Rudolph the Red-Nosed Reindeer is a Christmas television special produced in stop motion animation by Rankin/Bass. It first aired Sunday, December 6, 1964, on the NBC television network in the USA, and was sponsored by General Electric under the umbrella title of The General Electric Fantasy Hour. The copyright year in Roman numerals was mismarked as MCLXIV (1164) instead of the correct MCMLXIV.
En route to a show in Singapore, a troupe of beautiful dancers are stranded on a deserted island by a plane crash. Their routine of skinny-dipping and devising new skimpy outfits is interrupted when a radioactive spider bites their manager and turns him into a wild-eyed, furry-faced monster with three fangs and a passion for strangling. Featuring the most confusing soundtrack in cinematic history.
This clever cocktail of adventure and adrenaline brings three friends together for an adventure no one can forget. Going from labs to nursing homes the turns that this story takes will keep you on the edge of your seat the whole four minutes.
This site has been up and running for 5 years and I have waited until now to dump the most snot coated cinema stink bomb of all time: Denmark's first and only monster movie, REPTILICUS (AKA Ever want to see Copenhagen get attacked by a sock puppet) A portion of the tail of a prehistoric reptile is discovered in Denmark. It regenerates into the entire reptile, which proceeds to destroy buildings and property and generally make a nuisance of itself. It can fly, swim, and walk, and has impenetrable scales, which makes it difficult to kill. Written byPaul White
I love this for all the wrong reasons -- Dick Calkins great art adds a perfect deadpan to Philip Francis Nowlan's Ed Wood like horribly, stupid writing. If it were published today I would think it was a brilliant comedy in the vein of David Boswell's Reid Flemming
If this creative team had worked on Doctor Strange for the last 10 years I would have been reading Doctor Strange for the the last 10 years instead of hitting copies of it on the racks at the LCBS with a shoe.
I have no idea how this disaster made it past an editor's desk and to the printers. As sequential storytelling goes it was at times impossible to follow, all over the place. Even the lettering font was horrific.
Skull-cracking. Finally, after several decades of the norm, a wildly bold new voice in fiction. I wish Steve Aylett would do some mainstream comic book work, that stale horse is starting to stink up the joint with its aggressive scorn for blazing new trails or original concepts.