Here they are — all the Max Headroom ads for Coca-Cola. (I am linking here to the awesome Zona C Youtube channel.) When I mentioned the iconic corporate spokesman here on Monday, I had no idea he’d appeared in so many Coke commercials.
Matt Frewer’s stuttering alter-ego really was everywhere in the 1980’s. (There’s a terrific rundown of his digital reign right here over at Pop History Dig.) And, for my money, the infamous pirate broadcast incident in Chicago is actually a little creepy when viewed in its entirety, in an accidental, V/H/S kind of way. (I actually remember seeing coverage of it on the nightly news back in the day — someone hacking into a television broadcast was a big deal.)
Frewer himself remains a sublimely talented guy. He’s now 65, and his filmography is truly gigantic. He’s an always enjoyable “that-guy” actor who pops up in all sorts of horror and sci-fi properties. (You can probably tell a lot about your personality and viewing habits by where you’ve seen him last.) My favorite role of his might his turn as a doomed nice-guy in the 2004 remake of “Dawn of the Dead,” simply because I love that movie so much.
“The Meg” (2018) is an easy movie in which to find flaws. They’re many, they’re egregious, and they’re consistently front and center. The biggest flaw for me is its truly terrible script; it’s like the screenwriters weren’t even trying here. (At one point we see a character simply grunt a response to another during an exchange, as though the screenwriters were too disinterested to write a line of dialogue.) The movie’s other weaknesses include the occasionally spotty CGI and some head-scratching science.
With all of that said, however, I still had fun with “The Meg.” (The title refers to a prehistoric shark called megalodon, which our protagonists inadvertently release from a newly discovered deep-sea trench.) I’d rate it a 6 out of 10 because it was a fun enough summertime monster movie. It’s clunky stuff, but it’s passably enjoyable lowbrow entertainment for fans of creature features.
I like Jason Statham too. (This is the first film I’ve seen him in since 2004’s “Cellular.”) He certainly isn’t a bad actor, even if his lines in this film should have had him inwardly cringing. He’s got presence and charisma.
I’m not sure I would actually recommend “The Meg,” but I didn’t hate it.
“Spider-Man: Far From Home” (2019) is a fun enough Marvel movie; based on my own enjoyment, I’d rate it an 8 out of 10. It’s got the same qualities as almost all the other films in the Marvel Cinematic Universe — fun, humor and great special effects housed within a remarkably well constructed shared universe. This mostly standalone adventure is definitely one of the MCU’s campier outings, but I think that most viewers will find it a welcome break after the last two high-stakes, apocalyptic “Avengers” films. (You may have heard of them.)
It’s also a great film to appeal to comic fans who are younger adults. The humor usually works, and the characters are nicely relatable. Peter’s peers and teachers are all engaging enough on their own, and make a good group of supporting characters. I know most fans have commented how much they like Ned, and I do too — but I think the MCU’s biggest improvement in this part of the mythos is the character of M.J. She is vastly different from her comic book progenitor, but in good ways. She’s dry, sardonic and slightly dark, and she’s extremely well played by Zendaya. I don’t imagine that many fans will agree with me here, but I personally find this character to be a lot more likable and compelling than the MCU’s Peter Parker.
And that brings me to my largest concern about the new “Spider-Man” films. Their version of Peter is sometimes frustrating. I don’t think it’s the fault of Tom Holland, who brings a nice amount of energy and personality to the role. I think it’s the fault of the screenwriters, who have made the character so doltish, boyish and eager-to-please that it’s occasionally annoying. He sometimes seems more like a middle school student than an advanced high school student. (Isn’t he supposed to be a senior here?) The writers seem to want to counter-balance the character’s high intelligence with a humanizing flaw, and they seem to want to contrast young Peter with the older, more seasoned Avengers lineup. All of that makes perfect sense, but I do think they go a little overboard.
I’m willing to go on record here and say that I prefer Sam Raimi’s “Spider-Man.” His trilogy between 2002 and 2007 had more heart, more devotion to heroic archetypes, and greater attention character depth and detail. (I still think that 2004’s outstanding “Spider-Man 2” is one of the best comic book movies ever made.) There are advantages, too, to depicting an iconic superhero that doesn’t inhabit a shared universe — you spend more time exploring the character than exploring their context in relation to others.
Still, I’d recommend “Spider-man: Far From Home.” Like I said, it was a fun movie.
“Fear the Walking Dead” has devolved. It’s fallen a long way from its early years as an earnest, deadly serious prequel to “The Walking Dead.” (I, for one, really liked the first season’s creative mix of slow-burn horror and family drama, and I loved the ambitious, milieu-exploring apocalypse-in-progress stories of subsequent seasons.) Today, we’ve reached the point where the show has become so slapdash and campy that you have to wonder whether its creators take it seriously at all.
I’m sorry to say this, but the Season 5 premiere felt like pretty amateurish stuff. Its writing, directing and acting (in some places) were really, really spotty. Its early action set-piece involving a plane crash, for example, was choppy, confusing and awkwardly staged. The plotting and dialogue were … poor.
Even the premiere’s marketing was goofy. Its television ads seemed like an intentional self-parody — like maybe a Saturday Night Live skit lampooning zombie shows. (See below.) The poster is a mess too — even if the center image’s suggestion that John Dorie is a gunslinging Christ figure is pretty damned nifty.
With all of this said, it may surprise you that I still liked the episode well enough, and I’ll still watch the show. I’d rate the premiere a 7 out of 10, because “Fear the Walking Dead” still has its merits. I can think of three reasons in particular why I still had fun with the premiere, and why I’ll still tune in next Sunday.
First, some of the characters are terrific. I’ll always love Victor Strand (Colman Domingo). I really like Dorie (Garret Dillahunt) and his mild-mannered girlfriend, June (Jenna Elfman), and Charlie (Alexa Nisenson) is the kind of child character that typically grows on me. (Let’s hope Dorie’s posture in the poster isn’t a hint about his death.) I still like Morgan, because Lennie James is always a pleasure to watch, even if I don’t share the immense zeal of his legions of fans. (The writers need to do more with him beyond his weird, vaguely “Kung Fu,” born-again altruism. I know he’s supposed to be the Eastern philosophy guy, but his dialogue sometimes makes him come off like a stereotypical, nattering Evangelical.)
The second reason I’ll stay with this show is that its stories move along quickly. There are no static, Negan-centered endless epics here, like there are on this show’s plodding progenitor.
The third reason is this — “Fear the Walking Dead” has always hatched the most creative story ideas. Whatever problems the show might have developed over time with character, dialogue or plot details, the basic story concepts have always been really damned inventive. (They consistently offer much more than “The Walking Dead’s” two boiler-plate plot arcs — group-vs.-group or refuge-with-a-hidden-danger.) This season looks like it will be no exception. There are two major reveals in this episode’s closing minutes. One connects Season 5 with past seasons of “Fear the Walking Dead,” while another is a tantalizing hint about greater forces in the “Walking Dead” universe.
Oh! One more thing! There is an important new character here played by the terrific Matt Frewer. If you’re a true zombie horror fan, then you’ll recognize him as none other than Frank, from Zack Snyder’s superb, unfairly reviled 2004 “Dawn of the Dead” remake. And if you’re an 80’s kid like I am, then you might remember him as the original Max Headroom — from both the Coca-Cola ads and excellent but short-lived 1987 sci-fi series. That’s some pretty fun casting — and the guy is a really good actor.