Also known as: Umi ga kikoeru (original Japanese title) Release Date: May 5th, 1993 (Japan – television) Directed by: Tomomi Mochizuki Written by: Kaori Nakamura Music by: Shigeru Nagata Cast: Nobuo Tobita, Toshihiko Seki, Yoko Sakamoto
Tokuma Shoten, Nippon Television Network, Studio Ghibli, 76 Minutes
Review:
This Studio Ghibli film reminded me a lot of Only Yesterday, which I stated in that review, was my least favorite Ghibli movie I had seen up to that point. I did like this one a hair bit better but it was also shorter and a bit better paced because of that.
This is a coming of age story about two male friends and how, as they get older, they find themselves in a love triangle.
Overall, it’s not really my cup of tea and even though I’m generally okay with slice of life stuff, this one doesn’t connect as well as Ghibli’s other pictures on an emotional level.
This is sort of dry but that doesn’t mean it’s bad and I can see the reasons why a lot of people actually like this one.
The characters are likable and their lives are fleshed out well, developing them into real characters with some depth.
I thought that the animation was good but it’s also less stylized than typical Ghibli pictures. That could also be because this was originally developed for television.
Overall, this was decent but it’s far from the Studio Ghibli movies that I hold in really high regard. Also, unlike those, I don’t know if I’d ever want to watch this one again.
Release Date: July 9th, 1993 Directed by: Robert Klane Written by: Robert Klane Based on: characters by Robert Klane Music by: Peter Wolf Cast: Andrew McCarthy, Jonathan Silverman, Terry Kiser, Barry Bostwick, Troy Byer, Tom Wright, Steve James
“Why would you need to guard a dead man stuck in a two foot refrigerator?” – Richard Parker
Let me preface this by saying that this is a sequel that never needed to be made. Also, even though I love the first movie, I didn’t see this one when it came out and I actually never committed to watching it until maybe a decade ago.
Back when I first saw this, I thought it was a really weak sequel that jumped the shark almost immediately when Bernie’s corpse becomes a voodoo zombie and I pretty much dismissed it and never watched it again until now.
Having several years to marinate on it, I figured I’d give it a rewatch to review it. Besides, I just reviewed the original one, so why not follow it up with this?
Weekend at Bernie’s II takes a zany movie that was pretty much grounded in some sort of reality and turns it on its head, making a voodoo spell animate Bernie’s dead body. Although, the spell was done poorly, so Bernie only moves when he hears music and then it makes him raise up and walk in the direction of where his stolen millions were stashed. However, he doesn’t just walk, he dances and wiggles his head like a boomer at a Jimmy Buffett concert.
This is just a bad movie, through and through, yet I still found it kind of amusing and even more so, this time around. I think that’s because I was already disappointed by it and knew what to expect. Also, already knowing what parts of this I didn’t enjoy, allowed me to focus more on the positives.
The biggest positive is the return of Andrew McCarthy and Jonathan Silverman, who are a charismatic and amusing duo.
Also, Terry Kiser got to up the ante in this picture and they really allowed him to do his thing more. With the goofy added voodoo schtick, it did provide Kiser with the opportunity to move and be more active in a fresh way. It opened the film up to new gags, as opposed to rehashing the same things from the first flick. Looking at the voodoo plot twist that way, kind of salvages it.
This was also one of the last movie’s to have Steve James in it, as he died shortly after this was released. He has a fairly small role but I always loved the guy because of how cool and badass he was in the first three American Ninja movies.
Sadly, Weekend at Bernie’s II just doesn’t come close to what the original was. This is probably why this movie is mostly forgotten but the original still has its fans. While I liked this more on a second viewing, I doubt it’s something I’ll ever watch again unlike its predecessor.
Release Date: November 30th, 1993 (Washington DC premiere) Directed by: Steven Spielberg Written by: Steven Zaillian Based on:Schindler’s Ark by Thomas Keneally Music by: John Williams Cast: Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagall, Embeth Davidtz
“It’s Hebrew, it’s from the Talmud. It says, “Whoever saves one life, saves the world entire.”” – Itzhak Stern
Schindler’s List is nearly thirty years-old but I hadn’t seen the movie until now. I knew the story of Schindler but I also had assumptions about this movie that I found out weren’t entirely true after having finally watched it.
I expected this to be immensely depressing and also very, very long. The combination of those two things is why I could never get myself to sit down and watch it.
Additionally, based off of the footage I had seen over the last few decades, I assumed this was going to focus on the actual horrors of the Holocaust primarily and that the story would be pretty minimal. I was glad to learn that this has a very layered and deep story, more so than I could have anticipated.
Sure, I assumed it would be superbly acted and it most definitely is. Liam Neeson is incredible, as are Ben Kingsley, Ralph Fiennes and Embeth Davidtz. Yet I was still blown away and surprised by how good their performances were and I was much more moved by that than the specific horrors that happen in the movie. It’s those performances that kept the horrors and tragedy grounded and genuine.
I thought that this was going to be more docu-drama than a narrative driven, performance driven motion picture.
This may also be Steven Spielberg’s best work behind the camera, as some of the shots aren’t just incredible but they’re almost otherworldly. I love that he did this in black and white, which makes it kind of timeless, but also makes it tonally darker.
I really enjoyed John Williams’ beautiful score and it is certainly one of the greatest things he has done in his long career, as a composer who has probably made more memorable movie themes than any other.
The subject matter, here, is really hard to digest. However, this is a story that should be known by everyone. We can’t forget these atrocities because we’re doomed to repeat them in the future, as insane and implausible as that may sound.
After watching this and Grave of the Fireflies just a few days apart, I really need something uplifting because that was a lot of dark human shit that I had to experience in a short span.
Also known as: When A Stranger Calls 2 (working title) Release Date: April 4th, 1993 Directed by: Fred Walton Written by: Fred Walton Based on: characters by Fred Walton, Steve Feke Music by: Dana Kaproff Cast: Carol Kane, Charles Durning, Jill Schoelen, Gene Lythgow, Kevin McNulty
“I am not the reflection of anything. I am not an illusion. I am the truth. I’m invisible. Unknowable. You people are the real illusionists. You people are the real illusionists!” – William Landis
This movie is basically the inverse of its predecessor.
In the first film, the best part, by far, is the first act. The rest of the film falls pretty flat even though the ending is good and satisfying.
In this film, the first act, which emulates the original movie, is pretty bad. It’s a sequence that has weird logic and is sort of confusing on a first watch. But then the rest of the movie is really damn good and more than makes up for the wonky first act. And with that, I think that this film is better as a total movie, overall.
However, nothing still tops the opening of the original. So, honestly, I think the two films kind of break even and that’s actually kind of fucking cool.
Carol Kane and Charles Durning both returned for this, as did director, Fred Walton. Joining them was Jill Schoelen, who was kind of becoming a scream queen by this point after Stepfather, Popcorn and the Robert Englund starring The Phantom of the Opera.
The cast was good and the director seemed to learn from the mistakes of the first movie and gave us a much better paced film, this time around.
The psycho in this movie is also much better than the original. They got creative with this character and made him a ventriloquist, which was used as a plot device to give him the ability to throw his voice. This ability leads to him making his victim think there are multiple predators. He also uses photographic reference to paint himself in ways that allow him to blend into his environments. It’s kind of clever, honestly, and seeing how it’s utilized in the film makes sense and comes off as plausible.
When A Stranger Calls Back is a better movie than I anticipated it being. Also, for originally being a television movie on Showtime, the finished product is even more impressive.
Release Date: May 20th, 1993 (Cannes) Directed by: Renny Harlin Written by: Michael France, Sylvester Stallone, John Long (premise) Music by: Trevor Jones Cast: Sylvester Stallone, John Lithgow, Michael Rooker, Janine Turner, Leon, Paul Winfield, Ralph Waite, Bruce McGill
Pioneer, Canal+, Carolco Pictures, 113 Minutes
Review:
“Kill a few people, they call you a murderer. Kill a million and you’re a conqueror.” – Eric Qualen
This is one of my least favorite Sylvester Stallone films from his legendary run from the early ’80s through the mid-’90s. However, I still enjoy it because it’s Stallone and he has John Lithgow and Michael Rooker to work with in this.
The story is about a team of people that rescue mountain climbers. The two men on the team had a terrible falling out when one of them couldn’t save the other’s girlfriend and she fell to her death. However, they have to learn to work together again when a group of criminals crashes a plane and loses the money they stole in the mountain wilderness.
The two heroes are forced into being the criminals’ guides but once the money is located, the criminals try to take out Stallone. Stallone gets pissed and decides he needs to rescue the other guide, his former buddy, and to take out these criminals before they hurt more people.
The stunts in this are pretty impressive, especially considering the terrain and the environment. Sure, there are shots where it’s obviously not a real mountainside but they still had to get certain shots to make the film feel as real as possible.
There’s also a good amount of decent helicopter work in the film and the finale with the helicopter crashing and getting wrapped up by a cable ladder is pretty good.
Overall, this is exactly what you’d expect from a movie with Stallone on snowy mountain caps. It’s basically Die Hard on a mountain and that’s fine, as Die Hard created a formula that the action genre still tries to emulate.
Release Date: September 8th, 1993 (Los Angeles premiere) Directed by: Tony Scott Written by: Quentin Tarantino Music by: Hans Zimmer Cast: Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, Christopher Walken, James Gandolfini, Bronson Pinchot, Samuel L. Jackson, Michael Rapaport, Saul Rubinek, Conchata Ferrell, Chris Penn, Anna Thomson, Victor Argo, Tom Sizemore, Kevin Corrigan, Michael Beach, Ed Lauter (uncredited)
August Entertainment, Davis-Films, Morgan Creek Entertainment, 119 Minutes (theatrical), 121 minutes (unrated Director’s Cut)
Review:
“If there’s one thing this last week has taught me, it’s better to have a gun and not need it than to need a gun and not have it.” – Clarence Worley
Since I just revisited Natural Born Killers, a film written by but not directed by Quentin Tarantino, I figured that I’d also checkout the other one.
True Romance was directed by Tony Scott using a script that Tarantino sold in an effort to get enough money to make Reservoir Dogs. That being said, out of the two scripts he sold, this is the one that was translated to screen the best. Also, Tarantino doesn’t disown this film, as he does Oliver Stone’s Natural Born Killers.
I think that Scott’s directorial style mixed with Tarantino’s writing was a pretty good match. Granted, this also benefits from having an incredibly talented ensemble cast and one of Hans Zimmer’s most unique but incredibly effective musical scores.
Christian Slater and Patricia Arquette are f’n dynamite in this and despite the insanity of the circumstances they created, they were pretty believable, had superb chemistry and you really wanted these two kids, who had just found true love in each other, to make it though and have that “happily ever after” ending. They luckily succeed. Although, maybe they don’t but I’ll get into that towards the end of the review.
Beyond the two leads you’ve got so many notable people, many of which are in small roles or in the case of Val Kilmer, completely obscured to the point that you don’t even know that it’s him. The real standout scene in the film doesn’t even star the leads, though, it stars Dennis Hopper, who is only in a handful of scenes and Christopher Walken, who is only in this one iconic scene. And man, it’s one of the greatest scenes of Walken’s career. It happens midway through the film and it leaves you with a legitimate sense of dread, making you understand just how much trouble the young lovers are actually in.
The second most iconic scene in this is where Patricia Arquette enters her motel room alone to find James Gandolfini sitting in a chair clutching a shotgun. It’s an unnerving and extremely f’d up scene, as Gandolfini brutalizes Arquette. It’s a scene that Hollywood wouldn’t have the balls to do today due to how brutal it is. However, Arquette does get the upper hand in this ultraviolent fracas and makes Gandolfini pay in an even more brutal way.
That being said, this is an exceptionally violent film but those who have experienced Tarantino’s work, should know what they are getting into, even if the material is brought to life by another director.
So watching this film for the first time in a long time, I was left wondering about the ending. We see the young lovers leave behind the craziness that became their life for a bit. The closing moments show them on a beach with a child. All seems well and good.
However, I doubt that Christopher Walken’s very driven and cold mobster character isn’t just going to stop looking for them, especially after the crew he sent to catch and kill them were all taken out in a blaze of violence in the film’s finale. So there’s that bit of worry in the back of my head and it does leave the movie open for a sequel. However, I’d leave this alone and never attempt that. By this point, that ship has most definitely sailed, anyway.
True Romance is a great film, top-to-bottom. It’s built up a legitimate cult following over the years and being that Arquette’s Alabama is directly tied to Harvey Keitel’s Mr. White from Reservoir Dogs sets it in the same universe as that film and Pulp Fiction and just adds to the picture’s mystique and coolness.
Also known as: Deadly Terror (working title) Release Date: December 29th, 1993 Directed by: Rachel Talalay Written by: William Davies, William Osborne Music by: Graeme Revell Cast: Karen Allen, Chris Mulkey, Ted Marcoux, Wil Horneff, Jessica Walter, Rick Ducommun
Twentieth Century Fox, 95 Minutes
Review:
“Excuse me… a little stiff. Caught a bitch of a virus.” – Computer Ghost of Karl
I never had much urge to see this way back when it was a current movie. Even though I was a fan of horror and cyberpunk concepts, I knew that it was directed by the same woman that did Freddy’s Dead, which murdered that once great franchise. I also figured that this would be full of computer graphics fuckery and that’s probably why she was hired, after she gave us that abysmally bad CGI 3D sequence in that previous movie.
However, I’m also a fan of the worst ’80s and ’90s cheese, especially in the realms of horror and sci-fi, so I figured that I’d finally give this a watch, as it’s on HBO Max. Plus, it starred Karen Allen and Chris Mulkey and I like both of them quite a bit.
So to be upfront, I didn’t hate this and even though it was a bad movie, there was enough to enjoy in it and the “virtual reality” stuff was every bit as awful and wonderful as it is in other movies from the same era like The Lawnmower Man and Brainscan.
The CGI is primitive as hell and it dates the movie but seeing it in the 2020s, nearly thirty years later, makes it much cooler than it would have been experiencing it back then. Frankly, it made me really nostalgic for this stuff and the early days of computer animation, the Internet and the sort of unknown wonderous world of what technology could be.
I even enjoyed the pixilated killer ghost whenever he appeared in the real world and thought that they utilized the CGI well for what they were trying to achieve.
So the story is about a serial killer that works in a computer and software shop. He steals the address books of clients after his boss uses them to show those clients how his address book software works on common PCs. The killer takes out everyone on the address books before finally killing the person who owns it. However, he is killed in a car crash. Upon getting an MRI, weird shit happens to the power at the medical facility and he is essentially copied onto a hard drive and is essentially now a digital copy of the killer’s brain (and I guess soul) that can travel the Internet and effect any electronics he possesses.
While it’s an interesting concept, I feel like you could easily just trap him in a toaster, unplug him and toss it into the furnace. Also, he is able to manipulate electronics in impossible ways, like using a small microwave to essentially turn an entire large kitchen into a microwave oven.
Plot holes, plot conveniences and ridiculousness aside, some of the kills in this movie are really damn good, such as the microwave kill. The killing sequences also have a bit of a Final Destination vibe to them, as you know the person will die but it’s interesting seeing how it’s all going to unfold. Kind of like watching a Rube Goldberg machine of death.
In the end, though, this is still pretty bad. Most people will hate it and dismiss it as unpalatable schlock but for me, it had enough cool stuff in it to hold my attention and to make me appreciate the effort.
Release Date: December 25th, 1993 Directed by: George P. Cosmatos Written by: Kevin Jarre Music by: Bruce Broughton Cast: Kurt Russell, Val Kilmer, Michael Biehn, Powers Boothe, Robert John Burke, Dana Delany, Sam Elliott, Stephen Lang, Joanna Pacula, Bill Paxton, Jason Priestley, Michael Rooker, Jon Tenney, Billy Zane, Charlton Heston, Thomas Haden Church, Paula Malcomson, Lisa Collins, John Philbin, Harry Carey Jr., Billy Bob Thornton, Terry O’Quinn, Frank Stallone, Christopher Mitchum, Robert Mitchum (narrator)
“Take a good look at him, Ike… ’cause that’s how you’re gonna end up! The Cowboys are finished, you understand? I see a red sash, I kill the man wearin’ it! So run, you cur… run! Tell all the other curs the law’s comin’! You tell ’em I’m coming… and hell’s coming with me, you hear?… Hell’s coming with me!” – Wyatt Earp
I feel like an asshole because I haven’t seen this since it was first on VHS where I then watched it a half dozen times but then haven’t seen it since.
I knew that this was packed full of a lot of great manly men actors. However, I had forgotten how many were actually in this and some of them I wouldn’t have recognized back in the mid-’90s as they hadn’t fully blossomed by that point.
What’s really interesting about this pretty over-the-top, high octane western flick is that it is pretty accurate. Granted, some things were adapted from stories and legends that made the rounds after the events of the film but that’s due to there not being a whole lot of recorded history on the lives and extra context of some of these historical figures and frankly, that’s not too dissimilar from most historical pictures trying to be as factual as possible. Sometimes, there are only so many facts and you have to turn to the folklore to fill in the blanks.
This film was directed by George P. Cosmatos, a guy I will always appreciate because he helmed Rambo: First Blood, Part II and one of my favorite and grossly underrated action films, Cobra. He also directed Leviathan, which is an underwater Alien knockoff but it’s got a solid cast and is pretty entertaining, regardless.
Apparently, Kurt Russell was also pretty instrumental in the direction of this movie, as well. From what I’ve read, he was pretty much an uncredited co-director, as he felt really passionate about this movie and his role as the legendary Old West hero, Wyatt Earp. So it’s hard to fully give director credit to either Cosmatos or Russell but their combined effort turned out one of the greatest westerns ever made.
Beyond the direction, this film is also great because of its immense and uber talented cast.
Top-to-bottom, this film is full of stars but they all fit their roles to a friggin’ tee. They blend into this world and while you very much know who they all are, you don’t get lost in the sea of familiar faces because they’re all so good and so is the script.
I’ve got to say that the real standout for me was Michael Biehn, though. Man, he’s already one of my favorite actors of his era but he shines in this movie like he never has before. This truly elevated him and he showed up for work, ready to make Johnny Ringo one of the most iconic western movie villains of all-time. He succeeded at that, greatly. Re-watching this now also kind of pisses me off, as he never really reached the superstardom he probably deserved and he should’ve really moved on to bigger things after this.
I also loved the hell out of Powers Boothe in this and I’d say it’s one of his best performances too.
All in all, this is action packed, fast paced and has the right level of testosterone flowing through every scene. Well, except for maybe the romantic horse riding bit, which feels a tad out of place. But other than that, this is a pretty close to perfect masterpiece.
Rating: 9.5/10 Pairs well with: other ’90s westerns and films with just a bunch of badass dudes kicking the shit out of assholes.
Release Date: June 4th, 1993 (Seattle International Film Festival) Directed by: Richard Linklater Written by: Richard Linklater Music by: various Cast: Jason London, Wiley Wiggins, Sasha Jenson, Michelle Burke, Christine Harnos, Rory Cochrane, Ben Affleck, Adam Goldberg, Anthony Rapp, Marissa Ribisi, Catherine Avril Morris, Matthew McConaughey, Shawn Andrews, Cole Hauser, Milla Jovovich, Joey Lauren Adams, Christin Hinojosa, Parker Posey, Deena Martin, Nicky Katt, Esteban Powell, Jason O. Smith, Mark Vandermeulen, Jeremy Fox, Renee Zellweger
“That’s what I love about these high school girls, man. I get older, they stay the same age.” – Wooderson
I always viewed this movie as a spiritual successor to Fast Times at Ridgemont High. Mainly, because it is a coming-of-age high school movie but it is just as serious, as it is comedic. While it is goofy and funny, it’s a much better film than what it appears to be on a surface level, similar to Ridgemont High.
Also like Ridgemont, it has a stacked cast that features a ton of young stars. These stars would become big names as the ’90s rolled on and the turn of the new millennium took many of them to the heights of Hollywood. There are future Academy Award winners in this cast.
It’s also directed by Richard Linklater and it has similar beats to his other coming-of-age films, although it doesn’t have as hard of an edge as the really dark, SubUrbia.
The story starts on the last day of school and it follows several characters over the course of that day and night. Each one is faced with an uncertain future, new changes and challenges on the horizon but ultimately, everyone wants to forget about their problems and just enjoy the night.
The film takes place in the mid-’70s, even though it came out in the ’90s. But it’s also timeless and regardless of the timeframe in which it takes place, it’s also really true to what the ’90s were like. I know, because I was this age in the ’90s. I can’t speak on how this will play for modern high school students but the world is a weird, incredibly soft place now.
What makes this movie so much better than most of the films like it is the performances of the cast and how genuine everything feels. Linklater obviously wrote this based off of his own high school experiences and his personal intimacy with the material comes through in every scene. And frankly, there isn’t a single unnecessary or dull scene in the entire film.
Additionally, all the big plots are well-balanced and organized, as the night plays on and several characters weave in and out of the larger story, overlapping.
Dazed and Confused has stood the test of time incredibly well. I feel like it’s material will always be relevant and because of that, it is one of the greatest motion pictures of its type.
Rating: 9/10 Pairs well with: other Richard Linklater coming of age films, as well as other good coming of age high school movies.
Release Date: August 6th, 1993 Directed by: Robert Townsend Written by: Robert Townsend Music by: Cliff Eidelman Cast: Robert Townsend, Marla Gibbs, Eddie Griffin, Robert Guillaume, James Earl Jones, Bill Cosby, Another Bad Creation, Luther Vandross, Sinbad, Naughty by Nature, Cypress Hill, Big Daddy Kane, Stephanie E. Williams, Roy Fegan, Frank Gorshin, Marilyn Coleman, Bobby McGee, Don Cheadle, Nancy Wilson, Tommy ‘Tiny’ Lister, Jenifer Lewis, LaWanda Page, Faizon Love, Biz Markie, John Witherspoon, Wallace Shawn, Chris Tucker (uncredited)
Tinsel Townsend, Metro-Goldwyn-Mayer, 100 Minutes
Review:
“You don’t have to vote. I’ll leave. I’m sorry about what happened to the neighborhood tonight, but I feel even sorrier watching what’s going on in this room. How can we stop the crime and the gangs if we act like we don’t see them? Everybody complains about the police. They aren’t perfect, but how can you complain when you do nothing? You don’t have to vote.” – Jefferson Reed
Meteor Man is a very ’90s movie but it’s also aged tremendously well for what it is. Additionally, it has so much heart it’s damn hard not to love. Plus, it features a large roster of legendary black actors that it’s really cool seeing them all in one place under the direction of the uber talented and then young Robert Townsend.
I love this movie, although I was a bit apprehensive in revisiting it for the first time in at least two decades, as I didn’t want my memories of it to be diminished.
I’m happy to say that I actually have a deeper appreciation for it now than I did back then when I was really impressionable and nowhere near as versed in motion picture history or the art of filmmaking.
To be real, this is a film with several flaws and it features a superhero whose powers are never clearly defined and seem to change on a whim for plot convenience. At the same time, this barely matters, as this isn’t simply a cookie cutter superhero tale, it’s something deeper with more meaning than a typical Marvel or DC adaptation. It’s also better than the vast majority of comic book movies from (and before) its era.
At its core, this examines the turmoil and effects of inner city crime on its communities. It asks when “enough is enough” and it shows good people actively trying to overcome it and clean up their neighborhoods.
Many critics in 1993 tried to make the point that the film failed because it showed that people could only make a difference with a superhero doing the bulk of the work. What the reviewers failed to see was the bigger picture or frankly, the f’n film.
Reason being, Meteor Man loses his powers and is about to be killed by the violent gang and that’s the moment where the good, scared folks of the neighborhood finally proclaim that “enough is enough” and they fight back to help save the one man that came to their rescue when he’s at his darkest hour.
The community in the film become the heroes the neighborhood needs. And while Meteor Man regains his powers for a final showdown with the film’s big villain, it’s the community again that saves the day when even bigger villains show up to finish the job. More than anything else, this is about people inspiring each other and coming together.
That being said, it’s still really damn cool that this message came together so beautifully in a film about a superhero. That also made it cooler and more universally accessible for all ages than just being a movie about a gang controlled neighborhood. We’d seen those many time before this and many of them lacked the heart and soul that Townsend put into this motion picture.
As far as I know, this is also the first black superhero film. If it’s not, please correct me in the comments.
All in all, Meteor Man is a product of its time but that doesn’t mean that its message isn’t relevant, today. It’s light, it’s fun, it’s energetic, it has character, it has love and it definitely deserves more recognition than its gotten over the years. I hope, at some point, new generations discover it and see it for what it is and not what the critics in 1993 thought it was.
Rating: 7.75/10 Pairs well with: other Robert Townsend movies, as well as other ’90s superhero movies.
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Talking Pulp 
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