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X Marks the Spot

It took me a while to talk myself into buying this one. Even with HLJ discounting it to ¥3200, it was still more than I usually pay for car kits. But I looked around, found some reviews, and the general consensus was that the kit was worth it. So I took a shot, and am glad I did: this is easily one of the finest kits I have ever come across. Demanding, yes. Even frustrating at times. But that's the tradeoff for a kit that features such an outstanding level of detail.


Venomous Piranha

It took a bit longer than I would have guessed, but the first Venom vehicle finally makes it here with the restickering of Sly Rax's Piranha.
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MASK Piranha Before


Slingshot Maneuver

Slingshot always reminded me of the Micro Machines Super Van City, even over some other contemporary RVs like the Hess Training Van or Eagle Five...it must have been the toy-within-a-toy feature. Regardless, 'Shot now joins my ranks of restored M.A.S.K. toys, and is the first one that required major mechanical surgery.
Before:
MASK Slingshot Before


Richard LeParmentier

Richard LeParmentier
Richard LeParmentier
July 16, 1946 - April 15, 2013


Jonathan Winters

Jonathan Winters
Jonathan Winters
November 11, 1925 - April 11, 2013


Slicer, No Slicing!

I don't remember where I first read it, but there was a critique about the unfinished Gone in 60 Seconds 2 that I thought was pretty fair. First, we can probably all agree that the greatest strength of H.B. Halicki's movies was his ability to do amazing things with ordinary machines. The original Gone in 60 Seconds was the gold standard (as I noted here), with Halicki turning southern California inside out using nothing but a Mustang Sportsroof. In his follow-up, The Junkman, he showed how a bone-stock Corvette could get out of a blockaded restaurant parking lot. Deadline Auto Theft was essentially a re-release of Gone in 60, with a few extra scenes of cars getting destroyed added in.

For Gone in 60 Seconds 2, Halicki decided to change things up. He wanted to expand the scope, and make his character an international thief who specialized in "high profile" jobs. Of the few scenes that were filmed, the big payoff was a chase sequence involving a vehicle called the Slicer: a jet-powered, armor plated wedge that looked like an oversized BattleBots contenstant. It was very cool, and anyone with a daily commute is sure to fantasize about owning one. But for Halicki, it was essentially playing in God Mode. We liked seeing how he could get out of the road hazards that happened during his escape. So when an unstoppable machine means his escape includes "driving straight" followed by "driving straight" and "keep driving straight," it loses some of the appeal.

The aforementioned critique suggested that, while a lot of "Slicer" scenes were filmed, it was only so that there was plenty of material to work with in the editing room—Halicki never intended to have much of it in the final movie. I like to agree with that idea, as Halicki was always a stunt man who knew how to get the most from his vehicles. Simply smashing a straight line through everything seemed to go against his style.

That said, I have to give kudos to the engineers and builders who created the Slicer. Those scenes showed that it was an incredibly capable vehicle capable of going through anything it was pointed at.

Annette Funicello

Annette Funicello
Annette Funicello
October 22, 1942 - April 8, 2013


Roger Ebert

Roger Ebert
Roger Ebert
June 18, 1942 - April 4, 2013


A Pinch of Paprika

I've gotten a couple of curious e-mails from Amazon.com in the last few months, suggesting that they were using data mined from Netflix. Their "recommended for you" lists were a little too on the nose, especially considering my seemingly random viewing habits (as of writing this, the last few movies I watched included a SyFy original, a low-budget horror flick, a 1970s police drama, an oscar-winning war story, and a Thai martial arts movie). Any doubt that they were doing this evaporated when I received an e-mail suggesting that I may be interested in animated titles. Instead of the modern standards like The Simpsons, Family Guy, and South Park, or classics from Disney, Warner Brothers, or Hanna-Barbera, I recieved a list of somewhat obscure anime titles like Tekkon Kinkreet, Redline, and Paprika...all of which had passed through my Netflix queue in the last four months.