Often times when a musician attempts to go solo and step out from the main act they’ve always been known for, the results can be a bit of a let down. Such is not the case with Skid Row bassist (and one time Rewind It Magazine interviewee) Rachel Bolan, who has long since possessed the chops to go out on his own. (One needs to look no further than Skid Row’s 1992 cover of the Ramones track “Psycho Therapy” with Bolan on lead for an early example of this.)
I knew the moment I heard the first single “At War with Myself” (featuring Danko Jones) from his debut solo album Gargoyle of the Garden State, that I was hooked, the song reverberating in my head for days after.
From then on its one hard-hitter after another with Bolan enlisting the likes of fellow musicians such as Extreme’s Nuno Bettencourt (“Jet Black Universe”), Slipknot’s Corey Taylor (“Big Stick”), and S.R. bandmates Snake Sabo (“See You on the Other Side”) and Scotti Hill. (“Rock and Roll Star.”)
Does it have its weak spot or two? Sure. But those looking for some fast, ’70s style proto-punk should be pleased here. (Not to mention this will likely serve as the closest we’ll get to a new Skid Row album anytime soon.)
By all means, I should’ve known better (and perhaps I did but just didn’t want to believe it) to trust that Hollywood wouldn’t take yet another beloved childhood property and make an absolute mess with it. But of course, that’s what they almost always do, so why expect anything less with the new Masters of the Universe? I was really pulling for it too, and wanted to believe it could be done right this time.
It actually starts off promising enough; we’re introduced to the young Prince Adam of Eternos (a.k.a. He-Man, played by Artie Wilkinson-Hunt before Nicholas Galitzine takes over as the young adult version), struggling to earn respect from both his father the King Randor (James Purefoy) and peers while training to be a warrior under the guidance of the king’s general Duncan/Man-At-Arms, played by Idris Elba.
Things quickly go south once the evil Skeltor (Jared Leto) and his army attack and take over the Castle Grayskull, overthrowing the kingdom in the process. But with the help of the Sorceress (Morena Baccarin) Adam is able to escape safely to Earth with the Sword of Power.
And that is where the film lost me. From that point on, it went from what seemed like would be a straight epic action-adventure movie, to a painfully executed slapstick comedy that just tries so hard to throw in another cheap joke each and every chance it gets, effectively reducing its characters to walking one-liners rather than the feared warriors that they should have been portrayed as. (Just look at the embarrassing performance from Alison Brie as Evil-Lyn here.)
That’s not to say there are not a few bright spots; Camila Mendes of TV’s Riverdale is always fun to watch whenever on screen. And a cameo from Dolph Lundgren – He-Man from the original 1987 film (which admittedly had its own flaws but still works far better as an actual adventure film than this mess here) is of course warranted. But as much as I kept wanting the film to get back on track (there are moments of hope for it to do so), it just continues to go further off the rails each and every chance it gets, each bad joke and clunky over-the-top fight scene seemingly getting worse than the last.
I was reminded of the cringy feeling I got while watching the Teenage Mutant Ninja Turtles film from Michael Bay in 2014. It doesn’t care about or respect its audience in the slightest, but rather expects you to put up with any unnecessary nonsense it throws at you, all for the sake of those who are either completely new to the material, or have too short of attention spans to watch anything with actual substance. (I would’ve much rather seen something more akin to the recent animated Netflix series Revelation, which was much more faithful to the source material.) This is the perfect example of Hollywood getting it wrong again; judging by its box office intake so far, maybe they’ll actually listen to its core audience for once.
When Lockhart first emerged on the scene with their debut EP a few years back, I knew they were instantly filling a gap I had no idea I needed prior in the world of melodic AOR hard rock music.
City Pulse expands what they had started on that original release, the opening/title track quickly taking listeners on what feels like a continuous ride through the dark, verboten underbelly of any given major city that includes a music video that fits alongside of it perfectly.
Holdovers from the first EP such as “Just Can’t Wait” and “No Chance in Heaven” sound newly polished here, while the album’s second single “Can’t Shake It” is a catchy pop anthem that gets stuck in your head for days, featuring bassist Jason Junop’s Cauldron bandmate Ian Kilpatrick on lead guitar.
In short, what Lockhart are doing is nothing short of phenomenal; it’s the type of music that makes one want to scream from a mountain top to all those wasting their time on so many other substance-less acts out there to just stop. Indeed, there’s something better out there for all of us, you just have to seek it out and find it – in this case I only wish there was more of it.
Those already familiar with filmmaker Kane Parsons’s previous creepypasta webseries such as Backrooms and The Oldest View may already have a good idea what to expect with his major directorial debut here. But now with the backing of a major studio such as A24, his vision seems much more limitless than ever before.
Set in 1990, the film follows divorced/alcoholic furniture store owner Clark (Chiwetel Ejiofor) who, after being forced to take shelter within his own store, discovers a treasure trove of underground liminal spaces while living there. He eventually enlists his young assistant manager and her stoner boyfriend (played by Lukita Maxwell and Finn Bennett, respectively) to further explore these strange findings; even his skeptical therapist Dr. Mary Kline (Renate Reinsve) finds herself sucked into this maze of horror.
While not entirely unpredictable or flawless, the film plays off as one of those haunted house features you don’t want to take your eyes off of, no matter what the circumstance may be – think a cross between The Shining and The Blair WitchProject, and you’ve got a fairly decent comparison.
At just twenty years old (almost twenty-one now), Parsons is already the youngest director to reach number one at the American box office, and no doubt destined to do more amazing things in the future, providing he can keep from replicating the same formula too much of course.
I recently read an online assessment of modern TV shows somewhere that basically stated there’s so few shows that are even remembered these days due to them coming and going at such a rapid fire pace. And after giving it some thought, I couldn’t help but agree for the most part, albeit with some exceptions.
Stranger Things, the Netflix series that first debuted in 2016 and spawned a mountain of media and quickly became a pop culture phenomenon, is one such exception. So it was only a matter of time before the recently-finished original series would get a spinoff like the animated Tales From ’85, which takes place between the second and third seasons of said original show.
There’s really not all too much by way of extraordinary ideas to be found here; the same gang of kids (all voiced by a different cast now) fight a new group of monsters in their small town of Hawkins, IN, but only this time they’re joined by a new punk outcast kid (voiced by Odessa A’zion). Some familiar voices found throughout include Lou Diamond Philips, Robert Englund, and Janeane Garofalo.
While watching this latest take on the franchise I could tell that some of the magic was not quite the same as it had been for the former live action series, while at the time time I also got that vibe from the good old days of Saturday morning cartoon shows, and could appreciate what they were trying to do here. Far from perfect, but there’s also far worse ways to spend a weekend worth of binge-watching as well.
After years of mounting fatigue for the now overly-saturated Star Wars franchise (thanks in large part to Disney), I was less than enthused for the latest installment within this once-epic universe, The Mandalorian and Grogu, to say the least. And judging by both the lower-end intake the film had at the box office this past opening weekend, and the very noticeable half-empty theater at the showing the family and I made it to, I’m not entirely alone when it comes to this sentiment.
That being said, the semi-recent Disney+ series The Mandalorian was a likeable enough addition within the world of Star Wars (despite a very un-likeable lead in the form of the pretentious Pedro Pascal in the title role) that wasn’t entirely forgettable as so many of the other recent spin-offs in the franchise has been.
Indeed, The Mandalorian and Grogu has its merits, following “Mando” (Pascal) and his non-speaking little sidekick as they track down and try to bring former Imperial leaders to justice (in a very post war kind of way) on behalf of the New Republic. Things go astray when they attempt to rescue Rotta The Hutt (son of Jabba and voiced by Jeremy Allen White) from captivity and an entirely new world of problems (and an unlikely alliance) quickly ensues for the duo.
Amidst the often over-the-top action and/or hokey characters, there’s nostalgic throwbacks to special effects and earlier films like The EmpireStrikes Back and Return of the Jedi, and a retro fitting music score. There’s even an appearance from filmmaker Martin Scorsese (in a voice role), and Sigourney Weaver in one of her most cardboard (and laughable) roles to date.
As absurd as it all might be, once it does finally get going, its easy to get lost within its world; you’ve just got to have the patience/endurance long enough to let it get you there.
The third series to spawn from late 2000’s hit TV show The Big Bang Theory (after the more recent Young Sheldon) may just be the best of the bunch, more akin to situational family comedies in the style of such classics as Roseanne or HomeImprovement than the former two. (It should also be noted this show also takes place in the ’90s.)
The first season of Georgie & Mandy’s First Marriage, starring Montana Jordan and Emily Osment in the titular roles, started off promising enough. But in season two, the production seems to have hit its stride.
There’s plenty of compelling storylines throughout the season to be found; from controversial news casts by Mandy (“The G Word and a Blaspheming Bimbo”) to a drunken birthday gone wrong for Georgie (“A Big Birthday and Tequila Shots”), there’s no shortage of simple fun here.
The supporting cast truly helps round things out here; Will Sasso and Rachel Bay Jones as Mandy’s parents Jim and Audrey McAllister, and Dougie Baldwin as younger brother Connor (Dougie Baldwin), all steal some respective moments of their own, while recurring characters like Georgie’s mother Mary (Zoe Perry) and grandmother Connie (Annie Potts) have their own occasional moments in the sun as well. (The Beanie Babies episode with said grandma is also one of note.)
Far from life-changing (or even perfect) stuff here, but it does the trick for good old-fashioned family entertainment when needed.
Growing up a kid in the late ’80s/early ’90s, it was impossible not to come across Christina Applegate on your TV set at some point or another, especially with the length of time Married…with Children – the show that quickly propelled her to household name status as Kelly Bundy – ran on the air for from 1987-1997.
Indeed, many of us came of age along with Applegate, although whereas many of my peers might have been developing crushes on her, I viewed the blonde bombshell more like an older sister (which I had three of growing up), more akin to the relationship she had with her on-screen younger brother, Bud. (David Faustino.) After reading her memoir, detailing everything from her rocky upbringing in between entertainment industry parents, to clawing her way into acting on her own terms, I’ve definitely gained a new level of respect for her.
Applegate works through her life story as casually as someone just shooting the breeze with an old friend, despite all of the moments of heartache and trauma she shares here. There’s several moments throughout that truly tug at one’s heart strings, from her eye-opening childhood, to the career-ending battles she’s still currently fighting today with MS.
Celebrities are often judged as having glossy, perfect lives and it gets forgotten that they’re actual human beings, too. But just as the old saying goes, you truly cannot “Judge a book by its cover.”
It’s been almost 35 years since Mortal Kombat debuted in arcades, bowling alleys, and gas stations everywhere. Yes, arcade machines were once common in gas stations, where a Slurpee and a handful of quarters were all you needed.
Riding the massive success of Capcom’s Street Fighter II in the early ‘90s, Midway’s Mortal Kombat quickly stood out as a serious contender to be reckoned with. Its combined digitized graphics, distinctive martial arts influences, and a dark, mystical aesthetic with unprecedented levels of violence, launched a global phenomenon that continues to resonate today.
As fighting games, Street Fighter II and Mortal Kombat had their unique differences that set them apart. In Street Fighter II, the defeated opponent was taunted by the victor in a cut screen before the next fight. No such fighters were spared in Mortal Kombat, where matches often ended in bloody “Fatalities” (for those skilled or lucky enough to pull them off).
Mortal Kombat featured decapitations, heart-ripping, and other gruesome deaths that may seem primitive by today’s standards, but nothing compared to the initial shock of witnessing Sub-Zero rip off an opponent’s head with the spinal cord still dangling. Of course, such bold and graphic gameplay was not without controversy, ultimately contributing to the creation of the Entertainment Software Rating Board (ESRB) rating system that remains in use today.
Midway Games quickly capitalized on the success of Mortal Kombat with the release of Mortal Kombat II in 1993. Not only did the sequel improve upon its predecessor, but it is widely regarded as one of the best entries in the franchise and one of the greatest fighting games ever made. The series continues to this day across nearly every major home console, producing more entries than one could count.
The franchise’s popularity led to the early PG-13 film adaptations Mortal Kombat (1995)and Mortal Kombat: Annihilation (1997). In 2021, both longtime fans and newcomers were introduced to a more faithful—and far bloodier—reboot with Mortal Kombat. The recent release of Mortal Kombat II further continues the legacy of one of video game history’s most iconic and brutal franchises.
Much like the game that inspired it, Mortal Kombat II improves upon its predecessor with expertly choreographed fight scenes, sharp humor, and satisfyingly over-the-top violence. The film succeeds as both thrilling escapist entertainment and a worthy continuation of the franchise.
The story begins in the Outworld and introduces Princess Kitana (one the two mysterious masked female fighters from the original game, played here by Adeline Rudolph) as a young girl. Her father’s kingdom is conquered by the nefarious Emperor Shao Kahn (Martyn Ford), who ushers in an era of darkness. Several years later, a tenth tournament takes place to decide the fate of Outworld.
The thunder god Raiden (Tadanobu Asano) assembles a roster of familiar Earthrealm fighters that include Sonya Blade (Jessica McNamee), Jax (Mechcad Brooks), Liu Kang (Ludi Lin), and washed-up martial arts movie star Johnny Cage Karl Urban). Shao Kahn’s roster includes Shang Tsung (Chin Han), Sub-Zero/Noob Saibot (Joe Taslim), Kitana, Kung Lao (Max Huang), Kano (Josh Lawson), Queen Sindel (Ana Thu Nguyen), and others. Loyalties, however, aren’t what they seem, with sides being played throughout. Baraka (CJ Bloomfield) even makes an appearance as a neutral party of sorts enlisted to aid the Earhrealm fighters.
Arguably the film’s standout fight scene is the clash between Liu Kang and Kung Lao, who fights under Shao Kahn’s control. The emotional weight and visceral intensity of two former allies forced into combat make the sequence worth the price of admission alone. In a subtle but effective nod to the games, the film frequently opens its fights with a wide shot that mirrors the iconic “Fight” stance, with opponents positioned on opposite sides of the screen.
The two unlikely protagonists, Kitana and Johnny Cage, portrayed by Adeline Rudolph and the always reliable Karl Urban, are perfectly cast in their respective roles. Urban shines in the role and perfectly encapsulates an actor past his prime who reluctantly joins the tournament against his better judgment.
I’m pleased to say that just about everything in the film works. The action moves along at a brisk pace with versatile backdrops and eye-popping visuals throughout. The reliance on CGI is evident and often necessary, but it never becomes so excessive that it feels cheap or inauthentic.
For a live-action video game adaptation, the film succeeds in honoring its source material while bringing an unexpected sense of realism to the experience. Most importantly, viewers don’t need to be longtime fans of the games to enjoy the movie, depending on their tolerance for unapologetically over-the-top violence.
The film’s success can be credited to director Simon McQuoid and his talented cast and crew, who deliver an effective tribute to one of the most recognizable and innovative fighting game franchises alongside Street Fighter.
Mortal Kombat II delivers plenty of spectacle, though some of the larger set pieces, particularly the multiple climactic battles near the end, border on excess. Baraka is a welcome addition but suffers from an unintentionally goofy character design (obvious in early promotional stills). Kano also returns with constant wisecracks that wear thin over time.
Despite its flaws, the film never pretends to be anything more than an action-packed visual thrill ride. It succeeds based on its genuine investment in its characters and clear respect for the franchise on which it is based. After seeing it, I commented to my wife that it felt good to see an old-fashioned R-rated movie again.
It had no agenda, it wasn’t watered down, and it only sought to entertain. Test your might and check it out. It’s a nearly flawless victory.
As alluded to in my previous article, last week was a whirlwind filled with shows and live music, all taking place in Daytona Beach. It all started with the combo concert/fight that was Blood 4 Blood, featuring the likes of Black Label Society and Crowbar on Wednesday, 5/6, one of Rewind It Magazine‘s “official” covered shows of the year.
Then beginning the very next day it was the massive annual outdoor festival Welcome to Rockville, which the family and I have been attending nearly every year since 2021, though this year I only made it out to the first two days. (Though my son did stick with it for all four.) In that time span I was able to finally catch the likes of several extreme/death metal acts – many of which that had long since eluded me – in the form of Carcass, Cradle of Filth, Death Angel, Kreator, and Deicide, as well as several more contemporary bands such as Ice Nine Kills, Dethklok, and Atreyu. (Guns N’ Roses were also the headliners that first night, and their quality has long since gone downhill since the last time I caught them back in 2006, even with the current “reunion” of the band intact.)
But between the large crowds, excessive heat and all-around terrible weather (we actually left early on the second night due to the show being postponed by a thunderstorm), and overall lack of interest in the bands scheduled on the last two nights, there was very little reason to get me to go back and endure two more full days of it.
Yet this all turned out to be a blessing in disguise that would free us up to once again to catch up with former Misfits frontman Michale Graves at Bam Bam’s in Daytona, another show confirmed for Rewind It just days prior, and our second time covering him live and acoustic since 2021.
I’ve seen Graves onstage many times over the years going as far back as 1999 – both as a member of the Misfits, and as a solo artist – and he never disappoints. These days, his shows are the only place to go for those wanting to still hear ’90s-era Misfits live (And if you were a card-carrying member of the Fiend Club back in the day such as myself, its certainly worth it.)
The atmosphere was completely palpable by the time Graves took the stage, and he no doubt had the crowd in the palm of his hands as he launched into “The Best of Me, quickly followed by “Wanderer,” and “I Believe.” A couple of Misfits cuts in the form of “Descending Angel” and “Shining” had the crowd singing along, before Graves unleashed the fan-requested Web of Dharma track, “Ophelia.” (A personal favorite of mine as well – nice touch!)
Michale Graves performing at Bam Bam’s in Daytona Beach, FL on Sunday, 5/10/26. (Photo by Brooke Striewski.)
“Nobody Thinks About Me” and “Almost Home” followed before launching into the track that more or less put him on the map, “Dig Up Her Bones.” “All the Troubles” lead to another Misfits classic in the form of “Saturday Night,” while part of Nirvana’s “Come As You Are” would segway into “Fiend Club.” Emotions ran high for “American Prayer,” “Boxcar Headed East,” and even “Dawn of the Dead,” which all lead up to closer “New Song.”
It’s a shame so many contemporaries out there refuse to even give Graves the time of day, simply because he hasn’t fallen in line with the status quo the way they have. (How very “punk rock” of them.) Graves is a sincere, humble musician AND human being that I have no doubt more would be able to see if they’d only open their minds up a bit more. In fact, I felt so inspired after his set this time, I even had him sign my right arm for a potential future tattoo. (Which still remains to be seen if I do indeed make permanent).
And what did Graves do? He not only graciously signed it, but also showed signs of legit concern for me actually going through the procedure of getting another tattoo, knowing at this point that I was only about half a year removed/in remission from a nasty bone disease after our brief conversation beforehand. I have no doubt this is the exact same type of humility Graves displays for fans across the board, and is indeed the type of person I think of whenever I think of Michale Graves.
