Rubens Francisco Lucchetti, who had once wrote for comics and pulp magazines, made this movie to honor Brazilian heroes like Morcego Nergo and O Sombra, with the name of the movie’s villain — The Scarlet Scorpion — taken from a radio series Lucchetti created that was based on Fu Manchu. There’s also Madame Ming, who is pretty much Madame Dragon from Terry and the Pirates mixed with Fu Manchu’s daughter Sumuru (who is also in the Jess Franco movies The Million Eyes of Sumuru and The Girl from Rio). The hero of this movie, Anjo, was a character created and played by radio actor Álvaro Aguiar for the radio series As Aventuras do Anjo, which was broadcast by Rádio Nacional from 1948 to 1965.
This movie is all about just how important radio was to Brazilians, as the public loves the show The Adventure of The Angel so much that its creator has become a millionaire and is about to make a movie about it. Fashion designer Gloria Campos dreams of meeting the announcer and creator of the show as she imagines the adventures come to life in her mind, yet the Scarlet Scorpion may be more real than anyone can imagine.
There’s also a striptease by Roberta Close, the first transgender model to pose for the Brazilian edition of Playboy. Shot a year after her gender confirmation surgery, Roberta fought the government for eight years to legally be female and has also walked the red carpet for Thierry Mugler, Guy Laroche and Jean Paul Gaultier.
Director Ivan Cardosa also made A Werewolf In the Amazon with Paul Naschy and the Coffin Joe documentary The Universe of Mojica Marins. He also made several of his own horror movies before this, such as The Secret of the Mummy and The Seven Vampires.
Even without knowing much about the history of Brazil’s superheroes and radio shows, this is a fun movie that mixes fantasy and reality for entertaining effect.
I grow weary of critics who accept screeners from ultra-low-to-low-budget filmmakers, then, when that filmmaker name drops better-known directors and films, the review proceeds to judge that self-produced passion project against those Bayos n’ Bayhem’ed, A-List summer tent pole inspirations: it’s a losing proposition to a negative review.
A critic simply can not measure today’s 2020s’ indie streamers — no more than you could rationalize regional filmmakers of the ’70s, such as Don Dohler or Andy Milligan (Fiend, The Ghastly Ones), or SOV home video purveyors of the ’80s, such as Jon McBride (check out our “Exploring” feature), or Doug Ulrich and Al Darago (Scary Tales) and Donald Farmer (Scream Dream) — to the films that inspired said filmmakers, which would be everything from Hitchcock to Carpenter, between the usual soup-to-nuts sprockets.
Today’s young bucks, such as this film’s writer and director, Michael Matteo Rossi, are analogous to those up-against-the-budget indie filmmakers of ’70s and ’80s yore — as they deliver a fascinating entertainment experience (at least to this snobby, know-it-all critic) in observing how the modern, digitally-based filmmaker tackles the hard-to-tackle-on-nickles-and-dimes action and science fiction genres (Anton Doiron’s Space Trucker Bruce as the best-example).
Courtesy of today’s here-to-stay digital technologies, gone are the days of indie filmmakers heading out to a patch of woods, sans permits, with a camera loaded with short ends and a gaggle of their friends and amateur actors to leave their mark with a horror film (and don’t forget that de rigueur pair of overalls or coveralls). Today’s smart phone’d filmmakers, such as Anthony Z. James (Ghost) and James Cullen Bressack (For Jennifer) and other Canon Reds purveyors, aspire to rise above those regional and home video filmmakers of old to create films in other genres besides the aforementioned horror and the low-budget auteurs’ second favorite genre: the cheap-to-make rom-com, such as Edward Burns and his industry breakthrough with 1995’s The Brothers McMullen, from those Fine Line Features, Fox Searchlight and Miramax glory days (that he shot for $30,000 and cleared $10 million in box office).
So, yes. Michael Matteo Rossi is ambitious. To a fault? Eh, maybe those James Dalton-opinions down at the roadhouse vary in the eyes of the Brad Wesleys of critical divide. Moi? I see no reason to compose discouraging reviews. (Ugh, again with the length complaints: the one hour thirty-six minutes of Shadows is short compared to most indie-streamers where directors are their own worst editors.) So, yes, I cut a wide berth (see Nigel the Psychopath, as an example) — that I would never give to a major studio film: those major leaguers know better than the shaggin’ flies guys down in Triple A (I hated Last Man Standing and John McClane seeks not my pity).
As I spoke with Rossi and actor Chris Levine when their previous film, the John McTiernan-aspiring The Handler, was released, they enthusiastically spoke of their next film, Shadows — and mentioned their joint admiration of Martin Scorsese’s Goodfellas and Michael Mann’s Thief.
Does that mean I should critically compare Rossi’s works to either of the those stellar films? No. Absolutely not. What Rossi’s mention of his cinematic inspirations provides this critic is a critical embellishment to the film’s IMDb-posted logline: I simply now know what to expect as the 1s and 0s formulate images on my lap top. As with Michael Matteo Rossi’s The Handler serving as his homage-throwback to ’80s and ’90s action films, Shadows is his cinematic tip-o’-the-hat to the crazed flux of ’90s gangster films — films rife with the expected Shakespearian-to-Dashiell Hammett noirish twists and betrayals.
So, with that being said: My critical barometer, here, is not Scorsese or Mann, but, when thinking back to Quentin Tarantino serving as a secondary inspiration to those Miramax-gangster ’90s: his film, Reservoir Dogs. Well, more accurately: Rob Weiss’s low-budgeted, Tarantino-cobbled Amongst Friends, Matty Rich’s Straight Out of Brooklyn, and Troy Duffy’s Boondock Saints. But make no mistake about it: Rossi is not a filmmaker who cuts off one’s nose to spite one’s face — as did that “Tarantinoesque” ego-destroying triumvirate. However, unlike those three films, okay, well, maybe not Boondock Saints, Shadows is not your typical indie streamer: it is not only a well-shot film: the sharp cinematography is supported by solid, fluid editing giving it, well, the Scorsese-Mann quality on-a-budget to which it strives.
I immediately — and pleasantly — noticed Rossi smartly brought back the fine Rachel Alig, Tyrone Magnus and Chris Levine (The Ice Cream Stop, No Way Out) from The Handler for his cast. He then ups the game with the casting of long-suffering indie actress Krista Allen, who parlayed her indie film roles (speaking of the shot-on-phone genre: the pretty fine Case 347) and under-five and guest starring television roles (Diagnosis Murder to CSI: Crime Scene Investigations to Hawaii Five-O) to a featured, 77-episode role in CBS-TV’s long-running daytime drama, The Bold and the Beautiful. Another welcomed actor to the cast is Rahart Adams from Nicklelodon’s Every Witch Way, (as well as Pacific Rim: Uprising) in an adult film role, given a chance to shine as our well-meaning but flawed Othello. Fans of FX’s Sons of Anarchy and Mayans M.C. will also notice David Labarva, fine here as the crazed, drug-manufacturing Nicolas. Then there’s Jazsmin Lewis of the Ice Cube-starring Barbershop franchise, in support, as Shonda, who cares for Jewel and a stable of hookers.
The streaming incentive, here, of course, is, well . . . we wish Australian icon Vernon “The Wez” Wells was here in more than just-a-name-on-the-box starring role, à la the aforementioned Bruce Willis, or Eric Roberts and Nic Cage (we are forever his bitch), but we do get a little bit more of Francis Capra — yes little Calogero in the Scorsesesque A Bronx Tale.
As with the aforementioned Amongst Friends, Rahart Adams is Cody: another troubled soul from a broken family hoping to break free of Jewel (Krista Allen), his crack-addicted prostitute mom, by working at the only good-paying job a foster care-dumped kid can get: as a low-level drug dealer. The modernized, Shakespearean proceedings — as they usually do in these films — goes to shite when Cody unknowingly buys a batch of a new designer drug for a quick mark-up resell — only to discover the drugs are part of a cache stolen from our in-residence Iago, Nicolas. And — as things usually do in these films — gets worse when our femme fatale Desdemona, aka Michelle (Rachel Alig), from Cody’s mom’s stable of call girls, unwittingly drags him into a multiple homicide.
Now Cody and Michelle are on the run from Nicolas’s right-hand psycho, Axel (a very adult-fine Francis Capra), who takes a scored earth approach to his profession: no survivors — including Vernon Wells’s prostitute-addicted lowlife, Cliff. Cody and Michelle’s savior comes in the form of Eric Etebari (The Lincoln Lawyer and TV’s NCIS: Los Angeles) packing the Robert Forster-cool as the salvation-seeking cartel hitman, Dean.
In the end, Rossi, as he did with The Handler, handles the drama-to-action ratio with a Scorsese-Mann aplomb. So much so that those pesky digital blood n’ bullets sticklers will overlook those digital effects. We will just have to wait and see if Dwayne “The Rock” Johnson sticks to his publicity-driven bluster to never use “real guns” on sets, again, and he ups digital gun effects and squibs to the point where we can no longer tell the difference. Hello money: here’s the mouth.
So, until The Rock delivers: Michael Matteo Rossi delivers as he keeps getting better at the craft.
After watching and reviewing The Handler, Rossi provided me with a link-copy of his previous, third film, 2019’s The Chase (his freshman and sophomore features — amid his twelve shorts — are 2013’s Misogynist and 2017’s Sable). While The Chase is a commendable effort, The Handler is certainly the more ambitious, superior effort. And Shadows — thanks to great casting with actors bringing their A-games — trumps both of those films. I believe, once his next film, the also-starring Vernon Wells The Sweepers drops come September 2022, Michael Matteo Rossi will begin to receive mainstream, major studio notice as did his digital cousins Prince Bagdasarian (Abducted) and Steven C. Miller (First Kill). In fact, like Ryan Coogler before him: I see Michael Matteo Rossi creating that film — one that will win “Top Audience” and “Grand Jury” awards at the Sundance Film Festival where he will find himself called out of the dark, indie shadows to the sun-kissed majors.
It’s all about, not naysaying, but seeing the potential in the indie filmmaker. And Michael Matteo Rossi’s day in the sun is on the horizon and ready to break the dawn.
Shadows will be released to VOD and digital streaming on May 6th by Acort International Pictures (the team behind Clinton Road). The studio’s page for the film will lead you the film’s Facebook and Twitter pages to follow, as well as an Action-Flix interview with Michael Matteo Rossi and Deadline interview with actor Rahart Adams.
About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook. He also writes for B&S About Movies (links to a truncated teaser-listing of his reviews).
Super Batman & Mazinger V is a South Korean show seemingly daring the lawyers of major corporations in America and Japan to unleash their full retainers. Is the hero Batman? Is it Golden Bat? What does Castle Grayskull have to do with all of this? Why are some moments animated and others not? What did this have to do with Black Star and the Golden Bat? Why are the bad guys all neon werewolves? And how does Mazinger V exist in the same space and time as Batman? Is it Batman or Betaman?
So many questions. I have more, like why is there a large man dressed like a child carrying a giant robot toy? Did the animated evil queen come first or the live action one? Why does one of the kids have painted on freckles? And what about when Batman or Betaman jumps into a waterfall and literally becomes a cutout photo animation unlike every other moment on this show or movie or whatever it is?
I really don’t know why or how but I’m into whatever it is and want so much more.
A teenager known as The Orphan wants to meet the vigilante The Bad Samaritan, who in no way becomes the Batman to her Robin. It also turns out that he’s becoming something of a religious figure to the cops and people of the city, which is starting to go to his head.
He also looks an awful lot like the Midnighter.
This movie is kind of upsetting because it has a great premise — can worshipping someone not worth worshipping ever go well and hmm, I think I’ve lived through the answer to that one — but it’s shot so poorly and shifts tones so abruptly that it never really has a chance to deliver on the premise that it sells you on.
That’s a shame because I really want to see the movie that I thought that it was.
I was discussing Tubi with Bradley Steele Harding this morning and we were just stunned by how many movies are available, all in one place, with just a few commercials to deal with to find some movies that had — until now — been somewhat difficult to find.
The only problem?
There’s just so much!
This conversation made me think: what if I picked ten movies on Tubi that I’d recommend? And here it is! Once a week, I’ll be sharing links and quick write-ups of some films on the service — sometimes all in one genre, often just whatever I am watching.
Are you interested in sharing your list? Let me know!
My summary of this movie will make you say, “That’s not a real movie.” Here goes nothing: A mutant killer in an SS uniform is wandering the countryside while a couple’s car breaks down and leads them to a castle that looks over a pirate ship wrecked into the rocks, all while they’re watched by the mutant’s mother, a gypsy who lives with a mummy. Also: a horse that’s either possessed by the devil or Satan himself.
Directed by Rubén Galindo Jr., this movie is like mixing up Evil Dead, Halloween, the video for “Thriller” and Scooby-Doo all with tons of gore. It’s like the lost horror rental you never saw from a country you’ve never been to.
What if Russ Meyer directed Enter the Dragon? This is a movie that I want more people to obsess over, with three gorgeous women — Raven La Croix, Angela Aames and Melanie Vincz — battling Angus Scrimm.
A fashion agency is shooting videos that feel very BDSM and feature really long, intricate daggers, all while making videos for Frankie Goes to Hollywood’s “Warriors of the Wasteland.” We all need more late 80s giallo in our life.
All hail absolute junk! The most 1988 movie that I have ever seen, this is Cinemax After Dark semi-sleaze mixed with Leif Garrett, a slasher and even giallo-esque elements all with the gimmick of sex talk party lines, which before the interest used to dominate late night airwaves. This movie wants to use you and not even leave a note.
All Bronson wants to do is grow his watermelons. People get in his way. People get killed. Man, I could watch Bronson do just about anything and be happy.
Isn’t it incredible that we can just instantly watch this George Romero movie — once nearly lost at worst and hard to find at best — as easily as pressing a button on our remote? This is straight-up Yinzer Giallo, A Lizard In a Woman’s Skin if it was set in North Versailles.
There are so many Andy Sidaris choices on Tubi. For those who haven’t stepped into his world, this would be a good start, as it’s a deranged film filled with inflatable love doll bombs, radioactive toilet snakes and gorgeous men and women. Get into it! Killing is an art form!
The best Django sequels are the ones that push the story as far as it can go. Like this one, where Django is a dead man come back to set the scales of justice back where they need to be. This is more horror than western and all the better for that.
Rene Cardona kept trying to make the same movie until he got it right: fabulous wrestling women, grotesque monsters, lots of real surgery scenes, lucha libre matches and a nonsenical plot to try and make it all work. Guess what? It always works.
Who is the lead character in this? Batman? The Golden Bat of Japanese culture? The Batman of Zur-En-Arrh?
Who knows, but when a bunch of kids and their pet dog find supervillain Black Star and his army of henchmen, they must find the hero they worship and get his help, all to show their dying friend that they can be brave. Also, cats and dogs in this universe have the power of speech while humans are animated so poorly that they stand in place for several minutes at a time.
I always hated teen characters and sidekicks, because I never wanted to be Wendy and Marvin or Bucky or Robin. I wanted to be Batman. Years later, I still can’t figure out why comics and cartoons and pushed these second bananas our way. Well, this movie has like six Snapper Carrs in it and one’s dying and his mom died and now he’s going bald.
Made in Korea, dubbed in Spanish, combining a Japanese superhero with an American one. It’s a wild world, huh?
Created the year after Superman by C.C. Beck and Bill Parker, Captain Marvel is the alter ego of newspaper boy Billy Batson, who gains the powers of Solomon, Hercules, Atlas, Zeus, Achilles and Mercury when he says “Shazam!”
He was created when Fawcett Comics’ circulation director Roscoe Kent Fawcett said, “Give me a Superman, only have his other identity be a 10- or 12-year-old boy rather than a man.”
During the 40s, his comic book — Captain Marvel Adventures — claimed the “Largest Circulation of Any Comic Magazine” and was selling fourteen million copies a year.
This certainly didn’t make National Periodical Publications — the home of Superman — happy.
Republic made this serial was because Paramount Pictures successfully tied up rights to Superman and only made cartoons, not live action movies. Republic kept trying to get those rights and kept getting turned down. They took the script they had written for their Superman serial and changed it to The Mysterious Dr. Satan.
Then, they started talking to Fawcett and this became the first licensed live action comic book adaption.
National attempted legal action to prevent Republic from even making this serial, citing Republic’s failure at gaining the right for Superman. This would come back to haunt Fawcett, as litigation continued for seven years with National Comics Publications, Inc. v. Fawcett Publications, Inc. heading to trial in 1948.
While the presiding judge decided that Captain Marvel was an infringement, DC hadn’t copyrighted several of their Superman daily newspaper strips and basically had abandoned their Superman copyright. You can only imagine of Siegel and Schuster, who created Superman, felt after selling the rights to their character for $130. That said, the first court case went in Fawcett’s win column.
National appealed and secured the Superman copyright. In 1952, Judge Learned Hand did not find that the character of Captain Marvel itself was an infringement, but rather that specific stories or super feats could be infringements. Yet instead of a retrial, an exhausted Fawcett chose to settle, permanently canceling all of the Captain Marvel-related comics and paying National $400,000 in damages.
Fawcett creators Otto Binder and Kurt Schaffenberger ended up at DC, working on Superman. Hoppy the Marvel Bunny was sold to Charlton, British reprints became Marvelman instead of Captain Marvel for another decade. In 1972, DC Comics began licensing all of the Captain Marvel characters, except that Marvel was now around — which is why Marvelman became Miracleman but that’s another long story — which meant that now, Captain Marvel was Shazam. C.C. Beck did the first ten issues before quitting, saying “As an illustrator, I could, in the old days, make a good story better by bringing it to life with drawings. But I couldn’t bring the new stories to life no matter how hard I tried.”
For years, Shazam and his family lived on Earth-S, until the Crisis on Infinite Earths made all DC Comics take place on one Earth, which lasted for a few years until we came right back to a multiverse. By 1991, DC owned the characters outright and while they may have struggled to fit into their larger universe, the character has remained popular enough to get his own TV series in the 70s — this writer had a homemade costume as a child that he wore as soon as he got home from school — and the 2019 movie, which was released the very same year that Marvel had a Captain Marvel movie.
The serial changes up the origin somewhat. During an archaeological expedition to find the lost secret of the Scorpion Kingdom in the Valley of the Tombs, the Golden Scorpion is found inside a crypt. Only one person hasn’t entered the crypt, respecting the warning: Billy Batson, who is given the powers of Shazam by the ancient wizard with that very same name.
When the archaeologists come back to America, the villain known as the Scorpion starts killing them and stealing parts of the Golden Scorpion. Now, Captain Marvel must protect the surviving scientists and stop the villain from using the treasure for evil.
Directed by William Whitney — Quentin Tarantino is a huge fan: “Easily the most violent movies ever made for children were made by Witney (I say that as a badge of honor; get ‘em while they’re young). That would include many of his serials: Drums Of Fu Manchu, Spy Smasher, Dick Tracy Returns. And especially The Adventures of Captain Marvel, which easily contains in Tom Tyler’s Captain Marvel, the most homicidal berserker superhero of cinema. (Most of the gags and set pieces that Spielberg restages for Raiders of the Lost Ark are taken from Witney’s chapter plays)” — and John English, this is a fun serial, often looked at as one of the better examples of these short adventures. As for the effects, well, they used a weighted cape and a dummy to make it look like flight. People were amazed in 1941, though.
Power Pack — first appeared in 1986 and created by Louise Simonson and June Brigman — is the first team of preteen superheroes in the Marvel Universe that operated without adult supervision. However, unlike many other young heroes, they had supportive parents and weren’t orphans.
The Power kids — Alex, Julie, Jack and Katie — each received their powers from a dying alien, with Alex gaining gravity control, Julie being able to fly, Jack getting mass control and Katie being able to disintegrate objects. The initial run lasted sixty-one issues along with Simonson and Brigman undoing some of the damage other teams did to the book in the Power Pack Holiday Special.
The same year that the comic was canceled, Paragon Entertainment Corporation and New World Television created a Power Pack pilot in the hopes it could be a live-action show for NBC’s Saturday Morning Kids block. They passed but Fox bought the pilot and aired it several times on Fox Kids in 1991.
This short finds the kids getting used to their new home and neighborhood while promising their parents — who unlike the comic know they have powers — that they will be as normal as possible. There’s also a haunted house and the spirit of Dr. Mobius (Greg Swanson, the class president from Terror Train) to deal with.
Alex was played by Nathaniel Moreau from Are You Afraid of the Dark?, while Julie was Margot Finley from Mighty Ducks 3. Jack was Bradley Machry and Katie was Jacelyn Holmes.
Directed by Rick Bennett (who was Juggernaut and Colossus on the animated X-Men series) and written by Jason Brett (who wrote and acted in the movie Checkered Flag, as well as writing episodes of the Teenage Mutant Ninja Turtles by way of Power Rangers by way of Dragonball Z live-action show Tattooed Teenage Alien Fighters from Beverly Hills), this seems like it would have been a great show for kids if it ever got off the ground.
Power Pack is scheduled to be part of the MCU sometime. It’ll be interesting to see how they fit in.
January 18, 1979: I was six years old and in pure comic book mania, as Superman had come out, there was a DC ski stunt show at Sea World, The Incredible Hulk was on CBS, the Captain America TV movie would be airing the very next day and there had already been a few Spider-Man TV movies. It was an amazing time to be a kid and get free superhero stuff sent over the airwaves and often, we’d have no idea what we were about to get other than what TV Guide told us.
The Justice League of America were all showing up on my TV! And not just Batman and Robin, played by Adam West and Burt Ward, but the deep cut heroes I loved, like Hawkman (Bill Nuckols, Wally from Supertrain), Captain Marvel (Garrett Craig, the third man to play the man who says “Shazam!” in the 70s after Jackson Bostwick and John Davey), Huntress (Barbara Joyce) and Black Canary (Danuta Wesley, who took over as the Tea Time Matinee Lady on The Tonight Show after the death of Carol Wayne), plus more well-known ones like Flash (Rod Haase, Candy Stripe Nurses, If You Don’t Stop It… You’ll Go Blind!!! and the sequel Can I Do It ‘Till I Need Glasses?) and Green Lantern (Howard Murphy, the gardener in Young Lady Chatterley II, which would become another important memory in my young life for different reasons).
A party for the retirement of Scarlet Cyclone (William Schallert from Inner Space and In the Heat of the Night) when the Legion of Doom spoils everyone’s fun by announcing they’ve hidden a bomb, so everyone must get de-powered, split into smaller teams and save the day. If that seems like a Gardner Fox story, it’s not a bad thing. The bad guys are Riddler (Frank Gorshin, who else?), Weather Wizard (Jeff Altman, who a year after this would star in one of the most baffling TV shows in broadcast history, The Pink Lady and Jeff), Sinestro (comedian Charlie Callas), Mordru (yes, a Legion of Superheroes villain! He’s played by Gabriel Dell, doubling down on oddball kids shows, as he had just been the voice of Boba Fett on The Star Wars Holiday Special), Doctor Sivana (Howard Morris, whose voice was all over the cartoons I grew up on), Giganta and Solomon Grundy (Mickey Morton, who was also in the aforementioned Star Wars nightmare, playing Chewbacca’s wife Malla).
While the show looked cheap and kind of silly, I was six. So I was beyond excited because there was another episode the very next week.
The next week is why I grew up to be the cynical person who will go on at length about why I hate Wed Craven or how no good slasher has been made with minor exceptions after 1984. All my pain came from this show, in which the adventure format was ditched to instead present a celebrity superhero roast of the superheroes hosted by Ed McMahon.
Now, I love celebrity seventies roasts.
I love Ed McMahon.
But I had been laughed at — and would be laughed at my entire life — for knowing too much about comic books.
Now, even comic books were abandoning me to the void of ennui. Yes, I was the kind of six year old that often asked for an Anacin because I claimed life was giving me a migraine.
Anyways…
New characters were added, including stand-up comic black hero Ghetto Man (Brad Sanders), Captain Marvel’s Aunt Minerva (Ruth Buzzi), Hawkman’s mother (Pat Carroll, the voice of Ursula in The Little Mermaid) and superhero reporter Rhoda Rooter (June Gable, Estelle on Friends) who lets the world know that Giganta (early trans actor Aleshia Brevard, who played one of the female creatures in Bigfoot) was marrying The Atom (Alfie Wise, who was Batman in Cannonball Run).
If it sounds horrible, well — it was. And it still is.
I mean, didn’t the producers realize that Captain Marvel lived on Earth-S, I wondered? Yet even I knew that this was above Wonder Woman, who had her own show, and Superman, who at one point eclipsed Batman, who bided his time and worked with the right directors obviously.
In his book Back to the Batcave, Adam West said that he regretted doing these shows. They couldn’t even get his Batman costume right.
Mino Loy directed Fury in Marrakesh and lots of mondo like Sexy Magico, Supersexy ’64 and Mondo Sexuality before this movie, which is between Adam West Batman and Eurospy, with a funky costumed hero and lots of guitar on the soundtrack.
Will his flashing power be enough to battle a group of models led by Claudie Lange and the thugs with invisibility abilities and lvano Staccioli as the boss? Sure. I mean, you have to love a movie where Italians make Batman and decide that he should be a dandy Englishman named Lord Alex Burman.
That said, in no way is this a good movie. I want it to be, the poster tells me that it will be, but it isn’t.
7. 
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