SupremeWriterStudios

The Amazon KDP Paperback Print Release Dates Schedule

Starting next month, each of my earliest eBooks on Amazon self-published thanks to Kindle Direct Publishing will be going to print finally at last as paperback editions, and here are the exact specific release dates for such:

Ezo: The History Of The Ainu People-May 2023

A Full Understanding Of What Chaoskampf Is-June 2023

Shenism: Absolute Knowledge Of China’s Earliest Folk Religion-July 2023

Omukade: The Edited, Revised, And Slightly Expanded Upon Edition-August 2023

Please be sure to support me on Patreon, check out my Podcast, and a look at my Amazon Author Page.

The Eugene Talks About podcast episode schedule

Starting this year in March, my podcast finally launches at last, and this is the schedule for the first 10 podcasts that I have recorded to begin my podcasting career.

Episode 1: The History Of Namor The Sub-Mariner-3/1/2023

Episode 2: The Various Chinese Ethnic Groups-3/8/2023

Episode 3: The Taiwanese Aboriginese People-3/15/2023

Episode 4: The Epic Of Gilgamesh-3/22/2023

Episode 5: Yasuke, The African Black Samurai From The 16th Century-3/29/2023

Episode 6: The Dark Knight Returns Frank Miller’s Masterpiece Of Batman Literature-4/5/2023

Episode 7: John Byrne’s Brilliant Take On Superman The Man Of Steel-4/12/2023

Episode 8: Why Saga Is Still One Of The Greatest Sci Fi Comics To Ever Exist-4/19/2023

Episode 9: Elephantmen Blade Runner, But With Animals-4/26/2023

Episode 10: Neal Adams, And His Everlasting Impact & Legacy Towards The Comics Industry-5/3/2023

My Review Of Paprika (2006)

Disclaimer: The image being featured here for this review is only being shared in the purpose of fair use only. All credit solely belongs to the original makers, creators, and owners, and absolutely no infringement is intended of any kind/type at all whatsoever.

Satoshi Kon was an acclaimed director, animator, and writer of what many consider to be some of the absolute greatest films to ever be made in the genre of anime in Japan who sadly passed away in 2010, but before that happened, Satoshi Kon made an animated major motion picture adaptation of Yasutaka Tsutsui’s 1993 novel Paprika released in 2006 from animation studio Madhouse, and sharing the same name of the book as the movie adaptation is too also called Paprika (which is Satoshi Kon’s last film before his passing).

In order for me explain what the plot of Paprika is mostly about without giving too much of it away to those who haven’t checked it out yet, Paprika is a techno-thriller psychological sci fi story about the hunt for a criminal who has stolen a prototype device called the DC Mini, and is using it to negatively affect the minds of others by manipulating their dreams which causes them to behave mentally insane. To help with the investigation, Doctor Atsuko Chiba uses her alter-ego by the name of “Paprika” (hence the title) to enter into the dream world in the hopes of looking for the necessary clues needed to find the thief, and recover the stolen DC Mini.

What has to be quickly mentioned in this review is that since the film contains moments of subtle female nudity, it is officially rated R by the MPAA, so only those who are 18 years and older of age should watch (and see) 2006’s Paprika.

Right off the bat, the biggest stand out in Paprika (2006) is the spectacular & creative animation (and what it is used to visualize) that is still very impressive to look at even during the 2020s, and the 1080 HD (high definition) video transfer featured in Sony Pictures Classic’s official Region Free Blu-Ray release from 2007, that I am lucky to still have & own, adds a very nice upgrade to the already wonderful animation in regards to the visuals, character movements & expressions, and backgrounds.

Both the Japanese, and English Dub voice acting are very good with each voice actor being a perfect fit for their respective characters, and the English subtitles used to translate the Japanese dialogue are done professionally well-enough for those who just want to read what every character is saying in Japanese.

The overall story in general can be very confusing, hard, weird, and difficult to understand at first viewing, but the plot truly is intriguing enough to keep audiences invested for them to find out what’ll happen as it keeps going on from beginning to until the very end all throughout. It’s also recommended to give Paprika multiple viewings in case to fully know what it’s all about without needing to ask any questions concerning its structure, themes, and concepts.

Susumu Hirasawa’s soundtrack that he provided for Paprika, is one of the first to be made using “vocaloid” to ever be featured in a movie, and it is most definitely for certain one of the best scores I have ever heard in a film as all of the music is a joy to the ears to hear with all the tracks being memorable in my opinion, but that should come to no surprise due to how talented & gifted Susumu Hirasawa is at making great music for whatever it is he works on.

While it is sadly Satoshi Kon’s last film that he ever worked on before his passing in 2010, Paprika from 2006 is yet another amazing movie in his filmography worth taking a look at because of how much of an achievement in Japanese animation it is with all of the good qualities, aspects, and elements I’ve gone over in this review, and it’s just a great science fiction film to begin with that shows a very creative & imaginative style of how the premise of entering one’s mind and their own dreams to its fullest potential without holding anything back whatsoever.

I give Paprika (2006) 5/5 Stars, and Two Thumbs Up!

If you would like to do so, please be sure to support me on Patreon as it’ll mean a lot to me, and please do follow me on Pinterest if you are interested in doing so, and following me on Instagram will also be very much appreciated by me too as well: https://www.patreon.com/EugeneAlejandroThe4th, https://www.instagram.com/eugenealejandroauthor/, and https://www.pinterest.com/gene98159796/_created/

My Review Of Zillafoot (2021)

Zillafoot is an independent giant monster kaiju low-budget B-movie directed & written by Anthony Polonia, produced by Ron Bonk, and released on home video by SRS Cinema in 2021. While it is solely an American production made in the United States Of America (USA), Zillafoot is also a cinematic homage, tribute, and love letter to the overall Tokusatsu genre in general, with a dash of satire & parody thrown into it (which does add to the film’s ironically entertaining charm).

A first glance similar to Brett Kelly’s Konga TNT (also from SRS Cinema), Zillafoot gives off the first impression of being a film of extremely low quality due to how cheaply it was made, but just like Konga TNT, Zillafoot’s badness is what makes the movie enjoyable (as a guilty pleasure just to clarify), but because of its respect for all things related to Tokusatsu, lighthearted tone, and self-awareness to the point of poking fun at itself, Zillafoot is able to avoid being categorized as a Z-movie, and it instead matches well-enough to fit the definition of it being a B-movie in contrast to Konga TNT (despite me still loving Konga TNT in a so bad its good way as detailed in my review of it).

The poor effects, weak acting & dialogue, and obvious low-budget production values actually help with Zillafoot’s camp appeal for as to why it is so entertaining despite having such a cheap budget, and while it does often at times come off as a padded out interruption, the guess appearances by Tokusatsu fans show just how much humble passion (and fun) was into the making of Zillafoot, as it even features an appearance and contributions by Raf Enshohma (an artist best-known for his title cards featured on a majority of Brandon Tenold’s review videos), who makes an enjoyable cameo in the film too also.

My only nitpick that I can say about the movie is that with the scenes of the aliens in their secret hideout (or headquarters however you prefer it to be called), there is a distorted effect that I can only assume was done to make the aliens appear strange as a sort of reference to the Showa era of science fiction, it it honestly felt more like a visual inconvenience in my opinion, as it made it difficult for me to figure out what was being shown when seeing it, and it didn’t really add much to the plot & story.

Zillafoot is a very low-budget film with all that I have just said about it, but it’s a very low-budget film that easily knows what it is, and perfectly succeeds in being a movie that truly honors the Tokusatsu genre without it feeling like a forced pop culture Easter egg hunt that has no effort put into it, with the music also being a very good reference to old school Tokusatu entertainment in the best way possible, and the video quality in the official Region 0 Blu-Ray release put out by SRS Cinema looks very nice as well.

Because of how much of a so bad its good B-movie it is, I’m going to give Zillafoot (2021) without any hesitation 5/5 Stars, and Two Thumbs Up!

If you would like to do so, please be sure to support me on Patreon as it’ll mean a lot to me, and please do follow me on Pinterest, and Instagram if you are interested in doing so: https://www.patreon.com/EugeneAlejandroThe4th, https://www.pinterest.com/gene98159796/_created/, https://www.instagram.com/eugenealejandroauthor/

My Review Of War Of The God Monsters (1984 or 1985)

War Of The God Monsters (also called The Flying Monster, Flying Dragon Attacks, Rise Of The God Monsters, and The Undead Beast) is most definitely a truly fascinating movie for me to review because it is film that for many years, was considered to be have been lost due to its obscurity (and the only other release of it being on an old VHS tape which can be found online when searching on the internet well-enough), that is until Kaiju News Outlet shared the announcement that SRS Cinema was able to luckily acquire the distribution rights to finally have it released on the year of 2021 in North America on home video at last in an official Region 0 release too as well I might add.

In order to be more specific about it in this review, War Of The God Monsters is an independent giant monster kaiju film from South Korea that either came out in 1984, or 1985 (the few sources that exist about this movie sadly aren’t too specifically clear about its true release date), and it features stock footage mainly from Tsuburaya’s tokusatsu kyodai hero shows such as Fireman, Ultraman, The Return Of Ultraman, and Ultraman Ace, to use for the scenes featuring only the giant monsters wreaking havoc and causing destruction with mostly fighter jets being seen repelling them, and it really needs to be clarified that the stock footage was in fact (and indeed) used with approval & permission in order for it to be edited into the final product that was made.

Despite its obvious & blatant use of stock footage (even if it was accordingly used legally as already mentioned & explained at this point), War Of The God Monsters is a surprisingly very good movie with some solid human characters portrayed by actors & actresses who turn in believable performances, and the plot & story is intriguing enough to help deliver a compelling narrative, which helps in watching the film until it ends in my opinion.

A very impressive (and noteworthy) aspect about the official Blu-Ray release from SRS Cinema to point out (which is how I even saw War Of The God Monsters by the way) is that the video quality is awesome considering that this was a lost film that went through some massive degrading as a result of it not receiving any newer releases after both its theatrical run, and VHS transfer in South Korea back in the day. The digital restoration & remastering on this release put out by SRS Cinema is truly something to admire on how to perfectly restore a lost film, and the box art provided by Matt Frank is great to look at too as well. Also, the English subtitles provided for when viewing the movie are truly of professional quality in order to help when understanding what’s being said by the characters in War Of The God Monsters.

War Of The Monsters honestly is a true hidden gem worth adding to your movie collection as it while may not be the most unique & original film in the kaiju genre, it’s still worth knowing about (and watching) for seeing how giant monster movies were made many years ago in a country outside of Japan like South Korea, and it is very nice to see that such an obscure lost film has been rediscovered & restored in HD (high definition), and released in North America by an independent home video label as cool as SRS Cinema.

I give War Of The God Monsters 5/5 Stars, and Two Thumbs Up!

My Review Of Roger Corman’s Forbidden World (1982)

If you ever wondered what Ridley Scott’s Alien (1979) would be like if it was a cheesy exploitation B-movie produced by the legendary king of B-movies named Roger Corman, then you’re in luck because 1982’s Forbidden World is the cult classic for you that’s totally worth checking out.

Forbidden World’s existence was clearly meant to come off as a low-budget mockbuster imitation of Alien from 1979, in the exact same manner that many sharksploitation features were made after the success & popularity of 1975’s Jaws (or even just imitators of Jaws in general that used a different animal as the main threat overall), and while Forbidden World does give off the first impression of being a sleezy campy copy of Ridley Scott’s Alien, it still somehow manages to ironically be an unintentionally good sci fi horror movie all in thanks due to its charming elements of being able to strongly appeal to fans of cult cinema in an amusing & fun way that is in no way boring whatsoever.

Despite the film’s low-budget, a majority of the special effects in Forbidden World are actually very good as the monster does look threatening enough to be taken seriously as something to be genuinely scared of, and many of the blood & gore scenes are very graphic but in an impressive fashion, which is something I must kindly make very clear before I ever forget to explain in this review is that because of the movie’s moments of bloody violence, and sex & nudity, it’s best to be viewed only if you are 18 years old and above.

The acting is also surprisingly decent considering this is an exploitation B-movie, and while I liked seeing Dawn Dunlap in the film, there were times in which I was kind of annoyed by her screaming & yelling whenever her character was terrified, but it made sense based on the context of the scenes that caused her to react in such a way.

Since Forbidden World is suppose to take place on a outer-worldly planet, the set designs of the film perfectly match that very well since it is science fiction after all, but a downside to that I must nitpick is that the space station the characters primarily are seen in is cheap-looking for the most part as the walls on the hallway are obviously made from egg cartons, and fast food box containers.

The official Region A Blu-Ray release of Forbidden World (1982), put out by Shout Factory through their “Roger Corman’s Cult Classics” line, is a wonderful home video release as the picture quality of the movie is great, and the interviews included in the special features are worth taking a look at also, with there also being a fantastic documentary about the making of the film I truly recommend watching if you want to get this home video release of Roger Corman’s Forbidden World. I actually almost forgot to point out that this Blu-Ray release also contains the unrated director’s cut version simply titled “Mutant”, so that too is worth checking out as well thanks to the awesome release by Shout Factory.

Forbidden World is an honest guilty pleasure of mine that I always find myself watching multiple times, for it does a fantastic job at keeping me entertained by how much of a schlock production it is that imitates 1979’s Alien in a fun style that makes it rightfully deserving of it being a cult classic that has to be seen to be believed.

I’m going to give Roger Corman’s Forbidden World (1982) 5/5 Stars, and Two Thumbs Up!

My Review Of Konga TNT (2020)

It needs to be mentioned & explained that Konga TNT is NOT a remake of the 1961 movie titled “Konga”, as Konga TNT is instead a film adaptation loosely based on the very old public domain Konga comic books. Konga TNT was made by Brett Kelly, and distributed on home video by SRS Cinema (a label that I am very much a huge fan & supporter of).

I will be fully honest & admit that I was at first skeptical of this film when first viewing it because I was worried I wasn’t going to like it (or even worse, just flat-out hate it) due to already being well aware of the movie’s extremely low-budget, and Z-grade production values, but then when I finally decided to sit down and watch it, I truly ended up discovering that Konga TNT is one of the absolute best worst movies ever made without being sarcastic when saying such as I was entertained by the film from start to finish.

The special effects are in no way special, the acting & dialogue very bad, and the plot & story is completely ludicrous, inconstant, random, and hard to believe. But all of those aspects are what make Konga TNT fun to see due to Brett Kelly finding a way to use all of those elements in making a movie that is so bad its good in my opinion. I never felt bored watching Konga TNT one bit at all.

The official Region 0 Blu-Ray release of Konga TNT released by SRS Cinema is a solid home video release with the video quality being as good as what you would expect from a Z-grade movie in high definition (HD), and the box art by Matt Frank is truly spectacular-looking, showcasing just how talented Matt Frank is as an artist.

Brett Kelly’s Konga TNT isn’t for everyone, but to everybody who actually does like to watch Z-grade movies despite their immensely poor quality in nearly very category & aspect, then Konga TNT is a guilty pleasure worth checking out, for it delivers in being a masterpiece of campy fun low-budget entertainment.

I give Konga TNT (2020) 5/5 Stars, and Two Thumbs Up!

My Review Of Robowar (1988)

In the exact same manner, fashion, and style as Shocking Dark released a year later in 1989, Bruno Mattei’s Robowar from 1988 is a mockbuster that this time is a low-budget imitation of the first Predator film from 1987, and it even goes as far as to sprinkle in an idea & concept lifted from the first Robocop movie also from the year 1987 too as well, even if it is minor for Robowar copies elements from Predator the most more so then it does Robocop to be fair (although there’s actually a ton of differences that make Robowar stand-out from those two, even if that really isn’t saying much since it’s a mockbuster of them after all).

Thankfully for this review, I was finally able see Robowar in the USA due to the fact that Severin Films had put it out on home video in 2019 in an official Region Free DVD & Blu-Ray release that is a 4k remaster scan from the original camera negative, and I’ve also been incredibly lucky to have gotten myself a copy of the limited edition Blu-Ray release of the movie on Amazon, which as far as the Blu-Ray release of the film is concerned, the video quality is very impressive to look at considering Robowar most likely had never gotten such a transfer before since it wasn’t available to watch in the United States Of America for such a long time until the year 2019 at last by Severin Films as already mentioned.

Just like Shocking Dark (1989) in that despite it also being a mockbuster made as a complete cash-grab which also rips off other more well-known & popular works of cinema that obviously have higher budgets put into them, Robowar too is yet another so bad its good guilty pleasure (at least in my own humble opinion anyways) from the mindset of Bruno Mattei, that truly is entertaining to sit through despite its imperfections, with one of the major reasons being that the actions scenes in Robowar are amusingly fun to watch, the effects & production values are surprisingly competent even if still not the best things ever put onto film, and the overall soundtrack is general is that of nice 1980s epic cheese that fits the tone well in this movie.

While the characters aren’t particularly all that memorable, the acting is serviceable based on the material all of the actors & actresses are given to work with, and I must mention before I ever forget to do so is that Robowar was filmed in The Philippines in order to be set in a jungle as a means to copy 1987’s Predator, and the cinematography, camera work, and lighting are most definitely top-notch aspects in this mockbuster. The design of the antagonistic threat that is the malfunctioning killer robot may not be the best, but it still isn’t the worst, and it does deliver some unique kill scenes even if it is meant to simply just be a Predator (1987) knock-off.

To wrap up this review, 1988’s Robowar by Bruno Mattei is ironically a spectacular film to watch, all in thanks to the movie’s charm of not taking itself too seriously, and it is worth seeing in order to better understand how the early years of making mockbusters was like in the old days of cinema.

I’m giving Robowar (1988) 5/5 Stars, and Two Thumbs Up!

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