With THE DEATH-RAY MIRROR OF DOCTOR MABUSE (1964) the 1960s Mabuse cycle ends not with a bang but a whimper. Peter van Eyck, who was adequate as part of the ensemble in 1,000 Eyes of Dr. Mabuse is miserably dull as the central character, a super-spy out to secure the title McGuffin for England while You Know Who wants it for his own ends. This is a Mabuse film done as a Bond film, with a lot of similarity to Thunderball (David Kalat, author of The Strange Case of Dr. Mabuse, wonders if Death-Ray Mirror could actually have influenced the later 007 adventure) but none of the flair Eon brought to the Bond films of this era. It’s also much more sexist than Bond in its treatment of the female lead, and has the least mind-control of any of the films (mostly just a vague reference to Mabuse mindwiping people at the start of the film). “The almighty took seven days to create the world, and you could destroy it in a few seconds.”
THE BLACK PANTHERS: Vanguards of the Revolution (2015) is a good documentary about how an Oakland movement to stop police abuse of blacks (which, of course, makes this depressingly relevant) broadened into providing free breakfasts and health clinics while attracting followers across the country (as much because of their apparent pride and self-confidence as their actual policies), including a large percentage of women. The film chronicles the FBI’s obsessive war against the Panthers, the party’s attempt to switch to straight politics (“After the loss, there was no plan B.”) and the gradual internal collapse, heavily influenced by the FBI’s efforts at subversion. “We didn’t get those brothers to revolutionary heaven.”
MAMMA MIA: Here We Go Again (2018) is the sequel to the 2008 stage-to-screen musical, alternating the story of Amanda Seyfried struggling to open late mom Meryl Streep’s dream hotel despite everything going wrong with her secret origin as her mother heads to Greece for a summer of love and winds up bedding three different men in rapid succession. This was pleasant enough, but doesn’t feel as well structured as the first Mamma Mia — Cher’s appearance at the end is quite gratuitous, though she does give a great rendition of Abba’s Fernando. “You have the courage of the lion, the heart of the panther and the wisdom of the flamingo.”
The third season of THE LIBRARIANS has the cast coping with an unleashed chaos demon plotting to turn the world upside-down and a new government magic-hunting agency that’s determined to put the Librarians and their assets under lock and key. This has the series’ usual quirky fun, such as a reluctant cult leader trapped by her own popularity, a reunion of evil monsters and a magician wreaking havoc as he tries to impress his (he thinks) true love. I’ll also give them points for resolving Cassandra’s cancer problems without the usual miracle cure. “He didn’t tell you the Eye of Ra requires a human sacrifice.”
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