Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Tuesday, November 20, 2012


With its tiny budget, and even tinier imagination, this Grade Z Post-Apocalypse tale never finds its groove. Glum, but hardly serious, it imagines New York City in 2012, a place of scavenging savages who roam the streetscape, and a small group of elite survivors whose rooftop garden hold rare hybrid plants with their promise of a new beginning for mankind . . . if we can only keep those tomatoes on the vine! Robert Clouse, a cult director of Martial Arts pics (ENTER THE DRAGON/’73) must have known his script was too sobersided for its own good, more SOYLENT GREEN/’73 than PLANET OF THE APES/’68, and without a Charlton Heston-sized budget. So, Yul Brynner, fresh off a surprise hit with his robotic gunfighter in WESTWORLD/’73, got tapped. But without that film’s comic edge, Yul was stiffer than ever, and the action scenes flatfooted. The film’s biggest mystery is the participation of Max Von Sydow. He’d just finished the super-classy thriller THREE DAYS OF THE CONDOR/’75 and then gets booked into this crummy vehicle? Maybe his agent thought it was the end of the world?

WATCH THIS, NOT THAT: For a neat twist on Post-Apocalypse NYC pics, it’s hard to beat the formal storytelling stylings of John Carpenter near his best in ESCAPE FROM NEW YORK/’81.

No comments: