (#112) and Catalina Caper (#204) are first and foremost a series of musical performances, their “stories” are essentially grafted on with a smattering of T&A. Daddy-O is a fairly serious tale of revenge, romance, and intrigue. Well, it tries really hard to be those things... Anyway, there really isn’t that much rockin’ & rollin’ to be had on the premises. Neither Dick Contino (Phil Sandifer, aka Daddy-O, aka Pete Plum, aka Mr. Highwaters), nor Tony Travis (Eddie Crain, from The Beatniks) really deliver their “performances;” all of the singing in both films is dubbed. When you consider that the producers could have gotten literally anyone they wanted to sing, the musical numbers in Daddy-O are lame indeed. They might as well have let Contino sing. Don’t get me wrong. The musical bits are a major part of this hilarious episode.
Daddy-O presents a good example of how sophisticated the host segments had become by this point in the series. This episode was one of my early favorites (passed up by later shows), but even I would admit that the strongest point is the BBI original material. “Hike Up Your Pants” and the Carmen Miranda impersonation (“Want some?”) are stand-outs from an excellent season. Daddy-O would also be a good rebuttal for anyone who wants to argue that any experiment from Seasons 3 and 4 is better than any of the Sci-Fi era shows. In the final analysis, this episode is very good, but not great. If this episode has a problem, it might be that so many of the film’s sequences are virtually identical to scenes in both earlier and later experiments. A better short would have helped, also.
David’s Rating: 4.0 (FOUR CROWS). (Short = 2.0, Film = 4.0)
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Post by docsteve on May 26, 2008 18:19:15 GMT -5
EPISODE 308 - GAMERA VS. GAOS
David’s Notes on the Cast:
Kojiro Hongo plays Shiro Tsutsumi in the third installment of the Gamera series. Hongo also had parts in Gamera vs. Barugon (#304) and the unMSTED Gamera vs. Viras (the fourth film in the Showa series). I mention all this because my brain will not accept that Hongo was not in another MSTed film. Perhaps I am thinking of Gamera vs. Viras. If anyone can shed any light on this, please e-mail me, as the IMDb is no help at all.
David’s Review:
Like Gamera (#302) and to a lesser extent, Gamera vs. Barugon (#304), Gaos makes a stab at a coherent story and a broader age demographic. For example, I can’t imagine the kiddies being too interested in the highway development subplot. This feels like it was lifted wholesale from a B Western (railroad), but it was actually based on the news of the day. Gamera vs. Gaos is not as serious as the previous two Gamera flicks, but we are still far removed from the absolute madness of either Gamera vs. Guiron (#312) or Gamera vs. Zigra (#316).
Over the years, Gamera has enlisted many children to enforce his unholy will. In all fairness, Itchy is not nearly as annoying as the original Kenny. However, this is not unlike saying, “if I have to choke on vomit, I prefer it to be mine.” Itchy (Ichi) might as well just start a coup d’etat with Gamera’s aid and get it over with. It’s Itchy’s world; we’re just living in it. While I don’t advocate harming a child or drinking until your liver fails, a good drinking game might be to take one every time that you want to slap Itchy full in the mouth. The worst part: the little brat is actually right most of the time in this outing, which is like salt to an open wound.
I have to agree with Don; Gaos is truly evil. Your heart will actually soar when he finally gets snuffed. Although largely misunderstood (where was his court-appointed Kenny?), Barugon was a much tougher opponent. Gaos has no class, and he goes straight to the laser/sonar thingy. Like Godzilla, the savvy veteran Gamera has too much pride to rely solely on his primary weapon. Okay, it’s actually a very contrived device to prolong the fights. Anyway, the point is that Gaos was playing dirty, by the unwritten rules of daikaiju, and he had to pay. David’s Rating: 4.0 (FOUR CROWS).
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Post by docsteve on May 26, 2008 18:35:41 GMT -5
EPISODE 309 - THE AMAZING COLOSSAL MAN
David’s Notes on the Cast:
Although not a cast member, Albert Glasser worked on almost two hundred films as a composer or musical director/coordinator. By my calculations, that’s about two hundred too many. At any rate, Albert Glasser: we salute you! One of the dead, prolific, yet mediocre ones!
David’s Review:
For me, The Amazing Colossal Man is a rare MSTed film: I had actually seen and enjoyed it a few times before MST3K. To be crystal clear, it’s not a good movie, but it isn’t much worse than a major studio sci-fi release of the same era. I’m not sure why, but I suppose that the Notorious BIG wasn’t that far behind the curve...yet.
The film works because it takes itself so @#$% seriously. Any descent into comedy would have ruined the “mood.” Technically, there is one “light hearted” scene, the bit with the delivery driver. Fortunately, Glenn’s size isn’t really the punchline (it’s not a “big” joke). You can’t riff on unfunny comedy for very long (see Catalina Caper).
This episode is an interesting example of the evolving MST3K culture. For example, we have credit riffs on composer Albert Glasser. These sort of references are now possible, because the show’s audience knows to expect bombastic sludge from our favorite cut-out bin composer. This episode is also the source of numerous call backs, or the first appearance of some classic riffs. “Sad, really.”
The Amazing Colossal Man is supposed to feature an X-Treme Scientist/Bland Scientist relationship, which is almost a requirement for inclusion in the Notorious BIG canon. Problematically, the alleged X-Treme scientist is fairly bland as well. He’s more socially inept and backward than a real maverick from the Peter Graves mold. Yes, that’s correct; William Hudson as Dr. Paul Lindstrom makes Peter Graves seem vital and dynamic. Larry Thor (Dr. Eric Coulter), the Blander Scientist, is the second most nondescript scientist in the show’s entire run. Curiously enough, he is beaten out by his spiritual successor, Russ Bender (Dr. Carmichael), from this film’s sequel, War of the Colossal Beast (#319).
They Just Didn’t Care Department: Be sure to pay attention to the small details in this flick. Why? So you’ll notice when the sequel completely piddles all over them. Recall that the heart “is made up of a single cell, for all practical purposes.” Also, Glenn is supposed to die within hours if the army sawbones don’t intervene with the proper treatment, which is never completed.
The host segments are all above average, and they have some repeat value.
David’s Rating: 4.5 (FOUR AND A HALF CROWS).
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Post by docsteve on May 26, 2008 18:49:40 GMT -5
EPISODE 310 - FUGITIVE ALIEN
David’s Review:
This is another Sandy Frank repackaging of Japanese television. (Think of ring bologna or olive loaf; in the final analysis, it’s the same concept.) Considering how much pain this “movie” inflicted upon me before I learned this little fact, I feel like Sandy Frank owed us a disclaimer.
Fugitive Alien may be the worst offender of all the Sandy Frank episodes in this regard. Like Mighty Jack and Time of the Apes, Fugitive Alien goes too far in drawing together scenes from multiple episodes of its source material, rather than picking up a story arc from consecutive episodes. (I hope that made sense.) Basically, Fugitive Alien I and II are like piece of particle board cut in half, not a proper “movie” and its sequel. For this reason, Fugitive Alien I is less confusing than Mighty Jack overall, but it has no real “ending,” per se. Originally, I saw Fugitive Alien II, the “ending,” first, which really compounded my discomfort.
I will say this for Sandy Frank. Whatever it is that he hath wrought, it forces us to ask certain questions. For example, is Fugitive Alien I a movie at all? In a literal sense, a “movie” is a motion picture. However, I think we would all agree that not all motion pictures are “movies.” The vocabulary of cinema tells the tale. Shorts, documentaries, “direct-to-video,” and road show pictures are all clearly identified as something other than a traditional “movie.” By using these negative examples, we soon gather that a “movie” is a feature-length, fictional or fictionalized story intended for general release in a dedicated venue. In general, the audience has a reasonable expectation that the movie’s narrative will be comprehensible and have a beginning, middle, and end. Admittedly, this definition is deliberately narrow and far from perfect, since many popularly and critically accepted films do not meet all of these criteria. For example, neither Rashomon nor Pulp Fiction have traditional story arcs.
At any rate, I think we would all agree that Fugitive Alien I is not a proper “movie.” Fugitive Alien was originally shot, edited, and released for a different format: television. As far as I know, both installments were sold to American television and never had a theatrical release in their MSTed form (or any form in any country). Neither half of Fugitive Alien can stand alone, in any sense of the phrase.
If all this seems a bit pedantic, I apologize. However, I do think it is important to show that you really can’t put a handle on the non-Gamera Sandy Frank episodes. I am often tempted to refer to them as “some of the worst movies ever made,” but it is clear that they really aren’t movies in any traditional sense. Even worse, these Frank abominations never aspired to be more than programming. In other words, Sandy Frank found a rung on the mainstream entertainment ladder slightly lower than Film Ventures International, and you can’t take that away from him!
Fugitive Alien I has some incredible plot continuity problems. Since it's not a real movie, this could be expected I suppose. Some of the problems may be caused by the inept, trademarked Sandy Frank Productions dubbing. Here's one for you. Ken is half-human. Wolf Raiders are supposed to be stronger than humans, but Ken is the strongest of all. Obviously, this is because Valna Star, the Wolf Raiders' home world, has gravity heavier than Earth's right? Right??? Except we later hear Ken "think," "I'm even stronger back home on Valna Star!" What the @#$%!!!!!
David’s Rating: 3.5 (THREE AND A HALF CROWS).
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