Bomberman has long been a friend of mine. I spent most of the early to mid 90's playing either the original Bomberman or Bomberman '93 for the Turbo Graphix 16 System. I played each until their eventual conclusion and then wouldn't touch them for years. So when there was word that a Bomberman game would come to Xbox Live I was very excited. But at the same time I was very skeptical. So skeptical, it took me about two months to download it and the accompanying first expansion pack. However, what came out of it was quite possibly the best multiplayer Xbox Live Arcade game of all time and one of the best reasons to own an Xbox 360 that doesn't involve a first person shooter.

It’s hard for me to believe that Darkman comes from a time when Sam Raimi was fresh off directing Evil Dead 2 and Liam Neeson was a little known Irish actor. A lot has changed since then, but a true classic can stand the test of time, and although I was very young when I first saw this movie, I remember it being very unique. Of course my perspective on films has blossomed since the time I was watching Rugrats, and it has literally been that long since I’ve seen Darkman. Nonetheless I’m pleased to finally get the chance to watch this Liam Neeson classic, and in HD to boot.

Scott Adams, author of Dilbert, made an interesting observation about R vs. G rated movies in a recent post:

"A study done in 2005 showed that G-rated movies are 11 times more profitable than R-rated movies, yet the industry cranks out 12-times more R-rated movies." [from Scott Adams]

Found via digg, another funny feature on Cracked: the 10 Best Animated Films for (Traumatizing) Kids.

Number One: Pom Poko, distributed by Walt Disney.

My very first horror film book, acquired in Grade 3, was Denis Gifford’s A Pictorial History of Horror Movies. Among its many stills were a number for films identified by title, but with no other information provided. The result was rather tantalizing. One of those stills was for a 1969 Japanese ditty called Horror of Malformed Men. At long last, thanks to a new release from Synapse (with the title pluralized to Horrors of Malformed Men), my curiosity has been more than satisfied.

It’s clear watching Fantastic Four: Rise of the Silver Surfer that Tim Story and company spent lots of time on the Silver Surfer and little gags for the Four’s powers, and not so much time on the actual story.

The result is a shiny hunk of refuse. There are holes all over the place, and once again the filmmakers have failed to present characters and conflicts the audience will actually care about. The world’s going to end? Big deal. On the bright side, while the film sucks, this 2-Disc Power Cosmic Edition DVD set is pretty fantastic.

An interesting bit of news I stumbled across: a new Braveheart release on DVD. Uninspiring audio, but a new features list - I don't think, from a cursory scan of Amazon, that all of these have been seen previously...

What would happen if a studio was so confident in a show that it offered the DVD’s at a reduced price and slapped on a money back guarantee? Universal has done just that with Friday Night Lights. There is a rebate program where you can turn your discs back in for a full refund if you’re not completely satisfied with the show. Couple that with the fact I picked up this entire season for only 20 bucks, and I’d say somebody is either really stupid, or they’ve got a hell of a television series. Friday Night Lights is the latter.

Since Mystery Science Theater 3000 came to an end, fans have been having to make do with various second-best replacements. The most obvious one has been Mike Nelson’s solo commentaries on the likes of Reefer Madness and House on Haunted Hill. Though his efforts have been amusing, they have like the lunatic fun generated when he had Tom Servo and Crow to bounce off. With The Film Crew releases, we have the closest thing yet to a return of MST3K, as Nelson is reunited with Kevin Murphy and Bill Corbett (who were the ‘bots). Playing themselves, they are a trio of working joes whose job is to provide commentary tracks to undeserving films. We don’t see their silhouettes, but we hear their exchanges over the course of the film. The result is pretty damn funny.

If it’s 1977, this must be softcore, and so it is. Vanessa is a another lush sexual travelogue, dug up from the archives and given a rather spiffy release from Severin. Yet another product cast in the Emmanuelle mould, Vanessa has its titular heroine leave her convent home (gee, what sort of nonsense do you think we find out happened there?) after she comes into a large inheritance. Flying to Hong Kong, she finds out that this inheritance consists of a chain of high-end brothels. Cue the exotic locations and varied sexual encounters. There’s nothing hugely striking or original about any of this, but as an example its type, it’s quite handsomely mounted, makes some eyebrow-raising use of classical music, and has a couple of scenes that (almost) reach a (kind of) frenzy (all proportions maintained).