Journey Into Strange Tales Issue 191: Atlas/Marvel Science Fiction & Fantasy Comics!

 

The Marvel/Atlas 
Horror Comics

Part 176

December 1960

by Peter Enfantino

and Jack Seabrook

Journey Into Mystery #63

Cover by Jack Kirby & Steve Ditko

"Goliath! The Monster That... Walked Like a Man!"

(a: Jack Kirby & Steve Ditko) ★★1/2

(r: Where Monsters Dwell #10)

"I Was Trapped by the Mole Men!"

(a: Don Heck) ★

"The Dangerous Doll" (a: Jack Kirby & George Klein) ★★

(r: Monsters on the Prowl #20)(r: Crazy #76)

"I Took a Journey Into Fear!" (a: Steve Ditko) ★★1/2

(r: Fear #6)

A Hollywood special effects man is just shooting the bull with his assistant about giant monsters from other planets conquering man when, coincidentally, they receive word that a behemoth has just surfaced on the Atlantic coast. The Navy sends a warship out to meet the critter and the great, gilled goliath explains that he comes from Atlantis and is a scout for his race. The rest of the Goliaths intend to join up with him and conquer the surface world just as soon as he sends the green light.

Days later, Goliath is surveying New York, getting ready for the invasion, when he spies something huge in the ocean. He approaches and is dumbfounded to discover it is a blue man from outer space at least three times his size. It introduces itself as "Ulvar from the planet Centaurus II" and declares Earth his own. His buddies are on the way from Centaurus II and they love a good fight. Goliath concedes that his Atlanteans would stand no chance and slinks back into the ocean. A few days later, our special effects man is tearing apart the gigantic blue prop and bragging that mankind will always be ready to defend its territory.

"Goliath! The Monster That... Wore Men's Briefs!" is not a bad little epic saga (at least it feels like an epic even though it's only seven pages), with a clever twist, but I question how Mr. SPFX managed to build his prop so fast. Good thing the Atlanteans aren't known for their brain power since Goliath never even guessed this could all be a trick, not even when Ulvar never moved a muscle. This is another of those Kirby/Ditko stories I ate up as a pre-teen in the pages of Where Monsters Dwell.

After the death of his father, Sir Norman Ramsay inherits the family business, a series of mines (we're never told just what comes out of these mines) that pad his wealth very nicely month in and month out. When a group of miners arrive at Norman's house to request a raise in pay, he tosses them out on their sooty asses, telling them never to darken his door again. The nerve of these commoners!

Soon thereafter it's time for the boss to inspect mine number four and, as is his ritual, he demands that no one accompany him. Bad idea. Once deep into the mine, there's a cave in and Sir Norm is surrounded by underground beasts. Yes, it's at this point that our protagonist screams "I Was Trapped by the Mole Men!" The rough-skinned and hairy beasts throw Norm into a cage and discuss their next move. "Oh," sighs the despondent and suddenly remorseful Ramsay, "I sure treated other men like dogs and if only I could have a second chance I'd sure make up for my poor behavior." 

As if fate had stepped in, Norm's foreman (the guy who tried to discourage his boss from going alone) crashes through the wall and fights off the mole men. He breaks the lock on the cage and grabs Norm, heaving him out of the underworld and back to the surface. With a handy stick of dynamite, the menace of the mole men is ended and Sir Norman ponders his place in this universe. From an unrealistic callousness towards his toilers to greatest guy in the world (the panel where Norm hosts the weekend weenie roast and balances twelve of the miners' kids on his knee was somehow left off the climactic series of amens), "Mole Men" is almost worth reading through for a good laugh. Almost. 

Ever since he lost his job at the plant, Timothy Jones is broke. The schlub is so poor he can't even buy his "lame" daughter a toy for her birthday. Luckily, as he's walking around one day in an open field (as all unemployed men do at one time or another), he happens upon a strange doll and takes it home for Cathy. Turns out the dolly is an alien from space and it has bad ideas about world domination. "The Dangerous Doll" has no qualms about letting Cathy see it move around and talk but Dad never has a notion that the thing is more than just a plaything. One night, the doll suddenly rises from Cathy's bed, sensing that "they" are coming and preparations must be made. 

Turns out, much to my relief, that Dolly is not the scout for Earth's invasion but just a precocious kid who flew off in the family spaceship and became stranded on Earth. His mom and pop land and reward Tim and Cathy for taking good care of their little brat. The Earth lets out a sigh. If you want to see what a big difference an inker can make, look no further than the job Ditko does for Kirby on "Goliath" and Klein's work here. Ditko has a cleaner style while Klein's is rougher. That's not a putdown, though; Klein's inks give Kirby's pencils a creepy vibe that enhances the atmosphere of the first few pages of "The Dangerous Doll." Oddly enough, we're never told the whereabouts of Mrs. Jones; is she dead or just "got a thing goin' on"? So many of these strips at this time were climaxing with the same dull panel of word balloons emanating from Earth, characters ruminating about God and the powers that be and man's inability to make a great cup of coffee and...

Last up is the best of the bunch, "I Took a Journey Into Fear!" It showcases Otto, a scientist so obsessed with time travel that he shoots a colleague and steals his lab equipment. Once the experiment proves a success, Otto finds himself trapped in a dingy dungeon, prisoner of a past barbaric race. Or something like that. Luckily, Stan/Larry deliver an effective climactic twist that made me smile. That's worth an extra star right there.-Peter

Strange Tales #79

Cover by Jack KIrby & Steve Ditko

"I Was In the Clutches of the Living Shadow"

(a: Jack Kirby & Dick Ayers) ★

(r: Where Monsters Dwell #31)

"The Ghost of Grismore Castle!" (a: Steve Ditko) ★★

(r: Vault of Evil #14)

"I Found the Perfect Hiding Place!" (a: Paul Reinman) ★

"The Thing on the Moon" (a: Don Heck) ★1/2

(r: Journey Into Mystery #14)

Mystery writer Philip Lawson just knows that flying saucers are real but, dagnabbit, everyone laughs in his face and tells him he's crazy! Then, one day, while Lawson is walking through a field attached to his luxurious home (mystery story writers were paid much better then than now), enjoying his pipe, Lawson looks on in awe as a flying saucer lands nearby. What are the chances that a UFO would land right in front of the only guy on Earth who believes in them (and, indeed, was just pondering them!)?

Climbing out of his jeep, Lawson is assaulted by a group of aliens, living shadows, that tell him the story of their past. They've been landing on Earth for some time now and blending in with the shadows. That's how they've remained out of sight for so long!!! They take Lawson to a nearby mountain prison but he manages to escape and get word to the United Nations. At first the delegates scoff but when our reporter turns out the lights and the living shadows are there in the room, the men hurry to action. 

Most of the living shadows are rounded up but leader Kaa gets away in his spaceship, leaving an "I'll be back, suckas!" message in the clouds. Lawson and the military are left to ponder life and extraterrestrial invaders. "I Was in the Clutches of the Living Shadow" is not one of the more memorable Kirby/Ayers monster strips; the art is rushed and the story padded. I think Ditko might have been able to bring more pizzazz to this one than Ayers. I had to laugh when Lawson begins his long and boring story by confessing that, as a mystery writer, he could "sense when there was danger in the air" just before the UFO landed. A decade and a half later, Kaa would return to give The Incredible Hulk fits!

Practical joker Otis Norton is really getting on the nerves of anyone around him. One day, as he's walking with Victor, the pair walk past the haunted Grismore Castle and Otis wagers that Victor couldn't last a whole night in Grismore. Not one to turn down fifty bucks, Victor agrees and, that night, enters Grismore. A little hesitant, but he still enters. Meanwhile, oafish Otis has set the castle up with plenty of scary obstacles and it isn't long before Victor runs screaming from the building.

Willing to show who's got the most nerve, Otis heads into the dark house alone. He is immediately set upon by ghosts and ghoulies and soon flees from Grismore in a shaking panic. The next day, Otis tells his buddies that he's done with practical jokes as Victor stands nearby revealing (to us) that he's really a ghost. Though the script for "The Ghost of Grismore Castle!" makes no sense whatsoever, it's got some dynamite graphics from Mr. Ditko. The castle is stocked with cobwebs and even the ghostly sheets look cool. 

He might be ugly but Harry Stubbs is a really smart guy; smart enough to build a time machine out of toothpicks, empty beer cans, and dead rats, anything he could find in the alley garbage cans. The plan is to steal the Crown Jewels, which are being exhibited in a nearby museum, hop in his (untested) time machine, and travel back to 100 BC. There he will sell the jewels and live like a king with hot and cold running chicks. Girls love money even if it belongs to a guy who looks like Ernest Borgnine. Harry grabs the jewels but sets off an alarm (who would suspect that priceless jewels might be guarded?) and runs from the cops. He hops in his time machine with the loot and hits "Go!" Unfortunately, the destination was not on the travel brochures. As I was reading "I Found the Perfect Hiding Place!," I kept wondering if Stan and Larry wrote the script in the Atlas lunchroom, both of them snickering and assuring each other that their target audience was too stupid to question how it is all these Atlas dopes could invent time machines but not keep a high-paying 9 to 5.

In 1970, the Earth is overpopulated and astronaut Dan Carter is tasked with visiting the moon to ascertain whether earthlings can survive and thrive in its atmosphere. Dan and his crew arrive and are on recon when they are attacked by "The Thing on the Moon." After some hellacious moments, a loud voice breaks the silence and announces that the moon was long ago claimed by the city of Atlantis and no other visitors are welcome. The giant is a robot security guard who's there to make sure there's no trespassing. The boys climb back into their ship and wonder if the robot was put there before or after the fall of Atlantis. The reveal is a good one but what startled me the most is the fact that NASA bothered to send Armstrong and Aldrin up in space suits with, like, oxygen and stuff. In 1960, you could still breathe on the moon without any aid. Makes you think.-Peter

Tales to Astonish #14

Cover by Jack Kirby & Steve Ditko

"I Created Krang! The Most Fantastic Monster the World Has Ever Known! (a: Jack Kirby & Dick Ayers) ★★

(r: Fear #4)(Weird Wonder Tales #14)

"Behold! I Am the Master of Time!" (a: Steve Ditko) ★★1/2

(r: Tower of Shadows #8)

"The Thing in Human Form!" (a: Don Heck) ★★

(r: Chamber of Darkness #8)

Professor Carter makes a presentation at the Science Institute, arguing that if insects were to grow to giant size, their strength and power could be harnessed to serve mankind. Carter is working on a growth serum but gets no support from the stuffy characters at the Institute and must make his way to Europe to locate the final ingredient from the bark of the Krakow tree.

Once in Europe, Carter sets up shop in an abandoned castle, aided by Ludwig, the caretaker. The serum is completed and Ludwig tests it out one night after Carter has gone to bed. Unfortunately, Ludwig uses too much fluid on an ant and it quickly grows to massive size! "I Created Krang! The Most Fantastic Monster the World Has Ever Known!" thinks Ludwig, and before you know it, Krang is menacing the professor and speaking due to rapid brain growth.

Really not such a bad idea,
if you think about it.

Krang wants the growth serum so it and other insects can take over the world. The giant insect chases Carter around for a while, eventually making its way to the nearby village but not doing much damage before Carter is able to defeat it by means of a giant anteater that he created using more serum. Good thing he thought to add something to the formula to make the anteater shrink back to normal size after an hour! In the end, the professor rips up his notes, having learned that there are some things man was not meant to know.

"Krang" is not bad and mainly serves as an excuse for Kirby and Ayers to draw panel after panel of a great big ant. I liked that Carter had to go to Poland, presumably, for the tree bark, and there just happened to be an abandoned castle with a helpful, hunchbacked caretaker on hand.

An antique dealer invents a time machine so he can go back in time and pick up items that will be valuable antiques when he brings them back to the 20th century. He heads back to 18th-century France, grabs a bag of stuff, and returns to the time machine, chased by angry villagers. He pulls the lever and nothing happens! Oops! Since there was no electricity in the 18th century, his electric powered time machine won't work.

"Behold! I Am the Master of Time!" features more gorgeous art by Ditko in service of a weak plot. First of all, when the guy builds his time machine, he remarks that he learned how to do it using an ancient book of black magic. Why would it need electric power? The machine looks like a big cube made of adobe. Second, Ditko must have realized that the story lacked visual excitement, so he drew a giant image of Father Time in several panels, though the character has nothing to do with the story.

Mars and Jupiter have been at war for five years when Martians discover than an Earth scientist has discovered a powerful new secret weapon. A Martian named Ogor travels to Earth to capture the scientist and grabs him during a costume party where no one realizes that Ogor's costume is not a disguise. The scientist, John, puts up a fight and turns out to be stronger than Ogor. John drags Ogor onto the Martian's spaceship and takes off, revealing--to no reader's surprise--that he's really a master spy from Jupiter! The Jupiterians had wanted to capture a live Martian warrior for years and concocted an elaborate ruse that worked.

As I've said before, Don Heck's strength as an artist did not lie in drawing aliens or monsters, but I enjoyed the surprise ending of this story, which was a tad more complex than the usual revelation that one character is really an alien. Zeno, the master spy from Jupiter, is "The Thing in Human Form!"-Jack

On Thursday...
"Are You Watching Closely?"

And Next Week...
Nope, He's Not
The Same Guy!

The 100 Chapter 9: 84 & 83

 Who doesn't love a list?

I devour the BFI Best Films of All Time list whenever they deem it necessary to revise and (invariably) disagree with most of the findings, but I still get a kick out of browsing. Same with Rolling Stone's inane Best 100 Albums (how does Sgt. Pepper drop from #1 to #24 in the latest incarnation?); the anger I feel subsides when I see they've put a couple of Aerosmith albums on the list! We all disagree with that number one but we keep right on scrolling through each choice.

This project, which has been percolating for quite a while, originated from the constant back and forth "good natured bickering" between John Scoleri and myself. John invariably loves everything and I hate it all (for more of the discourse, I advise one and all to pick up a copy of bare•bones print magazine and read our debates about streaming and movie theaters to get a taste). I began to think it would be fun to compose a Favorite (as opposed to Best) 100 and compare our selections. Making it even more tantalizing, I managed to talk the third head of Ghidorah, Jack Seabrook, into participating. This could be interesting, since John's never seen a movie the two Georges (Romero and Lucas) didn't have a hand in, and Jack usually favors the flicks that have words at the bottom of the screen (dis-moi que j'ai tort, Jack!). I, on the other hand, can't wait to educate these two gentlemen as to what constitutes good cinema.

Every Thursday, we'll count down our picks two at a time. We're hoping this will generate discourse outside of our trio. Let us know just how crazy we are. This is going to be fun!—Peter

Gladiator (2000) 

Starring: Russell Crowe, Joaquin Phoenix, Connie Nielsen

Directed by Ridley Scott

"Are you not entertained?"

You bet I was! Here's a novelty: a bonafide box office blockbuster (second highest-grossing of 2000, losing out to the hideous Mission Impossible 2), critical darling, and epic that stands up to repeated viewings over 25 years later. Not many of those around. Ridley is top of his game, Crowe is great, Phoenix is pretty darn good (even as he smiles and winks at the camera, twirling the mustache that should be there), and even Oliver Reed (three sheets to the wind and one foot in the grave) stages a comeback. Warning: DO NOT ATTEMPT TO WATCH THE SEQUEL.—Peter

Remarks from the Gallery:

John: Copycat. This begs the question—how much overlap will there be on our lists? We may have to do a post-mortem next July. Kudos for pointing out Oliver Reed—this was a great swan song for him. Though he obviously had both feet in the grave, followed by the rest of him shortly thereafter. 

Jack: This was darn close to making my list, but it won't be the first to appear on all three of our lists.

Odd Man Out (1947)

Starring: James Mason

Directed by Carol Reed

"I'm not for you. I'm not against you. But I can't afford to get mixed up in this."

Six months after escaping from prison, IRA chief Johnny McQueen is ordered to lead a robbery at a mill. As he and his men try to flee following the heist, Johnny tussles with a security guard and accidentally shoots and kills the man. Johnny is also shot in the struggle and, after hanging on to the side of the getaway car, he falls off in the street and is left to avoid the police and try to survive on his own. Both sides are looking for him and everyone in Belfast is afraid. Can Johnny manage to survive and get to safety?

I first saw Odd Man Out on Noir Alley about eight months ago, and I knew right away that it had to go on my list of Top 100 Films. Watching it again this week, I think I probably should have put it higher. Director Carol Reed uses shadows and sound to show the fear that grips the people of Belfast, and the actors are wonderful. The question of how to behave ethically when confronted with a dying man who is wanted by the police is handled skillfully, and the film includes scene after scene of tension.

I was reminded of the famous painting, Landscape with the Fall of Icarus, where people go about their daily lives, unaware of the tragedy that is unfolding in their midst. Johnny's transcendent speech near the end, in which he quotes St. Paul's lines about charity, demonstrate that the only solution to a quandary like the one presented in this film is love. If you haven't seen Odd Man Out, I highly recommend watching it.—Jack

Remarks from the Gallery:

Peter: Based on your recommendation, I picked this up on Criterion Blu. It's a really good flick, definitely noir, with great performances by James Mason and Kathleen Ryan (Mason seems to be blind in that he can't see that this "friend" is in love with him). The heist scene is simple but tense. I'll still take The Third Man over this one but Odd Man Out is definitely one I'll pay a return visit to.

John: I think this is the first film that I not only haven't seen but haven't heard of prior to this mention. This does highlight a pet peeve of mine, which is when online videos are described as "trailers" when they are merely clips from the film. I've been persuaded to check out films based on clips (Spider Baby comes to mind—thanks to Zacherle's Horrible Horror compilation tape), but if I'm looking for a trailer, chances are I'm not going to be satisfied with just a clip.

Braveheart (1995) 

Starring: Mel Gibson, Sophie Marceau, Patrick McGoohan

Directed by Mel Gibson

"Every man dies, not every man really lives."

I'm a sucker for a good historical epic, and Mel Gibson really delivers with this one. The film also features one of James Horner's finest scores, so it's easy for me to sit back and take it in on a purely musical level.

I love the fact that Gibson brought The Prisoner—Patrick McGoohan, himself—on board. Sophie Marceau is lovely as always, but Murron MacClannough deserves special kudos as William Wallace's wife, whose fate sets things in motion. I enjoy the bond between Wallace's men, and the final sequence, set to Horner's score, is extremely powerful. (It should come as no surprise that there would be a lot of overlap between my 100 favorite films and my 100 favorite film soundtracks list.)

—John

Remarks from the Gallery:

Peter: Liked it when it came out, less so on a second viewing. It reminds me a lot of Dances With Wolves, not just because it was a hot actor doing the director thing for the first time and hitting it big, but also because it could have been more effective with a good trim. But McGoohan is still aces.

Jack: My wife thinks we saw this but I'm not so sure. Man, that hair! Mel Gibson's hairstyles of the '80s and '90s could inspire a blog post all on their own.

Marty (1955) 

Starring: Ernest Borgnine, Betsy Blair, Esther Minciotti

Directed by Delbert Mann

"Ma, sooner or later, there comes a point in a man's life when he's gotta face some facts. And one fact I gotta face is that whatever it is that women like, I ain't got it. I chased after enough girls in my life, I went to enough dances. I got hurt enough; I don't wanna get hurt no more."

Director Delbert Mann had some gargantuan cojones when he asked Ernest Borgnine to take on the role of sweetheart pug Marty Piletti for the film version of Paddy Chayefsky's TV play, Marty. Rod Steiger (who played the lead role in the Philco-Goodyear Television Playhouse original) had refused to reprise his role and the producers (one of whom was Burt Lancaster) were left high and dry. Mann reportedly called up Borgnine to offer him the role despite the fact that Ernie was Hollywood's Number One Villain for killing Sinatra in From Here to Eternity. Would audiences feel sympathy for this guy?

And then some. Marty is sentimental but not maudlin, charming but not eye-rolling, deep but not pretentious. There's not one performance I'd point to as lacking. Borgnine deservedly won the Best Actor Oscar for this one (it also won Best Picture), but if I have to point to one aspect of the flick that always makes me smile, it's whenever Esther Minciotti (Marty's Ma) and Augusta Ciolli (Aunt Catherine) share screen time. Their dialogue never fails to make me laugh out loud ("Someday you gonna smile, we have a big holiday.") while also tugging at your heart strings. If you no lika Marty, you no have a heart!—Peter

Remarks from the Gallery:

Jack: Great flick. I think I saw this and the TV original many years ago. Both were terrific.

John: I've never seen this one, though I do like Borgnine. His film 'Cabbie' is much higher on my list. 

The Godfather (1972) 

Starring: Marlon Brando, Al Pacino, Robert Duvall, James Caan

Directed by Francis Ford Coppola

"Leave the gun. Take the cannoli."

It's 1945 and Vito Corleone, mob boss, is getting up in years. After a rival gang shoots and nearly kills him, it's up to his son Michael to take over the family business.

I first saw The Godfather a few years after it came out, when I secretly watched a Betamax (!) video cassette at my cousins' house one summer. I've seen it a few times since and just rewatched it. It's an entertaining movie that doesn't seem as long as its three-hour running time. Brando is great as Vito Corleone, showing a man who has come up from an immigrant family and made himself rich and powerful. Yet there are lines he won't cross. Al Pacino is pretty good as Michael and Robert Duvall is smooth as the family lawyer, Tom Hagen.

The only problems I had with the film were the lack of clear transitions to define the time that events were happening, the sudden changes in Michael's personality, and the hairstyles, especially on Diane Keaton and James Caan, which look out of place. For having such a big hit, Coppola didn't have many more good movies in him (Apocalypse Now being the obvious exception), so I don't know if he directed the actors really well or if they were so good that it didn't matter who directed them.—Jack

Remarks from the Gallery:

Peter: Oh boy. #83 seems fairly low. Now I can't wait to see your Number One, Jack! Without spoiling anything, I'll talk about this at length later on.

John: As will I. For those keeping score, that makes this our second hat trick!

Tombstone (1993) 

Starring: Kurt Russell, Val Kilmer, Michael Biehn

Directed by George P. Cosmatos

"From now on I see a red sash, I kill the man wearing it. So run, you cur. And tell the other curs the law is coming. You tell 'em I'm coming! And Hell's coming with me, you hear! Hell's coming with me!"

We'll be seeing more of Kurt Russell on my list before we're through, but this film is certainly a high point in his career. An incredible cast up and down the line, with a standout performance by Val Kilmer as Doc Holliday. Michael Biehn is also at the top of his game as Johnny Ringo, but there are so many fine smaller performances throughout (Chuck Heston!) you just have to sink into it and enjoy the wide variety of colorful and sleazy characters on both sides of the law.

Despite whatever problems may have plagued the production, and swirling questions about who ultimately directed it, the end result is what you need to measure, and I think it's a classic western. For my money, it's the best telling of the story of Wyatt Earp and the gunfight at the O.K. Corral. 

I also love the Bruce Broughton score and the brilliant way the film starts, featuring a voiceover by Robert Mitchum and footage from the silent classic The Great Train Robbery.—John

Remarks from the Gallery:

Peter: Best Wyatt Earp? No way. That's coming up later on my list. As for Tombstone, I think of it as a flick of its time. Big cast and a script containing all those big cliches we loved in 1990s movies (in some commentary on some DVD, Michael Bay must have admitted he stole everything he knows from George Cosmo). It's better than Costner's plodding and pretentious Wyatt Earp, I'll give ya that, and it's got that dazzling Kilmer performance ("Ah'll be yer huckleberry!") but I don't think I could ever watch this one again. 

Jack: Pretty sure I never saw this. In 1993, we had a three year old and a one year old, so there weren't as many trips to the movie theater as I'd have liked.

Journey Into Strange Tales Issue 190: Atlas/Marvel Science Fiction & Fantasy Comics!

The Marvel/Atlas 
Horror Comics

Part 175

November 1960

by Peter Enfantino

and Jack Seabrook

Journey Into Mystery #62

Cover by Jack Kirby & Steve Ditko

"I Was a Slave of the Living Hulk!" (a: Jack Kirby & Dick Ayers) ★★

(r: Monsters on the Prowl #11)

"There is a Brain Behind the Fangs!" (a: Don Heck) ★★ 1/2

(r: Fear #6)

"I Can't Escape from the Creeping Things!" (a: Steve Ditko) ★★

(r: Fear #8)

Joe Harper is busy minding his own business when his buddy Fred calls him up to tell him that his "machine" is on the fritz. Joe tells his wife he has to go out and help Fred but, of course, the old ball and chain doesn't believe him. Sigh. On his way to Fred's place, he passes by Old Blacktree Swamp and notices a giant silver something floating in the water. Joe hops out of his truck and investigates.

What he finds is a really big huge mammoth Hulk, a creature obviously from another world (the nearby smoldering wreckage of its spaceship is the first clue), on the cusp of death. Knowing that every living being (even a Hulk from another world) is precious, Joe drags the multi-ton beast to his pick-up and heads back to his workshop, where he hooks the thing up to his Electrofitastic Voltage Regulator™. A surge of electrical power enters the Hulk's body and the creature begins to stir.

Joe asks the visitor who he is and what he came to Earth for and the monster explains his name is Xemnu and that he escaped from a prison planet and crash-landed here en route to another galaxy. Too late, Joe realizes he probably shouldn't have resuscitated the Hulk without getting a few facts first. The Hulk guffaws and continues his plan for complete domination of the solar system and beyond. The monster has the power to hypnotize and intends to make the entire population a slave to his demands. With a full workforce at his beckon, Xemnu will soon have a replacement spaceship powerful enough to take him to Star System LOL of the Fifth Galaxy on the Left. The mad beast also admits to Joe that the ship will blast off with such force that the Earth will be destroyed.

The Hulk becomes a Titan!

Xemnu is grateful to Joe for bringing him back to life so he doesn't hypnotize him. That's where he makes his fatal blunder. His spaceship construction goes perfectly right up until the time he is about to blast off but Joe uses a little small town ingenuity to screw up the Hulk's plot and the creature is sent into space to circle the sun forever. The entire world becomes unhypnotized but Joe wisely avoids bragging. That is, until he sees his shrew of a wife again and can't help himself. This guy never learns!

The first of the multi-part epics that would become a foundation of the Atlas science fiction/fantasy titles, "I Was a Slave of the Living Hulk!" (an ironic title since Joe was the only free man on Earth under Hulk's reign) is a fun and completely dopey yarn. The extra pages do give a little more room for Stan to breathe but you can see at times that he really doesn't know what to do in those bonus pages. There's a whole lot of padding and information spread over multiple panels that usually would be dispensed in one single frame. As rote as these things can become (and they do), I still have a soft spot in my brain (some would say several such soft spots) for these "Marvel Monster Epics," having devoured Dwell, Prowl, and Roam as a wee lad. Xemnu's exile doesn't last the promised "forever" and we'll get a sequel in JIM #66. 

Speaking of which, when the time came to reprint "I Was a Slave of the Living Hulk!" in MOTP #11, there was another character in the Marvel Universe who had gained a bit of fame and, to avoid confusion for the Zombies, Xemnu was re-christened a "Titan" rather than a "Hulk." Rascally Roy Thomas, ever the comic book scholar, remembered the beast's JIM tales and wrote a sequel (acknowledging Xemnu's previous adventures!) featuring the Defenders for Marvel Feature #3. Yes, the New Hulk vs. the Old Hulk!

Frank Miller (no, not that Frank Miller) becomes convinced that dogs have evolved in intelligence just as much as man but they're putting on a show so that they can surprise their masters and rule the world someday. Frank brings his theory to his best friend, psychiatrist John Redfield, who scoffs at his buddy's exclamations and insists he can prove him wrong. John has Frank bring Fido, Frank's dog, to his office and proceeds to hypnotize him, asking the canine some very pointed questions. When the dog does nothing but roll over and play dead and bay at the moon, Frank is convinced that he was a little hasty in his proclamations. Nearby, Pharaoh, the shrink's pet cat, laughs at the two morons and gets back to its plan for world domination. "There is a Brain Behind The Fangs!" spotlights some really nice work by Don Heck (almost Colan-esque in spots) and sports a fun twist in its tail.

Silas Bleede makes his millions off the misfortunes of others (one might say he "bleedes" them dry) and, once retirement comes, he moves to a small European village where he buys a huge estate. The only blemish is a tall tree that blocks his view of the mountains so, despite protestations and warnings from his neighbors, Silas chops the damn thing down. That night, branches crawl through Silas's bedroom window and chase him all through his mansion. With nowhere to run, trapped in the basement, the befuddled gazillionaire exclaims "I Can't Escape from the Creeping Things!" and promises he will let the tree grow back and not interfere. The branches retreat and Silas admits defeat, returning to America. As usual, there's not much to the script but Steve Ditko manages to ramp up the chills, making the CCA-approved strip as close to creepy as he possibly can. All in all, a pretty decent issue.-Peter

Strange Tales #78

Cover by Jack Kirby & George Klein

"A Martian Walks Among Us!" 

(a: Jack Kirby & Dick Ayers) ★1/2

(Strange Tales Annual #1)(r: Where Monsters Dwell #3)

"The Fantastic Menace of Mento the Mighty" (a: Don Heck) ★

"The Gargoyle!" (a: Paul Reinman) ★

(r: Where Monsters Dwell #3)

"Dear Reader: What Would You Have Done If You 

Were the... Worm Man?" (a: Steve Ditko) ★1/2

(r: Tower of Shadows #6)

A scientist comes across a spaceship on a lone stretch of road and witnesses the occupant exit the UFO. Before he can escape, the man is captured by the alien and the thing takes the form of the scientist, explaining that he is from Mars and is scouting Earth for an invasion. He can take on the form of any human and intends to set the world up for the upcoming Armageddon. For some reason, the dim-witted Martian also reveals the only way to distinguish him from a human being is by using infrared rays.

Once the Martian's hold on the scientist has diminished, he tries to warn the authorities but is met with derision and pelted with tomatoes. Knowing he is the only man who can save the Earth from the Martian onslaught, he very quickly invents an infra-red device that can sniff out the chameleon and confronts him. After a terrible hand-to-hand battle, the Martian is killed and our protagonist drops his disguise, revealing that he is a Venusian protector of Earth. As long as there are commies, Stan will use Martians to subtly get his views across. That's the message of "A Martian Walks Among Us!" Seems a bit short-sighted of the Martian not to kill our unnamed hero when he has the chance. That twist, where we discover that the alien has been defeated by another race of aliens, is about used up, no? Laughably, once he disrobes, his body is completely different than his human disguise. Dig those scrawny legs!

In "The Fantastic Menace of Mento the Mighty," a well-meaning scientist becomes obsessed with the power of his brain, using it to move objects and create fearsome monsters. In the end, his creations prove his downfall. Here's an exception to the Atlas rule that anyone who stumbles upon a dominating skill will use that power to attain great wealth. Mento is a rich, bored, brilliant genius who becomes convinced he can do anything with a mere thought (when he looks at a woman in a cafe and she looks back at him!) and then launches his plan to rule the world for no particular reason.

The world's homeliest man sees a want ad for a local carnival requesting ugly men. With no other jobs available, our unattractive schlub answers the ad and discovers too late that the tent he enters is actually a spaceship that blasts off for parts unknown. Waking up at the end of the journey, he's taken to the queen, a real babe, who explains that she's bored with the attractive men on her planet and wants something different. Yep, the climax of "The Gargoyle!" is another variation on the old "beauty is only skin deep" twist. In "... (yadda yadda yadda) The Worm Man," a spy takes a pill and becomes very small in order to steal super-secret documents from a brilliant scientist. The agent's espionage is upended by the actions of a rat and he's faced with an impossible decision: call out for help or remain teensy weensy forever. Ditko but rushed Ditko.-Peter

Tales of Suspense #12

Cover by Jack Kirby & George Klein

"I Alone Know the Dread Secret of Gor-Kill, the Lurking Demon!" (a: Jack Kirby & Dick Ayers) ★1/2

(r: Where Monsters Dwell #1)

"I Must Find 'Those Who Lurk Below'" (a: Steve Ditko) ★★

(r: Fantasy Masterpieces #2)

"The Monster in My Cellar!" (a: Reed Crandall) ★★

(r: Where Monsters Dwell #4)

"I Met the Thing on Midnight Island!" (a: Don Heck) ★1/2

(r: Where Monsters Dwell #4)

A blob of gas from outer space lands in a body of water held back by the Krakow Dam and absorbs the water, becoming a fearsome water creature. The monster menaces a nearby town, crushing houses and flooding streets, but when the townsfolk follow it back to the dam it disappears. After this happens a few times, the town layabout, Hans Grubnik, figures out that the monster is composed of water. He steals some dynamite and blows up the monster before it can reach the ocean and become unstoppable; for his efforts, Hans is jailed for stealing explosives.

"I Alone Know the Dread Secret of Gor-Kill, the Lurking Demon!" is all wet. It's full of the usual Kirbyisms, like groups of people looking upward in horror with someone pointing. The inhabitants of the town are pretty dumb not to realize that the monster is made of water. I fail to understand how dynamiting water would do anything. Maybe Gor-Kill will return.

On a 19th-century penal colony on an island, a prisoner named Pierre is given a special task by the cruel guard, Kragok, who tells Pierre to clean up ancient ruins under the prison. Pierre discovers a book and begins to read "The Legend of the Earth Dwellers," about an ancient alien race that came to Earth but found it too hot. They built powerful machines to dig below the surface and built a city far below to live in peace.

Convinced the story is true, Pierre digs and digs until he finds one of the machines. Kragok laughs at Pierre, since he planted the book for the prisoner to find, but the jailer is shocked when the machine begins to work and Pierre disappears below the Earth! The prisoner is welcomed by the underground alien race and Kragok spends years digging in vain, searching for the land of peace and contentment.

Ditko's art is even better than usual on "I Must Find 'Those Who Lurk Below!'" In some panels it looks like Frazeztta's work. The story is okay and the end is unsatisfying, but the art is the real draw.

A writer of sci fi tales promises his editor a great monster tale, so he goes home, sits down at the typewriter, and begins to write a story as if it's really happening to him right now. Imagining a tall, reptilian, one-eyed creature in his basement, the writer is startled to hear a noise from below! He explores and finds the monster he created in his own basement! A locked door doesn't stop it, but when the writer realizes that the thing is a creation of his own mind, he thinks it back out of existence and vows never to write another monster saga.

It seems like it's been awhile since we've seen anything from Reed Crandall and I say welcome back! "The Monster in my Cellar!" breaks no ground and is predictable, but the great EC veteran's panels are always welcome.

A sailor named Rick Jordan finds a message in a bottle that reads, "Help--I'm stranded on Midnight Island"! Rick rushes to said island and explores it but finds only a big, apelike monster with fangs. Rick manages to escape back to his boat. The next day he tries again but finds only the monster on the island. At night, he sees a spaceship land on the island to take the monster away. Finally, dopey Rick realizes that the beast wrote the note.

Forget the story and enjoy Don Heck's sharp artwork, which looks like it could fit well onto the old Sunday adventure pages in a newspaper. Heck may not have possessed Kirby's natural comic book talent, but his draftsmanship was certainly more accomplished.-Jack

Tales to Astonish #13

Cover by Jack Kirby & Steve Ditko

"I Challenged... Groot! The Monster from Planet X!"

(a: Jack Kirby & Dick Ayers) ★★

(r: Where Monsters Dwell #6)(Weird Wonder Tales  #19)

"I Found the Abominable Snowman!" (a: Jack Kirby & Steve Ditko) ★1/2

(r: Chamber of Darkness #7)

"My Friend Is... Not Quite Human!" (a: Steve Ditko) ★★1/2

(r: Where Monsters Dwell #6)

"I Found the Hidden World!" (a: Don Heck) ★★

(r: Tower of Shadows #8)

A guy named Leslie and his whiny wife Alice are driving home from a party one night when they see something come out of the sky and land in the forest. A few days later, Alice reports that two of their trees are missing and a friend's wooden fence has disappeared! Leslie heads to the forest to investigate and finds a giant tree monster that attracts wooden objects to its body. Soon, the monster is heading for town; it announces that its name is Groot and it wants to take the town back to Planet X for experiments.

"I Challenged... Groot! The Monster From Planet X!" says Leslie, who tells the creature that he'll come up with a way to destroy it. Fire doesn't work--Groot is too tough to burn. As Groot wreaks havoc, Leslie is bent over a microscope in his lab, soon announcing "Eureka!" He sneaks up to Groot, lets out a bunch of termites, and before you know it, the monster from Planet X is finished.

Alice is a complete jerk! On the way back from the party she tells her husband that she wishes he were more manly and rugged like someone named George. When they see the spaceship crash, she's too tired to go take a look. When Leslie says he's going to the forest, she remarks that the walk will toughen up his muscles! When he's working in his lab to find a way to defeat Groot, she complains that he's weak and spineless. Only when he defeats the monster does she have a change of heart: "Oh, darling, forgive me! I've been such a fool! I'll never complain about you again! Never!" Yeah, right. Leslie should sprint back to the lab and invent something to get rid of Alice.

In a Calcutta dive, Big Carl Hanson overhears a man bragging about the rare and valuable photo of the Abominable Snowman that he got. Too bad the picture is said to be cursed! Big Carl basically mugs the guy in an alley after dark and takes the photo but then decides he'll cash in big time if he goes to the Himalayas and finds the real Snowman. Big Carl takes a train to the mountains, where every native to whom he shows the photo says it's cursed.

Not the brightest bulb, Big Carl hires a camel and a guide and goes up into the snowy mountains, searching for Bumble. Even the locals tell him to quit due to the curse. Does Big Carl listen? Nope. Eventually, it snows so much and his hair and beard grow so long that he himself becomes the Abominable Snowman pictured in the photo.

Even I remember the earlier version of this dumb story, from Strange Worlds #1 in December 1958, not even two years before. That version was drawn by Ditko and he inks this one. They should have left it alone.

A lonely sculptor named Gustav carves gargoyles to serve as figureheads on ships in France in the year 1799. One day, Napoleon and his men knock at the door; the general demands that the sculptor carve a wooden figure of Josephine, so Napoleon can be reminded of her when sailing. After some vociferous resistance, the sculptor agrees and carves a wooden figure of a beautiful woman. The statue comes to life at midnight on the eve of a full moon and Gustav is smitten. He delays giving the figure to Napoleon and visits a gypsy who gives him a potion that will turn him into wood so he can stand forever next to his beautiful statue. He stiffs the gypsy, which is never a good idea. At midnight, Gustav turns to wood and the female statue becomes flesh and blood, victim of a spell by the angry gypsy.

We all saw that one coming, didn't we? Still, Ditko's art is terrific in the ineptly titled "My Friend Is... Not Quite Human!" He's ready to start drawing Spider-Man very soon.

A scientist named Linus Whitehead posits that another world lives inside every TV set but dies before he can prove it. An ex-con named Joe who learned to repair TV sets while in prison decides to test the theory. After six months of experiments, he's visited by Frankie, another ex-con, who blames Joe for spoiling his plans to escape. Frankie turns on the experimental TV set to make noise to cover the gunshot when he blows Joe away, but before he can pull the trigger, Frankie is grabbed by a monster and pulled into the TV set! Joe is almost dragged in too but turns the box off just in time. Ever since that day, he wonders if he dreamed it.

I like Don Heck's art but he's not great at drawing weird dimensions or scary monsters, which is a problem when those are keys to the story's climax. The monsters in "I Found the Hidden World!" have pink fur and fangs and appear to be wearing shorts with suspenders. Not exactly the stuff of nightmares.-Jack

This Thursday...
Return With Us To An Ancient Time
When Mel Was Still Relevant!

And Next Thursday...
Shriek in Apathy at the
Sheer Inanity of Krang!

The 100 Chapter 8: 86 & 85

Who doesn't love a list?

I devour the BFI Best Films of All Time list whenever they deem it necessary to revise and (invariably) disagree with most of the findings, but I still get a kick out of browsing. Same with Rolling Stone's inane Best 100 Albums (how does Sgt. Pepper drop from #1 to #24 in the latest incarnation?); the anger I feel subsides when I see they've put a couple of Aerosmith albums on the list! We all disagree with that number one but we keep right on scrolling through each choice.

This project, which has been percolating for quite a while, originated from the constant back and forth "good natured bickering" between John Scoleri and myself. John invariably loves everything and I hate it all (for more of the discourse, I advise one and all to pick up a copy of bare•bones print magazine and read our debates about streaming and movie theaters to get a taste). I began to think it would be fun to compose a Favorite (as opposed to Best) 100 and compare our selections. Making it even more tantalizing, I managed to talk the third head of Ghidorah, Jack Seabrook, into participating. This could be interesting, since John's never seen a movie the two Georges (Romero and Lucas) didn't have a hand in, and Jack usually favors the flicks that have words at the bottom of the screen (dis-moi que j'ai tort, Jack!). I, on the other hand, can't wait to educate these two gentlemen as to what constitutes good cinema.

Every Thursday, we'll count down our picks two at a time. We're hoping this will generate discourse outside of our trio. Let us know just how crazy we are. This is going to be fun!—Peter

Dunkirk (2017)

Starring: Fionn Whitehead, Tom Hardy, Mark Rylance

Directed by Christopher Nolan

    "What do you see?"

    "Home."

Like millions of other filmgoers on opening day, July 21, 2017, I knew nothing about the Dunkirk evacuation or how it inspired Churchill and England to fight even harder in World War II. What little we learned of World War II in school (the curriculum when I was a kid was devoted more to teaching us about the Roman Empire than any more recent events—more's the pity since I think I might have been able to stay awake during History otherwise) was the "highlights": Patton, Pearl Harbor, etc. Certainly nothing about a little village in France and the amazing rescue of over 300,000 troops, most of whom were doomed to be slaughtered by the Nazis.

By 2017, Christopher Nolan had established himself as the 21st Century's Steven Spielberg so it was a perfect choice for the director to take on a war movie. Rather than a straightforward battle film a la Spielberg's Saving Private Ryan, Nolan dips back into his non-linear bag of tricks (a gimmick that would befuddle on a first watch and bedazzle on subsequent viewings) and gives us three "stories" and three "timelines": Land (the beach evacuation taking place over one week); Sea (the rescue boats--one day); and Air (the fighter planes--one hour). All three stories merge brilliantly at the climax but until that time, we jump back and forth, seeing characters in different timelines in consecutive scenes. Nolan always strives to short circuit the brain of his rapt viewer (see also Memento, The Prestige, Inception, and Interstellar) and once again he succeeds. 

Nolan's cast includes (at the time) newer faces such as pop star Harry Styles, Jack Lowden (who went on to Slow Horses and James Bond consideration), James D'Arcy (Homeland and Marvel's VisionQuest), Tom Glynn-Carney (Aegon Targaryen on House of the Dragon), and Barry Keoghan (Ringo in the upcoming four-picture bio of The Beatles to be directed by Sam Mendes), but also shows respect to the elders with Tom Hardy, Cillian Murphy, Mark Rylance, and Kenneth Branagh. As mentioned, I saw Dunkirk on opening day (at Fat Cat's here in Gilbert, AZ) and the experience left me both dazzled and shook. Repeat viewings have not dulled those sensations. (For those wanting to know even more details about the Dunkirk evacuation should pick up Walter Lord's The Miracle of Dunkirk)—Peter

Remarks from the Gallery:

Jack: We've discussed the films of Christopher Nolan many times. I don't understand the appeal. I looked at the list of films he's directed and I think Dunkirk was the one I liked best. Oppenheimer was decent but an hour too long, and I didn't care for any of the rest. Darkest Hour is another very good film about Dunkirk from a different perspective.

John: I never caught this theatrically and first experienced it during one of our year-end wrap-ups in our home theater on a 120" screen. I thought the intertwined stories were an interesting gimmick that works well and an interesting way to present this history (of which I too was unfamiliar going in). It's not on my list, but a rewatch is definitely overdue. 

The Big Lebowski (1998)

Starring: Jeff Bridges, John Goodman

Directed by Joel Cohen, Ethan Coen

"It's good knowin' he's out there—the Dude—takin' her easy for all us sinners."

After Jeffrey "the Dude" Lebowski falls victim to an attack at his home by two thugs, he gets caught up in a complex situation involving a rich man with the same name, the man's trophy wife, a producer of porn movies, and a group of nihilists—all while trying to focus on an upcoming bowling tournament.

The Big Lebowski is one of the most fun, memorable films I've seen in the last thirty years. Joel and Ethan Coen are to me what Christopher Nolan is to Peter. Despite what Netflix flags as "pervasive strong language," I enjoyed the heck out of this movie when it came out and on every rewatching since. Jeff Bridges is so good as the Dude that he doesn't seem like he's acting— he totally embodies the character. John Goodman is equally good as his friend and bowling companion, Walter, who flies off the handle at the slightest provocation but has a heart of gold. The rest of the cast is perfect, from John Turturro as the rival bowler named Jesus to Sam Elliott as the mysterious stranger who narrates and shows up at the bowling alley a couple of times. If you haven't seen this movie, I strongly suggest you give it a try.—Jack

Remarks from the Gallery:

Peter: I tried this one a couple times over the last twenty years or so and just could not get into it. It's one of those goofy "cult" flicks like Withnail and I that is held up high on the pedestal and leave me cold. I like some of the Coen Bros. flicks (No Country, the underrated Hail, Caesar!, Inside Llewyn Davis) but quite a few of them come off as pretentious and very Lynch-ian to me. My loss, Dude fans might say.

John: The Coen Brothers are like Christopher Nolan to me. I understand why they have devoted fan bases, but I find their films are hit or miss, and more often misses, as far as my appreciation. For what it's worth, Miller's Crossing is my favorite Coen Brothers film, and it didn't even make my top 100. The Big Lebowski has certainly grown on me over the years. The first time I watched it, I didn't appreciate it at all. But after several friends suggested that I give it another chance, I did and was pleasantly surprised. It's not perfect, but I do think it's their funniest and most quotable film. 

Gladiator (2000) 

Starring: Russell Crowe, Joaquin Phoenix

Directed by Ridley Scott

"At my signal, unleash hell."

I saw an early screening of Gladiator several weeks before its release and I was blown away. I was aware of Russell Crowe; he impressed me in Sam Raimi's The Quick and the Dead and made a name for himself in L.A. Confidential, but it was Gladiator where I realized that he was destined to be a major star.

Ridley Scott's Roman epic exceeded my expectations, from the opening battle with the Germanic tribes to the faceoff in the Colosseum. And it's got a great Hans Zimmer score. Like the greatest epics, it stands up on repeat viewings. It took me some time to warm up to Joaquin Phoenix, whose character I couldn't stand, because I didn't initially give his performance credit for my disliking the character.—John

 

Remarks from the Gallery:

Peter: I'll have more to say about this knockout (SPOILER ALERT!) next week but I'll just add that I remember you raving about your sneak preview experience to me and David J. Schow in L.A. that year and my not being impressed with the trailer. I was wrong for perhaps the first and last time.

Jack: Gladiator came close to making my list after we watched it a few months ago before a vacation in Rome. I agree that it's a terrific movie.

The Girl with the Dragon Tattoo (2011) 

Starring: Daniel Craig, Rooney Mara, Stellan Skarsgard

Directed by David Fincher

"Let me ask you something. Why don't people trust their instincts? They sense something is wrong; someone is walking too close behind them... You knew something was wrong but you came back into the house. Did I force you, did I drag you in? No. All I had to do was offer you a drink. It's hard to believe that the fear of offending can be stronger than the fear of pain."

Based on the phenomenal bestseller by Stieg Larsson, David Fincher’s The Girl With the Dragon Tattoo was actually a remake of a 2009 Swedish film starring Noomi Rapace. A disgraced journalist is asked to look into a missing girl and takes on a very unique partner in the troubled Lisbeth Salander.

It was hard to pick between Fincher’s and the original version as both are near-flawless mysteries, with multiple twists and no shortage of suspects. In the end, I chose this one because of Daniel Craig’s Michael Blomkvist, a role vastly different than the one he became famous for, and Skarsgard's creepy cool serial killer. It’s a toss-up as far as Mara and Rapace (who would reprise her role in two excellent sequels) as both give stunning performances.

As far as the flick goes, it’s like Let’s Make a Deal: open door one and it’s a drama about a reporter trying to reclaim his credibility; opt for door number two and you’ll get a harrowing tale of sexual abuse and a young girl trying to make her way through the world on her own terms; door three is the most tantalizing, though, as you learn about the filthy rich family who hide their dirty secrets (Dad was a Nazi and a serial killer!) like they hide their offshore accounts. This is the very definition of a rollercoaster ride.—Peter

Remarks from the Gallery:

Jack: I've not read the book nor seen the movie.

John: If Peter weren't so averse to reading subtitles, he'd surely have put the Noomi Rapace original on his list instead of this lesser version. I've seen it, and while it's not bad, like many a US-remake of a foreign film, it's unnecessary. 

Once Upon a Time in Hollywood (2019)

Starring: Leonardo DiCaprio, Brad Pitt

Directed by Quentin Tarantino

TV Western star Rick Dalton's career is fading as 1969 dawns. He and his stunt double, Cliff Booth, try to figure out where Rick goes from here as they cross paths with some sinister hippies at a nearby ranch. Will Rick make the transition to spaghetti Westerns? Are his neighbors, Roman Polanski and Sharon Tate, in danger from the hippies?

I loved this movie when it first came out and I loved it just as much when I watched it again recently. The way Tarantino evokes late '60s Hollywood is perfect. I don't care if it wasn't really like this, it should have been!

DiCaprio is perfect as Dalton and the re-creation of his TV show is great. Pitt is just as good as Booth. His fight with Bruce Lee is classic. The twists and turns of the plot are wonderful and the ending, where Tarantino's penchant for violence finally bears fruit, is grotesquely satisfying. If only real life had worked out this way.—Jack

Remarks from the Gallery:

Peter: What John doesn't say below is that he sees every movie ten times theatrically. Without completely spoiling my opinion of this one, I'll just say that I have nothing to say for several months.

John: I saw the film 10 times theatrically during its original run. I too will have more to say months down the road. At least we now have confirmation that there's at least one film that landed on all three of our lists—our first hat trick!

Payback (1999) 

Starring: Mel Gibson, Maria Bello

Directed by Brian Helgeland

"Not many people know what their life's worth is. I do. Seventy grand. That's what they took from me. And that's what I was going to get back."

This is the film that inspired me to start reading Donald Westlake's 'Richard Stark' Parker novels. Like The Last Man on Earth, the change of the main character's name is annoying, particularly in that it's spoken so often throughout the film. But that aside, I really like Gibson's portrayal of the character. He's my favorite Parker (in this case, Porter), and I would have loved to see him appear in additional installments. I love the film's balance of intensity and black humor.

Maria Bello is fantastic, as always, and the rogues gallery of the (other) bad guys is a classic lineup including William Devane, James Coburn, and Kris Kristofferson!—John

Remarks from the Gallery:

Peter: This was a near miss for me (let's put it at #103). I also love Mel in this but he wins "Best Parker" by default when you think about who the competition is (yeah, Lee Marvin is a great actor but he ain't Parker, boys and girls, so bring on your disdain for my diss). I'm surprised you didn't mention the alternate cut, which I think is the preferred cut of Payback, released years after the initial DVD. Much darker, more violent, and no happy ending. In fact, the studio version (taken away from Helgeland by Mel himself) wouldn't dent my 200. I've read every single Parker novel Westlake wrote (I'm still waiting trepidatiously for some ghost to pick up the reins a la Tom Clancy's Jack Ryan and Robert Ludlum's Jason Bourne) and Helgeland's vision (not the one John is raving about, mind you) is the best adaptation. 

Jack: This seems like something I would've seen but I don't remember it at all!